Leisure Painter November 2020

THE UK ’ S B E S T-SE L L ING L E A R N -TO - PA INT M AG A ZINE
Brush up
your skills!
NOVEMBER 2020 £4.80
ADD FIGURES
to your landscapes
STEP-BY-STEP
LINE & WASH
How to paint
COLOURFUL IDEAS
to draw your world
flowers & gardens
NEW WATERCOLOUR
11>
Six imaginative
techniques to try
770024 071195
AUTUMN LANDSCAPES
Colour-mixing ideas,
composition & more
9
ART
& ACTION
Making Change in Victorian Britain
17 November 2020 - 14 March 2021
Pre-booking required for timed admission
wattsgallery.org.uk | Guildford, GU3 1DQ
Thomas Kennington, The Pinch of Poverty, oil on canvas, 1891. Coram in the care of the Foundling Museum, London.
Incorporating Leisure Painter
and Craftsman and Creative Crafts
VOLUME 54/12; ISSUE 606
www.leisurepainter.co.uk
www.painters-online.co.uk Welcome
ISSN 0024-0710
from the editor
NOVEMBER 2020
W ho doesn’t love autumn with all those

Editor
Ingrid Lyon
Contributing Editor beautifully rich colours to look at and
Jane Stroud
paint? This month’s issue makes its first
Editorial Consultants
Diana Armfield RA, NEAC (Hon), RWS nod to the season with an extract from David Bellamy’s new book,
David Bellamy
Tim Fisher Landscapes through the Seasons in Watercolour (pages 22-27). David offers
Subscriptions & Marketing Manager colour-mixing suggestions, discusses how to look at and sketch autumn
Wendy Gregory
Subscriptions scenery, and paint the effects of misty and early winter landscapes in
01778 395174 watercolour. If you aren’t already inspired to begin gathering reference
subscriptions@warnersgroup.co.uk
Designers material for painting this season’s landscapes, this article will do it! For
Alison Renno
Sarah Poole
acrylic painters, Mike Rollins also offers a step-by-step demonstration of
Online Editor a woodland scene in autumn (pages 31-35). I particularly like Mike’s fun
Dawn Farley
Events Manager
approach to adding atmosphere and texture to his paintings with his use
Caroline Griffiths of a variety of different brushstrokes and tools, such as old toothbrushes
Commercial Manager
Neil Miller and pieces of card.
Group Sales Manager If there is a theme to this month’s issue, it is how understanding and
Jayne Notley 01778 391189
jaynen@warnersgroup.co.uk using your brushes to their fullest potential can really elevate your
Advertising Copy work. Along with Mike’s demonstration, Wendy Jelbert experiments
Sue Woodgates 01778 392062
suewoodgates@warnersgroup.co.uk with ranges of synthetic and synthetic-sable brushes (pages 28-30). Only
Accounts
creditcontrol@warnersgroup.co.uk
after making sheets of brushstrokes to help her understand what each
Leisure Painter, Warners Group new brush can do for her, how much water and paint it holds and the
Publications, The Maltings, Bourne,
Lincolnshire PE10 9PH
best way to handle it, does Wendy begin a painting with confidence.
www.painters-online.co.uk These exercises may appear dull at first sight, but how often have we
Publisher
Dr Sally Bulgin, Hon VPRBSA
heard that preparation is the key to success? Shelagh Ashley certainly
advocates it in her detailed look at line-and-wash techniques (pages
Publication of an article or inclusion of
an advertisement does not necessarily 60-63).
imply that the publisher is in agreement
with the views expressed, or represents Oil painter, Valérie Pirlot also begins a two-part series on painting
endorsement of products, materials or with limited brushstrokes (pages 40-42). This month she offers eight
techniques. The publisher does not accept
responsibility for errors, omissions or brushstroke techniques and her top tips for handling brushes, before
images received in good faith.
she challenges you next month to a step-by-step 40-brushstroke
Annual subscription rates (13 issues):
UK £47.20; USA $80; Canada $92; painting! Again, this is a great way to build confidence in painting and
EC member countries 67; all other
countries (sterling rate) £57. Foreign
add your own personality to your work. You can only do this by taking
currency prices include bank charges. the time to experiment with your tools and media and learn how to
Payments made by credit/debit card
are taken in sterling at the rate of £57 make the most of their properties.
Leisure Painter is published by Warners Finally, I have great pleasure in introducing the work of Margaret
Group Publications plc and printed by
Warners Midlands plc, The Maltings, Eggleton (this month’s cover artist) and Karen Rice to you. Both
Manor Lane, Bourne, Lincolnshire
PE10 9PH. Newstrade distribution by
watercolour artists have a well-established record of teaching and their
Warners Group Publications plc articles have certainly inspired me to pick up my brushes again.
(Tel: 01778 391000)
INGRID LYON Editor
NOVEMBER 2020 3
Contents NOVEMBER 2020
40
22 31
19 Painting project
IN EVERY ISSUE Part 2 Paint a tropical beach at sunset in oils
or acrylics, with Elena Parashko
6 Diary 10 Letters
Art events, live and online, to Your replies, suggestions 22 Autumn colour
enjoy across the country, plus art and ideas Follow David Bellamy as he shows us
club news and events techniques, and offers inspiration, for painting
69 Books autumn landscapes in watercolour
8 Exhibitions Reviews of the latest art
Jane Stroud recommends some books 28 Jackson’s brushes
of the best shows to visit or see Wendy Jelbert experiments with a range of
online this month 70 Online gallery own-brand brushes
Jane Stroud chooses a
recent painting found on 31 Woodland sparkle
PaintersOnline Loosen up your style as you paint an autumnal
woodland scene, step by step, using a variety
of tools for acrylics, with Mike Rollins
FEATURES
36 The home artist
12 Beginner’s watercolour Part 1 Learn how to sketch from life and
Make a confident start by understanding follow a line-and-wash process, with
the materials you will need and trying Margaret Eggleton
six imaginative techniques to begin your
practice, with Karen Rice 40 Improve your brushstrokes
Part 1 Try these exercises to develop mark-
16 Painting project making skills with your brush, by Valérie Pirlot
On the cover Part 1 How to transform a photograph of
Margaret Eggleton Rhododendron in an iconic Plymouth landmark, taken on 43 A true likeness
a Pot, watercolour and gouache on a sunny day, into a dramatic watercolour Part 4 How to vary your brushstrokes and put
paper, 7½ x10in. (19x25cm). Find out painting of a lighthouse in a storm, by tone before colour to paint a lively portrait of
more on pages 36 to 39. Di Lorriman a young boy, with Liz Chaderton
4 NOVEMBER 2020 www.painters-online.co.uk

Coming
next month
From step-by-step demos and practical tutorials
to painting projects from photographs and more,
discover your creative side with Leisure Painter
ON SALE 30 OCTOBER
n Explore autumn
colour mixing in
watercolour
n Tips and techniques
for painting with
acrylic inks
n Develop your
painting skills by
following step-by-
step demonstrations
n Paint a traditional
still life in oils
n Loosen up your style:
60 paint a picture in 40
brushstrokes
▲ Follow Michelle Campbell as she
n How to paint animals takes you through the painting of this
charming fox in watercolour
in watercolour
NEWS, OFFERS AND COMPETITIONS n Explore figure and

portrait painting LEISURE PAINTER
64 How to become a member of STUDIO or STUDIO+ ON-SALE DATES
Plus visit our archives on PaintersOnline to read n Paint fast and loose
Issue On sale
three evergreen articles from 1980, 1990 and 2000 with top tips on January 27 November
sketching with colour February 24 December
65 Save money when you subscribe to Leisure Painter
March 22 January
this month n How to add sparkle April 19 February
68 Save 20% on all featured art books in our bookshop
to your landscapes
at PaintersOnline
66 Trial a digital issue of Leisure Painter by downloading
a free issue
48 Through the seasons

NOVEMBER Paint puddles and reflections, autumn colour and
winter trees, with Amanda Cooper
52 A climate of change
Inspired by this year’s The Big Draw theme, find inspiration for
recording the wildlife in your garden, using a variety of drawing
media, by Linda Birch
56 Figures in the landscape

Part 1 From simple first drawings to painting crowd scenes
and beyond, Liron Yanconsky offers a plethora of tips and
techniques to build confidence and skills in watercolour
60 Pen to paper
▲ Christine Pybus Fossil Hunting below Sandsend Ness, oil on canvas,
Part 2 Transform last month’s ink drawing of a street scene into 28x36in. (71x91cm). Find out how Christine adds sparkle to her oil
a beautiful line & wash painting, by Shelagh Ashley paintings in next month’s issue
www.painters-online.co.uk NOVEMBER 2020 5

Diary
Art clubs
■ Chailey & Newick Painting Group
The Chailey & Newick Painting Group is
replacing its usual annual exhibition
with an online one, running from
20 November to 20 December. Visit
IDEAS, NEWS AND EVENTS TO INSPIRE www.chaileyandnewickpaintinggroup.com
AND ENTERTAIN YOU THIS MONTH and browse members’ new work from
the comfort of your home, and take an
opportunity to visit its other website pages
to help raise funds for the group’s local
hospice.
■ The Croydon Art Society
Formed in 1881, The Croydon Art Society
is one of the oldest art societies in Britain.
Nearly 140 years later, it is still thriving,
winning The Artist and Leisure Painter’s
Art Club of the Year award in 2018.
▲ Installation view of the Summer Exhibition 2019 at the Royal Academy of Arts, London
RA Summer Exhibition
For the first time in its 252-year history the Royal Academy’s Summer Exhibition ▲ Ken Head Into the Light, watercolour, 14x17in.
will be opening its doors in winter! The exhibition runs from 6 October to (36x43cm) from the Croydon Art Society
3 January 2021 and will include paintings by professionals and amateur artists ‘Art societies and clubs are not just about
selected earlier in the year from open submission. For tickets go to painting,’ writes society member, Jennie
www.royalacademy.org.uk Grover, ‘and in these troubled times we
If you are unable to visit in person, take a moment to visit the RA’s website needed to devise new and innovative
to see articles that explore the history of the Summer Exhibition – in particular ways to support our members. During
Bombs, Dots and Rockstars? Seven Stories of the Summer Exhibition, which lockdown, our committee rang round
uncovers some of the most dramatic stories in the exhibition’s long life. members to see if they were OK or needed
anything, as well as canvassing opinion
about when they would feel comfortable
going forward. We have had talks and
Online tuition demonstrations via Zoom and we will
In these unprecedented times, be holding a virtual annual exhibition of
amateur painters have more time members’ work from 16 November until
than ever to explore their creativity 16 January.’ Visit www.croydonartsociety.org
and artist, Andrew Jenkin is here to see what members have been working on
to help. Andrew has produced an during this lockdown period.
online watercolour tuition course, ■ North Weald Art Group
consisting of weekly video modules This year, the North Weald Art Group,
with regular feedback via WhatsApp, which includes both amateur and
Zoom and email. This one-to-one professional artists, will be holding its
course provides a foundation in annual exhibition of paintings, prints
watercolour painting, including and mixed-media works at the Denbies
brush techniques, understanding Art Gallery, London Road, Dorking RH5
your materials and colour mixing. 6AA, from 17 to 22 November. Most items
For further information go to in the exhibition are for sale as well as
www.andrewjenkin.co.uk a selection of unframed paintings. The
renowned watercolourist, John Yardley,
is the group’s president and one of the
Andrew Jenkin Beech Trees, watercolour,
▲
15x11in. (38x28cm) exhibitors. Denbies boasts plenty of free

parking, a restaurant and café as well as

In the frame
Newlyn School Interiors at
the Penlee House Gallery
& Museum in Penzance,
Cornwall this autumn
provides a rare opportunity
to see works by the Newlyn
School of Artists brought
together under one roof for
a major exhibition. Paintings
▲ Colin Twinn The Malcolm Campbell Shed, include Frank Bramley’s
Brooklands Motor Museum oil on board, 16x20in. A Hopeless Dawn and
(40.5x51cm)
Stanhope Forbes’ The Health
of the Bride on loan from the
shops selling wine, gifts and local produce, Tate Gallery as well as other
so it’s well worth a visit. For everyone’s rarely or never-seen works
safety, the organisers say there have from private collections,
been stringent precautions put in place, such as A Game of Old Maid
including the requirement to wear a face by Elizabeth Forbes (right)
covering. For more information about the from the Richard Green
group visit www.northwealdartgroup.org.uk Gallery, which has not been
■ Wokingham Art Society seen in public for more
With regret, the Wokingham Art Society than 30 years. The paintings
was forced to cancel its annual summer will be displayed alongside
exhibition in what would have been a selection of other works
its 65th year. Founded in 1956 with a and photographs showing
few local artists, it now boasts over 200 life behind closed doors in
members and new members are welcome. Cornwall in the late 19th and
Visit www.wokinghamartsociety.org.uk early 20th centuries – from
for details. In order not to miss out cottage interiors to industrial
completely, the society has created a and religious settings.
virtual art exhibition, featuring a short Newlyn School Interiors is
video to showcase the work produced by at Penlee House, Morrab
its talented members. Find the Wokingham Road, Penzance until 14
Art Society’s Online Art Exhibition 2020 at November. Booking is
https://youtu.be/gtYl_Tr-tKo essential. Visit www.penleehouse.org.uk ▲ Elizabeth Adela Forbes A Game of Old Maid
to book and for further information. c.1890, oil on canvas, 40½x25½in. (103x65cm)
News
The Hesketh Hubbard Art Society
London’s largest life-drawing society
has been holding weekly life-drawing
classes since it began in 1930. The
society offers both amateur and
professional artists the opportunity to
work from live models in untutored
▲ Noel J Kendall Evening Sun Over Whitehall,
oil on MDF board, 27½x37in (70x94cm) from the
sessions at the Mall Galleries in London,
Wokingham Art Society with short poses as well as more
substantial portrait drawing sessions.
Opportunities The society’s annual exhibition
Water-Mixable Oils showcases the work produced by
Entries are invited to the inaugural Open its members throughout the year.
Competition by the Society of Painters in Although classes have been temporarily
Water-Mixable Oils. Open to all artists, suspended the exhibition will go ahead
with separate sections for amateur and at the Mall Galleries in London from 26
professional artists, entries must be in November until 3 December. For more
water-mixable oils, submitted online information about the exhibition and
▲ Hesketh Hubbard Art Society member,
by the deadline of 31 October. Full Rachel Lindsey-Clark Untitled (Looking Down), how to join the society, visit
details are available from graphite and carbon, 29½x21½in. (74.5x54.5cm) www.mallgalleries.org.uk
https://www.spwmo.org.uk/competition/

Exhibitions JANE STROUD RECOMMENDS
by British artists who contributed to the
Surrealist movement, including Leonora
Carrington, Francis Bacon, Henry Moore,
Paul Nash and many more. This is a virtual
exhibition only and runs until 1 November.
■ Jonathan Cooper
20 Park Walk SW10. 020 7351 0410;
www.jonathancooper.co.uk
‘Rebecca Campbell: Gardeners’ World’:
paintings celebrating gardens, until
17 October.
■ Mall Galleries
The Mall SW1. 020 7930 6844;
www.mallgalleries.org.uk
‘Royal Society of Marine Artists’: annual
exhibition, until 10 October. ‘Minerva 2020’:
contemporary art from Japan, 14 to 17
October. ‘The Natural Eye 2020’: featuring
works by The Society of Wildlife Artists,
28 October to 8 November. ‘New English Art
Club’, 11 to 22 November. ‘Hesketh Hubbard
Art Society’, 25 November to 6 December
(see page 7).
■ Messum’s
12 Bury Street, St. James’s SW1.
020 7287 4448;
www.messums.com
‘Steve Des Landes’: figurative paintings,
7 to 30 October. ‘David Tress: Landscapes’,
4 to 27 November.
■ National Gallery
Trafalgar Square WC2. 020 7747 2885;
www.nationalgallery.org.uk
‘Titian – Love, Desire, Death’, until
17 January 2021. ‘Artemisia’, 3 October to
24 January 2021. ‘Sin’: looking at ways the
concept of sin has been portrayed across the
centuries, 7 October to 3 January 2021.
‘Take One Picture’: featuring work
by children from 37 primary schools
responding to George Bellows’s 1912
painting Men of the Docks – a work chosen
for the cross-curricular themes and subjects
for students to explore, 16 November to
31 January 2021. The gallery has strict
distancing rules in place and all tickets must
be booked in advance.
■ National Portrait Gallery
St. Martin’s Place WC2. 020 7306 0055;
▲ Harold Harvey Titbits, 1929, oil on canvas, 24x20in (61x51cm) www.npg.org.uk
‘BP Portrait Award 2020’: available to view
Newlyn School Interiors online only. The gallery is now closed for
The Penlee Gallery & Museum in Penzance has now fully reopened with its essential building works until spring 2023,
rescheduled exhibition of Newlyn School Interiors. The exhibition, which runs but the website remains open for you to
until 14 November, will feature work by the Newlyn School of Artists drawn explore the collection online.
from the collection as well as rarely seen work from private loans. For more ■ Osborne Studio Gallery
information see page 7 or visit www.penleehouse.org.uk Belgravia SW1. 020 7235 9667;
www.osg.uk.com
‘Reigning Cats and Dogs’: studies, sketches
and portraits of creatures great and small
LONDON by Michelle Pearson Cooper, 21 October to
■ Bankside Gallery methods to digital printmaking – by 21 November.
members of the Royal Society of Painter- ■ Royal Academy of Arts
48 Hopton Street SE1. 020 7928 7521;
Printmakers, 5 to 22 November.
www.banksidegallery.com Piccadilly W1. 020 7300 8000;
‘Art in the Time of Corona’ by members ■ Dulwich Picture Gallery www.royalacademy.org.uk
of the Royal Watercolour Society, 2 to 31 Gallery Road SE21. 020 8693 5254; ‘Gauguin and the Impressionists:
October. ‘RE Original Prints 2’: including www.dulwichpicturegallery.org.uk Masterpieces from the Ordrupgaard
prints – from traditional woodblock ‘British Surrealism’: including 70 works Collection’, until 18 October. ‘The Summer

Exhibition’, 6 October to 3 January 2021 (see
page 6). Pre-booking essential. ‘The Young
Artists’ Summer Show’, is currently available
to view online. ‘Tracey Emin/Edvard Munch:
The Loneliness of the Soul’ at The Gabrielle
Jungels-Winkler Galleries, 15 November to
28 February 2021.
■ Tate Britain
Millbank SW1. 020 7887 8888;
www.tate.org.uk
‘Turner Prize 2020, until 3 January. ‘Turner’s
Modern World’: bringing together major
works from around the world, this exhibition
presents a new perspective on his life and
work, 20 October to 7 March 2021. Strict
guidelines in place. Entry is by pre-booked
timed tickets. Visit the website for further
details.
■ Tate Modern
Bankside SE1. 020 7887 8888;
www.tate.org.uk
Reopening with strict guidelines in place.
Entry by pre-booked timed tickets to ‘Andy
Warhol’, until 15 November. ‘Dóra Maurer’,
until 24 January 2021. ‘Bruce Nauman’,
7 October to 21 February 2021. ‘Zanele
▲ Benjamin Mowll Whitstable Harbour, Dusk, oil, 9½x11¾in. (24x30cm)
Muholi’: photographs by one of the most
acclaimed photographers working today, Royal Society of Marine Artists
5 November to 7 March 2021.
The annual exhibition by the Royal Society of Marine Artists at the Mall Galleries,
London this autumn is a celebration of all aspects of the sea – from coastal scenes
REGIONAL to marine wildlife, and inland waterways to still life. Work on show will include
■ Fosse Gallery a range of styles and subject matter – many painted en plein air, while others
The Manor House, The Square, Stow-on-the- are studio based – by RSMA members as well as new artists selected from open
Wold, Gloucestershire. 01451 831319; submission.
www.fossegallery.com The exhibition runs until 10 October, 11am to 5pm daily and until 7pm on
‘Nicola Slattery – Stories Without Words’, Thursdays 1 and 8 October. You will need to book a timed ticket online and
4 to 24 October. ‘Louis Turpin and Mick measures will be in place at the gallery to ensure the safety of staff and visitors.
Rooney RA – Two Views’, 1 to 21 November.
For those unable to travel to the exhibition, the show is available to view online
■ Frames Gallery now. To book tickets or to view, visit www.mallgalleries.org.uk
10 Victoria Street, Perth. 01738 631085;
www.framesgallery.co.uk
‘Blooming Lockdown’: 5th annual exhibition ‘Murillo: The Prodigal Son Restored’, until and Frank Bramley, until 14 November.
by The Scottish Society of Botanical Artists, 10 January 2021. ‘George Wallace: ■ Sarah Wiseman Gallery
until 10 October. Reflections on Life’, until 13 December.
40-41 South Parade, Oxford. 01865 515123;
■ Jerram Gallery ■ Pallant House Gallery www.wisegal.com
Half Moon Street, Sherborne, Dorset. 8-9 North Pallant, Chichester, West Sussex. ‘Beyond Surface’: four artists explore
01935 815261; www.jerramgallery.com 01243 774557; www.pallant.org.uk figurative and absract realms and how the
‘Carry Akroyd: Inland’, wildlife landscapes, Tickets must be pre-booked for the following two often intersect, 10 October to
10 to 24 October. ‘Nicholas Hely exhibitions: ‘Barnett Freedman: Designs 7 November.
Hutchinson’: still life and oil paintings of for Modern Britain,’ until 1 November. ■ Victoria Art Gallery
Dorset and Scotland, 7 to 21 November. ‘Drawn to Nature: Gilbert White and The Bridge Street, Bath. 01225 477233;
■ The Lightbox Artists’, until 15 November. ‘An Outbreak of www.victoriagal.org.uk
Chobham Road, Woking, Surrey. Talent: Bawden, Marx, Ravilious and Their ‘Toulouse-Lautrec and the Masters of
01483 737800; www.thelightbox.org.uk Contemporaries’, until 1 November. Montmartre’: online exhibition only.
‘Raphael: Prince Albert’s Passion’: drawings ‘A Life in Art: The Muriel Wilson Bequest’, The gallery is closed until Easter 2021.
from the Royal Collection to mark the 500th until 29 November.
■ Watts Gallery
anniversary of Raphael’s death, 3 October to ■ Penlee Gallery & Museum
31 January. Down Lane, Compton, Surrey. 01483 810235;
Morrab Road, Penzance. 01736 363625; www.wattsgallery.org.uk
■ Millennium Gallery www.penleehouse.org.uk ‘Art & Action’: exploring the diverse
Arundel Gate, Sheffield. 0114 278 2600; ‘Newlyn School Interiors’: works by the strategies used by British artists to address
www.museums-sheffield.org.uk Newlyn School of Artists, including Walter the inequalities of society and ensure their
‘Lines of Beauty: Master Drawings from Langley, Stanhope Forbes, Elizabeth Forbes art galvanised socio-political reform,
Chatsworth’: featuring 50 highlights from
the collection, until 1 November. All information given here is correct at the time of going to press, but you are
■ National Gallery Ireland advised to check details and opening times with the galleries prior to your visit
Merrion Square, Dublin. 01661 5133; in case of unavoidable alterations to their exhibition schedules
www.nationalgallery.ie

Letters
I am one of Manchester’s Urban
Sketchers, but like to make a mess of
watercolour as well and that’s something
you need to understand; you’re going to
make a mess of some things, everybody
does. No one expects you to become the
SHARE YOUR TIPS, EXPERIENCES, IDEAS next Monet or Hockney instantaneously,
AND QUESTIONS WITH OTHER READERS just become Colin Ball.
To quote one of my favourite authors:
‘Go and make interesting mistakes, make
amazing mistakes, make glorious and
fantastic mistakes. Break rules. Leave the
world more interesting for your being
here.’ Neil Gaiman, Make Good Art.
Mike Dodds
Filing
I’m writing in response to a letter
published in the September issue from
Susan Dale, about how to file her Leisure
Painters. I’ve found a solution, which
suits me; it might help Susan. I keep my
magazines in a box with an open top and
most of the front cut off, for easy access.
Having done about three years worth of
magazines in one go I make sure I don’t
fall behind now.
I read the magazine, write on the front
cover the page number and subject of
the articles that interest me. In a hard-
back notebook I’ve marked every third
or fourth facing page A to Z and every
month I copy the information I’ve put
 Tom Mason Condamine River, The Gorge, Internet group on the front of the magazine into my
watercolour and gouache on Canson Moulin du Roy I am led to believe we are all artists and book, with the date of the magazine. For
Rough paper, 12 x16in. (31x41cm).
I was touched by the cri de coeur from example: Light on landscape, Bellamy,
Inspiration Colin Bell (LP, September issue). I, too, p12, 9/20.
I’m a keen reader of Leisure Painter and am an elder, who longs to paint, but It works for me although it might be a
The Artist magazines and I look forward who has no technical confidence. Having system that drives other folk mad!
to seeing what’s happening in the UK. regular contact with others, who need Patricia Robinson
Last year, my wife, Lyn and I painted in encouragement from people at this
Mousehole, Devaudin, Sampford Courtney stage, would help me. I’m thinking of a In reply to Susan Dale’s letter, I keep all
and Lonsborough in the UK and Tonniens Zoom group of about six to eight people, of my Leisure Painters intact in a binder.
and Paris in France. The European light is who touch in each week or two, just to Before filing, I turn the corner of any
so different to here in Queensland, and it compare notes as to what we are doing. page that I want to use as reference. I
takes a bit of adjusting the palette. We might set ourselves challenges or keep a list taped inside the binder, by
We planned to return to the UK this work through some of the projects in LP. month, of any articles I want to revisit,
year, but our trip was cancelled due to Would anyone out there like to join or tutorial subjects and media used.
Covid-19. Since 27 March, when local help me co-ordinate this, especially with It can appear to be a bit scruffy and,
restrictions came in, we haven’t stopped the technical aspects of bringing a group when I loaned some issues to an artist
painting the whole time. As you read this, together on the internet? friend who was in hospital, she very
my exhibition ‘100 paintings during Covid’ Many thanks for Leisure Painter. It is kindly had straightened out all the folded
will be hung. We are both members of the hugely encouraging. corners when she returned them!
Ipswich Art Society in Queensland, which Sophia Simpson Jenny Rutland
only paints en plein air at present, due to Email: copperswans70@gmail.com
social-distancing laws. It is the safest way
we can get together and paint, which we Help needed! Your letters
do on a regular basis. From the other side Colin, you said you lacked confidence in Please email your letters to:
of the world, we wish you the very best. the September issue of Leisure Painter, leisurepainterletters@tapc.co.uk
Stay safe and paint heaps. well I have only one answer for you: We’re here to help! If you have any
Tom Mason draw then paint. The first step seems questions about your art, please
https://www.facebook.com/tom. the hardest, but once taken, who knows don’t hesitate to contact us.
mason.771 what path you’ll find?

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Watercolour
Beginner’s watercolour
Part 1 New to painting with watercolour? Be inspired by Karen Rice’s
six imaginative techniques to begin your practice with confidence
LEARNING OBJECTIVES
n
n
First steps in watercolour
Understand your materials
I love painting with watercolour, because
of the wide variety of techniques that
can be used. It’s also a great medium
for beginners to learn, as they can
achieve early success by practising all
I wish I’d known about them years ago!
They have brilliant beautiful points and
their loading capacity is amazing! If you
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n Try six creative techniques impressionistic and semi-abstract. I love
using quirky techniques and alternative Paints and palette
materials, especially those that create lots If you are starting out in watercolour,
of textures and happy accidents. I recommend you begin with the Student
The two most important watercolour quality ranges of Winsor & Newton Cotman
lessons I can teach you are: don’t fiddle or Daler-Rowney Aquafine. I always
and less is more! Enjoy the painting encourage my students to buy tubes so
process and don’t be too hard on yourself. they can mix plenty of paint with different
consistencies.
MATERIALS Beginners could begin by using just three
Brushes colours: ultramarine, cadmium yellow and
I now use Black Velvet brushes by Silver permanent rose. You can make so many
Brush (from Jackson’s Art Supplies). colour mixes from those three primary
colours. Such a limited palette really helps
Karen’s watercolour materials beginners to learn about colour mixing,
Sunlit Trees, watercolour on Winsor & Newton 140lb Rough paper, 8x11in. (20.5x28.5cm). I used just two colours in this painting –
Payne’s grey and cadmium yellow – to make it easier to colour mix. You can learn so much by keeping your colours to a mimimum.
I added salt, sponging, spattered paint and masking fluid to create the textures.

Wildflowers, watercolour on Winsor & Newton 140lb Cold-pressed paper, 7x10in. (18x26cm). Pick a few of your favourite colours and try
painting from your imagination; just play with the watercolour, have no expectations and see what happens! To create the look of wildflowers
I used masking fluid, spattered paint, sprinkled salt and used a twig to paint stems. In the background I let the paint flow by tilting the paper,
which resulted in some very interesting effects!
thus enabling them to feel in control and from warping and buckling. My favourites
not daunted by finding the ‘right’ colours. are Winsor & Newton, Saunders Waterford
I have published several YouTube tutorials and Arches 300gsm in Hot-pressed, Cold-
dedicated to using just two or three colours pressed and Rough surfaces. I tape framing
(see the end of this article for details of my tape (I find it’s kinder to the watercolour
YouTube channel). I recommend adding paper) around the edge of the paper to
burnt sienna, Prussian blue, Payne’s grey make a white border around my paintings.
and raw sienna to the above three primary Once I finish the painting and remove the
colours as you progress. tape, the border allows me to be objective
I like the plastic folding palettes, because in assessing whether I need to do any
students don’t waste the paint they have more work on the painting.
squeezed out during class. They close the
palette and keep the paint covered then Pencil and eraser
re-activate the paint by just adding water. I use an HB pencil as it’s not too soft
and it’s not too hard! I make minimal
Paper, board and tape lines on my watercolour paper and draw
I recommend 300gsm Cold-Pressed/NOT softly as it’s difficult to remove pencil lines
surface watercolour paper, about 9x12in. when you have completed your painting.
or a little larger when you are starting out I recommend using a plastic eraser. Try
in watercolour. If you use loose sheets, or to keep them clean, to avoid getting dirty
a spiral or gummed pad, I recommend a marks on your paper when using them.
board to rest your watercolour paper on
and some masking or framing tape to tape Extra items
it down. Masking fluid Buy pots of masking fluid or
Watercolour paper comes in three different masking pens. I use Pebeo masking pens,
surface types: Hot-pressed (HP), Cold- both the 4mm for larger areas and 0.7mm
pressed (CP) also known as NOT paper for thin lines and small detail. I find them
(meaning not Hot-pressed) and Rough. Hot- easier to use and they dry quickly.
pressed is a smooth paper and good for Sponges I use a natural sponge from my
Daisy, watercolour on Bockingford 140lb
painting detail, pen and wash and botanical local chemist or art shops. Cold-pressed paper, 10x7in. (26x18cm). For this
paintings. Cold-pressed is the paper that I Twigs Use a twig from any tree. Just let simple but beautiful background I used two
recommend to beginners. It has a medium- it dry out for a bit then sharpen it with colours: indigo and cadmium yellow. I drew
textured surface so you can paint detail and a pencil sharpener or craft knife. the daisy then wet the background around the
texture. Rough paper is more textured and Salt I use sea salt and table salt. daisy and painted a light green then a dark
great for a loose style of painting. Plastic cards This is such a versatile green wash, wet into wet. I sprinkled salt once
I use watercolour paper from block painting tool; just cut up an old bank the painting was damp to create beautiful
gummed pads, which prevents the paper or store card into various sizes. LP effects once dry.

Watercolour
TOP SIX TECHNIQUES

These techniques are fun, creative and therapeutic – and great for beginners.
Masking fluid
I love using masking fluid to reserve light areas. It was so effective in
the dandelion painting, as it allowed me to be free with large washes.
(see opposite for the finished painting.)
1 I used masking fluid, salt and spattering techniques to create this fun
dandelion painting. Once the masking fluid had dried naturally, I painted
wet-in-wet washes using just three primary colours then, when the surface
became damp and no longer wet, I sprinkled sea salt evenly on the paper
surface and spattered creamy paint to create wonderful textures.
2 Once dry, the salt created beautiful light-textured effects, giving
the appearance of wildflowers.
Natural sponges
I love to use sponges to paint foliage, for trees especially. First, I wet my sponge
then wring it out so that the sponge is damp. I mix creamy mid to dark-tone
washes and start with the mid-
tone, pressing gently onto the
watercolour paper then I sponge
the darker tone damp into
damp. It really is quite effective.
You can sponge wet in wet
also by wetting the paper first,
then sponge as above. You
will achieve lovely soft edges
that give the impression of
distant trees.
Twigs
I use twigs to paint branches
and grasses and even draw with it. I find them easier than a Rigger to
use and they feel secure, especially if you suffer from shaky hands! I find
it best to mix a little well of paint as this makes it easier to load the twig.
Salt
I use salt all of the time in my paintings, because it creates light and texture.
I recommend painting mid-tone washes then waiting a few minutes for your
paper to be damp – not wet – then sprinkle the salt evenly. Give the salt time
to work and you should hopefully see some nice results.
Plastic cards
Make sure your paint is creamy
and wait until the paint is just
damp then swipe with the side
of the card, which will lift off
the paint to create the look of
rock. If the paint runs back on
itself, wait a little longer then
lift off again. You may need to
practise this, but it’s fun! You
can also lift off paint using the
tip of the card to create the
look of grasses and textures.
Spattering
I use a small brush fully
loaded with wet paint to TIPS
spatter. I make sure that l Use the back of an old painting and
areas I don’t wish to have paint small to loosen up and have fun.
tiny spots of paint on are l If using salt, once your painting is
covered with kitchen towel. dry, brush it off with kitchen towel.
I hold the brush firmly l Allow your watercolour to dry
towards the bottom of naturally. Sometimes a hairdryer
the brush and tap the stops the techniques from reaching
middle of the brush firmly. their full potential.
It’s so much fun to do and
creates wonderful textures.

Watercolour
MY PROCESS
Karen Rice
Karen is an artist and teacher, who paints
mainly in watercolour and acrylics. See more
of her work and catch up on her latest
news by viewing https://www.youtube.com/
karenriceartchannel; and visiting https://karenrice.
artweb.com/ or https://www.instagram.com/
karenriceartchannel/ Find videos of how Karen
completed all the finished paintings in this
article on her YouTube channel.
1 First stage I paint large light washes wet in wet, making sure
I have masked out any light areas that I need to reserve. I then paint
more mid-tone washes with creamy paint, damp into wet, then
thicker paint, damp into damp, to build up tonal values. Using damp
paint enables you to create more defined shapes with soft edges.
This is because creamy paint doesn’t travel like wet paint. Wet paint
blends seamlessly with surrounding washes.
2 Following stages Once my painting is dry, I often work wet

on dry, softening and blending hard edges (a characteristic that
happens when you paint wet on dry). I’m always mindful of not
losing the light in the painting, overworking and creating too many
mid-tones. As my painting develops, my marks get smaller and
darker. I save the smallest marks and darkest darks until right at
the end of the painting process and I give it one last spatter.
The finished painting Dandelion, watercolour on Saunders Waterford Cold-pressed 140gsm paper, 6½x9½in. (16x24.5cm)

Paint along with LP
Painting project
Part 1 Use your imagination to draw and paint a lighthouse
in a storm from a sunny holiday photograph, by Di Lorriman
LEARNING OBJECTIVES
■ How to paint successfully from
a photograph
I sometimes stay in Plymouth during
August; there’s nothing quite like being
blown away by those sea breezes high
up on the Hoe! I decided therefore to
use my photograph of Smeaton’s Tower
included (below). This old lighthouse
is one of Plymouth’s most popular
tourist attractions. People visit it to look
around, but I bet they haven’t imagined
it in the setting of this painting project.
■ How to plan a watercolour painting
(below) for this month’s painting project. Like many artists I enjoy allowing
■ How to change the composition I made several sketches of the lighthouse my imagination to take over as I plan
to add drama while I was there, one of which I have my next painting. For this painting,
I imagined the lighthouse in a dramatic
storm setting, with a menacing sky lit
up with a flash and a crashing foaming
sea below; this was the beginning of
another art project.
I first sketched the possible scene
onto paper. I wanted it to be all about
the drama created by using starkly
contrasting tone. In order to visualise
how this would look tonally I also
made a charcoal sketch (far right).
AREAS TO PLAN
Sky
The lighthouse light will be on at night
and the beam will light the sky. I used
dark colours that contrasted with this
band of light. Laying the colours down
in a variegated wash encouraged the
pigments to mix on the paper.
Remember, we are creating a dramatic
atmosphere for our viewers and not
showing a lighthouse expert how
the flashing beam will really look.
We can exaggerate the tonal range
to add drama.
Your reference photograph for this project: Smeaton’s Tower lighthouse An on-site sketch of the subject

Paint along with LP
TIP
Try not to press too hard with
your pencil when drawing on your
watercolour paper or you may damage
the paper with little grooves. These
grooves don’t show at first, but they
can fill with paint later and make
tiny lines in your washes.
SHOW YOUR WORK

We would love to see your version
of this project in any medium. Please
email an image to dawn@tapc.co.uk
who will include your painting on the
LP painting project area of the gallery
A thumbnail helps to place the I worked out the dramatic tonal variations on our website at PaintersOnline.
lighthouse in the composition in the scene by making a charcoal drawing.
Using my imagination, the scene was
sketched with a stormy seascape.
Rocks
When introducing repetitive forms,
it’s good to vary them in size to retain
interest. Group the objects carefully. I
placed mine so that they offered a lead-in
to the painting. They need some structure,
but not to be overworked. I found I could
make rock shapes by using torn paper
to mask them out.
Sea
This needed wave movement. I used
Clingfilm to gain the texture I wanted.
Even dark tones can be transparent.
The lighthouse
This is a very simple composition so
there was no need to draw absolutely
everything, but it was important to
be accurate with the drawing of the
lighthouse.
Remember that all the red and white
painted stripes are in perspective and
need the correct curve so that the
viewer feels they are looking at a
lighthouse from below.
Composition
Keep the horizon line low when you
want plenty of room for an expressive
sky like this (right). When the main feature
is vertical it’s best to place it to one side
rather than central. In my painting the
lighthouse was balanced by cliffs on
the other side.
Many of my students say they want
to loosen up their painting style and this
project will be a good way to start. Next
month, I will show you how I tackled
the scene in watercolour. LP
Di Lorriman
Di is a professional artist, illustrator
and cartoonist. Find out more
about her and her work by visiting
https://dilorriman.co.uk/
The preliminary drawing, ready for the watercolour in next month’s issue

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Oils (or acrylics)
Painting project
Part 2 Paint a serene tropical beach scene at sunset
from a photograph, with Elena Parashko
LEARNING OBJECTIVES
■ How to use black-and-white
transfer papers
L ast month we looked at a useful
technique of using black-and-white
transfer paper to trace sections of
the composition at different stages of
the painting process. Even though this
reference photo (below left )
is a lovely inspiration for a painting,
we also considered simplifying the
cloud patterns and intensifying the sky
colours to create stronger impact. LP
■ Mix the colours of a sunset
■ Follow a step-by-step oil
painting process with Your reference You will need
either oils or acrylics photograph for this ■ Surface ■ Oils or acrylics ● Masking tape
project: a tropical ● Canvas panel See colours, below ● Black transfer
beach scene at sunset 18x24 in. paper
■ Miscellaneous ● White transfer
■ Brushes ● Graphite pencil paper
● Flats Nos. 8, ● Paper 24x18in.
● Ballpoint pen
4&2 (61x46cm) ● Turps (if using oils)
● Liner No. 1 ● Eraser
● Retarder (if using
● Round No. 6 ● Ruler
acrylics)
COLOURS USED
Cobalt Burnt
blue sienna
Titanium Black
white
Phthalo Lemon
green yellow
Burnt Cadmium
umber orange
Step 1
Using a graphite pencil, draw the composition to scale on a sheet of paper
the same size as the canvas. It is easier to erase and make adjustments to the
drawing on paper rather than on canvas. Use a ruler to draw a straight and
level horizon line.

Oils (or acrylics)
Demonstration End of the Day

Step 2
1 Place the drawing on the canvas and Remove the drawing and transfer paper
secure it with masking tape along the top edge. then stick masking tape directly below the
Slip black transfer paper face down under the horizon line to prevent overpainting of the
drawing. Using a ballpoint pen, trace only sky colours into the ocean.
the sun, horizon line and largest cloud bank. 2 When painting the sky, if using oil paint,
no medium is required. Just use turps for
cleaning your brushes at the end. If using
acrylics, add retarder medium to the paint to
slow down the drying time and allow easier
blending of the colours. Make lots of blue and
sunset sky mixes (see 3, below) as you will also
need to use these in other parts of the painting.
3 For the top part of the sky, mix the darkest
blue with cobalt blue and titanium white,
greyed off slightly with a touch of burnt sienna.
Lighten this blue-sky colour with more titanium
white as you work your way down the canvas.
4 The golden sunset colours begin just below Step 3
the main cloud bank. Start with titanium white 1 Paint the mountain range brown by
in the centre of the sun, blend lemon yellow adding a little of the darkest blue-sky colour
around the rim then blend cadmium orange into the darkest sunset colour then highlight
around the edge of the yellow. Add white the left-hand side of the mountain ridges
to this mixture to paint the area above the with smudges of cadmium orange.
sun, add burnt sienna for the area to the 2 The cloud colour is also made from these
left of the sun at the horizon and add two sky colours. For the high clouds that are
blue-sky colour to the area above this. grey, mix more of the blue-sky colour with less
of the orange sunset sky mix plus titanium
white. For the browner clouds that are closer to
the sun, mix more of the sunset sky colour and
TIP less of the blue-sky colour plus titanium white.
Wait for the sun to dry before 3 Use a Round brush and a circular motion to
painting the clouds over it. create the puffy shape of the clouds. Apply
This will take considerably some of the light sunset sky colour to highlight
longer with oils than acrylics. the underside of the clouds. Remove the
masking tape to reveal a clean horizon.
Step 4
Block in the whole area
below the horizon with
black mixed with cobalt
blue. As this underpainting
needs to dry before you
go on to the next stage,
to speed up the waiting
time you can do this
underpainting using
acrylic paint even if you
are doing the rest of
your painting in oils.
Step 5
Position and tape the
original drawing on top
of the canvas again. Place
black transfer paper face
down between the top
half of the drawing and the
canvas. Trace the palm tree
over the sky. Place white
transfer paper between the
bottom half of the drawing
TIP and the canvas and trace
the trunk of the palm tree,
You can paint oils over acrylics, rocks and water’s edge.
but you can’t paint acrylics over oils. Remove the drawing
and transfer paper.

Step 6
Mix a deep blue ocean colour by
adding a small amount of black into
some of your medium blue sky colour.
Use the chisel edge of a small flat
brush to paint waves, making sure to
leave some of the dark underpainting
visible between brushstrokes.
Use horizontal brushstrokes in
the distance and add choppier
movement as you work down the
canvas to the foreground.
Step 7
Lighten the blue ocean colour
with titanium white and apply
another layer of waves. For the bright
reflection of the sun, tone down some
of the orange sky colour with the blue
ocean colour and apply a layer of
ripples to the water directly below
the sun. Gradually widen this
reflection towards the foreground.
Step 8
Paint the trunk of the palm tree and rocks
with burnt umber. Leave some of the dark
underpainting visible on the left-hand side
as shadows. Using a fine liner brush, paint
the leaves with phthalo green darkened with
black. Start at the top of the trunk and paint
a curved line for the mid-vein of each frond
then, starting at the base of each frond, flick
outward from the mid-vein with a gentle
curve. Note that leaves are sometimes only
visible falling to one side of the mid-vein.
The finished painting End of Day, oil

on canvas panel, 24x18in. (61x46cm)
SHOW YOUR WORK

We would love to see your version
of this project in any medium. Please
email an image to dawn@tapc.co.uk
who will include your painting on the
LP painting project area of the gallery
on our website at PaintersOnline.
Elena Parashko
Elena is a professional artist,
international art tutor and author of
the empowering book, Survival Guide for
Artists: How to Thrive in the Creative Arts,
available via her website and Amazon.
For more information about her work
and online painting tutorials visit
www.elenaparashko.com or email
info@elenaparashko.com

Watercolour
Autumn colour
Here is a plethora of tips and techniques from David Bellamy
as he demonstrates how to paint autumn landscapes in watercolour
Farm in Autumn Sunlight, watercolour on NOT watercolour paper, 9x15in. (23x38cm). When you are fed up with an overwhelming
prospect of summer greens, it sometimes pays to turn your summer landscape into an autumn one, which is what I have done here. I also
often add a little autumnal foliage into my winter scenes, to warm them up. This is easy if you have examples of autumn foliage and trees
to work from. Here, I added in the red tractor from my reference collection, as it helps draw the eye to the farm buildings.
can quickly change the state of trees in varying degrees of mist. In the centre,
LEARNING OBJECTIVES autumn. Certain local trees can put on a directly above the more distant waterfall,
n Practise colour mixing for spectacular display of colour every year, a mixture of cadmium red with a touch
autumn landscapes so watch out for these. Of course, once of cobalt blue has been applied into a
you have captured these beautiful days, damp background wash of very weak
n How to paint the effects of mist it is fairly easy to transform your original yellow ochre to just faintly hint at the
n Follow a wet-in-wet watercolour autumn sketches and photographs into presence of trees in the mist.
process a composition with a snowy background, When the paper had dried completely,
or vice versa. Changing the season in I used the same mixture with slightly
this way can offer you fascinating new more cobalt blue added to paint in the
A s trees shed their leaves,

it is a great opportunity for the
landscape artist, with all that
massed green foliage being replaced
by exciting colours and the interesting
possibilities with a favourite subject. In
this section we look at these autumn
colours which can linger well into the
depths of winter. We will also consider
some of the lovely atmospheric effects
two trees that stand centrally above
the main falls, while at the same time
rendering the bank and rocks below
them. I also added trees further to the
left in the background. These features
bare structure of trunks and branches. we can encounter at this time of year. all dried slightly stronger than they
Early snowfall can sometimes cloak now appear.
distant hills and mountains, yet vivid Misty scenes Once the paper had dried, I gently
autumn colours are still resplendent in The wet-into-wet method, in which sponged over the background trees
the foreground, providing an exciting paint is added into a wash that is still with clean water and a natural sponge
combination. It really pays to be ready wet, is normally the most effective way to push them back into the distance,
to capture the transient scenes at of suggesting a misty scene, but in West though they are still strong enough to
this time of year with some potential Burton Force (above right) I have used appear in front of those done wet into
paintings in mind, as gales and storms two techniques as a way of suggesting wet earlier. By combining these two

Watercolour
techniques, you can create greater

depth in misty scenes. The strongly
etched tree on the left that looks as
though it is about to fall into the
pool adds further depth.
Mist and fog can truly enhance the
mood of a painting, but they are also
effective devices where you wish to
reduce the effect of a strident and
dominating ridge, ugly background
features, or repetitive detail such as the
massed conifer slopes in this Highland
scene, Glen Muick (below). Here the
wet-into-wet method really comes into
its own, and if you wish to render the
whole misty background in one go, you
have to work quickly before the washes
dry. Alternatively, you can work on one
background section, allow that to dry
completely, then re-wet the paper and
move on to paint in the adjacent part of
the background. If you are new to this
technique, it is best to begin with simple
compositions like the top left quadrant
here, working up to more complicated
effects when you gain confidence.
The autumn colours on the bushes
are important to counter the overall drab West Burton Force, watercolour on Rough watercolour paper, 11x14in. (28x35.5cm)
grey-green, and it helps to position these
where they will draw the eye to your
centre of interest. Less prominent ones passages will make your detailed rivers, but I splashed some yellow
can be used to break up large areas of features stand out. I have played down ochre into the falls. This suggests peat
less importance and also create balance. the detail in the water, as it is easy content and adds interest without the
Juxtaposing strong detail against misty to overdo this, especially in turbulent need for detail.
Glen Muick, watercolour on NOT watercolour paper, 8x12in. (20x30.5cm)

Watercolour
COLOURS FOR AUTUMN SCENES

There are endless combinations of A selection of autumn sodalite genuine to show how it not only
mixtures for creating the colours of colour mixtures darkens the colour with which it is mixed,
autumn, but I will just indicate a few of This is a selection of exciting colours you may but also introduces granulations, as shown
the more exciting examples here to give like to try for your autumn paintings, but they here with Aussie red gold. Experiment
you a start. Experiment with a variety of are by no means the only ones. Although it with a wide variety of colours and keep
colours to find what appeals to you most. is not an ‘autumn colour,’ I have included swatches of them for future reference.
Colours shown from the Daniel Smith watercolour range.
Quinacridone gold + Quinacridone gold + Gamboge + Quinacridone sienna + Lunar blue + Aussie red gold +
cadmium red transparent red oxide perylene violet sodalite genuine transparent red oxide sodalite genuine
Autumn foliage with

intermittent leaves
Light-coloured flecks of leaves and
small clusters against a dark background
can be really attractive (left), but they
are annoyingly difficult to paint in
watercolour. In this instance, I spotted
masking fluid where I wanted light-
coloured individual leaves – mainly at
the edges of the foliage. You can also
spatter with a toothbrush if you wish.
On removing the mask, I dabbed in the
bright yellows and reds, allowing them
to run together in places. They stand
out most clearly against the dark grey.
Emphasising nature’s warm colours

For these bushes (below left) I have
used the powerful Daniel Smith colours
Aussie red gold and transparent red oxide,
then emphasized them by bringing in a
background wash of French ultramarine
and perylene violet, working round
the single leaves quickly with a No. 8
Round sable. As purple and gold are
complementary colours, this creates a
striking combination. Cadmium yellows
and reds and gamboge also work well.
Observing and sketching

autumn scenery
Critical observation and careful analysis
of a scene are vital to create an authentic-
looking result; try to develop these
methods until they become second
nature. Whether you are working from
life or from a photograph, constantly
compare the heights, sizes, tones, colour
temperature etc. of each feature. Compare
the brightness of adjacent colours and
how they react with each other. Consider
how you can emphasize the strength
of colour or create strong contrasts
to ensure a focal point stands out.
Capturing the flow of

autumn colours
If the whole painting is covered in
bright colours, it can be overwhelming.
A patch of dullness can add impact to
vibrant colours beside it. Splashes of
brightness on or beside the focal point
can really lift the work. LP
Watercolour
Note strong Watch out for

tones to include striking colour
to frame or add Constantly combinations to
depth to Study the compare tones, as emphasize
a composition interplay of here where dark
light and background tones
shadow define the top of
on various the bridge
features
November colours Sketching colours and their interaction is especially important with autumn colouring. As well as providing a
record, sketching in colour shows you which colours work together. When you create a finished painting, you may wish to make changes
so that one particular colour is juxtaposed against a different one to that in the sketch. Moving features slightly will achieve this.
Observation
and application
This painting
was done from a
winter sketch, with
alterations to add
vibrancy. I warmed
up the foreground
colours for autumn.
The rough ground
is a dried wash
of Naples yellow
with a darker,
broken colour
applied on top
so that the yellow
shows through.
To add sparkle,
I scratched with
a scalpel across the
centre to suggest a
small pool of water.
I exaggerated the
cast shadow from
the trees over the
building to suggest
a sunny autumn
morning.

Watercolour
Brecon-Abergavenny Canal, watercolour on 425gsm NOT watercolour paper, 10x13in. (25.5x33cm). I don’t often throw the full gamut of
autumn colours into a painting as it can become too overwhelming, but, in this instance, I decided to enjoy a more abandoned approach.
Incidentally, this is an excellent idea if you feel that your painting is in a rut. This proved to be a popular painting. Note particularly how
those autumn colours set against the pure white of the Saunders Waterford High White paper really stand out well.
Demonstration Autumn colours with a snowy background

The combination of autumn colours with early snow can create a striking
composition, and I am always on the lookout for such possibilities. In this
view above Little Langdale in the Lake District, there are warm autumn You will need
colours not just on the trees but also on the ground cover in places. n Surface n Daniel Smith l Yellow ochre
l 300gsm watercolour l Aussie red gold
NOT l Cobalt blue l French ultramarine
watercolour l Lavender l Burnt umber
paper, l Naples yellow l Green apatite
9x12in. l Alizarin crimson genuine
(23x30.5cm) l Moonglow l Transparent red
l Cadmium red oxide
Step 1
I painted the furthest mountain ridge in weak cobalt blue, blending
it up into the sky so that the top edge was lost completely and
the bottom made a sharp top edge for the white ridge below. The
painting was then left to dry. Next, I began the sky at the top with
a wash of lavender, a Daniel Smith colour with a gentle granulation.
Lower down I introduced Naples yellow in the centre right, with
touches of alizarin crimson, and in the lower part of the sky a weak
wash of moonglow defined the two peaks and the long distant ridge.
Moonglow was also used for rocky outcrops on the ridges. Next
I rendered the wall with weak cobalt blue with a touch of cadmium
red, and dropped in a little yellow ochre wet into wet. The trees were
created with Aussie red gold with touches of transparent red oxide.

Watercolour
This was adapted from David’s

new book, David Bellamy’s
Landscapes Through the Seasons
in Watercolour (Search Press,
2020). Save money when you
buy this book from our online
bookshop at PaintersOnline.
Step 2 See page 68 for details.
I softened some of the distant ridge edges Before finishing this stage, I painted weak
with a damp flat brush, then painted in the patches of green apatite genuine and
dark crags on the left with moonglow. I also transparent red oxide into the foreground area.
used this colour over the lower shadowy
valley in the centre, fading it out at the Step 3
top. Parts of the sky were strengthened to The dark middle ridge was rendered with strong some transparent red oxide in places.
define the clouds. I delineated the trunks moonglow, working round the small trees and, Finally, I tidied up the wall and rocks
and branches on the right-hand trees with while it was still wet, I pulled out a number of with detail using French ultramarine
French ultramarine and burnt umber. marks to suggest light crags and dropped in and burnt umber.
The finished painting Track to Little Langdale, watercolour on 300gsm NOT watercolour paper, 9x12in. (23x30.5cm)

Product report
Jackson’s brushes
Wendy Jelbert experiments with three ranges
of brushes from Jackson’s own brand
and flow of a brush and by varying painting process run smoothly and
JACKSON’S ICON the pressure and brush widths of each. allow you to be as precise or as loose
AND RAVEN BRUSHES I used 140lb watercolour paper for all as you want.
three paintings seen here, but, of course, I tested these brushes during lockdown,
‘I was very impressed by these brushes
do try a variety of different thicknesses using the lovely and varied scenery
and had a lot of fun with their artistic
of papers, in pads or sheet form, as well around my home in Romsey, Hampshire.
dexterity. I suggest you spend some
as canvases for your acrylics. Countryside, rivers, woods and lakes
time practising strokes before trying
offer a rich source of textures, colours
a painting so you will be well prepared
and more relaxed with the task ahead.
The Icon range and moods, all of which are ideal
Jackson’s Icon brushes behave like for sketching and painting. I walked
They are very good value, comfortable
pure sable, but cost a fraction of the and cycled very early in the morning,
to use and made of modern materials
price. This range is excellent value and completely surrounded by natural sights
that will last if cleaned after use and
wonderful quality. The brushes are made and sounds, uninterrupted by human
stored well.’
with a mixture of modern micro-synthetic intervention or the presence of cars.
Wendy Jelbert fibres and traditional sable, to offer both To put the brushes through their paces
scientific advancement and the classic I made a series of brushstroke studies
needs of artists. Their micro-synthetic showing different pressures, some of
I was delighted to try out Jackson’s

own Icon and Raven sets of brushes.
For this article, I tested both ranges
using watercolour and acrylics. A sample
of each is illustrated below and above
fibres comprise millions of minute
indentations, which increase their
colour-holding power. They are then
treated with a process that frees the fibres
of static electricity, which can make the
which I painted more freely then more
decisively, and made thin and thick lines,
which all helped me to choose which
brushes and techniques would work best
for the paintings that followed. I suggest
right to show you some of the many brush fibres stick together. The synthetic you do something similar before you
marks you can achieve with each twist fibres combined with sable make the begin painting.
Jackson’s Icon Round sable-

synthetic mix brushes, Series 700
I began working with Nos. 2, 6, 8 and 10,
exploring their dexterity and how the flow of
watercolour reacted with each brush. I looked
at the tips, sides and edges then guided the
paint into swirls, trails and strokes of assorted
thicknesses. The brushes were easy to use and
the tips were delightfully dexterous in creating
tiny, thin lines. As the brushes went up in size,
they performed well, didn’t catch or branch
off at odd angles and flowed gently as I made
curling pressured movements. I dried each
brush on a tissue then dragged it sideways
for an open-weave dry-brushstroke mark.
The black handles are about 14cm long and
pleasingly comfortable to hold.
Jackson’s Icon flat

sable-synthetic mix brushes,
Series 702
I next worked with the 1/8in., 3/8in. and 1in. brushes
from Series 702 using acrylics and a little water
to check that the paint was distributed evenly.
I used steady pressure with the smallest brush
then, lifting the pressure slightly, I dragged the
paint over the paper. This resulted in broken
markings that showed up the paper’s surface with
seemingly a lighter colour. I then experimented
with seeing how thin each brush became when
held on its tip and emphasised this action with
a different colour. Each brush reacted well to the
marks I wanted to make. The third test shows
a thick application of acrylics, dotted onto the
surface to give a textured effect. Again, I was
very happy with the result.

Product report
Jackson’s Raven mop synthetic brushes, Series 528

Jackson’s Raven brushes are made from synthetic squirrel hair.
I thought that it would be fun to find out how many strokes and
assorted markings I could produce from just one brush so I chose
a large No. 6. I don’t usually work with this shape so I enjoyed the
challenge. The brush had an excellent take-up and release of water,
which enabled the tip to flow into a long controllable line. I tried
a variety of brushstrokes with varying degrees of pressure, which
resulted in a delightful range of fluid lines and washes. The hairs
held their shape and retained a point throughout the painting
process without me having to keep dipping in and reloading the
brush with more water. This larger size was ideal for painting large
fluid washes, whilst it kept its point for more detailed work.
JACKSON’S ICON ROUND SABLE-SYNTHETIC MIX BRUSHES, SERIES 700

Morning Walk in Abbotswood (below) flowers and details evenly and
was made on the spot one early with confidence. The Nos. 2 and 6
morning in May. I began by making were ideal for the textures needed for
a rough pencil and watercolour guide the sorrel flowers, stems, leaves and
with the No. 10 Round. I started with grasses. The short brush handles felt
bright yellow running into mid-green well balanced and comfortable.
for the large tree shape. I left the Each brush offered a very competent
white shapes of the cow parsley and selection of assorted markings and
emphasised the darker area behind a good choice of thick or thinner lines,
them with deep blue, applied with suitable for most subjects. The distant
the No. 8. The brush tips were very pathway and misty trees were painted
good for the variety of shapes needed with the Nos. 10 and 8, while the No. 6
and flowed well from thin to thicker was used for adding details. The No. 8
strokes. When applying more variations was also used for spattering the tree’s The Icon range is a mix of sable and
of pressure, they helped me paint the shape with soft edges. synthetic fibre and excellent value
Morning Walk in Abbotswood, pencil and watercolour, 12x15in. (30.5x38cm). Brushes used: Jackson’s Icon Round, Series 700, Nos.10, 8, 6 & 2


Product report
JACKSON’S ICON FLAT SABLE-SYNTHETIC MIX BRUSHES, SERIES 702

During a trip to see our grandchildren, more green over to the far right-hand
we passed this amazing sight (left)! side. When dry, I applied small, bright
I only had a Biro, a scruffy piece of red dots over some of the distant pinks
paper and a pay-as-you-go cheap with the 1/8in., using more pressure and
phone so a lot of this acrylic painting spreading the bristles slightly wider.
was completed from imagination back I then placed in the distance more
in the studio. The colours and textures detailed poppy shapes and, as they
caught my attention and it was vital for came nearer to the foreground, I used
me to capture this with my acrylics and the 3/8in. for their thicker and more
new brushes! I love these flat-headed vibrant forms. I then added the very
brushes in the Series 702. brightest reds on the poppies’ edges
I sketched the layout of the picture in and where the light caught their
pencil and started with a large flat 1in. sun-laden petals.
brush to drag blues over the distant Using both smaller brushes, I painted
trees, reds and pinks on the far field, the seed heads and poppy centres
and pale blues and greens leading from in bright greens and their stems
this area to the foreground. Using the and foliage in deeper greens with
same large brush on its edge I placed the brush edges and tips. Using the
the right-hand pathway then dragged acrylics thickly, I added flourishes of
light and dark blues in the foreground.
This picture only involved three
Poppy Field, Ashe Warren Meadow, of these lovely brushes, but they
Overton, pencil and acrylic, 10x16in. equipped me with such a selection of
(25.5x40.5cm). Brushes used: Jackson’s expressive brushstrokes as I dragged
Icon synthetic sable, Series 702, 1/8in., and dotted colour, and used different
/8in. and 1in.
3
brush edges.
JACKSON’S RAVEN MOP SYNTHETIC BRUSHES, SERIES 528

This pen-and-wash scene was As you can see from the various
sketched during one of my cycle markings and brushstrokes, this
rides on an early May morning. painting demonstrates just how
It was an idyllic spot with the versatile the mop brush can be.
greenery providing a peephole You will need plenty of water and
through which you could spot an a roll of good quality absorbent paper
old farmhouse in the morning mist. towel when using the Raven mop.
The Raven synthetic mops work well

when painting large washes, but their
fine points can be used for more detailed
work
For free-flowing washes, such as

those used for the trees, this large
brush, when dipped into paint,
really loves lots of water. With the
more detailed areas, I squeezed
the brush tip into a narrowed
cylindrical shape to paint the tree’s
bark and branches then narrowed
it even further with a tissue until it
produced an even finer point for the
twigs, gate and fence details.
The texturing on the grasses and
left-hand tree was made by pressing
the semi-dried brush tip into my
palm and pushing the brush into
a slightly bushy dishevelled shape
before dipping it into the paint
and applying it. LP
Glimpse of the Farm, Braishfield, Romsey, pen & wash, 8½x12in. (21.5x30.5cm).
Brushes used: Jackson’s Raven mop, Series 528, No. 6

Acrylics
Woodland sparkle
Paint an autumnal woodland scene using your brushes,
cards, toothbrush and more, with Mike Rollins
LEARNING OBJECTIVES
■ How to paint with acrylics
■ Loosen up your painting style
■ Easy colour-mixing ideas to try
A s I sit writing this, the wind is

humming through the eaves and the
rain is smacking against the doors of
the studio. This is the sort of weather that
forces you to turn up the heating, throw on
a warm jumper and hunker down, hoping
for better days. When the sun returns,
it rakes low and blinding over the land,
illuminating the swaying golds and reds
of dying leaves – an enticing last hurrah of
the season before the starkness of winter.
Grab it while you can – it’s a great time
of year to paint. To capture the essence
of the season, you really must venture into
the woods and wade through the leaves.
Make sketches, take photos and memorise
what you feel. Then take all these
references home with you and produce The finished painting Autumn in Mardley Woods, acrylic on paper, 11x15in (28x38cm)
your own autumnal painting in comfort
and warmth.
Many people are nervous about tackling
trees and branches, especially en masse
with all their confusing detail. There is no
one way of tackling such a subject. Some
painters revel in detail and take a time
working in small sections, whilst others
prefer to capture the essence of a scene
quickly by suggesting details with loose
brushstrokes. The following demonstration
will follow the latter approach.
Your reference material

My reference photo (right) was taken in
local woodlands, called Mardley Heath,
where the gnarled beech trees are almost
black against the light. It isn’t the best of
photos, but at least that means it can be
used as a kicking off point – a suggestion
of light and mood that we can capture and
respond to in our own style. I like the fact
that the tree canopies are backlit and that
we are on the crest of a hill, which allows
us to see the sky beyond. Some woods
can be dark and gloomy at this time of
year, but this view allows us to capture
that blinding autumn light. Your reference for this demonstration: Mardley Heath Woods
Three thoughts come to mind while
looking at the photo. First, I want to camera lens has received the scene, but litter. Finally, I’m going to ramp up the
capture the brightness of the sunshine by it looks effective and gives us the dramatic autumnal colours and introduce more
painting contre-jour (against daylight) and impression we need. reds and golds into the painting. There
so I want to mimic the way that the trees Secondly, the large tree to the left is dark is a small amount of green foliage
look broken and washed out in that area. and cuts the photograph in two so I’d present, which doesn’t worry me, but
We wouldn’t normally see it like that, of like to reduce its size and perhaps show I want to exaggerate the mood and
course, and it is purely the way that the the base of the trunk sinking into the leaf firmly place it within the season! LP

Acrylics
Demonstration Autumn in Mardley Woods You will need

n Surface n Brushes
l Winsor & Newton (synthetics)
Galeria acrylic paper, l Flats ¾in. & ¼in.
11x15in (28x38cm) l Round No. 6
n Daler-Rowney n Miscellaneous
System3 acrylics l Plastic loyalty
l Ultramarine blue card (or
l Burnt umber painting knife)
l Burnt sienna l Toothbrush
l Cadmium yellow hue l Kitchen roll
l Leaf green
l Titanium white
Step 1
1 With a 2B pencil, loosely draw the scene, concentrating
on the main tree trunks and making the horizon line about
a third of the way up the sheet. Establish the semblance
of a route through the trees for the viewer.
2 Reduce the size of the dominant tree on the left slightly
and modify its trunk so that you can see it growing out of
the slope. It should have a base and a suggestion of root.
Step 2
1 After squeezing
out a small
amount of
titanium white
and a larger one
of cadmium
yellow, take a
damp ¾in. flat
brush and paint
the entire sky in
white. Whilst the
paint is still damp,
take a small
amount of the
yellow and, imagining where the sun would through the ground area.
be and leaving that area blank, loosely brush As well as suggesting
it into the rest of the sky, blending with the sunlight, this will also
white. This leaves a halo effect to the right. mix with the overlying colours to make dash clumps of yellow to create the lighter
2 Wash out your brush then take neat them more vibrant. dappled leaves in the canopy – once again
cadmium yellow and sweep it liberally 3 Using the corner of the flat, dot and omit the area around the sun’s glow.
Step 3
1 Wash your brush out again and add burnt 2 As the paint on
sienna to your palette. Using the ¼in. flat your brush dries,
brush, use criss-cross strokes to apply neat use this to scumble
burnt sienna to the ground cover, leaving in a line of bushes
areas of yellow free to suggest sunlight raking on the horizon,
through the trees. Broken and overlapping picking up the
brushstrokes build to suggest detail. texture of the paper.
3 Still using the
burnt sienna and
a damp flat, use the
thin end to make
vertical trunk shapes
along the ridge.
Thin, thick, slightly
wonky or bent
– anything goes.
Again, around the
sun’s halo, break
up the tree trunks as
though the light was
bleeding through from behind.
4 Over the next few stages, build up layers 5 Using the corner of the brush, flick
of tree trunks of various shapes and density and dot in clumps of leaves with the burnt
to give the impression of complexity. sienna, largely towards the left-hand side.

Step 4
As a nod to some of the evergreens
that are growing in the woods and
to the leaves that are still on the
turn, use a small amount of ready-
mixed green in the canopy – much
like the previous colours. I used leaf
green, but you can use anything you
can lay your hands on or mix your
own. I added cadmium yellow
to the leaf green to lighten it in
places, and a little ultramarine
blue to darken it.
Step 5
2 For some of the larger trunks use the whole width of the
flat brush and quite dry paint to drag the paint onto the paper
1 Add ultramarine blue to your palette and mix so that the texture of the surface suggests that of the tree bark.
equal amounts with burnt sienna to make a dark,
almost black hue. Add a little water to thin the mix
then, with a damp ¼in. brush, roll the paint around
on the paper, smearing it into the far bushes and
run it over some of the vertical trunks, darkening
them. Use the mix to add further distant trees and
the suggestion of branches arcing over between
them. You could swop to a Round brush or
Rigger for thinner lines.
3 Continue to add trees in this manner from

the mid-ground backwards. I wanted the scene
to be darker and denser to the left-hand side
so I scumbled in suggestions of bushes using
a larger brush and dabbed in leaves in shadow.

Acrylics
Demonstration continued
Step 6
Once the paint is dry, use a damp ¾in. brush to work neat titanium
white back into the centre of the sun, swirling the brush then dragging
out the pigment over the surrounding trees. Hold your nerve as the paint
will begin to thin. You can use scrunched up, damp kitchen paper or
a sponge to help drag and tease the paint out over the trees, which
will help to knock them back. This should give the impression that
the trees are receding into the light, with a slightly misty quality.
Step 7
1 Now for the foreground trees.
Mix an equal quantity of burnt umber
with ultramarine blue on the palette for
a black tone. I wanted a deeper hue from
the previous dark mix to accentuate the
sense of depth – dark at the front, light
at the rear.
2 Using the ¾in. flat brush, block in the
larger tree trunks to the left and, using
the edge of the brush, some of the thinner
trees in the background. Keep changing
the way you make marks – bouncing along
to make lumps and bumps, or lightly to
create dry textures. At this point, add a few
side branches to the main trees to connect
the latticework of the canopy.
3 As you work into the foreground, make
thicker marks with neat paint. Again, using shadow forms to the left of the trees (away leaf litter catching the sun’s rays.
a swishing, chopping motion, create areas from the sunlight). I was keen to retain the 4 With the edge of the brush, add in
of shadow on the ground, with longer original yellows and oranges to suggest the hollows, roots and fallen branches.
Step 8
Looking at what I had left on my palette,
I decided to use it up by adding touches of
paint throughout, thereby pulling the painting
together as a whole. I searched for areas that
could do with a lift of highlight or shadow, for
instance, using the white and a little of the
black mix, I painted the highlights and the white
bark of the silver birches in the centre, including
the fallen branch. With the white and a little
blue, I dragged in colour to the shadow areas
of the large trees, to break up their bulk.

Acrylics
Step 9 Step 10
For the final two stages pull out your Finally, to accentuate the burst of light, use a toothbrush
unconventional arsenal! First, dip and
drag an old plastic loyalty card around
and watered-down white (single cream consistency) to spatter
flecks of paint onto the paper. Drag your finger over the
Mike Rollins
in the black paint mix then use it to bristles, whilst pointing the toothbrush at the paper, working See more of Mike’s work
stab and drag marks throughout the from the sun outwards. Make sure you mask off any unwanted and find out about his
tree canopy, bushes and ground to spray with a spare piece of paper. Only a fine spray is needed courses and events by visiting
simulate branches and twigs. Of course, and not too much. This gives a sparkle to the finish. I used the https://www.rollinsart.com/
you could use painting knives, but same method to add specks of yellow and black throughout
it feels good to recycle! to add texture and grain to the canopy and leaf litter.
The finished painting Autumn in Mardley Woods, acrylic on paper, 11x15in (28x38cm)

Line and wash
The home artist

Part 1 Follow Margaret Eggleton as she takes you through a wealth
of tips and techniques for painting at home and in the garden
LEARNING OBJECTIVES
n Top tips for sketching and
painting from life
n Follow a step-by-step line
and wash process
I love sketching and painting en plein

air and usually spend many hours
outdoors during the spring and
summer, on holiday or on local painting
and sketching days in Surrey or London.
I have also often tutored painting and
drawing courses in the Lake District
and art holidays abroad. This year was
different, of course: we had to stay
at home and all the art courses were
cancelled and the galleries closed. So Here are quick drawings of... Stuart reading Squirrels on the bird table
I decided to sketch and paint my garden
instead, experimenting with different ink
and watercolour media and techniques.
You don’t have to have a garden 1 Train your eye To sketch and draw this stage. Carry a sketchbook, pens and
to draw and paint flowers, trees and successfully, look at your reference, scene pencils in your pocket or bag so you are
plants from life. You can draw and or object more than at the paper (above). well prepared when you see something
paint the plants on a balcony, an indoor This makes a looser, livelier and more inspiring. I usually notice shapes and
arrangement on a shelf or table, a view interesting drawing. Like anything else, it tones first, but sometimes it is colour that
through the window or bring flowers takes time and practice to do it this way catches my eye.
and plants inside in a vase or pot. so keep trying. It is good to sketch when 2 Changing shadows If you start a piece of
you are out in the park or at a café, as you artwork in the morning and still have more
TOP TIPS have limited time and your strokes will to do when it is lunchtime, leave it until the
Here are four pieces of advice that be quicker and less detailed. You have next time you have a morning opportunity
will help you make the most of your to gather the basic visual information in to continue. The same applies if you have
time painting at home. a short time so details are irrelevant at started in the afternoon. Many artists say
The painting in progress The finished painting Rhododendron, watercolour on

Bockingford 300gsm NOT paper, 8¼x8in. (21x20cm)

A clematis and trellis
that one-and-three-quarter hours is as

long as you should work on a painting
outdoors before the shadows change
drastically. The part of the garden that is
in the most light in the morning can be
in the darkest shadow in the afternoon.
3 Paint from life at home If the weather Hollyhocks and the Garden Shed, Derwent Graphik Linemaker, Derivan liquid pencil
is wet and cold bring some of your and MaimeriBlu watercolour on Frisk Layflat sketchpad, 8¾x6¾in. (22x17cm)
flowers into the house. I sometimes place
them in a test tube with tissue and water
to keep them fresh (below left) so I can
hold and turn the tube in one hand while
working on the drawing and painting.
If they are in a jug or vase, they are
equally adaptable to being turned around,
but you need to work quite quickly while
the flowers are still fresh. When drawing
at home, sit comfortably at a table, with
all your materials to hand. It is generally
better to sketch from life rather than
a photograph, but sometimes there is
no alternative.
4 Step into the garden When the weather
is warm and pleasant take your chair,
easel or small table out onto the lawn and
look at the flower bed when it is at its
best. Take drawing and painting materials
out with you as if you were away on
a painting holiday and you will forget
all your worries as you concentrate fully
on the scene before you. I did this when
painting Garden Splendour (right). I knew
it would look different each day so I had
to work fast to keep it fresh. Leave out
fences or posts if you wish and move
objects to make a better composition. LP
Garden Splendour, watercolour,

9½x11in. (24x28cm)

Line and wash
MATERIALS AND COLOURS

Watercolour
Recently I have particularly enjoyed keeps them from sliding off the vertical Saunders Waterford High White.
using MaimeriBlu in lemon, cobalt, paper when demonstrating on an easel! I like using blocks of paper or, if I am
ultramarine, burnt sienna, rose, going to do large watercolour washes,
Gouache I stretch the paper first so that it
magenta and deep green, but I also I like the Daler-Rowney range in ultramarine,
use the beautifully transparent Daniel remains flat and doesn’t cockle.
sap green, crimson red and lemon, with
Smith watercolours, including the Winsor & Newton permanent white.
colour, hematite. Brushes
With my student classes I usually Surface My favourite brushes are from Rosemary
use White Nights Artists watercolours, My favourite surface for fine detailed work & Co and I particularly like the squirrel
as they are quick and easy to access and is Fabriano Artistico and my preferred paper mop range. Derwent Technique brushes are
the honey consistency of the watercolour for looser impressionistic landscape work is also useful, especially the flat and comb.
Demonstration Rhododendron in a Pot
You will need

n Surface n Watercolour
l Derwent HP l Lemon l Burnt umber
watercolour l Cobalt blue l Cadmium red
paper, 7½x10in. l Burnt sienna l Carmine
(19x25cm) l Light red or alizarin
l Ultramarine crimson
l White gouache
blue
Step 1
Draw the ellipses of the pot with a
HB pencil, making sure the ellipse
of the saucer is wider than the rim
at the top of the pot.
Step 2
Draw the flowers first
then the leaves, looking
carefully at the size and
shape in relation to the
pot and each other.
Then draw the stems
from the flowers to
the pot and, finally,
the fallen flowers
on the ground.
Step 3
Rub out the ellipses
at the back of the
saucer and draw the
wall and path as well
as the surrounding
bushes and plants.

Line and wash
Step 4 Margaret Eggleton

Apply masking fluid to all the
flowers and the front top rim is a member of the Society
of the pot. When it is dry, wet of Women Artists (SWA) and the
the whole paper and apply varied Society of Graphic Fine Art
watercolour washes of lemon (SGFA). She exhibited this year
mixed with cobalt blue and a very with the RI at the Mall Galleries
little burnt sienna for the grass. and regularly exhibits with the
Chelsea Art Society. See her work
at the SWA’s online exhibition
Step 5 (22 September to 30 December)
1 When dry, remove the at www.mallgalleries/SWA and
masking fluid and paint stronger at the SGFA Centenary Open
greens on the leaves with a small Exhibition (5 to 11 July 2021)
Round brush and a watercolour at www.mallgalleries/SGFA.
mix of ultramarine blue, a little Margaret gives demonstrations
lemon and burnt sienna. and tutors workshops and
2 Paint the stalks and branches painting holidays. She has
with burnt sienna and burnt written two drawing books for
umber, leaving the left sides Search Press, Drawing Flowers
paler for the light. and Drawing Landscapes.
3 Add the flowers with Visit www.margareteggleton.
various pale watercolour mixes co.uk and www.highamhall.com/
of cadmium red, alizarin and margareteggleton
lemon or paint thick white
gouache (almost straight from the
tube) for each petal shape over
the top with a small firm brush. and a very little lemon in places. carmine or alizarin crimson.
4 When the gouache is dry use a small soft 5 When this is dry paint the dark shapes of buds 6 Finish the pot with burnt sienna and the
Round brush to add very dilute cadmium red and dots inside the open flowers with stronger wall with burnt umber and a little cobalt blue.
The finished painting Rhododendron in a Pot, watercolour and gouache on Derwent HP watercolour paper, 7½x10in. (19x25cm)

Oils
Improve your brushstrokes

Express yourself freely with these top tips on how to achieve
confident and efficient brushstrokes, with Valérie Pirlot
LEARNING OBJECTIVES
n Prepare to paint a landscape
in 40 brushstrokes
n Techniques and exercises
for loosening up your style
T here are not many things more

attractive in life than a beautifully
well-placed juicy brushstroke!
Whether it is expressive or understated,
rough or subtle, brushwork in oils is
often what attracts many artists to the
medium. Every stroke is an opportunity
to convey an emotion and showcase
your personality, but it is also a
precious tool to build your painting
and strengthen your composition. Here
I’m sharing my top tips when it comes
to brushwork in oils, alongside eight
techniques I invite you to try in your
own paintings (over the page).
All the paintings in this feature were
produced with Winsor & Newton Artisan
water-mixable oil paints, but all the tips
and techniques apply to standard oil
paints, too.
Evening Light on the Back Lane of Ivy Avenue, oil on board, 8x10in. (20.5x25.5cm).
Don’t over blend This scene has been divided into distinct shapes, defined by their colours or tones. I
Understandably, with oils, it is so much resisted the urge to blend them to keep the style fresh and dynamic.
fun to push paint around that you can
easily run the danger of over-blending I usually prime my board with a thin
the paint, ending up with muddy and wash of beige or orange to bring
lifeless areas. My suggestion to avoid some warmth to the painting. A thick,
this is to visualise your subject as a large opaque area of dark paint is not
mosaic made of various shapes of attractive; by keeping it thin, you’ll
different colours and tones. Treat each bring interest to those parts of the
shape with the minimum number of painting and let the eye of the viewer
brushstrokes, making every single one breathe a little. Following this logic,
count. No need to blend the transition you can save your thickest, juiciest
between each area either; keeping the brushstrokes for your light areas, which
shapes distinct will bring strength and often are in the focal points. This will
structure to the painting. If you want to indeed strengthen your composition.
blend paint, do it as a conscious choice Rembrandt’s portraits are a perfect
and a tool to soften, push back, or example of this technique: the light
blur a specific area. part of the face is often treated with
impasto, while the rest of the painting
Thick vs thin (often in the dark) is kept thinner.
Some painters love using thick impasto
on the whole canvas; others prefer a Control your edges
thin and subtle brushwork approach. There is something else we can learn
There is no right or wrong and the from Rembrandt’s portraits and that
choice is yours. If, like me, however, is his clever use of soft and hard
Flower Demo in Chelsea, oil on board, you belong in the middle of those edges. Quite often you’ll find neat
9x9in. (23x23cm). I saved my thickest and extremes and like to vary the thickness brushstrokes with sharp edges in
juiciest brushstrokes for the highlights in of your paint application, here is my the light areas (focal point), while the
the flowers, while treating the background tip for you. Treat your dark areas with thin, dark washes of paint outside the
in a thin manner, letting some of the thin washes of paints and let some of focal point are often treated with soft
board colour show through. the light background shine through. edges. This is a technique I use in most

Oils
Bath, the Avon, North Parade, Luminous Grey Day, oil on Just Before Sunset, View near Grand Brassac, Dordogne,
board, 10x10in. (25.5x25.5cm). The bridge and the view behind oil on board, 9x9in. (23x23cm). Curved directional
it were depicted with strong, clean brushstrokes, while the less brushstrokes help to depict the rolling hills and bring
important elements on the corners of the painting were treated movement to this painting.
with soft edges in a blurry manner.
of my paintings and it really helps to this is – use your big brushes! This my favourite brushstroke techniques,
to bring attention to the focal point, will help you break down the shapes, and join me next month for a limited
while pushing back less interesting simplify the masses and leave large brushstrokes step-by-step exercise,
parts of the painting. interesting brushstrokes that will bring where we will produce a full painting
interest to an otherwise boring area. using the minimum number of
Directional brushstrokes Turn over the page to learn eight of brushstrokes possible! LP
Use the directions of your
brushstrokes as a tool to bring energy
to your painting and guide the eye
of the viewer.
Not all seas have to be painted
with horizontal brushstrokes nor tall
buildings with vertical ones. A good
variety of angles and directions of
marks in the painting can elevate
it. By varying the direction of your
brushmarks, you’ll inject personality
into your work and bring some
movement to the composition.
A well-placed brushstroke can
help depict the natural movement or
texture of the object and direct the
eye to the focal point in your painting.
Get the big brushes out

Have you ever struggled to make
a large monotonous area of your
painting interesting enough? A big
sky, a vast sea or a large foreground
can be tricky to tackle. My answer
River Mersey, Liverpool, Wind,

Rain and Hail, oil on board, 8x10in.
(20.5x25.5cm). The sky, which takes up
most of the space, was painted with
large confident brushstrokes, using the
biggest brushes possible.

Oils
BRUSHSTROKES TECHNIQUES Here are eight of my favourite brushstrokes techniques, which I use for
most of my paintings. Why not try some of them in your next artwork?
Scrubbing For the feel of a quick Dry-brush details I love painting alla prima, Zigzag If you want to inject fun
rough sketch, push a little amount of in one session, but sometimes it can be hard and energy in your painting, try this
paint quite hard on the surface, making depicting specific details without running the technique. Load a good amount of
quick spontaneous marks. It will give a risk of blending them with the wet layers of paint paint on your brush and depict a
fuzzy, blurred look, while showing some underneath, turning the whole area into a muddy whole mass with random zigzag lines,
of the background light through. puddle. For clean, crisp details, wait for the surface keeping your brush the whole time on
to dry before applying those last strokes with a the surface. This is a technique I often
fresh load of paint. If you don’t press too hard, use to block in the big masses at the
your paint will only cover the upper parts of the start of a painting.
texture below then some of the bottom layer can
show through, as shown here in the fireworks.
Two ways to paint light The most Drawing with paint Many artists like to Calligraphic strokes For this
obvious way to depict light is by using light start a painting by drawing all the lines then painting, I added the hills in a range
paint (like in the right part of this flower). filling this with paint. I prefer doing the opposite. of dark greens and purple first.
Impasto and juicy brushstrokes will naturally Without any preliminary drawing, try blocking Afterwards, I loaded a pointed brush
attract the eye to the area. To depict the all the main shapes in a loose manner. When all with a generous amount of light
light going through the left part of the your colours and tones are in place, draw the paint and depicted the buildings
flower, however, I used another technique: details and lines on the top, such as the edge of in a free and spontaneous manner,
I filled it with darker paint but let the light a rooftop or the line of a window. The advantage almost in a calligraphic way.
background show through. Working thin, of this technique is that you can choose how far Try being free as if you were writing
with transparency, means those light areas you want to go with your details. Sometimes just with a pen.
won’t detract from the focal point. a few lines will suffice to describe an object.
Valérie Pirlot
Valérie is a Bath-based
artist and member of the
Bath Society of Artists.
She is available for
tutorials, demos and
commissions, and her
studio is open to
visitors by appointment.
Smear Using the smear technique The back of the brush You can use the For information about
can be useful for depicting streaks of back of your brushes to scrape paint off the her work, visit
light, for the reflections of this vase onto surface, redefine lines or add details that www.valeriepirlot.com
the table, for instance. First, use impasto would be otherwise too small or tricky to
for the highlight of the object then, with achieve with paint. This technique works
a clean brush (or a finger), smear the well if there is a contrast between the
edge of the paint onto the surface in colour of the board or canvas and the
a confident manner. top layer of paint.

Watercolour
A true likeness
Part 4 Paint a lively watercolour portrait where tone
becomes more important than colour, with Liz Chaderton
LEARNING OBJECTIVES
n How to vary your tones and
your mark making to paint
lively portraits
n Work with colour-value switching
where tonal values are key
S o far on our portrait journey we

have discovered that capturing
the character is as important as
capturing a likeness of a person. We
have uncovered the horrible truth that
there is no such thing as skin colour
and what really matters is the tones
and shapes we observe.
Having tried to capture glowing and
realistic skin tones in the last issue,
we will now concentrate entirely on the
tonal map of a face and make colour
subservient to tone. Hopefully in the
process we will find that, by ridding
ourselves of the need to match colours
to reality, we will be far closer to the
truth of the person we are painting.
Colour-value switching is the process
of swapping colours of the same tone
but different hue. Using this method, the
face is still recognisable but with added
drama and personality. If tone gives
the illusion of volume to your painting,
what is the role of colour? It’s to give
emotion and atmosphere to a piece.
I am not saying that colour is irrelevant,
therefore, it is just that tone will have
more of our focus.
If you enjoy this value-colour
switching, the work of David Lobenberg
and Stan Miller may inspire you further.
Your reference
Select a source photo with strong
lighting, such as the demonstration
photo you will find on page 45. In
watercolour we are effectively painting
the shadows and half-shadows, using
the light of the paper as the very lightest Boy, watercolour on Bockingford 140lb NOT paper, 15x11in. (38x28cm)
tones. If you select a photo with flat
lighting, you are immediately making
the process trickier. With time, you WARM-UP EXERCISE
will train your eye to distinguish the Remember the tonal swatches we made in
lights and darks in any reference, but the second part of this series? If you still
you should make life a little easier for have them, they can be used here. If not,
yourself at the beginning by selecting choose five different colours. Complete tonal
something with strong directional light. swatches (use the back of an old painting to
The temptation will be to follow make strips) for each, aiming to attain seven
the colours in your photograph so, even steps from full strength to the palest
using your phone or computer, turn
it black and white, this will help you Complete five tonal swatches; colour is irrelevant
concentrate on tone above all. LP

Watercolour
WARM-UP EXERCISE continued
Once dry, cut them into

squares and mix them up. Now
arrange them with the darkest
tones together irrespective of
hue. Carry on until you put all
the palest tints together.
To test whether you have this

right, take a photo and turn it
black and white; you should
have equal shades of grey. You
will find that some colours are
simply incapable of achieving
the darkest tones – for example
yellow can’t. So, in your painting,
you could substitute purple for
a dark brown and a tint of any
colour for a light area. You need
to take into account whether
colours ‘go’ with each other, of
course, but substituting tone is
After cutting up swatches into squares how a rainbow-coloured zebra Check your work by taking a black-and-white
rearrange them into rows of the same still looks like a zebra. picture. Do any of them stand out? Work out
tonal value why you put them in the wrong place, if you did.
MARK MAKING
As well as varying your tones, it adds insipid background of Beardy Boy I (below same subject and a similar palette, these
extra life to your work if you vary your left) by adding stronger flat brushstrokes two portraits feel quite different due to
marks. In this portrait, I sorted out the (below right). While essentially of the the different marks used.
Beardy Boy I, watercolour on Bockingford 140lb NOT paper, Beardy Boy II, watercolour on Bockingford 140lb NOT paper,
15x11in. (38x28cm) 15x11in. (38x28cm)

Watercolour
Demonstration Boy
Select five colours that appeal to you, ensuring will only ever achieve a mid-tone. I decided to just in case I wanted to add any highlights to the
that they are capable of achieving the full tonal go for a harmonious palette using green gold, hair at the end. You could select a palette that
range. If you select pink and yellow, with the quinacridone gold, quinacridone sienna, sap covers the full colour wheel. Take a look at the
best will in the world and at full strength, they green and warm sepia. I also had white gouache, work of David Lobenberg for rainbow portraits.
COLOURS USED
You will need Green
gold
■ Surface
● Bockingford 140lb Quinacridone
NOT paper, 15x11in. gold
(38x28cm) Quinacridone
■ Watercolour sienna
See colours (right) Sap
● White gouache green
Warm
sepia
My source photo came from Pixabay (pixabay.com/photos/ If you struggle to see tone use technology to train your
adult-black-and-white-boy-1867887/) and I selected it for the eye. On any photo editor software or app there will be
beautiful patch of light caught on this young man’s nose. Pixabay a ‘posterise’ function. This will convert the continuous
has copyright-free photos that you can download and is an gradation of tone to several regions of fewer tones, with
excellent source of inspiration abrupt changes from one tone to another.
Step 1
I used a quarter sheet of Bockingford but small enough to complete quite rapidly.
NOT 140lb paper for this portrait. It’s a good Transfer the main features to the paper in
size; large enough for you to be expressive, your preferred method. Remember we are
concentrating on the painting process rather
than on the drawing method so I used a
light box to allow me to place the main lines
down in under five minutes. You may find it
helpful to outline the areas of tone, especially
in this photo where they are crucial to the
composition. Usually, I would keep the pencil
lines light as I do not wish them to show
in the final piece.
Step 2
Begin painting the mid-tones on the face first.
Using a Round No. 10 brush throughout, start at
the top of the forehead and work down the face,
making sure you leave the beautiful highlights.
What I mean by this is that the paper is dry, but
change the colour on your brush every time it
touches the paper as you travel down the area
of mid-tone. Effectively use the first colours
in your palette at a similar tone to create an tones of this photo so leave the ones you can
interesting area down the left-hand side of the identify (for example on the lip), knowing that
face. There is very little variation in the lighter you can come back later to modify them.

Watercolour
Step 3
Extend the mid-tones down into the neck area, but lift out a soft
highlight around the larynx to contrast with the hard highlights
on the nose and cheek.
Step 4 Step 5
While this area is drying, move onto the hair. It is important not to Erase any lines you don’t want to show once the face is dry. Now
paint each strand, but to look at it as shapes and tone. Although this go back and work on the darker tones to develop the features. This
is dark over all, there are lovely highlights to be taken into account. helps to pull the two sides of the painting together. This is also
If you paint it all one colour it will be tonally correct, but visually where you start to find more nuance in the areas and can play to the
boring, so change the colour on your brush as before. strength of watercolour with the first layer modifying the second.

Watercolour
Step 6
Next develop a bit more depth and movement in the hair by layering further colours
on top, again avoiding the temptation to paint in strands of hair. I connected the
left and right-hand sides a little more and added further darks to the face.
Step 7
Under normal
circumstances, I would
suggest developing the
background as you go
along, but to break
the process down, I
left it until the end. In
the source photo it is
very dark and I did not
want to have that in
my painting – I thought
it would flatten the
piece. I did not want it
to distract either so I
used the same colours to
develop the background.
Step 8
Leave everything to dry then take stock. What is
working and what isn’t? Do any areas need to
be adjusted in tone? Do any edges need to be
sharpened or softened? I felt the background was a
bit ‘mushy’ and that I wanted more warmth in this
young face. I used a flat brush to develop stronger
marks in the background and continued over the
face with a glaze of sienna, and brightened the hair
with a glaze of green gold. Finally, I added a few
marks of gouache to the hair, as I felt it had become
rather solid. This final stage is well worth taking
your time over; really contemplate what will add
and what will hinder. If you are not sure, put your
painting aside for a few days then look with fresh
eyes, remembering it is better to undercook it than
overcook it.
Boy,watercolour on Bockingford 140lb NOT paper,

15x11in. (38x28cm)
Liz Chaderton
Liz is a full-time watercolourist based
in Berkshire. She is passionate about
watercolour and likes to share her
knowledge through teaching and writing.
Her workshop programme can be found
at www.lizchaderton.co.uk and her books
are published by Crowood Press.

Watercolour
Through the seasons

NOVEMBER How to draw and paint scenes from the end of autumn,
from skeletal trees to puddles and dark shadows, by Amanda Cooper
is so subtle – pale and translucent against Our vision of loveliness tends to

LEARNING OBJECTIVES a glowering backdrop. Throughout the exclude the winter months, but, in
n How to paint puddles winter months there are chances to study reality, these can be some of the best
and reflections trees after the leaves have dropped and in terms of structure and interest.
when they coyly reveal their bare bones. The tones are all somewhat muted,
n Ideas for late autumn Branches are so much easier to draw in but none the worse for that. When
colour mixing this raw state and it is certainly worth there is the occasional explosion of
n How to draw and paint sitting down and making a few drawings sunlight or colour it can be the best.
in charcoal or soft pencil.
winter trees
If you do make detailed sketches of Water and reflections
trees in your notebook, they will always It was the shape of the puddle that
A s autumn takes hold, we have

the chance to observe nature
in the raw. Although the leaves
are vanishing, there are a few lingering
yellows, which are almost impossible
stand you in good stead. Once you get
over trying to depict every leaf and start
to explore the negative spaces that occur
between the branches, you are on the
road to revealing something interesting,
first attracted me to the subject in
Muddy Tracks (below) so I drew the
outline carefully then left the paper
completely white until I had blocked
in all the other colours. This way you
to render in paint because their colour both to yourself and the onlooker. can see the shape of your puddle or
Muddy Track, watercolour, 11x15¾in. (28x40cm)

Wet Winter Gateway, watercolour, 15¾x19¾in. (40x50cm)
water emerging like a sculpture. I used the usual mix of raw umber for
For the autumnal branches in the the fields, aureolin yellow for some of
background I kept to my default mix the remaining foliage, and green gold
of French ultramarine and burnt sienna. where the track showed lingering lush
At that distance you need to keep the grass. I used French ultramarine to mix
paint moving all the time in order to with any of these colours to darken them.
achieve a faraway effect. I like to let As seen in the Muddy Tracks, the water
the leafy canopy run down into the itself is virgin white paper apart from
branches and very often into the sky a few cloud reflections.
as well. It is indicative of our climate
that I have a similar painting from a Autumn trees
couple of years earlier, made from the Tree Study (right) was also an experiment
track exactly opposite where the scene in drip painting where I tried to make
from Muddy Track is located (Wet the background a little more interesting
Winter Gateway, above). by letting the surplus paint run down
For the reflection in Muddy Track freely. I wanted to concentrate on the
I depicted the trees and fence exactly tree against a backdrop of horizontal
as I saw them, but upside down. It is layers and not to become too fussy with
important not to include hard lines in the detail in the grass.
a reflection and to ensure that the tones The distant wood was painted with
are just a touch lower than the ones in a plain French ultramarine wash; the fields
real life. Try painting the whole picture, were in green gold, and overlaid with
but leave the reflection untouched; you a blue and burnt umber wash for the
can then finish it at home with the same darks. For the tree trunk I used burnt
colours on your palette that you used sienna as an underwash, followed by
previously, by which time you will burnt umber and raw sienna. I allowed
know your subject very well. them to bleed down into the shadow
below, which is a trick that I often use,
Find the colour even if I have to re-wet the surface to
At this time of year the leaves still create a channel for the paint to run into.
linger on some trees, in particular the Observing the individual habits and Tree Study, watercolour on Saunders
oak, whose leaves are last to come and characters of various trees is time well Waterford heavy watercolour paper,
last to go. The fields have been ploughed, spent. Does it droop, for example, or 27½x23¾in. (70x60cm)
thereby offering us juicy umber and ochre branch straight up? Is it narrow or fat,
mixes. The more pigment you can infuse dark or light? One thing it never has, is a
into ploughed earth, the better it will look. chocolate brown trunk. All aspects need
For Wet Winter Gateway (above) to be taken into consideration, even if the

Old Friends in the Forest, watercolour on Saunders Waterford heavy watercolour paper, 15x19in. (38x48cm)
final result is an abstract shape;

you need to know what goes into
its basic structure.
The old oaks you see in Old Friends
in the Forest (above) were gnarled and
notched and made for some challenging
drawing. As they age, oaks become
fatter at the base. It is surprisingly
difficult to capture their true ratio
as I found to my cost. As this forest
was recorded in the Doomsday book,
I tried to create atmosphere by keeping
the scene mysterious with only French
ultramarine and a touch of raw umber
on my palette – for ease of carrying,
as this is a steep climb from our house.
I found it hard not to let visions of
Robin Hood and his merry men
interfere with the process. LP
Amanda Cooper
Find out more about Amanda
and her work by visiting
www.amandacooper.co.uk
Perspective sketch for Old Friends in the Forest. Yes, trees have perspective, too –
or they certainly can do, particularly if they are leading down a track as this one does.

EXERCISE Frosty Rose Hips
I had to capture the moment seen in Frosty Rose Hips (right)
before the chaffinches beat me to it and plucked the fruits away
in their bid to gorge before winter. It is difficult to achieve tones
dark enough to show up the light frosting on the rose hips, especially
with Khadi paper, so I just kept loading the darks in and they just
kept drying a great deal lighter! This surface is relatively forgiving,
however, and does seem to stay wet for a while. I wanted to leave
the stars of the show
unadulterated white
until I had built up
a background from
which to gauge their
colour – in this case
aureolin yellow,
permanent rose and
burnt sienna – but
you could try other
combinations.
Step 1
I blocked in the
tones, having used
a tiny bit of masking
fluid for the outline
of the twigs, hips
and spider’s web. The reference photograph for Frosty Rose Hips
Step 3
The finished offering after I allowed myself the thrill of removing
Step 2 the masking fluid and hoped for the best.
Here you see the work in progress and still wet by the looks
of it! I was trying to darken the tones yet again and put in
the background tree and fence in one hit.
Frosty Rose Hips, watercolour on Khadi rag paper, 9x6½in.

(23x16cm). This is a watercolour study from my garden diary.

The Big Draw
THE BIG DRAW

A climate of change
Inspired by this year’s The Big Draw festival theme, Linda Birch studies and
records the plants and creatures she finds in her immediate surroundings
LEARNING OBJECTIVES
n Inspiration for recording
the world around you
n Begin a nature journal
n Tips and techniques for
using drawing media
THE BIG DRAW,

OCTOBER 2020
‘In 2020 The Big Green Draw Festival
focuses on the relationship between
people and our living environments
and ecosystems; highlighting how
we live today and the ways in which
we do and do not harmonise with
nature.’ There may be Big Draw
events happening in your area. Please
look at www.thebigdraw.org for
details and #ClimateOfChange
W e live in bewildering times:

weather and temperature
changes; a pandemic that
has caused massive population
upheavals; and environmental
changes that have impacted on us
all. There are increasing alterations
in our Western climate brought about
by our neglect of our stewardship
of the earth’s resources (usually
brought about by greed). It sounds
so negative, it is easy to become
depressed and frustrated, and feel
helpless to mitigate the situation.
There are practical things we can
do, however, not only to reverse the
changes but, as artists, also to become
recorders of these times. In this article,
I want to suggest ways you and I can
help manage our own surroundings
and the inspiration this can afford
us. Perhaps you don’t have a garden,
but you probably do have access to
some space, even if it is only
a balcony or windowsill.
I used drawing as a medium
to record the world around me, in
Nature Sketchbook (A3). Pencil and coloured pencil on cartridge paper. particular pencil, coloured pencil and
Tracking the season’s climate changes visually week by week creates a body ink with some colour added using
of information that can be more personal than photography. coloured inks. I wanted to explore

The Big Draw
Studies and sketches of creatures

in the garden
techniques and look at ways of using

linear media to record nature. The
following are some ideas that may
inspire you to do something similar.
Begin a diary
Why not undertake to keep a visual
diary? Recording the changes during
the year in nature becomes more
relevant in the uncertain time of
climate change. We may not be able
to change the world, but there are
changes happening around us that
we can help conserve and record.
A hard-bound sketchbook with
good-quality cartridge paper can
become the record that you make
of changes in your environment. In
the book you can note thoughts and
observations alongside your drawings. Frog (nibbed pen, Indian ink and coloured ink wash)
Small is beautiful
Begin by looking at the small
creatures inhabiting nature. Flying
insects can display the most interesting
and gorgeous colours. If you have
only a small space to grow plants,
look for bee and butterfly-friendly
plants to encourage visitors. These
plants help develop the web of
support that nature needs in order
to survive and be healthy.
When recording nature, you
may have difficulty catching moving
creatures. If you see a butterfly and
recognise it, it may not stay around
to be your model, but taking a
photograph can help you to depict
it later. Ladybirds are the charmers
of the insect world. They assist in
controlling plant-eating insects and are
nice to look at; they are mentioned in
nursery rhymes and, in Europe, are
treated as good luck symbols.
Coloured pencils
On the bottom left of this sketchbook
page (left), there is a drawing of Bird (pencil on brown cartridge paper)
a ladybird. I used coloured pencils
to build up the layers of deep red
on the wing cases. Coloured pencils
are best worked from light through
to dark colours and tones. I used
well-sharpened pencils and shaded
each colour in lightly, laying the pencil
slightly sideways at a low angle. As
the colour built up, the point of the
pencil was used with considerable
pressure to develop a deep rich colour.
Unlike watercolour, coloured pencils
are easily managed. Mistakes can
be erased quickly and, as long as
the colour is built up gradually,
the drawing remains controllable.
Creatures
There is enormous pleasure in
encouraging and observing animals
that come to visit your garden. Even if
you have no garden, you may be able
to feed birds on a windowsill and try
sketching them. Hedgehogs can also Hedgehog (nibbed pen and Indian ink)

be helped by installing special hedgehog
houses and can be fed with a little cat
food (never milk, as it is poisonous to
hedgehogs). If you are patient you may
be able to record a visiting hedgehog.
If possible, locate water somewhere in
the garden. If you don’t have a pond, old
washing bowls or ceramic bowls make
excellent water containers. They provide
drinks for the birds, and homes for small
creatures and aquatic plants. I have several
mini-pond containers, in addition to
a larger pond in my garden. Mostly the
cats drink out of them, but the birds do
too when it is safe to visit. There is also
a frog living in the vicinity.
Change of surface
I used graphite pencils (2B, 4B and
a woodless 6B) to record the scene of
the mini ponds at the bottom of the
garden (right), which also contain small
Butterfly (technical drawing pen)

and frog (nibbed pen, Indian ink
and coloured ink wash)
ART NOUVEAU PROJECT

I grow as many different plants as I can in my garden, including
many ‘weeds’, in order to create different habitats for creatures.
As an artist I love the varied shapes that the plant world produces.
Nature with its organic forms influenced the Art Nouveau
movement and formalised its shapes into magnificent art forms,
from textiles, furniture and ceramics to architecture, jewellery
and painting. I took this photograph (right) of my garden and used
it to create an Art Nouveau inspired drawing of plant forms.
Plants in my garden provide a range of organic shapes

for an Art Nouveau interpretation
Step 1
The Art Nouveau movement was all about organic plant forms and
mostly always favoured curves. You can see it in the work of William
Morris, the designer Charles Rennie Mackintosh and in Alphonse
Mucha’s poster designs. The shapes in the photograph needed to
be simplified in order to stylise them so I decided that the foxgloves
were important shapes, as were the cardoon leaves. I was looking for
the rhythm of the composition and found it in the curve of the wall.
I later added the cat as a counterweight shape to stop the line of the
Initial planning drawing in pencil to determine wall running out of the picture. I made the initial drawing in pencil
the main shapes to stylise, 7x5¼in. (17.5x13cm) to establish what was needed and to begin to simplify the shapes.

The Big Draw
rushes and aquatic plants, and are

surrounded by semi-wild plants.
Although cartridge paper is suited
to drawing, I used Bristol board for
a change of surface. Bristol board is
a smooth card used mainly for pen
and ink, however, I sometimes like
to change my drawing surfaces to
see what happens.
In this drawing I discovered that
the pencil techniques of hatching
and varying pressures gave crisper
results. I was also able to smudge
some tones in a little with my finger,
to soften areas creating varied visual
interest.
I hope that this has given you
some ideas for encouraging wildlife
into your surroundings for studying,
drawing and simply enjoying the
natural world. LP
Garden containers, pencil on Bristol

board, 6¼x9in. (16x23cm). Here is a
sketch of small water containers I set
up to attract insects and birds. Pencils
used: 2B, 4B and 6B
Step 2
Once I felt I knew what I wanted in
the drawing, and importantly what to
leave out, I was ready. I made a larger
drawing on a piece of Saunders Waterford
Hot-Pressed watercolour paper, which
is smooth and works well with pen.
Double-ended (broad and nibbed) black
marker pens were then used to define the
main lines of the picture. I also included
a border of black line to enclose the
drawing and tighten the composition.
Pattern is a strong influence on some
Art Nouveau work so I integrated that
into the drawing. Using a marker pen
is a great advantage, as it forces you to
simplify what you draw whether you
want to or not; try it! The Welsh poppies
reminded me of lollipops so I exploited
their roundness. The ball-shaped
topiarised box bush provided a good
geometric shape as well, studded with
patterns of tiny leaves. The stones in
the patio area were reduced to dots
to add more pattern.
The finished drawing Inspired by the

Art Nouveau Movement, marker pen tinted
with coloured inks, 11¾x9in. (30x23cm)
Linda Birch
See more of Linda’s work by visiting
www.theartistlindabirch.co.uk

Watercolour
Figures in the landscape

Part 1 From simple first drawings to painting crowd scenes, here are
Liron Yanconsky’s top tips for including figures in your painting
LEARNING OBJECTIVES little intimidated by. If that’s you, I would Figure 1 (below left) is an example
like to show you here how painting of a drawing showing the possible
n Take a step-by-step approach people can be fun. Let’s begin by tackling range of simplification. As I paint
to learning how to add figures the issue of drawing people. mostly scenes, a majority of the time
to your paintings the figures I paint will be closer to the
1 How to draw people right-most simplified version, rather
n Build your drawing skills The beauty of including people in our than the left-hand side, which shows
n How to simplify a crowd scene scenes is that we don’t have to go into too a more detailed example.
many details. In fact, if you paint smaller In the simplified version, we are
sizes (anything under a quarter Imperial using an oval for the head, a rectangle
A dding people to your

watercolours is a subject many
seem to struggle with or are a
sheet) you will have a hard time drawing
too many details in the first place. So, let’s
see how much we can get away with.
for the body and thin triangles for the
arms and legs. The proportions are
fairly simple: the body is seven to eight
heads tall for most adults, while the
torso is two to three heads tall, and
the pelvis represents the approximate
middle of the entire body, which can
vary slightly from person to person.
Figure 2 (below left) shows a few
more examples of simplified sketches,
this time in multiple angles and poses.
Drawing simplified sketches has the
advantage of speed, which is useful for
plein-air painters, when you’re working
outside against the clock and changing
light conditions. With that said, this
is still a highly simplified version of
the human body. It’s great for some
applications, but I do recommend
experimenting with more detailed
versions as well. Find your own way,
the one that works best for you. After
all, if you are interested in realism,
I would encourage you to practise
working in a more detailed way,
to see how you like it.
Figure 1 Levels of simplification
Figure 2 Different poses and angles Figure 3 An unwelcome white gap

Watercolour
Figure 4 A comparison between the initial washes Figure 5 The final comparison
Finally, when it comes to drawing A common mistake is leaving a huge, example of an initial wash covering
people as part of a scene, give them obvious white gap around figures. This everything up, versus one that’s
different poses, or have them walk in is sometimes done in an effort to better avoiding the figures completely.
different directions. control what the people look like, or Pay close attention to how the people
Now that we know how to draw to mimic a strong highlight caused by on the right already look like an
simplified people, let’s put some of backlighting. Figure 3 (below left) shows inherent part of the scene.
them into scenes. what that may look like. Notice how Figure 5 (above) demonstrates how
jarring this gap is, causing the figures the two final results came out. Notice
2 How to put people into scenes to seem detached from the background. the difference? In my personal opinion
When drawing people in a scene, it’s The process of fixing this mistake starts the gapless version is superior.
vital to have them look like they are already in the initial wash. In it, I ensure
an inherent part of the scene. They that I paint over everything, including Eye level
should look like they are truly there, the people. I may also leave pure white Next on our visual list is perspective,
both visually and conceptually. Let’s highlights in a few strategic locations. mainly in the context of the height of
talk about the visual side of things. Figure 4 (above left) is a side-by-side our point of view. Is the viewer looking
Figure 6 Head Level Example, watercolour on Cold-pressed watercolour paper, 15x23in. (40x60cm). This was painted at eye level.

Watercolour
Figure 7 Lower Level Example, watercolour Figure 8 Higher Angle, watercolour on

on Cold-pressed watercolour paper, 11x7in. Cold-pressed watercolour paper, 7x11in.
(28x19cm). This shows figures painted at (19x28cm). This study shows the angle
a lower angle than eye level of painting as higher than the figures
TIP
If you’re having trouble finding
the horizon line, imagine where
the sky meets the earth. It’s not
a fully accurate way of finding it,
but it’s a good starting point
at the scene from above, below or

perhaps eye level? Let me share a
few examples. Let’s first look at a
fairly common scenario, having our
point of view at eye-leve; this happens
whenever you paint en plein air, or
simply hold your phone or camera
to your face and snap a photo. In this
scenario, as long as it’s a flat surface,
all heads will be at the height of the
horizon line. Figure 6 (seen at the
bottom of page 57) is an example
of this. Regardless of the distance of
the person or where they are in the
scene, notice how all the heads are
approximately the same height, which
is also the horizon line’s height.
Now, this gives us a clue as to where
to draw the heads, but not the rest of
the body. To find out how tall a person
is, or where their body meets the
ground, follow the general proportions
of head-to-body ratio I included earlier.
If you count seven or eight heads
down, you’ll find where the feet
meet the ground.
Lower angles
This is how it works for eye-level
scenes, but what about a lower angle?
Let’s say we crouch a little, painting
(or taking a photo) from the ground
Figure 9 Kiev, watercolour on

Cold-pressed watercolour paper,
22x14in. (56x38cm)

Watercolour
level or at a person’s feet. Here’s what

we may get (Figure 7, far left). What
coincides with the horizon line are
the feet and shins. Pay close attention
to the rest of the body. People
who are closer appear much taller;
that’s perspective at work. In fact,
when seeing this scene, our brains
immediately understand that difference
in height and know it’s caused by
the low point of view.
Higher angles
Higher points of view are similar,
but include new challenges. In these
instances, we don’t have any person’s
body intersect with a horizon line,
as they are all below it (Figure 8,
above left). Due to the high point
of view, the horizon line goes up,
above the people.
When it comes to drawing people
into these scenes, some guesswork
may be needed with regards to their
placement. I always recommend
carefully observing and consulting
your reference matter for these types
of questions. The higher we go, the
more extreme the gap between people
can become, like in this painting of
a lovely Kiev cityscape, taken from
a higher floor at a hotel we stayed
in (Figure 9, below left). Here, one
person’s feet may appear to be taller
than another person’s head, depending
on their relative distance from us,
the viewer.
This can all be very complex, but the
key isn’t to memorise these rules, but,
instead, try to observe them in your
daily life. See if you can recognise
different perspectives and visualise
how you’ll paint people into them.
3 Simplify a crowd
Now that we’ve discussed placing
people into scenes, I briefly want to
go over the idea of portraying a crowd
of people. You may occasionally run
into situations where there’s a huge
crowd of people you want to paint.
In these instances, it’s important to
develop a method for representing the
crowd without confusing the viewer or
nullifying the message of the painting
by putting in too many details.
Figure 10 David Square, watercolour on Cold-pressed watercolour paper,
My personal ‘rule’ for crowds is
to make sure I indicate one or two 11x7in. (28x19cm). How to simplify a crowd scene.
people clearly then simplify the rest.
The human mind is very smart and
can easily fill in the blanks. Figure
10 (above right) is a great example
of this. Notice how I show one or and levels of detail. Figures are
two people clearly and the rest are among the hardest art subjects Liron Yanconsky
almost fully merged together. A similar in existence so don’t be too harsh Liron is an artist, author and
example is the eye-level painting of with yourself when practising. creator. His YouTube videos
Kiev (left). By avoiding unnecessary With dedication you’ll get the reach millions of aspiring artists
detail, we won’t dilute the message, hang of this and surprise yourself all over the world. To learn more
however, feel free to go as detailed with how good the finished about his work visit his YouTube
as you wish. You are the master results are. channel at YouTube.com/c/
of your paintings. Next month, I will take you LironYanconskyArt, and follow
Take your time practising drawing through the painting of a scene him on Instagram at @LironYanIL
people in different poses, angles step by step. LP

Line & wash
Pen to paper
Part 2 How to transform last month’s pen drawing
of a street scene into a painting, by Shelagh Ashley
LEARNING OBJECTIVES This month, I will show you The blue primaries I like to work
how I tackled painting the scene with are French ultramarine, cobalt
■ Your thought processes are as in watercolour. Watercolour is my blue, cerulean blue and Prussian or
important as your painting skills favourite medium, but it is also one of Winsor blue. For my reds I choose
the hardest to work in, as it is not easy cadmium red, alizarin crimson and
■ Follow a step-by-step to correct mistakes so always remember carmine, and my preferred yellows are
line-and-wash painting process that your thinking time is as important cadmium yellow, aureolin and Naples
■ How to mix and place shadows as your painting time. Rather than just yellow. I may also add some of the
launch yourself into a painting without basic earth colours and perhaps some
any forethought, take time to plan it. specific pigments such as quinacridone
There are several things to consider. magenta (lovely for Mediterranean
L ast month I took you through

the drawing process for this
pen-and-wash painting. I hope
you tried drawing directly with the
pen. Even if it is not something you
First of all, choose your palette. Most
artists have a preferred palette and their
paintings are often recognisable by
their choice of pigments, with a core
palette of favourite colours.
flowers) and Potter’s pink (granulates
well to create texture).
Next, I consider the order in which
I will paint. What will be my starting
point? What techniques will I use?
feel confident enough to do all the I like to work mainly with primary Should I work wet in wet or build
time, it might at least have made you colours, with a warm and cool of each up translucent layers or, perhaps,
think more carefully when drawing in to give me maximum mixing potential. a combination of both? Only once
pencil. Why not try it as an exercise These may not always be the same I have considered all the elements
from time to time to increase your primaries, as I choose them to suit of a subject, planned carefully and
powers of observation and hone my subject, and according to their anticipated any problems, will
your drawing skills? individual properties. I begin painting. LP
Your reference photograph for this project The ink drawing finished last month

Line & wash
Demonstration Street Scene, Aubeterre-sur-Dronne

TIP
Working onto damp paper will
You will need dilute your wash so mix your
colours taking this into account.
n Surface n Winsor & Newton
l Saunders Professional Water Colour
Waterford l French l Aureolin
300gsm ultramarine l Naples yellow
Cold-pressed l Cobalt blue l Quinacridone
paper, l Cerulean blue magenta
15x11in. l Cadmium red l Burnt sienna
(38x28cm) l Alizarin crimson l Raw sienna
l Cadmium yellow l Indian red
Step 1
1 I usually like to begin by covering as much of the surface as possible,
as large areas of white paper can be distracting. Here, I began with a simple
sky. After I mixed a sufficient quantity of cobalt blue and tested it for strength,
I turned the drawing upside down and dampened the sky area from the roofline
down, taking the water to the edges of the paper. This allowed the blue to
spread and fade out in the sky without encountering dry paper or touching
the rooftops, which allowed the colours of the tiles to remain bright.
2 When the sky was dry I covered the rest of the paper with pale wet-in-
wet washes as a base for the buildings and the road. The stonework varied
from cream to pale grey so I mixed several batches of colour using various
combinations of Naples yellow and burnt sienna for the cream, and cerulean
blue and cadmium red for the grey. Naples yellow and cerulean are both
granulating colours so in mixes they can create interesting textures for stonework.
3 To reflect the sky colour on the road I used cobalt blue with a touch of
cadmium red. I worked with two large brushes, one to apply colour and the
other to dampen the edges of the paper as I worked to allow the washes to
fade out at the sides. I then covered most of the rest of the paper, allowing
the colours to merge without worrying about staying within outlines.
5 While this base wash was still damp, I dropped in a little quinacridone
magenta and cadmium red for an underneath wash for the flowers, and
pale green for the foliage and the shrubs on the left-hand side (I used cobalt
blue mixed with aureolin).
6 For the red-brown shrub I used a mix of alizarin crimson and burnt sienna.
Don’t worry if your wash has already dried; re-dampen the paper then drop
in these colours.
Step 2
I began to add colour to the rooftops, Indian red. For the central door, I mixed
central door and shutters. I made the a dark brown using burnt sienna with a
roofs a little brighter than they were, little French ultramarine then painted
using two colours and alternating the shutters and drainpipes with pale
between the two: terracotta made by cobalt blue with just a very small amount
mixing alizarin crimson and aureolin, and of burnt sienna added, to grey it slightly.

Line & wash
Step 3
1 For this stage, I added a little definition difference between the two. Using two pale and wall on the right but left the side
to the stonework. I wanted to make the mixes – one of burnt sienna and the other of the gate pillar lighter.
lintels and cornerstones look lighter than cobalt blue and cadmium red – and with 4 Next, I painted a pale wash of burnt
the surrounding stonework without then my board on a flat surface rather than at sienna over the pavements, dropping
making that appear too dark. In other words, an angle, I painted around these stones in some slightly darker colour – I added
I wanted to create the illusion of tonal and the shutters of the central buildings. a little cobalt blue to the mix – along the
2 Just as the wash was beginning edges of the kerbs while this was still wet.
to dry, I dropped in clean water to 5 The road was painted with a second wash
displace some of the pigment and using two colours and alternating between
encourage it to move towards the the two: first, cobalt blue mixed with
edges, making the colour slightly cadmium red and second, burnt sienna.
darker at the outlines of the stones I allowed the colours to mingle but left
and lintels. the central gulley area light, fading the
3 Using the grey mix, I also slightly wash out at the bottom. While it was still
darkened the left-facing wall of the damp, I ran a slightly darker colour –
building on the right-hand side. cobalt blue and burnt sienna – along
I did the same with the gate pillar the edges of the central gully.
Step 4
1 For this next stage, I added mid-tones to the shrubs on the left, the
climbing roses on the central building, and the foliage on the right. For
the red-brown shrub I again used burnt sienna mixed with alizarin crimson.
I painted the other shrubs in a variety of greens. For the shrub to the left
I used a mix of cadmium yellow and French ultramarine and the one next
to that was painted with aureolin and cobalt blue. For the shrubs
overhanging the wall I used raw sienna with a little cobalt blue. In each
case, I left some of the base wash showing on the upper edges.
2 I added touches of quinacridone magenta and alizarin crimson to the
climbing roses in the centre. The foliage was painted in a green mixed from
cadmium yellow and cobalt blue. I also used this green for the ivy on the
right. By not over-mixing the colour I was able to vary the tones a little –
so some of the green contained more yellow and some of the mix more
blue. The darker foliage hanging over the gate was French ultramarine
with a small amount of aureolin. I left a few gaps in this wash to suggest
light on the railings, with the shrub growing behind it.

Line & wash
STEP 5 PAINTING SHADOWS

1 The next step is perhaps the most important: adding the
shadows. When working outside, these should ideally all be
painted at the same time for consistency – or at least a note TIPS
made of their positions. Give careful consideration to the colours
1 Always mix plenty of colour
you will use – don’t just reach for your Payne’s grey! Blue is a
before you begin and use a
good base colour as it is the complementary colour to the colour
good-sized brush with a point
of sunshine. It can be neutralised using pigments that you have
to ensure your shadow washes
used elsewhere in your painting. Shadows can be warm or cool,
remain transparent.
depending on whether they reflect light from the sky or light
bouncing off other surfaces. I like to exaggerate this a bit to make 2 Float the colour over the
the painting look even sunnier. I used cobalt blue mixed with top so as to avoid disturbing
a tiny amount of burnt sienna for the basic shadow colour and underneath colour.
dropped in a mix of alizarin crimson and aureolin to represent 3 Keep stirring your mix as
the reflected light. you work, especially where
2 I used the blue-grey mix at the top of the chimney on the left, it contains a heavier blue
adding the warmer colour towards the ground to suggest light pigment, which can sink to
bouncing back from the pavement and into the shadow. Notice the bottom of the mixing well.
how I also added this warmer colour directly beneath the eaves of
the buildings and in the underside of the window recesses (below).
Step 6
1 Now for the finishing touches! I added
the darkest tones to all the areas of foliage
by adding a little French ultramarine to
all the original greens. Next, I painted
the windowpanes using a mix of French
ultramarine with a just a touch of burnt
sienna. I laid my board flat for this to
allow the colour to fill the panes evenly.
2 When this was dry, I darkened one
or two of the panes. I also used this colour
to add a little definition to the edges of
the roof tiles and the railings on the right.
With a little Indian red, I added a suggestion
of detail to the rows of roof tiles.
3 I looked at any areas of shadow that
might need a little darkening – for instance,
alongside the drainpipe on the left.
4 Finally, I added a little colour to the
cobbles in the road and the central gully
using pale greys and browns.
Shelagh Ashley
There’s nothing quite like
sketching and painting on location.
Why not join me on one of the
painting holidays I will be tutoring
for Alpha Painting Holidays next
year? Choose from historic Wells
in Somerset (May 2021) or
Provence (September 2021). Details
can be found on my website
https://shelaghashleywatercolours.
webs.com or on Alpha’s website:
www.alphapaintingholidays.com The finished painting Street Scene, Aubeterre-sur-Dronne, ink and watercolour
on Saunders Waterford 300gsm Cold-pressed paper, 15x11in. (38x28cm)

Delve into Leisure Painter’s 1980 Jennifer Andrews
Flower painting
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DEMONSTRATION Winter Sunset Across the Rocks
t STAGE FIVE
Working spontaneously, I added
MATERIALS the rocks
in a dark value, leaving snow patches
l Support: Saunders Waterford 140lb (300gsm) Rough here
and there. To create depth, I used
l Watercolours: cobalt blue, Winsor lemon, alizarin crimson, French
ultramarine with cadmium red
French ultramarine, cadmium red in the distance
and French ultramarine and burnt
l 6B pencil sienna in
the foreground
Plus
l Brushes: sizes 2, 5 and 6 squirrel mop
q FINISHED PAINTING
Winter Sunset Across the Rocks,
watercolour on
Saunders Waterford 140lb (300gsm)
Rough,
11315in (28338cm).
I brought the painting to a close
adding
Use coloured � Try painting in oils in p STAGE ONE further dark to some shadowed
sides of the
I drew out the scene using a 6B pencil on a piece of Saunders Waterford rocks with thicker paint. I added
thin watercolour-style 140lb (300gsm) Rough watercolour paper. As always, my pencil was
intended as a guideline, not an outline
and dimension to the snow and
more shape
finished by
softening the light flare of the
washes sun into the
Paint a sunset in
highest rock
pencils to create � Paint your local coastline

in watercolour
watercolour
a photorealist � We review Jackson’s
Artist Oil Colours
� Colour-mixing ideas for
Paul Talbot-Greaves demonstrates how to make light work of a
winter sunset in five easy stages
p STAGE TWO
I used clean colours, brushes and lots of clean water to create the sky.
Even a slightest contamination of colour can mess this up. I began
by wetting the area around the sun with clean water and with a size
6 squirrel mop brush, then immediately applied flowing washes of
portrait
Winsor lemon around it, adding alizarin crimson to make an orange
capturing autumn trees elsewhere. At the top, I added cobalt blue and brought this down to
meet the orange and let them fuse together. I continued with a very
the picture. I worked on a piece of shapes and pushes them back into the
weak wash of alizarin crimson and Winsor yellow over the remainder of
Saunders Waterford 140lb (300gsm) distance.
� The power of Instagram Rough, which is a lovely cotton paper When the shadow wash had dried,
the painting and left it to dry
with a great useable texture. The first I began building the structure of the
for artists thing I did before painting was to clean rocks. For the more distant shapes I
my palette. I don’t always do this but used French ultramarine and cadmium
in this case, some clean fresh colours red, adding neat cadmium red and
were imperative for painting the sky. I Winsor lemon into the flare of the sun.
Paul Talbot-Greaves
11>
also squeezed out new colour to ensure I worked quite quickly using a size 2
teaches watercolour and acrylic painting there was no contamination from other mop brush and switching to a size 4
in workshops and demonstrations to art colours in my palette. I began in the mop brush in the bigger foreground p STAGE THREE
societies throughout the Midlands and sky area, continuing the colours as a shapes. Here I introduced burnt sienna I mixed some cobalt blue with my lemon and
the north of England. He can be contacted
pale wash over the remainder of the to French ultramarine, mixing them crimson and, using a small size 2 mop brush,
through his website:
painting. loosely on the paper to generate I sketched in the distant field patterns and let
www.talbot-greaves.com
colourful darks. them dry. I added some background detail
770004 387193
Building colour before the shadow wash, using the fine point
Adding depth
S
unsets are notoriously difficult The second part of my painting process of a size 2 squirrel mop brush. This technique
in watercolour because the builds the colours, shapes and values of When the colours were dry, I set about helps to soften the shapes and pushes them
colours and subdued light the scene. Sometimes this can be quite adding further depth and shape to back into the distance
can lead to a muddy finish a quick, immediate process and other the rocks using thicker paint, which
if you don’t approach the subject times it may take a few layers before exploits the drag brush effect. With
meticulously. For my sunset here I have moving on to part three. This painting more washes of cobalt blue and alizarin
chosen a winter theme because the required a number of layers in order crimson I darkened some shadows and
snow adds interest, colour, light and to keep the freshness and light in the created further shapes in the snow. I
contrast.
u STAGE FOUR
colours. splashed clean water into my washes to With a size 5 mop brush I washed cobalt blue
I added some background detail make colours run and form interesting and alizarin crimson over the foreground and
First wash before the shadow wash, using the fine patterns then finally sprayed the sun distance, leaving behind some highlights on
I began as I usually do with a pencil point of a size 2 squirrel mop brush. and scrubbed the soft light back into the rocks
w
9
sketch to place the main shapes in This technique helps to soften the the rock to blur the edge a little more. TA
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pencils to create � Paint your local coastline
q
in watercolour
rocks in a dark value, leaving snow
patches here and there. a photorealist � We review Jackson’s
Artist Oil Colours
� Colour-mixing ideas for
portrait capturing autumn trees
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An aircraft which appears - Complete or self-assembly
frequently in the narrativ
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e of the Battle of Britain
Watershed
which didn’t even exist: is a fighter
the Heinkel He 113. But
Art breaks in Exmoor photographs of the type?

And why did RAF pilots
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there numerous
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in 1940 was to sometimes are posed in
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identify Messerschm boastfully described Propaganda
itt 109s at the type’s success
Heinkel 113s. In reality, in the Norwegian campaign Kompanie (PK) to appear
that aircraft was and its use as though they are
actually the Heinkel He across Europe. This claim, in front-line service and
100 D-1. The type coupled with operating from a
was built in very small photographs seemingly makeshift airfield in Northern
numbers, mostly showing the France during the
pre-production models, aircraft ‘on the front Battle of Britain. The aircraft
and the aircraft line’, resulted in have been painted
RAF Intelligence becoming in camouflage colours and
Exclusive - St Ives/Nicholson style

never went into full-scale convinced with completely
production or that the Luftwaffe had fictitious unit emblems.
front-line Luftwaffe service. the type in An air raid shelter slit
Although it was comparabl service in France during trench has also been constructed
1940. Often, to further
Celebrating our 19th year

e in many RAF Combat Reports complement the illusion.
respects to the Messerschm of the period are
itt 109, the filled with accounts of
frames available on-line

He 100 had rather ‘missed engagements with
the boat’ ‘He 113 fighters’ and some had been found on the
since Messerschmitt of these first ground – despite
109 production the numbers claimed
was already fully underway. engagements were claimed as shot down – did
As a result, by Hurricanes
Beautiful location no more than 20 of the of 56 Squadron off Dover the RAF finally realise
He 100 fighters on 13 July they had been
were built. Neverthele 1940. In truth, none of duped. However, this
ss, this handful of these aircraft ever was not before even
• We are looking forward to our autumn aircraft would serve the made it to operationa Air Chief Marshal Sir
Call 01427 787318 or visit

German Ministry l service and, for Hugh Dowding, the
of Propaganda well and the most part, the RAF C-in-C of Fighter Command
the existing He airmen involved in 1940, had
100s were given the pseudonym in these combats had written of the type in
been engaged his 1946 despatch
‘He 113’.
Good food
to the London Gazette
programme of art and craft workshops In the event, German
imagery in 1940 showed
propaganda
the few aircraft
with Messerschmitt 109s.
there is also fairly convincing
Unfortunately,
evidence
Britain.
In it, he said:
on the Battle of
www.ashcraftframing.co.uk/store
that had been built, grouped pointing to Hurricanes
together, sometimes being
and with spurious unit shot down in error by “The Heinkel 113 fighter
markings in other RAF pilots made its
different settings and who claimed their hapless appearance in limited
• Our spacious, airy Studio and grounds billed as the He victim to have numbers during
Friendly atmosphere 113. The intention was been a ‘He 113’. Thus, the Battle. It was a single
that the RAF an unintended seater, generally
L E OF B
would believe that a new consequence of the German resembling the Me 109.
type was both deception. Its main attributes
TT
in production and in Only when the battle were high performan
along with our new undercover area are service. The ruse
became apparent that
was over and it
not a single He 113
that it was generally used
of the several layers in
ce and ceiling, so
in the highest R
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Courses for all abilities

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the latest practical art books available from LP’s online bookshop. There’s
also 20% off selected Search Press books in our bookshop this month!
The sketchbook addict

Adebanji Alade is a self-confessed sketchbook addict.
Renowned artist, teacher at the Heatherley School of
Fine Art and vice president of the Royal Institute of
Oil Painters, Adebanji makes regular appearances on Making drawing fun
the BBC’s The One Show and can be found sketching In her refreshing new guide to sketching,
the sights and sounds of London. His fascinating new The Joy of Sketch, artist Jen Russell-
book, Addictive An Artist’s Sketchbook (published on Smith reminds us what fun drawing
13 October) showcases one of the artist’s sketchbooks and sketching can be. Drawing as a
in its entirety, showing a unique visual record of child was all about enjoyment – making
everyday life in the city of London. In his introduction, uninhibited marks on paper just for the
Adebanji describes the way he works, and the sketchbook allows us an intimate sake of it, with no preconceptions or
peep into the artist’s creative process. The sketches are inspirational and very worry about the rules and constraints that
soon you find you are addicted, too! can so easily overwhelm us in adulthood.
Addictive An Artist’s Sketchbook by Adebanji Alade. Search Press (p/b), £19.99. Published on Jen, a Surrey-based illustrator, is largely
13 October and available to pre-order now. self-taught and has a relaxed informal
style. Here she shows how to get back
to basics with loose sketches that build
Seasonal watercolours confidence along the way, allowing you
David Bellamy’s Landscapes Through the Seasons in to draw more spontaneously and add
Watercolour is a revised and expanded edition of David simple watercolour washes for vibrancy.
Bellamy’s Winter Landscapes in Watercolour, which was The subjects chosen are all readily to hand
published several years ago. Here the popular artist and around the home, making it easy to work
best-selling author looks at each season in detail and from life.
shares with us how to tackle landscapes when faced with The Joy of Sketch by Jen Russell-Smith.
their many challenges. Specific techniques are explained in David & Charles, (p/b), £15.99.
detail, such as how to create misty effects or render hoar
frost on trees, and there’s useful advice on composition,
making the most of your subject and portraying
atmosphere in watercolour. The Moors in Summer, Winter
Mountains, After the Spring Shower and a Late Autumn Waterfall are just some of the
subjects included in this eminently practical book by a master artist.
David Bellamy’s Landscapes Through the Seasons in Watercolour. Search Press, (p/b), £9.99.
Landscapes in acrylics
Landscapes in Acrylics by Barry Herniman is part of the
Ready to Paint in 30 Minutes series from Search Press.
Barry provides us with 33 basic studies covering all
aspects and techniques necessary to paint convincing
landscapes in acrylics. There’s useful advice on what
materials to choose, colour mixing, laying washes and
clever tips. The 30-minute time limit concentrates the
mind so that you are able to get straight on with learning, Watercolor Basics
with each study focusing on a particular aspect of the Last month we included a review
landscape. The exercises are worked at postcard size to keep them manageable and of Charles Reid’s Watercolor Basics.
all the required tracings are included to help you on your way. Three step-by-step This book is published by North
demonstrations put all you have learned into practice. Light Books and not as stated, and
Landscapes in Acrylics by Barry Herniman. Search Press, (p/b), £12.99. costs £21.99.

Online gallery
Jane Stroud’s selection of works from our PaintersOnline gallery
WWW.PAINTERS-ONLINE.CO.UK
R oger Gadd delayed using pastels for practical reasons, finding problems with
handling the finished work and mixing subtle enough colours to depict the hues
of the British landscape. His views changed in May 2015 as he perched on a rock
▲ Roger Gadd Barleyfield, pastel, 12x16in.
(30.5x40.5cm)
in Harris in the Outer Hebrides and realised that pastel was the ideal medium for and loose. The most intense observations
working en plein air, encouraging a loose, impressionistic style. To see more of Roger’s concerned the abstract shapes that
work, post a comment or upload your own images, visit www.painters-online.co.uk suggest the contours of the field and
where the light tone of the barley meets
‘Barleyfield (above) almost didn’t happen. sunlit field to sing out. I considered a low the darker track.
Setting off for the Northumberland coast, horizon, but decided that the painting ‘The sky was based on reality, but I used
a road closure made me head in the is about the field, not the sky, so I drew the shapes to direct the eye. Similarly I
opposite direction. It was good to find a the horizon, the upper edge of the field ‘borrowed’ the telegraph poles from just
subject closer to home. and the approximate outline of the trees, out of sight to suggest recession and lead
‘I’m drawn to subjects that include a aiming for pleasing shapes. The first broad the eye back from the left, across the field
straight-line horizon where the sea meets strokes of pastel were very pale yellow to and out to sea.
the sky, and chose this view for the pale define the upper edge of the field. ‘In a different medium, I might have
yellow curve of the field and the two dints ‘The tooth of pastel paper fills quickly so been tempted to include more foreground
where the end of the machinery track is I usually ask myself: what if I could only detail. It seems a shame not to make
defined against the North Sea. The warm paint a few vital elements? This seems like more of the white flowers, but the tooth
brown pastel paper shows through the a good way of achieving the style I want was filling up so, once again, pastels
pastel yet is dark enough to allow the and helps me to keep my pastel work bold prevented me from fiddling.’

Enjoy images in
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Jackson’s Artist Watercolours are
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THE UK ’ S B E S T-SE L L ING L E A R N -TO - PA INT M AG A ZINE

NOVEMBER 2020 £4.80

W ho doesn’t love autumn with all those

INGRID LYON Editor

4 NOVEMBER 2020 www.painters-online.co.uk

NEWS, OFFERS AND COMPETITIONS n Explore figure and

48 Through the seasons

56 Figures in the landscape

www.painters-online.co.uk NOVEMBER 2020 5

15x11in. (38x28cm) exhibitors. Denbies boasts plenty of free

6 NOVEMBER 2020 www.painters-online.co.uk

www.painters-online.co.uk NOVEMBER 2020 7

8 NOVEMBER 2020 www.painters-online.co.uk

www.painters-online.co.uk NOVEMBER 2020 9

10 NOVEMBER 2020 www.painters-online.co.uk

12 NOVEMBER 2020 www.painters-online.co.uk

www.painters-online.co.uk NOVEMBER 2020 13

TOP SIX TECHNIQUES

14 NOVEMBER 2020 www.painters-online.co.uk

 2 Following stages Once my painting is dry, I often work wet

www.painters-online.co.uk NOVEMBER 2020 15

16 NOVEMBER 2020 www.painters-online.co.uk

SHOW YOUR WORK

www.painters-online.co.uk NOVEMBER 2020 17

Order online at www.painters-online.co.uk/store or call

18 NOVEMBER 2020 www.painters-online.co.uk

www.painters-online.co.uk NOVEMBER 2020 19

Demonstration End of the Day

20 NOVEMBER 2020 www.painters-online.co.uk

 The finished painting End of Day, oil

SHOW YOUR WORK

www.painters-online.co.uk NOVEMBER 2020 21

A s trees shed their leaves,

22 NOVEMBER 2020 www.painters-online.co.uk

techniques, you can create greater

 Glen Muick, watercolour on NOT watercolour paper, 8x12in. (20x30.5cm) 

www.painters-online.co.uk NOVEMBER 2020 23

COLOURS FOR AUTUMN SCENES

 Colours shown from the Daniel Smith watercolour range.

Autumn foliage with

Emphasising nature’s warm colours

Observing and sketching

Capturing the flow of

Note strong Watch out for

www.painters-online.co.uk NOVEMBER 2020 25

Demonstration Autumn colours with a snowy background

26 NOVEMBER 2020 www.painters-online.co.uk

This was adapted from David’s

www.painters-online.co.uk NOVEMBER 2020 27

I was delighted to try out Jackson’s

 Jackson’s Icon Round sable-

 Jackson’s Icon flat

28 NOVEMBER 2020 www.painters-online.co.uk

Jackson’s Raven mop synthetic brushes, Series 528 

JACKSON’S ICON ROUND SABLE-SYNTHETIC MIX BRUSHES, SERIES 700

www.painters-online.co.uk NOVEMBER 2020 29

JACKSON’S ICON FLAT SABLE-SYNTHETIC MIX BRUSHES, SERIES 702

JACKSON’S RAVEN MOP SYNTHETIC BRUSHES, SERIES 528

2 Following stages Once my painting is dry, I often work wet

The finished painting End of Day, oil

Glen Muick, watercolour on NOT watercolour paper, 8x12in. (20x30.5cm)

Colours shown from the Daniel Smith watercolour range.

Jackson’s Icon Round sable-

Jackson’s Icon flat

Jackson’s Raven mop synthetic brushes, Series 528

The Raven synthetic mops work well

3 Continue to add trees in this manner from

The painting in progress The finished painting Rhododendron, watercolour on

Garden Splendour, watercolour,

Step 4 Margaret Eggleton

River Mersey, Liverpool, Wind,

Once dry, cut them into

To test whether you have this

Boy,watercolour on Bockingford 140lb NOT paper,

Muddy Track, watercolour, 11x15¾in. (28x40cm)

Frosty Rose Hips, watercolour on Khadi rag paper, 9x6½in.

Studies and sketches of creatures

Butterfly (technical drawing pen)

Plants in my garden provide a range of organic shapes

Garden containers, pencil on Bristol

The finished drawing Inspired by the

Figure 1 Levels of simplification