Professional Documents
Culture Documents
Our
50th
year! PAINT
ANIMALS
with
attitude
WATERCOLOUR
Landscapes,
flowers, animals,
Autumn landscapes
and buildings
made easy
HOW DO I…
apply texture
with acrylics?
LET’S DRAW!
Combine ink with
coloured pencils
FOCUS ON TREES
4 exercises to try
STEP-BY-STEP
How to layer
your watercolours
!
ACRYLICS BEGINNERS’
Try a new way oil painting
of working techniques
IS THE PERFECT
COMPLEMENT
TO ANY COLOUR
NOT A COLOUR?
Soft Gel Gloss is so versatile, it may be the perfect complement to any colour. Use with
Fluid Acrylic Colours to add texture or create beautiful glazes. It can be used in, under and
over paintings in a variety of applications.
See the Top 10 uses for Soft Gel Gloss at goldenpaints.com/mixit
#GOLDENpaints
©2017 Golden Artist Colors, Inc. New Berlin, NY 607-847-6154
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
16 3
24 Focus on trees
Part 1 Four warm-up exercises to help you
paint trees more easily, by Stephen Coates
36 In the frame
Part 2 Tony Paul looks at classical composition 2
to help you paint better pictures
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
sh £40
FR
er
ip t
LYNN PAINTER-
pi o
ng U
EE
on K m
STAINERS
or ain
de la
rs nd
PRIZE 2018
*
www.artsupplies.co.uk
CALL FOR
ENTRIES
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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
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& PAINTERSONLINE
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ANNIVERSARY COMPETITIONS 2017
To celebrate LP’s 50th and PaintersOnline’s 10th anniversaries
we continue a year of painting competitions for Leisure Painter readers
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
62
LP Nov 2017 Exhibitions p8-9_Layout 1 21/09/2017 10:54 Page 2
A parallel reality
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egg tempera on gesso-coated wood panel,
19x28in. (48x71cm)
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.
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
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
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.
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.
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.
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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
Acrylics
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.
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Mix colour on a portable stay-wet palette
t
Use a painting knife to ‘render’ a building
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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.
Watercolour
Layers of colour
Part 1 Michelle Campbell demonstrates her painting processes
and techniques as she paints the natural world around her
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)
Watercolour
first, as the splatters can be very random. reference material, which I refer to, and of two hares. LP
Watercolour
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
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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.
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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.
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
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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.
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
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
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
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.
Watercolour
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)
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
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.
2 I sketched a square
t
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
Watercolour
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.
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.
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.
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.
t
Cattle Market, ink and coloured pencil, 5x7in. (13x18cm)
LEARNING OBJECTIVES
n Practise a variety of coloured-
pencil techniques
n Develop your drawing skills
7x9in. (18x23cm)
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
Step 2
t
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
Step 1
t
Tim Fisher
Find out about Tim, his teaching
and paintings by visiting
www.timfisherartist.co.uk
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)
Acrylics
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.
Acrylics
building up glowing depth to the colour. Keep what you feel works and paint over what doesn’t.
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
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
Acrylics
t
The finished painting Ogmore on Sea, acrylic on canvas, 16x16in. (40x40cm)
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
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.
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
Step 2
Add the shadow
t
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.
Running Meerkat,
watercolour, 5x7in.
(13x18cm)
t Step 1 Step 2
t
Step 3
t
(top), which was painted with a warm blue. watercolour, 7x5in. (18x13cm)
Watercolour
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.
Watercolour
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
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)
C
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t
Majesty of the Hills, oil on canvas, 71x9412⁄ in. (180x240cm). Paint along with Martin as you complete your own version of this scene.
Oils
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.
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.
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HOW DO I…
apply texture
with acrylics?
LET’S DRAW!
Combine ink with
coloured pencils
FOCUS ON TREES
4 exercises to try
STEP-BY-STEP
How to layer
your watercolours
!
ACRYLICS BEGINNERS’
Try a new way oil painting
of working techniques
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
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
Watercolour
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
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
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.
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.
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)
t
Dungeness Huts, Caran d’Ache sketching materials on steel grey Stonehenge 250gsm paper, 5x12in. (12.5x30.5cm)
LEARNING OBJECTIVES
n Experiment with unusual
drawing media
n Practise tonal work
n Understand how different
surfaces can work for you
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
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.
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
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
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
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
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.
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
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
Step 10
t
t
Step 11
To shape the semi-ripened lantern, run lightened green mix into
the previously masked-out veins.
Step 12
t
The finished
t
painting
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
Demonstration Halloween
Here are the thought and drawing processes I used to draw a cartoon for Halloween.
Step 1
t
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
Step 5
t
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)
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
COLOURS USED
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
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.
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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
(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
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
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
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)
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
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Ashcraft Framing
All rooms en-suite &– some Ground Floor rooms Artists Frames
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6 & 7 Jan Heavenly Sunrises and Sunsets in Mixed Media
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roads – in 2014. Her schedule is a busy one, - Save money on framing
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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
www.chesnaye.com
info@chesnaye.com
Art
rt
r breaks
bre
re
r aks
ks
k in Exmoor
Exmoor
E
t
Joanne Crook’s acrylic painting of the Old House www.shorlandoldfarm.co.uk
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www..shorlandoldfa
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Studio in the Peak District
f l locat
Beautiful
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location
at
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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
Tim Fisher, Robert Dutton, well as biographies of each tutor and galleries of their work.
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
Framing
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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
r 20
£15.99
ov embe RRP
£13.99
25th N £15.99
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Available from
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and follow the link to books
Offers available to UK READERS ONLY
closing date 25th November 2017
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.
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
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
t
20x16in. (51x40.5cm), voted the visitors’
favourite work in the Mid Beds Art Society’s
spring exhibition
Salisbury Group of
t
Online gallery
Jane Stroud’s selection of works from our PaintersOnline gallery
WWW.PAINTERS-ONLINE.CO.UK
t
Annie Davenport Cat with Cushions, watercolour, 1612⁄ x1134⁄ in. (42x30cm)
M
artists. Each issue is packed with new ideas, advice
and insights into the work of professional artists, mix autumn
colours in
covering all subject matter and media, to inspire and acrylics by
guide your technical and creative development Michelle Gibbs
M
80 PAGES PACKED WITH INSPIRATION & ADVICE FOR ALL ARTISTS http://painte.rs/
2v93NDx
artist
www.painters-online.co.uk November issue 2017 £4.40
T H E P R AC T I C A L MAG A Z I N E F O R A R T I S TS BY A R T I S TS – S I N C E 1 9 3 1
WIN!
A painting
Receive
holiday in north
west France
Paint an
M
6 issues for autumn forest
DISCOVER only £15! in ten minutes
http://painte.rs/
M
How to
M
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
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
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/
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
carandache.com
TESTED:
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Whatever the size of your growing
space, here are some fantastic
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COMPACT PLUG PLANT TRAINER
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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
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Value
Durability
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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.
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
Promotional feature
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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.
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
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.
•
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.
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
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LOOKING FOR WAYS TO TEND TO YOUR
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Coming Next
PLUS!
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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
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• Flat leaves l as pretty
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• Flowers are st
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Plant out
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S O N D
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or crops and
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Harvesting: s from June). Pick a few
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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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