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LP11 1 Cover_nods_Layout 1 26/09/2017 13:00 Page 1

THE UK’S BEST-SELLING ART MAGAZINE

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WATERCOLOUR
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FOCUS ON TREES
4 exercises to try
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p02_lpnov17.indd 1 22/09/2017 09:39:20


November welcome_Layout 1 22/09/2017 08:34 Page 3

Incorporating Leisure Painter


and Craftsman
and Creative Crafts
VOLUME 51/12
ISSUE 567
www.leisurepainter.co.uk
Welcome
www.painters-online.co.uk
ISSN 0024-0710
from the editor
NOVEMBER 2017

Editor
Ingrid Lyon
W atercolour is always a popular and
enjoyable medium for the amateur
painter. It’s not the easiest kit to master,
Contributing Editor
Jane Stroud but its translucent, bright colours and unpredictable nature make
Editorial Consultants
Diana Armfield RA, NEAC (Hon), RWS it gloriously exciting. You’ll find a variety of techniques in this
David Bellamy
Tony Paul STP
month’s issue, from how to build up layers of colour and detail
Advertising Sales to create the illusion of depth in paintings of animals, landscapes
Anna-Marie Brown (Tel: 01778 392048)
(annamarieb@warnersgroup.co.uk) and street scenes to quick-and-easy exercises for painting trees
Advertising Copy and 30-minute flowers. Hazel Soan’s wonderful meercats (pages
Sue Woodgates (Tel: 01778 392062)
(suewoodgates@warnersgroup.co.uk) 36 to 39) require just a few brushstrokes of wet paint (along with
Accounts
creditcontrol@warnersgroup.co.uk
plenty of practice, of course), while Paul Hopkinson’s beautiful
Events Manager little harvest mouse (pages 61 to 63) will take hours of brushwork
Caroline Griffiths
and is perfect for those with a steady hand and a love of detail.
Subscriptions & Marketing Manager
Wendy Gregory We also have exciting acrylic techniques to try, as we introduce
Subscriptions Brendan Smith’s lively style (he also explains how he recycles old
Nicci Salmon & Liza Kitney
(Tel: 01580 763315/763673) paintings, pages 12 to 15), while Helen Elliott (pages 32 to 35)
Online Editor
Dawn Farley
takes us through the creation of one of her signature paintings
Designers step by step. There are plenty of other media, ideas and
Alison Renno
Sarah Poole inspiration within these pages.
Leisure Painter is published
As the reason LP exists is to inspire you to pick up your brushes
every four weeks by: and paint, we are also featuring three painting competitions for
The Artists’ Publishing Company
Limited (TAPC), Caxton House, you to enter this month. Our popular monthly anniversary
63-65 High Street, Tenterden,
Kent TN30 6BD competition (page 6), organised in partnership with GreatArt,
(Tel: 01580 763315)
nears the end of its year-long run with an invitation for you to
Publisher
Dr Sally Bulgin, Hon VPRBSA paint an autumn scene. Our second painting competition comes
Publication of an article or inclusion of from Dutch art materials manufacturer, Royal Talens, which
an advertisement does not necessarily celebrates its participation in the making of a new and innovative
imply that TAPC is in agreement with
the views expressed, or represents film, Loving Vincent (in cinemas from 13 October), by inviting you
endorsement of products, materials
or techniques. TAPC does not accept to paint in the style of Van Gogh (page 68).
responsibility for errors, omissions
or images received in good faith Finally, it’s time for our annual charity Christmas card
Annual subscription rates: competition (page 11), where we donate £100 to the charity of
UK £39.99 (includes Northern Ireland);
USA $80; Canada $92; EC member the winner’s choosing. I encourage you to take up and enjoy all
countries €67; all other countries
(sterling rate) £50 the challenges this month; the team here looks forward to viewing
Foreign currency prices include the results.
bank charges. Payments made
by credit card are taken in sterling
at the rate of £50
Printed by Warners Midlands plc,
The Maltings, Manor Lane, Bourne,
Lincolnshire PE10 9PH

Newstrade distribution by INGRID LYON Editor


Warners Group Publications plc
(Tel: 01778 391000)

DECEMBER 2017 issue on sale 3 November

www.painters-online.co.uk NOVEMBER 2017 3


LP10 4-5 Contentsv3_News 1st 26/09/2017 11:55 Page 4

Contents NOVEMBER 2017


12

16 3
24 Focus on trees
Part 1 Four warm-up exercises to help you
paint trees more easily, by Stephen Coates

28 Line and colour


Part 7 Tim Fisher draw boats, buildings and
a busy market scene in ink and coloured pencils

32 Beside the sea


Helen Elliott demonstrates the creation
of one of her signature acrylic paintings

36 In the frame
Part 2 Tony Paul looks at classical composition 2
to help you paint better pictures

IN EVERY ISSUE 73 Books Some of the best 38 Wildlife in watercolour


practical art books, including Part 2 Make the most of watercolour’s
7 Diary News of LP Open’s news from Search Press and transparent properties as you paint meerkats,
People’s Choice award winner, artist, Haidee-Jo Summers with Hazel Soan
Loving Vincent, Ken Howard
and more 74 Art clubs News, highlights, 43 How to paint a winner
exhibition listings and ‘best in Part 1 How to think, observe and plan like
8 Exhibitions Jane Stroud show’ gallery an artist with oil painter, Martin Kinnear
recommends shows in London
and throughout the UK 78 Online gallery Jane Stroud 47 Autumn colour
chooses paintings by Annie Create depth in a watercolour painting of
10 Letters Your responses, ideas, Davenport and Carole Kelly autumn woodland, by Paula Henchell
suggestions and questions from PaintersOnline
52 Test report
Tim Fisher experiments with Caran d’Ache’s
sketching materials
FEATURES
55 Autumn fruit
On the 12 Free your style Set a timer and test your abilities as you paint
cover Part 1 How to paint texture using acrylics, physalis in 30 minutes, with Ann Mortimer
Paula plus tips and techniques for a lively style,
Henchell
After the
by Brendan Smith 58 Cartoon it!
Storm, Be inspired by John Byrne as he puts your
watercolour, 16 Layers of colour drawing skills and sense of humour to the test
14x11in. Part 1 Michelle Campbell demonstrates
(35.5x28cm). her painting processes as she paints the 61 Harvest mouse
Create depth in natural world in watercolour Part 2 Complete your detailed portrait
your paintings of harvest mouse, with Paul Hopkinson
of autumn
landscapes on
20 Painting project
pages 47 to 51 Part 2 Paint along with Colin Steed as he 65 Tulip time
adds figures and a dog to his watercolour Brighten up an autumn day by painting
painting of Galleywood colourful tulips in oils, with Elena Parashko

4 NOVEMBER 2017 www.painters-online.co.uk


LP10 4-5 Contentsv3_News 1st 25/09/2017 09:19 Page 5

Coming
next month
Develop your drawing and painting skills with
Leisure Painter. Here are just some of the
practical articles to expect next month...

ON SALE 3 NOVEMBER
n DAVID BELLAMY on
6 32 how to make the most
of watercolour pencils
n TONY PAUL: how to
create emotion in
your paintings
n Top tips for unifying
your work with
restricted colour
n Paint beaches,
seascapes and
reflections in oils
n Be inspired by our
Christmas card ideas
28
n Paint flowers using a
limited palette of
OFFERS, NEWS AND COMPETITIONS watercolour
6 Join Leisure Painter’s 50th anniversary celebrations n Build your confidence Brendan Smith Detail from
t

for your chance to win a £50 voucher from GreatArt as you paint lively Old Wharves, Fowey, acrylic
animals and birds on paper, 12x16in. (30x41cm)
11 How to enter LP’s charity Christmas card competition
n Try new techniques to
42 Win a painting holiday with Le Choisel, worth £3000
paint a harbour scene
46 Save money when you subscribe to Leisure Painter in acrylics LEISURE PAINTER
ON-SALE DATES
64 Take advantage of Search Press’s latest book offers n Express form and Issue On sale
68 Enter Royal Talens’ Loving Vincent painting competition texture in your December 3 November
landscapes January 1 December
71 Win art materials from Royal Talens February 29 December
n AND LOTS MORE!
72 More fantastic book offers from Search Press
79 Our pick of some of the best practical art videos online

JOIN OUR COMMUNITY


PaintersOnline, the online home of Leisure Painter,
offers you a creative and inspiring place to:
l Show your work on our free online gallery, using your
own URL
l Share your experiences and talk to other artists on busy
and informative forums and blogs
l Enter competitions to win art materials every month
l View practical art videos, articles and demonstrations
l Find the best practical art magazines, books, tutors,
workshops and holidays
Register today at http://painte.rs/2fhPtln
t
David Bellamy Lochside Cottage, watercolour pencil, 4x6in. (10x15cm)

www.painters-online.co.uk NOVEMBER 2017 5


ov

sh £40
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LYNN PAINTER-

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PRIZE 2018

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CALL FOR
ENTRIES
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A prize for representational


painting with awards
totalling £30,000

Deadline for entries:


Wednesday 6 December 2017, 5pm

£5
Enter online at lps.artopps.co.uk
READER your first order
OFFER when you quote: LPMF5
OFF†
* See shipping policy for full details † No minimum spend, one use for new customers only
Lynn
November anniversary competition_Layout 1 25/09/2017 08:22 Page 58 Painter-Stainers
 TEL: 01204 690 114  EMAIL: sales@artsupplies.co.uk Image: Júlia Moscardó, Elfe (detail) Prize
 facebook.com/KenBromleyArt
L @KenBromleyArt

leisure-painter-advert-1117.indd 1 14/09/2017 11:05:06

& PAINTERSONLINE
in association with GreatArt
ANNIVERSARY COMPETITIONS 2017
To celebrate LP’s 50th and PaintersOnline’s 10th anniversaries
we continue a year of painting competitions for Leisure Painter readers

NOVEMBER’S COMPETITION PRIZES


This month, be inspired by autumn We are delighted to announce exclusive
colour and paint a seasonal landscape, sponsorship by GreatArt throughout
colourful leaves, or even an autumn- this year’s anniversary competitions
themed still life in any medium. Please
upload your entry by 12 noon on Each month’s winner will receive £50
Monday, 18 December worth of art materials vouchers to spend
at www.greatart.co.uk, through the
GreatArt catalogue or at GreatArt’s new
JUDGES shop at Kingsland Road, London E2
Dr Sally Bulgin, publisher
Dawn Farley, editor, PaintersOnline
Ingrid Lyon, editor, Leisure Painter
HOW TO ENTER & CONDITIONS OF ENTRY
Only online entries can be Click through the Current Christmas.
accepted. Only original work Painting Competition links 4 You will be invited to send a
will be considered and paintings to Anniversary Competitions high-resolution image of your
based on reference photographs 2017. You must be registered winning entry to Leisure Painter
must have been taken by the and logged in to PaintersOnline for publication in the magazine
artist or used with the permission before you can upload an image. in spring 2018.
of the photographer. Only one 2 Upload your November entry by 5 All work entered will be
painting per artist each month the closing date of 18 December featured on our website at
will be accepted. at 12 noon. www.painters-online.co.uk.
1 Online digital entries must 3 Entries will be judged on 19 6 The judges’ choice will be final.
be sent via our website at December and the winning No correspondence will be
www.painters-online.co.uk. entrant will be informed before entered into.

6 NOVEMBER 2017 www.painters-online.co.uk

p06_lpnov17.indd 6 25/09/2017 09:46:45


LP Nov 2017 Diary p7_News 1st 21/09/2017 10:34 Page 6

Diary
THINGS TO DO THIS MONTH

Pop-up sale
Contemporary art collective, MMContemporArt, will
hold a pop-up sale of original artwork at Grantchester
Village Hall, Cambridgeshire on 4 and 5 November.
The four artists met at local art groups and decided to Mary Jackson Red Snapper for Dinner, oil, 14x18in. (35.5x46cm),
t

host their own show. For more information visit available at the Ken Howard & Friends auction
www.mmcontemporart.blogspot.co.uk Auction
Ken Howard & Friends
Royal Academician, Ken Howard, has invited friends from
the Royal Academy, the Royal Watercolour Society and the
People’s Choice New English Art Club to join him in an auction at the John
We are delighted to Bly Gallery on the King’s Road on 26 October to raise funds
announce that for Kids for Kids – a charity supporting the forgotten
Nathan Jelbert is this children of Darfur. The auction provides a rare opportunity
year’s winner of Leisure to purchase works in oil and watercolour by some of the
Painter’s Open country’s most celebrated artists. Pictures can be viewed
Competition People’s online at www.kidsforkids.org.uk/the-auction. Bids may be
Choice award. Nathan’s placed online up to noon on Thursday 26 October and the
painting, To a Summer’s main auction will begin at 7pm.
Day (right), was shown
with all the selected t
Nathan Jelbert To a Summer’s Day,
works on Patchings Art water-mixable oils, 153⁄4x153⁄4in. (40x40cm)
Centre’s website Christmas is
(www.patchingsartcentre.co.uk) and coming…
visitors to the site were invited to vote for Get ready for Chrismtas at
their favourite painting. Nathan wins a ShedArt’s early Christmas
choice of Search Press books to the value of £150; event in Newdigate, Surrey
www.searchpress.com RH5 4BX from 28 to 31
Nathan writes: “It was an early Sunday morning and, as we live October. Open daily, from
in Cornwall, we decided to head down to the beach to have 11am until 4pm, visitors
some breakfast by the sea. I’d just bought a new camera so took can browse the art and
it with me to try out. I gave it to my little girl who decided that craft on show, including
the best thing to take a photo of was a close-up of her face. I paintings, prints, stitch
noticed that the sun was getting in her eyes, so held my hand art, stained glass, Christmas
over her face to shield the sun, casting extremes of light and cards and decorations.
shade on her face. She’d given me the perfect shot! I am Admission is free and there’s
Renate Wilbraham Puffin, stitch and
t
humbled to win the Leisure Painter People’s Choice Award and plenty of free parking. Visit paint on canvas, 8x6in. (20x15cm) at
would like to thank the people who took the time to vote.” www.shedart.co.uk ShedArt’s Christmas event

Bringing art to life


The first fully painted film, Loving Vincent, will be
released in cinemas on 13 October. Initially shot as a
feature film with actors, 125 professional artists
then hand-painted every one of its 65,000 frames,
using Royal Talens oil paints. The life and
controversial death of the artist is told through Van
Gogh’s paintings and the characters he painted.
More information on the film and the paints used in
its creation can be found at www.royaltalens.com

www.painters-online.co.uk NOVEMBER 2017 7

62
LP Nov 2017 Exhibitions p8-9_Layout 1 21/09/2017 10:54 Page 2

A parallel reality

Exhibitions JANE STROUD RECOMMENDS


James Lynch returns to the Jonathan
Cooper Gallery with a greatly
anticipated exhibition of new
paintings of Somerset, Wiltshire and
Dorset. His meticulous works in his
favourite, but difficult, medium of egg
tempera, celebrate the beauty of the
countryside, many of them inspired
by his paragliding flights over the
three counties. The exhibition focuses
on his passion for both the landscapes
and the skies that connect them, using
shafts of sunlight, country lanes,
telegraph wires and hedgerows to
take us on a journey.
James Lynch: A Parallel Reality opens
at Jonathan Cooper Park Walk Gallery,
20 Park Walk, London SW10 on 19
October and runs until 11 November.
For more information and opening
times telephone 020 7351 0410.
James Lynch The Merry Month of May,

t
egg tempera on gesso-coated wood panel,
19x28in. (48x71cm)

1322. Four-man exhibition of watercolours


and acrylics by Peter Graham, Lisa Graa
Jenson, Geoffrey Wynne and John Yardley,
24 October to 15 November.
n Mall Galleries
The Mall SW1. 020 7930 6844. ‘Royal
Institute of Oil Painters’: annual exhibition,
27 November to 10 December.
n National Gallery
Trafalgar Square WC2. 020 7747 2885.
‘Drawn in Colour: Degas from the Burrell’,
until April 2018. ‘Reflections: Van Eyck and
the Pre-Raphaelites’, until 2 April 2018.
n Royal Academy of Arts
Piccadilly W1. 020 7300 8000. ‘Matisse in the
Studio’, until 12 November.
John Maddison Kelmscott Manor, distemper on linen, 47x40in. (119.5x101.5cm)
t

n Tate Britain
Observations Millbank SW1. 020 7887 8888.
Known chiefly for his interiors and still lifes, John Maddison’s latest exhibition of ‘Impressionists in London: French Artists in
new work at the Jerram Gallery in Dorset includes many of these, as well as Exile’: featuring over 100 works by Monet,
Tissot, Pissarro and their compatriots who
landscapes, specifically in and around the medieval city of Norwich, where he
fled to Britain to escape war in France,
lives. Recently, John has been experimenting with distemper paints, which became 2 November to 7 May 2018.
fashionable in the early 20th century, and the exhibition includes a number of
large canvases using the medium, including Kelmscott Manor (above) – the REGIONAL
Cotswolds retreat of William and Mary Morris. n Harbour House
New Work by John Maddison can be seen at the Jerram Gallery, Half Moon Street, The Promenade, Kingsbridge, Devon. 01548
Sherborne, Dorset from 1 to 15 November. Telephone 01935 815261. 854708. ‘Self-Portrait’: open art exhibition,
18 October to 4 November.
n Ilminster Arts Centre
LONDON The Meeting House, East Street, Ilminster.
n Dulwich Picture Gallery
n Clayton Hotel 01460 54973. ‘Light’: new work by the 303
Gallery Road SE21. 020 8693 5254. ‘Tove Artists’ group, until 28 October.
626 Chiswick High Road, London W4.
n The
Jansson 1914-2001’: paintings by one of the John Russell Gallery
020 8996 5200. ‘Chiswick in Pictures’:
most celebrated illustrators of the 20th
exhibition of pictures of Chiswick by local 4-6 Wherry Lane, Ipswich, Suffolk. 01473
century, 25 October to 28 January 2018.
artists and photographers, including Jason 212051. Recent work by watercolour flower
and Francis Bowyer and Joanna Brendon, n Llewellyn Alexander Gallery painter, Christopher Ryland, until 14
until 28 October. 124-126 The Cut, Waterloo SE1. 020 7620 October.

8 NOVEMBER 2017 www.painters-online.co.uk


LP Nov 2017 Exhibitions p8-9_Layout 1 21/09/2017 10:54 Page 3

n Laing Art Gallery


New Bridge Street, Newcastle upon Tyne. The passions
0191 278 1611. ‘Paul Nash’, until 14 January Inspired by the work of Catalan painter, Joan Brotat, who created a group of
2018. paintings on the theme of The Passions in the mid 1950s, Spanish artist, Ramiro
n Manchester Art Gallery Fernandez Saus presents his take on his own unorthodox passions. Within a series
Mosley Street, Manchester. 0161 235 8888. of 13 works, all of identical size, Fernandez Saus features tigers, dogs, cats and birds
‘The Edwardians’: exploring the glamour within interior scenes, each of which depicts a different passion.
and rural nostalgia of the 1900s, until 31
The Passions is on show at Long & Ryle, 4 John Islip Street, London from
December.
9 November until 16 December. Telephone 020 7834 1434.
n Norwich Castle Museum
t Ramiro Fernandez Saus IV Love, oil on canvas, 191⁄4x221⁄2in. (49x57cm)
& Art Gallery
Castle Hill, Norwich. 01603 495897.
‘Rembrandt: Lightening the Darkness’,
focusing on Rembrandt’s use of
printmaking to explore tonal gradation,
21 October to 7 January 2018.
n Scottish
National Gallery
of Modern Art
75 Belford Road, Edinburgh. 0131 624 6200.
‘True to Life’: British Realist Painting in the
1920s and ‘30s’, until 29 October.
n Tate Liverpool
Albert dock, Liverpool Waterfront, Liverpool.
0151 702 7400. ‘John Piper’: paintings and
collages, 17 November to 18 March 2018.
n Victoria Art Gallery
Bridge Street, Bath. 01225 477233. ‘Howard
Hodgkin: India on Paper’, 14 October to 7
January 2018.

All information given here is correct at


the time of going to press, but you are
advised to check details and opening
times with the galleries prior to your
visit in case of unavoidable alterations
to their exhibition schedules

www.painters-online.co.uk NOVEMBER 2017 9


November letters_News 1st 21/09/2017 09:58 Page 11

Letters can adapt articles for left handers, but I


would like to hear how other left-handed
painters cope with similar exercises and
problems.
Val Rayner

SHARE YOUR TIPS, SUGGESTIONS, IDEAS From the editor: I do recognise that
AND QUESTIONS WITH OTHER READERS following some instructions by right-
handed tutors can be difficult for
left-handed artists. I would suggest you
Beaver or butterfly? all the passion I can muster and love try reading the instructions two or three
The wording in Marlene Griffin’s letter the painting I can do. times then follow them without looking
(LP, October 2017) seems to imply to Juliet Eden at the images. You might then complete
me that either one chooses a medium the exercise in a more natural way to
and grafts away at it regardless in the Finding inspiration you, from right to left. However, we would
hope that some sort of success ensues, Recently retired, I have taken up love to hear from other left-handed artists.
or flits from topic to topic, never staying watercolour painting and
long enough to find out much about photography – what joy! With Enjoy the journey
anything. photography, I carefully select a I am one of those retired amateur
There is nothing wrong with using subject and include just the right artists who meander along, trying
many different media or even several amount of detail. I then download different media and moving on excitedly
different media in the same work – it, crop and clone to remove anything to try something else. What a magazine
Picasso did and so did Leonardo to I do not want to include. Well, creating the October 2017 issue turned out to be
name but two. The trick is to a painting is just the same, as we can for me! Watercolour, pastels, acrylics et
understand each medium then to leave out anything unwanted and add al. Rather than flicking through, I read
apply yourself to get the best out of it. people or animals to improve the it from cover to cover, picking up lots of
Composition and perspective apply scene. new tips and ideas.
to all media so if you have an I recently visited an old farm with It’s been so long since I painted in
understanding of the basics then you lovely half-timbered barns, which had watercolour that I enjoyed the refresher
can use acrylic, watercolour, oil or any remained untouched for years. With articles showing lovely loose approaches.
other medium to construct your picture. my watercolour kit I selected the Then I saw Tim Fisher’s pastel article and
Whether you can produce a picture with farmhouse to paint en plein air and whooped with delight. I have Fisher 400
life and vibrancy is down to talent and took photographs of the barns for art paper, but have been afraid to ruin it.
imagination, and no amount of future paintings. In Leisure Painter’s Now I’m keen to try his ink and acrylic
‘beavering’ and ‘butterflying’ can give Art Club Gallery (August 2017) I underpainting techniques!
you that. discovered a wonderful painting of Pat Kelly
Dennis Swainston a similar subject, showing me how I
could recreate my barn picture by
I faced a similar dilemma to Marlene adding other elements, such as birds
and machinery.
Send your letters to
when I first started painting 15 years
Leisure Painter, 63-65 High Street,
ago. A semi-professional member of Everywhere I looked I found more
Tenterden, Kent TN30 6BD.
an art group I belong to suggested that ideas. In the same issue two local art
Alternatively, email the editor at
I was trying to do too much, and that club exhibitions were listed: Stratford
leisurepainterletters@tapc.co.uk.
I would be better off concentrating on upon Avon Art Society and the
All letters published here win a set
whatever I could do well and sticking Warwickshire Watercolourists’
of 24 Van Gogh Oil Pastels. Find
to it. The problem with that suggestion exhibition at Berkswell. Both showed
out more about Royal Talens art
was that I didn’t know at that time what superb work, and gave me so much
materials by visiting
I could do well, or what medium I liked more inspiration.
www.royaltalens.com
best. So I kept on flitting and to some Janet Smalley
extent I still do.
However, I have found over the years Left-handed artists
that there is something that I am better I bought myself a set of water-soluble
at and that has become my go-to sketching pencils and was looking
subject and medium whenever I don’t forward to trying out the exercises in
know what to paint next. I really think last month’s issue of Leisure Painter.
the secret is having a passion for However when I started to do the
whatever you choose to paint – a ray exercises, I realised, as a left hander,
of light, a shape, a colour, even an it was more or less impossible to do
emotion. For me, if the passion is there, as described. I usually work from right
I paint better. to left on a page so I don’t cover or
I am still very much a learner; I always smudge my work.
will be. I won’t live long enough to It meant I rather lost the impetus to
become a master so I might as well use do the exercise. I’m not sure how LP

10 NOVEMBER 2017 www.painters-online.co.uk


LP11 xmas comp_Layout 1 14/09/2017 10:25 Page 1

CHRISTMAS GREETINGS
PASTEL
THE
SOCIETY CHARITY
Sponsored by

Painting
Competition
Tony Allain PS Cadgwith Cove
See your work published in
or in our
2017 Christmas greetings message

O nce again we are


substituting the
Call for Entries sending of Christmas
cards by the publication
Seeking works in pastels, oil pastels, charcoal, pencil, of a special Christmas
conte, sanguine, or any dry media for the Annual and New Year message
Exhibition, which includes the £5,000 Alfred Teddy Smith in our January 2018
and Zsuzsi Roboz Prize issues, published in
December. Help us by
Deadline: Friday 3 November, 12 noon entering our
competition, from which
Full details and submit work at: www.mallgalleries.org.uk we will select a winning
image to feature in our
special Christmas
greeting, PLUS we will
make a donation of
PS C4E the Artist.indd 2 12/09/2017 15:18 £100 to the charity of
t
Winner of last year’s your choice
competition for Leisure Painter
Diana Boanas Christmas Jewels,
watercolour, 14x91⁄2in. (36x24cm)

H OW TO E N T E R
There are two categories:
l Leisure Painter category for the amateur painter
l The Artist category for painters with more experience
and professional artists
Please submit a jpg digital entry at www.painters-online.co.uk
and click on the link to Competitions. Your entry must reflect
the festive season, and it can be produced in any medium.
Closing date for entries is 3 November, 2017. Winners will be
notified by 10 November, 2017 and the winning artists will be
asked to supply a high-resolution digital image of the selected
work by 17 November for inclusion in the magazines.
Judges: Sally Bulgin, editor The Artist
and Ingrid Lyon, editor Leisure Painter

HANDMADE
SOFT PASTELS CONDITIONS OF ENTRY amongst the competition
1 Only one entry per artist please. entries and no correspondence
2 Log in or register on can be entered into.
www.painters-online.co.uk to 5 By entering our competition
submit your entries. Follow the link you agree to allow The Artist
to Competitions. and Leisure Painter to publish,
3 Winning entrants will be republish and repurpose your
informed by 10 November, 2017. artwork in both print and digital
4 The judges’ decision is final. formats, including but not
The judges reserve the right to limited to magazines, websites,
use an alternative image should databases and as part of
no suitable image be submitted downloadable digital products.

www.painters-online.co.uk NOVEMBER 2017 11

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LP11 12-15 Smith_Layout 1 22/09/2017 10:08 Page 12

Acrylics

Free your style


Part 1 From essential techniques to how to recycle old paintings and make
a stay-wet palette at home, Brendan Smith offers a fresh look at acrylics

LEARNING OBJECTIVES
n How to create texture in your
acrylic paintings
I was not immediately drawn to
acrylics. When I first encountered
them I found the colours rather
strong and thought that they had a
early paints. Quality modern-day
acrylics certainly offer none of these
problems (if they ever did).
I eventually took the plunge during
n Practise using a variety of tools strange ‘plastic’ look. I now suspect this an Open College of the Arts
was as much due to my own technical correspondence course in painting.
n Loosen up your style shortcomings as to any failing of these The medium of choice had to be
either oils or acrylics. as no
watercolours were allowed. I chose
acrylics, because they are water based,
dry quickly and require no solvents.
I soon discovered that, in contrast to
my earlier experience, these paints
were capable of subtle effects and
were incredibly forgiving, allowing
extensive revision without looking
overworked. Since then acrylics have
become a permanent addition to my
painting armoury.
Most of my early efforts were
executed in a realistic style similar
to traditional oil painting, using small
brushes with much subtle blending.
However, I gradually began to feel
that this approach, while satisfying
my natural inclination to produce
highly detailed, illustrative work,
was too predictable, and my finished
paintings were a bit dull. I therefore
made a conscious effort to pursue a
looser, more spontaneous approach.
One of my first attempts was
Morning, Times Square (left). I had
completed this picture in gouache, but
thought it looked rather laboured, not
at all conveying the atmosphere that
I remembered. So I resolved to try
again – it was only a piece of paper,
after all – and attacked it with a few
acrylic colours, pieces of mountboard
and a couple of cheap plastic painting
knives. It was a revelation!
Since then my working practice has
been a continuing exploration of tools
and techniques, trying to push the
boundaries as far as I can.

Paints and palettes


I favour Winsor & Newton Professional
acrylics, supplemented with a number
of the same colours in the Galeria
range. I find the cheaper Galeria paints
have greater fluidity and are more
economical for covering large areas,
which is useful in the early stages of
a painting.
My basic colour palette comprises:
permanent alizarin crimson, cadmium
red medium, light red, ultramarine
blue, phthalo blue, cerulean, phthalo
green, Winsor lemon, cadmium yellow
t
Morning, Times Square, acrylic on paper, 16x12in (40.5x30.5cm). One of my early medium, Naples yellow, burnt sienna,
attempts at a looser style, using palette knives and pieces of mountboard to paint. raw sienna and titanium white. I also

12 NOVEMBER 2017 www.painters-online.co.uk


LP11 12-15 Smith_Layout 1 22/09/2017 10:09 Page 13

t
Rialto Market, Venice, acrylic on paper, 13x16in (33x40.5cm). The buildings in Venice are perfect subjects for textural effects. I used
acrylic inks for the lit areas under the awnings for a more fluid and transparent feel. The figures were painted with a knife and with a few
final details added with a brush.

keep a few more ‘exotic’ colours for


occasional use: permanent rose,
quinacridone violet and magenta.
I occasionally use a retarder to slow
the paint drying time, or a matt medium
for glazing, both from Winsor & Newton.
I have two homemade stay-wet
palettes. For studio work, I use a deep
plastic tray with layers of wet kitchen
towel in the bottom, over which I place
a sheet of greaseproof paper. I also have
a portable version made in the same way
t
Recycling an old watercolour. First soak
from an A4 clear plastic folder that clips the paper and re-stretch it then apply a thin
shut. This keeps paint moist for several coat of acrylic primer.
days when closed.
t
My painting tools, clockwise from top left:
mountboard off-cuts, old credit cards, plastic
Favoured grounds painting knives and spatula, a No. 2 Pro Arte
My usual surface for larger work is Rigger andDaler-Rowney System 3 flat
watercolour paper or purpose-made brushes in various sizes
acrylic paper stretched on a plywood
board. I like a reasonable texture and the portion that’s cut out to form the
choose either NOT or Rough finish in window opening in the mount, to which
140lb weight or heavier. I apply a light coat of primer or a tint of
Like many artists I recycle unwanted acrylic colour. This is all the preparation
watercolours for acrylic painting. needed. I always keep a pile of these
I accumulate as many of these as boards available for practice pieces, like
anybody and re-using them has the the still life Coffee Break (right).
benefit of hiding the evidence of my
failure while not actually having to throw Tools and techniques
it away. I re-stretch the painting and I currently paint with a combination
apply either a thin coat of acrylic primer of flat brushes, mostly Daler-Rowney
or a suitable acrylic colour to act as a System 3, some plastic painting knives, t
Coffee Break, acrylic on mountboard,
foundation for the new picture. old credit cards and small pieces of 7x9in (18x23cm). I had no particular subject
For smaller paintings, mountboard off- mountboard (there are so many uses for in mind one wintry morning so I made this
cuts in varying sizes are perfect, being this one item). I may use a small Round small study of my coffee cup on an off-cut
brush or Rigger at the very end of a
t

robust and easily portable. I usually use of mountboard.

www.painters-online.co.uk NOVEMBER 2017 13


LP11 12-15 Smith_Layout 1 22/09/2017 10:09 Page 14

t
Lake Windermere, acrylic on paper, 13x15in (33x38cm). Water, sky and foliage are some of my favourite subjects for a loose approach.
The sailing boat was achieved by simply placing two pieces of masking tape at an angle before applying the paint. Reflections lend
themselves very well to this style.
painting. I find plastic painting
knives lighter and less likely to
damage the paper than metal ones.
I rarely make detailed drawings
before painting. Regardless of my
original source material I begin with
a simple preliminary black-and-white
sketch to establish the main
composition and tones. I keep
sketchbooks especially for this
purpose. I am not fussy how
I achieve the drawing and will use
pencil, pen or charcoal. I can then
take almost any liberty with colour
and texture in the painting, but if
that basic tonal plan is missing
there is a high risk of failure.
I begin painting by blocking in the
main shapes with one of my large
brushes using a dark mix, perhaps
phthalo blue with burnt sienna.
I sometimes include another deep-
toned colour, such as phthalo green or
violet, to add interest. I concentrate on
big shapes and don’t worry about crisp
edges or fine details. If the painting is
an outdoor scene I then add a lighter
tone in the sky and any other brightly
lit areas. This fixes the tonal range
t
Sunset on the River Wey, acrylic on paper, 13x15in (33x38cm). This is a fairly abstract and shapes in their simplest form.
interpretation on rough-textured paper of the River Wey near Wisley Gardens. Winter I gradually refine shapes using large
scenes do not have to be devoid of colour! brushes, and create layers with my

14 NOVEMBER 2017 www.painters-online.co.uk


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Acrylics

painting knives, old credit cards and


any other tools I have to hand. This
can be quite a long process, because
I enjoy trying out new methods, but
the objective is to bring all the major
elements of the painting together with
a satisfying range of shapes, colour
and textures.
Finally, I add essential details using
a small brush, edges of credit cards
and pieces of mountboard. As the
very last touch I add extreme
highlights with a Rigger. I then
leave the picture for a couple of
days before deciding if it’s finished.
Next month, I’ll show my painting
process step by step in the hope
that it will help you develop your
own acrylic painting style. Try the
following techniques for practice
in the meantime. LP

Brendan Smith
Visit www.brendanart.com to find
out more about Brendan and his
work. See more of his paintings
on www.painters-online.co.uk/
t
Fowey Morning, acrylic on paper, 14x16in (35.5x40.5cm). This was another early picture
artist/brendans completed almost entirely using painting knives and pieces of mountboard. It is possible to
suggest a huge amount of detail by flicks and ticks of paint as in the far background here.

TRY THESE TECHNIQUES

t
Mix colour on a portable stay-wet palette
t
Use a painting knife to ‘render’ a building

t
Use a piece of mountboard to make simple window shapes t
The spatula is used for blending in larger areas, including
to give a nice hit-and-miss effect. I also used masking tape to the sky
ensure a sharp edge on the corner of the building.

www.painters-online.co.uk NOVEMBER 2017 15


LP11 16-19 Campbell_Layout 1 22/09/2017 10:49 Page 16

Watercolour

Layers of colour
Part 1 Michelle Campbell demonstrates her painting processes
and techniques as she paints the natural world around her

LEARNING OBJECTIVES MICHELLE’S FAVOURITE MATERIALS


n Practise layering and n Surface n Miscellaneous n Media
wet-on-dry techniques l St Cuthbert’s l Daler-Rowney l Jars for water l Winsor & Newton l Faber-Castell Pitt pens
Mill Saunders liner brushes and mixing watercolour l Higgins Black Magic ink
n How to create depth in your Waterford and sable mix colours l Winsor & l Caran d’Ache Prismalo
watercolour paintings 640gsm Rough l Paper towels l Scalpel Newton gouache watercolour pencils
l Sponge l Steel ruler l Magic Color l Koh-i-noor graphite
n How to mix media confidently watercolour
paper l Old toothbrush acrylic inks pencils

I am passionate about painting,


especially watercolour. It’s flexible,
translucent and versatile, and I love
how the paint seeps into the paper. It’s
like a little bit of magic before your eyes.
glow. Last, but not least, is my all-time
favourite and my very best friend, the
pen, with which I can draw anything,
higher-quality brands. I buy my
watercolour paints and paper from
www.greatart.co.uk.
Gouache, a hardier and much stronger make squiggles, crosshatch or point. I use paper from St Cuthbert’s Mill,
pigment, gives you a firmer and more It’s important to invest in good-quality especially Saunders Waterford CP (cold-
solid block of colour when applied to watercolour. It will last longer and won’t pressed) paper. I use the heaviest weight
paper, wood or canvas. I also love acrylic yellow or degrade as much over time. In (640gsm), as the thicker the paper, the
inks, because of their vibrancy, which the cheaper quality brands, you will also more layers of paint and water it holds
makes your painting jump out at you and find the pigment is not as strong as the without buckling or straying.

t
Two for Joy, watercolour, gouache and pen on Saunders t
Blackbird, watercolour, gouache and acrylic ink on Saunders
Waterford 640gsm Rough watercolour paper, 11x8in. (28x20cm) Waterford 640gsm Rough watercolour paper, 11x8in. (28x20cm)

16 NOVEMBER 2017 www.painters-online.co.uk


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Watercolour

It is also important to have a good


range of brushes, although it obviously
depends on how large or small you
work. I have a range of Daler-Rowney
brushes from Nos. 000 to 2in., because
I work in all sizes.

Size and colour


The first thing I think about is size.
I cut the paper with a scalpel and steel
ruler, and place it on a drawing board or
work table. I then mask the edges down
so the paper is firm and flat for me to
work on.
The next step is choosing the colours.
I take colours from the natural world
and bring them to life with similar
vibrant hues, or I mix colours in jars
beforehand. I love to work with my
favourite colours: bright oranges, reds,
lime greens and turquoises.
It’s important to mix enough colour
if you are working on a large piece so
you don’t run out half way through the
painting. I do make a note of the colours
I mix so I can use it time and time again.
I keep small jam jars or ramekins, and
have two glass water bowls, one for
cleaning my brush and the other for
mixing.

Techniques for texture


Wet on dry Watercolour is a water-based
medium so the darkness and saturation
of the pigment can be manipulated,
depending on how much water you
add. My preferred technique is painting
wet on dry. I love the first dab of
watered pigment when it touches the
paper; it’s like a splash of magic and
I find it adapts to my style of illustrative
work, fun and playful. I like to explore
so I occasionally use wet on wet. Wet
on dry produces sharp edges to shapes,
whereas painting wet on wet, the
colours spread into one another,
producing soft edges and blending.
The two techniques give you very
different effects.
Lifting out I use a sponge – any sponge,
but natural is good – for dabbing on
background areas, such as leaves and
fauna, and scrunched-up paper towels to
give a textured effect. You can do this by
applying two-parts pigment and one-part
water on to your paper and dab the
pigment lightly with the scrunched-up
towel so the towel picks up some of the
pigment and leaves a texture. Laying
down a wash of colour then lifting parts
of it up is another great way to add
t
The Fall of Autumn, watercolour, gouache and acrylic ink on Saunders Waterford
layers of detail gradually. The towels are 640gsm Rough watercolour paper, 22x15in. (56x38cm)
also useful for correcting mistakes or
directing the paint in a different Thought processes I also keep sketchbooks that I can look
direction. My main inspiration comes from where back on to use for reference. I don’t
Splattering paint with old toothbrushes I live, the countryside, the wildlife and always make preliminary sketches.
creates lots of atmosphere. I dip the my animals. I walk three to eight miles If I am inspired by my walk, I generally
toothbrush in water then pigment and a day with my dogs so the chance of have an idea of what my subject is
use my fingers to rub along the bristles seeing a hare or a rabbit is probable. going to be.
about eight inches away from the paper. I generally take a jotter and a pen with You are invited to work along with
Depending on how much water and me so I can sketch the various animals me next month as I paint a robin step
pigment you apply to the brush, you and birds that I see every day. by step. In the meantime I hope the
can create small or large splatters. Try Occasionally I add these creatures to my following demonstration illustrates
this out on a separate piece of paper paintings. I have books upon books of how I went about tackling a painting
t

first, as the splatters can be very random. reference material, which I refer to, and of two hares. LP

www.painters-online.co.uk NOVEMBER 2017 17


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Watercolour

THE PAINTING PROCESS


Here is an idea of how I paint, from the initial
background wash to adding the final splatter.
Step 1

t
Initial wash
Working with a
subtle, transparent
background colour
allows the vibrant
colours of the
foreground to stand
out. Four parts
water and one or
two parts pigment
make a very
watered-down wash
with just a hint of
colour. I mixed
t
Step 2 Sketch
this in a small jar 1 Once the background wash was dry, I sketched the subject with
with water before an HB pencil before drawing over it with a Faber-Castell Pitt pen.
applying it to 2 I applied a wash of colour where I wanted the shadows to be,
the paper. using a mix of red and a hint of Payne’s grey then left it to dry.

2 I applied a base layer of colour. Here I left some areas clear,


t

such as around the front of the hare’s mouth, which will be a


different colour. I repeated the same colour again and again to
t
Step 3 Background
build up a strong pigment. I finally applied vibrant acrylic ink Before I painted the foreground, I worked on creating some
over the top of the paint, using a No. 8 brush. of the background layers. I used the same colour I applied to
the background, but added a little more pigment. The feeling
of depth was achieved by working in these layers.

t
Step 4 Supporting detail
Once the subtle background was complete, I built up colour
around the areas that needed it, especially around the main
subject. For each supporting subject, I applied a base colour and a stronger colour, I simply applied more layers. I used the lighter,
left it to dry before applying the same colour again. If I wanted translucent colours first then built on the darker colours.

18 NOVEMBER 2017 www.painters-online.co.uk


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Watercolour

t
Step 5 Main characters Step 6t
After applying the darker colours around Finishing touch
the subject I concentrated on developing To complete the painting, I used a
the main characters. Here I made loose
squiggles with the pen to give the effect
toothbrush to add splatters. These were Michelle Campbell
applied by dipping the brush in water
of hair. To do this, hold the pen loosely in then pigment then using my finger to Find out about Michelle,
your hand and use an up, down and around run through the bristles. This gave her work and classes by visiting
motion with the tip of the pen on the paper. a light splatter over the painting. www.michellecampbellart.com

t
The finished painting The Two Hares, watercolour, gouache and acrylic ink on Saunders Waterford 640gsm Rough watercolour paper,
8x12in. (20.5x30.5cm). This was painted as part of a commission for Lord Lee Morton from Droitwich Spa.

www.painters-online.co.uk NOVEMBER 2017 19


LP11 20-22 PP2_Layout 1 25/09/2017 09:33 Page 20

Watercolour

Painting project
Part 2 Paint along with Colin Steed as he demonstrates
the process of painting a local parade of shops in watercolour

LEARNING OBJECTIVES
n Practise a watercolour
painting process
T ime spent travelling is time lost
painting. We tend to look further
afield without considering subjects
right on our doorsteps. I recently turned
inspire me but, after some thought
about their setting, with trees,
flower beds and old-style lamps,
the subject became more
n Add figures to a street scene to my local parade of shops for appealing.
inspiration. Having lived in Galleywood Last month we considered the
n Learn to adapt photographs for over 30 years, I asked myself why time of day for the light and the
to suit your composition I have never considered the shops as right time of year to make the
a suitable subject. They certainly do not most of the planting, with the
shops as the focal point. In the
corner of the parade we have the
fish and chip shop (strong blue
colour) and the butcher’s shop
(red). The blue shop front therefore
sits back, making the strong red of
the butcher’s shop the focal point.
I then spent some time making
sketches, drawing figures and
taking compositional photographs
to achieve the correct composition.
The outline drawing was then
drawn onto my watercolour paper
(below left). I hope you enjoy the
following demonstration. LP

The scene that introduced last


t

month’s project: the local shops


in Galleywood

You will need


n Surface
l Canson Vidalon 140lb
NOT watercolour paper
15x22in. (38x56cm)
n Artists’ watercolour
l Ultramarine blue
l Prussian blue
l Cadmium yellow
l Yellow ochre
l Alizarin crimson
l Brilliant red
l Burnt sienna
l Burnt umber

n Brushes
l Pro Arte No. 4 mop
that points
l Pro Arte Series 100 Rounds,
Nos. 12 & 8 and a Rigger
n Miscellaneous
l Sharp 4B pencil
l Putty rubber

Colin’s final compositional sketch


t

20 NOVEMBER 2017 www.painters-online.co.uk


LP11 20-22 PP2_Layout 1 22/09/2017 11:08 Page 21

Step 1
t
Using your sketches and subject photo as
reference, lay the first washes using the
point of the No. 4 mop. Keep your first
washes light and fresh. If the colours are too
dark or overworked at this stage, you will
have problems creating a fresh painting.
1 Give the sky a wash of ultramarine blue,
leaving a few small patches of white paper.
Too much interest here will distract from
the focal point.
2 Use yellow ochre and burnt sienna on the
roofs, accommodation above the shops and
building in the centre, and add a touch of
ultramarine to darken, where necessary.
3 Lay an overall wash of cadmium yellow
and crimson red onto the foreground
planting area, leaving small patches of
white to add sparkle. Leave to dry
completely.

Step 2
t

1 Using a mix of burnt umber and


ultramarine and the Nos. 12 and 8
Rounds, apply a wash of stronger
colour to the roof areas. Leave some
underpainting unpainted on the roof
as you come into the picture on the
left-hand and right-hand sides. This
will give sparkle to the leaves on the
overhanging tree at a later stage.
2 Add the shop front door surrounds
and the red butcher’s canopy using
ultramarine, burnt sienna and crimson
red. Paint around the figures, where
necessary.
3 Use varying mixes of ultramarine and
burnt sienna to add colour to the first
and second floor window glazing.

Step 3
t

Now consider the amount of detail 3 The same technique is used to paint burnt sienna and carefully paint
you want for the shop interiors. As we the tree foliage. This is a strong mix in around the left-hand lamp.
are not close enough to show detail parts so use plenty of Prussian blue and
I decided to paint them wet into wet.
The light entered the window from
above so the back and top of the
interior of the shop appeared dark.
It’s not until I painted the lower part
that objects behind the glass were
seen so these were painted lighter.
1 With the No. 8 Round dampen the
areas of glass. Make a strong mix of
burnt umber and ultramarine. As you
work your way down, add more water
and burnt sienna. The shop window
on the left-hand side reflects the red
butcher’s shop canopy so use a lighter
mix of the same colour with added
alizarin crimson.
2 The foreground planting is made
up of many variations of green tones.
When painting these areas, preserve
some of the light underpainting. Use
Prussian blue, cadmium yellow and
burnt sienna in varying mixes and
tones. Paint the foreground planting
with a dry brush laid on its side and
dragged across the surface of the paper.

www.painters-online.co.uk NOVEMBER 2017 21


LP11 20-22 PP2_Layout 1 22/09/2017 11:09 Page 22

Watercolour

Demonstration continued Step 4

t
1 Treat the border planting in a similar
way, using the same strong dark mix and side
of the brush. Start with the middle distant
planting and work forward to the foreground.
Try not to cover too much underpainting as
this is only the shadow side of the plants.
Use a drier brush in the foreground to reveal
even more of the underpainting.
2 Use the No. 6 Round and a mix of
ultramarine blue and burnt sienna to paint
the large tree trunk, and a Rigger for the
branches and twigs.
3 The figures can now be tinted, using the
No. 6 Round and varying mixes of burnt
umber, ultramarine and crimson red.
I treated the two figures near the butcher’s
window in the same way as my original
watercolour sketch, but the figures with the
dog needed changes. I moved the dog to the
left. The red jacket on the left-hand figure on
the original study now clashed with the red
canopy so I swopped the jackets and toned
back their colour strength. The figure in the
distance was painted fainter, which also
helped with the feeling of depth.
t Step 5
1 Paint the lamps with burnt umber cadmium yellow. Use a fully loaded
and ultramarine, using a light mix on No. 8 Round for the shadows and for
the sunlit side and a very dark mix on the some of the lamp work. I added
Colin Steed
the shadow sides. Use cadmium yellow the gaps in the foreground path. Find out more about Colin,
on the glazed lamp covers before painting 3 Finally, apply titanium white with the his work and classes by visiting
the shadow side. Rigger to tidy up the highlights on the www.painters-online.co.uk/
2 Add all the main shadows with mixes of lamps, foreground tree trunk and artist/colins5
crimson red, ultramarine and a touch of foliage underneath.

t
The finished painting Galleywood, watercolour, 15x22in. (38x56cm)

22 NOVEMBER 2017 www.painters-online.co.uk


Pro
Arte
foliater
Pro Arte have collaborated with
well known artist Stephen Coates
who has designed his ‘Foliater’ brush.
Produced with a unique semi-circular profile on the
ferrule, this creates the perfect bristle shape to enable
a perfect stippling technique, ideal for the creation of tree
and leaf foliage. Don’t just take our word for it though…

See the brushes in action as Stephen ably


demonstrates the true magnificence
of this new brush.
It really is a must-have for all
discerning watercolour landscape
artists! See Stephen in action
by visiting YouTube
and simply type in
“Stephen Coates
Foliater”.
Available in
three individual
sizes and as a
set of three from all good art shops.
Pro Arte Ltd 01756 792929 admin@proarte.co.uk

p23_lpnov17.indd 1 22/09/2017 09:40:07


LP11 24-27 Coates1_Layout 1 22/09/2017 11:43 Page 24

Watercolour

Focus on trees
Part 1 Try four warm-up exercises to help you paint trees more fluidly before
tackling the demonstration painting next month, with Stephen Coates

LEARNING OBJECTIVES You will need


n Four easy exercises to practise n Surface n Winsor & Newton n Brushes
this month l Bockingford Cotman watercolour l Stephen Coates Foliater by Pro Arte
140lb NOT l Raw sienna l Pro Arte Series l Pro Arte Series
n How to handle colour and watercolour l Lemon yellow 101, Rounds 103, Rigger No. 2
your brushes paper l Ultramarine Nos. 2 and 8 l Pro Arte Series
n Understand shape and perspective l Burnt umber 106, 1⁄2in. flat

O ur green and pleasant land


throws up all kinds of stunning
landscapes, especially in the
summer when our deciduous trees are
in full leaf. I’m sure many of you have
attempted such a landscape, only to end
up disappointed. I would include myself
here. There are numerous challenges when
painting full tree foliage in watercolour.
I’m going to share some of the discoveries
I have made to help deal with aspects
Photographs courtesy of Andrew Locking

of this subject which have frustrated


me over many years.

The trouble with green


During the summer, just about everything
we see is green. The problem is, green
is just too green! Most of the watercolour
greens you can buy are too vibrant on
their own and not very natural. So for
grasslands, meadows, bushes and trees,
a variety of much warmer shades of green
are necessary. When the sun shines, the
greens catching the light are quite bright
but most of the foliage falls into shade
t
This fabulous photograph of a derelict building contains far too much green. As an and it is these much darker shades that
artist looking to find a suitable composition to paint, it would be crucial to work out artists are afraid to use. Not only that,
exactly how to tackle these vast areas of green. The most problematic of these being but a landscape swathed in green may
the huge mass of foliage overhanging on the right and the grassy foreground that
consumes over half the painting! My view would be, don’t bother! look beautiful to the naked eye or in
a photograph, but becomes a nightmare
to paint in watercolour.
So, my first tip is to choose a landscape
where the greens are broken up with
brown fields, paths, buildings or other
subject matter, which will contrast against
the green areas. Secondly, choose
landscapes where the trees are limited
in size and number so they don’t
completely overpower the composition.

This photo interested me greatly.


t

It contains pathways, walls and buildings,


which break up the green areas. There is
also a limited number of trees and one in
particular, sitting beautifully at the focal
point of the composition. This amazing tree
is the subject of a practice session further
on in the article and the picture as a whole
will feature as a step-by-step painting
demonstration in next month’s issue of
Leisure Painter. If you fancy having a crack
at it, perhaps some tree practice between
now and then would come in handy!

24 NOVEMBER 2017 www.painters-online.co.uk


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Watercolour

Opacity of watercolour paint The natural way for many artists to foliage, because the paint is too
Opacity means strength or thickness paint trees is to begin with the trunk transparent. The opacity of watercolour
of paint. The more opaque, the stronger and branch structure then add the dark green is low and this is a property of the
the paint and the less opaque, the more foliage, and finish off by dropping in all paint that we can’t do a great deal about.
transparent it is. Watercolour paints vary the really bright highlights. It is much The usual result is that the frustrated artist
in opacity from one colour and brand to easier for us to see the development of keeps trying to put more and more
another. Don’t worry too much about this the tree this way and it works well with light paint on to try to cover the darker
though, because in my experience there the likes of more solid media, including paint and it all ends in a desperately
isn’t a light watercolour paint that works oils, acrylics and pastels. Unfortunately, disappointing splodge. Sound familiar?
well for highlighting regardless of its I see many students attempting to paint All of this means we have to start with
opacity. Watercolour just won’t work this trees this way in watercolour, too. the light tones and finish with the dark
way, as it is non-permanent and designed The frustration is that the light greens ones, a fundamental principle with
to be applied loosely with lots of water. will not cover the dark branches and watercolour in general.

TREE SHAPES
It is commonly suggested that trees fall I would suggest that tree height and
into categories of shape such as those width is all that is important. You might
in this diagram (far right). Of course this be surprised to learn that many trees are
is true, but conforming to strict tree wider than they are tall. Try measuring
shapes can make us over-fussy as we a tree then draw a box accordingly with
carefully attempt to complete the profile. a soft pencil. Sketch the foliage or pick
A perfectly natural tendency that up a paintbrush and create the foliage
plagues us all is that everything has to within the box. You should find
be neat and regular, often ending with it much easier to break away from the
just a big round ball. Does this sound splodgy circle, because you instinctively
familiar, too? know that trees are not square.

EXERCISE 1
Here’s an easy way in to drawing and painting a tree.

1 On studying this photo,


t

I quickly realised that the


tree fitted into a square.

2 I sketched a square
t

and allowed a very small


section at the base for
the trunk.

I used a pencil to scribble in the foliage. Try this with a pencil or paint and I hope it will help to liberate
t t

you from being too pedantic.


t

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Watercolour

THE POWER OF PLANNING water then added a small amount of


Before you begin a painting, I strongly ultramarine to achieve the light soft
recommend that you spend time playing green (1). The second mix (2) needs
with colours and techniques, particularly 1 2 3 to be a bit stronger with less water and
with trees. Repetition and practice or dark purples and browns at sunset. more ultramarine to achieve a mid
undoubtedly brings about competence. green. The final mix (3) is ultramarine
I’ve made some suggestions about Colours used and burnt umber and contains the least
practice ideas for you to try. To move away from the harsh water of the three. This produces a
Firstly let’s get to grips with the paint. greens that the manufacturers make, dark greyish colour ideal for the darker
I am focusing on green, although you I produced two separate mixes tones in the foliage. This darker paint
can obviously paint trees any colour you containing raw sienna and a little lemon is a vital part of the blend in tree
wish. Warm colours for autumn perhaps yellow (above right). I added plenty of foliage and should not be feared.

EXERCISE 2
t 1 I used an ordinary No. 8 Round brush
and filled it to the brim with the lightest
shade of green. Then I quickly painted a tree
shape with a series of side-to-side strokes.

3 I picked up the dark paint and dropped


t

it into the lower part of the previous colour.


2 I immediately picked up mid green All this was done very quickly without
t

and swished it through the light green, washing the brush so that the colours blended
leaving the top area alone. easily. I added branches and trunk with a
smaller brush whilst still wet. Try painting
a whole row of these or even a whole page –
and don’t hold back on that dark paint!

LAYERS OF TREES
It is rare that you will find a single It is helpful to have more than one colour to begin, and thus removing
tree in a landscape. Generally there brush for this so that one can be the necessity for constant brush
are several that overlap each other. used exclusively for the light washing.

EXERCISE 3
t 1 I started with a single tree taking t 3 For a bit of fun,
care to add the dark paint across the I picked up a 1⁄2in. flat brush
base and right-hand side. The light is and swished green paint
coming in from the top left and will across, allowing it to touch
be the same for each tree. the underside of the trees.
The dark paint blended into
the meadow and created
a bit of a shadow.

2 I painted each tree in


t

the same way overlapping


and allowing some of the
wet paint to bleed across.
I also made sure that they
were different sizes. The
fourth tree sitting in between
two others and a little higher
required a switch of brushes
to finish. I touched the dark
paint into the V with
a No. 2 Round.

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Watercolour

BRUSHES FOR TEXTURE So I designed one myself. It is called provides firmness for stippling and a
The multi-leafed texture of shrubs and the Foliater and I am honoured to water-holding capacity to help you
trees is generally achieved with a have collaborated with Pro Arte, who control the release of the paint.
stippling action using a firm bristle. manufacture and distribute the finished I used this brush in exercises 3 and 4,
Finding a brush the right shape and product. The brush head forms a and as you will see, the texture of the
containing the correct mix of bristles unique semi-circular profile with the foliage makes the trees much more
has always been a frustration of mine. curve at the top. The bristle mix realistic. LP

EXERCISE 4
This tree sits behind a wall,

t
which, being much lighter,
I painted first, using a loose
version of the darkest tree
colour. I then created the foliage
using a medium Foliater brush
(left). I filled the brush head
with light green and delicately
touched down with a series of
gentle punches, releasing the
paint into small textured
crescent shapes.

2 Going straight to the mid


t

green without washing the


brush, I used exactly the same
technique, gently touching it
into the previous light green,
which was still wet.

3 Again without washing the


t

brush, I picked up the darkest


colour and dropped it in. This
dark tone is the most plentiful
and the thickest of the three.
I increased the quantity
towards the top of the wall
then finished off with a small
Round brush. The dark paint
was drawn down just over the
wall line and deliberately left
jagged to bring out the line on
the top of the wall. A few fine
branches were added with
The finished tree study
t
a Rigger brush.

Stephen
Coates
Find out more
about Stephen,
his courses and
demonstrations,
his book The
Watercolour
Enigma and new
Foliater brushes
by visiting
www.coatesart.
co.uk. Turn back
to page 23 for
details of the
Foliater brush
from Pro Arte.

The finished sketch


t

www.painters-online.co.uk NOVEMBER 2017 27


LP11 28-31 Fisher Ink_Layout 1 22/09/2017 12:02 Page 28

t
Cattle Market, ink and coloured pencil, 5x7in. (13x18cm)

Line and colour


Part 7 Paint boats, buildings and busy market scenes as you
combine acrylic ink with coloured pencils, by Tim Fisher

LEARNING OBJECTIVES
n Practise a variety of coloured-
pencil techniques
n Develop your drawing skills

T o conclude my series on inks this


month, I plan to look at combining
the ink line with coloured pencils.
I was recently commissioned to produce
artwork of well-known local landmarks
for a local hotel and found that colour
sketches were a good way to present my
ideas to the customer. I sketched out my
proposals with pencil and ink then added
colour using Derwent Coloursoft coloured
pencils. The surface I chose to work on
were pages from the Derwent Classic A4
sketchbook. This sketchpad contains
sheets of 165gsm smooth paper, which
takes ink and coloured pencil very well.
Cattle Market (above) shows the local
cattle market in Melton Mowbray. I
developed this idea using a 3B pencil

Egerton Lodge, ink and coloured pencil,


t

7x9in. (18x23cm)

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Acrylic inks

scribbled quickly onto the paper. I then colour. I think the second sketch is much sharpened coloured pencils works well to
added colour over the drawing. cleaner than the first as pencil tends to represent the colours of the buildings and
Egerton Lodge (below left) shows another drag across the drawing surface, making it foliage. These sketches were very quickly
subject in Melton Mowbray, which was grubby, when coloured pencils are used developed adding minimal colour to make
drawn entirely in ink before adding in combination. Cross-hatching with an idea of the finished painting.

TINTED SURFACES
More heavily worked drawings can be
quite effective when combining ink with
coloured pencils. It is important to select
the correct type of surface when producing
these types of paintings. Smooth tinted
papers work well with coloured pencil and
two of the best types of art paper I have
found are Stonehenge 250gsm paper and
Clairefontaine Pastelmat, a 360gsm card
that has a very fine coating of cellulose
fibres, this gives a textured finish which is
ideal for coloured pencil work. Although
these are quite heavy-weight papers I
usually cushion the underside with several
sheets of ironed newspaper or a large
piece of picture framers’ mountcard to
prevent any marks coming through
from the drawing board.

Step 1
t

The view of Up the Garden Path (right)


was drawn onto cream Stonehenge
paper with a Faber-Castell fine tip Pitt
Artist pen. I added quite a bit of detail
to the initial drawing as well as
darkening the window openings over
which I later worked the coloured
pencils using the set of 72 Coloursoft
pencils. I reinforced some of the
nearer lines in ink whilst leaving
distant lines on the horizon paler
to give a sense of recession to the
drawing.

Step 2
t

I started by lightly working colour


ideas over the entire surface. Some
areas were then strengthened with
more intense versions of the same
colour. It’s difficult to remove mistakes
made with coloured pencil, though
marks can be lightened with a plastic
eraser without damaging the paper
surface too much. It was a dull day
when the photograph was taken and so
I decided to bring the light in from the
right, which helped when applying
shade to the bushes and other plants
growing in the foreground. There were
a number of choices for shadow colour
in the set and in this instance I chose
loganberry, a warm grey violet, which
was used to create shadows on the
building and spilling across the path in
the foreground. Flowers were treated
simply by adding dots of colour into
the foreground
t
The finished drawing Up The Garden Path, ink and coloured pencil on cream
Stonehenge paper, 10x11in. (25.5x28cm)
t

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t
The Old Mill, Tewksbury, ink and coloured pencil on maize Pastelmat, 10x13in. (25.5x33cm)

White on cream buildings facing across the water. ink over previously applied coloured
The Old Mill, Tewksbury (above) is quite I added additional cloud shadow by pencil.
a detailed ink drawing produced on maize introducing petrel grey and white grey In conclusion, ink in pens or contained
Pastelmat paper. Here, I started with into the sky. Directional lines were added in bottles is a flexible and exciting
coloured pencil into the sky on what was onto the rooftops and walls of the medium that can be combined with other
an overcast day, adding shadow over the buildings to represent the tiled surfaces media to create anything from sketches
mill from light coming into the right of the and wooden cladding and also the ripples to finished paintings. Using it will hone
painting. The pale cream background on the water. your drawing skills, offering a way of
helped the white that was added to the Some of the dark lines such as the fence producing expressive marks without
sky area and also to the fronts of the and building edges were reinforced with the tyranny of the plastic eraser. LP

Demonstration Brancaster Harbour

Step 1
t

Brancaster Harbour is another painting


produced on maize Pastelmat. This
surface takes the ink line very well
though care must be taken not to pause
with the pen tip touching the paper, as it
tends to bleed slightly. The tide had been
out for some time when I took the
photograph and the boats were high
and dry, though I decided to add more
puddles to break up the foreground and
not leave too many expanses of the
same area to work colour over.

Tim Fisher
Find out about Tim, his teaching
and paintings by visiting
www.timfisherartist.co.uk

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Step 2
t
1 I added coloured pencil over the entire
subject. Applying white over the cream-
coloured background into the moored boats
gave me a good idea as to how the work
would develop. Into the sky part I added
pale peach and white from the horizon
upwards and cloud blue downwards to form
a cloud edge. A very sharp pencil helped to
blend the two colours together. I used an
electric helical sharpener to create a fine tip.
2 The distant land was started with a smudge
of loganberry across the horizon underneath
which I added ochre. For the rest of the
distant shoreline I added yellow green.
3 The nearer landmasses had mid green,
light green and green added using
directional strokes to represent the grasses.
As the greens came forward I used colour
that was tonally darker by applying more
pressure to give a sense of recession. and electric blue for the hull. terracotta around the base. The colours were
4 The fishing boat had ultramarine added 4 White was added to the surrounding strengthened on the cabin of the fishing boat
for the cabin and the upper sides of the puddles and I formed a reflection at the with bright orange and pimento. Pale brown
hull, which was then darkened in places rear of the boat using lighter strokes of was added for the mast and areas of the deck
with indigo. the same colour. I created the other puddles where the ropes and chains are positioned.
by adding white and baby blue, edging the 7 I introduced a sloping shadow going
t Step 3 puddles with a fine line of brown earth then into the cargo hatch with brown black.
1 The foreground mud was added with fine added more surrounding mud with strokes I darkened the shadow areas with heavily
horizontal strokes of brown earth, reserving of brown black. applied petrel grey.
blank paper for the puddles. Shadows were 5 All the boat shadows were added by 8 To finish the painting I used white
added around the boat cabin using steel grey. combining indigo and petrel grey, while FW acrylic ink and a fine brush over the
2 Detail and shadows were introduced to the mooring ropes were introduced with coloured pencil to sharpen up some of the
near banks with indigo and ochre. brown earth and white. white areas along the top edge of the boat
3 Colour was added to the far boat: baby blue 6 I finished off the rowing boat with a band hull, mooring rope and the lettering
for the cabin, and petrel grey, dark terracotta of indigo around the top edge and mid against the blue sides.

t
The finished painting Brancaster Harbour, ink and coloured pencil on maize Pastelmat, 10x13in. (25.5x33cm)

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Acrylics

Beside the sea


Helen Elliott discusses her painting and thought
processes as she creates one of her signature paintings
two reds, two blues and one green, with the I rarely clean my brushes between
LEARNING OBJECTIVES addition of black and white. The colours are colours so that random, small unusual
n Mix colour on the canvas Prussian blue, ultramarine blue, phthalo blue mixes of colour occur on the canvas.
green shade, phthalo green, quinacridone Working with a pre-chosen cohesive colour
n Work with a limited palette magenta, cadmium red, cadmium yellow, scheme adds to the vibrancy and cohesion
n How to draw and paint hansa yellow medium, carbon black and of the finished painting. The colours
with acrylic a heavy-body titanium white. I chose here all mix well together so there’s
less likelihood of making dull, muddy
Painting process colour mixes.

F or this demonstration painting


I chose to use Golden Fluid Acrylics.
I love their transparency and thin
consistency, almost like single cream.
This transparency is great for creating
Before I begin a painting, I make a colour
chart of the colours I intend to use (below
left) then lay out the tubes, bottles, clean
water, a damp cloth and a selection of
brushes close to hand. I do not squeeze the
For this painting I worked on a 16x16in.
(40x40cm) shallow-edged, pre-primed
canvas, on an easel. I chose three flat
brushes – wide, medium and small, and
one very small pointed brush. These are
depth in a painting, as it allows each layer paint out onto a palette, as I prefer to paint all budget range brushes as I find that
to glow through. If I want passages of directly from the tube, mixing the colours on my technique of scrubbing thin layers of
opacity, or to cover up areas, I’ll add the canvas as I work. This keeps the mixes transparent paint into the canvas is hard
to the mix heavy-body titanium white, fresh and, as the nature of acrylics is to dry on brushes and, expensive or cheap, they
which is super-opaque. fast, it also means I have supple, malleable won’t last long, so I prefer to use value-for-
For this painting I chose two yellows, paint to hand for each passage. money synthetic brushes. LP

Demonstration Ogmore on Sea


You will need
n Surface n Golden Fluid l Cadmium red
l Shallow-edged, Acrylics l Cadmium yellow
pre-primed canvas l Prussian blue l Hansa yellow
16x16in. (40x40cm) l Ultramarine medium
l Carbon black
n Brushes blue
l Phthalo blue
l Three flat brushes – n Miscellaneous
green shade
wide, medium and l Damp cloth
l Phthalo green
small l Heavy-body
l Quinacridone
l One very small titanium white
pointed brush magenta
acrylic

Before starting, choose a limited palette of colours. This will


ensure a cohesive colour scheme in your finished painting.

Prussian blue + Hansa yellow medium


1 Using chalk on dry layers of paint is an easy way to mark
t

Phthalo blue green shade + titanium white out where you want elements of the painting to be. If the chalk
line looks right, commit it to paint; if it doesn’t, wipe it off with
a damp cloth and try again.
Ultramarine blue + Cadmium yellow medium t
Step 1 Block in the shapes
My initial washes of bold colour defined the structure of the painting
and were applied with a 6cm flat brush. The large brush covered the
Quinacridone magenta + Ultramarine blue canvas quickly and prevented me from adding small detail too early.
Experience has taught me not to add detail too soon as, inevitably,
it will want changing later – houses need moving, windows in the
wrong place or flowers the wrong colour. Starting with the big shapes
Cadmium red hue + Cadmium yellow medium and progressively working over the whole of the canvas down to the
fine details saves me a lot of time and worry.
Even in these early layers it’s important to keep stepping back
from the easel to see how the painting is progressing. From a
Phthalo green + Phthalo green + Quinacridone magenta
titanium white distance of a couple of feet or more, it is a lot easier to see
what’s working and which lines or colours are jarring.

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Acrylics

At this point I painted the scene from memory


alone. I didn’t want to use photographs or
reference material, as I was trying to achieve
a sense of place on the canvas rather than an
accurate portrayal. I will use reference material
later to add fine details. Now I was concerned
with suggesting dominant key features – sea,
cliffs, foreground flowers, stream and houses –
using large blocks of harmonious colour.
Harmony of colour is crucial to the success of
the finished painting and is easily achieved
by limiting the colours used in each picture.
Once the initial layer was dry my next step was
to take a piece of chalk and roughly mark out
any alterations to the design. Here (below left)
you can see I used a little green chalk to mark
where I’d like the shoreline and foreground
foliage to be. It is easy to remove chalk with
a baby wipe or damp cloth. I can therefore
perfect the line before committing it to paint.

Step 2 Add next layer of simple shapes


t

Once I was happy with the large blocks of colour


and the initial lines, I started to add a few simple
flower shapes to the foreground, using a mix
quinacridone magenta and titanium white. I also
added the first of the black outlines with a thin
brush and black acrylic. Throughout the layering
process these lines would be re-established many
times, each time redrawn slightly differently
to add subtle curves and movement. With each
layer the blocks of shape between the lines were
re-coloured, sometimes with the same colours,
sometimes with a complementary colour, with
each transparent or semi-transparent layer 2 It is important to keep stepping back from the painting to assess what is working.
t

building up glowing depth to the colour. Keep what you feel works and paint over what doesn’t.

t Step 3 Next, the flower detail


This picture shows the initial black outlines being coloured over HOW TO MIX PAINT ON THE CANVAS
with a mix of cadmium yellow and titanium white. I added titanium
white to my colour mixes to make the transparent paint opaque.
In this way I was able to paint over any lines beneath. This is a
super-easy way of painting spontaneously without having to pre-
plan all the elements of the painting before starting, or laboriously
paint around existing areas. If an element of the painting wasn’t
working, I simply covered it up with a mix of paint that included
highly opaque pigments, such as titanium white or any of the
oxide colours, and immediately the painting was transformed.

t
Try mixing your paints directly onto your canvas for subtle
variations of the colour mix.
This close-up shows the benefits of mixing paint directly on
the canvas. Harmonious colour combinations are easily made
by painting quick strokes, allowing the paint to semi-mix on
the canvas whilst still wet. For this reason, I painted just a small
section of the stones on the beach, or the cliffs, which were
painted in the same three colours, at a time. For these rocks
I used quinacridone magenta, Prussian blue and titanium
3 Adding titanium white to a transparent colour will make white. They were then outlined in black fluid acrylic.
t
t

it opaque and allow you to paint over any underneath layers.

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Acrylics

Demonstration continued
t Step 4 Now on to the detail
At this point I became more concerned specific places, so long as I include the main no one seems to mind. I am selective rather
with detail. I switched to a smaller brush features and keep true to the colours and than slavish in what I choose to include.
and brought out my reference photographs feeling of the place, the viewer’s eye and This is the benefit of working from very
to ensure I captured the buildings and other head can be very forgiving. I’m not a fan of loose sketches initially or, as I prefer,
features appropriately. I used a thin brush most architecture from the 1960s to 1980s so from memory alone. By this method you
to create black outlines on top of the dry I tend to leave buildings out of my paintings instinctively hone in on the notable elements
underpainting, after which I took much that are from this period. I also leave out car of a scene and do not get caught up in
pleasure in adding colour. When painting parks, toilet blocks and satellite dishes, and extraneous and difficult-to-paint details.

4 Draw the detail with a fine brush and black paint. 5 Adding shadow with a damp cloth will bring the painting alive
t t

Then enjoy colouring in!


t
Step 5 Add depth to the elements
Now that all the elements were in place –
colour, line, design and detail – I started to add
depth to the cliffs, houses, rocks, bushes and
other elements by suggesting shadow areas that
were lightly dabbed on a mix of phthalo green
and quinacridone magenta with a damp cloth.

Step 6 Stand back and look


t

The background was almost complete. Standing


back I could tell the big shapes and the lines of
the design and detail were harmonious and
pleasing to the eye. I scanned the whole painting
from top to bottom, checking that all the detail
I wanted to include was correct. As the painting
progressed I spent more time standing back from
the easel, looking at the canvas to allow the
painting to sink into my mind, and less time
up close actually applying paint.

6 Make sure you stand back from your painting


t

frequently to assess it. It’s really difficult for your


eye and brain to assess its progress close up.

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Acrylics

t Step 7 How to add life to the scene Helen Elliott


I was very happy with the background people and, of course, a dog add Helen is author of Keys to Creativity (Graffeg,
and detail so I moved on to the finishing interest to the scene. These figures are 2016) and is a certified Golden Artist Educator.
touches, which included a dab of heavy-body composed of very simple shapes and She demonstrates and holds workshops
titanium white, applied with a baby wipe, to have no features. I have learned that throughout the UK and Europe. She lives and
suggest clouds then simple black and white it is better to leave faces empty; it is works at her gallery and studio near the west
fine brushstrokes to suggest birds. a simple task for the viewer’s brain Wales coast. For details of her work and
I then added the bit I like best. A group of to make up a face. workshops please visit www.helenelliott.net

t
The finished painting Ogmore on Sea, acrylic on canvas, 16x16in. (40x40cm)

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Composition

In the frame
Part 2 Tony Paul looks at classical compositions
and how to apply them to your work

LEARNING OBJECTIVES
n

n
How to compose your paintings
Understanding how various
E ven in the early medieval times
artists used formal compositions
in their paintings, particularly in
religious subjects. Figure 1 (below left)
shows a diagram of a typical (probably
artists’ names and picture dates and
you will be able to compare the diagrams
with the paintings.
Circular paintings need careful
consideration in terms of composition.
classic shapes can enhance egg tempera) altarpiece, Virgin and Child As I have said, the elements in the
your work Enthroned by Fra Angelico, which he painting have to relate to the edges of
painted in 1428 to 30. Its ‘A’ composition, the support, so just as horizontal and
with the Madonna and child centrally vertical elements will relate to a rectangle
based, has similarly balanced gangs of there needs to be circular movements
angels to either side. The painting is within a circular support. If we look at
opulent with rich gilding, and brightly Michelangelo’s Doni Tondo of 1504 we
coloured with lapis lazuli, ultramarine, can see how these circular movements
vermilion and gold leaf decorated clothing. have been implied (Figure 3, below left).
The characters within this work have Circular paintings can look insecure, as if
tooled circular haloes that would reflect about to roll away, so usually a stabilising
the lamp or candlelight wonderfully. device such as (in this case) a horizontal
The saints’ heads radiate in arcs from path, will still any spinning sensation.
the Madonna. The effect is of calmness,
richness and devotion, inviting you The golden section
to join in with the worship. The division of a line, other than in half,
The main focal point is, of course, the to create two satisfying lengths was first
Virgin Mary and to reinforce that, most, named the Golden Ratio by Euclid, 200BC.
if not all the saints stare in mute devotion This ratio is commonly found in nature
at her. Our gaze is designed to follow and was used in Greek architecture to
their gazes. With the opening between create buildings of pleasing proportions.
the angels we feel that we are invited to There are geometric and algebraic
walk through and ascend the steps up formulae to divide a line into these
to the mother and child. sections, but I won’t trouble you with
Often architects used structural elements these. In the diagram (Figure 4, above
t
Figure 1 ‘A’ composition, with main with the idea that a painting could be right), the purple lines indicate where the
focus in the centre (from Fra Angelico’s framed by them. In the 1518 painting of carefully worked out golden sections are,
Virgin and Child Enthroned) The Assumption, Titian made an arched but the orange lines close to them are the
topped painting to fit in such a feature. lines that divide the rectangle into thirds.
This composition is based on a circle and Thirds are near enough to the golden
a square. Mary’s head is at the centre of section for the purposes of painters. The
the circle and at the apex of a triangle law of thirds promotes the idea that you
that links the lower square and the circle. will have a pleasing composition if any
The earthly and heavenly elements of of your focal points are in the area where
the composition are linked cleverly by the vertical and horizontal lines intersect.
a dangling cupid and a man’s outstretched Placing horizontals, such as the horizon
arm (Figure 2, left). Google the titles, in landscapes, on the line of an upper or
lower third will usually result in a well-
balanced composition. Because this ‘law’
was based on an aesthetic judgement,
you may well find that many of the focal
points in your own work may, unwittingly,
already broadly conform to it.
Many supports used by painters are
rectangles based on a proportion of 3:2.
Such Imperial sizes as 6x9in., 30x20in.
and 36x24in. are in common use.
Approximations, such as 10x8in., 12x9in.
(or 12x10in.) and 14x10in. are intermediate
sizes to allow easy making up of canvases
with stretchers. These proportions result
in pleasingly shaped paintings.

Perspective
The eye likes to follow lines so the artist
t
Figure 2 A preconceived structural t
Figure 3 A circular composition needs can use this trait to guide the viewer to the
element (an arch) was used to frame this circular movement within the painting centre of interest. As we saw in the first
painting (from Titian’s The Assumption) (from Michelangelo’s Doni Tondo) part of this series Hobbema’s X-shaped

36 NOVEMBER 2017 www.painters-online.co.uk


LP11 36-37 Paul_Layout 1 22/09/2017 12:20 Page 37

t
Figure 4 The golden section

t
Tony Paul The Salute Evening Light, oil on linen canvas, 18x26in. (46x66cm). I broke
the plunging perspective with dozens of figures in irregular groups. The difference in
scale between the fore and background figures reinforces the sense of distance.

t
Figure 5 Pissarro used figures, a horse and
cart and shadows to allow the eye to wander
slowly around the picture (from Pissarro’s
The Entrance to the Village of Voisins)

t
Figure 6 In Leonardo da Vinci’s Last Supper,
all the perspective lines conjoin at the head
of Christ. His head is also sited against the
light, thus ensuring we get the point.

Tony Paul Lynsey and the Wasp, egg


t

tempera, 8x714⁄ in. (20.5x18.5cm). The use


of an arched mount complements the
shape of Lynsey’s hatted head.

composition The Avenue, Middelharnis


is a single-point perspective view of
a road going into the distance. If the
road just tapers until its sides merge into
a point it’s rather like opening the biscuit
tin to find there’s none left – very
unsatisfying! So, if you use a road or lane
in your painting, there needs to be things
of interest along the way. Hobbema used
figures at various points to do this.
In Camille Pissarro’s 1872 oil The
Entrance to the Village of Voisins he
used two figures, a horse and cart and
horizontal shadows, cast by trees across
the road, to slow the eye on its route
into the picture (Figure 5, above).
as seen in Lynsey and the Wasp (above).
Rhythms Next month I conclude the series by Tony Paul
Using repetitive movements in a painting exploring how a mood or emotion can Read a number of Tony’s past articles
is another compositional ploy. These be created by careful use of composition, on www.painters-online.co.uk and
repetitions can echo elements within the and how colour and symbolism can follow the links to articles
paintings or allude to the paintings’ sides, be used effectively. LP

www.painters-online.co.uk NOVEMBER 2017 37


LP11 38-41 Soan1_Layout 1 26/09/2017 11:52 Page 38

Watercolour

Wildlife in watercolour
Part 2 Make the most of watercolour’s transparent
properties as you paint meerkats, with Hazel Soan

LEARNING OBJECTIVES
n

n
Build confidence with brushstrokes
Add detail wet in wet
T his is the second of a three-part
series on how to paint lively
wildlife representations in
watercolour. In last month’s issue we
overall shape, adding colour, wet
into wet. This month we add
surface detail, discuss warm and
cool blues, and observe light and
n Build colour and contrast knowledge began with the brushstroke and the shadow. LP

Demonstration 1 Adding surface detail


Meerkats, aside from being adorable, are The meerkat watchman, posted on guard,
COLOURS USED an ideal painting subject for a quick lively stands upright, moving only his head,
l Raw umber watercolour. They make interesting shapes, while the other meerkats scamper around
l Ultramarine blue and those on sentry duty give ample time the vicinity of the burrows, usefully
l Burnt sienna for the painter to grasp the light and shade repeating the same pose while they
and note the textural patterns of the coat. scavenge for food on all fours.

t Step1 First wash for shape


Paint the shape of the running meerkat and his shadow with a dilute wet
wash of raw umber.

Step 2
Add the shadow
t

Touch in the shadow


on the underside
from the belly with
ultramarine blue.
The two colours
mingle together as
the blue disperses
upward into the wet
paint. Where it stops
shy, it gives the
suggestion that the
back is lighter on top.

t
Step 3 Add the local colour
Add slighty concentrated burnt Step 4 Add the surface pattern t
Rigger (narrow) brush. Being dry, the colour
sienna into the wet wash to boost Touch in the small details that describe barely spreads out into the damp wash, but
the local colour. the broken stripes on the meerkat’s back just enough to blur the edges of the stroke
using neat burnt sienna and the tip of a to give the impression of soft hair.

38 NOVEMBER 2017 www.painters-online.co.uk


LP11 38-41 Soan1_Layout 1 26/09/2017 11:52 Page 39

Step 5 Add the ear,


eye and nose details
t

Mix neat, almost dry burnt


sienna and ultramarine to
make a black. Touch it into
the damp paint to detail the
ear, eye and nose then use it
to darken the hind leg, the tip
of the tail and the underbelly.
Again, the mark softens just
a little but remains distinct.

The finished painting


t

Running Meerkat,
watercolour, 5x7in.
(13x18cm)

Demonstration 2 Warm and cool blues


Colours have a temperature bias, veering with little sign of blue remaining.
towards the warm, red end of the spectrum Swapping the warm blue for a cooler blue
COLOURS USED or towards the cool, blue end. This bias alters the blend. There is no better way to
l Yellow ochre affects the results of mixing. In wet-into-wet learn how temperature bias affects mixing
l Prussian blue watercolour the individual pigment particles than by seeing the changes in practice. As
l Raw umber mix on the paper to become a coloured you gain confidence in wet-into-wet mixing,
l Burnt sienna blend. Ultramarine blue, a warm blue, swap the colours in the combination, and
mixes with burnt sienna to become a grey, note the effect this has.

t Step 1 Step 2
t

Paint the shape of the Add raw


meerkat, standing tall umber
on duty, in dilute yellow into the
ochre and Prussian wet mix.
blue, a blue with a cool
temperature bias.

Step 3
t

Touch in the local colour and striped pattern


with the tip of the Rigger, using neat dry
burnt sienna, which seeps into the wet paint
softening the mark. Note the difference in the
resultant colouring of this meerkat, painted
with a cool blue, and the running meerkat t
The finished painting Cool Blue Meerkat,
t

(top), which was painted with a warm blue. watercolour, 7x5in. (18x13cm)

www.painters-online.co.uk NOVEMBER 2017 39


LP11 38-41 Soan1_Layout 1 26/09/2017 11:52 Page 40

Watercolour

Demonstration 3 Showing the light


Every form is affected by the amount dimensionality on the two-dimensional
COLOURS USED of light it receives, or the lack of light, surface of the paper. The relatively
l Yellow ochre resulting in a play of light and shadow static pose of the meerkat sentry allows
l Ultramarine blue over the surface. Observing the light and time to examine the direction of the
l Burnt sienna shade, and showing it in your painting, is light, and the positioning of the shade,
one of the main ways to imply three in relation to his form.

Step 1 A pale first wash

t
I used a pale yellow ochre wash to establish the
shape of the meerkat’s shaded side and outline the
lit side with a fragment of the background, leaving
white paper for the light playing over his back.

t Step 2 Paint the shade


Brush dilute ultramarine blue into the damp
ochre, wet into wet, to establish the shaded side
and the cast shadow and to turn the background
towards green.

Step 3 Add local colour


t

Mix dilute burnt sienna with yellow ochre


and add immediately into the damp shaded
side and lightly across the back to colour the
lit side, overtaking and blending with the
blue and softening the contour of the back.

40 NOVEMBER 2017 www.painters-online.co.uk


LP11 38-41 Soan1_Layout 1 26/09/2017 11:52 Page 41

Watercolour

Step 4 Detail the stripes

t
Brush in the pattern of small stripes
down the back with the Rigger, using
neat burnt sienna. The paint is almost
dry so it absorbs water from the previous
wash and does not spread far into the
wet paint, keeping the detail clear.

Step 5 Enhance
the background
light and shade
t

Use yellow ochre and


ultramarine blue to deepen
the background against
the lit side and to introduce
a lighter background on
the shaded side, thus
maintaining the same
play of light and shadow
established at the
beginning.

Hazel Soan
To find out about
Hazel, her work, workshops
and holidays, visit
www.allsoanup.com. Visit
www.spencerscotttravel.com
for details of Hazel’s
holidays with Leisure
Painter, and buy her books
from our bookshop at
www.painters-online.com
t
The finished painting Light and Shade Meerkat, watercolour, 7x6in. (18x15cm)

www.painters-online.co.uk NOVEMBER 2017 41


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p42_lpnov17.indd 42 22/09/2017 10:10:27


LP05 43-45 Kinnear_Layout 1 22/09/2017 12:32 Page 43

t
Majesty of the Hills, oil on canvas, 71x9412⁄ in. (180x240cm). Paint along with Martin as you complete your own version of this scene.

How to paint a winner


Part 1 How to think, observe and plan like an artist. Leave your colours in their
tubes this month while you plot out composition, tone and colour for your next
painting in this two-part guide to producing your best work, with Martin Kinnear

the artist created this image? In other Good visual design


LEARNING OBJECTIVES words, if it’s painted with some clarity Artists debate endlessly about the
n How to set your intention of vision and a bit of passion for the correct way to paint. Some insist you
subject, the picture will generally be must paint directly from a live subject,
n Build compositional and design more engaging than a dry technical others, such as Matisse, feel that
skills exercise. imagination is more important. My
n Work on compositional, tonal Followers of my occasional blog view? Always paint away from the
and colour sketch (alizarinblog.com) may have read that subject and towards your vision. By
I’ve taken a second studio in the north, that I mean, take a subject as your
so inspired by the surrounding hills starting point, think what you wish

H ave you ever looked at


a painting and thought to
yourself: I wouldn’t know
where to start. If so then this two-
part series is for you. This month
Majesty of the Hills (above) is about
capturing something of the grandeur
of the Lakes, Pennines and Dales. So
while I’ll be worrying about all kinds
of details, from what colour the first
to convey about it then work towards
conveying that vision, rather than
slavishly copying what you see.
Don’t shoot the messenger, but
while I agree that art can be about
we will be looking at how to visualise imprimatura should be to where the many creative, conceptual and
an inspiring view as a painting, final touches of impasto are best placed, technical things, I always insist that
working through the process step I mustn’t lose sight of the big picture: first and foremost a painting is an
by step, and next month the conveying the majesty of the hills. exercise in visual design. Get the
technicalities of how to paint it. When I first started painting and visual design wrong and you’ll always
expected to be overwhelmed by the be trying to paint your way out of
Set your goal detail, I’d often chalk the big idea I was a poor start. For me, then, expressing
I see many paintings and my first working towards on my studio wall. a concept must start by working out a
question always is: Can I see why
t

I recommend you do the same. decent visual design in the form of a

www.painters-online.co.uk NOVEMBER 2017 43


LP05 43-45 Kinnear_Layout 1 22/09/2017 12:31 Page 44

Oils

sketch or series of sketches. My


sketches always work towards
three specific and interrelated
elements, these are:
Composition The big arrangements
of shapes leading to a focal area.
Value The general arrangement
of light and dark, which should
support the composition.
Colour The general use of colours,
which should work with the above.
The most important things in
a painting are form and value,
observed Corot, while colour comes
last, like a friend you welcome.
It’s wise advice and, for that reason,
I generally look to subordinate
colour to value when that suits the
big idea behind my painting,
although that’s not invariably the
case for very chromatic works, such
as my recent garden paintings
where the big idea was to convey
joyous colours.
Using The Majesty of the Hills as
my theme for these articles, you
will find on these pages the three
t
Compositional sketches are easily done in dry media, such as Biro or pencil; just try to sketches that went before I picked
get a feel for the ‘run’ of shapes, lines and how they interact in a visual sense. I like to play up my brushes to paint my finished
with a few options so a pencil and a bit of scrap paper don’t feel very precious. I’m not painting (page 43), which I’ll show
sure I’d create good compositional sketches on anything I didn’t feel happy to spoil. you how I painted next month.

t
Value sketches are really about masses (areas, blocks) rather than lines so pencil is not a good choice; it’s too precise and linear.
Charcoal works at a pinch, chalk pastel is better and inky washes or paints are best. Again, do a few; you’ll regret not playing with options.

44 NOVEMBER 2017 www.painters-online.co.uk


LP05 43-45 Kinnear_Layout 1 22/09/2017 12:31 Page 45

Oils

Sketching out my ideas Many artists go straight for the 6 Sleep on it Okay, you don’t need to
Composition I wanted the picture to paintbox and hope it’ll turn out sleep, but you should certainly have
lead up towards the hills, drawing all right. Don’t do it and if I haven’t a coffee break and weigh it all up
the eye into it. For this I invented convinced you yet then please give asking yourself: Do I have a clear
linear marks, such as roads, streams planning a chance before painting. visual intention for this picture? Do
and tree lines, to lead to a dramatic Once you know what you want I have a composition that delivers
focal area. To emphasise the to say with your picture and have that? Have I worked out the lights and
towering hills, the sky couldn’t worked out roughly how darks – the values – I’ll be using and
be too dominant; a high to very composition, value and colour can do they work with and support the
high horizon is in order. help you do that, you should work composition? Have I selected the
Value Changes in light to dark create out a rough sequence for realising palette of colours I need? If so, get
drama so value is the key to this your idea. Here’s mine for this them out and put the others you have
picture. I decided to have dark particular study: out of reach? Now pin your sketches
glowering hills towering over a 1 Imprimatura Create a base colour on the wall, set out your palette and
typically Dales scene; a dramatically from which to work. begin painting. LP
sunlit field. 2 Sketch in Draw the big design, just
Colour My big idea to convey the to place the elements in roughly the
majesty of the hills couldn’t be told right places.
well through strong colour, in fact 3 Block in the big shapes by working
using jolly colours could compromise
the drama I need. I require colour
in three or four of the most structural
passages.
Martin Kinnear
Martin is a professional oil painter
though so I’ll be opting for a de- 4 Refine the big shapes Place the and course director at the Norfolk
saturated palette of fairly natural medium-sized passages; there will Painting School, which offers courses
colours with a raise in saturation be more of these, of course. for painters new to oils as well as
around the focal area to suit my 5 Refine the medium shapes Find practising oil painters in both Norfolk
composition. smaller blocks where I’ll need to and Anglesey. To find out more
take more care over transitions and, telephone 01485 528588; email
Work out your method ultimately, details. This is usually studio@norfolkpaintingschool.com or
Only now I know what I want to around the focal area, but might be visit www.norfolkpaintingschool.com
paint, I can start to think about how used here and there to create areas
I’m going to paint it. of secondary interest

t
Colour sketches unsurprisingly need colour or, once you’re experienced, you can simply notate your general intentions using a colour wheel.
As a rule of thumb choose a ‘main’ colour then work from that, either staying close to it for harmony or moving away from it for drama.

www.painters-online.co.uk NOVEMBER 2017 45


LP11 Subs_Layout 1 22/09/2017 16:16 Page 46

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LP11 Henchell1_Layout 1 22/09/2017 12:43 Page 47

Watercolour

Autumn colour
How to create depth in a watercolour painting
of autumn woodland, with Paula Henchell

LEARNING OBJECTIVES
n Practise a layering approach
to create perspective
n Mix autumn colours
n Paint water and reflections

A ll artists face the problem of


creating a three-dimensional
painting on a two-dimensional
surface, so I’m here today to explain
a way of solving the problem. First
of all, as objects, mountains or hills
recede into the background they
become smaller and paler in colour,
but not necessarily blue. Whatever
colours you’ve used in a scene, just
de-saturate them and make them
more neutral. Overlapping is another
method of creating depth. The
overlapped object appears to be
more in the distance.
Create as many layers as possible
in your painting to create more depth.
Most paintings should have a
foreground, middle ground and a
background, plus the sky. The sky is
not considered the background layer.
When I photograph my scenes
I usually do so with the idea that I will
be painting them so I try to set up a
scene with a focal point in mind. The
first decision to make is the format of
the painting. I usually make several
thumbnail sketches to work out the
composition and to see if I can
simplify the painting by leaving out
a lot of unnecessary detail. At this time
I also decide on the level of the
horizon line, which you can decide
from doing several thumbnail sketches
with different horizon levels. For the
demonstration painting over the page
I decided on a horizon line just above
centre so there is more going on
below the horizon line than above it.

Composition
The foreground of the painting t
After the Storm, watercolour, 14x11in. (35.5x28cm)
should not have too much detail in
it. The midsection and the focal point one colour in one part of the painting, picture plane. Begin with a light sketch,
is where you need most of your use it in at least two other places. keeping it fairly simple and marking out
information and contrast. Do not put The demonstration painting was done the trees and the river. Mask out branches
detail or bright colour around the with seven colours, which helped to on the right-hand tree and a couple of
edges of the painting as this could harmonise the entire picture. evergreen trees in the focal point, and the
pull the eye out of the scene. This small tree and branches on the left-hand
area is known as the ‘no fly zone’. Before you start side of the riverbank. Make sure the
One of the most important lessons In this picture you will be painting masking is really dry before wetting the
when painting is to make sure your from the background to the foreground, area. I hope you enjoy painting this
adding layers to create depth in the
t

painting is harmonious so if you use autumnal landscape. LP

www.painters-online.co.uk NOVEMBER 2017 47


LP11 Henchell1_Layout 1 22/09/2017 12:43 Page 48

Watercolour

Demonstration Autumn Woodland


You will need
n Surface
l Winsor & Newton cold-pressed
watercolour paper, 12x16in.
(30.5x40.5cm), stretched on
board
n Brushes*
l 11⁄2in. watercolour wash brush
l Rounds Nos. 10, 8, 4 and 1

n Artists’ watercolour
l Raw sienna
l Ultramarine blue
l Cobalt blue
l Burnt sienna
l Dioxazine purple
l Phthalo green
l New gamboge

n Miscellaneous
l HB pencil
l Eraser
l Masking fluid
l Paper towel

* I use Robert Simmons Sapphire


brushes, but any mixed synthetic
and natural hair would be good

t
Step 1
1 Begin with the sky. Turning the painting 3 Pick up a wash of purple mixed with
upside down wet from about a third of the a small amount of burnt sienna and drop
way down the painting to the top of the sky. in the far layer of trees. You can go even interesting painting.
Mix a very pale wash of raw sienna and apply further back by adding a little raw sienna 4 Add more burnt sienna to this mix and
a graded wash from below the horizon to the to this mix and make a subtle layer in one apply another layer of trees in various
top of the sky, finishing with clear water. or two places to suggest even further places across the painting. Leave to dry.
2 When the painting is dry, turn it right side distant trees or hills. 5 Begin on the evergreens. Rewet the
up and mix an ultramarine wash, not too 3 Continue the purple and burnt sienna paper and wait until the sheen has
deep. Wait until the paper just has a sheen on mix along the back tree line making a almost disappeared before you drop in
it and apply the ultramarine, adding a little pleasing melodic line. Drop in a little more the trees using pale mixes of raw sienna
more water as you become closer to the raw raw sienna into the burnt sienna and and ultramarine blue, and phthalo
sienna; the two colours will blend nicely purple mix. Vary your colours as much green mixed with burnt sienna and
together without making green. as possible, as this makes for a more quite a lot of water. Leave to dry again.

Step 2
t

1 Wet the rest of the background area.


Make a mix of ultramarine blue, burnt
sienna and add a little purple. Drop this in
to the left-hand side of the painting. Mingle
diluted raw sienna into this mixture and add
your green mixtures to paint far layers of
evergreen trees. Leave to dry.
2 Wet both sides of the riverbanks, using
diluted raw sienna instead of clear water.
When the sheen has almost disappeared
drop in a mix of raw sienna/new gamboge
and also a mix of burnt sienna/new gamboge.
3 Now work on the focal point of the
evergreens and rocks underneath. The trees
can be painted wet on dry using the same
green mixtures but more saturated. The rocks
are mixtures of burnt sienna and ultramarine
blue/purple, but more blue this time. Wet
the rocks individually and drop in variations
of the aforementioned colours.
4 Begin on the main tree on the right-hand
side. Again this is all done wet into wet. Notice
how the main tree overlaps the mid ground
creating the illusion of more depth. Wet the
tree trunk and some of the branches and
drop in colours as you did on the rocks. The
blending of the colours creates realistic trees.

48 NOVEMBER 2017 www.painters-online.co.uk


LP11 Henchell1_Layout 1 22/09/2017 12:44 Page 49

Step 3 t
Before painting the river I masked off
all the small rocks in the water and grasses
along the river bank. You can also mask
a few ripples in the water. When these are
completely dry wet the whole of the river
with clear water and when the sheen begins
to fade drop in a mixture of ultramarine and
colbalt blue and also small areas of purple
and cobalt blue. A third of the way down
change to raw sienna and let the two mingle
somewhat. Carry on with just the raw sienna
until the foreground, where a burnt sienna
and purple mix is dropped in, finishing off
with a paler mixture of the blue. Before this is
dry, add a darker mixture of the ultramarine
blue/burnt sienna mix along the riverbanks
and put in a couple of reflections.

t Step 4
1 Paint the trees on the left-hand side in
the same way as the other trees, just adding
more burnt sienna to the mix to make the
trees appear warmer. Try to make all the
trees appear a little different in colour, size
and width of their trunks. This creates more
interest in the painting and prevents you
from cloning. great method for creating layers. Use darker ultramarine to define the river
2 I also started some negative painting 3 Rewet the right-hand side of the riverbank edge around the focal point and under the
to create far distant trees. To do this use and drop in more of the same colours, but rocks, stones and ripples that were masked out.
a darker colour and paint around the with more saturation. Begin the formation of Paint grasses in the foreground of the riverbank
shapes you want to form. This is another the riverbank with darker and lighter colours. using the same colours that are in the trees.

www.painters-online.co.uk NOVEMBER 2017 49


LP11 Henchell1_Layout 1 22/09/2017 12:44 Page 50

Watercolour

Demonstration continued
Step 5

t
1 Finish the trees on the left-hand side. Make
the markings on the trunks by painting wet
on dry. The branches overlap one another,
again creating more depth and layers. Notice
the far trees are cooler and paler in colour.
2 Finish the negative painting along the
back edge of the trees and you’ll see that
the river is beginning to form.
3 Wet the lower half up to the middle of
the river and drop in the same green used
for the more prominent evergreen trees.
Add new gamboge to reflect the riverbank’s
vibrant colour.

t Step 6
1 Wet the riverbanks on both sides again,
deepen the colours and add a little more
detail to the mid section. Build up the
darker side of the left riverbank and
the indentations.
2 Again wet the lower half of the river and
start forming the reflections of the riverbanks
and the trees. In reflections the darks appear
a little lighter and the lights appear a little
darker. Using a wet-on-wet technique gives
nice soft edges to the reflections. Timing is
crucial. I waited a little longer than usual;
the sheen was just about gone before
I started painting the reflections.

50 NOVEMBER 2017 www.painters-online.co.uk


LP11 Henchell1_Layout 1 22/09/2017 12:45 Page 51

Step 7
t
1 Remove all the masking fluid and
paint the stones in the foreground
and line the underside of the masked
branches of the trees with a darker colour.
2 Rewet the river for the last time and add
more of the reflections and also drop
darker colours underneath the rocks to
create the rocks’ reflections in the water.
3 When this is dry take a damp brush and
pull out horizontal lines across the
reflections then blot with a clean tissue.
This really creates depth within the water
and seems as if you are looking right
down to the bottom of the river.
4 When dry underline these pulled-out
lines with a line of cobalt blue. Don’t
do too many of these lines as less
is definitely more in this case.
5 Do a small amount of splattering around
the trees and on the riverbanks using the
existing colours. Fill one of your brushes
with paint then tap near the ferrule of this
brush with a clean paintbrush to form
splatters of paint on the painting. I added
suggestions of dried autumn leaves on Paula Henchell
some of the branches. painting in a prominent place in the Paula is a watercolourist, based
house and every time I walk past it in Canada. Find more of her work
I check to see if I need to put any more at www.paulahenchell.com
t Step 8 finishing touches. I wished I hadn’t put
Now is the time to reflect on the painting in the tree stump in the right-hand side
and see if anything jumps out at you. foreground, as it detracts from the scene. t The finished painting Autumn
Often looking at the painting in a mirror Sadly I only recognised that after I had Woodland, watercolour, 12x16in.
reveals minor mistakes. I always place my the painting framed! (30.5x40.5cm)

www.painters-online.co.uk NOVEMBER 2017 51


LP11 52-54 Fisher _Layout 1 22/09/2017 15:23 Page 52

t
Dungeness Huts, Caran d’Ache sketching materials on steel grey Stonehenge 250gsm paper, 5x12in. (12.5x30.5cm)

Caran d’Ache sketching sets


Be inspired by Caran d’Ache artists’ sketching materials as Tim Fisher
explores a plethora of techniques and effects made on different surfaces

LEARNING OBJECTIVES
n Experiment with unusual
drawing media
n Practise tonal work
n Understand how different
surfaces can work for you

I t is always a pleasure to receive Caran


d’Ache products. The name is synonymous
with quality, and both its Sketching and
Light and Shade sets (£49.99rrp each) do not
disappoint. The Sketching set comprises 14
complementary drawing items, including a
range of six Grafwood pencils from 9B to
4H, a Grafstone solid graphite pencil, a 3B
water-soluble pencil, charcoal pencil and
two Grafcube solid graphite squares in 9B
and 3B. In addition, the set provides an
extra soft rubber, pencil sharpener and
sandpaper for shaping the pencils.

Grafcube
I like to experiment with different
sketching techniques as the design and
shape of a drawing instrument often
influences the outcome of the finished
work. After a recent visit to Dungeness,
I was inspired by the shapes and profiles
made by some of the old wooden houses
that occupy this area of shingle (above).
I broke a 1in. section from the end of the
3B Grafcube to allow me to work from the
side as if I were using a soft pastel. I used
the square edge to describe the shape of the
buildings, varying the pressure applied for

Grandad and Archie, Caran d’Ache


t

sketching materials on pearl grey


Stonehenge 250gsm paper, 14x10in.
(35.5x25.5cm)

52 NOVEMBER 2017 www.painters-online.co.uk


LP11 52-54 Fisher _Layout 1 22/09/2017 15:24 Page 53

subtle changes in tone. A sharp edge


can always be found to add the numerous
telegraph poles that dot this site. This
grade of Grafcube is soft and velvety, and
it allowed me to work easily to create the
forms I required. I picked up the softer
9B Grafcube to create the darkest tones
within the sketch. I was pleased that I
could achieve such a wide range of tones
with these sticks. Their shape also offers
the freedom of a much looser approach.

Grafwood
I progressed onto the range of Grafwood
pencils. Although the grades are clearly
printed on the barrel, they are also
innovatively colour coded from light
grey for hard (4H), progressing through
a range of shades to almost black for the
extra soft (9B). The pencils are a little
thicker than normal and the hand-held
sharpener provided works cleanly on
these pencils and can be used to create
a good point for fine detail drawing.
To put the pencils through their paces
I drew a twin portrait, Archie and
Grandad (left). I chose pearl grey
Stonehenge paper and outlined the
subjects with a sharp 4H Grafwood.
Working initially on the faces, I was able
to build up the form of the two heads
quickly without the pencil biting into the
paper. I kept working with progressively
t
Port Isaac, Caran d’Ache sketching materials on cartridge, 9x8in. (23x20cm)
softer pencils H and 2B; much softer and
you lose the subtlety of the flesh tones. Technalo a brush to pick up the graphite directly
I moved onto the clothing by using the There is also a water-soluble 3B from the tip of the pencil. The surrounding
4B pencil to develop Archie’s sweatshirt. Technalo pencil provided. This is one of cliffs and hills were darkened with washes
I then developed Grandad’s shirt and the most versatile drawing instruments of graphite.
achieved a darker tone by working over within the set, as the graphite will
with a 6B. Finally, I added the darks with dissolve readily with water for numerous Atmosphere
the 9B. Working the pencils from hard effects and techniques. To create something with more mood and
to soft reduces the smudging that can I drew the buildings and cliff tops
spoil a finished sketch. (above) with the 3B Technalo, adding t Caran d’Ache sketching materials on
To finish, I took the Chinese white fine parallel lines to represent shading. cartridge, 10x8in. (25.5x20.5cm). I created
pastel pencil from the Light and Shade Taking a brush pen, I wetted these areas this scene using strong washes from the 3B
set and added a highlight to the profile to create shadow; I was pleased to see Technalo pencil to outline my ideas, just
of the two figures after forming a sharp that most of the drawn marks focusing on tone rather than line. Once dry,
point with the sandpaper. disappeared into the wash. For creating I worked the charcoal over, gently rubbing with
more tones over a larger area I scribbled the blending stump from the Light and Shade
t There is a soft charcoal black provided in pencil onto scrap paper, diluted and set in places for a softer effect. I used the
the Sketching set, which can be used to create transferred it into the sketch. When kneaded rubber from the same set to lift out
much softer effects than in Port Isaac (above) stronger washes were required, I used highlights and reflections to complete the work.

www.painters-online.co.uk NOVEMBER 2017 53


LP11 52-54 Fisher _Layout 1 22/09/2017 15:25 Page 54

Product report

t
Norfolk Hamlet, Caran d’Ache sketching materials on cartridge, 5x12in. (12.5x30.5cm)
atmosphere I chose the Grafstone 6B the buildings with the side of the Light and shade
solid graphite pencil. The advantage of pencil. The atmospheric distant tree The Light and Shade set contains six
this drawing tool is that more work can line was also created using the same pastel pencils along with five pastel
be done from the side as well as the tip, technique. cubes of slightly darker shades, a charcoal
helping to create soft atmospheric I wanted darker tones in the pencil, kneaded rubber, blender and
effects (above). I was more interested foreground and changed to using the sandpaper. The Street, Dilham (left) was
in the tonal shapes of the buildings and tip of the pencil. I then used the soft created on Fisher 400 Art Paper, using a
church rather that hard outlined edges rubber to sharpen up the faces of the pencil sketch as reference. I used the
and proceeded to form the shapes of buildings catching the light. pastel cubes, which offer numerous
effects, as well as having really good
lightfastness and the softness of dry
pastel. The sandpaper is provided to
shape the cubes for more detail work.
Breaking a short length of cube,
I mapped out the shapes using 808
French grey. I darkened some areas using
the 009 black pencil, and when I needed
more subtle tones I chose the slate grey
495 and greyish black 008 pencils. The
charcoal pencil was perfect for defining
the fence and fine branches. I added more
interest to the foreground by working
over with the cube Payne’s grey 506 to
add long shadows across the road. The
pale yellow 011 pencil was added to the
windows of the far building. I finished by
picking out lighter areas with 802 French
grey cube and 901 Chinese white pencil.
Having tried most of the items within
these sets for this report, I find the dry
pastels work well on most types of
surfaces, from rough textured to wood-
grained papers and coloured velour.
Coloured backgrounds are worth trying
as these help to emphasise the colours
provided. Overall, Caran d’Ache offers
a very flexible range of drawing sets,
which will meet most artists’ needs for
anything they should desire to sketch.
Find out more about Caran d’Ache fine
art materials by visiting https://store.
carandache.com/uk/en and
t
The Street, Dilham, Caran d’Ache sketching materials on Fisher 400, 9x10in. (23x25.5cm) www.jakar.co.uk LP

54 NOVEMBER 2017 www.painters-online.co.uk


LP11 55-57 Mortimer_Layout 1 22/09/2017 15:31 Page 55

Watercolour

Autumn fruits
Set your timer and test your abilities as you paint
Chinese lanterns in 30 minutes with Ann Mortimer

LEARNING OBJECTIVES
n How to create depth and form
in your flower paintings
n Practise thirsty-brush and
blending-out techniques
n Build watercolour fluency

A t the end of the flowering


season when autumn
approaches, seed heads
appear in the garden in all sorts
of shapes and sizes. The most
spectacular must be the orange
physalis. The Chinese lanterns
in this project (right) photo are,
strictly speaking, the fruits of the
plant. The paper-thin lanterns
hang decoratively from the plant,
looking impossibly showy, and
cannot fail to lift the spirits. LP

You will need


n Watercolour n
Brushes
l Aureolin l Old
brush
l Indian yellow for masking
l Winsor red (or Colour
l Permanent rose Shaper)
l Burnt sienna l Rounds,
l Winsor blue Nos. 8 & 10
l Quinacridone
n Miscellaneous
gold
l Masking fluid
l Cobalt blue

t
The finished painting

A NOTE ON PAPER
Good-quality paper is a wise investment
as it is much easier to produce good
work on a quality surface.
Watercolour paper comes in three
different surfaces – HP (Hot Pressed),
NOT and Rough – and in a variety of
different weights. For flower painting,
a NOT surface is best and a 300gsm
(140lb) weight is ideal. Watercolour
paper can be bought by the sheet, but
to save time a pad or block can be
t
Step 1
convenient to use, so there is no cutting Prepare wells of aureolin, cobalt blue, burnt
required. I recommend a 180x125mm sienna; a dark orange, loosely mingled mix of
(7x5in.) pad that you can fix onto a Indian yellow, Winsor red and permanent rose;
board with masking tape. If you are and a green mix of Winsor blue, quinacridone
laying washes, this process alleviates gold and aureolin. Mask out the ridged edges
the risk of the paper cockling. of the lanterns and allow to dry. Lay a wash
of aureolin over the whole plant area.
t

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LP11 55-57 Mortimer_Layout 1 22/09/2017 15:31 Page 56

Watercolour demonstration continued

Step 2

t
Apply the orange
mix to the seed
heads, wet-in-wet.
Keep the darker reds
on the right-hand
side of each seed
head to show off
their shapes.

t Step 3
With a thirsty brush
– this is a wet brush
with the moisture
pressed out of it –
lift out areas of the
seed heads to
indicate light.

Step 4
t

Draw the orange


from the seed heads
into the stems.
Drop in the rest
of the stems and
the stalk in burnt
sienna.

Step 5
t

Drop a tiny amount of the green mix into the stem, then colour
the head of the semi-ripened lantern in the same green. Allow
to dry. Wet the topside of the left-hand leaf and drop in the green
mix, wet-in-wet. Leave the central vein uncovered at this stage but
use aureolin to paint in some smaller veins, wet-in-wet, on either
side of the leaf.

t Step 6
Apply the same green mix to the right-hand leaf but keep
the wash looser. Again, leave the central vein uncovered.

t
Step 7
Remove the masking fluid from the lanterns. Add colour
(a lightened orange mix) to the previously masked areas.

56 NOVEMBER 2017 www.painters-online.co.uk


LP11 55-57 Mortimer_Layout 1 22/09/2017 15:31 Page 57

This demonstration
was adapted from
Ready to Paint in 30 Minutes:
Flowers in Watercolour
by Ann Mortimer. Save £2
when you buy from our
online bookshop. Go to
www.painters-online.co.uk
and follow the links to books

Step 8 TO BLEND OUT

t
Apply more orange 1 After laying the area of wash,
mix to the sides of clean your brush.
the lanterns that are 2 Dab the brush on a piece of
in shadow (the right- kitchen paper to rid it of some
hand sides), and blend out of the moisture.
(see panel, right). Make the 3 Use the hairs of the brush to blend
reds darker with permanent out the edge of the wash. Make small,
rose; fill in the inside edges round movements with the brush to
of the ridges. blend out the colour seamlessly.

Step 9
t

Run in some veins between


the ridges of the lanterns with
the same red-orange mix.

Step 10
t

Add cobalt blue to the


shadowed areas to darken
them.

t
Step 11
To shape the semi-ripened lantern, run lightened green mix into
the previously masked-out veins.

Step 12
t

Finally, lay some of


the green mix along
the leaves to suggest
their rippled shapes.
Leave the work to
dry then erase your
pencil marks.

The finished
t

painting

www.painters-online.co.uk NOVEMBER 2017 57


LP11 58-60 Byrne_Layout 1 22/09/2017 15:36 Page 58

Drawing

Cartoon it!
Be inspired by John Byrne’s take on life as you put
your drawing skills and sense of humour to the test
just as we would build up a painting
LEARNING OBJECTIVES from basic steps, creating a good cartoon
n Create a variety of ideas based joke doesn’t necessarily start off with
on a theme something hilarious. Rather it involves
coming up with as much raw material as
n How to find an idea and turn it we can, then ‘harvesting’ the best of what
into a cartoon joke we have created to produce a finished
product with the greatest chance of
n Produce a finished cartoon making as many people laugh as possible.
in colour Since no two people will ever fully agree
on what is funny, the only person you

A lthough ‘cartoon’ was originally


the name given to preliminary
drawings by some seriously
revered artists such as Michelangelo,
modern day cartoons are generally
can be absolutely sure will laugh at your
cartoon is you, so when it comes to
making the final choice from your own
ideas, let your instinct – and your funny
bone – be your guide.
thought of as somewhat more humorous.
This doesn’t mean cartoons can’t still Your materials
make serious points, as the popular For your roughs, use whatever paper
political cartoonists in the national you feel comfortable with. Have a lot
newspapers demonstrate daily. Whether of paper to hand so your mind is free
your own cartoons turn out to be topical to roam and play. I use fresh sheets of
or whimsical, cartooning is not only typing paper, but some cartoonists find
fun to experiment with but also offers using scrap paper or even the back of an
a great workout for your imagination. envelope works better as it frees the mind
Strictly speaking there are two elements from the need to get it right first time.
to be juggled when creating cartoons: For finished cartoons in colour I like
the picture itself and the joke contained to use Cotman 140lb watercolour paper.
within the picture. I thought it might be Bristol board is also a popular choice
t
Health, coloured pencil and fine appropriate to choose Halloween as the for black and white work.
calligraphy pen, 814⁄ x6in. (21x15cm). theme for our cartoon, not only as it Experiment with different media to
Some cartoons are very visual in gives us the chance to create colourful find the medium that best suits your
humour, while some combine words cartoon characters, but also because cartoon drawing style. For the following
and pictures. One of my favourite feeling pressure to be funny ‘on demand’ cartoon I used a HB pencil for the basic
jobs is using cartoons to educate is often the scariest part of cartooning drawing, watercolour pencils for the
on health issues. for professionals and beginners alike. colour and a black fine liner pen for
As you will see from our demonstration, the line work. LP

Demonstration Halloween
Here are the thought and drawing processes I used to draw a cartoon for Halloween.

You will need


l Cotman 140lb watercolour
paper, 6x81⁄4in. (15x21cm)
l HB pencil
l Watercolour pencils
l Fine liner pen

Step 1
t

To get me started I set myself the goal of


doing as many Halloween related sketches
as possible, from pumpkins and bats to
skulls. Combining ideas can be a great way
to create comedy so I also drew art-related
roughs. Can I make something of the fact
that a witch’s hat and a paintbrush both
end in a point? Can I arrange the paint
on a palette to give me a skull image?
At this stage it is all about letting
my imagination run free.

58 NOVEMBER 2017 www.painters-online.co.uk


LP11 58-60 Byrne_Layout 1 22/09/2017 15:39 Page 59

Drawing

t
Step 2 t
Step 3
Putting Halloween ideas together with thoughts about art made Sometimes the best jokes are the simplest ones. Thinking back to
me wonder how famous monster characters might approach an my first rough drawings, I remembered the connection between
art class. Vampires might struggle with self-portraits given that the witch’s hat and a paintbrush. The thought struck me that,
they don’t reflect in mirrors. As for werewolves, they would need instead of travelling on a broomstick, a more ‘artistic’ witch might
to make sure they completed their likeness well before the full fly on a paintbrush. As you can see, the basic cartoon character is
moon came out or the pictures might not match very well. usually composed of very simple shapes, to which you can then
add detail, erasing any unwanted pencil lines as you go.

Step 4
t

I started my finished drawing in pencil.


In order to accentuate the contrast
between a broomstick and a paintbrush,
I added two other witches on brooms.
All three were based on my original
witch sketch with different details
added to make them individual.

Step 5
t

Once I had my line drawing outlined in


pencil I added colour, using watercolour
pencils. I didn’t need to worry too much
about ‘staying in the lines’ as I knew
I would still be going over the coloured
version with my ink pen later.

www.painters-online.co.uk NOVEMBER 2017 59


LP11 58-60 Byrne_Layout 1 22/09/2017 15:38 Page 60

Watercolour

Demonstration continued

Step 6

t
For my final version, I used my
ink pen to give me strong bold
outlines and to add a few extra
details here and there.

John Byrne
John is a professional cartoonist,
writer and live performer. John’s Learn
Cartooning Live show has been a big hit
t Step 7 at festivals, schools and community
A touch of background colour and the cartoon cartoonist’s trademark, a distinctive signature. events for over a decade. Find out more
was finished. To complete the job, I also added Try to keep the caption to just one line and to by visiting www.johnbyrnecartoons.com
my caption and that most important as few words as possible.

t
The finished cartoon Halloween, coloured pencil and pen, 6x814⁄ in. (15x21cm)

60 NOVEMBER 2017 www.painters-online.co.uk


LP11 61-63 Hopkinson_Layout 1 22/09/2017 15:45 Page 61

Watercolour

Harvest mouse
Part 2 Complete your detailed portrait of
a harvest mouse, with Paul Hopkinson

LEARNING OBJECTIVES
n Use the layering technique
to paint detail
n How to create form and depth
in your subject

I hope you enjoyed following last


month’s demonstration (LP, October)
when we covered the painting of the
background and the mouse’s eye. This
month we complete the portrait with the
addition of the fur detail and the stalk the
mouse is placed on. From here on you
will be using in most part your No. 00
brush. I hope you enjoy painting this
beautiful harvest mouse (right). LP

You will need


n Surface n
Miscellaneous
l 300gsm NOT l
Paper towel
watercolour paper l 2 water pots
l Mixing palette
81⁄2x12in. (21x30.5cm)
– ceramic is
n Watercolour
ideal for
See below
removing t
The finished painting Harvest Mouse, watercolour, 812⁄ x12in. (21x29.5cm)
n Brushes unwanted
l Detail brush No. 00 acrylic paint
l Watercolour brushes l Masking tape
Nos. 4, 6 & 16 l Masking fluid
l Mop brush l Mechanical
(background wash) pencil
l An old detail brush l Putty rubber
No. 00 for the acrylic l Acrylic white

COLOURS USED

Raw sienna Burnt sienna Burnt umber

Quinacridone Alizarin Sap green


red crimson

Lamp black Gamboge hue French


ultramarine
Opaque
white
t
This lovely photo of a harvest mouse taken by photographer Roger Wasley, (https://
www.flickr.com/photos/rogerwasley/), was the perfect photo to paint for lovely colours,
t

detail and pose, plus a mammal I have never painted before.

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LP11 61-63 Hopkinson_Layout 1 22/09/2017 15:45 Page 62

Step 2

t
t
Step 1
1 First of all let’s start with raw sienna. Using 1 Add a little
this mix to a creamy consistency and the No. watery alizarin crimson to the ear then brush lightly once onto a piece of kitchen
00 brush, cover the whole of the body with allow it to dry. roll to take off a small amount of paint.
small marks. Continually check the direction 2 Make up a mix of burnt sienna and burnt 3 Keep the lines closer together towards the
of the fur, using the reference photo, keeping umber to a creamy consistency. Go through back, tip of the nose and the top of the head.
the lines closer together in any darker areas. the same process again by adding fine 4 Mix up burnt umber and lamp black (creamy)
2 Add a little to the tail and remember to detailed lines keeping a close eye on the and add darker fine lines to the body. Again
keep the white area below the eye and direction of the fur as you go. keep them close together towards the top of
belly clear. If you find the lines quite blobby, tap your the back, edge of the nose and behind the ear.

Step 3 the white area below the eye and the of the tail, add a few more as you go up
Finish the fur belly then carefully paint a line of colour to the tail but further apart. Make sure the
1 Make up a watery mix of French the bottom of each area. The paint will blend lines are closer together towards the
ultramarine and lamp black. Lightly wet upwards lightly, giving a rounded effect. edges of the tail to give it some form.
2 Once dry and 5 Add a little opaque white to your
using a slightly palette and add a small amount of water,
thicker mix of the just enough so it’s like cream. Now pop
same colour, add the in those highlights by adding this white
fine hairs to these to the belly, underneath the eye and finer
areas, again paying lines to the tail, again keeping an eye
attention to the on the direction the hairs fall.
direction they grow. 6 Add a few more white lines to the
3 Add a light wash of pink of the nose and scatter a few
alizarin crimson to more around the body of the mouse.
the foot and, once
dry, use your dark The whiskers
mix of burnt umber 7 Load your brush with the dark mix of
and lamp black to burnt umber and lamp black, but dab a
paint the toes. little off before you head to the painting;
we need to keep these lines quite fine.
Add the tail Always start from the inside of the nose
4 Next work on the and finishing the fine line onto the
tail by using your background, this will give it a tapered
dark mix to add the effect. Vary the directions and cross
fine lines to the base over a few, but don’t paint too many.

Step 4
t

1 Time to paint the pussy willow! Start by wetting


the stem and dropping in a thin wash of raw sienna
then let it dry.
2 Using sap green with a touch of burnt umber start
painting the detail. Do this by lightly tapping the tip
of the brush (stippling technique) onto the paper.
Do this all the way down the stem then add a very
light wash of clean water over the top to soften
the detail. Let it dry.

62 NOVEMBER 2017 www.painters-online.co.uk


LP11 61-63 Hopkinson_Layout 1 22/09/2017 16:12 Page 63

t
Step 5 Step 6

t
1 Next strengthen the mix of sap green and 1 Now to
burnt umber to a creamy consistency and do start on the pussy willow itself. hue to give it a little bit of colour.
the same process again, this time keeping To create the fluffy feel to this we first 3 Do the same with each section and let
more to the edges of the stem to give it need to add a light wash of colour. Make it dry, making sure you have also added
a feeling of roundness. up a very thin mix of ivory black and the gamboge hue to the bottom left section
2 The next step is to add a little ivory black French ultramarine and change to your with a touch of your dark blue and
to your green and brown mix and tap in a few No. 6 brush. Work on one section at a time black colour.
more darks towards the edges of the stem. by wetting the area with clean water and 4 Once dry and using your No. 00 brush
3 Follow the same process for the areas heading dropping in the watery mix mostly towards use your blue and black colour to add the
into the flower part of the pussy willow. the middle. You want it to be darker in the fine lines within the pussy willow. As you
4 Finally to finish off the stem, lightly go middle and gradually lighter towards the can see, these radiate from the inside
over the entire length by adding a very outer edges. out and work in a clockwise motion.
watery wash of gamboge hue then let it dry. 2 Whilst still wet add in a little gamboge Keep them light at this point.

t
Step 7 t
Step 8
1 Time to break out the white acrylic paint! white would simply wash away or become 1 Paint a little white acrylic on
This is great for adding colour over the top. muddy. Add a little white acrylic to your palette the lower left section to fine tune
If we used white watercolour or gouache the and use just a small drop of water to keep it the detail, then add a small amount
creamy. As we did of gamboge hue to the tips.
with the fine lines in 2 After you have gone through
the flower repeat the the same process for each of the
process using your flowers you will have a finished
old detail brush. painting of your harvest mouse!
2 When adding the
white acrylic tap the
brush towards the
centre of the flower to
create varying marks,
but don’t cover up all
the blue and black
wash underneath. Paul Hopkinson
3 Once dry, using Paul paints and teaches in Devon.
the gamboge hue Visit www.devonartist.co.uk or
add the yellow tips email paul@devonartist.co.uk
to the acrylic lines. Join him on Facebook
4 Strengthen the https://www.facebook.com/
lower left section with thedevonartistpaul and Twitter
gamboge hue and https://twitter.com/thedevonartist
t
The finished painting Harvest Mouse, watercolour, burnt umber, but keep
812⁄ x12in. (21x30.5cm) away from the edges.

www.painters-online.co.uk NOVEMBER 2017 63


TAKE T HREE COLOU R S
START TO PAINT WITH 3 COLOURS, 3 BRUSHES AND 9 EASY PROJECTS

RRP RRP
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r 2017

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LP_FullPage_NOV17_CONTRA.indd 1 20/09/2017 12:55:59
LP11 65-57 Parashko_Layout 1 22/09/2017 15:56 Page 65

Oils

Tulip time
Brighten up an autumn day by painting colourful tulips
in front of a diffused background, with Elena Parashko

LEARNING OBJECTIVES
n Practise oil (or acrylic) painting
techniques using a simple motif
n How to create depth in a
painting of flowers
n Create a diffused background

T his painting was inspired by a


vase of tulips. I did not want to
portray these flowers in a still-life
setting, but rather as they may have
appeared growing in a sunny field
with the wind ruffling their petals.
So they were painted through careful
observation, but the background came
from my imagination, deliberately
obscure to capture a sense of an
idealised setting. LP

You will need


n Surface n
Oils
l Canvas panel l
Titanium white
15x22in. l French

(38x57cm) ultramarine
blue
n Brushes l Phthalo green
l Flats Nos. l Cadmium yellow
12, 5 and 2 medium
l Round No. 8 l Cadmium yellow
l Liner No. 0 light/lemon
n Miscellaneous
yellow
l Cadmium
l Willow
orange
charcoal
l Burnt sienna
l Gloss varnish
l Alizarin crimson

This is a photo that inspired Tulip Time. Even though I referred The finished
t

to the real flowers, it is a good idea to photograph any floral painting Tulip Time,
arrangement you are painting in case the flowers move or wilt oil on canvas,
t

before you complete the artwork. 22x15in. (57x38cm)

www.painters-online.co.uk NOVEMBER 2017 65


LP11 65-57 Parashko_Layout 1 22/09/2017 15:54 Page 66

Oils

Demonstration continued

Step 1

t
Using willow
charcoal, lightly draw
the composition.
Gently brush off the
excess charcoal with
a large brush so the
charcoal powder
doesn’t mix with the
paint and dirty the
colours.

t Step 2
For the background, mix varying shades then the lighter shades. With circular around the edges of petals and leaves.
of light to dark green using French movements, keep the edges fuzzy to Use the same colours to paint the long
ultramarine blue, phthalo green, lemon indicate hazy background foliage. strappy leaves. Then use a No. 5 flat
yellow and titanium white. Using a large A smaller flat brush will give you more brush and sweeping brushstrokes to
Round brush, loosely apply the darks first control in painting the background blend the various shades of green.

Step 3
t

Paint the petals one


at a time using a No.
5 flat brush. Begin at
the inside edge with
a mix of titanium
white, lemon yellow
and cadmium yellow.
As you work towards
the middle of the
petals, add the
darker colours of
cadmium orange
and alizarin crimson.
Reintroduce the light
yellows as you define
the outer tip of the
petals. Add hints of
the green
background colour
on the waxy
underside of the
petal edges as they
curl over and reflect
their surroundings.
Note that
brushstrokes follow
the natural vein
lines of the petals.

66 NOVEMBER 2017 www.painters-online.co.uk


LP11 65-57 Parashko_Layout 1 22/09/2017 15:54 Page 67

Step 4
t
Add the stigma and stamen structures in the centre of the tulip using
a No. 2 flat brush and No. 0 liner. Make a dark brown colour with a mix
of burnt sienna and French ultramarine blue. To make the light brown,
add cadmium orange and cadmium yellow into the dark brown.

t Step 5
For the large closed tulip, use the same mix of petal colours but tone
down their intensity by adding a touch of the green background colour
into them. As it is a bit further away and not the main focal point,
there is also less detail in its structure, so brushstrokes reflect that
with less detailed vein patterns visible. To achieve the pink waxy look
of the outside of the petals, add more titanium white and alizarin
crimson into the petal colour.

Step 6
t

The smallest tulip is even further away. To achieve the illusion


of distance, tone down the intensity of the petal colours by adding
slightly more of the green background mixture. Leave out details
and keep the edges soft and fuzzy. Using a large Round bristle
brush, add a suggestion of other tulips in the background by
rubbing some of the petal colour here and there. When the
painting is complete and dry, apply a gloss varnish.

Elena Parashko
Elena is the author of the empowering book Survival Guide
for Artists: How to Thrive in the Creative Arts, available via
her website and Amazon. She also runs painting retreats in
Fiji and Tuscany. For more information about her work visit
www.elenaparashko.com or email info@elenaparashko.com.
Her blog www.survivalguideforartists.com has a wealth
of information for artists.
t
The finished painting Tulip Time, oil on canvas, 22x15in. (57x38cm)

www.painters-online.co.uk NOVEMBER 2017 67


p068_LPNov17_News 1st 26/09/2017 09:51 Page 11

PAINTERSONLINE and
Loving Vincent Painting Competition
To celebrate the launch of Loving Vincent (in cinemas on 13 October), the world’s first fully
painted animation film, we invite you to paint in the style of Van Gogh for the chance to Visit PaintersOnline and
win Dutch-crafted Van Gogh Oil Paints from Royal Talens www.royaltalens.com click through to the Current
Painting Competition link
Loving Vincent, the world’s first fully painted to enter your Van Gogh-
animation film, was hand painted with Van
Gogh Oil Colour. This astonishing masterpiece inspired paintings for
about the life and death of Vincent van Gogh the chance to win:
G
was made using 12 oil paintings a second. Van
Gogh’s broad oil brushstrokes convey a sense of First prize: A Van Gogh
movement and the film brings his paintings to Colour Box Inspiration
life to tell this remarkable story. Every one of worth £140(rrp)
the 65,000 frames of the 90-minute film is an G Second prize: A Van Gogh Oil
oil painting hand painted by 125 professional
oil painters from around the world. Colour Basic Box worth £75(rrp)
G Three runners-up prizes:
Van Gogh Oil Colour Basic Set
worth £30 each(rrp)

HOW TO ENTER & CONDITIONS OF ENTRY


Only online entries can be accepted. 2 Your entries can be of any subject 4 Upload your entries by 12 noon Ingrid Lyon, editor Leisure Painter;
Only original work will be considered and produced in any medium on December 19, 2017. a Royal Talens representative.
and paintings based on reference (except photography). 5 Entries will be judged over the 7 By entering our competition you
photographs must have been taken by 3 Online digital entries must be sent Christmas period and the winners agree to allow The Artist,
the artist or used with the permission via our website at www.painters- notified in the New Year. Leisure Painter and PaintersOnline
of the photographer. A maximum of online.co.uk. Click through the 6 The judges’ decision is final and to repurpose your artwork in both
three entries per artist can be Current Painting Competition links. no correspondence can be entered print and digital formats, including
accepted. You must be registered and logged into. The judges are: Dr Sally but not limited to magazines,
1 Your entries should be painted in in to PaintersOnline before you Bulgin, publishing editor The Artist; websites, databases and as part
the style of Vincent van Gogh. can upload your images. Dawn Farley, editor PaintersOnline; of downloadable digital products.

TRY A NEW NEW!


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LP Marketplace
To advertise your holiday, course or business call Anna-Marie now on 01778 392048

Holidays & Courses


Call Anna-Marie to
PAINTING COURSES IN NORFOLK
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olidays & Courseswww.janblanch.co.uk
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ay of the month
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a s • All abilities and non-painting 23-26 Jun Sketching Buildings in Pen and Wash

loca ys oSUPPLIES partners welcome 27 Jun-2 Jul Dorset Summer Sketchbook


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n 3-6 Jul South Coast Scenes with Acrylics and Palette Knife
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roads – in 2014. Her schedule is a busy one, - Save money on framing
Combined Sketching & Walking Holidays
ng from weekly morning classes to week-long - Complete or self-assembly
10 & 11 Feb Learn to Draw & Paint Portraits from Photographs
17 & 18 Feb Fall in Love with Fantasy

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both in this country and abroad. What they - Plain wood or painted Landscape with Charcoal, Pencil & Ink
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- Large, standard and bespoke sizes Art Holidays in Dorset, The Studio, Boscombe Spa Hotel, 4 Glen Road,
what is around you. “Wherever you look Boscombe Manor, Nr Bournemouth BH5 1HR
to paint,” she says. “You can never be bored Exclusive - St Ives/Nicholson style
a sketchbook.” frames available on-line
s warm and encouraging, making her holidays
www.painters-online.co.uk Call 01427 787318 or visit NOVEMBER 2017 69
for beginners who need a bit of courage to www.ashcraftframing.co.uk/store
side the comfort of a studio. On offer this year
ly classes held
lp CLAon a Thursday69 morning at her
nov_NEW.indd
Art Shops 22/09/2017 14:40:49
Nov 17 Holiday_Layout 1 14/09/2017 14:07 Page 3

Holidays & Courses

Just want to Paint?


Enjoy a painting holiday with like
minded people who just want to paint with
“No Instruction”
on the private estate of the beautiful
Chateau de la Chesnaye
in the Loire Valley
• Private, luxurious suites
• Wholesome French Cuisine
• Fabulous regional wines
• Painting materials & setup included
• Exceptional value

www.chesnaye.com
info@chesnaye.com

Inspirational art adventures


with professional artist/tutor
and art break organiser
Tony Hogan
2018 courses- booking now
web: www.hoganart.co.uk
Holiday of the month Teaching art has been David’s
passion for over 20 years;
passing on his knowledge and
Cornwall
Scarborough- Derbyshire
THE OLD HOUSE STUDIO tips to students of all ages and
abilities and helping them to
All abilities welcome. All media tutored.
learn, improve and achieve
Fun guided courses with your
experienced tutor, his local knowledge Watercolours • oils • pastels
showing you the best locations.
Residential/non residential. 2hr lessons, workshops & holidays
Excellent catering and artistic
support to suit. Bolsover, Derbyshire on the edge
Colour leaflet available on request of the Peak District
Email: admin@hoganart.co.uk www.watercolourartist.net
Tel: 01208 895088
Mobile: 07888 852503 Tel: 01246 826311

Art
rt
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k in Exmoor
Exmoor
E
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Joanne Crook’s acrylic painting of the Old House www.shorlandoldfarm.co.uk
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f rm.co.uk
Studio in the Peak District
f l locat
Beautiful
Beautifu
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at

S
et in the glorious and picturesque countryside of the Peak Good fo
ffood
od
District, Joanne Crook’s Old House Studio plays host to a year- aatmosphere
Friendly at mosphere
long programme of art courses, covering a range of media,
Courses fofforr all abilities
from watercolour and oil to acrylic and pastel. The courses, which
comprise both one and two days, are led by a group of Non-painting part
partners
rt
r ners welcome
experienced artists invited from around the UK. Names that Ready-made groups also welcome
might be familiar to Leisure Painter readers include: Robert
Dutton, Joe Francis Dowden, Tony Hogan and Tim Fisher. All
levels are welcome, from beginners to more experienced artists;
the aim is to provide an “enjoyable and interactive experience for Call Sandy or Mark 01598 763505
all abilities”. Numbers are kept to a maximum of 10 students per
Email: enquiries@shorlandoldfa
enquiries@shorlandoldfarm.co.uk
fa
f rm.co.uk
course to ensure everyone receives individual attention and
critique. Participants can enjoy unlimited tea and coffee in the
studio as well as a two-course lunch provided in the dining room Art Shops
or large decking area with magnificent views over the valley and
Rhodeswood reservoir. Bed and breakfast accommodation is also
Watershed Studio available if required.
Courses to look out for in 2018 include a two-day course in April
Celebrating our 16th year with Tim Fisher entitled The Lively Line - How to Sketch and Draw
• Proven reputation for quality courses
with Confidence; a plein-air and studio watercolour landscape Pegasus Art Shop
course with Carol Hill for two days in June; Pastel Landscapes and Shop Online for Fine Art Materials
• Warm welcome & home-cooked food New Workshops & Masterclasses
• Rural studio in its own grounds Seascapes with Tony Hogan at the end of June, as well as oils with info@pegasusart.co.uk
• Excellent local accommodation Richard Holland and acrylics with Tim Fisher later in the year. A 01453 886560
• High profile, popular tutors full list of the courses available can be found on the website, as
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Marie Antoniou, Kay Elliott
Charles Evans and many more…
Call Allison Bond for details:
01255 820466 For more information telephone Joanne Crook on 01457
857527; email her at info@pennine-art.co.uk or visit
Email: allison@watershedstudio.co.uk www.pegasusart.co.uk
www.watershedstudio.co.uk www.pennine-art.uk
St Clere’s Hall Lane, St Osyth,
Clacton on Sea, Essex, CO16 8RX

70 NOVEMBER 2017 www.painters-online.co.uk

lp CLA nov_NEW.indd 70 22/09/2017 10:41:14


Holidays & Courses Art Materials
LEARN AT HOME. Watercolour and drawing.
Beginners/advanced correspondence
courses. Easy, relaxed, thorough. Details:
Jenny Trotman NDD. Tel: 01305 264568
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Framing
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FramingFrames
19/07/2017 16:57
- Save money on framing
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LP11_WebcompT2_Layout
Spacious light studio 1 26/09/2017 09:44 Page 1 - Inlay frame specialist
- Large, standard and bespoke sizes
One, three and six day courses throughout the year
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For location work we use the coast, Call 01427 787318 or visit
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1-8_Callington.indd 1
PAINTERSONLINE 29/8/12 10:24:34

and Royal Talens Competition


To celebrate the launch
of the film Loving Vincent (in
cinemas on 13 October), the ENTER NOW
world’s first fully painted
feature film, Royal Talens, To win one of these
who supplied the paints to Van Gogh Oil Paint sets
produce the film, is offering from Royal Talens
you the chance to win sets please visit:
of its Dutch-Crafted Van
Gogh Oil Paints. www.painters-online.co.uk
l The first selected winner will
receive a Van Gogh Colour
the online home of
Inspiration Box worth and
£140(rrp). magazines, and click on the links
l The second selected winner
Loving Vincent, the world’s first fully painted to competitions. Closing date
animation film, was hand painted with Van Gogh for entries is December 10, 2017.
will receive Oil Colour. This astonishing masterpiece about the
a Van Gogh Oil Colour Basic life and death of Vincent van Gogh was made using Winners will be selected at
Box worth £75(rrp). 12 oil paintings a second. Vincent van Gogh’s broad, random from all online entries.
l Three more selected winners oil brushstrokes convey a sense of movement and the
film brings the paintings of Vincent van Gogh to life When completing your details please
will each receive to tell this remarkable story. Every one of the 65,000 make sure you opt in to receive our
a Van Gogh Oil Colour Basic frames of the 90-minute film is an oil painting, hand-
great regular email newsletters so that
Set worth £30(rrp) each. we can keep you up to date with what’s
painted by 125 professional oil painters from around new at PaintersOnline, including the
the world. Find out more at www.royaltalens.com latest features, images in the galleries,
and www.lovingvincent.com new competitions and other great offers.

www.painters-online.co.uk NOVEMBER 2017 71

lp CLA nov_NEW.indd 71 26/09/2017 12:34:45


The online home of
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LP_FullPage_NOV17.indd 1 20/09/2017 12:52:45
LP Nov 2017 Books p73_News 1st 21/09/2017 11:36 Page 6

Books
WHAT TO READ THIS MONTH
Bringing new
life to oils
Award-winning artist,
Haidee-Jo Summers
has written her first
book – Vibrant Oils –
for Search Press and
vibrant it certainly is!
Visit www.painters-online.co.uk/store and click on Haidee-Jo’s work is
the link to books to buy the latest practical art filled with light and
books available from LP’s online bookshop colour and her
application of oil paint
is sumptuous. The
medium is brought
right up to date in her
hands, resulting in
luminous oil paintings that look as though the paint is still wet
to the touch. As well as the inspiration, there is plenty of
technical advice. Four step-by-step projects will help you to
work alongside the artist to achieve your goals.
Vibrant Oils by Haidee-Jo Summers. Search Press, (s/b), £15.99.

Terry Harrison – a master teacher


Terry Harrison, who sadly died earlier
this year, has left a huge legacy to Also published this month is Terry Terry Harrison’s Complete Brush with
amateur painters through his teaching Harrison’s Watercolour Secrets, which Watercolours also draws on previously
books and DVDs. Painting Watercolour brings together material from three published material – Brush with
Snow Scenes the Easy Way is the last book previously published titles: Terry’s Top Watercolour and Painting Watercolour
Terry wrote for Search Press and is Tips for Watercolour Artists; 30 Minute Landscapes the Easy Way.
certain to be every bit as successful as Artist: Painting Water in Watercolour and In his introduction Terry writes: “I have
those that have gone before. Dealing Rustic Buildings & Barns in Watercolour. written a book that I would want to read.
with that most difficult of subjects, snow, Opening chapters deal with the materials This is about how to use brushes, what
Terry shares his techniques on how to of the watercolourist: paper, brushes, colours and materials or buy, and how
capture it in watercolour using clear and paint, using photographs, watercolour to master techniques such as wet into
easy-to-follow instruction, and his own techniques and mediums as well as wet, wet on dry, dry brush work, and
collection of brushes specially designed special effects. Terry then moves on to using masking fluid without it coming
for beginners to achieve results quickly. specific areas, such as skies, grasses and unstuck!” Achieving his goals, this is
Clear images show step-by-step stages in flowers, water, rocks, roofs, windows and an eminently sensible introduction to the
great detail and the book is packed full doors. The book is subtitled a lifetime of medium with clear and thorough advice,
of tips and techniques to make the best painting techniques, and within its well laid out pages and inspiring
of your skills, including working from pages, Terry shares over 170 secrets built illustrations. Terry’s teaching makes it
photographs and how to change a up over his lifetime, pertinent for all all seem so simple. Ten step-by-step
summer scene into a winter one. Six watercolourists, whether you are just projects are included so you can get
projects are included for you to follow. starting out or an experienced painter. going straight away.
Painting Watercolour Snow Scenes the Easy Way Terry Harrison’s Watercolour Secrets. Terry Harrison’s Complete Brush with
by Terry Harrison. Search Press, (s/b), £12.99. Search Press, (s/b), £12.99. Watercolour. Search Press, (s/b), £12.99.

www.painters-online.co.uk NOVEMBER 2017 73


LP Nov 2017 Art clubs p74-76_News 1st 21/09/2017 11:22 Page 2

Art clubs
OVER TO YOU FOR THE LATEST NEWS ON CLUB
CLUB EXHIBITIONS
n Alsager Arts Association
Exhibition at Alsager Community Church on
3 and 4 November, 10am to 4pm daily. Visit
www.alsagerartsassociation.co.uk
n Ambleside & District Art Society
Annual exhibition at Ambleside Parish
EXHIBITIONS AND ACTIVITIES Centre from 18 to 29 October. Open daily,
10am to 5pm; 10.30am to 5pm on
Sundays; closing at 2.30pm on final day.
Enquiries to Patsy Derry 015394 36180.
n Banstead Art Group
60th exhibition at the Community Hall,
Park Road, Banstead, Surrey SM7 3AJ on 26
October, 10am to 8pm; 27 October, 10am
to 5pm, and 28 October, 10am to 4pm.
n Blaby Society of Artists
Exhibition at The Edward Wright Room,
Whetstone Parish Council Office, Cemetery
Road, Whetstone, Leicestershire LE8 6LL on
28 and 29 October, 10am to 4pm daily.
Enquiries to Fran Andrews 07977 679701.
n Bournemouth Bay Art Group
Autumn exhibition at Moordown
Susan Pugh My Community Centre, 21 Coronation Avenue,
t

Carol Ann Sanderson


t

Beloved, oil on canvas Orange Poppy, acrylic, Moordown, Bournemouth BH9 1TW from
board, 20x16in. 24x24in. (61x61cm) 14 to 27 October. Open weekdays from
(51x40.4cm 10am to 5pm; Saturdays from 10am to
Profile 4pm. Visit www.bournemouthbayart.co.uk
The Blackpool Art Society annual exhibition. Patrons at this time n Brampton Arts & Crafts Club
This year the Blackpool Art Society included the artists Frederich Leighton, Exhibition at the Wooden Hut, Union Lane,
celebrates its 133rd year, which Millais, John Gilbert and Alma Tadema. Brampton, Cumbria CA8 1BX on 11 and 12
prompted a question from publicity Both world wars proved tough times November, 10am to 4pm daily.
officer, Susan Pugh: ‘Are we the oldest for the club, but the dedication of its n Breaston Art Group
art society in the country?’. members ensured its survival, and its 22nd annual exhibition at the Methodist
She writes: “We were founded in 1884 annual exhibition continued Church Hall, Derbyshire DE72 3DX on
and have continued through two world uninterrupted – although its name has Thursday 9 November, 2 to 5pm; Friday 10
wars to the present day. Blackpool changed several times over the years, November, 10am to 5pm; and Saturday 11
finally settling with The Blackpool Art November, 10am to 4pm.
Tower (1894) is slightly younger than us,
as is the Blackpool Football Club (1887). Society in 1978. The group opened its n Broadlanders Art Club
The North Pier was opened in 1863 and own studio on Wilkinson Avenue in Exhibition at The Mill Lane Centre, Mill
the Winter Gardens in 1875, so they are Blackpool in 1972, from where it holds Lane, Bradwell, Great Yarmouth, Norfolk
NR31 8HS on Saturday 28 October, 10am to
slightly older.” a weekly programme of events,
5pm and Sunday 29 October, 10am to 4pm.
It all began in 1884, when George Monday to Friday. There’s also a
n Dedham Arts Group
Dearden and five others met in his front Tuesday evening portrait group and a
Wednesday morning figure drawing 50th exhibition at Dedham Parish Church
room at 15 Buchanan Street in
from 24 to 28 October, 10am to 4pm daily.
Blackpool. The Blackpool Sketching Club and painting group. Workshops are
organised throughout the year, as well n Dorking Group of Artists
was formed and within two years, was
firmly established, producing a monthly as demonstrations, practical events Autumn exhibition at Denbies Wine Estate,
and talks every Tuesday evening. As if London Road, Dorking, Surrey RH5 6AA
magazine for its members, and from 13 to 15 October, 10am to 5.30pm
exhibiting no less than 226 works at its that wasn’t enough, there are quarterly daily; closing at 4pm on the final day.
Saturday Fayres at the studio, social Enquiries to 01372 375123.
events, as well as outdoor sketching
n Epsom and Ewell Art Group
and painting during the summer.
Autumn exhibition at Bourne Hall, Spring
Do let us know if you believe your Street, Ewell KT17 1UF from 16 to 28
club is older. Write to me, Jane Stroud, October. Open daily, 9.30am to 5pm.
at Leisure Painter, 63/65 High Street, n Guiseley Art Club
Tenterden, Kent TN30 6BD; email Exhibition at the Methodist Church Hall,
jane@tapc.co.uk. To find out more about Oxford Road, Guiseley, Leeds LS20 9EP on
the Blackpool Art Society visit Saturday 4 November, 10.30am to 4.30pm;
www.blackpoolartsociety.co.uk and Sunday 5 November, 12 noon to 4pm.
Visit www.guiseleyartclub.co.uk
Kenneth Weigh The River House – Skippool,
t

watercolour, 9x111⁄2in. (23x29cm) n Ham Art Group


Autumn exhibition at St Thomas Aquinas

74 NOVEMBER 2017 www.painters-online.co.uk


LP Nov 2017 Art clubs p74-76_News 1st 21/09/2017 11:22 Page 3

Church Hall, Ham Street, Ham, Richmond


TW10 7HT on 4 and 5 November, 10am to Highlights
4pm daily. Enquiries to 020 8940 5725.
Bathampton
n Highgate Watercolour Group Art Group
Exhibition at Lauderdale House, Highgate,
Bathampton Art
London N6 5HG from 31 October until 27
November. Enquiries to 020 8348 8716. Group will be holding
its winter exhibition
n Horsham Painting Group
at Bathampton
One-day exhibition at The Quaker Meeting
House, Horsham RH12 1SL on Saturday 18 Village Hall,
November, 10am to 4pm. Visit Holcombe Lane,
www.horshampaintinggroup.co.uk Bathampton BA2 6UL
n Horsley & Clandon Society of Arts on Saturday 11
One-day exhibition at East Horsley Village November between
Hall, Surrey on Saturday 14 October, 10am 10am and 5pm.
to 4pm. Enquiries to 01483 224063. Members will be
n Marple, Silk-n-Threads demonstrating their
Annual exhibition by the silk-painting art artistic talents
Costas Mikellides Riverside, acrylics, 133⁄4x15in.
t
group at Marple Library, Stockport SK6 6BA. throughout the day and there will
(30x38cm), winner of the best in show vote at the
Enquiries to 0161 217 6009. also be Christmas cards available, Bathampton Art Group’s April exhibition
n Nettleham Art Group designed by them. For information
Art and craft sale at the Old School (near email info@bathamptonart.co.uk or visit
www.bathamptonart.co.uk
Maghull and LydiArt Group
the church), Nettleham, Lincoln LN2 2PE
on Saturday 11 November, 10am until The Maghull and LydiArt Group will be
Cambridge Drawing Society holding their winter exhibition at Lydiate
3pm. Enquiries to 01522 753558. The Cambridge Drawing Society
Village Centre, Lambshear Lane, Lydiate
n Poole & East Dorset Art Society continues to celebrate its 135th year
L31 2LA on 18 and 19 November, from
Autumn exhibition at The Gallery Upstairs, with an exhibition at The Leys
Upton Country Park, Poole BH17 7BJ until 10.30am until 4.30pm each day. This year
School Old Gym, Fen Causeway,
16 October, 10am to 5pm daily. Visit the exhibition will include a local school’s
Cambridge from 21 to 28 October,
www.pedas.org.uk competition as well as cards, jewellery,
10am to 4pm daily. Over 250
n The Royal Tunbridge Wells Art original works will be on show and
refreshments and free parking.
Society available to buy, including paintings,
M.A.D. Art
Winter exhibition at 61 The Pantiles, The Maxey Art Group and Deepings Art
drawings, prints and sculpture.
Tunbridge Wells, Kent from 11 to 26 Club will be holding their popular joint
For more information visit
November. Visit www.rtwas.org exhibition at Maxey Village Hall, Maxey,
www.cambridgedrawingsociety.org
n St Wilfrids Art Group Cambridgeshire PE6 9EJ (just off the A15
Chailey & Newick south of Market Deeping) on Friday 27
Annual exhibition of art and crafts at Painting Group
Cowplain PO8 8DZ on Saturday 21 October, October, 10am to 5pm; Saturday 28
10am to 4pm and Sunday 22 October, The annual exhibition of the Chailey
October, 10am to 5pm and Sunday 29
11am to 4pm. Enquiries to 02392 262295. & Newick Painting Group will take
October, 10am to 2pm. As well as
place at Chailey Village Hall on the
n South Lafford Art Group artwork, there will be cards by local
A275 in East Sussex over the
Exhibition at the Village Hall, Folkingham, artists on sale. Entry is free, with disabled
weekend of 18 and 19 November,
Sleaford, Lincolnshire on 21 and 22 parking, access and facilities, and
October, 10am to 6pm daily. 10am to 5pm each day. As well as
refreshments available.
paintings and cards, there will be
n Uckfield Art Group
demonstrations and refreshments.
Bi-annual exhibition at Luxford Centre, t Lyudmila Sikhosana Dusk at the Meadow,
Library Way, Uckfield TN22 1AR on Saturday Free admission, parking and oil on canvas, 133⁄4x173⁄4in. (35x45cm) at the
4 November, 10am to 4pm. disabled access. Visit www. Cambridge Drawing Society’s autumn exhibition
chaileyandnewickpaintinggroup.org.uk
n Walton Group of Artists
Annual exhibition at Walton Village Hall,
School Lane, Wetherby, West Yorkshire LS23
7DW on 18 and 19 November, 10am to
4pm daily. Enquiries to Sandra 01937
572546.
n West Moors Painting for Pleasure
Arts and crafts exhibition at the Memorial
Hall, Station Road, West Moors, Dorset
BH22 0HZ on 4 November, 10.30am to
4.30pm. Enquiries to Robin Alley 01202
855668.
n Woking Society of Arts
Autumn exhibition at The Lightbox, Woking Sonia Villiers King’s College Chapel Technicolour,
t

from 17 to 22 October. Open Tuesday to acrylic on canvas, 311⁄2x311⁄2in. (80x80cm) on show at


Saturday, 10.30am to 5pm; Sunday from the Cambridge Drawing Society’s annual exhibition
11am to 3.30pm.
t

www.painters-online.co.uk NOVEMBER 2017 75


LP Nov 2017 Art clubs p74-76_News 1st 21/09/2017 11:22 Page 4

Paul Birtles Barry Scrapyard 2, watercolour

t
20x16in. (51x40.5cm), voted the visitors’
favourite work in the Mid Beds Art Society’s
spring exhibition

11 November, 9.30am until 4.30pm.


Original art and crafts will be
available to buy, as well as homemade
cakes, tea and coffee. There’s disabled
access and parking available. For more
information telephone Lynne Harris 01277
372123 or visit NEWS
www.ongarartsociety.moonfruit.com
Sidmouth Society of Artists
Rosemary Hale’s Art Group Jill Booker, winner of the Marion
The annual exhibition by Rosemary Ovens silver salver award for her
Hale’s Art Group will take place at painting Old Friends, is pictured here
Highlights Derrington Village Hall on Saturday 18 with professional artist, Peter
Mid Beds Art Society and Sunday 19 November, 10am to Goodhall and Lynda Kettle, chairman
The autumn exhibition of the Mid Beds 4pm each day. Admission to the of the Sidmouth Society of Artists.
Art Society takes place at Maulden exhibition is free and there is also free Marion Ovens, a long-standing
Village Hall, Flitwick Road, Maulden, parking. Rosemary will be member of the society, was a well-
Bedfordshire MK45 2DP on Saturday and demonstrating her painting methods known local artist and designer for
Sunday 4 and 5 November, 10am to throughout the exhibition and Sanderson fabrics. On her death, her
4pm daily. There will be live refreshments and greetings cards will husband created the award in her
demonstrations throughout the be available. Rosemary has been memory.
exhibition, cards for sale, refreshments running art classes in the Stafford
and a tombola. Free entry, parking and area for over 20 years. She holds four
disabled access. weekly sessions at Derrington Village
Hall on Tuesdays and Thursdays as Demonstrations
Odiham Art Group
well as a Monday session at her home Bedford Art Society
The Odiham Art Group’s annual
village of Foxt in north Staffordshire. Keith Morton will give a portrait
exhibition takes place at Robert May’s
During the summer months she runs demonstration in acrylics to the Bedford
School, West Street, Odiham RG29 1NA
one-day workshops and outdoor Art Society at Putnoe Heights Church,
over the weekend of 28 and 29 October,
painting days. For more information Bedford MK41 8EB on Friday 3 November
9am to 5pm daily. With over 130
contact Rosemary 01538 260007 or visit (7.15 for a 7.30pm start). Keith will share
members the OAG is one of the largest
www.rosemaryhale.co.uk useful tips for achieving a likeness. Entry
and most vibrant in the area. Many of
Tadworth Art Group is free for members; £5 for visitors.
the members will be on hand during the
Contact Jean Paterson on 01234 307210 or visit
show to chat to visitors. As well as The Tadworth Art Group’s winter
www.bedsartsociety.co.uk
original works of art for sale, there will exhibition goes on show at St. John’s
also be greetings cards and Church Hall, 59 The Avenue, Tadworth Brighouse Art Circle
refreshments. Admission and parking is KT20 5AB from 17 to 19 November. Forthcoming demonstrations at the
free. For more information visit Over 250 paintings from 35 local Brighouse Art Circle include an oil
www.odihamartgroup.org.uk artists will be exhibited including demonstration by Jeremy Taylor on 26
watercolours, oils, acrylics, pastel, October and a textured floral
Ongar Art Society
collage, charcoal and pencil. Visitors demonstration in acrylics by Matthew
Members of the Ongar Art Society in
are invited to meet the artists with Evans on 9 November. Demonstrations
Essex will be holding their popular
free wine and nibbles on Friday 17 take place at Waring Green Community
winter sale at The Budworth Hall, High
November, 6.30 to 10pm. The Centre in Brighouse at 7.30pm. For details
Street Ongar, Essex CM5 9JG on Saturday
exhibition is open on Saturday from visit www.brighouseartcircle@yahoo.co.uk
t Barry Sullivan Playful Pup, watercolour,
11x153⁄4in. (28x40cm) at the Tadworth Art 10am until 6pm; and on Sunday from Halifax Art Society
Group’s winter exhibition 10am until 5pm. Entry is free and On 10 November, 10.30am until 1pm,
refreshments are available. Lynne Hickin will give an illustrated talk
Tondu & District Art Society to the Halifax Art Society on Alice Through
The annual TADAS exhibition will take the Illustrators at All Saints Parish Hall,
place at the Len Evans Centre, Godfrey Road, Skircoat Green, Halifax.
Aberkenfig, Bridgend, South Wales Visit www.halifaxartsociety.com
CF32 9RF from 10 to 14 November; Virginia Water Art Society
10am to 6pm daily; 11am to 4pm on Paul Simmons will give an demonstration
Sunday. This year the theme of the in oils on Heaven, Ocean & Earth to the
competition is Winter Scene. Entry and Virginia Water Art Society on Wednesday
parking is free and light refreshments 1 November, 7.30 to 9.30pm at the
are available. For more information Community Centre, Beechmont Avenue,
contact Lorna Chilcott 01656 451488. Trumps Green, Virginia Water. Visit
www.virginiawaterartsociety.blogspot.co.uk

76 NOVEMBER 2017 www.painters-online.co.uk


LP November 2017 Gallery p77_Layout 1 21/09/2017 11:28 Page 3

Art club gallery BEST IN SHOW PAINTINGS

If you would like to see


your art group’s winning
paintings reproduced here,
encourage visitors to your
next exhibition to vote
for their favourite work,
then simply send us the
details. Full information
is given below.
North Lincs Art Society
t

Mick Craven Bomber Command,


oil, 193⁄4x271⁄2in. (50x70cm).
Mick tells us that this painting
was inspired by a recent trip to
London where he visited the
memorial to Bomber Command
in Green Park. Formed in 1941,
the society currently has over 80
members, with a lively
programme of events, activities
and workshops throughout the
year. New members are
welcome. For more information
visit www.nlasart.co.uk

Salisbury Group of
t

Artists Allan Samuels


Reed Beds, oil,
26x361⁄4in. (66x92cm).
This is the second year
running that Allan has
been chosen as the
public’s favourite at
the annual exhibition.
Established in the
1940s, this friendly group of artists meets regularly on Friday
afternoons from September to June to paint together indoors –
and outside if the weather is suitable. A varied programme of
events is also arranged throughout the year, including workshops,
painting days, demonstrations and visits to exhibitions. For more
information visit www.salisburygroupofartists.co.uk
t
Sawbridgeworth Artists
Sue Kenworthy Thatched Cottages, How you can join in
watercolour and gouache, 19x22in. To participate in our best in show feature, arrange for the voting to take place at
(48x56cm). The annual Sawbridgeworth your next club exhibition, then send Leisure Painter a photograph, transparency
exhibition takes place in April and or jpeg of the chosen painting. We can only accept sharp, high-resolution
attracts a wide variety of works by (300dpi) images for reproduction purposes. Attach details of the artist, title,
local artists. If you’d like to find out more medium and dimensions, along with details of the club itself. LP also welcomes
about the exhibition and next year’s show, art exhibition listings, profiles, events, letters and news. Send to Jane Stroud,
email the committee at 63/65 High Street, Tenterden, Kent TN30 6BD; or email jane@tapc.co.uk
sawbridgeworthartexhibition@gmail.com

www.painters-online.co.uk NOVEMBER 2017 77


LP Nov 2017 Online Gallery p78_News 1st 21/09/2017 11:41 Page 66

Online gallery
Jane Stroud’s selection of works from our PaintersOnline gallery
WWW.PAINTERS-ONLINE.CO.UK

T he two paintings I’ve chosen this month are all


about pattern and colour. Annie’s watercolour
clearly focuses on pattern, cleverly juxtaposing it
against the fur of the cat, while Carole’s pastel
relies on the effects of light and shade. Here both
artists share their thoughts with us. If you would
like to see more of their work, post a comment or
upload your own images to our free online gallery,
visit www.painters-online.co.uk
An art lover all her life, it wasn’t until Carole retired
that her artistic passions were fully awakened. Now,
aged 73, she paints whenever possible. She writes:
“Late Afternoon Tea in the Summerhouse was inspired
by the summerhouse in my sister’s garden. Soon to
be demolished, the rickety shed held many
childhood memories that I wanted to capture. The
late afternoon sun threw melancholy shadows over
the remnants of our last afternoon tea.
“I sketched the background using Unison soft
pastels, picking out the details with Faber-Castell
pastel pencils. Soft pastels were used for the
highlights, including the dappled light on the
furnishings. I worked from the top left of the painting
(I’m left handed) using a plastic wallet over finished
work to prevent smudging.”
t Carole Kelly Late Afternoon Tea in the Summerhouse,
pastel, 14x12in. (35.5x30.5cm)

t
Annie Davenport Cat with Cushions, watercolour, 1612⁄ x1134⁄ in. (42x30cm)

Annie studied graphics at Bristol Polytechnic and has been earning a


living from art and design for the past 40 years. Now semi-retired,
she has more time to paint and does a lot of design and signwriting
for a heritage railway. She has joined two art groups – the Old Bakery
Artists and Cam Valley Arts Trail. “I enjoy painting the natural
world,” she writes, “but also love getting involved with patterns and
textures. Recently, with the help of a good friend, I have been
enjoying painting en plein air as the colours bounce around and the
light is much more vibrant than in a photograph. This piece was
created for a greetings card company. The patterns on the cushions
and carpet appealed to me at the time – the cat was merely an
excuse to paint the rest and gave me another texture to explore!”

78 NOVEMBER 2017 www.painters-online.co.uk


house pages_Layout 1 21/09/2017 08:23 Page 79

Develop your PAINTERSONLINE


The online home of Leisure Painter
painting skills Here are links to some of the

with artist best practical art videos online,


recommended by our website
editor, Dawn Farley
6 issues for just £15, saving
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Michele Del Campo’s


top tips for oil painters 2xvn3YC
WATERCOLOUR DRAWING COASTAL SCENES Also.. how to
Paint dramatic skies
Use negative spaces
to improve your
compositions
Master complementary
colour-mixing in
watercolour

Capture the light & Create a self-portrait Use perspective to


atmosphere of in charcoal & add dynamism to
autumn landscapes chalk your paintings

How to
M

Mixing complementary colour pairs


completes the subtractive colour-mixing
process that, when mixed together in
the correct proportions, they produce
black. The term subtractive relates to
paint autumn
leaves in
overlaid, coloured transparencies. With
each overlay the amount of light

New thoughts about


reflected from the surface is reduced or
subtracted. The same happens in STAGE TWO PRACTICAL
I wet
Swinging Birches, the paper front,
watercolour, 22⫻30inback(56⫻76cm).
and front again to
principle when we physically mix paint
Visual complementsprevent curling
cyan and then, starting
orange-yellow arewith
the dominant
lemon, colours here

watercolour
applied a wet-on-wet wash with
my flat

rs
brush, washing my brush before

complementary colou
laying in a
different colour. I used a mist spray
to
moisten the paper if it lost its
shine. I left
much of the lemons unpainted
to ensure
clean lemon colour on subsequent
washes.
M

As the paper dried, I gradually


used thicker,
just one pair darker paint. Finally, I scraped
complements are not
http://painte.rs/
out veins on

Hilary Page says that these visual complements and mixing


the leaves of the primroses using
the
bevelled end of a paintbrush
VISUAL COMPLEMENTS
She calls Modern technology gives us another way
of colours, but two. are not the same. Read
on – this to calculate ‘visual’ complementary pairs in

complements, and they


Winsor lemon yellow PY175 Ultramarine blue rs PB29
the form of reflectance curves. They show the
the way you paint! STAGE
Lemon yellow (hansa) PY3
THREE + French ultramarine rs PB29
light wavelengths reflected from a coloured
tion could change

2v8VA2f
When theyellow
informa surface. For instance, the curves for Winsor
lemon PY175 (A) and French ultramarine
Winsor painting
lemons with
Medium yellow
was dry I modelled the
PY154
PY154to make them appear
shading
Winsor blue rs PB15.1
three-dimensional. I lifted off
PB29 (B) peak at opposite ends of the where it got
Winsor yellow
too dark deep
using PY65 natural
a damp,
spectrum. When mixed optically as dots they sponge Winsor blue gs PB15.3
any artists know that
make a flat curve (C) that is characteristic of

M
ry
pairs Visual complementa neutrals. I’ve included curves of non-colours Winsor orange rs PO73 Cyan: Winsor blue +
complementary colour Pyrrole orange Winsor green bs PG7
one colour pairings black (D) and white (E) for comparison
are placed opposite
wheel complete the optical
another on the colour
Scarlet lake PR188 or Bluish-turquoise
blending process of Pyrrole scarlet PR255
be used for colour Winsor blue + Winsor green
and that they can equalising the amount B C
colours more
mixing (to make bright A Winsor red PR254 Greenish-turquoise
nt (to of colour/light Winsor green + Winsor blue
and colour enhanceme is achieved either by
spinning different? They each complete a type of Pyrrole red
neutral)
appear even reflected from a The colourless grey (B), or
make saturated colours a colourless grey (B). dots as in pointillism colour blending that is complete when Permanent rose PV19 rs
artists, however, surface to produce (A), or as coloured
brilliant). Most proportions on a disc with ultramarine blue, neutrality is achieved, ie when the two Pyrrole crimson PR264 Winsor green bs PG7
more
the actual colours in the correct is visually intermingled
are misinformed about example, when lemon to subtractive colour
mixing colours make black, colourless grey or
tary colour pairs. printed colour. For grey (B) as opposed Hilary Page
colours of complemen colour is a neutral white. Quinacridone magenta Winsor green ys PG36PR122
for my own books the optically created left the UK to teach in Indianapolis,
Whilst researching yellow make green The most important aspect for artists is
(C) when blue and where she also studied. She has
to question the how to use visual and mixing been
on colour I began Permanent magenta PV19 Emerald green
on the subject of Colour Index (CI complements when painting. We don’t teaching watercolour painting
in
I have included the
Winsor green + Winsor lemon
prevailing literature e, since that Houston, Texas, since the early
It’s become ent Yellow 175, limit our colours to just two visual 1980s.
complementary colours. not just one best displayed side-by-sid names) eg PY175=Pigm Cobalt violet PV14 or PV49 She is the author of many books
are them. Ultramarine match the pigment complementary colour pairs. That would Yellow-green on
clear to me that there is the way we use so you can exactly watercolour painting. For more
tary colour pairs, butblue and lemon, red
and turquoise,
regardless of the manufacture
r's paint be boring. Instead we make them the
set of complemen information see www.hilarypage.com
for them are are visual focus of the composition, as illustrated Manganese violet PV16
two. The names I coined visual and cyan and orange name on the tube. Yellower-green
ts and one of these by Primroses and Lemons (pages 44 & 45).
mixing complemen complements. Use ent, and
the two
complements, to describe of each are combinations in a
painting and your What is a complem If you use the right visual Winsor violet PV23 Green-yellow
why the differences?
pairs more vibrant and complementary colour pair for your Carbazole dioxazine PV23
functions. The colour colour will appear
before. A complement dominant colours, the colour in your
not the same. pleasing than ever Let's review the basics. So what do paintings will be even more exquisite FINISHED PAINTING
complements Green gold PY129
Like all colours, visual is ‘that which completes’.
Ultramarine violet bs PV15

Paint
Primroses and Lemons, watercolour, 15⫻22in
Visual complements
and dazzling. I hope you enjoy
under daylight, not complements each
need to be viewed
www.hilarypage.com
mixing and visual
M

experimenting with your new-found (38⫻56cm).


ts are pairs of colours and the colour the colours Rs = red shade bs = blue shade gs = green shade HilaryPage © 2016
Visual complemen incandescent lighting, In this article complete that makes knowledge of visual complements! TA When the paper was dry I added lemon
contiguously each yellow
that when painted pairs need to be precise. over the lemons. With my board
slightly tilted
The pairs are
appears more vibrant. www.painters-online.co.uk
I negative painted the background
leaves and artist November 2017 43
flowers by painting around them.
I softened
edges with clear water but not

golden fields
dripping wet!
MIXING COMPLEMENTS I blotted around the edges of
the paper to
yellow avoid back-runs. The individual
flowers were
brought out by adding shading
Complementary colour using yellow
with a touch of purple, ie mixing
orange pairs red/green, complements.
green I didn’t paint each flower individually,
blue/orange and instead
I painted passages of shading.
yellow/purple are I re-stated the

in watercolour
lights and highlights using titanium
placed opposite one white.
Finally I re-darkened the edges
another on the colour are identical. They
appear
where one was behind another
of the lemons
for The lemon rectangles them, caused by
wheel. They are used the colour surrounding
and added
different because of
imagined shadows
colour mixing to make artists call simultaneous
contrast.
bright colours more a phenomenon that it’s related to how
lateral inhibition and
neutral. For instance,
a Biologists call this of visual
It’s the mechanism If you’d like to know more about Hilary’s
the eye perceives colour.

with
M

will
touch of any purple shows that the lemon research into the history of colour mixing,
make yellows quite
dull complements. Comparison than the one see
is much more vibrant her article on our website at:
red and unsaturated, and
so surrounded by blue and colour books http://painte.rs/2y5iOEp
blue Many artists
on with all the colours surrounded by purple. enhancement
and purple for colour
erroneously pair yellow
purple www.painters-online.co.uk
.uk
www.painters-online.co artist November 2017

Alan Owen
45
42 artist November 2017

http://painte.rs/

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COLOURS MADE IN SWITZERLAND

For addional informaon and stockists please contact: JAKAR INTERNATIONAL LIMITED
Jakar Internaonal Limited, 410 Centennial Park, Elsee, WD6 3TJ • Tel: 020 8381 7000 email: info@jakar.co.uk
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p80_lpnov17.indd 1 22/09/2017 09:37:18


TRIED & Value
Durability
Practicality

TESTED:
Compact gardening
equipment
Whatever the size of your growing
space, here are some fantastic
products for you to try
COMPACT PLUG PLANT TRAINER
(GARDENING NATURALLY) £13.49
I’m really impressed with this compact plug plant trainer for a number of
reasons. Firstly, it enables me to grow 49 plug plants in a tiny space that
will fit onto the smallest of window sills. Secondly, if you’re heavy-fisted
like me, the easy pop up system enables you to remove seedlings without
damaging the them. Thirdly, by swivelling the lid 90 degrees you can provide
additional ventilation. Finally the trainers can all easily be stacked making it
easy to store them when they’re not being used. A great piece of compact
kit for any budding gardener.

Value
Durability
Practicality

M
any of us would probably like a bit
more space for gardening and all the
horticultural paraphernalia that goes with
it. Thankfully there are lots of gardening tools and
gadgets to help us make the best of the area we’ve
got. This month I’m testing compact gardening
equipment, ensuring that you can keep gardening
whatever the size of your plot or shed. Whether
it is propagation, raking the lawn or even cutting the grass it
would seem there is always a compact solution to help you manage
your garden effectively and efficiently.

TELESCOPIC EXPANDABLE RAKE


WHERE TO BUY (TWO WEST & ELLIOT) £11.99
This collapsible rake is a great space-saving tool, freeing up plenty of room
Gardening Naturally 01285 760 505, gardening-
in my shed for other pieces of gardening equipment. The handle and tines
naturally.com
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Two West & Elliot 01246 451 077, twowests.co.uk kilo meaning its easy to hang from a nail. Once opened up it is perfect for
Makita 01908 211 678, makitauk.com getting into all those awkward places such as beds and borders, as well
Agriframes 0117 934 1790, agriframes.co.uk as raking up the leaves as we get into autumn. There are fifteen flexible
The Organic Gardening Catalogue 01932 878 570, tines meaning I can also use it to scarify the lawn as part of my autumn
organiccatalogue.com maintenance program. A useful tool if you’re short of storage space.

growfruitandveg.co.uk 81
Christmas ideas

Gardeners gifts
for the festive season
Prepare for Christmas with this fantastic guide to presents
that are ideal for use on the plot

As winter approaches and the growing grow their own food, you might want
season slows down now is the perfect to keep things simple in terms of a
time to look forward to next season and Christmas gift. A seed tin, dibber, small
the tools and other pieces of equipment pots and seeds trays are wonderfully
that will help you obtain success in the useful products for the novice gardener
years to come. Christmas is a fantastic and you can pick them up online and
opportunity to treat your gardener in many garden retail stores. There are
friends to some amazing products also fantastic seed collections available
to help them achieve the same to encourage your loved one to
positive results. cultivate a wider range of fruit and veg.
When thinking about the perfect There are still plenty of tasks that
present to buy for a grower, it’s worth need to be completed on the plot, so
considering ways to extend the season why not invest in some cosy outdoor
while we wait for spring to arrive. clothing for your loved one? Insulated
Propagators, greenhouse heaters and boots, gloves and scarves will allow the
cloches are ideal examples, and many person who receives your gift to garden
of them are available at a reasonable to their heart’s content throughout
price. Your friend or family member winter without threat of suffering
will experience great delight at the the cold.
thought of starting the seed sowing Take a look at these fabulous
process a few weeks earlier thanks to suggestions to help you make the
their new piece of kit. best choice of growing presents
For someone who is just starting to this Christmas.

growfruitandveg.co.uk 83
GARDENERS GIFT BOX dps_GROW YOUR OWN 22/09/2017 12:16 Page 84

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84 growfruitandveg.co.uk
Grow like a pro:
raspberries
Horticultural director of Kings
Seeds Andrew Tokely outlines
how to produce these juicy fruits

R
aspberries are a rewarding and produced will have berries ready to harvest
productive fruit to include on your by late summer. They also create yields over
plot. With many different varieties a longer picking period. Varieties to try are
available, gardeners can experiment with ‘Joan J’, ‘Polka’ and the yellow-fruited ‘All
the types that best suit their needs. Follow Gold’ – these will produce raspberries from
this guide and achieve success with growing late August through to October.
your own berries.
START PLANTING
TYPES TO CONSIDER When considering growing raspberries
When choosing which raspberry variety to it is worth taking your time over the soil
grow it is important to remember there are preparation. This is best prepared in the
two types, each cropping at different times autumn, incorporating a generous amount
of the year and having different cultural of well-rotted manure or compost, as well
and pruning requirements. Summer-fruiting as removing any perennial weeds. Prior to
canes fruit on one year old wood. These need planting give the soil a dressing of blood,
training against the wire structures and then fish and bone fertiliser. This fruit requires
after fruiting, the old canes that have carried an open sunny site, preferably on well-
fruit that year are pruned out down to the drained, acid soil. If possible avoid chalky
soil and the new non-fruiting canes produced and alkaline earth as these conditions usually
that year should be tied into the framework. create poor growth, yellowing leaves and a
Varieties to try are ‘Glen Ample’ and ‘Glen poor crop.
Coe’ or the unusual apricot-coloured Crops are best spaced 40cm apart
‘Valentina’, these will produce yields along rows spaced a minimum of 1.5-2m. If
from June to July. cultivating summer-fruiting raspberries these
Autumn-fruiting raspberries fruit on the will require some form of support to grow
stems produced in the same year. These are against. A framework of posts 1.8m high
easier to grow as they are simply cut down with wires horizontally stretched between
to soil level in late winter (January-February) the posts every 30cm, starting 90cm from stems to the wire framework. Autumn-fruiting
each year and the new growth that is the ground is ideal. As plants grow tie in the varieties can be planted at the same spacing
but require no form of support.

CONTINUED CARE
AND HARVESTING
It is important to look after plants and each
spring they will benefit from a mulch of well-
rotted compost and a top dressing of blood,
fish and bone added to the soil. This will
ensure the canes grow well year after year
and produce a bumper crop of tasty berries
for adding to desserts, jams or preserves.
Raspberries also freeze very well if at any
time you produce more fruit than you can eat.

Choose from a wide range of raspberry


varieties by going to kingsseeds.com

86 growfruitandveg.co.uk
These yields
are one of the
richest and most
flavoursome to eat
when they have
been freshly
picked

tree stems tied to canes which have been also be carried out. This can be done by using
positioned to be fan shaped on the wires. a paintbrush and brushing the bristles in each
If you are new to growing fruit trees and are flower. If you have grown trees in containers,
unsure about this aspect of care, you could during the colder months of the year the
consider buying a specimen which is a few advantage is that they can be moved to a
years older and already slightly trained. more favourable position, which is warmer and
November is a great month to plant has greater shelter.
peaches and nectarines, or to just consider Fruit trees which have been fan-trained can
acquiring one as bare-root trees can be put be pruned during the summer so that the tree
outside up until early spring, around March. continues to establish the desired shape and
The tree may be placed in the ground so that develop new growth.
it is relatively close, around 15-20cm, to the
structure you are training it against. Put the HARVESTING
specimen in a hole which is large enough to These yields are one of the richest and most
accommodate its roots, this will be influenced flavoursome to eat when they have been
by rootstock and age, and plant to the soil freshly picked at the appropriate stage of
mark visible on the tree – careful not to cover ripeness. You should allow time for the fruit to
the grafting area. completely colour and then test its texture by
feeling the area by the stalk – this should be
CARING FOR YOUR TREE tender. When ripe the fruit will simply detach
PEACH AND
Peaches and nectarines flower early in the itself from the tree when delicately picked.
season which makes them vulnerable to NECTARINES TREE
cold weather, but this also means pollination PEACH LEAF CURL SUPPLIERS
can be a problem due to the lack of insects A problem that affects both peaches and
present at that time of year. Frost protection nectarines is the disease peach leaf curl, • Grow at Brogdale, 01795 531 888,
methods, such as using fleece, therefore need which is a result of the fungus Taphrina brogdaleonline.co.uk
to be put in place before unfavourable weather deformans. The leaves are severely damaged • Suffolk Fruit and Tree, 01379 870 759,
affects the plant, and hand pollination should by this disease, which causes them to realenglishfruit.co.uk
become wrinkled and distorted in appearance
with red-purple blisters, and then they will fall • Dingle Nursery, 01938 555 145,
dinglenurseryandgarden.co.uk
TOP TIPS from the branch. If your tree has this disease,
then the infected leaves should be removed • Ken Muir, 01255 830 181,
• Plant your tree in well-drained soil in a as soon as possible, however the best option kenmuir.co.uk
sunny position. is prevention. Rain spreads the fungus spores
so to protect your tree erect some plastic • Pomona Fruits 01255 440 410,
• Use horticultural training wires to fan- covering. The sheet should be put up from pomonafruits.co.uk
train your peach or nectarine tree. when the leaves have fallen in autumn until
spring, in May.

90 growfruitandveg.co.uk
Rhubarb

GROW YOUR BEST EVER


RHUBARB
Enjoy these tasty stems with the help of this useful growing guide

R
hubarb is a perennial plant that will First, thoroughly work over the soil at least
provide loyal service year after year. a month before planting. Choose an open
These crops almost seem to take care sunny site and dig down to about 60cm
of themselves, lying forgotten in the corner below the surface of the soil so that the roots
of a plot yet continuing to provide tasty will have plenty of good, loose ground to
pickings each season to add a gentle tartness explore. Remove any stones and weeds then
to puddings and crumbles. Follow this guide incorporate masses of organic
and you can achieve success with this matter where each plant
easy-going edible. is to sit.
Make sure the top bud
START PLANTING of your rhubarb crown
Rhubarb is planted in the form is placed just below the
of crowns. This is an already surface of the soil. The
established crop that is a couple crops should be spaced
of years old and consists mainly roughly 1m apart, with
of roots, with one or two healthy 1.2m between rows as they
buds on top. The best time to tend to get quite large. On heavier soils,
plant them is November or make sure the tip of the crown is just poking
December. However, proud of the soil level to prevent water
this can also be puddling around it, which can lead to rotting.
done in spring Thoroughly water in new plants to settle the
should you prefer. earth around them.

92 growfruitandveg.co.uk
– PLOT TO PLATE –

AUTUMN HARVESTS
Make the most of your garden pickings with these fantastic
recipes from Hugh Fearnley-Whittingstall

PEPPER, POTATO
AND CHARD STEW
WITH SAFFRON
Hugh says
This is based on the lovely chachouka in River
Cottage Veg Every Day. There are no eggs this
time, but even more veg, with potatoes and chard
adding to the rich pepper and tomato base. I
really like the earthy, pungent tang of saffron in
the dish, but the stew is still delicious without it.
SERVES 4
• 2tbsp olive or
rapeseed oil
• A large pinch of
saffron strands
•
•
1tsp cumin seeds
1 large onion,
• ½ tsp hot
smoked paprika
quartered and
thinly sliced
•
•
1tsp sugar
Juice of ½ a
• 1 large, or 2
small red peppers
small lemon, or
to taste
•
•
200g chard
500g new,
• Sea salt and
black pepper SWAPS
waxy or salad To finish:
potatoes,
scrubbed
• About 30g
toasted, flaked
Leaves Use spinach instead
of chard - there’s no need to cook
• 2 garlic cloves,
finely grated or
•
almonds
A handful of the stalks separately, just wilt the
crushed coriander leaves spinach in at the end of cooking
• 2x 400g tins
tomatoes
• Extra virgin olive
or rapeseed oil Herbs Finish the dish with
mint or parsley rather
than coriander.

1 Place a large for about 10 minutes. stalks and potatoes. sugar and some more the stew. Take off
flameproof casserole 2 In the meantime, Replace the lid and salt and pepper and the heat.
or small stockpot over quarter, deseed cook gently for about stir well. Simmer 6 Add the lemon
a medium heat and and thinly slice the 20 minutes until the gently, uncovered, for juice then taste the
add the oil. When it’s pepper(s). Separate pepper is softened, about 15 minutes, stew and adjust as
hot, add the cumin the chard stalks and stirring now and again until the potatoes necessary, with more
seeds and let them leaves and cut both to ensure nothing are tender, stirring salt, pepper and/
sizzle for a minute or into 1cm thick slices. sticks and burns. regularly. or lemon. Serve
two. Add the onion Cut the potatoes into 4 Add the tomatoes 5 Toss in the chard scattered with the
with a pinch of salt, bite-sized chunks. with their juice, leaves, cover the pan toasted almonds
stir well, then cover 3 When the onion is crushing them with and cook for another and coriander and
and lower the heat. nice and soft, stir in your hands as you do 5 minutes, or until trickled with extra
Let the onion sweat, the garlic, then add so. Add the saffron, they have wilted. virgin oil.
stirring once or twice, the red pepper, chard smoked paprika, Stir the leaves into

94
98 growfruitandveg.co.uk
TWO-TRAY SPICY 1 Preheat the oven to the fennel, cumin and
coriander seeds roughly
oven; they should be
blistered, wrinkled, juicy
190°C/Fan 170°C/Gas 5.
ROAST VEG 2 Halve the tomatoes and (they needn’t be finely and browned in places.
place in a single layer in a ground) then add to the The tray of veg should be
Hugh says large roasting tray. Scatter tray, along with some tender and nicely coloured.
Jam-packed with goodness, this is a great dish to the garlic and ginger on salt and pepper and 2 Add the prepared chard
slam in the oven while you get on with something top of the tomatoes (not tbsp oil. Stir well to mix leaves to the veg, give
else. One tray of roast veg forms the ‘bulk’ of the onto the tray, where it everything together. it a stir and return this
curry; a second tray of sweet, roasted tomatoes would burn), trickle over 1 4 Put both trays into the tray to the oven, with the
forms the saucy element. Mix the two together tbsp oil and sprinkle with oven, placing the veg tray heat turned off, for 5–10
and dinner’s done. salt and pepper. Set this on a higher shelf than the minutes to wilt the leaves.
SERVES 4 aside while you prepare tomatoes, and roast for 6 Take the tray of hot veg

• 1kg flavoursome
tomatoes
preferred) and
sliced
the other veg.
3 Cut the aubergines into
30 minutes. Roughly chop
the chard stems and add
from the oven, add the
tomatoes to it, scraping in

• 4 garlic cloves,
thickly sliced
• 1 cinnamon stick,
broken in half
2–3cm cubes and the
squash into bite-sized
to the veg tray. Give this
tray a good stir (there is no
all the lovely pan juices,
and mix well. Taste and

• 3cm piece of
ginger, thinly
• 6 cardamom
pods, bashed to
chunks. Put both veg into
a second large roasting
need to stir the tomatoes)
and roast for a further 30
add more salt and pepper
if needed. Scatter with
sliced split open tray with the onions, chilli, minutes. Meanwhile, shred coriander and add a spritz

• 3 tbsp rapeseed
oil
• 1 tsp nigella
(black onion/
cinnamon, cardamom pods
and nigella seeds. Using
the chard leaves.
5 After the full hour, take
of lemon or lime juice.
Serve with rice and dhal for

• 2 medium
aubergines
•
kalonji) seeds
2 tsp fennel
a pestle and mortar, bash the tomatoes out of the a really sustaining meal.

(about 500g in seeds

•
total), trimmed
500g squash,
• 2 tsp cumin
seeds
such as ½
medium butternut
• 2 tsp coriander
seeds
or a chunk of
Crown Prince,
• About 200g
chard, leaves
peeled and separated from
deseeded stems
• 2 medium onions,
each cut into 8
• Sea salt and
black pepper
wedges To finish:
• 1 medium-hot red
chilli, deseeded
• Coriander leaves,
chopped
(for less heat, if
• 1 lemon or lime,
halved, to spritz

SWAPS
Spices To save time, replace
the chilli, cinnamon, cardamom,
nigella, fennel, cumin and
coriander seeds with 2-3 tbsp good
ready-made curry paste.

Aubergines Use courgettes in


place of the aubergines
Extract taken from
River Cottage
Much More Veg
by Hugh Fearnley-
Whittingstall
(Bloomsbury,
£26) is out now.
Photography ©
Simon Wheeler

100 growfruitandveg.co.uk
FESTIVE PROJECT THIS DELICIOUS FUNGI
MAKE FULL USE OF YOUR HARVESTS WITH THIS FIND ALL THE INFORMATION YOU NEED TO PRODUCE
MAKE AN EDIBLE WREATH START MUSHROOMS
THE HELP OF RHS EXPERTS
A RANGE OF GARDENING ISSUES WITH
FIND USEFUL ADVICE ON DEALING WITH DECEMBER ISSUE ON SALE NOVEMBER 3
ASK THE RHS
OUT TOP TIPS FROM GARDEN ORGANIC
PLOT IN AN ECO-FRIENDLY MANNER? CHECK
LOOKING FOR WAYS TO TEND TO YOUR
ADVICE
ORGANIC GROWING
Coming Next
PLUS!

Month
THIS BEGINNER’S GUIDE SEEDS TO KEEP YOUR PLOT PRODUCTIVE
CULTIVATE DELICIOUS HARVESTS WITH THE HELP OF WE’RE GIVING AWAY A PACKET OF GARLIC CHIVES
GROW BRUSSELS SPROUTS SOW YOUR FREE SEEDS
l’s Seeds,
Mr. Fothergil market, Sow by
Kentford, New
CB8 7QB, UK
e
Botanical nam
rosum
Allium tube
: Jan-Dec • Sow
Harvest: Jan
Broad lea -Dec
ves with a
hint of ga
rlic
Garlic Ch
ives
Average
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seeds
Garlic Chives ual
and as an ann
grown in pots herb butter
nnial, can be t for
• A hardy pere with a subtle taste, grea – try in stir fries
• Flat leaves l as pretty
edible as wel
• Flowers are st
Harve
Plant out
Sow outdoors
Sow indoors
S O N D
M J J A 20cm (8”)
J F M A

30cm (1’)
Warm, well
drained soil
w March
or crops and

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to May for outd well and plac lings
post. Water ) is ideal. Seed
pots of com of 15-20˚C (60-68˚F on in cooler, but not
A temperature in 14-21 days. Grow plants to outside t.
ear
usually app ns. Gradually accustomting out 20cm (8”) apar
cold conditio id frosts), before plan a light windowsill.
(avo on
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they are to
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Or sow outd p directly into finely to 20cm (8”) apart.
dee
0.5cm (¼”) watered. Thin seedlingses once 15cm (6”) tall t
n
already bee Harvest by cutting leav leaves from each plan
Harvesting: s from June). Pick a few
(outdoor crop quickly.
ow salads
so they regr is ideal in
rlic flavour
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What to feed garden
BIRDS THIS WINTER
The RSPB’s Jamie Wyver tells us what
produce to leave out for visiting wildlife

D
ifferent species of bird need
different types of food. The
feathered visitors to your garden
HOW TO MAKE FAT BALLS FOR GARDEN BIRDS
or outdoor space will include insect
eaters, seed eaters, and those with a
1 2
varied diet. So it’s good to offer a broad
menu, which could contain some or all
of these tasty treats.

MEALWORMS
These are particularly handy for
your insect-loving garden birds, like
dunnocks, robins, starlings and wrens.
Mealworms are beetle larvae and can
be bought live or dried. You can soak
the dried ones a little beforehand to
make them extra juicy!

SEED MIXES
Look out for bird seed mixes that contain You’ll need fat, such as lard or suet, Mix the fat in a bowl and add a mixture of
flaked maize, millet and sunflower seeds. which will set hard when cool but at room seeds, nuts, mealworms and other goodies
Sunflower hearts, which are seeds with temperature it should be soft enough to stir that birds can eat. This will produce fantastic
the husks removed, mean less mess in with other ingredients. variety for many species.
your garden.

104 growfruitandveg.co.uk
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GYO November 17 Classifieds_GYO 22/09/2017 15:01 Page 112

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