How To Paint and Draw 2015 UK

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Issue 10 | July 2017
Issue 10
Tips and inspiration for artists everywhere

New ideas for...
Pencils
Texture,
character
& colour
Get all the skills to Tasteful art
draw in pastels Learn the secrets to this
contemporary still life
Oils
Master shade
Easy ways to accurately
add shadow every time
Simple, effective
Start painting foliage and
water reflections
Inks
11 steps to…
Simplify detail Take your time

Approach your subject as a Discover new ways to use
set of shapes for great results Issue 10
ink liners and a brush pen
Editor’s letter
The fight between

inspiration and creativity
his issue, we’re running a new feature: Masterclass (page 80).
T
I asked the artist David Cobley (interviewed in last issue –
amazing portraits!) to pick a painting that he could chat about
until the cows come home. We’ve all got paintings that we
BEREN NEALE never tire of. They never get dull or fail to inspire and provoke
Editor an emotion every time we see them. Well in Masterclass,
artists will choose a favoured painting and tell you why they love it so much.
This issue David talks about Pieter Bruegel’s 1559 piece The Fight Between
Carnival and Lent. It’s great listening to impassioned people talk about
things that they love, and this feature provides a resting point from all the
practical, hands-on content everywhere else in the mag.
Talking of which, what do you think about the cover art?! Rebecca de
Mendonça was doing such amazing work with her pastels series, that I
asked if she could do an extended workshop, picking a beautiful Arabian
horse as her subject. I love the image for many reasons, but I really like the
‘unfinished’, sketchy part of its body. The image tells your eyes where to go,
and where not to linger too long. Learn how Rebecca did that on page 20,
plus how she tackled the topics of character, texture and colour.
There’s no room to go through all the other treasures within this issue, but
Bee Eaters take a look, get your paints and pencils out, and when you’re done share
Go have a look at this
piece, plus more art by
what you’ve created with me! If you don’t want us to publish it, that’s fine,
Marjolein Kruijt, on but I’d love to see the creations you come up with. Whether that’s a step-by-
page 86. step recreation or a unique reinterpretation. Either way, get creating!
Get in touch: pad@futurenet.com
Don’t miss an issue! Subscribe and save here:

www.myfavouritemagazines.co.uk/Paint17
See page 64 for full details or telephone 0344 848 2852
Paint & Draw July 2017 3

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Contents
Workshop s
34
Natural forms 20 Texture, character and colour
and texture in ink Rebecca de Mendonça creates our cover
34 Build organic texture
Get great ideas from Eugenia Hauss for ink
40 Foliage & water reflections in oils
Learn this essential skill with Valérie Pirlot
58 Drawing and shading a figure
74
You can draw tasty
Chris Legaspi shares the secrets to shading
68 Simplify detailed scenes
art with colour pencils Simplfy the complex with Amnon David Ar
74 The delicious art of colour pencil
Steven E Hughes’ tips for surface texture
58
Quickly draw
and shade
4 July 2017 Paint & Draw

GET YOUR
RESOURCES!
See page 97
Regulars 14
Inspiring tips,
such as working
6 Palette
in mixed media
News and inspiration for all artists
14 Bitesize
Improve your skills quickly with these tips
54 Artist’s Studio
Rob Lunn reveals his purpose-built space
66 Art Class
What illustrators get up to at Sketchmeet
84 Your Art
Send your art in to appear in our gallery
97 Resources
Watch videos of our artists in action 26
The art
98 Diary of a Jobbing Artist of Liverpool
How failure is sometimes good for you!
Fea tures
26 Paint & Draw in... Liverpool
The variety of art in this diverse city
46 Interview: Stan Miller
Be inspired by the passion of this artist 46
Interview with
80 Masterclass: David Cobley
The Fight Between Carnival and Lent Stan Miller
80
Reviews Masterclass:
David Cobley
on one of
90 New products his favourite
Soft pastels, paper and DVDs reviewed pieces of art
94 New art books
Our pick of the month’s best releases

Palette
Palete
A choice selection of art news, gossip, new
exhibitions and cool arty things we think you’ll like!
JOURNEY TO THE ARCTIC

Charles Bezzina found his artistic calling as he neared retirement, but now travels the world
VOYAGING ARTIST Charles Bezzina has been given

the opportunity to explore the Arctic as artist in
residence on an epic 21-day journey. He sets sail on
11 July to Iceland and Greenland, taking in the Faroe
Islands and three majestic fjords on the way.
It’s not Charles’ first such voyage, either:
supported by Arts Council England and Cruise &
Maritime, he has also put brush to canvas on a
three-month South American cruise to the
Falklands, taking in Brazil, Argentina, Uruguay and
Chile, and he took a Northern Lights tour to Norway
earlier this year.
“I retired, but carried on with

freelance work painting in my studio
– which I call my Heaven on Earth”
This sounds like a dream come true for any
aspiring artist but Charles, now in his late sixties, has
only recently embraced this intrepid lifestyle. Born
and raised in Malta, he soaked up much of the
island’s Renaissance and Baroque influences, but
became a truck engineer in the late 1960s.
Some 35 years later, he decided to pursue his
artistic dream at age 50, enrolling on a Fine Art and
History of Art degree. He then spent a decade as a
Arctic landscape
Entitled Ice 4, this is
teacher from 2004–2015. “I retired, but carried on
one of a series of frozen with freelance work, painting in my studio – which I
wilderness paintings call my Heaven on Earth,” he grins. Five years ago,
from Charles Bezzina’s Charles got his first artist in residence position, and
last Arctic adventure. this is his third trip to Greenland, having first visited
as an independent traveller in 2008.
“I have visited and painted in the Arctic landscape
every year since, including sailing the Norwegian
Frozen in history coast four times,” he reveals. “They have a saying
This painted ‘book
bench’ pays tribute to
that once you experience the Arctic, you become
Robert Scott’s ill-fated obsessed with it. From my point of view, that’s true.”
Antarctic expedition. Discover more at: www.charlesbezzina.com

Inspiration
Art in MiniAture
The small but perfectly formed Tight Modern has recently finished its UK tour
AS THE WORLD’S smallest pop-up gallery, the and finished its run at the Apex Gallery
aptly named Tight Modern is a miniature replica in Portsmouth in April 2017.
of London’s iconic Tate Modern gallery. Measuring Two sets of prizes were awarded for the
just 8x5ft, it’s designed to showcase some of the submissions – one selected by a panel, the other
UK’s very best under-represented artists. determined by a public vote. Dawn Blake’s Pickled
Produced by Brighton-based charity Creative Bra took the top Platinum prize from the judges,
Future, the pop-up installation has been busy with Calling by Evy Nicholls winning Gold. First prize
touring various galleries and libraries across the in the public vote went to Emily Calland, for Being a
country between autumn 2016 and spring 2017, Person is the Hardest Thing I’ve Ever Been.
Ken Loach
Richard Twose’s highly
distinctive portrait of
the veteran filmmaker
has been shortlisted
for a BP Portrait Award.
A Bigger Splash
This frozen moment demonstrates
Twose’s technique, described
as “a flicker in the continuum…
a series of indrawn breaths”
LeArn FroM A LeGenD

Refine your artistic technique with a masterclass from award-winning portrait artist
PORTFOLIO ART TOURS is providing a rare on display at the National Portrait Gallery,
opportunity for experienced or aspiring artists before touring the UK from October 2017 until
alike to learn invaluable tips, tricks and June 2018.
techniques from award-winning artist Richard As part of Portfolio Art Tours, Richard will be
Twose, whose portrait of renowned filmmaker giving private, hands-on masterclasses and
Ken Loach has been shortlisted in the 38th demonstrations at his personal studio, located
annual BP Portrait Awards. in a quintessential English hamlet near Bath.
Undoubtedly one of the most prestigious The lucky participants will be treated to a
prizes in fine art, the BP Portrait Awards had unique glimpse into what it takes to paint a
over 2,500 entries in 2017. The shortlist, masterpiece such as this.
including Richard’s depiction of Ken Loach, is See www.portfolioarttours.com for more.

Palette
TroPicAL MinDScAPeS
A beautiful new graphic novel explores Gauguin’s life
RELEASED IN MARCH by independent publisher
SelfMadeHero, graphic novel Gauguin: The Other World
chronicles the life of “savage” artist Paul Gauguin, whose
unconventional approach to the art world, as well as his choices
of subject matter, set him apart from his Parisian counterparts.
Although born in France, Gauguin grew up in South America
and travelled the world as a sailor, declaring that his “happiness
[is] found elsewhere, that belongs to another world”. The “other
world” in question was the tropical paradise of Tahiti.
Accordingly, Tahiti features prominently in author-illustrator
Fabrizio Dori’s story – incorporating interactions between
Gauguin and the Maori island gods in the process – but it also
explores Paris, Denmark, Brittany and other locales that
influenced him. This is an engaging visual journey that explores
the inner workings of Gauguin’s mind as much as his creative
development. Learn more at: www.selfmadehero.com
Words of wisdom
Many artists dislike painting
foliage, probably because
dealing with so many subtle
nuances of green can be
overwhelming. My advice is
to simplify. View the scene
as colour ‘blocks’, and don’t
be afraid to push the
difference between them
further than reality. It can
always be toned down later.
TRIUMPH OF THE UNDERDOG Valérie Pirlot, page 40
Part-time artist scoops the coveted Ruth Borchard Prize
IN A REAL ‘David and Goliath’ tale, Benjamin Ogbebor – an unknown
part-time artist from Hackney – has beaten the likes of Tracey Emin, Oils just bored me. But
Harland Miller and Ishbel Myerscough to win the £10,000 Ruth Borchard
Prize 2017, the only such award in the UK for self-portraiture.
watercolour – that was
Born in London, Benjamin moved to his parent’s native Nigeria aged more intriguing. Painting
three, returned to the UK in his early twenties, and studied Graphic Fine
Art. A reprographic operator by day, he paints in his spare time, drawing in oils is like training a
inspiration from the Renaissance, Baroque, African Art and Expressionism.
“This win is totally life changing,” enthuses Benjamin. “I will be using the
dog, while painting in
prize money on materials and a state-of-the-art camera, before taking a watercolours is like
trip abroad to see family.” From over 1,200 entries, just 120 were shortlisted
– and are on display in Kings Place, London, until 22 September. See more training your cat.
of Benjamin’s work at: www.benjaminogbebor.com Stan Miller, page 46

Inspiration
Five great
exhibit ions...
our SeLection FroM ArounD the country
TURNER AND THE SUN

QUENTIN BLAKE: THE ONLY The Gallery, Winchester Discovery Centre, 5
WAY TO TRAVEL August – 15 October 2017
Jerwood Gallery, Hastings, 14 June – 15 October Any fan of JMW Turner’s work will know his
‘The Only Way to Travel’ is the biggest-ever obsession with sunlight. Shortly before his
exhibition of Sir Quentin Blake’s work, revealing death, the artist declared that “the Sun is
his thoughts on topics that concern him – God”. Based on 12 loans from Tate Britain,
including mental health, the squeezing of this exhibition is the first to be dedicated
creativity and the refugee crisis – in his entirely to Turner’s lifelong obsession with
trademark style. Through extraordinary beasts, the transformative effect of sunlight, and
machines and bizarre scenes, the 84-year-old how to capture it using paint. www.
artist tackles loneliness, depression, energy and hampshireculturaltrust.org.uk/the-gallery-
enthusiasm. www.jerwoodgallery.org at-winchester-discovery-centre
ECHOES ACROSS THE CENTURY

Guildhall Art Gallery, London, until 16 July
For her ambitious new show, ‘Echoes Across
the Century’, curator Jane Churchill created an
evocative set design, reminiscent of a WWI
trench. The exhibition marks the centenary of
the First World War, exploring the human stories
of the conflict through original artefacts and
highly emotive installations, as well as
contributions from over 200 students.
http://bit.ly/pad10_ex
DRAWN IN COLOUR: DEGAS

SECOND NATURE: THE ART FROM THE BURRELL
OF CHARLES TUNNICLIFFE
The National Gallery, London, 20 September
Tennant Gallery, Royal Academy, London , 11
2017 – April 2018
July – 8 October 2017
On loan from the Burrell Collection, Glasgow,
As one of the best-known wildlife artists of
this collection of 20 paintings, pastels and
the 20th century, Charles Tunnicliffe was
drawings is rarely seen in public, and provides a
known for his meticulously observed
fascinating insight into the intensely private
subjects, always depicted in the context of
artist, who depicted 19th century Parisian life
their natural habitat rather than as isolated
through subjects such as ballet and horse
specimens. Many of Tunnicliffe’s etchings
racing. www.nationalgallery.org.uk
and engravings are on display, plus a
selection of his distinctive book illustrations
– including Tarka the Otter and the What to
Look For Ladybird series. www.
royalacademy.org.uk

Palette
Stonehenge, Turner
Turner and Constable’s
watercolours of Stonehenge
hang next to each other
as part of British Art:
Ancient Landscapes.
CurAtor’S coMMentS
Writer, curator and academic Sam Smiles explores a fascination with British Antiquity in his latest exhibition
Britain is a relatively small country, but it is things had been made or even what they were. In the
historically extraordinarily rich. Prehistoric remains modern era, as archaeology became popular,
are very noticeable here, especially the more prehistoric Britain is part of our mental furniture.
monumental ones. Britain is also a country with a There are, of course, more megaliths than there
long-standing tradition of landscape art. Put these are chalk figures so they attract the most interest,
two together and you can understand that depicting from large sites like Stonehenge and Avebury to
prehistoric sites was almost inevitable. smaller cromlechs in Wales or Cornwall. Megaliths
SAM The artistic record shows that Stonehenge has
curator, salisbury been of interest from the Middle Ages, when the first “Monuments receive new
Museum images of it were made. Lying just off the major
Sam Smiles is route from London to the west of England, it was
interpretations as our views about
Emeritus Professor
of Art History at
always likely to become the most widely known the prehistoric legacy change”
Plymouth University. prehistoric feature, and the fact that it is structurally
His special expertise the most ambitious doubled its renown. are, possibly, more enigmatic than chalk figures and
is the works of JMW In the Romantic era, chalk figures are rarely perhaps for that reason they provide more scope for
Turner, and he was depicted, unless as a topographical or antiquarian imaginative treatment. And megaliths are reliably
co-curator of the Tate
Britain exhibition
illustration. It was stone circles that were almost prehistoric, unlike chalk monuments.
‘Late Turner: Painting always selected for imaginative treatment. But in Making prehistoric sites artistically interesting
Set Free’ (2014-15). that period the world of prehistoric Britain was a was not entirely straightforward, for they can look
very hazy one, with little understanding of when quite uninspiring from a distance. Romantic artists

Inspiration
The Long Man of Wilmington, Eric Ravilious

Shrouded in mystery, this chalk figure near
Eastbourne was once thought to date back to
Celtic times, but recent excavations reveal it
could be just a few hundred years old.
aimed to signify their grandeur by showing them in

stormy conditions, or close up. In the 20th century,
attention shifted to their more ‘abstract’ qualities of
form and materials, or their surreal or even occult
associations. More recently, artists have been
interested in their survival into modern times and
their status in these new cultural circumstances.
Looking across the span of the exhibition you can
see that the monuments receive new interpretations
as our views about the prehistoric legacy change.
But the artists in this show aren’t necessarily
interested in being good archeologists, meekly
following their researches. They came to these
monuments to interpret them, not document them.
As the exhibition shows, the more the practice of art
moves away from realist representation, the more it
Stonehenge, Charles Marshall
becomes easier to work imaginatively with the This dramatic 1833 depiction
monuments and to renew them creatively. of the famous stone circle was
‘British Art: Ancient Landscapes’ is at Salisbury engraved in mezzotint.
Museum until 3 Sep: salisburymuseum.org.uk

Inbox
Your emails and letters answered by the editor
DEAR EDITOR, I find Paint & Draw

Letter of the month inspirational. I look forward to reading it,
so much so that I have decided to
I FIRST SAW YOUR ISSUE 7 at an subscribe. I’m not an artist as such, I do
Asda checkout, which came at such embroidery, but first I paint my picture
the right time as I’ve just started an art on fabric and then highlight it with
group on a Wednesday. I’ve always embroidery and embellish it with beads,
struggled to find the time since leaving shells or whatever it seems to need.
school but now the kids are older and In your April issue I was inspired to
I want to join in as I get more time. follow your pastel artist’s tips, Rebecca
I finally found the time to read it de Mendonça, and enjoyed the project.
from cover to cover while at the hospital I didn’t use pastels, I used fabric paints, An impressive example of how Carol adapts the
bedside 94-year-old war veteran and now have what I consider a beautiful instructions for one medium to her own.
Walter Farrand (he is my adopted picture to highlight with embroidery.
great grandad). Thank you Rebecca and Paint & Draw
I read it in a day and to my total for helping me along the artistic path.
surprise (as I looked at the beginning Best wishes,
of the week) issue eight was there Carol (Arnall), via email
this morning, so while I sit peacefully
at the hospital it has brought so much Beren replies: Hello Carol, thank you for
happiness to our room as I’m sat getting in touch with us. I love that you
drawing next to him talking him enjoy the mag, getting inspired to create
through it. your art, even if it’s not the media the
Thank you so much. workshops were done in. That’s brilliant!
Kara Wilkinson Would you mind sharing some of your
art with me? I’d love to show it in Your Art.
Beren replies: Thank you so much for
your email. It’s made my day that you
and Walter have enjoyed the magazine. THANK YOU for the best painting and
And hopefully you enjoyed issue 8 just drawing magazine ever! I was impressed
as much (there’s something by the first issue and Paint & Draw has
inherently relaxing about koi, don’t maintained the original high standard
you think?). and I really look forward to every issue.
I find all the articles of interest and
the workshops very useful and
understandable. I took out a year’s
subscription but will certainly continue Kara’s artwork while she sits by Walter’s bedside,
it into the future. showing how art can bring pleasure in difficult times.
Grace Rubery
Get in touch!
Beren replies: Thank you for your kind
words. We really aim to make the
YOU’VE magazine as useful and inspiring as
WON OUR Email pad@futurenet.com or write to
possible, working with as many brilliant Paint & Draw, Future Publishing, Quay
BOOK OF THE artists as we can each month. It’s fab to
MONTH! House, The Ambury, Bath, BA1 1UA.
hear that this comes across.

Bitesize

Quick tips
Bitesize
Whether you have half an hour or an afternoon to spare, follow these
quick, simple and fun tips and start experimenting with your art today!
Use paper collage for 1 Follow these steps...

fresh ideas as you work
1
On a 12x12in canvas I start the piece
without a clear idea of what it will be.
CREATING a painting without a plan can With PVA glue, I apply some torn papers
be scary at first but it can completely and add acrylic, letting the paint drip and
transform your art. Combining paper enjoying the process. I like the area of light
collage with acrylic and working without green in the centre of the canvas and decide
a plan is exciting, fun and very creative. I early on that it’s a window.
have a vast collection of different papers,
whether it’s old magazines or beautiful 2
handmade Japanese papers, and the
papers often give me ideas as I work.
2
The window starts to take shape and I
SYLVIA PAUL build up a landscape beyond. The
Dovercourt, Harwich, Essex
Sylvia’s work has featured in textured paper looks a bit like a tree
many shows including at the just outside, so I add some leaf shapes. I
RA Summer Exhibition. She found some decorative paper that’s perfect
has also exhibited in Japan. for the interior walls and part of a doily in the
www.sylviapaul.com
front to suggest a table. A small piece from a
magazine is torn in a jug shape.
Make a personal
3
3 I add a small plant on the
paper collection windowsill using a piece
When on holiday, collect tickets, maps, of book cover and
newspapers and anything unusual. Charity combine decorative paper and
shops are great for old maps, books and text from a magazine for the jug
stamps. Ask family and friends to donate of flowers. I continue to layer
any treasures that might be otherwise with paint and paper, adjusting
thrown away. tones to create depth. As I
search for the right pieces, I’m
open to ideas and can try things
out before sticking them down.

Bitesize
Make your own canvas Follow these steps...

boards at home 1 2
and save money
MAKING your own canvas boards is fun,

quick and saves you money. It also gives
you a superior product and the flexibility
to create whatever size or shape you
need for any given project. You don’t
need any specialist skills or tools and you
1 2
can pick up everything you need on any To start making your own canvas boards Check you’re working from a good
good high street. you will need 3mm MDF, a metal ruler, a corner on your sheet of 3mm MDF and
pencil, some form of utility knife, canvas measure up the desired dimensions of
material, sandpaper, primer, a priming brush your board. Once marked up you can cut the
ROB LUNN and a cutting mat. A good right angle is a board with the knife, using the metal ruler as
Bath, UK
Rob is a self-taught painter,
handy tool for checking your corners are 90 a guide. Start lightly and let your knife do the
and loves to paint in oils. His degrees, but it isn’t essential as long as you work. It will take a few runs to cut through
influences are Vincent van take care with your measuring. the board. Take care, fingers don’t grow back!
Gogh, Caravaggio and Ilya
Repin. He has taught art
workshops since 2012. 3 4
www.roblunn.co.uk
3 4
Once you’ve sanded down the cut Paint another coat of primer on the
edges (do this outside and wear a mask canvas and allow it to dry thoroughly.
if possible as MDF dust is nasty), you’re Repeat this process a few times to
ready to paint a coat of primer on the front of create a really solid surface, depending on
your panel. Take your canvas and apply to the how much of the weave you want to retain.
wet primer and press firmly. Take care to line Once completely dry, flip the board over and
up the weave of the material so it runs trim the excess canvas to finish your
perpendicular to the edges of the board. hand-crafted canvas board.
Strip off and go naked!

Painting onto a smooth board can give great
results too, so you don’t even need to add
the canvas to the board. Follow steps 1 and
2 then just prime the board a few times,
giving it a light sanding between coats.
Enjoy your new canvas

board and think of all the
other great shapes and
sizes you can make quickly
and easily for any project
that springs to mind!

Quick tips
Improve your abstract

compositions by
making sketches
I USUALLY MAKE abstract paintings

without sketches. But sometimes it’s
good to make a sketch, to (hopefully) find
that winning composition.
My pencil sketches start with simple
circles and lines. These then transform
into more recognisable elements. For
example, here the sketch morphs into a
painting of dandelions. I’m working with
watercolour, paper and brushes.
OLGA STERNYK
Kyiv, Ukraine
Art graduate Olga has
illustrated several books and
has exhibited in Europe.
Having experimented with
many mediums, she now
works mainly in watercolour.
www.sternyk.com
One of the things I like about abstract art is that
an idea can come to you while sketching. You
need to trust your feelings and your hands,
Follow these steps... because abstract portrays your inner world.
1
I make a few initial pencil sketches. I 2 4
place various dark and light circles and
lines and try to find which looks the best.
The second one seems good.
2
Once I’ve decided on a sketch, I’ll start 3
adding detail in a large format with a
pencil. Overall form can still be changed
here. I try to capture a dynamic feeling. It is
more of a subconscious drawing; I let my
hands do the drawing without overthinking
4
every detail. Kind of zen doodling! Now it’s time for the main work. I apply deep dark
lines with sepia watercolour and a tiny brush. The
3
I start covering large areas with character of the dark lines helps me to generalise
watercolour. Then I work on details, the picture and to bring out the forms for this painting. As
mostly combining colours for a always, it is important to look at the picture from a
dandelion flower, its leaves, and some grass. distance to see if anything needs to change.

Bitesize
Once you bring all the

elements together, it is
easy to see how the
colours all look related
to each other.
Learn how to accurately

1
mix shadow colour
each and every time
SOME PEOPLE find mixing for shadows
tricky, often trying to mix a whole new
colour. Unfortunately the result can end
up murky and lifeless and not related to
the rest of the painting. But when
approached properly, shadows can be
packed full of colour and can sit in
harmony within their surroundings. It’s a
lot easier than you might think…
ROB LUNN
Bath, UK
Rob is a self-taught painter,
and loves to paint in oils. His I start with my tube colour – in this instance Yellow Lake – and then look for its
influences are Vincent van
Gogh, Caravaggio and Ilya
Repin. He has taught art
workshops since 2012.
1 complementary colour, Ultramarine Violet. All shadows have an element of blue, so I
choose Ultramarine Blue because it’s warm in tone and leans more towards the violets
and reds. We don’t want our yellow shadow to go too green.
www.roblunn.co.uk

Quick tips
2
Always refer to your colour
wheel when mixing
shadows. Shadows are
made up of local colour (the
colour of the object the shadow
falls upon (in this study a yellow
cube), the local colour’s
complementary colour and a
blue. If the object is orange, only
blue will be added. The object
and type of orange will
determine which blue to choose.
3
When mixing a shadow it
must always be mixed from
its local colour. Don’t mix it
as a separate colour as it will not
be in harmony with the local
colour and will stick out like a
sore thumb. Don’t just mix these
as two unconnected blobs of
colour, either. By mixing the local
and shadow colours, you’ll create
all the gradients inbetween.
4
Lighting can differ greatly
around an object, so there
will be instances where
you’ll need to tweak your shadow
colours. Here I had a slightly
warmer light hitting the top of
the cube so after referring back
to the colour wheel, I chose to
add a little magenta to create a
new branch of shadow colour
that was pushed further over to
the warmer side of the wheel.

Workshop

PA
RT
Pastels
4
O
F
TH
E
SE
RI
ES
Texture, character
and colour
Rebecca de Mendonça builds on skills shown in last month’s
article, to capture the energy of a beautiful Arabian horse in pastels
REBECCA
Exeter, England
Rebecca specialises in
pastels, producing lively
and energetic work. She GET THE
teaches around the UK
and in Italy, and co-founded SKETCH
The New Pastel School. http://bit.ly/pad10_sketches
http://bit.ly/pad_rdm
Ma terials
P
astels are the perfect medium
for drawing and painting
animals, with so many different n Faber-Castell PITT Pastel
marks available, many of which Pencils, including a light
I looked at in last month’s and a dark brown, black,
article. As a tactile medium that white, dark blue and
we hold in our hand, it is easy to convey yellow/orange
what an animal would feel like to touch. n Willow charcoal, a pencil
We can work quickly with pastels, eraser and a sharp scalpel
which is a great help when capturing for sharpening pencils
character and personality, and fantastic n Straight-edged plastic or a
for movement. A smudge here and a blade to refresh surface
swish of the hand there can bring a n Conté crayons, in black
painting to life. and white
However, knowing when to smudge n Unison pastels; a white
and when to leave a sharp mark and a cream, (Grey 27 and
untouched can make a huge difference 28); a range of blues, such
to your work. as A 52, BG 2, BV 9, BV 18;
Don’t underestimate the importance subtle greys and light
of some structural knowledge where browns, such as BE 2,
Create a B&W sketch
1
animals are concerned. It is a good idea Grey 6, Grey 16, A 31; rich
to do some homework, looking at bone brown, such as NE 1; I call my initial sketch in black and
structure and muscles. pinks, such as Portrait 5, white my ‘scaffold’, because it is a
But remember when you are painting RE 4; and yellows, such as frame that everything else is built on.
an animal, it is not just about what it Y 2, Y 16 With willow charcoal and white Conté
looks like – there is personality and n Surface is Art Spectrum crayon, I am using both lines and areas
energy to convey as well. Think about Colourfix Pastel Primer of light and dark to describe the
what it feels like, use your other senses painted onto mount card structure of the head, while looking for
as well as your eyes… lines of flow and a sense of form.

Workshop
MISSED
THIS SERIES?
Get hold of back
issues here:
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2 3
Establish the eye Create form with lights
The eye is the focal point of this picture, so I get With white and cream pastel pencils, I sketch
started on it straight away, working over my in the white of the eye and the lights on the
initial charcoal sketch with a rich soft Unison brown, lower lid and eyelashes. I create the shine on the
and a black Conté crayon for the large black pupil. eye itself with a pale blue soft pastel.
4
Highlights and sparkle
White pastel pencil is fine for gentle
highlights, but I need the richness of pigment
from a soft Unison white for the eyelashes and
sparkle. As I need detail, I cut off a sharp piece. For
that wet look, I put the sharp light mark over a
contrasting dark, and I don’t smudge the last mark.
Working from li fe
or photographs?
Do both; meet the animal, experience its size and
movement, feel its energy, stroke it, take your own photos.
Gather rich 3D memories to supplement 2D photographs.

Pastels
5
Deepen the darks
To develop the darks more than
the charcoal base I sketched in
earlier, I use black pastel pencil and a
sharp black Conté crayon. A horse’s eye
is round, and I use curves of light and
dark to describe the shape.
6
Find the form
It is now time to start filling out the
head, thinking of structure and
tone, and paying attention to the
direction of short strokes to give a sense
of the form. Using Unison soft pastels
(light creams, off-whites and subtle
greys), I soften them in with my fingers,
creating a layer that I can work over.
D o your
homework
A little bit of knowledge goes
a long way. Look at bone
structure, muscles, how the
animal moves. With horses,
understanding the shape of
the skull helps.
7
The flow of the mane
For the mane, I make linear marks, using the
edge of soft pastels and charcoal, following
lines of flow. The mane sits over the bony structure
of the head, so I can use it to show contours. I can
also use it to give the picture some extra life and
feeling of movement.

Workshop
8 9
Define with the background Go soft with the muzzle
To help achieve movement and tonal variety, I The muzzle is the softest area on the horse’s head. I
introduce part of the background using some initially sketched the darks in with charcoal, and now I
light and dark blues, smudging them in with my blend in some pink underlayers on the lighter areas, softening,
hands. This is a first layer and will be developed blending, and smudging with a light touch. Unison pastels are
further as the piece progresses. the ideal choice for this.
10 11
Move to darker shading The head collar
To describe the gently changing contours of the The head collar needs darker darks and more
muzzle area and nostrils, I use a mixture of definition, which I do with a sharp black Conté crayon
charcoal, pastel pencil, soft pastels and Conté crayons in and a white for the highlights. I create the rope effect with
greys, blacks, creams and whites, developing the subtle curves of light and dark. The coins and decoration I draw
changes of lights and dark shadows. It takes time, patience gently with charcoal, and some yellow/orange Conté and PITT
and very careful observation. Pastel Pencils, building them up in layers.

Pastels
12
Metallic shine
To give the impression of sparkle and shine on the
coins and chain, strong contrasts of dark and light
are needed, applied with sharp, confident marks, and left
unsmudged. This is a lovely opportunity to contrast these
hard, sharp marks with the softness of the horse’s coat, and to
really exploit the full potential of pastels.
13
Bring it together
It’s time to ensure the piece works as a whole, by
standing back and assessing what is needed. I use
pastel pencils to make fine and subtle changes to describe the
‘flea-bitten’ brown marks, subtle shadows, and texture of fine
hairs, using the dark colours of the background for shadows.
14 15
Boost bone Make the final touches
structure with tones I decide that the piece would look more dramatic by
I develop lighter tones to darkening the background. Such changes are easy
emphasise the bone structure, using to make with pastels, meaning that the painting can evolve
soft cream and white pastels, using constantly and quickly. At this stage in the work, I constantly
sharp shards to make light hair-like step back and review the piece after every few marks. Last of
marks, using very little pressure. all, I add wisps of fine hairs and whiskers.

Paint & Draw in...
P ain t
& D ra w in...
Liverpool
Firmly on the international map for its extraordinary musical and architectural
heritage, the maritime city also has a lively art scene.
Words: Julia Sagar

Liverpool
he Beatles might be Liverpool’s most at the Walker Art Gallery. Museums educate
T
Liverpool Cityscape
famous export, but the Merseyside on everything from Liverpool’s maritime by Ben Johnson
metropolis boasts a world-class arts past to its darker role in the slave trade; while Acrylic on canvas
Ben created this epic
and architectural heritage, too. the lively Baltic Triangle district serves up a painting of the city in
Dubbed ‘the New York of Europe’ cauldron of independent creative enterprise public during a
back in 1851, the maritime port city is a melting alongside innovative alternative dining six-week residency at
pot of people and ideas, and retains its vibrant venues, bars and nightclubs. the Walker Art Gallery.
culture today – recognised by its 2008 European Leading artist Ben Johnson has a soft
Capital of Culture status. spot for the area. In 2005 he was
For artists, it’s a smorgasbord of activity. commissioned to create an intricate
Saturated with public sculptures and 192x96in acrylic panorama of Liverpool. It
galleries – Liverpool has more than took three years, 11 assistants and over
anywhere else in the UK, bar London – the 3,000 photographs. He’s full of praise for the
city is also home to one of the most city: “It has great architecture – some of its
impressive permanent collections of Pre- listed buildings were even used as inspiration
Raphaelite art in the world, which you’ll find for the rebuilding of Chicago in the 19th

Paint & Draw in...
Race Day by Joe Forrest century – and the park in Birkenhead was
Oil on canvas used as the model for Central Park in New
Liverpool’s sporting York,” he says. “First and foremost, though,
heritage provides rich
inspiration for local artists
the people of Liverpool are very special.”
like Joe. “Liverpool has a lot going for artists, from
a thriving grassroots art and music scene, to
established art galleries like the Walker and
Liverpool Cityscape Lady Lever, as well as contemporary art
(detail) by Ben Johnson
Acrylic on canvas
spaces such as the Bluecoat Gallery,” agrees
An average of 25 stencils local artist Dennis Spicer, who lives on the constructed for local administrators. At the
were used per building, or Wirral. “It also has the most listed buildings same time, an increasingly wealthy
group of buildings, in this outside of London.” mercantile class invested in local artists and
huge acrylic painting. Liverpool’s rich artistic and architectural organisations, helping transform Liverpool
history dates back to the 18th century. As it into one of the country’s most significant
grew from a minor port into England’s provincial artistic centres. Institutions such
second city, grand civic buildings were as the 1810 Liverpool Academy of Arts led to
a loose-knit movement of local Pre-
Raphaelite landscape painters, which
“Institutions… led to a loose-knit included Alfred William Hunt, William Davis
and Daniel Alexander Williamson. London-
movement of local Pre-Raphaelite born Samuel Walters – possibly the best-
known of the ship portrait artists – also
landscape painters” studied in Liverpool.
A rt c lasse s The best of many excellent art classes to be found in Liverpool
dot-art The Liver Sketching Club Kirkby Gallery Life Drawing

Liverpool gallery and arts Established 1872, this is the oldest Kirkby Gallery holds drawing Paul Gatenby delivers weekly
organisation dot-art runs a busy continuously active amateur art (Saturdays) and watercolour classes and one-off special classes
program of art classes and courses club in England. Members and non- painting (Wednesdays) classes for throughout the year. Topics range
across a wide range of subjects in members meet over 30 times each all abilities. They cost £4 and you from beginner’s painting to portrait
venues across the city. month, with classes from £6-£10. need to bring your own equipment. drawing, and cost from £8-£10.
http://dot-art.co.uk/art-classes www.liversketchingclub.com http://bit.ly/pad10_kirkby_gallery https://theartroomliverpool.com
info@dot-art.com liversketchingclub@yahoo.co.uk tina.ball@knowsley.gov.uk pg.sculpture@yahoo.co.uk

Liverpool
Under Water by Albert Dock by

Jo Smith Frank Green
Acrylic on canvas Oil on canvas
“Light bounces from the “The city is stunning,” says
water on three sides of the Frank, “even though it’s
Wirral. It’s totally magical,” changed a lot, and not
says Jo. always for the best.”
Today, the city’s past continues to inspire

local artists. “My work has been very much
influenced by the landscape of Liverpool,
and the builders who were responsible for it,”
says Frank Green, who’s been painting
Liverpool and its surroundings for half a
century. “Even though I was bred here, it still
took a long time for me to realise what a
special, unique landscape Liverpool has.”
Visually, it’s a city of contrasts. From the
Albert Dock to Anfield and Aintree, Georgian
structures rub shoulders with sleek modern
architecture and endless rows of terraced
houses. But step into a side street and you’ll
quickly find a vibrant subculture of music
and art in Liverpool’s winding alleyways and
underground bars.
“I’ve just moved into an art studio in the
city centre and being here every day is
fantastic,” says fine artist Joe Forrest. He
specialises in mixing traditional and

Paint & Draw in...
Galleries
A huge range of collections
within easy reach
Bluecoat Gallery
At 300 years old, the Grade 1 listed
building that houses the Bluecoat
Gallery is Liverpool’s oldest.
Boasting four galleries, the
creative hub showcases talent
across visual art, music, dance,
live art and literature.
www.thebluecoat.org.uk
The Royal Standard

An artist-led gallery, The Royal
Standard operates a dynamic and
challenging gallery programme
that brings together local, national
and international artists.
https://the-royal-standard.com
Editions Ltd Gallery

This stylish gallery showcases
work by established artists and
original pieces by new artists
working in the north west. As well
as regular exhibitions, Editions
also offers a framing service.
www.editionsltd.net
Lady Lever Art Gallery

Orange Bowl by contemporary techniques in order to create Based in the beautiful model
Dennis Spicer original pieces. “There’s a real buzz in the village of Port Sunlight, the Lady
Oil on linen
city, but especially in the creative and Lever Art Gallery has one of the
Block colours contrast
with subtle tonal variation cultural circles. After working on my own at UK’s most impressive collections
in this stunning still life. home for the past year, it’s great to be out of fine and decorative art, as well
and getting to know people, and being part of as the best collection of
Still Life 2 by events with others.” Wedgwood Jasperware
Katherine Dereli
Acrylic on board “Liverpool also hosts the internationally anywhere in the world. And if all
Katherine paints from her acclaimed John Moores exhibition,” adds that wasn’t enough, it has a
home in nearby Ormskirk. Seagrass Studio Gallery founder and artist, renowned collection of Pre-
Jo Smith, “which is known for its innovation Raphaelite paintings.
and boundary pushing. There are countless www.liverpoolmuseums.org.uk/
independent galleries, hip bars, trendy ladylever
eateries and cosmopolitan shopping. There
are also amazing colleges, universities and Williamson Art Gallery &
arts education opportunities across Museum
Merseyside. I love Liverpool!” The Wirral’s Williamson Art
Like many locals, Ormskirk-based Gallery & Museum has one of the
sculptor and painter Katherine Dereli best art collections in the north
recommends paying a visit to The Walker Art west of England, with a strong
Gallery. “The excellent portraits from George focus on local artists and an active
Stubbs and Joseph Wright of Derby are not programme of exhibitions.
as well known as I think they should be,” she www.williamsonartgallery.org
says. “Joseph Wright’s treatment of shadow

Liverpool
“There are countless Iron Men, Crosby by

Michael Treanor
Watercolour
independent Witnessing the panoramic
view of the Iron Men at
galleries, hip bars, Crosby Beach is the top tip
from local artist Michael.
trendy eateries”
is something I’ve come back to on many
occasions as inspiration.”
She says that although the art scene isn’t
always as connected as it perhaps could be,
Liverpool is a friendly place when it comes to
the visual arts. And events like LightNight in
May – Liverpool’s free one-night arts and
culture festival – and the Liverpool Biennial
offer coherence. “The Art In All Halows Church,
Liverpool website is also essential for linking Allerton by Frank Green
up various disparate creators,” she says. Watercolour
Visit it at artinliverpool.com. When bulldozers began
flattening areas of
Lucy Moxon agrees that the Art In Liverpool, Frank began
Liverpool website is an excellent resource for painting districts before
anyone interested in the local art scene. She they disappeared.

Paint & Draw in...
Self Portrait by moved to Liverpool four years ago to study

Lucy Moxon Fine Art at Liverpool John Moores University,
Acrylic and charcoal on
and instantly fell in love with the city. “There’s
MDF board
Lucy’s art often focuses an abundance of studio spaces for artists to
on feminism, while also rent around the city with plenty of
commenting on the workshops, artist talks and performances to
textuality of the body. attend. I’m constantly overwhelmed by the
generosity of the people here – they can’t do
enough for you.”
Fresh from a six-month painting residency
St Johns Gardens at artist-led gallery The Royal Standard, she
by Frank Green says there’s no difficulty in finding inspiration
Watercolour in Liverpool. “For me, the city’s Catholic
Working initially in oil, the heritage and history of the Irish immigrants
Liverpool artist had to
change media to keep up
coming over to Liverpool years ago has
with his disappearing inspired my practice. As a portrait artist, I’m
subject matter. inspired by characters whose faces tell a

Liverpool
story,” she continues. “In Liverpool, there are hidden architectural gems – 16 Cork St
Local tips so many people whose stories need to be

told by paint and canvas.”
office, by Peter Ellis.”
“Visit the coastal panoramic view of
Local artists’ insight for Mixed-media artist Roland Keogh thinks Anthony Gormley’s Iron Men at Crosby
getting more from your visit that the city is comparable to Marseille. “It’s beach,” urges self-taught watercolour artist
difficult to know from the outside,” he Michael Treanor. He’s inspired by the sheer
Take a trip to the explains, “but it’s an amazing city filled with variety of locations in Merseyside, from the
Bluecoat Gallery wonderful people.” An architect as well as a subtle beach landscapes to Liverpool’s
“The official must-see is the painter, Roland recommends that any visitor backstreet scenes. “The city challenges me
Bluecoat Gallery in the city to the city should go to Editions Ltd gallery. to reflect its exciting subjects in a dramatic
centre, which has a diverse “It’s a must-see. Not only is the work and atmospheric way,” he explains. “The
programme of temporary displayed of outstanding quality, but just as folklore, culture and people are
exhibits,” says Roland Keogh. “I pleasingly it’s located in one of Liverpool’s characteristically unique.”
visited it recently while it was
exhibiting artists who had some
connection to Liverpool. Many
were quite brilliant.”
Catch the ferry

to the Wirral
“Take a trip on the famous
Mersey Ferry to Birkenhead and
look back at the iconic Liverpool
waterfront, a subject for many
local artists,” advises Dennis
Spicer. “Then visit the Williamson
Art Gallery in Birkenhead, which
has an eclectic collection of 19th
century and contemporary art.
Then head for West Kirby to
catch a spectacular sunset over
the Dee Estuary and Hilbre Island,
before heading back for a night
out in Liverpool.”
Or take the train

to West Kirby
“Come and breathe in the fresh
sea air and enjoy the very special
quality of light in West Kirby,”
agrees Jo Smith. “The Wirral is a
Portrait by Canning Half Tide
peninsula, so light bounces from Katherine Dereli Dock by Frank Green
the water on three sides and is Oil on board Watercolour
totally magical. Pop into Seagrass “I’m very much influenced The Liverpool-based
Studio Gallery, or visit Shore by artists who lived and painter has been capturing
worked in Liverpool,” says the city’s buildings and
Cottage just 10 minutes up the
the painter and sculptor. docks for half a century.
coast for some authentic local art
and creative courses.”
Don’t forget the

green spaces
“Liverpool has a surprising
variety of well-kept green spaces
– most notably Sefton Park with
its restored Palm House, which
can be lovely to draw and paint,”
suggests Katherine Dereli.

Workshop
Build organic texture

Eugenia Hauss guides you through her process of creating beautiful
and realistic natural textures using ink liners and a brush pen
WATCH THE
EUGENIA VIDEO
Belarus, Minsk
I am a mostly self-taught
artist specialising in ink. The
Ma terials http://bit.ly/pad10_snail
main themes in my art are Ink liners are very convenient because they
animals, nature and everyday are portable and clean, and are used in this
things. Inspiring and sharing workshop. However if you would prefer,
knowledge is my way to make you can also follow the steps using nibs and
the world a better place.
liquid inks, because the principles are
www. eugeniahauss.com
similar for both materials.
n A4 coated paper similar to glossy

photo paper types
n SB brush pen for creating varied lines.
I
n this workshop, I’ll show you simple yet
effective ways for how you can create SB means ‘soft brush’ and provides a thin,
beautiful, organic textures, using only one flexible brush-like tip.
colour. We will explore the possibilities of n Faber-Castell Pitt Artist Pen, size F (F
the ink medium together! equals 0.5 mm)
The theme of our drawing is nature n Faber-Castell Pitt Artist Pen, size S
– an incredible source of inspiration. I (S equals 0.3 mm)
encourage you to use real objects for n Faber-Castell Pitt Artist
your artworks as often as you can. For Pen, size XS (XS equals 0.1 mm)
example, I collect various natural n Uni Pin Fine Line Pen, size 0.05
objects; they make it possible for me to n Graphite pencil, B type
take a closer look, to touch and feel the n An eraser, just in case if you have to
surface. remove unnecessary pencil lines
If you don’t have a real object, it’s
great to use reference photos. My
advice is to gather as many visual
materials as you feel necessary – they
will nourish your artistic imagination
and give you useful information about
the texture and details.
Sometimes I create samples of
textures before proceeding to the clean
copy drawing. This is an excellent
exercise for developing your artistic
skills and power of observation.
I usually begin my ink artworks with
a pencil underdrawing. This method
gives me the possibility to build the
composition thoughtfully. I start
drawing with light pencil lines and
general shapes; then add the smaller
features. As soon as I feel confident
with my sketch and detailing, it’s
then time to start inking.

Ink
1
Make an underdrawing
I create a pencil underdrawing. Firstly, I mark
the hill and add rough shapes for the snail’s
body and shell. Then I draw the leaf and the acorn.
The peculiarity of this composition is that the snail
is looking at the acorn, as if with curiosity. As a final
touch, I refine the snail, adding the spiral of the
shell and the horns.
2
Outline the contours
Using the brush pen, I outline the contours
with organic lines, varying the width from thin
to thick. Let your hand be relaxed and have fun!
There is no need to draw all the contours with this
tool, so I leave some pencil lines uncovered. We will
come back to them very soon.

Workshop
3
Work on the shell
I use the S ink liner to reveal the
relief of the snail’s shell. On the
image below, you can see two types of
ink strokes: long rounded lines accent
the prominent points of the shell, and
groups of short hatches unobtrusively
emphasise the three-dimensional
aspect of this object.
4
Draw the moss
I begin the work on the texture
of the moss. With the S ink liner,
I add groups of short hatches and
dots to the hill area. The layering of
hatches creates interesting effects
and increases the contrast in the
drawing. The closer I get to the
bottom part of the artwork, the fewer
hatches I apply. This trick helps to
create a beautiful fading effect.
5
Create the texture
on the snail
I add the texture of the snail’s
body, using the thinnest liner (number
0.05). This texture consists of small
oblong elements that are closely
adjacent to each other. I also add thin
hatches to the area of the snail’s body
under the shell. By carefully accenting
the shadows, the drawing starts to look
more realistic.

Ink
6
Add dots
Draw dots onto the shell, using the
F liner. The groups of big dots will
make the texture more interesting and
credible. I accent the sides of the shell
and the borders of the spiral, to give it
more contrast and make it varied in
terms of value (this means that you have
darker and lighter objects).
7
Finish the shell marks
I add rounded hatches to the sides of the shell
and near the spiral line, using the 0.05 ink liner.
This type of hatching is also known as contour
hatching, and it works perfectly for accenting the
three-dimensional aspect of objects.
8
Refine the snail’s body
Using the 0.05 ink liner, I work on the snail’s
body. Thin hatches help me to reveal the
relief of the animal and emphasise its three-
dimensional qualities. The groups of parallel lines
can go in different directions to form layers of
hatching; this way of creating shadows is
particularly good for black-and-white ink graphics.
9
Draw the acorn
With the S liner, I add dots and rounded
hatches to the acorn, accenting the sides of
the object. It is important to leave a thin white line
on the edge – it will separate the acorn from other
objects in the drawing. Having this in place
guarantees that the artwork will look realistic and
three-dimensional.

Workshop
10
Develop
the acorn
I add thin hatches
to the acorn, using the 0.05
liner. The goal is to give the
acorn some contrast but
leave the highlights. Drawing
with ink is a process of
gradually raising the value
and contrast, so it is better
to apply fewer strokes at
a time than too many of
them at once.
11
Create the leaf texture
I work on the leaf. With the S liner, I add
some dots to create an organic, velvety
texture. Dots always work great when it comes
to natural objects and smooth surfaces; you can
also use dots of different sizes in your artwork to
achieve amazing graphic effects.
12
Accent the leaf
Using the 0.05 liner, I mark
all the dark places of the
leaf. It is important to separate the
leaf from the acorn with a distinct,
contrast shadow. Trust your eyes
and hand; they will suggest the
direction of hatching and the level
of value in your drawing.
13
Refine the
mossy texture
I work on the relief of the
mossy hill. I apply hatching made with
the 0.05 liner to create darker spots.
I especially accent the shadow from
the acorn and ensure that the borders
between the objects in my drawing are
clearly visible. Looks nice! The artwork
is complete.

COLLECTION F R
Volume 1 VIDEO EE
DEMO S
& SKETC
HES
A selection of our best

workshops to date!
step-by-step tutorials
17 by professional artists
Get to grips with watercolours,
acrylics, pastels, oils and more
On sa l e n ow
Available in WHSmith, or buy direct:
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ES
RI
Workshop
SE
E
TH
F
O
6
RT
PA
‘Block’ paint foliage

& water reflections
As a part of her oil painting series, Valérie Pirlot demonstrates
how to successfully depict foliage and water reflections

Oils
VALÉRIE
T
rees are an endless source of plastic or a mirror. What matters is what it
inspiration for me. Throughout the reflects. Avoid filling it all with blue at the Bath, England
year, they change colour, shape and start, but instead look at the colours you Originally from Belgium,
Valérie has lived in the UK for
even personality. However, many see. Don’t be scared to be bold – anything
the past 11 years. She works
artists dislike painting foliage, you do can be softened later. mainly in oils and enjoys
probably because dealing with so many subtle Foliage and water are the perfect working plein air. See
nuances of green can be overwhelming. My subjects for oils. They can be painted with more of her paintings at
advice is to simplify. View the scene as colour texture, freedom and generosity to www.valeriepirlot.com
‘blocks’, and don’t be afraid to push the embrace every curve of the scene. For
difference between them further than reality, as consistency, remember to work across the
it can always be toned down later. whole painting and deal with the water at
When painting water, my trick is to
consider it as a surface reflecting light and
the same time as the foliage. In this tutorial
I’ll guide you, step by step, to successfully
MISSED
colours, rather than an element itself. It capture trees and water reflections in this A PART?
doesn’t matter whether it is water, oil, colourful scene. You can still get hold of
all back issues here:
http://bit.ly/pad_all_singles
GET THE
SKETCH
http://bit.ly/pad10_sketches
Materials
Valérie mainly uses Winsor &
Newton’s Artisan Water
1
Mixable Oil Colours, which Apply the ground
A u na turel!
means no solvents are needed. colour and drawing
She paints on an 22x18in canvas I cover my canvas with a neutral beige
and for brushes, she prefers colour. This helps spread a feeling of
Rosemary & Co, Ivory Filberts warmth across the whole painting. For To achieve a more natural
(sizes: 0, 1, 2, 3, 4, 5, 6, 7) and this, use just a little bit of paint and dilute it result, I recommend mixing
Riggers (Sizes: 0, 2). These well. I then place the basic lines of the your own greens. I have two
combine the silkiness of drawing. Keep this as simple as possible. yellows and three blues, which
synthetic brushes with the Some people like using charcoal to draw, I result in a wide range of cool
firmness of hog bristles. prefer actual paint as it means there is no and warm green colours.
need to wipe it off afterwards.

Workshop
2
Block the colours in
The aim is to fill the whole canvas
with the main colours, in an abstract
– almost cubist – way. I use large brushes
and work quickly and spontaneously. In
fact, this stage only took me about 15
minutes. Give a distinct hue to each block
of colour and keep it diluted with a lot of
turp (or water in my case). Once dried, this
will end up representing some of the
lightest tones of the painting.
3
Give depth to your greens
Add some thicker, slightly darker paint in the shade areas of
the foliage (and their reflections) and lighter paint for the
highlights. This will give a three-dimensional feel to your painting.
Keep the colours interesting and make sure you mix a new colour
each time you paint in a different ‘block’ area, so you don’t end up
with the same green across the whole painting.
4
Add darker strokes
I now add even more contrast with
the darkest brushstrokes of the
painting. It helps redefine the drawing, give
depth to the painting and make the light
areas look even lighter. Avoid contouring
every tree; instead, pick the areas you want
to define and others that you want to keep
loose. Think of the direction of your
brushstrokes so they can embrace the
elements of the scenery.
P ain t ... a lot!

I see every single one of my paintings as a
step to becoming a better painter. Painting
as much as you can, as often as possible
is the best way to progress.

Oils
5
Highlights in water
The water has been roughly painted at the same time as the
foliage, but it needs a little more attention now to depict the
lovely reflections. Here I add highlights in the lightest areas and
some touches of midtone blues where patches of sky are
reflected. Refrain from painting over the whole water area. Leave
some background colour untouched to rest the eye of the viewer.
6
Assess the painting
It’s time to stand back, put the brushes down and assess
what has been done so far. The whole canvas has now been
covered with the main colours and there is a good sense of
contrast. The core of the painting is done. So what’s missing?
A better definition of the elements, more care with the edges of
the trees, and more details in the foliage and water.
“Remember to paint
the water slightly
darker and in a less
defined way than the
object it reflects”
7
Start to work across
the whole water
Compare each part of the water with
the corresponding element above (tree,
sky, cloud, etc). It shouldn’t be a perfect
mirrored reflection, yet the same shapes
and colours should be reflected to make it
credible. Here I’m adding some green in
the reflection that can be found in the bush
above. Remember to paint the water
slightly darker and in a less defined way
than the object it reflects.

Workshop
“Branches mix and

cross… between
trees and bushes,
so try depicting
that with paint”
8
Refine the water
Let’s get the smaller brushes out
and work on those lovely water
reflections. Refine the edges of the various
colour ‘blocks’ in the water (for example
between the ‘dark tree reflections block’
and ‘blue sky reflections block’) by
introducing a third colour to make a
smoother transition. Add a few
brushstrokes of this colour within the
blocks to depict the tiny waves produced
by the wind.
9
Pink foliage
I’ve neglected the pink blossom tree, so it’s
time to give it the care it deserves. Refrain
from filling the whole tree with brushstrokes. They
will lose all their power. Feel free to overlap a few
brushmarks over the next tree. Branches mix and
cross all the time between trees and bushes, so try
depicting that with paint.
10
Define the edges
I find this part rather fun to paint. Add
some pure paint brushstrokes of sky
within the tree shapes, as if it was ‘eating’ the edges
of the foliage. Those patches of sky will need to be
slightly darker than the actual sky, because it is
filtering through the branches. And vice versa – add
some green brushstrokes in the sky area to depict
loose branches. Keep it free and spontaneous.

Oils
11
The important highlights
This is probably the most satisfactory step of
the painting; adding some highlights to the
focal points that will give a ‘wow’ factor to the painting.
These fresh little brushstrokes don’t always need to
connect to the main masses, they can jump freely
from the elements. Don’t overdo them or put them
everywhere; instead keep some of your original
washed-out background to depict light areas.
12
Final strokes
You decide I add the final details, refining
some reflections and filling
One day, as I was painting unwanted gaps. For example, here I’ve
outdoors, a lady stopped and decided to add some vertical lines to the
said “Gosh, you still have a long water reflections to bring more structure
way to go!”, while in fact, I was and interest to the water area. Those last
adding the finishing touches! decisions can really elevate a painting, or
Everybody has a different instead worsen it. But no worries – the
opinion of what a finished magic of oils is that anything can be
painting should look like. painted over so there is no harm trying
different things out.
NEXT ISSUE:
13
COLOUR The finished painting
HARMONY Finally here is the finished painting. How
far you want to push it really depends on
your own style. Many people will carry on adding finer
details. Personally, I like to keep a feeling of energy,
looseness and freshness that can sometimes be lost
when overworking a picture. What matters it that you
aim to achieve the vision you had in your head when
you first started the painting.

Interview
ineriew
Stan Miller
The American artist discusses his love-hate relationship with
watercolours, and how he keeps his passion for painting alive
Words: Tom May
ased in Spokane, Washington, Stan hasn’t always been in love with it. In fact, quite the
B Miller has been painting professionally

for more than 40 years. The award-
winning artist, who is a signature
member of the American Watercolor
Society, has seen his work featured in numerous
exhibitions, galleries and museums. His level of
excellence has led to him being invited to give
reverse is true.
“When I first started painting with
watercolour, I couldn’t control it,” he
recalls. “It was a very angry, frustrated
relationship. I absolutely hated it. In fact, to
this very day I don’t know what it’s going to
do. If you put it down wet, it moves while it’s
workshops across the US, Europe and Asia. But while sitting there. And when it dries, it’s never
watercolour has been the bedrock of his career, he the same colour as when you put it down.”

Stan Miller
The artist
Stan Miller has been a
professional watercolour
painter and egg tempera
artist for more than 40
years. Based in Spokane,
Washington, USA, his
paintings have been
featured in numerous
exhibitions, galleries, and
museums. A signature
member of the American
Watercolor Society and as
an AWS award winner, Stan
teaches art regularly
throughout the US, and
holds workshops across
the world.
September Shadows
Egg tempera & watercolour, 36x24in
“Usually I will do a little bit of drawing
before I start my painting, even in my
super-detailed work.”

Interview
Venice Lamp Post

Watercolour, 22x17in
“Venice is a timeless city. It doesn’t
feel the need to constantly change
itself to be new and fresh.”
Scrape it of f
“My students are amazed
by how heavy-handed I
can get. If I need to, I will
scrape a painting off. I’ve
taken a watercolour, put it
under the sink, scrubbed
it with a sponge, then
gone back into it.”
But this mysterious uncertainty doesn’t In other words, while oils are “too
put him off using the medium. In fact, it fits obedient” for him, watercolours offer more
his character and approach as an artist. possibilities. It’s the same reason he’s a fan
“In terms of who I am as a person, I love of egg tempera. “It doesn’t move like
a challenge,” he enthuses. “I was always watercolour, but it involves many, many
attracted to the gal who was a little hard to layers of paint,” he says. “So you never know
control.” And the same applied when, as a for sure what it’s going to look like, until that
youngster, he took art classes at community last stage goes down. And it takes much
college in Spokane, Washington. “Oils just longer to do.”
The Cowboy bored me. But watercolour – that was In short, Miller thrives whenever there’s a
“You have to work very, very hard
more intriguing. Painting in oils is like level of challenge. ”I seem to need that
at art. You have to have passion training a dog, while painting in uncertainty when I’m working on a
and desire, and a dream.” watercolours is like training your cat.” painting,” he stresses. “If I know exactly how
it’s going to look, at any given point, it just
gets boring. It’s like taking a trip when you
know exactly what you’re going to do every
moment of the trip.”
A fresh approach
To keep things interesting, the journey Miller
takes each time he creates a new painting is
never the same. “People often ask me,
what’s your procedure?” he says. “And my
honest answer is: the only thing I do every
time is to put some kind of a substance on
some kind of a surface. Every time I do a
painting, I do it a different way.”
Sometimes he’ll start by thinking of a
colour. Sometimes he’ll focus on the
subject, or part of the subject. And
sometimes he won’t think about anything,
but just start painting. “To keep the energy
alive, to keep me excited about work, I try
very hard not to visualise too much or to
plan too much,” he explains.
Nor does Miller have a set routine for how
he proceeds. “Sometimes I do a very careful

Stan Miller
drawing first; sometimes I do no drawing;

sometimes I do a quick drawing. Sometimes
“Painting in oils is like training a
I start with a small brush, sometimes a large
one. Sometimes I paint on an easel standing
dog, while painting in watercolours
up, sometimes I sit down. Sometimes I tilt
my board up, sometimes the board is flat.
is like training your cat”
It’s always changing.”
By constantly mixing things up in this understand perspective, and how to make
way, Miller can keep his passion and energy a road go back into the mountains, I’d
for painting as alive as when he was a watch him do it, and it was magical.”
youngster. Born in 1949 in Sioux Falls, South Then came the ‘lightning bolt’ moment
Dakota, as a child he loved to draw. And so, when, at seven years old, Miller and his
importantly, did his brother Greg, who was family visited the house of Randy Penner, a
two-and-a-half years older. friend of Miller’s father and a professional
The age gap between them worked in artist, out in the countryside of Wisconsin. Venice Calm
Miller’s favour, constantly pushing him “For me, it was like going to visit God,” he Watercolour, 14x10in
“I like painting something that has
forward. “Greg’s drawing skills were always recalls. “When the door opened, all I a timeless quality. And Venice
two-and-a-half years ahead,” he explains. wanted to look at was the walls, because I simply continues to be much as it’s
“So, for example, when he started to knew the paintings would be hanging there. always been.”

Interview

Stan Miller
French Window Flowers Charles

Egg tempera & watercolour, Watercolour, 9x14in
24x36in “I seek something
“Great art is timeless. The universal in my art, an
more it bridges different aspect of life that we
cultures or times, usually never get tired of.
the greater the work of art is.” Greatness, a spirituality.”
My mother tells me I knocked over a lamp,

although I don’t remember doing so. I was
in just absolute heaven.”
The main thing that excited Miller was
the sense of ‘it can be done’, he explains.
“Visiting Randy Penner’s house was
evidence that you could make a living as an
artist. And I thought: ‘I can do it, if I really
work hard.’”
The first steps

After graduating from community college
in 1973, he set about doing just that. “I
moved out of my parents’ house and
bought my brother’s car for $100,” he
remembers. “I found a little rental house
that used to be a chicken coop, for $85 a
month. And I painted all day long, until two,
three in the morning.
“All summer long I would get on my
motorcycle and I would go and paint on
location,” he continues. “I just painted like
Brantome
“I learned about perspective at an early age. And to this
day, depth and dimension is important to my art.”
“Randy Penner’s house was evidence

that you could make a living as an
artist. And I thought: ‘I can do it’”
crazy. I framed my own work, I managed
my own work. I did sidewalk fairs. I hung
my work in beauty salons, in hotel lobbies, You must
bank lobbies, church lobbies. And I
underpriced everybody. I’d have a 50x22in
believe in
painting and would sell it framed up for yourself
$35-$40. And if it didn’t sell within six
months, I’d take it out of the frame and To become a professional
paint on the reverse side, to save money artist, you have to believe
on watercolour paper.” you can do it. Talent is 99
Miller told himself that if he could just per cent passion and
make $200 a month, he could make a desire. If you have that,
living. “And I did. I made more than $200 a you’re going to draw all
month selling paintings, not much more the time and you’re going
but I knew I’d get better as I kept working to try to fulfil your dream.
on it. And I’m still doing it full-time today.”

Interview
Heather’s Blue Sweater

“I like painting people with a timeless
quality. I’m like a movie-casting
director who’s looking for a character.”
Heather’s Reflections
“Even with my portraits I try very hard
to get a sense of dimension or depth.”

Stan Miller
But while hard work and perseverance

have been Miller’s bedrock, there’s
“I look for faces with a
something else that’s contributed to his
commercial success. “I’m fortunate in that I
universal quality. I’m
like painting subjects that people like,” he
points out. “For example, I love Venice, Italy;
not too interested in
I’ve been there five or six times. And it just so
happens a lot of other people love paintings
painting someone who
of Venice. So that’s a nice marriage.”
Just choosing the right subject is only the
has a unique look”
start, though. For Miller, it’s also about
making an emotional connection that goes more ‘original’, he’s remained defiantly
beyond the specific scene. traditional in his approach to this day.
“Great art, in many ways, is timeless,” he “To me, if you pursue new and different,
believes. “And so in portrait work, for your paintings will look old and dated very
instance, I look for faces with a universal quickly. I seek something universal, an
quality. I’m not too interested in painting aspect of life we never tire of. I want to create
someone who has a unique look.” And even originality and uniqueness in the heart when Venice Afternoon Shadows
though his first college art teacher in the somebody looks at my painting and they feel “There are a lot of old cities. But
1960s tried to persuade him to abandon something they didn’t feel before. That’s the there’s a unique feeling that you
representational art in favour of something originality I’m trying to create.” only get when you’re in Venice.”

Artis s
t ’
S tudio
Bath-based artist Rob Lunn
invites us in for a tour of his
brand new studio...

Rob Lunn

Artist’s Studio
WATCH THE
VIDEO
http://bit.ly/pad10_roblunn
Steve O’Brien
Oil on canvas, 24x32in
This is a private commission of writer,
journalist and all-round sci-fi guru,
Steve O’Brien. It was a lot of fun to
play with the hot colours of his
boudoir in this one.
M
y new purpose-built studio is at the bottom which we’re lucky to have around us. It’s lovely and
of our garden so I can come back and forth warm when it’s cold and nice and cool in the heat.
without a problem. Lighting was absolutely key to the studio’s
I was previously at Bath Artists’ functionality. I had local electricians, Arcs & Sparks,
Studios for eight years. We have a install a three track system of 15 spotlights, each
three-year-old son and it was tricky trying to fit with a dimmable daylight LED bulb. The spotlight is
travelling, etc, into a very busy schedule. Studios 360 degrees and each track is controlled by its own
with windows are also a premium at Bath Artists’ switch, so wherever you are in the studio, the
Studios, so after eight years of no air or natural light, lighting is completely controllable.
it is a godsend to be able to open my large French I used to spend so much of my time just looking
windows and feel like part of the garden. for things in my old studio. I was determined to get
I built the studio by hand with my brother-in-law organised in my new space so I could find anything
and my father. It’s a timber frame built on a raft I needed and spend more time painting! I’m very
supported by 15 Swift Plinths. This gives the building lucky to have so much space, but you still need to
an extremely low impact on the surrounding trees, try and make each part work as hard as possible.

Rob Lunn
Top left to right:
David and Goliath

Oil on board, 10x10in
Featuring Haphazard Harmony
ceramics by the dutch designer,
Maarten Baas, this little still-life is all
about sugar, and my imagined battle
between natural over processed. It’s
great fun working with the Haphazard
range and I have a ton more scenes
planned for the future. See more of
Maarten Baas’ work here: http://
maartenbaas.com/haphazard-
harmony/
Baljit
Oil on canvas, 24x14in
One of my oldest friends, Baljit, sat for
this study on a weekend jolly. It’s
interesting painting someone you’ve
known since their early teens. You’ve
seen their face change so much, but
also stay the same. Capturing the
personalty or essence of your sitter is
key with such old friends. I listened to
Baljit’s favourite music while
completing the painting, something I
feel really helped me tap into my
memories of growing up together.
BabyToby
Oil on linen, 10x12in
A painting of my son aged nine
months. My favourite painting to date
and one that will always have a special
place in my heart. At that age he would
instantly strike a pose whenever a
camera or phone was in front of him.
This painting captures his infectious
smile and energy for pure fun.

Workshop
Introduction to drawing
and shading a figure
Learn the basic techniques you need to draw
and shade a figure in 20 minutes or less
S
hading and rendering is my There are many shading and blending erasing out highlights and also for
favourite part of a 10- or 20-minute techniques, but they can simplified into drawing and sculpting form.
pose. Here, I’ll introduce some of either line or tonal drawing. Line is great My drawing and shading process
the basic principles, tools and for details and texture. Tones are good varies depending on the pose, but I
techniques that I use to shade or for coverage and creating soft edges. generally start by shading and refining a
render in a short amount of time. More techniques will be explored in focal point area, like the head or torso.
Before I begin, I first analyse and limit upcoming issues. Once that is working, I move on to other
the values I use. For life drawing, I use a For blending, my favourite tools are areas of the figure, as time permits.
three-value palette of light, dark and kneaded erasers, blending stumps,
midtone. This helps me control values as tissue paper and my fingers. Stumps are
I shade and render forms. good for detail, while tissue is great for CHRIS
To define forms, I use a combination making really soft and lost edges. Finger Pasadena, California, USA
of soft or hard edges. Soft edges do the blending is useful, but do be aware that Chris is a dedicated, life-long
artist with over 20 years
majority of the work and create the most the skin oils can make future edits experience as a professional
natural look. Hard edges are great for difficult. A kneaded eraser is a versatile artist, writer and educator.
accents or sculpting forms. tool that I use for correcting shapes, www.drawwithchris.com
ul ale sectrum
hihliht
hihliht
midoe
midoe
hre ale
plete liht
hre ale
ranes
liht mid dark
How to use three values
1 Controlling value is the first step to shading. For life
drawing, I limit myself to three values: dark, midtone
(also known as half-tone) and light. This helps to control
shadow shadow
values and with careful arrangement of lights, darks and
midtones, I can render form and even create depth.
cre shadow
shadow/releced
liht
Shading a figure
midoe
hihliht cre shadow
releced liht
liht
cst shadow
oclusion shadow
Anatomy of light and shadow
2 A form in light has two distinct sides, a light side

and a shadow side. The shadow side consists of the
core shadow, reflected light, occlusion shadow and cast
shadow. The light side of the form is made up of midtones,
light itself and the highlight.
LOST
no frm r HARD
contrst
od fr hard
SOFT musle and
boe
3
Edges and form
Edges describe form. The
three types of edges are
commonly known as lost, soft
and hard. For figure drawing, I
use mostly use soft edges
because they create a more
natural and realistic look. Hard sharp edes
fr contrst
mot relstic and
edges are great for sculpting
forms and details. Lost edges
create depth and atmosphere. naturl loking

Workshop
Shading techniques
4 The two main ways I shade are with either line or

tone. For line, I use the tip of my pencil to create
hatching and cross-hatching marks. For tone, I use the
sft (mre
control)
lending tump (paer)
side of the pencil or a stick to create a variety of broad
strokes, tones and texture.
cros hathing
hathing
iner
exture wth lie

tsse paer
sfet (es
control)
Blending techniques
long arund shrt cros

5 For blending, I like to use a paper stump, tissue paper
or my finger. The stump gives me a lot of control and
is great for detail, while the tissue is perfect for really soft or
frm frm trokes fr lost edges and tones. I use my fingers sparingly because
exture the oils can make the drawing difficult to edit.

Shading a figure
lot edes reede

6
Eraser techniques
A kneaded eraser is an all-purpose tool I use for erasing,
blending and even drawing. I simply sculpt it into different
shapes to create a variety of marks. A flat shape is great for
broad strokes. A small point or tip is great for erasing out
highlights, details, and to draw and correct shapes.
hard ede
brins elbow
lat shae fr frward
brad trokes
sft ede
o rund
frm
hard ede
sharen cst shadow
ersing tip fr fr contrst
detals
hard ede
brins eg
frward
lot edes
o reede
back eg
use fr
drawing and
crrecting shaes
Edges for depth

7 Use edges to create depth. For
example, soften or lose an edge to
push a form backwards. Harder edges,
combined with soft core shadows, bring a
form forward. Sharp edges also bring a
form forward, by creating contrast.

Workshop lot edes o
reede arms
and ead
draw ut 3-MINUTE STAGE 5-MINUTE STAGE

detals wth
erser
ad detals
o focl
point area
hard edes
fr contrst
sfen edes sft ede o

reede fot
8
Draw a figure in 10 minutes
o frm
erse Once I have my figure drawn and have
hihliht blocked in the shadow pattern, I continue
to refine the light and shadow. I begin with a focal
point area and refine the edges and values, which
involves making soft edges softer, darkening the
core shadow for contrast and depth, and
sharpening hard edges to create contrast.
ad
reie mido
e
shaes and
9
20-minute drawing, part 1
Twenty minutes is enough time to draw a detals
figure and refine shading. I usually start
with a focal point and work my way towards the
other parts of the figure. For example, I darken
and soften the core shadow and then add
midtones, which help me to sculpt the form. darken
shadow at
5-MINUTE STAGE focl point
hard ede
s
darken cst shado on
shadow fr fr contrsws
t
mre contrst

Shading a figure
sft edes o
reede fae erser o
draw deta
l
hihlihts
10
Finish the
20-minute
drawing
Once I have the midtones, I
blend and sculpt tones to
bring the details and smaller
forms to life. With the focal
point working, I move on to
the next area, such as the
head or limbs, and refine as
much of the figure as
possible in the time left.
lot edes o
reede hand
hard ede
hand frw s bring
deie smlard, and
er
and detal frms
s
erser o
detal hihdraw
lihts
sfen edes
fr frm

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Art Class
80 artists come
together six times a
year for Sketchmeet.
Winsor & Newton

sponsors the event, and
provides art materials
for participants.
Bi-monthly sketch
meets in London
Michael Czerwinski and Georgina Stokes run Sketchmeet
six times a year to encourage artists of all kinds to get creative
aving started as a series of of people who participate digitally,”
H occasional creative meet-ups,

Sketchmeet proved so popular
that it evolved into a bi-monthly
event at London’s House of
Illustration, and it’s packed out every time.
“Each event has different themes, often linked
he says. “We post the themes online
beforehand, and you can draw along
at home and share your work, wherever
you are in the world.”
Event partner Winsor & Newton helps
boost the reach of the #Sketchmeet
to our exhibitions,” explains Michael hashtag through its own social media
Czerwinski, curator of public programmes and accounts, as well as providing a wealth
host of Sketchmeet at House of Illustration. of art materials for Sketchmeet
Although places are limited to 80, participants to make use of.
the reach of the event goes far beyond “All the W&N markers are wonderful
the four walls of the gallery thanks to to use, and people are always really
the #Sketchmeet hashtag on Twitter, impressed with them,” adds Georgina
as Michael explains: “We are really Stokes, Sketchmeet organiser at
interested in growing the number Winsor & Newton.

King’s Cross, London
Course d e tails
Run in partnership with Winsor & Newton,
Sketchmeet is a bi-monthly drawing session
at House of Illustration in King’s Cross,
London. There are 80 tickets to each
two-hour event, at £5 each, and they sell out
every time. The next event is 26 July, 7–9pm.
Visit www.houseofillustration.org.uk
Sketchmeet participants have two hours to get

creative with Winsor & Newton pens, around a pre-
determined theme. There’s a strong community
spirit among the diverse group, and the results
are projected on the wall at the end of the night.
“ProMarkers tend to be found in come with the world’s first White

most illustrators’ and graphic designers’ Blender, so you can create infinite tones.”
toolkits, and are a long-term favourite,” Sketchmeet attracts a real range of
she continues. “However, our newest ages and abilities, from general drawing
addition, Pigment Markers, always enthusiasts right through to professional
intrigue people and they often enjoy illustrators. “One of the great things is
using them for the first time and seeing that lots of people come on their own,”
what they can create.” Michael reveals. “They arrive, pull up a
According to Georgina, Pigment chair and start drawing. We do lots of
Markers work almost like paint, adding collaborative exercises, and this gets
an extra dimension to Sketchmeet everyone chatting and interacting.
participants’ work. “As the name “We love to see the diversity of the
suggests, they are made with the finest room – all from different backgrounds,
pigment,” she explains. “Artwork created all with different styles, but networking
with them is lightfast for 100 years, and mingling together,” he adds. “It’s Winsor & Newton’s ProMarkers are used by
meaning it won’t fade, and they also always good, creative fun.” professional illustrators and designers.

Workshop
Simplify detail
in your scenes
using shapes
Amnon David Ar demonstrates
how to avoid getting bogged down
in detail when painting architecture
ver since moving to Berlin, I’ve
E wanted to paint the Kaiser Wilhelm

Memorial Church. After being
bombed in WWII, it remained
untouched as a testimony to the
barbarism and sacrifice of war. It has always
managed to catch my eye and soul.
When painting from life, it is
important to find a comfortable spot
from which to paint. In the case of this
church that proved to be a difficult task,
because it is in a part of the city popular
with tourists, and at the time of painting,
it was the freezing Berlin winter.
I actually prefer to paint it in winter,
because the weather and light
conditions are more dramatic and
gloomy. However, it does pose
challenges, namely the changing
GET THE
weather and light conditions, and the SKETCH
shortness of the days. http://bit.ly/pad10_sketches
Before starting, I visited the location
and used a paper frame to establish the
proportions and size of the composition.
I also used this visit to decide on the
colour and tone for the background.
With the foundations sorted, all that
remained was to capture the spirit of the
building without painting every detail.
AMNON
Berlin, Germany
I try to express my way of
seeing and interpreting the
world through light, colour
and atmosphere. Most of my
subjects are the people and
artifacts that surround me.
www.amnondavidar.com

Oils
1
Apply colour
I always start by applying colour to
rough-in shapes, without making a
preliminary drawing. I work one area
after the other, measuring the relations
between them, one step at a time. For
example, every mark made on the left will
be meticulously checked by its relation to
a detail on the right. Because I haven’t
got a sketch, and I’m not painting every
2
single detail, I look at the building as a Sharpen and expand
series of shapes, rather than objects, to I add more detail to refine areas and move
capture its form. For example here, I use downwards to set up the foundations for the
the strong contrast between the broken complex windows. I also add in a flat uniform plane
roof of the church and the sky behind it for the section beneath the windows (although the
and its abstract geometrical character as details for this section will have to wait until this
the basis for all future information. coat has dried).
Ma terials
This particular work was painted with oil
paints on a wooden panel, primed with
smoothed, thick gesso layers, and washed
with a neutral tint (chosen after visiting the
location being painted, the chosen tint being
the average colour of the subject, including
its background). The size is 11.4x25.6in.
Except for white, at least three different
tones of every basic colour is used (cold,
neutral and warm). This makes it possible to
accurately paint the building’s colours and
values. Clean turpentine is used to dilute the
paints, which is changed often to keep it,
and the colours, clean.
n Oil colours: over 35 different pigments of

various makes, but of the highest quality
n Brushes: mostly synthetic flats and flat
round-headed sable
n Painting knives, EXACTO knife
n Odourless turpentine, Liquin
n Adhesive tape, ruler
3 4
Large shapes Use negative space
Still working downwards, I add in and perspective
dividing lines to roughly mark out Every divider between large areas
the shapes that need to be painted is measured several times in relation to
before any detail can be decided upon. I the earlier shape. I start work on the
choose the average tone and colour of smaller tower, using the negative space
each one of these planes, ignoring between the two towers. The rules of
whatever changes within. Many of these perspective helps decide the inclination
markings are temporary! of every slant.

Workshop
5
Work over areas
Now that a rough base has been
established, I can expand areas
in all directions, building every patch of
paint in accordance to what was
established earlier. I also start painting
over the larger planes to give them
more definition. Even though more
detail is added, everything is still loose.
6
Be careful with
complicated areas
The lower part of the church has
quite a bit of space between areas, so
it’s difficult to mark out dividing lines. In
spots like this, it’s important to
carefully measure against all the other
areas. At this point I also give in to the
temptation of adding some finer detail,
but not too much!
Ge t stuck in
For me, starting a painting is
always the hardest part, so I
force myself to dive right into
the work, first like a clerk, just
‘doing the movements’, but
before long I find myself
completely engaged. In many
cases I find it useful to start
with a part of the painting
which is more general, and
then gradually move on to the
finer and more demanding
areas. Basically, I believe that
almost everything can
become fascinating to paint if
you are curious enough.
7 8
Finer details Cityscape and fixing mistakes
You will come to a stage when you I form several patches on the lower part of
need to add more intricate detail so the painting, just to establish some of the
you can move on to the remaining parts. building’s limits. However, most of the work is on
Here, I’ve refined all of the roughed-out the cityscape behind and in-between both towers,
areas. Even though the marks are very as well as adding more detail to the smaller parts
simple and still quite loose, forms are of the architecture. I encounter numerous delicate
becoming recognisable. I also add in changes that need to be done and there are
rough shapes either side of the church. generally mistakes to be fixed!

Oils
9
Go back and forth
At this point I start to see the end. It is now a
case of moving from detail to the whole, and
Always be
back again. I have to be extra careful to not break
the unity of the structure, and to maintain the
prepared
balance of the composition when working on a Because the forms of this
detail. If at earlier stages I accentuated the subject are constructed by
differences between every painted patch, now is light, I chose to use mostly flat
the time to start fine-tuning the details so as to not brushes. They enable sharp
distract from the whole. edges, fine detail and distinct
decisions. For atmospheric
parts and creating a cloudy
effect, I prefer flat, rounded
brushes. I find that perhaps
the most important thing is to
choose your subject in
advance. Every painting
requires a different set of tools
and a fresh approach.
From the bitter experience
of forgetting to bring
equipment, I make sure to
have a wide range of tools
10
What to include comfortably at hand. I make a
and what to ignore list of everything I have to
I now feel confident enough carry with me to the spot
to go all the way down. Note that I am where I paint, and I prepare
leaving the panel exposed for most of everything the night before
the lower part. I find the colour and tone every session so I don’t waste
of it to be quite satisfying and do not feel time on it in the morning.
I need to accentuate the obvious by
blocking it in. I aim to achieve the feeling
of distance between the viewer and the
subject and I hint that the contrasts in
these parts are smaller.
11
Finish up
Know your tools The differences
between this step
Artistic creation has a reputation of being and the last are not very big,
mostly inspirational, but a professional does but they are significant. I
not sit down, awaiting inspiration to come. It want to suggest some of the
needs to be invited. As Picasso once wisely pavement, and the lowest
put it: “Inspiration exists, but it needs to find part of the church, differing
you working”. In any form of art, the soul only in colour and not in tone,
manifests itself through material, and I find so that the church seems
that you can maintain an interest and rooted in real life. This is
curiosity by accepting and falling in love particularly important
with the process and with the painting because of my choice of
materials – get to know them, their qualities giving only general detail on
and downsides. Any success is a result of the church’s lower parts. By
an endless amount of mistakes and leaving some of the details
hesitations,. When facing difficulties, remind ‘unfinished’, I intend to
yourself what a joy it is to paint! imitate the imperfection of
the subject and lead the
viewer’s eyes only to what I
find to be important.

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Colour creative
Learn quick tips to gain
confidence with colour
Delve into oils!

Achieve a colour harmony in your paintings
Acrylic Landscape
Make your most striking landscape
painting yet, by following these 10 steps

Workshop

Colour pencils
The delicious art

of colored pencils
Follow Steven E Hughes as he shares his process for creating
a variety of surface textures in coloured pencil
STEVEN
Marquette, Michigan, USA
Steven is Associate Professor
of Illustration at Northern
Michigan University. His
paintings and illustrations
have been featured in many
exhibitions and publications,
including The New York Times.
www.primaryhughes.com
C
reating interest in a still life is
about engaging the viewer with
a variety of flavours. Colourful
Ma terials
sprinkles will certainly catch the Steven uses Prismacolor
eye, but what makes someone Premier (wax-based)
stop and continue engaging with the piece? coloured pencils. He prefers a
If you’re working realistically as I am, paper surface such as Vellum
research and the process of acquiring the Bristol that is at least 100lb in
objects is a vital first step. weight with a little tooth or
In this case that meant a visit to the texture. An X-ACTO knife and
best doughnut shop in the Upper kneaded or white plastic
Peninsula of Michigan, Huron Bakery. eraser can be used to gently
Looking at the contrasts between props lighten small wax build-ups.
guides the still life set-up for me. If This coloured pencil drawing
something is dark, put it against is 7.25x10.75in on a Bristol
something light, and vice versa. Play board measuring 10.25x14in.
pattern against solid areas and look for The extra border around the
repetitions to move the eye across the drawing allows for a place to
composition. Once the objects are grip and move the piece
organised, I pick up a camera and look without accidentally denting a
1
at viewpoint and cropping. This is an Preliminary drawing corner or marring the surface.
alternative to sketching thumbnails, and With a coloured pencil that will blend into the
does double duty of providing reference form, develop a contour drawing of the subject
from which to work. You never know on Vellum Bristol or similar heavyweight paper. I
when a hungry kid will run into your avoid using graphite as it can show through the
studio and grab that carefully positioned transparency of the coloured pencils and overly
GET THE
doughnut! The still life remains in grey or darken tones. If you worry about mistakes, SKETCH
position as I work, allowing me to go or naturally use a sketchier line, consider working http://bit.ly/pad10_sketches
between photo or life to observe and out the drawing on separate paper and transferring
develop accuracy of colour and depth. it to the final Bristol surface with a light box.

Workshop
Use layers
for colour
Developing more complex
colour through the layering of
multiple pencils is key to
unlocking the potential of this
medium. Just like nothing in
life is simply one thing or
2 3
another, no orange can be Patterns in the wood Establish local colour
fully realised with only the Colours will vary for other varieties With normal pressure, apply beige and Yellow
orange coloured pencil. Light of wood, but here I start by Ochre pencils over the entire table surface to
and shadow will imbue your creating the darker pattern of the wood create a gradient of light to midtone (left to right). I
subject with a multitude of grain with Burnt Ochre and Light Umber. also add Clay Rose to the shadows and some of the
colours that need to be Look for differences in edge and tone. stripes in the wood grain. To darken some of the
observed and studied to The lower-right corner is darkened with a cast shadows, I repeat step 2, while adding dark
best capture them. layer of Tuscan Red to begin establishing brown to the mixture. I layer dark green over the
a reference point for the image. corner to increase its value range.
4
Build dark tones
A layer of Indigo Blue completes
the dark values of the lower
corner. Rather than using black, layers
of Tuscan Red, dark green and Indigo
Blue create a far more complex tone.
WATCH THE
The wood grain becomes more visible
VIDEO and the cast shadows darken through
http://bit.ly/pad10_colpen
the application of Yellow Ochre or Burnt
Ochre. A colourless blender helps
smooth the shadow tones. In the light
areas of the wood, I burnish with cream
and Yellow Ochre, solidifying the
gradation of light on the table.
5
White shadows
Putting a layer of Cloud Blue down before the other shadow colours
on the bag creates a barrier between the paper and the layers of
Jade Green, Clay Rose and Greyed Lavender that I mix into the bag
shadows. Reflected from the surrounding wood and orange juice tones,
light applications of peach, light peach and cream warm up the grey side
plane of the bag. Burnishing the bag with white helps smooth the tones. I
work with the cream and Greyed Lavender pencils to create depth inside
the bag and reveal a little translucency as it rests on the wooden table.
The doughnut shadows on the napkin reach a darker contrast through
layers of dark brown, Dahlia Purple, Clay Rose and Greyed Lavender.

Colour pencils
6
Add paper textures:
Using 30% Cool Grey, Jade Green,
Greyed Lavender, Cloud Blue and
touches of cream, I develop the high key
values and planar changes on top of the
bag. Cream neutralises the lavender
colour a little and warms up the
halftones. With the napkin, I first look at
the light affecting the whole surface. I
create a gradient across the napkin
(from top to bottom) with cream,
Greyed Lavender, Cloud Blue and 30%
Cool Grey. Using Greyed Lavender, “Cream neutralises
Cloud Blue and 10% and 30% Cool
Grey, I add dots to the napkin. View each the lavender colour
as an illuminated bowl, working with
dark on one side, drawing around the a little and warms
outside with grey and lavender, leaving a
highlight opposite the dark. up the halftones”
7
Shape the glass
Focusing on the darkest shapes in the base of the glass, Moving to the rim of the glass, I outline the contours with
I draw with Dark Umber, 50% Warm Grey and a touch of dark green and Light Umber. Follow the inner edge to the outer
Blue Indigo. To save the white highlights, I outline their shapes edge and watch your contours twist across the rim. The
with 20% Warm Grey and add a layer of Goldenrod around highlights are covered in white to aid in removing any dark
them, which becomes an undertone for the base. Mixtures of tones that encroach on the shape too much. This is done with
Jade Green and 20% Warm Grey can dull the Goldenrod an X-ACTO knife if necessary, by lightly scraping the wax from
slightly as needed. Increase the pressure and burnish with the surface of the paper. The white pencil creates a barrier
white to finalise the smoothness of the tones. I place small between the paper and the dark colours. Be sensitive to the
moments of higher saturation colours (Light Cerulean Blue, quality of the edge. Sharp, firm, soft, or lost edges can all
orange and Light Aqua) along the edges of the bright highlights happen along the rim. I do not want a uniform colouring book
to capture the prism effect of the glass. outline and try to let the line stay responsive to the subject.

Workshop
8
The juice surface
The first The rim is darkened with more
pressure and the green neutralised
time coun ts with Steel Grey, Jade Green and Light
Umber. Goldenrod and Sand is used to
For a lot of people, that first develop the yellow tones seen in the rim.
professional job as an artist – With the orange juice, I note that the
or otherwise – sticks with surface layer has a ring of cooler
you. Mine came via a temperature surrounding a slightly more
recommendation to visit an art saturated middle. To develop that subtle
director in Cleveland with my contrast, I use light pressure with 10%
portfolio. The optimism of a Cool Grey blending with Yellow Ochre
good review and a growing around a middle of Sunburst Yellow.
feeling that I was on the right Canary Yellow is the base layer and
path lead to one of the best Burnt Ochre the darkening pencil as the
45-minute car rides I could juice in the lower half of the glass
imagine. It only got better develops. Goldenrod, Yellow Ochre,
when I found a commission Sunburst Yellow are laid overtop to
job from the same art director create the gradation down the glass. I
waiting in my inbox when I burnish the juice with Yellowed Orange.
returned home. Note the higher saturation between the
liquid level and darker tones. Sand is
used to create the translucent brighter
tone at the liquid level.
9 10 11
Plan for reflections Twisted doughnut Create the
I draw the reflection of the Filling in the reflection, I doughnut undertone
doughnut in the glass very lightly introduce small colour Using Tuscan Red, I lay in an
with Goldenrod to ensure the contour variation to the sprinkles. It is undertone that begins to establish the
edges blend into the darker ground. I lay important to keep them all within the local colour and value contrast on the
down Goldenrod, Burnt Ochre and yellow-orange colour space of the doughnuts. While I can render a little
Sunburst Yellow to begin the rendering, orange juice. Too much hue contrast more form on the left doughnut, I opt
10% Cool Grey and Sand are used on the and the sprinkles will no longer read as for a flat two-value contrast on the
tall reflection to the left side of the glass. reflections on the glass surface. more complex sprinkle doughnut.

Colour pencils
12 13
Put the icing on top Use strong
To achieve the subtle variations of colour in the icing, divide the highlights, transitions for shine
midtones and shadow areas. I use dark brown and Burnt Ochre pencils in Like darker skin tones, there
the midtones, and Terra Cotta and orange when more warmth and saturation is are fewer light halftones on the
needed for the form. Where it needs to go really dark, Indigo Blue and dark green fill chocolate surface. I focus on making
out the last step or two of value range. For the cooler temperature colours, I take a strong transitions from the midtones to
30% Warm Grey to neutralise the saturation of the Tuscan Red. The warmer (more the highlights, and finalise the rendering
orange) halftones around the middle also have white applied to smooth over the of the left doughnut. The second
texture. Greyed Lavender and Sienna Brown or Jade Green work well to dull the doughnut is next in line to receive
saturation of the Tuscan Red in the highlight areas. additional form and shading with the
Use a colourless blender to smooth the chocolate, especially when beginning to Tuscan Red pencil. For more contrast, I
contrast with the cake texture. I also begin laying orange and Goldenrod over the also darken the corner behind the glass
cake part to establish an undertone that mixes with subsequent shading. with dark brown and Sienna Brown.
14 15
Two is better Sprinkles on top
than one I develop the cake part of the doughnuts with orange, Sienna Brown, Burnt
Referencing the colours and Ochre, Light Umber, Dark Umber and Goldenrod. To create the sprinkles, I
contrast on the completed doughnut, I use: Tuscan Red, Poppy Red, magenta, Deco Yellow, Canary Yellow, Clay Rose, 30%
bring the sprinkle doughnut’s chocolate Warm Grey, True Green, Parrot Green, Indigo Blue, Hot Pink, Blush Pink, and Jade
icing to a conclusion with Tuscan Red, Green. Using a highlight or shadow tone on each sprinkle provides a cylindrical form,
Sienna Brown, dark brown, Indigo Blue, but can be mind-numbingly tedious. Be sure to take breaks and give each one some
Burnt Ochre, Clay Rose, Slate Grey and attention. Scratching highlights out with an X-ACTO knife (sgraffito technique) is an
20% Cool Grey. option, or you can draw around the highlights and save the white of the paper.

Technique
M ASTERCL ASS
Pieter Bruegel’s
The Fight Between Carnival And Lent (1559)
Words: David Cobley

Xxxxxxxxx

Masterclass
The carnival parade

The parade is made up of musicians and people in masks, and the ground
is covered in eggshells, bones and cards. The man playing the rommelpot
(a type of friction drum) seems to be singing along as he plays. And the
pouch of knives at Carnival’s belt indicates that he is a butcher – the guild
of butchers traditionally provided the meat for the carnival feast.
The cripples
Just left of centre, a group of
cripples have come out to beg
on Carnival’s side of the
square but are ignored by the
The actors
revellers. The cripples are a In front of the building, top left, are two
garrulous lot, arguing with characters performing the tale of Orson and
each other and sounding off Valentine, twins who were born in the forest and
about something or other at separated at birth. Orson looks a bit like Max in
people in the crowd. Behind Where The Wild Things Are because he was
them a procession of lepers reared by a bear. Valentine, the one with the
walks past, led by a bagpiper. sword, was raised by a king and became a knight.
In a new series where artists discuss their favourite paintings, David

Cobley tackles the masterpiece by Pieter Bruegel the Elder (1525-1569)
he title is a bit on hers, and neither looks vaguely commoners to eat well, as there
T misleading. Instead
of a real fight
between Carnival,
the potbellied
character in red,
blue and green sitting astride a barrel,
interested in, or capable of, fighting.
Carnival is too drunk and Lent is too
emaciated. Despite all the action, the
fight is more of a philosophical one.
Ironically, as angels aren’t real, Bruegel’s
The Fall Of The Rebel Angels is much
was typically a food shortage at the
end of the winter as stores ran out.
It was also a time to indulge in
sexual desires, which were
suppressed during the following
period of scarcity, and all rich food
and Lent, the gaunt, dowdy figure dressed more like a real fight than the one and drink were consumed in what
in a long grey robe on the cart opposite, pictured here. became a giant celebration that
it’s actually just a mock battle with a In earlier periods, carnival involved the whole community.
roasting spit and baker’s shovel. Carnival (literally the putting away of meat) Once the Catholic Church had its
has a pie on his head and Lent a beehive was the last opportunity for way, however, this “devilish

The Fight Between Carnival And Lent
The fool
Perhaps the most intriguing character in the painting is the fool,
who seems to be guiding a mysterious behatted couple somewhere
with a torch – an odd thing to be doing in broad daylight. All three
have their backs to us. Where is he leading them?
The beggars
Beggars have appeared in streets and on public squares
forever. Here they are in front of the church asking
passersby for money. Being charitable was a virtue
traditionally practiced during Lent, and the nobleman
with his servant in tow is doing just that, highlighting
the contrast between the rich and the poor.
The dice players

Almost lost in the left-hand corner are two characters playing dice.
One has waffles in his headband. Being a game of chance, it is tempting
to think that Bruegel might be making reference to the bigger game of
chance that is Life, but then again perhaps they are just having fun.
As with so much of the picture, we are left to work it out for ourselves.
debauchery” was condemned, and of activity against another, all The Reformation may be a thing
in the year 325 the First Council of observed from a second storey of the past, but religious and
Nicaea attempted to end these window. And although he portrays political upheaval across the world
pagan festivals. everyone with great empathy, he is is still very much in evidence. I live
When Bruegel painted this literally and metaphorically above in the UK market town of Devizes,
picture, The Reformation was in full the argument. not that different to the little
swing and Protestantism And why should he get involved? Flemish town in which the painting
(represented by Carnival) was The artificial division between the is set. We celebrate Carnival in
gaining ground. Although there is a sacred and profane was the result September, and I am looking
vague division between Carnival- of an other-worldly doctrine about forward to witnessing some of the
related activities on the left and God and The Devil, Good and Evil, fascinating goings-on, both sacred
those of Lent (Catholicism) on the Sin and Salvation. Bruegel is an and profane, that it will provoke.
right, most people are going about observer not a moraliser, and he For more on the historical
their business unconcerned with keeps his religious views firmly to context, listen to Melvyn Bragg
what everyone else is up to. Breugel himself. Piety and profanity, like discussing it in his excellent In Our
alludes to the religious conflict by beauty, are very much in the eye of Time programme, http://bit.ly/
the clever juxtaposition of one type the beholder. pad10_mc

HAZEL LALE
Hazel is an artist who is attracted to themes which allow her to break free of outline with energy
and capture her imagination. It is not so much the subject, but the light falling on pattern, a gesture,
a discordant colour and a memory which fits a fleeting image. See more: www.hazellale.co.uk
1
Send us your artwork and get featured in Paint & Draw: email submissions to: pad@futurenet.com
Market Day
Watercolour
A painting and the colours I
choose are usually inspired by the
people I have met on my travels.
This painting is an example of
that. Grabbing an opportunity to
do a quick drawing, I made a small
drawing, plus took a photo.
Elephant In Blue
Mixed media
In this painting, watercolour was
painted in washes and marks of
light to dark tonal values. Acrylics
were painted dark to light marks.
The elephant was initially painted
in watercolour, which mapped out
the planes. Acrylic marks created
a sense of form in the shapes.
African Head
Watercolour
A queue of African women,
holding their hands out for
payment, waiting to be
photographed gave me a sideview
of a head that eventually became
a painting. The sounds and smells
of this memorable scene are still
strong today.
2

Your Art
Amber Beads
Watercolour
The head decorated in coloured
threads and amber beads
contrast against the skin, all
bouncing around in the extreme
heat of the midday sun. Being
engulfed in memories – what
better reason to draw and paint
a picture?

MARJOLEIN KRUIJT
Marjolein is an author of two books on animal painting. Inspired by the essence of her
subjects, she aims to capture their beauty and innocence, with each painting having a
unique story: personal, funny or symbolic. Visit www.marjoleinkruijt.com for more.
1
Maine Coon rolling

Pastel, 13.7x17.7in

Your Art
Bee Eaters
Oil on panel,
7.8x7.8in
Basset Fauve de
Bretagne
Oil on panel,
11.8x15.7in
Little Lamb
Oil on panel,
9.8x9.8in

RENATO PALMUTI
After working in several advertising agencies, Renato focused on illustration in 2001 and in parallel, developed
a personal work with watercolours. He paints urban and rural scenes and also the human figure based on
living model sessions and photographic essays. See more of his art: http://renatopalmuti.com/en/home
1
Girl With Blue Nails II

Watercolour on paper (Saunders Waterford)
This is part of a series based on a
photographic essay with a model who used
poses inspired by some of the Egon Schiele
paintings and drawings. This is the second
painting of the series and the only one with
no background.
Meditation
Watercolour on paper (Moulin du Roy)
Inspired in a Indian documentary. It is one
of the first times I used satin paper. The soft
mood of this scene suits a smooth paper.

Your Art
4
3
Paulista With Rain

Watercolour on paper
(Fabriano Artist)
This painting is of an
important avenue in
São Paulo – Paulista
Ave. The drizzle
combined with the
fog created by the
small droplets in the
air, which merged
with the reflections of
the wet ground. The
perfect subject for a
watercolour theme.
Looking Inside
Watercolour on
paper (Saunders
Bockingford)
A watercolour painting
from a live model
session. It’s a fast
sketch. We used to
make something like
four sketches like this
in a 2-hour session.
Watercolours and live
models is an amazing
way to paint in a loose
and gestural style.

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everything from envelopes to
art pads. The factory in Étival-
60km of paper per hour!
Among Clairefontaine’s vast array
of pads and papers is the Pastelmat
you can order in the
Clairefontaine, on the banks of the card range. As the name suggests, single sheets and cut
Meurthe river (90km from Pastelmat is aimed at the pastel artist
Strasburg) in north east France, and is available in single sheets of to your preferred size”
started paper production in 1858 and 50x70cm or pads of 12 sheets in
has been producing world-class sizes 30x40cm and 18x24cm. that saves breathing in horrible
papers ever since. The operation This review looks at five 12-sheet fixatives is a bonus in anyone’s book.
pads. Each pad (except No. 3, which You’ll be truly amazed at how well it
is all white) includes three sheets of works. Each sheet in the pad is also
four different colours, depending on protected by a handy crystal paper
your needs. There’s a pad for most divider, which prevents any smudging
uses and if you find a favourite you of your masterpiece on the back of
can always order in the single sheets the sheet above.
and cut to your preferred size. With the £14.45 RRP per A5+ pad
The Pastelmat paper itself is an working out at £1.20 per sheet, the
impressive 360gsm (170lb) in weight cost could be enough to put off some
and acid free, too. The surface of the beginners. But if you’ve invested in
paper is designed to be coarser than quality pastels you don’t want to
velour, yet softer than sandpaper. apply them to inferior supports. Just
This enables you to lay multiple save this paper for finals and use the
Yes it is expensive, but the quality of surface really is layers over each other without the cheap stuff for your workings out. It
incredible and is an absolute delight to use. use of fixatives. Let’s face it, anything really is very good paper.

DVD
Painting Arles
Watch amiable British painter Peter Brown capture four
quiet scenes in the backstreets of southern France
Publisher: APV Films Price: £28.55 (DVD); £25 (streamed on-demand) Web: www.apvfilms.com
While you aren’t bombarded with technical

advice or structured tuition, this is still a
fascinating insight into how one artist works.
ost artists dream of visiting

“He can’t always explain what he’s doing
M France, setting up an easel in a
backstreet, and spending an
afternoon painting a pretty scene.
in detail, because it’s more about trying
And that’s exactly what Bath-based
plein-air artist Peter Brown does in
things out and seeing if they work”
this video, in four of the narrow
streets and squares that surround what he wants”), Brown does a lot of continue painting the following day,
the ampitheatre in the city of Arles. thinking on his feet. Which means he which is not something you often see
There’s little in the way of can’t always explain what he’s doing in this kind of video.
preamble: he just dives in and starts in detail, because it’s more about Perhaps most endearing, though, is
painting, with no explanation of the trying things out and seeing if they how honest Brown is about his lack of
paints he’s using or the surface he’s work than following a logical and confidence concerning his own work;
applying them to. And that basically detailed plan. “You’re constantly thinking: ‘Is it good
sets the tone for the whole video. To be fair, he does drop in the odd enough?’ and your default is: ‘No, it’s
Because although he does chat to us, handy tip, including advice on seizing not,’” he smiles ruefully.
throughout, in an amiable manner, his the stunning light of southern France On the whole, then, this feels less
commentary is not particularly when it’s at its best, and how to like an art lesson, and more like an
in-depth in terms of technique. incorporate passersby in a street hour and a half spent in the company
Being a largely instinctive artist scene. It’s also interesting to see him of a mate; one who just happens to
(in his words: “an old git who does return to two of the locations and be an immensely talented painter.

Reviews
Bookshelf
Our favourite recent releases to
inform and inspire your own art work
Drawing and Painting: Vibrant Watercolours: How to

Animals with Expressions Paint with Drama and Intensity
Author: Marjolein Kruijt Publisher: Search Press Author: Hazel Lale Publisher: Search Press
Price: £15.99 Web: www.searchpress.com Price: £14.99 Web: www.searchpress.com
WE’VE ALL HEARD that old showbiz saying, ‘Never work WHEN YOU THINK of watercolours, do you think of
with children or animals’. But Marjolein Kruijt owes her calming scenes, washed with pale shades? Hazel Lale
livelihood to the latter, and begins her book with a tribute urges you to think again, with this inspiring guide to how
to the “inspiring beauty” of creatures great and small. the medium can be more vibrant than you might expect.
Split into easy-to-use chapters, she includes a list of Line, shape, form and composition are essential in any
useful materials, as well as a comparison of sources of great painting and there are lots of top tips for all of that,
inspiration: ranging from the excitement of location- as well as some great advice for inding a subject,
based sketching, to using photography for reference. planning and getting more from your sketchbook.
The text is punchy, with each spread dominated by But at its heart, Hazel’s book is a joyful celebration of
photography, sketches and artwork relating to different colour. The close-ups of her palettes as she mixes her
aspects of animal portraiture. Much of the focus is on paints inspire you to break open your own watercolour
personality, with whole chapters dedicated to cats and box and get messy, while the text is packed with top tips
dogs, as well as a more general ’wildlife’ section. But on selecting the right colours, mixing them, testing them
there are also plenty of useful tips on general topics such out and inally applying them to a project.
as colour, texture, composition and anatomy. With your craft suitably honed, you can then jump into
With 13 years experience, Marjolein also weaves in a the inal two chapters to push your work in exciting new
few tales of her own animal-painting exploits. And to directions, creating visual impact and excitement with
prove she practices what she preaches, the book bold colour combinations and unconventional
concludes with walkthroughs of some of her favourite compositions. If you’re looking for ways to breathe new
pieces. A great guide for any animal-loving painter. life into your paintings, this is deinitely worth a look.

Bookshelf
PICK OF
THE
MONTH
David Bellamy’s Arctic Light: An Artist’s Masterclass in Colour: A Colouring

Journey into a Frozen Wilderness Workbook of Techniques and Inspiration
Author: David Bellamy Publisher: Search Press Author: Meriel Thurstan and Rosie Martin Publisher: Batsford
Price: £25 Web: www.searchpress.com Price: £12.99 Web: www.pavilionbooks.com
USUALLY RESERVED for nature documentaries, the MINDFULNESS COLOURING books for adults have
incredible beauty of the Arctic is unlikely to be something rocketed in popularity in recent years. This workbook by
you’ll be painting on location any time soon. But thanks acclaimed botanical artists Meriel Thurstan and Rosie
to renowned artist and teacher David Bellamy, you can Martin puts a different spin on things, by teaching
get a little closer to that breathtaking experience. advanced colouring techniques through exercises.
In this book, the intrepid David ventures into Following a brief checklist of the tools and materials
Greenland and the Norwegian island of Svalbard. He you need, the book dives into practical exercises for
mixes tales of biting winds, sub-zero temperatures and blending different palettes, using supplied templates.
whiteout conditions with life studies of polar bears, seals After this, it’s time for more advanced techniques, such
and other local fauna, as well as mountainous frozen as highlights, shading, pattern and texture, arming you
landscapes, churning ice-cold seas and wild skies. with all you need to tackle botanical illustrations.
If you love embarking on sketching expeditions The beating heart of the book, however, is its 60-page
yourself, this is an exhilarating journey into the extremes Colours chapter, packed with techniques to get more
that will put gripes such as erecting a tent in the drizzle, from primary, secondary and tertiary colours. Each
or getting a blister on a hike, irmly into perspective. section starts with a mixing guide, and then presents a
David’s evocative writing style leads you through the selection of botanical examples to apply the theory to.
trials and tribulations of his journey, with hand-drawn It doesn’t get much more hands-on than this, and
maps and behind-the-scenes photos helping you feel there’s some great advice about colour, albeit entirely
part of the action. But the real star is the artwork itself, with botanical-centric examples. Also, it might be best to
displayed proudly across whole spreads in places. practise the exercises on a separate sheet of paper irst.

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t
t to pain
It’s greayou like…
g
somethin
…but also accept your mistakes
D iaryof
A jobbing artist
9021
It’s supposed to be your best picture ever, but it turns out

to be your worst... and everyone’s watching!
whatever she’s spent the last one and three quarter
I
’m packing my suitcase for the first painting holiday of
the season, daydreaming about the marble mountains hours painting. She never likes what she paints and
of the Lunigiana, shimmering above the olives trees doesn’t see any point in taking it home, so into the
and grapevines, when this memory pops into my brain. I waste bin it goes in a dozen tiny pieces. She looks
try to dislodge it with terracotta rooftops and the blissful while she’s doing it, too.
sparkling blue waters of the Golfo dei Poeti, but to no If I’m not able to convince Patricia that she should
DAVID avail, back it comes… hold on to her creations and glean something of
CHANDLER Last year, after one of Dermot and Kathryn’s their merits as well as their de-merits, I know what’ll
Frome, England wine-fuelled lunches, on a gloriously sunny happen. With nothing to show for the months she’s
David teaches weekly
afternoon, in front of all my students, I painted one spent labouring at her watercolours but a full waste
classes and painting
courses, and writes of my worst pictures. Ever. bin, she’ll give up.
and presents Seeing I plodded back through the garden to the villa, So what were the particular merits and de-merits
Things, a local radio easel under my arm, hot, bothered and prickling of my own watercolour disaster, last year?
show about art. with embarrassment. Patrick whispered Now that I look at it with more objectivity than I
www.davidchandler.net
consolingly in my ear. possessed after three glasses of Vermentino, I can
“You know,’ he said, “I learned so much more, see that it might have worked. At the time, however,
watching you paint that dreadful picture than I’ve it wasn’t the picture that I wanted to paint.
ever learned from your good ones.” But what did I want to paint? I don’t think I really
So it was dreadful. There was no hiding it. But if knew, apart from the fact that I wanted it to be
the point of a painting holiday is instruction, then terribly impressive, the rest is a little vague. I just
why not accept that one’s students can learn just as started flinging paint around and hoping for the
much from your bad art as your good? best. It works sometimes, but not necessarily in
It’s essential to our artistic health, isn’t it? To be front of a dozen people on a hot hillside. On that
able to face up to our mistakes and without any particular day, I did not get lucky and I couldn’t see
unnecessary breast-beating, learn from them and any potential in the marks I was making. There were
move on? no serendipitous insights and then I realised that I
In one of my local classes, at a quarter to four had committed the great, cardinal sin of art:
every Thursday afternoon, I hear the sound of The purpose of a painting is not to show that
tearing. The perpetrator is Patricia, for whom part you’re good at it.
of the packing-up procedure is the ripping up of My suitcase is packed. I’m ready to go.

9000

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Practical art videos, plus print off initial workshop sketches

Tips and inspiration for artists everywhere

Simplify detail Take your time

The fight between

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Paint & Draw July 2017 3

4 July 2017 Paint & Draw

Paint & Draw July 2017 5

JOURNEY TO THE ARCTIC

VOYAGING ARTIST Charles Bezzina has been given

“I retired, but carried on with

6 July 2017 Paint & Draw

LeArn FroM A LeGenD

Paint & Draw July 2017 7

8 July 2017 Paint & Draw

TURNER AND THE SUN

ECHOES ACROSS THE CENTURY

DRAWN IN COLOUR: DEGAS

Paint & Draw July 2017 9

10 July 2017 Paint & Draw

The Long Man of Wilmington, Eric Ravilious

aimed to signify their grandeur by showing them in

Paint & Draw July 2017 11

DEAR EDITOR, I find Paint & Draw

Paint & Draw July 2017 13

14 July 2017 Paint & Draw

Use paper collage for 1 Follow these steps...

Paint & Draw July 2017 15

Make your own canvas Follow these steps...

MAKING your own canvas boards is fun,

Strip off and go naked!

Enjoy your new canvas

16 July 2017 Paint & Draw

Improve your abstract

I USUALLY MAKE abstract paintings

Follow these steps... because abstract portrays your inner world.

Paint & Draw July 2017 17

Once you bring all the

Learn how to accurately

18 July 2017 Paint & Draw

Paint & Draw July 2017 19

20 July 2017 Paint & Draw

Paint & Draw July 2017 21

22 July 2017 Paint & Draw

Paint & Draw July 2017 23

24 July 2017 Paint & Draw

Paint & Draw July 2017 25

26 July 2017 Paint & Draw

Paint & Draw July 2017 27

A rt c lasse s The best of many excellent art classes to be found in Liverpool

dot-art The Liver Sketching Club Kirkby Gallery Life Drawing

28 July 2017 Paint & Draw

Under Water by Albert Dock by

Today, the city’s past continues to inspire

Paint & Draw July 2017 29

The Royal Standard

Editions Ltd Gallery

Lady Lever Art Gallery

30 July 2017 Paint & Draw

“There are countless Iron Men, Crosby by

Paint & Draw July 2017 31