Artists <> ILLUSTRATORS May 2013 £4.20 eee ea WILD LANDSCAPES Add passion to your paintings WILLIAM SCOTT Rediscovering a lost talent with RHS winner Rosie Sandersceeen rarer ug fiennt OPEN PROGRAMME SHORT COURSES i N TRADITIONAL ARTS DS eee rac Lace eer eae eRe ae et which teach the philosophical principles and practical techniques of the traditional arts of the great CM eee nce The courses are part of the Open Programme - a series of events in collaboration with the Farjam Collection. Students on the courses will have the opportunity to study and appreciate some of the finest masterpieces of this unique collection GEOMETRY PAINTING ARABESQUE APPLIED ARTS CALLIGRAPHY Se ream oR TRE ee Reet Sa Asta eB eaec Sane SCR oun e OR ete e eT TrOTr oie | ater mrran Let ens oki ey zaArtists TLLUSTRATORS c= Welesme! ieylncesa cee z artworks chat wee been looking at fo this issue have made me ona realise quite what a vast range of painting styles there are on 3 ecto caeraca scale that runs from one to Jackson Pollock a (Ofcourse, you dont need fick the paint around inorder to Sie trom Manan bean expressive paint. Debbie Boon does on pag 62, but ony ina tee contolled manner, mixing her arylie with ge mediums to make the paint (rsa bomanacheeaneannes.om Ihave exatly as she wants. Louise Dalaam meanwhile shares her emotional Sonor Sanna“ 0 approach o landscape painting on page 73 which results in some rich and ad On the opposite end ofthe sale, you aly need to ook at our stunning palnkng. Infact, you erally wet a masterclass on that subect, weve Bo "hat covered, 100 ~ just heal to page 64 for Sandrine Maugy’s step-by-step botanical demonstration So whereabouts does your style alls on the precision sale? Have you Toosened up aver the years or become more contrlled? Write to vs and aren eee tell usa the addresses opposite et mnt Myself, ve just got my hands o ast of WRITE TO US! ra rey, Winsor & Newton Designers’ Gouache, as Snel enee Thmatenpting ier brstwor. cal oes) Sjgy, ys your latest rand share oprions by eee wrong though jou jus cach mebeng_]} Sega oven wa one hose OE8 WaYS . abit too expressive with my tube of paint aise Steve Pill, Editor ‘arsandtstts wren (ekandiangzine — rec cozsnanesinton MOMWAEBE FEATURED CONTRIBUTOR CHRISTOPHER ANDREAE Currently based in Glasgow, Cavistopher has written about at since the eaiy 1960s, He is a leaving author of several fescinating art ‘monographs, including 1996's Mary Newcomb, 2007's Mary Fediden: Enigmas and Variations end 2000's Wife Nicholson. (On page 26, Christopher tells the story of 20th-certury British painter Joan Earley. The feature is based on the author’ reseerch ‘orn new Lund Humphves book, pushed this month,Painting Holidays Angkor Wat & Hoi An Vietnam A Holiday you wont forget! 2013 August and November 2014 January, February also July and November “Amazing art adventures that would inspire Gavgui DTCs aU eae en ea cat oe Eee tea emcee tel er eee meecen Metsu hoe Ea peered acre eee Rn provide painting support and a Master Class. Painting Holidays eee Cee et Menu sor mem en reeccCun Cree iatiialce eal Cee eae Une rset ce ve fae NoteR en nec oAME DCM SIN gn urs) 1 a 2 eAioiie id eed for ei to relax - Just a great holiday! Risretraiebatier at eee teenyFEATURES 6 SARAH ADAMS The ite of acontemporay eave patter 2310N THE CLUB ‘afternoon witha Carish sketch ob 26 TRUTH AND BEAUTY ‘The rag Me of rst oan Earley 30(GREAT SCOTT! Celebrating Wiliam Scott's centenary ‘32, HOW TO BUY GRADUATE ARTI Find the best degre shows and get bargain 3S0NTHEJOB ‘ay in thee of an ustration agent BIN THE STUDIO Wits wife ort Hozel Nourfors TECHNIQUES 43 TIP OF THE MONTH Wicking otf ow 30 aoge racial guide 44 TALKING TECHNIQUES aves: With uted etenil rst Rosie Sonos a Paint and 48 HOUSEHOLD TOOLS Eitan th Nine everyday aboot tat can ad your art ‘52{WAY NOTTRY. painting on vellum, a most unusual support ‘54 PAINTING EXERCISES ‘Smpiy a compostion wih spot of cogs ‘57: WINNING WAYS ‘Ae awardwinring approach to porate se STYLISH STILLLIFE 62/HOW MADE Bil Goots Graff ey acne artist Dee Boon @3'LEARN SOMETHING NEW -Mireminute troduction ta Bat painting 64 MASTERCLASS Sandrine Mougyssinpe botanical demo ‘68 DRAWING FORMS) Getasneak oven of new OCA course ‘70 READER REVIEW Get you portolovesiowod by our experts! ‘T3|EMOTIONAL LANDSCAPES Parsonage you paitirgs win ourhaney tne REGULARS 6 (YOURLETTERS 9 THEDIARY 18 COMPETITIONS, 40 PORTFOLIO 51 REVIEWS 32 IM LIFE INARTYour Letters... Letter of the month RE: SUMMER IN FEBRUARY, ISSUE 324 {enjoy al he Aris Mlasratos magazines, but as fares Tm concerned, Apri’ isthe best [ve spent many happy holidays in Coral, but lack of mobility has now curtailed thee ‘010 see the artes on Newlyn palnters and read about the flm was a bonus, Penke House ‘was alaysa must nd Lrought home paintings fom gallery io St ves, ‘The articles on watercolour were most ineresting and, a8. final Nourish, an article on Ken Howard, my fsourte moder painter He needst worry about needing a tube of light ashe has the git of bringing icin all hs pitures, ‘Well done snd thank you! Marion Hiddleston, County Antrim RE: SUMMER IN FEBRUARY, ISSUE 324 [have alzeacy read and enjoyed your arile om Summer in February looks as though it ‘sill bea wonderful flim to go and see The flder (below) leaning agains the easel tn the photo on your cover looks fascinating | wondered if they ae stil available ro buy ot ‘was lt borrowed from a collector? Miss Susan Entwistle, Lancaster We didnt reoognise the folder so we asked the ‘in’ produce, Seremy Comey. Hees whet he sald: "We wee weky ont im to ave Sopnie Becher os ou production designer and Stel Fox 88 ou set designer ~ alerted people wth Ineredble attention to deta. The green fier came om Groen & Stone of Cheeea” RE: LETTER OF THEMONTH, ISSUE 324 ‘With regard to Michael Walsh’ Iter, palnting is indeed please bu is also very Tard work, Elem Mls was right aor cat I isnt exactly relaxing ether ~ absorbing would be abate Word, 4m not conscious of ume passing when I'm painting but only ofthe relationship between my picture and I ‘wharit says 10 me Tama professional artist ad Ym sure | have the same problems you do when i comes to picture making, The enjoyment comes fom the caisfactio of seeing a pctute of mine ina frame and on a wall Esta Koh Des, Adalestone, Surrey RE: GEORG BASELITZ “WOMEN DON'T PAINT VERY WELL’, ISSUE 324 Having hada look at some of Georg Baselit2’s ‘work, I uhink he would do well ws eonesttrate combs own painting, keep quiet and possibly pall himself nto the 21st century Fob Hamilton, via email | woul think rom such a remark that Georg ‘aseltz hasan inferiority complex about his a, Ifsusual fr such a ema o came fram an individual who has low self-esteem ane ‘who is unsure of is own abies Is for ope, have no fea of women artists ane embrace ll ass whatever ther gender ot cven sexual preferences, because it has no Dearing on the quality ofthe art produced, Having said that, however, ldo have reservations about artists wh fel they have to belong oan elitist and exclusive ‘organisation such asthe Society of ‘Women Artists. Do they fe inferie (or ‘perhaps superio) to the rest of us! Perhaps I should promote a Society for Men Aatistsif there isn such an ‘organisation already in extcence, of ‘would that be considered against the human rights of women? Colin Hayes, via email ON THE WEB Last month, Disney announced that they had no plans to make any more hand: Grawn, 20 cartoons, We asked our Twitter followats what they thought 1 ink tsa shame for artists in the field and arats coming through, Look atthe way young people were inspited by Manga CChstine @ehr_Istine wey) lo Lo Las) ieee ¢ the deal of 3D hat 20 wall nt appeal to ws anymore, 0 good cal ( Debbie @DebbieSMarx c {valve the hand-dewen elastes f rmore then the modern ones ad 3 do my chilren.. a dlsoppointed. ¢ Lianne Witiams @LMWiliomsArt Opry bose publi ee Bey sacs teat ois 3 Need od novell we romrn eaesepasn Geese ( ‘watching old Tom 6 Jerry cartoons ; lastnight and noticed how moch ‘more alive they seem Lindsay Baker aipbaker WRITE TO US. ‘Senda ete of erat te aeresses below Artist &Musrators, The Chelsea Magazine Company Lt. bles House, 2 Jubioe Place, London 3 379 = EMAIL Info@artstsandilustrators.o.k very math, the wrtarof he winning eter wnt eae £50 gt voucher rom our Darter Great, who offers the UK argos Forge of a materi ith oer 80.000 fart supplies and reguer Giscounsand promotions. GreatArt| vomateatar.couk aaa Artists & Mstrators 1352000090090 elWinsor & Newton’s Bockingford Paper is made exclusively at St Cuthberts Mill ‘Bockingford is a beautiful British watercolour colour lifting abilities, Bockingford is an extremely paper. Traditionally mould made exclusively by forgiving watercolour paper valued by professional St Cuthborts Mill in Somerset, this is a high and amateur artists around the world. ‘quality paper made using pure materials to ‘excellent archival standards. St Cuthberts Mill has been making paper since the 1700's, taking advantage of the pure waters ‘ts attractive surface is created using natural of the River Axe. Their master papermakers ‘woollen felts that give ita distinctive random produce beautiful papers with stunning texture texture. Appreciated by artists for its excellent and excellent surface stability, Available in NOT/Cold pressed paper pads in five sizes. aay BocKINGFORD Water CoLour Paper — PAD— soe ExROYAL INSTITUTE OF PAINTERS IN WATER COLOURS 5 to 18 April 2013 PURE eE Woe CoM o Rs Og aa Ry Uli H NTA UL ABOVE Glasgow Tenement snd Back Coun, 1959 162, pastel on gaseoope%, 22.5127.10m OPPOSE PRE, FROM LEFT Joan pantngin Cateroe ‘elds, summer 4061: Heagerow wi gasses, 1961-62, gouache on oper 372232.50mjoan eardley 1956-5, lon board ener sy Cvistapher’s new book, Joan Eardley, published by Lun Humphries, RRP £40. wen ashgate.com ‘An exhibition, Jaa Eardley ‘and Anne Redpath, rans ftom 117 May at Portland worn prtiandgaliery.com Inarticulate creature, because to me this conception her is almost dishonouring her Yet twas her wish that this image of her be hep tribue, made public 50 years tater, complex Jan, The almost daily Ieters (ow also inthe publi oma) that she wrote to Audrey fom Catterine revel eraflection, het struggles and determination ~and also show that she .questonably ardculae Her younger aster Pat, the suggetions and opinions of ethers —and then the ‘would go off and do exactly what se chose to do! Audrey compares he, spy enough, to the rather tothe sea into quite different conditions There was the "geile sunt sea one deligh the summer” But on the other han “tbe isthe and wid, tarbulene and terifying splendour. This was Jean too Not many people knew this side of Joan, yt Audtey ‘noc ony knew anid could stand it, she was symapaty ‘with i, oo, “ave. ved i harmony wi the rough cussing, swearing, bulldozing. indomitable cretor of th facets of Joan are so palpably evident in her work hat Audrey’ frank description rings absolutely true. Joun called herself “romani” and her work i closer co the expressionism of Emil Nolde or Jackson Pollack than ti to ay, Matisse, She deliberately avolded the outstretched arm of Cubism an the way in wich Picasso heavily influenced contemporary ardst, particularly n Pais. Falling und hat spall, she concluded, robbed ars of thet rviuality. eas by being ferely tru to nate dt she could find ber ov marc and spe She could be ike ‘She lost her inhibited self inthe compulsion of her work. In he ss paintings there i, anything, an eve ‘on the rei of pastel or pain. Hes ‘if che subject must be taken by sheet The Glasgow 3 that she was angry as she puted. The extraordinary onrush of works she duced i the final ew yea of her life re often poignant, even filled with akin of insphned desperation, IE joan Eardley asa person was inhibited, he atm certainly isnotNATIONAL Cad (ek WASH BRUSHES OPENART INNOVATION AND TRADITION - Ta ned ae CALL FOR ENTRIES PRIZE FUND WW 08433 571 572 © wwwgreatartcouuk2013 marks the centenary of the late William Scott and a chance to reappraise the work of one of Britain's most gifted abstract painters, as Steve Pill discovers sked people might sugges American arits ‘name an abstract artist, most sch as Pollock or Rthko, or perhaps aa push a British maser like Ben Nicholson itis highly unlikely, however, that many ‘woul choose Williarn Scot, despite the fact that when he died in Deceraber 1089, he let bshind more shan 1,000 sill life, landscape and female nade paintings that amount to ane ofthe 20th century's greatest bodies of work, So how have we largely overlooked such an Important gure) Bom in Greenock, Scotland in 1913, Wallatn Scott ‘moved to Northern Ireland 2 the age of 11, where he a } | toe later ensolled atthe Bellst School of Art. A promising student, he went on to study atthe Royal Academy Schools, nay in seulpeue before moving tothe painting department. By the Tate 1930 he had maried fellow student Mary Lucas and taken te painting Impress cistc sill ile and Gauguin-syle women wwth Backed-out ees. After stints living in France and tay the couple returned tothe UK prior othe outbreak of World War 1, During the war, Willams served asa lithograpc draughtsman with the Royal Engincers and the couple had two soms, Robert and James. His fist one-man exhibtion came in 1948 atthe Letcester Galleries in ng intrigued by his father's paintings froma young age, “Being ac an English boarding schoo, my brother and I were away fom London, mes remembers bsmost ofthe time from a very early age. Bat ldo remember coming home inthe holidays and always was tested about going int his studio tose his new wore and what he James is now an artist i his own right and he sup to” te lida fi had him apply for Bryanston Art Schoo. n school when his paren They forced ime 1 work everyday producing at for my’ potato Alkhough L missed my holiday, actually enjoyed reducing work and was then my favourite art. My father would cme in periodically during the day and critique my wore {remember him telling me how to dothe shadows saying Tolose Lats, who Under the chair using Prussian Blue! William's own syle really began to develop during the 1950s, ashe further simplified and abstracted elements of his subjects. Paintings such as 1957's St 19525 The Harbour (recently gifted to the Tae by James and Robert Scot) were reduced to absolute basics of feand form and colour, in turn becoming paterned and almost ‘decorative. William Poul beain with preliminary Arawings before transferring compositions 1 canvas 1053, he travelled to Canada to teach a the Bani School of Fine Aets and returned via New York, where his furure US dealer introduced him to many of the New Yr School painters, nchading Willem de Kooning and Mark Rothe. Willis struck up rtendehip with the later and six years later Rothko would bring his family to stay with the Scots their Somers cotage. was 18 atthe time and was about to start at the Slade," recalls James, who photographed his father and Rochko together during thei sta." dnt remember such talk about at, but Ido remember Rothko talking at length about bow became fom Russa fo the US asa oy. Fe clearly was an Anglophile and di talk lo about Turner and how he studied the Turner drawings inthe British Museurn an the way that Tuever tennslted light through pant, As fellow immigrant (Grom Irland) my father clearly identified wits Rothko and also shared ty his love of Tamme A Tate retrospective in 1972 showcased a range of his paintings, drawings aod gouache studies, but since that luni public depaysof his work have bes limited — something that is se to change with half a dozen centenary exhibitions planned for this year. Pushed to select a defining work of William's cater, James instead pinpoints why his fabers reputation i ripe for reassessment. “I would say that his greatest achievement was io be true to himself throughout his Jongeater, never wavering esen when there was very Ine publi support forthe kind of work that he produced," he says “When the debates of the dat art revolved around resism or abstraction, he seadiaty pursued bis.wn direction choos only what he four vos relevant. AI his if he maintained truthfulness to his own humble origins nd devoted himself to his lowe of ar, painting and teaching, woe lanscot org william scott err su Le, 1987, clon canvas, 12211520 OPPOSE PRE, FROM TOP The Harbour 1952, ol on canvas, 624940; Rectng Rea ue, 4956, olan canvas, 91.24152.5em ‘Six chances to ‘see William Scott's ‘work in 2013 Unt May Unt 31 August 21 Agito 1005) 25 Mayo 29 Soptomier TSeptenberto 17 November 25 ocoberto Febuary 2014How to buy graduate art As the founder of New Blood Art, Sarah Ryan is a dab hand and picking out promising young talent. Here she shows how to approach degree shows and find a gem radhuate shows area distillation of an artist’ efores over the uration of ete degree, As such, they're a great place to et an overview ofthe rage of alent emerging from a particular institution and to give you an objective snapshot of that partiular college's ange of emerging talent By vistingall the degrees shows with trained ey, 1s we doat New Blood Art, you gain an insight into who axe the very best artist emerging year on yea. Asan sudded benefit, you ean pick up works of art atthe lowest been influenced by others and are referencing things ‘rice point they are ever likely tobe previously seen or experienced, but occasionally you So what should you look out for? This is tricky and [bappen across an artist whose work startles you thas lotto do with experience and instint, though if somewhat because it is unfamiliar. In this case it may ‘pushed to lay out some eriteria | would suggest the TOP RIGHT ain Andrews, be that you have found an artist who has developed a following look for an artist with a coherent body of work, Ascension aetye on language entirely their own and on frst sighting chs can frat least some sense that they have a unique visual canvas, 30x40em be uncomfortable to winness, tn a way this diseomfor is Tanguage and one that is identifiable as theit own ~ BOTTOM LEFT Rebecca 1 signal to us tha there is something special happening sounds unhelpful I know, but when you'e inthe Fontaine Wo, Blue June, Always look atthe artworks as objects themselves, ‘presence of something spectal you just know, ‘olland seryteon canvas, Have they been well made? The quality of the object will The Holy Grail at degree shows isto come across an 90x80em determine its archival soundness. From an investment artist doing something you havent seen before - and point of view this ts crucial: wil the piece doing ic well. Obviously this is rare, as all arcists have siill bein one piece in 30 years? FIVE TO SEE Alongside the potential incentive of Sarah's pick ofthe degree shows finding affordable art, the main benefit is, the feel-good factor of supporting artis Duncan Jordanstone College as they are jus starting out, Obviously of Art and Design its helpful foran artist to receive some 18-25 May revenue froma sale but in many ways wmrdundee.ac.uk/djead ‘more important isthe effec such an cenidorsement has on thei sense of artistic Noweastle University self worth 31 Mayo 15 June Having said this, one of the most wor. nc.e.uh/sa0s, Important things when considering representing an artists to ascertain their Edinburgh College of Art ‘commitment to their practice and we ask. 49.4une ‘ourselves (and them) the question, “Will wwmetacuk/eca ‘you sil be painting in 10 years, no matter what? Falmouth University ‘Some of New Blood AAr’s personal 15-20 lune ‘success stores” include lain Andrews, ww falmouth ack Bartosz Beda and Rebecca Fontzine-Wolf, ‘who all started showcasing thei work on Chelsea College of Art and Design she website ad whose prices have seen 15-22June significant inereases. wwchelsea arts. 2ek ‘ww.newbloodert.comOPEN ART EXHIBITIONS Submit online ‘The Threadneedle Prize 4 April 4 July Royal Society of Marine AM. 25 April 250, Society of Wildlife Artists 16 May 15 Aug New English Art Club 13 June ~ 12 Sept of eS) INTERNATIONAL ARTISTS. eae SHOWCASING THE VERY aa m0 000 Anas _PRIZES WORTH 88760} OPEN T0-2 AND 30 WORK. ar coe ee Ree ge io licen ei) Poster Art [50 London Underground’s Greatest Designs Exhibition from 15 February ~27 October 2013 London Transport Museum, Covent Garden Piazza Become part of the Hahnemile FineArt Calendar. work for the 2014 edition, all painting techniques welcome! We look forward to receiving Your paintings under the subjec cevpetton entries ote pained on Hshnemhle or Lana paper ota! of vit wachanemachcom eG Adtin Action 18 - 21 July 2013, & ee CET) Closing date 30th June 2013 Visit Hahnemible at the following shows:me pa arent ee Painting in Newlyn «= ea) é eo Cork Street Open Exhibition y Deadline: 02 June 2013 Exhibition Dates: 9-16 August 2013 Cork Street, London Tel. 08455 438 478 Prize exhibition 2013 At the RBSA Gallery First Prize is £1000 ‘Aists are invited to enter work in all mediat Deadline for entries Wed 29 May by 4pm Exhibition on show 6 June - 29 June all for entrie: Portrait Prize exhibition 2013 At the RBSA Gallery First Prize is £1000 Artists are invited to enter portraits in all media” Deadline for photographic entries Mon 13 May by 4pm Exhibition an show 17 duly - 24 Augus + Download the application pack at waww.rbsa.org.uk or send us a SAE marked ‘Portrait Prize &How did Handsome Frank start? ousin, Jon [Cocke] an 1 ad the de that w ‘wanted 1 staan ilusttation agency, fon originally at Creative Review ad worked as an accoun director advertising, Frank sour grandlad = How many ilustrators did you start with? ‘We launched with about 10 lustators and we have built up slowly. We deliberately wanted to keep the sartethy have 30. Tow from commissioning iustratrs inthe ‘numberof people on our books down — With us, each artist has a unique style, We have people who have x much more traditional, vector-based style but we als have people who use crafts: one illustrator, Alexandra Bruel makes work out of clay What does your job involve? ota glamorous as everyone thinks its. The fist business i managing the projects, starting ‘with an intial enquiry frm the client. We work on xd managing the obs from the initial concept ‘ugh through to final daft and delivery of final Aer tat, we deal with the insoiing he other pat is nes business going out and meeting sdversing agencies, publishing compantes and all the hata hkely to commission slusrators, We very much believe in gg to meet people and have heavy portolos chat we wheel around otha acslly pt them on the cofie tables in companies — that key \What we have fond is that there are some exceptionally talented illststors out there but they are not very good at promoting themselves So what we have done is taken our knowledge of advertising and branding and applied ito the people we represent Where do you work? I you goon our website i conjures up images ofa nice sudo with lustation on the wall, But we Both work from home = Jon in Cambridge and me in Balhan adlay and meet up tsvice a week, Al of my work s email and telephone std work anyvhet ‘The Handsome Frank ilustiation agency was funded in 2010 and named after Tom's erandtater. The agency's clients include Vodafone, B80, Toyota and Reade’ Digest. Ant! ON THE JOB Tom Robinson As co-founder of the leading illustration agency Handsome Frank, Tom represents some of the World's most creative talents and pitches their work to big businesses INTERVIEW: MARTHA ALEXANDER. PHOTO: NEWHALLDo you search for new Mustrators? Sometimes. We get probebly two submissions 2 day from dluserators, Bu Pd only 1% of submission really impressive, However if We sce someone that we realy like the look of, wel i touch, The hardest thing is needing everyone to have a unique ste, We will quite often get a submission fom an iustator who is very, very talented but there's to much crossover ‘with someone om ot books already Do you have plans to expand your roster? ‘Over the ast couple of yeats we have always sod 30 is books! because, more than anything, we do have tobe mindful ‘that ts only to of us i the business, so there are only so many man hours we ean putin, We ae leaving it ‘open, but I dont think we'd ever go aove 40 people ‘What do you look fo in a potential ilustrator? ‘One ofthe lessons we have Teart i that theresa very fine line becoeen what wil call artiste lusratio and “commercially appealing illustration’: We have ad _guyson au hooks in the past whose work has been Prliant but does ave commercial appeal — magazines or advertising agencies are not interested in i, We usually havea good idea of whether the work i ing to appeal, but it only takes one creative thinking ‘lien to pete brand with the lustestor to create a rassive global advertising campaign Do you lke to personally mect your ilustrators? Yes, Weity to met everyone that we sgn, We have one guy to South Afia who ee havent met yet, but he'sthe ‘only one, You can be an amazing last bur you have no social sails gotng to make gertng work very dificult they are shy person, that’s fine =i’ our job to promote then so they dont need toe confident, hut swe do need tobe able to wore with them Do illustrators try hard to get your attention? I did get a pair of pants in the poston Valentine's Day from one prospective strato. They wore mustard coloured and 1970s style. These was a link toa website tha featured drawings ofthe pants om itand a message meet me” Ta which jus said something ike Pleas ok at his portfolio, so yes that go my meeting hime tention Sometimes stl ike Ubat works, sometimes it oes. Relly, work shouldbe able to come across well ‘when is just an attachment on a ema ‘wi. handsomefrank.com ? k ‘The agency curonty reoprsents 30 ustrstors ‘tom around the wot. They Include Marks & Spencer allen, whose works f 2 b,phe oEe PN ast ye)l) NITRAM "Snooth ard dense, : rma FINE Df ; n Stare ae g charcoal, allowing : | ae Wexford - Ireland hie wee of July’29th - August Gth 2013 | | tonal values.” { Pe ec —— ‘i pte 4 = pees 0844 499 8430 JacksonsArt.com Join artist & author of bestselling : NCTM ana Painting, Cooking, Photography & Creative Writing Holidays in Italy + Fotday destinations include: Venice, Monteflc, Spllo& Saragano, «Fiera paters can come onthe olay together bu do diferent xt. + 45% our gusts in 2012 had been on ome of ou lays before + Fully owanisd holiday inluding simp asters, ition, 4 star commodo, meal, wane & excursions + This isa great holiday fr people taveling on thei own a ee ead ane 9 eee ; ‘natural beauty on the Devon coast. “They have found the perfect formula for-a wonderful week's holiday’. : Serious tition in 2 relaxed & friendly atmosphere Ree att eR TT TEcr ertTe, Pe Hue ith HAZEL MOUNTFORD words & puoTos: STEVE PLL. THE ARTIST THE STUDIO a votford is bashful about ber | Hazel shares room in Wimbledon relative st tobe a fine ats ys "Bascally hist nhac ume BBC Wildlife ken on bya major London private | weekends— Tm a bit obsessive ‘uided in 1993, Wimbledon Art Studios currently has 173, has just moved in and is relatively new to at. "People here ate grea ifyou'e moment butitstopped me | stuck,” she sas, “We have a rea community in this balding Th king biscuits weakly,THE MATERIALS One of the most distinctive elements of Hazes artworks the irepula snape panels tht she paints on."T wanted the animale to interact with the shape of| the panel,’ she explains, I wanted them oe tapped in these spaces [liked the idea ofthe pane being an tmmportane part of the arework i sell ~rathor than just being a window, its actually a 3D space The panels are sheets of birch plywood with batons attached on the hock Once bik and sanded, she applies layer of gesso and then about nine very dite layers of Titanium White acrylic. She has plans to make fe lager paintings on canvas son. Hazel pains er annals with acrylic too = "Most people think tf ol because I paint so thinly” but she mixesit wth Winsor & Newton’ Slow Drying Medium as a retarder and Goldens Sot Gel a help when ang thin glazes of colour THE INSPIRATION Hazel tle ber frst series of animal paintings Kevping @ Grip in she Capital "was about the ise and fl of ‘wildlife in London," she explains Ac tbe same tne, Iwas thinking of bow [ould keep a grip mysell e painting eutently hanging on her studi wal shows caiman eapped in an octagonal \whke room, “This paiing ts all about shrinking space, Fd read somewhere that by 2050 the burnan population is going e be 9 billion. Thee wouldnt be enough space and I had thse that the sclentsts would shrink il the lange animals. So thisis part ofa series 1m ging to call No Room for the Annals: Despite having quite elaborate theories behind her own artwork, Haze ef nif customers simply admire her panings on face value ‘Wher of work, yo sll hat peo petson hs ought it they've taken 10 ‘heir home and i becomes part oftheir worl, Is it right for me to dictate what they seein tT dont think 5 THE PROCESS For er most recent painting ofthe caiman, Hazel visited the Natural History Museum to sketch and photograph the exh, Back in the studio, she will scare by sketching out the skeleton of the animal snd then add the museles aswell, using books fon anatomy t help her get an accurate keness, With the caiman, she even rade a tiny maquete 10 see how the reptll’s body might bend inside such a shape Iazel makes her final drawing on trocing paper before transferring it to her panel, ready fr painting“ usually stort onthe eye and that ean take a day. As humans weall engage with the je and [always like the animals to Took at you, IT cat ge eight, Hook at ny own eye in the meer When it comes to painting accurate 15 very eesourcefl, Her decals, H stvdio is ul of real bid wings bought 1 ‘on eBay and even an antinalsh found on hee way othe studio, Artists Vist Hazers studio yours Wimbledon Open tute Art Show runs from 169 May at Wimbledon At tuts, London Swi cael mountord comA themed selection of the most creative artworks made by our readers on Portfolio HEATHER HOWE “hist creck the Helo Ren tr ns hagas. On te Hoe, Ine wees oemangte water eating teectons nthe water nat of aiming mec when saw your So he pret lane ot peel yh 9 nga in loa te copa flor gore tomy stud to pa dee wong chy we te pat wot its Ue enatons font ign andsnade Oat fonts ta ntrgueneportfolio PortfoliopLus yreate your own webpage + Showcase & sell your work Portfolio Pus i the Artists ustrotors ‘online galery for artists who want to work by here nine. Browse the full range of artworks at \wwwartistsnalustrators.c0.uk/ artcollections Your art could be featured hero! To enter, oliow these simple stops: + Vist our website at artistsandlustrators.co.uk/registor + Greate your om Portilio Plus account for a ite a £2.49 * Upload your artwork and become part of ou expanding community * Email the ink of your artwork to cuocnwise FROM AGove Portolio@artistsandilustraters.co.uk "NOTH LOGAN FAAS oe Next month's theme: Green TIFFANY BUDD" We want to see paintings of trees, eles ‘STAN POUHERS cs scouts nythingelsea shace of geen!Ken B. romley (a2) ‘t Supplies’ pone er Creative Courses at London’s Secret Garden www.artsupplies.co.uk Great discounts... .. unbeatable service Food your senses and be ineprod at CChelsoa Physic Gaiden, 2 beautiful ving museum in the heart of tho capital Better Plant and Garden Photography 21 Mey, 10 October ‘The Lost Art of Nature Printing 29 May, 4 Soptombor Botanical Illustration: Painting Flowers {& Fruit of Late Summer 12 September For mare details about the 2019 summer prograrnme, call 020 7952 5646 or visit www. chaleeaphysiegarden. co.uk f 7 PX omen-nowner AE 6 as stanton socom | ee eee ee Pee eee ‘TREASURES FROM A HIDDEN GARDEN Cad Tel: 01204 690 114 0845320 32:34 Emalt: scles@crisupplies.c0 uk Unit 18 Lodge Bank Estate, Crown Lane, Horwich, Bolton BLé SHY Bixxy Nash May to September HOLIDAY, ‘Small groups, sketching and painting in our fully equipped studio, within the extensive grounds, or out on location. Watercolour and mixed media. Ensuite bedrooms, dalicious home cooking. Suitable for beginners and the more experienced. Joanne Boon Thomas 30th June WORKSHOP. “Tutoring sessions in "Brusho, (an ink medium) and in watercolour. Each Is the ideal medium to capture the transparent affects of light and mood with sensitivity and its unpredictably. The qualtes she looks to bring toher student's work, ae pleasing compositions, harmonious colour, interesting textures and the qualty of light Eugen Chisnicean 25th August WORKSHOP. Students wil lear how to choose the subject, buld compestons, simply and capt the essentials ofthe subject, to create mood and atmosphere. Daly demonstrations wil show each stage of the painting {to enable students to leam watercolour techniques, which ean then be ‘ppled in their un paintings Alison Cotton 15th September + WORKSHOP ‘Alison's aim is to be outdoors as much as possible, Alison wil oe focusing on watercolour technique, and trying some new things too. However she firmly belves that technique Is less important than taking inspation fom nature to produce something each student can be proud of EEE romances = WWW.francepaintingholiday.co.uk — EERIE ewerrsninsroiay 42 Artists & Ilustrators(ne of the common mistakes when ats us colores enti for the rat ie sailing respgrise the gin ‘ofthe paper When cleuring an ars, ays aly Yurfit strokes across te grin ~ you draw alent Instead the colour ml appear stronger onthe toothof the peg. ing or Unwanted texte Subsequent ayers shouidten be appa at diagonals othe grt. 44 Rosie Sanders talks techniques + 48 Everyday painting tools + 52 Why not try painting on vellum? 64 Botanical art masterclass + 68 Sample the new OCA course + 73 Emotional landscapesTALKING TECHNIQUES with Rosie Sanders Recognised by the Royal Horticultural Society as one of the UK's most skilled botanical painters, Rosie Sanders produces large, interesting watercolours of rare floral subjects. Martha Alexander finds out how she works. Photos: Philip Hartley F clean tines make Rosie's watercolour paintings 2s want people to think afferant. Being an ilustrator Jive asthe plants and fowers she bases her work on. made me a painter” ‘The Devon-hased painter is, however, rather biasé Amazingly, Rosie had no dedicated tainingin £ about her own abies. Forsomeone who paints in painting. Born in 1944, she did @ foundation yearn ‘such a detalled manner, she rejects the Idea that her at in Hign Wycombe but It covered a lot of bases, | work sperfect, The idea, she says, stems trom her Including photography and dressmaking. time working as a commercial lustrator “I wanted to go to London afterwards and had an Interview at the Royal College of Art but they told me | needed anather year inorder to be ready" she recalls. "So gave up. | went and did fower-arranging and Le Cordon Bleu cookery Rosie only started drawing and painting again ong, after she was marred when she began canting the flowers in her garden. She recorded her drawings anc paintings in @joural, which she bound herselt = ‘and was ultimately published by Aurum Press as Portrait of Country Garden in 1980. Since tha time, her botanical paintings nave become much larger often ‘measuring more than a metve in both dimensions. However, the time-consuming part of her Job is. ‘8 one might expect, the nands- fn, studlo-based work: tis ‘inginge fower or Be plant that she Bi reaty wants BS to paint. >TECHNIQUES one of thepople who nab Intudeed me most Rosie uses tracing paper to workout and then scales up he Initial drawings with a who hat an exhib on 11 Maytalking techniques oP Amaryl Aopte Blossom watercolour on pape 1028184em ae Arto & Mustrators ‘She finds itharé to pingoin why certain things appeal {wher so much as potential subject matters. “it can be ‘anything: the way tne light als on things or they way Te moves" she says. “i's hard to define why.” ‘She gives an example of “feroting around” ina nursery one day when she came across a speci plant in the hands of another shopner,Itwas ‘something about the way the leaves curled eround ‘another leaf spike. | went off to get one of my own and ‘came backs bit disappointed because they didnt look ke the one this lady had ~ I ealy wanted her pant! Lucky, she was napay to change It" Rosie's particular vision means thet she finds it ‘ough doing commissions ("They are never what | ‘would choose”). While lowers are chasen on the basis, ‘of an alchemy of colour and shape, she thnks that lghtings realy the driving force behind a great ‘subject matter - andthe subsequent painting. “Alower can look quite ordinary at st.” she says. “Awhite flower put against a bright sky looks black or Ityou putt ina strong side light, itioaks another ‘colour You can put them in a box and light them. “There are so many things you can do with lighting.” Rosie uses a Daylight lamp end by her own ‘acinission can spend “ages” adjusting te lighting. “Ifyou have a cull north light, the painting wil look # ull You have to just play around with light so | move “By taking risks you end up with something more interesting, Too much planning leads to a perfect balance and imbalance is much more interesting” ‘my table around until have something interesting. You want to recreate nature. You have to try and sioulate that artical” However, she doesnt spend much time working ‘out her composition. She certainy used to, planning ‘the painting with very large drawings, but these days ‘he Is more instnetve. "It's best to ust start and work fut the problems later” she says. “Painting sa risky business but by taking risks you end up with ‘something more interesting. Too much planning leads to perfect bslence and nie | do think t's Imbaiance that Is much more interesting.” Rosie regulary teaches courses in watercolour painting and printmaking techniques and she always ‘advisos poopie not to draw on the paper st thanks tothe “awful” marks it makes. “You don't want te have @ lot of graphite on the paper as that gets mixed up with the paint.” she says. know drawing s@ comfort blanket but why not use ‘tracing paner instead? Don't trace the whole thing. Just use tas a guide” So vine there are ro neat sketches, Rosie might Use tracing paper to work out proportions beforesealing up onto a very large piece of paper using a pair of dividers. She will have a rough idea of the size lf the flower but she will measure it up ta seven ar cient times larger with tne aivider. Her ability to judge scale and measurements ‘depends on how much painting sne has been doh. If Uhaver't really painted fora ite whe, |haveto be ‘ot more careful,” she admis. “lose the abiltyto see things in seae very easly” "Mixing up tte bt of pint isthe stat of the painting aracess: Rosle doesn't think toa much and |ust ays tne paint on straignt away ~ starting arbitraity With whatever part ofthe painting takes her fancy. “have no fixed way of starting” she expains. Ih ‘there's a petal coming towards mo, Istart with that ‘ne and wor the dark being int it” talking techniques. Rosie doesnt build up her paintings in layers ABOVE Rosle sets to work an cor washes, Instead, she has. very simple, logical approach to colours, and tnt isto not think too deeply about them: “They ae ust bits of colour against each ther, ke bts of a mosaic” Mixing as she goes slong rather than in one big batch atthe beginning, Rosle Is now able to mix the ‘same colour repeated, but aomits it takes practice. When you ave starting ut, you should practise how accuratey you can mix colour” se advises. One of the exercises she ges her students is to mix greens ‘rom leaves to help them get thet ee in ‘When it comes to her ovn painting, she prefers tubes of watercolour.“ eanteane with those litle pans 1 eant got anything out of thom.” Given the large scale, Rosie stands up while she paints witn the paper on a slope another reason that ‘washes are difcult~ she obviously can't have «arinbles of colour tricking down her work} ‘What hapgens ifshe makes @ mistake? “When you use hot presseo paper you can scratch I oUt Italways shows up so ifyou make a mistake you have ‘to make it into something else or start again, All of Rosie’ attention ison ane painting at a time. “I start at one side and by the te Ihave got tothe other side of te paper, i's tisha!” vw roslesanders.com ‘amore graph, Nos piece Inset erage catecton of watercolour tubesHousehold tools Buying new materials can revolutionise your work, but you can find great tools around the house, as Martha Alexander discovers KITCHEN TOWEL iKtchen tne! an excelent too when teomes to iting Up excess watercolour from your page. However, painting tutor Rob Dudley recommencs sticking to cheap brands. “Some o he more expensive rls ae too absorbent he explains. “ls, they tend tobe thicker, which makes itharder to see tough thm when picking Up tny sets of watercolour” Eigensive rol als tend to hove heavily embossed surfaces tat tthe paitinthe patter of ho paper. HAIRDRYER Hateyers ares much needed secret weapon forthe impatient artist afte al who wants to watch aint dev? ‘Anaiérye is especialy Useful when you have stretched watercolour paper and the seperti we. You can also se Ito cy ayers of paint as wel. However, make sue I's ona low heat and you Keep at a distance ~the lest thing yeu wentis pulby paper ora singe panting! CLUNGFILI Ging san excelent to! for creating textures inwatercolour: making inticate, beaut patterns totally effortiessy. Having applied a wash onto your aber, place some scrunched up clingfim on op, vicky but careful Tr to press it onto the wash without smudging the colour Give te paint tume te dry and once you remove tne clinefim the pattem wil be revealed. Palette krives can be expensive but, used wisely, chean etry is just as good when it comes to pling on paint. The cifferent shapes offered by knives, forks and even Spoons can create a sculptural effect n your work 9 Artists & HhastratorsSALT Sait offers another great way of cresting texture in watercolours, Sori it ont your wosh whch wil be bsorbes by the grains or fakes of salt. When the salts brushed away, you wil be lft wth lighter yet rougher ‘area that disrupts the smoothness ofthe wash, ‘Tryusing ether cooking salt or sh sea st: they wit have itferent effects, obvious, but usingsalt in your paintings not fr artists who tke to play tings sat. The end result depends very much ona variety of factors, inclucing the pigment inthe paint, the quantity of water ‘and salt, and even the humity of your environment. household tools CANDLES Rubbing canclewax in the areas of your watercolour Painting thet you went to keep as highights will keep them perfectly white. Wax resists water, so apply it wherever you don't want the watercolour to sett. -Apaly it systematically and sparingly: itis ficult to get atl even coverage on rough paper and, unike masking fui, it stays on the paper so you wantitto be as csereet as possible. JAM JARS Besides ther obvious use fr halding water for watercoloursts, cleenes-out jam jars are a must for oll and acrylic pater, t00. Make sure you keea the los: sealing the paint in an airtight space wil preserve itbette then covering palette. TOOTHBRUSH With a toothbrush in hand, watercolour artists can create the lindof spatter effects tet would make Jackson Pollockleaous. You might be tempted to dunk the twotnorush nt he pet frat buts en be prety messy Insteed 0d paint ont the toothbrush with a thik sale brush ~ make Sure i's not to ful you dort want ta dip ver your pepe. To apa the pat, you can ether make ane daberate ‘ek atthe paper, or un your ger or another bras) ‘over the bites ofthe toothbrush to create a variety of spattr patterns. WHAT'S MISSING? Write to us and share your favourite nousehold tools and tps Infe@ariteanaiostatrs aah rrrter aseainagine racen00K ee focsbuc.com/ Artistas MASKING TAPE ‘This isan artist's stan for creating clean lines Apaled carefully toa fly dry painting oan also be used tke masking ful to cover a highighted ares as {you palnt overt. Best of al I's cheap and you've probably already got some in a toobax or drawer ‘0 miscelaneous knikinacks, Artists & Mhusrators4aNew Catalogue Al ehed ea Listen OUT NOW! Courses Courses Packed with the finest art materials at stucy nthe comfort and + Botan Panting competitive prices, the SAA Home Shop is wetience af our Ou * History of Art ‘your one stop shop to artistic inspiration fea + tusratng Children's Books and encouragement! N aaeal ae am atyOU" watercolour ondon Art College oma Seve: and Certificate ortais + Fexibie tnetable- excelent _* Chinese Brush Pa xt >] BEDE For a full list of our courses, please visit our website 5 Request your FREE copy today! 4” A www.LondonArtCollege.co.uk tee ol oo eee ee www.saa.co.uk London Art College, PO Box 719, Lancaster, LAI 2WT Pepse eg ua] UK SCHOOL OF FRAMING [ere os NOIR ol tle SEN ce Voss eC s re mea emcees tery Runes Ag Pee EC eet Rea eeu eonREVIEWS Our verdict on the latest practical art books and materials Drawing on the Right Side of the Brain Betty Edwards ££20, Souvenir Pross ‘Author Betty Edwards cals this book 2 workinsprogress”, having revised itevery decade since frst publishing itin 1979. n fect, it doesn't read the oneatall The research is thorough end Understandable even for someone without a scientiic bone in their ‘body. The basic premise is that we should be engaging the right sive of ‘ur rain when we are dcawing and painting, as this isthe more ereatve and intultive part The atest ection includes Updated research, better quality reproductions of the 6 Master paintings and also work by rocent students who fllomed the course. Their drawings certainy make a compeling case for haw successful the approach is. One student, James. \anreusel, apparently moves from 2 ‘basic outline drawing of nis face to 8 stylish, Cuiststye settgortratin Just ve days. Ifyou folow the exercises here, there's no reason you could follow suit. [ccessones | Magic Watercolour Sponge Eraser £3.80 for pack of 4, SAA watercolour sponges look, If we're honest far rom “magle’. Pain white Ccubolds of sythetic, chemical-free sponge ~ you wil fing irra 10 look at them and muster ‘any excitement or temptation tory them My adulee's to buy a pack from the Society {or All Artists (SAA) website and leave them in a drawer. The next time you make a mistake on ‘a watercolour painting you'llbe thankful you ‘di. Even if you've just changed your mind ‘about a colour, these ite sponges alow you torewind your progress and remove the pat. You can use them to soak up pools of wet paint on your page, but they work best when ‘the paint nas lmost completey dred Damen the snongend rub the unwanted area url the pant has ‘absorbed intothe soonge. Now, you need to take care when you ‘are rubbing the sponge on your per. Press too hard and you run ‘he risk of causing the paper to bobble and lose is surface texture, ‘When you're fished, the sponges can be finse almost white again and reused countess times. Angit neips you rescue a masterpiece in brogress, you might just believe they are magic ater a. p= up in lear wrapping, these four 30 Minute Artist: Painting Flowers in Watercolour, 30 Minute Artist: Painting Water in Watercolour Fiona Peart and Terry Harison +£6.99, Search Press ‘These two books inthe new Search Press "30 Minute Artist” series are designed for busy people end wil help you improve your technique and build confidence in short bursts, emgnt be a stretch to complete some of te {demonstrations in ust halt an hhout, but they ae both clear, concise and easy to follow. Paintin, nit lustrators a.Painting on vellum American artist Kate Nessler suggests switching paper for a more unique surface to paint on Lest cones Grapes. 3 ar5e1250m 10° coat r unto ‘ 368600m, Bath watercoow by tout ane penctlon elim 52 Artists & Haste hat is about caliskn vellum tnt intrigues, entices and lures so many artists to begin a Hfetime of creating art an its surfece? Painting and vellum have a long history together, beginning in 8,000 BC and taking nthe ‘manuscripts of the Mile Ages ard contemoorary botanical art. While ‘there isa consistency to the surtace. very pleve of vellum sindvevaly created and unique = Its after al, ‘mage ftom prepared animal sn. ‘Whether ithas the smooth, washed thish of Kelmscott vellum, the warm tones of Classic or Honey vvllum, the earthiness of Veiny val, ‘or the aristine white of Manuscript vellum, they all ask the artist to stop ‘and look, to fel and “understand” the ‘skin long before the brush touches the Surface. Ane when it does, the artist is rewarded, In this collection of paintings im working win watereotour and pene! fon Kelmscott vellum. My fst step is ‘to examine the infor vgual colour ‘and textual variations to use in partnership withthe panting. also ‘ereful feel the skin to understand the surface quality. While vellum rarely requires ary additional surface reparation there may be reas that ‘ate not receptive to gaint or may be slighty rough (often atthe edges) then attach the sin toa white backing boars for stably and to hela ensure accurate colou matching, Which side should you paint on? Most artiste choose the haity side. It is hard ang smeoth, while the sin ‘Sie is sft an fu27y. Often, in ‘comparing front and back, you wil nd ‘the skin side is lighter in colour, too. ‘With Kelmscott anc Manuserint vellum, ether sie wit da!After cetermining the composition, | do an accurate drawing crectiy on ‘the skin, Be careful with too much ‘apne as itemears easly and can og the pores ofthe skin an dull the ow of tho paint. However, i's easy to remove excessive graphite from the vellum wth a soft, white eraser VELLUM TIPS + Be careful not totrarsfer any lls from your hands tothe surface of the velum ~Itean create an al lck. + When handling the skin, ‘always fully support it so that Itdoesn't bend or orense + Use 2 soft, white erasor to remove unwanted graphite from Your ntl drawing ~it can clog ‘the pores ofthe velum. Pealnting comes next. Vellum is non-20reus materia so paint wll not absorb into the surtace as wth paper Vellum doesn't he largo amounts of water ether so to begin a panting, lappy alight, controlled wash of colour to establish a base. You should use enough water fora sot tow of pant, but not so much that you end up witn “blobs” of pant sting on top. ‘When the intial wash has dried, begin to bul ight cryeorush layers ‘of paint. Think of rawing wth the tip ‘of peintrush, building end shading ‘and adding to create depth. A lignt touch and good brushes hep. use No, 10% 4 dota! ound brush ~ isthe point that matters. How many layers of paint should you be applying? Just enough to ‘achieve the look you intended. Let ‘each layer dry and try not to rush ‘things. with velum, rane works too why not try. Vellum is adaptable, accessible and provides ove, FROM TOP Thee Tap Peak, 17543250: 25e7tem body colour and evel on vellum plenty to challenge the creative spirit har, too fas, too wet or too much, the paint can move around or come Up and off tne skin. This can be helpful it you want to remove an errant bit of eolour but neti you are tying to bull a petal. ut votum is tough and forgiving well as rage ~ lett cy, ty again ‘So what ist that love most about vellum? While there seems to bea lent way of using ind that tere are always new ways to ty find it Incredibly challenging, demanding, forgiving, confusing. briant and Inaprng it's worthy of athe respect the generations have given it. and yet IRisaccessibte, acaptabie and provides the artist with plenty to challenge the creative spirit ate Hessler ~At The Ede rns from 24 Api to 11 May at Jonathan Cooper Park Walk Gallet, London S70, vn katenesser.com Artists & Mustrators3PAINTING EXERCISES Collage composition Leith School of Art tutor Damian Callan shows you how you can simplify a composition by developing it first with a combination of collage and drawing etagapis on bea feta ouee Piirsiserrcnrgone Teootarto td myo eating csr oman enous ome Ter tonite potogaonond tne cronngesewtot Ting med metic ge iy iso ey sng coon frm ao mn or atoring a eos oa Tre puree octane rughvtm poses poverioyes ofa onspes onto Remco juncnte sear paving bul: aor abvased ‘Pepto sng sal ond ees pared are oreagagn oth ean rgd ne odes of eng pr ‘eaimpssngand tice cour rather Materials + Colage papers + Pen and ink +o pastes + Guestick + camas or board + Forgery paits + Brushes * A pietmakingroter Exercise | begen with @ photograph of two boys in rowing boat ona sunny dy. very Toushiy matched he colours ofthe various ‘ements with tose a he colage papers instinctive, tnougnt hat the muted yelow would bea good bose fr the boat and, by cance, some bright orange eame ta nan and seemed idea forthe on With bright ang subdued areas emerging, twas possinito conslder the colour tlance ofthe eampositon atthe early stage. Next the basic shapes were tom out Tearing yields more interesting results ‘than cuttingand the experience oftearng ut shape for each element isan excellent way of leering to simply whet we seeBoforo gluing down the shapes, thre is the option of adjusting the arrangement ofthe afferent elements tind the best composition. ended up with a square format by chance and preferred ths, soit was adopted forthe painting, Having glued the collage shapes, itean be helpful to craw into them ate with sme Ink tine Work. Ths isthe rst stage in refining the edges ofthese simoliied shapes, Just ke In pleting. as these eoges are worked an and become sfter o¢ more etined ~ Tost of found’ ~ te ngures and ‘the boat take on more form and space is created around them, ‘nal ayer of ol paste! was then added, continuing the process of retnement. used. set witn about 48 colours, which, lke the collage papers, contain both bright and muted options. | prefer ol pastes to pencils because they work wel over the collage papers ano, as they don't allow for 100 tne or Bly marks, they create @ more ‘painteneffect tht is in sympatty with the ‘simplification ofthe sty. The three layers of coalage, nk and pastel also lend e death and ‘subtlety tthe image. The painting bogan and ts development reflected the stages of tne mixed medta study. [began witha square canvas (primed itn gesso and a grey ground ~ for details on howto do this, see next month's issue}, onto ‘which | painted the base colours of the sky, water and sian. | used a printmaker’ roller at this stage to apply the paint loosely. Once this ayer was dry, te lost. figures and oar were al Dainted on, Note how the apnearance is ‘simiar to that of the cole in stop tree, painting excercises Working rom general or broad aroas and gradually oroceeding to more particular and specie detais is a good way to deveion 2 painting. In this way the detail or emphasis. ‘can be much more selective and the resulting painting stronger. The third layer of paint involves adaing some dark colours to the igus, boat and water. tis worth painting darks early on and buldng up tothe ges gracualy, This means that te image can evolve slowly without the distraction ofthe brignt mars. The painting nas been developed with more work an the igus, boat, water and island, apiying paint with brushes as well asthe ror. Dry-brush marks dragged across the surface of previous ayers alow subtle refinement of the edges of forms. ‘ne needsto be caretul of resorting to smalerand smaler brushes, and geting awn into excessive cetall The whole point ofthe exercise has been to simply sometimes the ner details are eter done with te largest brush you can find ‘wwdamiancalin.comUnie Peo ee 22-23 June, 10:30am-6:00pm Arts, crafts and entertainment in a sensational setting yy BOOK NOW! Early Bird prices from 90p children, £8.60 adults Book online at www.westdean.org.uk/fusion Quote FUSADY eo) Ol iaicsser-1ea es \ore oy socan you y xm all te drawing sks you need to create an or paitngs in any medium (ro make ralsc red craings! ‘smany yeas 8 professional artist and tutor and he necessary tpis- with practical sin a deat and eas) and way, (he asta) RON eer Re cee] Visit the author's website Willam Mclean Ket for tips, articles an drawing, | Sse 4200 pues 300 usttions help and advice, blog etc a 2 Isev: ore 0956573303, Serta a “To order by post please senda chaque for £17.75 (payable to. Ker) with name and adress to Ptarmigan Prin, 18 Morvan Driv, ron, Aysire KATO 6NQ| "a buy cnline of for mare information pleste visi wonlearntodraurorg ukWINNING WAYS Discover the techniques of award-winning artworks OLIVER’S TIPS “Make each brashstroke count. “It | nd myself pushing paint around a painting, 'am usually wasting my ime, Each brushstroke should be applied over another one, rather than editing what's already there” “+ Create depth by softening the background and making the foreground crisper. “With Kat, | wanted the eyes tobe standout feature in the face so | pated them sharply witha lot of tus. Herlips are softer and more blended.” + Dot skimp on paint quality. “I use Michael Herding oll paints because they go further than eneaper brands, I means I don't nave to top up mv brush tne whole ime,” ouven ouncan Ievapeton on er, 120800n rs pntngvs por ea > T2nrcesiaretin arive Nort ata Coley Ihebiefwestocataete extn trineconmuntenn te Oye borage hectares eongon Bound no. tcame sows asta, iat tou Newton Suen Tnaea prtogepy soe nd ime inersolwrtestoe ales Dire panei ro, The punta rms doth thee "Naver how we pocove bung ad oy wth ot Teves 3s yor ona ater wertcinets cite brio ats seve a9 toteomptous are eportre tbocenat er done wh vy Torte ocr ie Tented fom pots Ibo ne vac tmatobe pateoroma, Ite etn toner at rug png to te po rose metre choos ote thy erro a teed tm ner ocd a pcek Sone wants pay arn Sucre, oma the ‘toatorl Geer Oya ‘Tavecnesttnngmstod| sortttepiningen como tense traca gan at then emovsa tote pints ae reste Soi pantonbeo ter mesos Swowects to parte bee shout cons ffs an sod ineoteoncvta That mete et Trneorevenemertwih tore when st aire "are wine base clu ad wren ped ony igo Gren ietroend enters ‘oeuite wnat ten based md toes ond en he ar toes tata pot doves Doren a evetranenscon Antsts @Mhstratars stIn front of me. gather ingrecionts to ‘make somethingnew. My pictures fare about the sense of a place or the ‘essence ofan object rather than delivering strict accuracy Inspiration comes fom several places. | am always photographing hatoours. The shapes of boats, roaftops and ples of marine rubbish are the bulding blocks the bones that often get painted over are important to the underlying structure and can be a starting point I paint what is around me: snohcops in February, nasturtiume | ever set aut topainta scene that is BELOW comin olay. acrte on DEMONSTRATION Stylish Still Life 4 popular and collectable artist, Ewuna Dunbar shows how to make a styliseat still fe painting by using interesting perspectives and bright colours In August. Sometimes | will come eros unusual vegetables in the supermarket ~ yesterday even spent £3.50 ona particularly beautiful striny ‘aubergine hope to convey the fun ‘and excitement at such unexpected finds ina painting | spend time looking at other artists work Mary Foeaen isan undeniable Intuence but also love Barbara Rae's Jewe!-ke use of colour IMy studio isa tad chaotic, crowded with aint and brushes, Favourte cups flower heads, stones and a cat fortwo ~ recurring elements wating to be incorporated. Particular ‘components become associated with individual artists and feet tis Important to create ones own Identity. I studied asa printmaker so building Up ayers of paint and seratoning ‘through them comes naturally to me. | see the board almost ike a stage set ‘and start warkon the furthest point. | ork fat on table, 2s! often use very \Wet paint for washes that will artiy ‘obscure areas and put them inthe distance. | make quick compasition ‘squares in pencil before | beg, just ‘tw rough out wnere things wil go. | mestly work on marine ply, ‘onjying tne texture ofthe wood ana the firm surface for painting on Tiss then primed with two coats of alanis ‘ges80 primer. use acre paint. Buiing up layers and having to, remember undertvng colours, Ineed Into ty quicky. often st painted boares onthe Aga or outin the sun to peed up the process. My favourte brand's Golden. They have wonderful ‘trong slgments in their range and Useful gel mediums to add textures ‘and extend the paint but other brands ae on offer | ike a bargain! use ruvoerenges tools, knitting needles and an oid etching seraper ta ‘Scratch through paint; ferent tls make marks with individual qualities. | use copious amounts of kitchen rll ~ itereates textures and absorbs water. also wil resort to sandpaper ‘ang scouring ads toreduce Unwanted pain pave just returned from Comal ltching tight bunches of anemones, ‘these are the starting point fortis painting, but have to work onthe harbour fest ane fast bare the toners fade. Emma's atest exhibition runs from ‘3-45 May at Beside The Wave, Falmouth, Cornwall. She wil be taking part in Surry Artists Open Studios, which rans {rom 8:23 June. wiw.emmadunbar.co.tkstart most paintings with a coat of Red ide. tis a warm colour, which you will ‘See in gimpses of scratched and removed paint. Ihave also sketched roughly the ‘outlines ofthe buildings and boats. left it tospeed dry on the Aga cooker = hairdryer would also work {Dr heve pte the window sins ‘and drawn through the paint with 8 rubberended tool to revel the white frames. Ho0k for colour in what might be black or grey ora dull blue ~ add purple to blacks to ‘ve doptn and purple to Utramaine to acd Zing, An old printmaking trick isto 266 ada of white to make colours more opaque but without turing ther milky. Ne painted the white builsings around the windows, again seratching through tals that show as black and Rec Oxide lines. The boats have siso had new layers of paint added. The bores on boat the fishing boat are dawn witn a wide-ended too! to reveal the Red Oxide in stripes. The harbour wall nas been painted anc then textured with kktchen roll~ place a sheet on wet paint and twill remove it inthe pattorn of the paper. stylish still life "have used a miky wash of white to set the buildings further back. The fishing boat has been ‘massed up’ with grey ana ‘over painted in blue to soften its presence. "have painted over the ends af someof the boats leaving only crawn line to suggest the shape because | want to see blue stripes not Perfectly painted boats. Despite appearing to lose what | have already painted, the Ungerooats are an integra part sna the scraffit lines add another interest and {qualtyo the work, The narbour mud has @ lac wash to create light and depth. spatter water onto the wet paint and then uso > Artists & Mhastrators 69“The orange buoys are carefully placed to take the viewer's eye dancing over the picture surface” Fetcher rll te aasorb the splatters once the | always paint fowers in write before ‘surounding pant has cried. t eaves pertect O)overpainting them in the appropriate dots ofthe under cour. colour - this allows thin layers of colour to create the luminescence ofthe real Tower. ke to tryout my Rowers and mugs anc colour ideas by tera propping them in “77'The most enjoyable partis painting the ‘ont of the painting. tis stage, Iwas also anemone colours ~ tr to Keen the planning bive wincowsiltolinkwith the Dioxarine Purple pure and translucent, while blue sky and so| placed a blue dishcloth atthe reds should be vid and in contrast with ‘the bottom to hela me visualise it. the shocking pinks, Het the layers dry and wash over the edges. also draw ito the wet paint, aiming to create a bunen of fowers, ‘thats more charged than the eal ones. This stage is all about endless tweaking. have sorubbed the bulangs with a kitchen scourer and given them more coats ‘of thin white paint to give that area a more cohesive fel. | also washed over the boats te make them appear further back rom the ‘anemones. The orange buoys are carefully placed to take the viewer's eye dancing over the picture surface, from the nancle on the smug tate iferingend back to the boot. Blvail Anna MaseHOW | MADE Billy Goats Gruff Acrylic on canvas, 90x109.5em Artist Debbie Boon reveals How she adds life and colour to Mer animal portraits live ine very rural get of the worié . ‘and we are surrounded by farm ; 5 ‘ animals. was up ata place called Nortneid Farm and the farmer hac ‘these Gloucester Ole Spot pigs that wanted to paint, and he also hac ‘these goats in a pen with a donkey. | photographed everything and when |eame home and went through my images this image was ust sit wes. always work from photograpns = toget that portrait fee, youve got to have good reference. Idecide on a composition before I get tothe painting itself by referencing ahotos ‘and cropping them. Itend to take the ‘animals out of their natural ‘environment and puta aiforent background in. My backgrounds have ‘evolved in the last year so. Ive Started to get alot more movement in them, which instartly ges the whole painting more it. tend to draw up the composition ‘on the canvas ane then add strong key lines to indicate where the animal 's, end then 1 create the background {before | paint the animal so that its Uundemeath the character. doa bese cost af colour then i let that ‘ry, then Pi state put energetic brush stokes in, watering the pant down and ficking it {paint witn Golden Heavy Body acrylics and also used quite a few ‘mediums 50 can builé up the ayers, ‘especially forthe furry coats. use the Golden Polymer Macium, which works ‘8 a glaze, | also have this Clear Tar Gel from Golden that becomes quite vsscous when you mix t withthe pant, ‘80 you can createa thin, sharp tne | maxed some oft gel wit the acre ‘and ticked it across where | wanted ‘tho whiskers to go, to create tnese ‘sharp ines that you could never pant. Iida few tes unt had ithe ‘way | wanted and |just wiped it off with a wet rag and started again Bly ests ruff is avalobe at Collar 4 Dobson Ltd wwn.debbiebeon com | 'm inspired by the things around me.often mix uo very specie colours. tof my ena ito the Farm & Bal eolurs and so, fr some ofthe backgrounds, {use a colour chart to mk some of her nive mute colours. Its greatbase coat because jou hnow that youre creating something that sin with people's dco ‘Once ve developed the painting toquttea trisnes dogtee, thre right be ores ask. ve one a realy detailed eye and dont wont to slater over thet Ing pu bit of masking tape or paper overt and then tat ea, energetic athe of colour can sulbo a etl control People cften ask why Ie put turqucise inthe brown fur ‘But ay you've gota bluesy, you mil got degree of lve ‘eeced inthe brown fu By lecludeg leks fre and range or quote win wose darker cots, ll my pairings were ron, could be quite boing! Batik Discover a new technique in just five minartes Noel Dyrenforth, President, The Batik Guild: Batik has been my chesen art medium for mare than fve decades. remember my fist tentative use of hot wax asa resist to dye colour. twas a revelation ~ it instarty captured my imagination. “The essertlas fo starting up are simple and Inoxpencive. A special thermostatic wax heating, pot is advisable. A composition containing Imiroerystaline and paraffin wax is heated 0 @ temperature that enables the wax ta penetrate the cloth. Hog:hair rushes are used to apply the hot wax and a fine metal tool with a spout Provides the more defining lines of wax. The fabric reeds to be natural and free from dressing. Cotton and sik ae traditionally used, however, paper ane wood are aso receptive. “By brushing on the dye colour you immediately experience tne unique essence of bate ts resistance tothe waxed areas ofthe cloth andits saturation of the remainder. Dry the coth onthe treme before successive wax/dye processes ceompound the colour from fight to ark “Finaly when al the stages are completo, the wax should be removed by sandwiching the cloth between newspaper and ironing out tne WeX. To free the wax completes, either boilit aut or take it to the drycleaners, This wil restore the colour and bring the netural texture back t the fabric. Batik has an immediacy Its agie anc vital nature can be testing. As an artist you wil be challenged but, with practice, concepts become Integrated and blaesom. stil working for me.” Noel's book, Batik ~ Modern Concepts and Techniques, |s published by Batsord wn batikguli. org.uk CareMasterclass: Watercolour botanicals Artist and author Sandrine Maugy shows How to develop detail and accurate colour in this botanical painting ee the prized specimen of dedicates greenhouse gardeners, orchids are ‘ow easiy found in most garden centres and supermarkets. Ths welcome avalaity is most limited to tre phalaenopsis- or moth orchid. Good nurseres ago stoos less comman 908, such this onciaium, which attracted my attention with its doep red petals ana subtly dotted pattem. The fat that they flower all year round makes orchids an idea subject for times wien the garden is darmant and subjects are sparse forthe botanical painter They lend themselves wlngy to being painted In great detail as ther longasting, ‘towers offer plenty of time to stusy textures, pattems and botanical feetures, This oncidium was an ideal sunectto put in to practice an aray of watercolour techniques. The deep and intense colours required careful shadowing, keeping the ignt while ging enough depth; the subte ighilgnts were an ideal grounc for wetin-wot layering of washes: the varied greens of the leaves called for thin glazes to ater the main colour without changing it too dramatically; and fal the pattems on the bottom petals wore suitedto dry brush technique in order tostand out enough on the red backgrounds, rs of Nature, Mate, RRP £30. wn sandeinomaugy.com PAINTS Loven ton on DilerRowey New Ganbuge Pern Vice, Yrs ed ‘Shae an Winsor fo al War & Newton: eit ed or Dail Seu: Sp Gro and Permanence Vole Hom Rent BRUSHES a Ve New Sys series 1570, No.3; Da rel kota sare 508, os. 4 and 5: Wise ‘Neto Stes 7 ate Key, No. 0; jo rast. at ee Ne. 1/8 PAPER ‘Sourrs Water High White hot-pressed 425esn paper PUTTY RUBBER ‘AB SKETCHBOOK TRACING PAPER TRACEDOWN TRANSFER PAPER 0.SMM MECIMANICAL PENCIL ACETATE SHEETS MASKING TAPESKETCH YOUR SUBJECT | started by drawing the orchid in my sketchbook. wanted to include every specif feature ofthis hybrid lowers at different stages of opening and ofall ages, ‘maroon buds, sender stalks and deggerke leaves, included a tone study to which I could refer ater, when painting the shadows. {then transfered the drawing ontaa sheet ‘of Saunders Waterford High White hot pressed 425¢5m paper. ‘SHADOWS ON LEAVES "painted the shadows on the leaves wetin-vet, wit the same shadow mie! used for the flowers. When panting wetin-wet is Importantte folow tne texture of the model. ‘This onciaiu’s leaves nad a parallel veining pattern that was quite prominent. dropped the shadow mix. the wet paper following paral! lines from tito base, creating hint | of texture at this early stage, HARMONISE THE GREYS | &Tne shacows were painted wetinwe, Using the harmonic shadows technique (see | Issue 324), which consists of using a grey shadow colour mied from three primary colours that will appearn the ished £ painting. The red was Anthraquinoid Rea, | tne biue was the non granulating Winsor Blue Red Shade and the yellow New GGamoge. | painted the yellow splash at tne F base of the bottom petal, to avoid the risk of accidentally covering it with a heavy shadow wash \\ SELECT COLOURS CAREFULLY | chose several recs ta represent the E variations inthe subject. The main rea wes Danio Smith's Antrraquinoid Rod, a velvety ‘blue-biased ed of which Ihave grown vary ford itcould be replaced by Winsor & E Newton's Permanent Azan Crimson, which Isslightly ess intense. | used Winsor Red in the more orangey parts and Perylene Violet Inthe deepest creases and shadows, Taiens | Rembranat Permanent Red Violet was F chosen forthe magenta. masterclass | Q VARY SHADOWS: Shadows were painted over the whole painting, using the same mix atcfferent levels oF aiation. The buds required a darker | vesn of the mix as ther fina colour woul bea deep maroon purple. The yelow on the petals also needed shadows inthe creases ‘butte mix contained more water, to lignten the colourin order to keep the covering yellow wash clean and bright PROTECT YOUR PAGE While workingon larger piece, Vout several pieces of acetate sheet, which I place around the page to protect the areas am not currently working on. move them around and tape them to each other as progress through the painting This keeps. ‘the paper 00 of accidental splashes and smudges. The rellecton of the lve plant can § be seen rflected in the aatate inthe top $ left comer.COLOUR THE SHADOWS The shadows were gradually covered with colour washes. One flowe: was painted 5 to a further stage, as | knew that | would not bbe ableto finish the painting before the demise ofthe lve subject, spite ofits long, F fowering time. By fnishing one flower, could be used as 5 a reference forthe other later. In the end, used two diferent plans, bought at ve F week interval. LQ ERASE THE MARKS eft the painting to thoroughly ey £ overnight. The following morning, before starting to osint, | erased athe pencil ‘mai. | used a Maped putty rubber wich Is softer than a normal roe. | peeled back F the covering plastic lm but kept enough to od the ruaber, wien is very stioly. then rubbed gent over the whole painting, using the square of putty on its side. APPLY WASHES At tis stage, the buds and top flower had one wash of colour aver the shadow wasn, painted wetinwet in orderto keep soft edges to the highlights. The left centre flower rad two colour washes anc the bottom left fower had fou. The bottom right flower isthe frisned one. The top right flower is seen frm the back, showing @ ‘more magenta hue tothe petals PICK OUT VEINS The base was Sao Green, mixed vith Winsor Blue Red Shade anc a touch of ‘magenta forthe undersice and with added Lemon Yellow forthe topside. The weins were: painted wetin-wet and followed the grooves ofthe parallel veining. The brush was rinsed ‘and wiped on a plece of cotton cloth and then run gently between the ridges of green tostop the wash trom spreacing too tar. 1 orange bia. © QPAINT THE BUDS ‘The buds were painted wetinwet, first dropping in some Arthraguinoid Red following the texture of the folded petals $ from tipto base, and carefull reserving the highlights. ‘When the fist colour wash had ered, £ Ipainted another wetinwet wash of £ Permanent Red Violet. The larger bud shows one more wash of Perylene Vole, which has. yetto be done on the smaller oud. SPLASH OF COLOUR The whole petal was wettedin order to paint the splash of ed, keeping soft edge asit blends into the rest of the etal However, the yeliow centre was kept dry, 28 the yellow and te ree should nat bieed into each other, The restof the previous yellow wash wll show through the red wash to give ita more Gays of Nae Forte chance to win oe of fv signed opis of Sandie’ new book, Colours of Nature, simply send an eal with your name, adress and contact numba to conpettlons@artstandliustatars ok before 25 Xp Place mark our subject ine Colours of Nature” 6 Antsis & Mustrator1 ADD REFLECTIONS 4 GET A NATURAL 1 FOLLOW PATTERNS Painting stem in front of a leaf FINISH i The bottom petal of the open ‘can be @ problem because oftheir similar The undemeath end topsides ofthe eaves | flowers showed several types of pattems. Colour To help with detntion, | carkened the | showed sight efferent colours. The ‘Deep maraon Ines were coming fom tne leat behind a the stem eastits shadow. | undersides were bluer and darker and the | yellow parts in the centre towards the edges, so introduced a ine of reecteeigntion | topsides were more lemony and lighter.1 | fanning out witnout ever reaching the edges, ne left side ofthe stem, making thislighter | painted fewerwashes on thetopsides and following the vehning and creases. Between rdge stand out against the darker eat. The | then added a glaze of pure Lemon Yellow at the lines and continuing towards the edges ight side also shows alight edge asthe light! the end. Tis was done wetin-wet usinga | were some uneven dots of rec, lighter than source comes frm the right. | larger brush in order to stay random and the lines in colour but standing out against slignty uneven, ging a natural isn, ‘the pale red of the potas. DOT THE REDS LT FINISH THE VEINS. FINISHING TOUCHES D mapped in the ines ina pale “The ast touch on the leaves wos to The ower cones were the asta | Penfene Violet Once setsfedwith the | Strengthen the veining. picked some be painted, equring dy brush forthe | pattr,Lerengthened ese nes wth | random vis provousy created wetinwet, precise dota of her compcatea | more Perlene Volet workingwth aly | toaccentuate somes thetextue without | suture. The tle mouths unde he eaps sh to Sop the patton spreading, | being contived. Tis was done weton- | were shaded wi te same shadow mi Irepeated the same rocess‘orthe | chy, Blended stright away with pure materto | touch of Permanent Red Violet wes | eats wit a maatAntvaqunals Red and | blend the vers int the texture ofthe acide, as tese cane parts were nat pure Winsor Rod. Once this had dried, washed | Ioeves. The sim was nat to render every Wein | witebut had a pinkish tinge to them. Rec werthepetaswith alargesott brush fromtiptobase buttorepresent afew of lines were added tothe ylow markings loaded wth pure watertoblendin tne ___themtoshow the texture. i F patter into the texture.Drawing Forms The new pre-degree drawing course from the Open College of the Arts helps develop your basic draughttsamanship skills. ln this exclusive extract, you can Sample two of the exercises =a MAN-MADE FORM AND BASIC PERSPECTIVE Persnective i a technique to create illusion of space and depth ona fiat place ‘of paper. Another way of describing isthe ability to establish the scale of objects at itferent postions in space. Perspective was developed by Italian ‘nists in the 15th century andi apialy became the drawing system which artists Used to create tree dimensional effects in ‘drawing and painting. Prevously artists had simpy drawn the foregroune objects large and the background ‘objects smal, eck this out for yourself by ‘comparing the use of perspective in images ‘om the Renaissance with earlier images ko these in medieval altarpleces or stained glass. ‘ity the acvant of medernism (eg Cubism) inthe eary 20th century tists started to play with perspective, flouting the ‘rules'to achieve particular eects. Getting the relative scale ofthe objects rights importantit you want to create 3 ‘sense of piysical objects in actual space. Angles of reveding ines and “foreshortening have to be accurately tansiated if the ‘objects and the space thoy are in are to look rea’ in your drawing Exercise: Open cupboard ‘Open a kitchen cupboard that contains an ‘assortment of man-made objects: boxes, packets, Jars and tins, Leave the door partly ‘open, s0 tat you can see the cunboare’s ‘contents and also the front edge and part of ‘the facing sie of tne door. Notice the angle ‘ofthe door as it recedes from you this angle Is very acute (deperaing on haw wide the ‘doors open} and isa goed exampe ot Toreshortenin.‘Stand back from the whole and in your ‘sketchbook, or standing at an ease, draw ‘the cupboard and Its contents. Focus on trying to achieve a sense of ‘three-dimensional form by applying the principles outlined above: use line only to create @ sense of structure in the objects you're drawing, Imagine the cupboara as:3 ‘cube; notice the angles and perspective of ‘te open door, now it recedes away trom you. Draw each item Inthe cupboard as ‘thoughits transparent, usingline to ‘doserive tho back ofthe object as well as ‘the font. This wil help you to think about ‘the structure of each tem an it tree ‘dimensional nature. The fntention ofthis exercise isto create ‘a believable sense of structure and form Don't be sidetracked by surface decoration ~ simply use perspective 388 tool to help escrive the snape ofthe obyects In space. NATURAL FORM AND SPACE Inthe previous exercise we touched on thinking about the underving structure (or ‘skeleton of an object while crewing it. By acusing onthe three-aimensional structure, ‘we avoided unnecessary decoration, concentrating purely on form. nthe next exercise you'l develop that theme turer by looking ‘beneath tne surface’ when making, Arawings of natura objects. Some commen natural forms ~ eggs and apaes, for example ~ are decoatve in hor seeming simplicity. Exercise: Arrangement of organic forms Select several organic objects, such asthe ‘apple pieces above, and arrange them on 8 ‘surface. Focus on accurately representing the forms in front of you using Inventive mark ‘making, Drew boldly, larger then if. Consider the weight of line and how this can affect drawing forms SELECT SEVERAL ORGANIC OBJECTS AND ARRANGE THEM ON 4 SURFACE. FOCUS ON ACCURATELY REPRESENTING THE FORMS IN FRONT OF YOU USING INVENTIVE MARK MAKING the sonse of sce inthe composition asa ‘whole. Do harder, darker marks seom ‘loser’ ta you? Do paler ines seem to recede? Experiment withthe weight of mark. How can you describe the form of the ‘objects through the marks you make? How do the objects relate to one another within the space ofthe rectangle? What surface are they placed upon? How can you describe this surface through line ana tone? DDon't be hesitant in your mark making ‘and try to make your image interesting. Work toachieve an accurate depiction of simple ‘three-dimensional forms, combining skills learned nere wth these from previous parts ‘ofthe course. Take into consideration light, shadows, ground, and the spaces between ‘and around the objects. To find out more about the prodegtee dawing course and the Open College ofthe Arts, sit wumocaak-com Artists @ Mastratorse9ReaderREVIEW Every month, we ask a leading art expert to assess the portfolio of one of our readers ‘THIS MONTH'S READER Mandy McAllen Mandy ves in Benshire,wnershe Serenity vehement nthe Cooktom Festa She hasbeen teaching and exiting cal > | t0r20 years anasne brevaly worked in | the BBC design department, which has heal nonce her intereat net ‘ormarstandusttescoah/ rmandmeaton ‘THIS MONTH'S EXPERT Christine Hopkins SGFA Christine is a coun ‘member of the Society of Graphic Fine Art, ‘who sits on the new ‘member election panel and helps organise | their Annual Open Exhibition atthe Menier Gallory very October. ‘She isa painter and printmaker, running Workshops and demonstrations in| Teddy and Buttons Out Walking ‘mined mediatechniques romher Acrylic on canvas, 30x400m Reigate stuclo. worw.chrstinehopkins.o.k [Mandy explains: “This fom a Christine replies: “Your method of negative painting’ sets called Warking In Heaven, helps the Agures stand out rom thelr suroundlings, Dut is painted in response to some of pemaps a tle heavy handed around the dogs. Pernaps Stanley Spencer's works. Many of his. more contrast and cast shadaw arouns them would have paintings depict everyday Ife, finding anchored the brawn dogtothe ground, anda itie more ‘beauty inthe mundane, room under thelr feet would have helped the composition. “Time restraints influenced how! “Tho suggestion of tie forms subue and intriguing, but JOIN INI ‘made the painting. For example, the the colour and textural marks af the foreground are abit figures wore painted ovr alain toosimat Atp you may td useful cut aamall hol a backgfound mix of Quinardone piece of sop paper an held itaver site foreground ee Magenta ond\enelion Red. then an ten the backround ~you vil nd ou are looking at wane or Pre Ps Daintedthenegatve space witha exact the sme tones ana textures Tonepage. Nota menberyett Sgn at layerof Parchment applied witha “Thetwo gues are rather cose together, and might wnaristaniistaies carder | palette ee, lowing theichreé to have been tamote to move the bive-coted Taree ite ep though” tote rg introducing some space between their nea.” “Tobe conldered fra future Reader Review please send ane‘Storm on the Solent Acrylic on board, 22%25.5em “Mandy explains: “This painting was a winter project, bom from playing with materials. t began wth an application of heavy gesso onto board, which | spread with the edge ‘ofa creditcard, and then made impressions with found objects ike 2 bottle top, the bottom of a polystyrene meat ray and e fruit net. When dry, | washed in alluted Golden Fuld Acrylics over areas of my textured surface layering ‘hem to bulla up glowing colour. As the Idea of an image ‘emerged, | added detall in more concentrated colour with brush. Christine replies: “Mixed media Is great fun, you ean ‘throw'the eule book cu of the window, but dont be ‘emted to vy ital in one painting, Sometimes you might Impose a textura! mark that ater on gives you problems, so sometimes restraint is in order. Perhaps balance it out by nctuding some tater, calmer areas? “The colour paleteis well chosen but why not introduce some of the foreground orange into the sky areas too? Diluted liquid acryics re great for subtie washes as nell 1s cramaticspiasnes of colour and mutiple transparent \wasnes ve really sawing hues. There ere several brands of acrylic nk that you could also try, nclucng FW and ‘Magic Color. The inks have even greater fuldty that let you ‘uya greater range of experimental technaues. Do be careful when buyingnks, nowever, as not al brands are colourfast, but FW and Magic Color are both fine. “The overall sense of the storm is realy wor conveyed! by the éramatic angle ofthe sails. and there's an invigorating ‘atmasphere here tnat works very wel.” The Pond, Holyport Watercolour on paper, 25x35em ‘Mandy explains: “This location was local to me thought the backtt tees reflected on the glassy pond would be best exorested in watercolour. use mainly Winsor & Newton paint (they havea very informative website and newletter) and handmade watercolour paper with @ NOT surface from elther Two Rivers or Saunders Waterford” (Clstine replies: “Ths isa dramatic working ofa scene which nas real sense of place, and the siinovetted tes make a striking composition. Atthe outset, you need to decide if this Is bout the tres, oc the reflections. Using ‘small thumbnal sketches, experiment witn moving your hotizon up or down, and you may decide thet it can be made even mare aramatle in this way. “There is good ferentiation between the quality of the ‘oregrouna ana background, which helps to Eve a Teen, of distance inthe far buildings. Perhaps the hardline of the reflected raf could be sottened of broken up—the eyes instinctively crawn to the one straight ie in the scene. “You have used a limited palette of colours to great c’ffect, and achieved a good range of greens ~ alvays 8 cific task that has here been successfully mastered” reader reviewL v 7 -Mehemis’ Mediums Althe ® are proud of our products. = ee field is breaks LEADING PROVIDER OF BOTANICAL ILLUSTRATION WORKSHOPS UK a2 = io Reals & Landscape Pointing Annual programme of courses throughout UK Exporionced professional Tutors (SBA Kew) swe are even prouder of the results. Field Breaks 01433 621420 info@fieldbreaks.co.uk ‘www. fieldbreaks.co.uk www.alchemistmediums.com ART IN THE ALGARVE EXPLORE YOUR CREATIVE POTENTIAL + Att studio « Hobby room * Design studio * Pottery studio Writers haven + Jewellery studio + Dressmaking & textile studio Full insulated garden studios for year round use To request a. complimentary brochure call 0800 160 1888 Petrol) Pare Tur PALEMOTIONAL LANDSCAPES Painting landscapes “en plein air’ ts a great way of recording detail, but Louise Balaam reveals howto create amore emotional response back in the studioemotional landscapes Paeous as ve always fot a strong emotional AitheTeporthe [connection withthe landsca0e. Wort, Birdsong: Witove to ve outsce,partcusry in ‘Overhead clon | wi surroundings, where the changing canvas, 96,09em | weather ang lignt have a powerful BELOW Looking effect on my mood, There are some orth SottLigt, special places which havea real ‘oloncanas, = emgvonal resonange for me: Hove Txt being near the sea, and have 2 particular attachment to Comwall and the west coast of Scotland ~ both rocky coasts which open tothe west, with al the connotations that orings. als love the quite different character of North Sea coasts such ‘a8 Holkham in Norfolk, with te lt sands stretching out apparent for miles. | see my work as exoressive landscape painting rm vying to recreate 2 sense of place ard to communicate my onn ematioral Artists & Mhastrators response tothe lancseape, using intuitive and gestural paint. feel very strongly that tne way we tend to lve ow can lead toa loss of our Connection with the natural wocd, which Is so important to our wel-being. | start each painting by crewing utsiee. nave a natiorad ols rucksack with a range af media ~ watercolour in pans and tubes, Including a tube of opaque write gouache, propeling pencis and charecal (eften compressed charcoal In black and greyseate) and sometimes olstichs and ol pastels. | usualy have two Moleskine sketchbooks, so that can work on ‘fresh drawing while 8 wetercolour sketch n the others ary | tend todo a series of drawings, often very rapid ones, when may ‘focus on colour notes oron the construction ofthe landscape. The ‘drawings ke the paintings, are quick ‘and intuitive. lonly very occasionally ‘ake proto, when something is Iesistble but leant draw ft, but ind them of very mit use. INTUITIVE WORK Back in the studio the arocess of painting begin. | dont paint outside {or several reasons: the main one is that prefer there to bea gap between ‘the original experience ane the ‘making ofthe painting, in which memory and Imagination can make themseives ft. -Atnough orawing inthe lanascene Is crutal. ve lames that forme the process isnot about peintng “from ‘8 drawing, Several times t¥e beenseduced by a particularly tvely rawing and tied to work directly from it, but m aways cisappointed. "ve ‘ound that the excitement and energy ofthe ital drawing cart be ‘transposed toa painting through a process of copying and refering ~ it Just seems to leak away. The painting needs to became a new thing in set. What is crucial fr me Ist use the rowings 0s 8 way to think myself back into the fealigs that he space brought un in me (ane because Ive spent time sitting te landscape, ve had the ume to absorb tnat emotional content). fm trying to capture the whole experience of being Dutside not ust the look of the landscape but the sounds, the smalls, ‘the wind, sun or rain in the air, the particular character of the vegetation ‘and geology, andthe quality of int of course, whichis always such @ key part of my emational response. This al means thatthe painting Inset must 0e simian rast ana intwitve, and tends to start with a lean In the dark keto putalotof eneray Into my brushstrokes, ttemating to lwansmnitthe excitement | ee! in the landscape ~a lat of the emotional charge of my painting comes from the ay the pants put on. wl nave rmxed up some paint alreacy, and the colours chosen wil reat to my ‘rowing, though they wil change and be added tin the provess of painting. | stat by putting on darks, cing rough idea ofthe tonal pattern of the painting and gerhaps ofthe position lof tre erizon, though this all may change as wel | always fnd the actual process of painting rather mysterious, It seems to me that im in a different ‘zone of eansciousness in whieh m really not aware of what Im éoing t's simply a process of putting pint on, not making conscious decisions, and after a while (when the feaing starts to recede) switching to a more ‘everyday mode of thinking, where sit {down and look atte painting so far, making judgements about how t's ‘going. This may sound rather peculr, but think many artists wil be fami with the experiance of becoming completly absorbed in their work so that they ase track of time Painting te tis does quire a leap of fait, since k's necessary olt go ‘and tust in your ev intuition. thes taken me some time to become ‘completly fami with ths process it didn’t happen overnight, You have tobe prepared to take a risk, and 10 ‘cept that you may mess up something you've aready cone | sometimes find that there's a particular passage that | reall ke in ‘painting, and that witout realising tend ta work round i, hich ea hols emotional landscapes up the development ofthe pasting ‘a8 a Whole. find | have to take my courage in both hands and destroy it so that the painting stays fresh ane alive over the whole surface. People often ask me how long 8 painting takes, wich sticky question, There ave often successive stages of serapingoff or panting over, ‘and many failed peintings left inthe tual ofcourse, but ee! that the finished painting must all come together in one session, which may happen quite quichy. aways try to xoep the freshness ofthe fst response, rather than labourng over ‘a pointing. start to delberate and ‘idole the energy i ost. In Dark Skyline Across the Downs, was struck, while drawing, bythe contrast between the sparkling white of the edges of the fast moving ralnciouds, and the dark clumps of ABOVE Brown Cloud wees atthe edge oftheneld onthe | s4oxta00m horizon. wantedtocaten thissense | LEFTLIe Ey, ‘of drama inthe peintng, using Semnouse \gorous looping breshstrokes, which! Marshes. oll on use both sky colours anda lemon} canvas, a0edememotional landscapes ays. Most | use standard Ttanium White, which is opaque and goos for ‘mixing, Michael Harding ls are the tons for more expensive colours ~ for example, some yellows. don't usea lot of high pigment colours, but prefer toexperiment with msing.eartns with ‘blues. t's also easierto maka painting hang together fa imited range of colours is used. ‘The large-scale panting dois reliant on using enough paint, which is hy finding an economical option that can be bought in large tes or tins is ‘8 must |tond to mikthe colours row Vi be using in Tupperware-style containers with lids. mix with 50/50 tus and linseed of medium to gota nice creamy corsistency. The paint doesnt lst long without skinning ver, but spraying with water before you put the lid on he'ps abit. ‘mainly use long round hogar brushes or housenolé paint brushes, both in range of sizes. also use painting knives, and tne consistency ofthe paint varies so that it might be runnier at times this contributes @ lotto the varety of marks onthe painting, everything from thie brushmariks and krifed-on paint to runs, cps and splashes. iso ke ‘raving into the surtace wit tick - raphite sticks ~ this woras best on : nels, which are more resistant ‘s20VE Derk Styne | yellow thet pick up the poieyelow — GHOICE MATERIALS My way of working has developed ‘Aoross:he Downs, : gleensot the grass—llhe tofinda almost always use oll paint I once over several years. While ve often follon canvas, ‘way to nk the sky and the ground. _heardthe difference between ll and had doubts and niggling feelings that axe Hove crawingon tne Norfok coast. acrylic descrived asthe diference I should be working n'a more orderly Looking North, Soft Light was a between butter and yoghurt, which is way, naw confident that my paintingin which ltred to recapture spot on! keto use artists quality process fs what works fr me. think ‘the huge sense of space that Itt _ paint, butluckly Because | use mostly that all atists need to tna the method there, andthe sensation of asoft earth colgurs and Uivamarine Blue, that right fr them, and to develop ‘dazzle of light. The brushwork, though it doesn't have tobe expensive, ‘a tustin that Work with real feeling stilenergeticto convey the trilofthe use lat of white so need ‘must come out ofan emotional place, Is calmer, witn longer stokes, something that comes in bulk, engagement with the subject ~ and its less contrast between sky andsee, ‘Spectrum oilis very ood end Hlove__up to each etist to discover how best £ and soft creamy bives and warm Flake Who, which has @tbeautiul to communicate tat in thelr work whites used al across the painting. creamy tone, butishard to get these wworloulsebalaam.coak FIVE TIPS FOR ADDING EMOTION TO A LANDSCAPE Begin by making sketches in the imagination tothe process. conscious decisions and work as landscape. You will need to truly Use your initial drawings as ameansto _intutivoiyes possible, experience aplace in ordertobe able bring back the memory of alocation > Find economical paints that you a ‘to react tot honestly. ‘when you are workdng in the studlo. comfortable using. I's hard to be > Leave gap between sketching end > Fast energetic brushstrokes ere e great spontaneous and intuitive f you're starting te fished painting. Itwllhelp way of communicating your feelings fora _wortled about how much the ‘to consolidate yourthoughts and bring landscape. Try to avoid making. paint costs! ‘a Artists & MhastraARTISTS & ILLUSTRATORS SUBSCRIPTION OFFER Subscribe to Artists & Illustrators and ‘wo we'll Send you a | worth £30° D = ! J EASY WAYS TO ORDER: Pon. www.artistsandillustrators.co.uk/P305 +44 (0)1795 419838 aucte code p305THE CLASSIFIED DIRECTORY oe TTS Oeywo fans wateour pales ard css The Finest Quality Hand Made Artists? Brushes Conve aa Caipe aneen Call for Entries | EWEN ETens and Membership | eyNieorisr cay Opportu Pee Sunday [2th May (10am to 2am) OE apetin Renae OC A eee) (UGA: United Society Sion smiceneer of Artists \ ? ‘Sze 10@ £19.50 oe NS Sa0 88 £1278 \ ran snot en iiomceatti Botanical Painting Classes noes ber a & 4 Em - {JONATHAN NEWEY Pearman Gla, Shinteld Rced Peading RG? OBE Te 0138993 4255 ‘ew jnathanneney om Ema Jnowoy210@gmnailcom Mesa: Watercolour, Aye, Peels ‘wwwi.pegasusart.co, Hand crafted in brass | EEE Watercolour Paintboxes seauttul & ‘Speetl subjects: ancscanes, Unione desion Arteta, Wide 0748 163551 www.classicpaintboxes.com Made to._Measure Artists Canvases FMDOLF KEIM Cstareome EM SESRCEELELAM ist Vist ry online gallery at \evevrakeartéouk A enqules and SECTS LORRI consrissionsweleome, eephone 020 8849 4714 Mobil 07979842456 are

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