THE UK’S BEST- SELLING ART MAGAZINE DECEMBER 2023 • £5.

25

I M P R OV I N G YO U R A R T W ITH E V E RY I S S U E

WIN!
Four seasons OVER
in one day £2,000
OF ART PRIZES
Get outside and capture IN THIS MONTH'S
GIVEAWAY
the changing landscape

Jonathan
Yeo
The world’s most
popular portrait How to paint
painter shares the ordinary –
his secrets
and make it
extraordinary
Send them
something David
special Hockney
Make your own The drawings
Christmas cards – of an early
we show you how genius
 A R T I S T S & I L LU S T R AT O R S • D E C E M B E R 2 0 2 3

Regulars
5 SKETCHBOOK Quick tips,
ideas and inspiration. Plus, this
month’s exhibitions.
16 PRIZE DR AW Win the
Christmas Gift Hamper worth
over £2,000
18 WE PRESENT... British Art
Club member Jackie Ward
26 HOW I MAKE IT WORK
American oil artist Kelli Folsom
on fully committing to an art
career despite the challenges
64 YOU TELL US Write in to win a
£50 Atlantis art voucher
82 PICTURE THIS with Canadian
landscape artist David Sharpe

Inspiration
12 GIFT GUIDE Inspiration for
creative Christmas gifts
20 IN THE STUDIO Explore the
realm of celebrated portrait artist
Jonathan Yeo
28 HOW I PAINT Landscape artist
Tony Allain on how colour and
light influenced his work
34 THE BIG INTERVIEW Dive
into the creative world of semi-

20
abstract painter Tamara Williams
40 RETROSPECTIVE Discover
David Hockney’s early drawings
44 IN DEPTH A new exhibition at
the Royal Academy unveils a

66
stunning collection of paperworks
50 EXHIBITION Explore the life
and works of Philip Guston in a
new retrospective at Tate Modern

Techniques
56 MASTERCL ASS Liz Chaderton’s
fifth book provides confidence and
skills for artists
66 STEP BY STEP Sandrine Maugy
presents a Christmas card tutorial
using ink and watercolour
72 HOW TO Spanish painter
Vicente Garcia Fuentes paints a
boat on a winter marshland
76 DEMONSTR ATION British
artist Janie Longmore shows you
how to paint her favourite new
subject: a book
34
 ED I TO R 'S L E T T ER

Stay inspired This season, there’s

by subscribing!
ARTISTS & ILLUSTRATORS
more inspiration… EDITORIAL
Editor
Phone: …than ever from nature because the wet Niki Browes
+44 (0)1858 438789 summer has given us a gift that has meant that Art Editor
Email: the trees have not been under the pressure of Stuart Selner
the droughts of 2022. This means that The Assistant Editor
artists@subscription.co.uk
Ramsha Vistro
Online: National Trust has predicted that the nation can
subscription.co.uk/chelsea/solo look forward to potentially luminous displays of Contributors
reds, ambers, butter yellows and russet browns Martha Alexander, Liz Chaderton,
Post: Sarah Edghill, Amanda Hodges,
Artists & Illustrators,
in our foliage – and more. Andy Jasper, head of Sandrine Maugy, Sara Mumtaz, Janie

Subscriptions Department,
gardens and parklands at the Trust, predicts Longmore, Vicente Garcia Fuentes

Chelsea Magazines,
that the UK is about to be wrapped in a “warm info@artistsandillustrators.co.uk

Tower House, Sovereign Park,

Lathkill Street, Market
Harborough, LE16 9EF
Renew:
subscription.co.uk/chelsea/solo
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blanket” of beautiful colours, which is always a delight to see. Jasper
said the autumn spectacle will likely start in Scotland, where ADVERTISING
temperatures typically drop the fastest. This will undoubtedly be Group Sales Director
welcome news for this month’s cover star, landscape painter Tony Catherine Chapman
(020) 7349 3709
Allain, a Scottish native and lover of natural night. He says, “The catherine.chapman@
clarity of this at certain times of the day in these locations invites me chelseamagazines.com
to try and capture these glorious conditions.” Advertising Manager
Elsewhere, one of the most respected portrait painters in the world, Hannah Lees
Jonathan Yeo, shares his tips for success, whilst we have a fascinating 07715631382
retrospective into a new exhibition of the early works of David hannah.lees@
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Hockney, Britain’s greatest living painter.

Welcome to On the practical side, there’s more than ever. Acclaimed

professional painter and author Liz Chaderton shows you how you
Advertising Production
allpointsmedia.co.uk

THE
British can achieve stand-out portraits on toned paper, Sandrine Maugy
shares her tips on creating your own Christmas card and Janie
MANAGEMENT

Art
The fabulous new
CLUB Longmore shows you how even the simplest of subjects – such as a
book cover – can make for an insightful still life.
Last but definitely not least, there’s our Christmas Hamper Prize
& PUBLISHING
Managing Director
James Dobson
Publisher
Draw, worth well over £2,000, where one lucky winner will receive a Simon Temlett
website for showcasing
THIS MONTH’S COVER BY TONY ALLAIN

Chief Financial Officer

and selling your art bounty of art prizes. For all who enter, we wish you the best of luck. Vicki Gavin
Subs Marketing Manager
Bret Weekes
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2023, part of the
Telegraph Media Group, 111 Buckingham
Palace Road, London, SW1W ODT
Phone: (020) 7349 3700
artistsandillustrators.co.uk

JONATHAN YEO
Jonathan is one of the world’s
leading portrait artists whose
sitters include various royalty
and world leaders. His work,
which spans both traditional
and experimental portraiture,
has been the subject of shows
at London’s National Portrait
Gallery, Royal Academy of
Arts, the Smithsonian in
Washington DC and more.
KELLI FOLSOM
An acclaimed artist, author,
and dedicated mentor within
the art world, Kelli has taken
it upon herself to establish a
nurturing community that
cultivates artistic identity and
equips individuals with
essential tools in her Art Life
School. The school’s
commitment? To empower
artists from all walks of life.
SARA MUMTAZ
Sara’s love for understanding
people at a deeper level has
led her to explore their
creative expression across
fashion, lifestyle and art. She
holds a journalism degree
and has contributed to
various leading publications.
In her free time she indulges
in different avenues to
channel her passion for life.
Write to us!
TAMARA WILLIAMS
Send us your latest paintings,
Each of Tamara’s paintings
tips or artistic discoveries and you
explores the simplification of could win a £50 voucher:
pattern, space, colour and
texture from the places she info@artistsandillustrators.co.uk
has visited. Some of these are
@AandImagazine
specific to landscapes around
her studio in Surrey but
/ArtistsAndIllustrators
mostly they are a visual
amalgamation of memories @AandImagazine
and feelings from one or
many places. @AandImagazine

4 ARTISTS & ILLUSTRATORS

 T I PS • A DV ICE • EX H IBI TIONS • NEWS • R EV I EWS E D ITE D BY R AM S HA V I STRO

Things
we love...
Combining food, art and
nostalgic objects, Juicy! is the
inaugural solo exhibition
by classically-trained,
contemporary artist Florence
Houston. Juicy! sparks an
interesting conversation about
the intersection of art, history
and gastronomy, and this
unique display will transport
viewers into a bygone era
through a contemporary
lens. Houston says, “It’s very
satisfying painting a plastic bag
using exactly the same materials
and techniques that’s been
used to paint centuries of Kings,
Popes and other pomp and glory.”
From 1 to 7 November 2023 at
J/M Gallery, London W11 1LJ.
Juicy! will continue online
until the end of November
via florencehouston.com ▫
COURTESY THE ARTIST

Lemons in Striped
Plastic, oil on
canvas, 2023
 Sketchbook
HIGH PLACES SERIES. PHOTO COURTESY OF THE ARTIST

WIMBLEDON ART FAIR

WIMBLEDON
ART STUDIOS
Experience an immersive
art extravaganza, celebrating
the creativity of over 150
talented London artists and
makers from 16 to 19
November 2023. Step into
their working studios, where
you can explore thousands of
captivating artworks and
purchase directly from the
creators. Pre-book your free
ticket to unlock exclusive
perks, including live music,
delectable food, and
engaging creative
workshops. Don’t miss this
chance to be absorbed into
the vibrant world of art.
wimbledonartstudios.co.uk

Don’t miss...
Renowned artist Sir Quentin Blake continues to
showcase his boundless creativity with an upcoming
exhibition at Hastings Contemporary. This autumn,
he presents three sets of pen drawings, each
revealing a distinct facet of his artistic journey. After
decades of working with ink and ballpoint pens,
Blake returns to his roots with intricate, scratchy pen
drawings. The exhibition includes High Places and
Lofty Structures inhabited by enigmatic figures and
vultures, VTT – his invented all-terrain bicycles, and
Imaginary Portraits. Despite his mastery, Blake
humorously acknowledges that not a single blot was
spared in their creation. This latest exhibit promises
to be a highlight in his illustrious career. It runs until
12 November 2023 at Hastings Contemporary,
Rock-A-Nore Road Hastings East Sussex TN34 3DW.
hastingscontemporary.org

Join us online! B O O K O F THE M O N TH

THE DRAWINGS OF VINCENT VAN GOGH
Are you enjoying the Christopher Lloyd
inspiring content in this Discover Vincent van Gogh’s mesmerising
magazine? If so, find lots drawings in Christopher Lloyd’s The Drawings of
more on our enlightening Vincent van Gogh. With 210 illustrations, the
Artists & Illustrators website. book delves into van Gogh’s lesser-explored yet
One of the biggest and best remarkable works, offering thematic insights into
digital resources for artists of all abilities, the his creative journey and emotional expression.
refreshing new redesign makes our How To Explore his self-taught approach and the
guides, competitions and interviews even more significance of drawing in his oeuvre, providing
insightful to read. artistsandillustrators.co.uk fresh perspectives on this iconic artist’s legacy.
Thames & Hudson, £35.00.

THE
2 4 NOVEMBER 15 DECEMBER 4 JANUARY 10 JANUARY
Enter The Pastel Society Open call for site-specific, Submit your 2D and 3D Enter the RBA Rome
Exhibition now for a wall-mounted works for pencil or coloured pencil Scholarship & RISING

D IA RY
chance to showcase your
dry media art at Mall
Galleries. The prize fund
Open calls, totals £4,150. It’s £20 per
prizes and artist piece or £14 if under 35.
opportunities mallgalleries.org.uk
the G. & A. Mamidakis
Foundation Art Prize.
Three selected artists will
each win €7,000. Free.
namamidakisfoundation.
org
artworks and enter the STARS Exhibition with
Derwent Art Prize 2023. your figurative work to
You could win from £500 win a month in Rome.
to £4,000. It’s £15 for the Entry costs £10.
fi rst work. royalsocietyof
new.artopps.co.uk britishartists.org.uk

6 ARTISTS & ILLUSTRATORS

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 Sketchbook
THE DROP, PHIL SUPPLE. LUMIERE 2023 RENDER

SLAPETOVA BARBORA, RITTSTEIN LUKAS

C ELE STIAL ART
Step into the enchanting world of ULTRA-SUPER-NATURAL,
a multi-media exhibition unveiling in Notting Hill on
3 November. In a captivating project spanning two decades,
Czech artists Barbora Šlapetová and Lukáš Rittstein
transport you to the mysterious existence of Earth’s last
natural tribes. Through experimental animations,
drawings and sculptures, they unveil the captivating
tapestry of two worlds colliding and the profound essence
of humanity. Vitrínka Gallery, 30 Kensington Palace
Gardens, W8 4QY. czechcentre.org.uk

WEDGWOOD CARYATID, 2023, GLAZE ON PORCELAIN, 233.7X78.7X53.3CM

BE INSPIRED
From 16 to 19 November 2023, between 16:30 and 23:00 each night, the medieval
city of Durham will transform into a mesmerising nocturnal art experience.
The city’s streets, bridges, buildings and river will host illuminated artworks,
spanning iconic locations like the bustling Market Place, the UNESCO World
Heritage site of Durham Cathedral and Durham University’s campus. Lumiere,
the UK’s inaugural light art biennial, celebrates its 14th year with over a million
visitors and artists offering free public exhibitions. Lumiere showcases local
talent, global artists and community involvement, reinforcing Durham’s
cultural significance and commitment to inclusive growth. lumiere-festival.com

IMMERSE YOURSELF
Presenting Wedgwood, an exhibition of new works by
SILA SEN, AFTER HUMANS TRANSMISSION REVERBERATION_C (1)

Francesca DiMattio. In her fourth solo show, DiMattio

creates an immersive installation with self-designed
wallpapers and carpets, serving as a rich backdrop for
sculptures ranging from grand to intimate. Her
multidisciplinary practice challenges conventional notions
of domesticity and decor, deconstructing everyday objects
BOW ARTS 202 3 into sculptural furniture reminiscent of 18th-century
Artist and activist Chila Kumari Singh Burman will curate Bow Arts’ annual Sèvres porcelain. DiMattio’s manipulation of scale and
exhibition, Bring Your Light, at the Nunnery Gallery. With a strong east London context prompts viewers to reconsider surface, genre, and
presence, she’s known nationally for her Tate Winter Commission and has the concept of femininity. From 17 November to 23
worked closely with the local community, mentoring young artists from local December 2023 at Pippy Houldsworth Gallery, 6 Heddon St,
schools. bowarts.org London W1B 4BT. houldsworth.co.uk

8 ARTISTS & ILLUSTRATORS

 
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T H E B E S T A R T S H OW S T O V I S I T F R O M N OV E M B E R O N WA R D S
ALBRECHT DURER - THE HARROWING OF HELL - CHRIST IN LIMBO-THE LARGE PASSION-GERMANY, 1510, COURTESY OF THE SCHRODER COLLECTION
THE DE VIL IS IN
THE DETAIL
On until 10 April 2024
The Devil is in the Detail: Dürer’s
Great Passion and Early Woodcuts from
the Schroder Collection will display one
of the most important series of
woodcuts in Albrecht Dürer’s career,
the Great Passion – which is rarely seen
in its complete set – as well as several
other key works from the era. At the
same time, There Goes the Sun will
10 ARTISTS & ILLUSTRATORS
Sketchbook
CELIA, CARENNAC, AUGUST 1971 BY DAVID HOCKNEY, COLOURED PENCIL ON PAPER, 43X36CM © DAVID HOCKNEY, PHOTO CREDIT: RICHARD SCHMIDT, COLLECTION THE DAVID HOCKNEY FOUNDATION
CARNIVAL HORSE, 1954. © ESTATE OF JOHN CRAXTON/DACS ALL RIGHTS RESERVED, 2023
JOHN C R A X TON: A MODERN ODYSSE Y
On until 21 April 2024
Positioning Craxton within the historical and social
context of both mid-century Britain and Greece, this
exhibition features over 100 works exploring the
artist’s extensive travels, experiences of exile and his
enduring defiance of convention as a bohemian and
openly gay man. It will be shown alongside a display of
works by Craxton’s contemporaries, including Lucian
Freud, Paul Nash, John Piper and Graham Sutherland.
Pallant House Gallery, 8-9 North Pallant Chichester,
West Sussex PO19 1TJ. pallant.org.uk
THE DANC E OF PEOPLE AND
THE NATUR AL WORLD
show at least five modern woodcuts On until 3 March 2024
by fellow German artist Christiane This is the first major UK solo exhibition of new
Baumgartner (b.1967). The works will and recent works by Lagos-based artist Nengi
be displayed at Strawberry Hill House Omuku, exploring her profound relationship with
& Garden, where centuries earlier the natural world. The Dance of People and the
© THE ARTIST, WELCOME HOME, 2022
Horace Walpole had kept a vast Natural World will not only introduce Omuku’s
collection of woodcuts and engravings, work to a wider UK audience but also seek to
including over 300 by the German broaden the exposure and awareness of the
Renaissance master. vibrant contemporary Nigerian art scene.
Strawberry Hill House & Garden, Hastings Contemporary, Rock-a-Nore Road,
268 Waldegrave Road, Twickenham Hastings TN34 3DW. hastingscontemporary.org
TW1 4ST. strawberryhillhouse.org.uk
 LUCY HARWOOD, LANDSCAPE WITH BLUE MOUNTAIN, COLCHESTER ART SOCIETY, PHOTO: DOUG ATFIELD. KIND PERMISSION OF COLCHESTER ART SOCIETY. COURTESY ESTATE OF LUCY HARWOOD
LUC Y HARWOOD: BOLD
IMPRE SSIONS
2 December 2023 to 14 April 2024
This show will display bold paintings with an
immediacy of colour and energy, commanding
the space with their vibrancy and confidence.
As part of its ongoing series of exhibitions
focusing on painters of The East Anglian School
of Painting and Drawing at Benton End, a light
will now be shone on the life and career of Lucy
Harwood (1893-1972). Visitors will explore over
100 of Harwood’s artworks.
Firstsite, Lewis Gardens, High Street, Colchester
CO1 1JH. firstsite.uk

▶
DAVID HOC KNE Y: DR AWING FROM LIFE
On until 21 January 2024
This exhibition explores the artist’s work over the last six
decades through his intimate portraits of five sitters: his
mother, Celia Birtwell, Gregory Evans, Maurice Payne
and the artist himself. The 2023 exhibition will also
debut a selection of over thirty new portraits. Painted
from life, they depict friends and visitors to the artist’s
Normandy studio between 2021 and 2022.
National Portrait Gallery, St. Martin’s Place, London
WC2H 0HE. npg.org.uk

CL AIRE CANSIC K:
▶
YOU AND I ARE E ARTH
On until 14 April 2024
Claire Cansick’s (b.1971) new exhibition, You and
I Are Earth – her first in a public gallery – acts as
a stark reminder of the increasingly damaging
effects of climate change. After a summer
scarred by wildfires across Europe and North
America, accompanied by record temperatures
and floods in countries across the globe, Firstsite’s
presentation of Cansick’s exhibition is especially
poignant. Featuring over 40 artworks, it is the
culmination of a project the Norfolk-based artist
began in 2022, intending to chart climate change-
GELDESTON FLOOD, NORFOLK, MIKE PAGE © THE ARTIST

related weather events.

“The objective was to record an entire year of
reports, effectively freeze-framing the fleeting
images we are fed through various media,
allowing time for appropriate reflection of their
serious nature and then collectively observing
the entire picture of climate change over 12
months,” she explains.
Firstsite, Lewis Gardens, High Street, Colchester
CO1 1JH. firstsite.uk

ARTISTS & ILLUSTRATORS 11

 ‘Tis the season to load up
your shopping carts with
holiday presents for your
artistic friends and family.
Unsure about what to get for
a creative enthusiast? Check
out our top choices for
Rosemary & Co
Celebrate artistry with Rosemary & Co’s 40 years of brush-making excellence. The
unique brushes reflect their passion for art. As a family business, they value the
‘old-fashioned’ touch. Discover quality brushes at competitive prices; they’re your
ideal Christmas gift destination for artistic inspiration. Enhance your creativity this
Christmas with Rosemary & Co – where tradition, passion and artistry meet in
every brushstroke. Gift cards from £10.00. rosemaryandco.com

imaginative Christmas gifts

this season – with the chance
to win the lot, worth over
£2,000, on page 16!

12 ARTISTS & ILLUSTRATORS

 ◂ Derwent
Make this Christmas unforgettable with
Derwent’s Inktense Watercolour Ink Pencils!
These vibrant, water-activated pencils add a
burst of festive magic to your art. Pair them
with Derwent Push Button Waterbrushes for
extra flair. Elevate your holiday creations
with the Inktense Paper Pad, making sure
your festive art retains its brilliance. Get
ready to craft your way into the Christmas
spirit! Inktense Pencils: £259.99, Inktense
Paper: £38.99, Push Button Waterbrushes:
£27.49. derwentart.com

Marilyn Allis
◂
This holiday season, consider gifting the artists in your life a
unique Bournemouth painting retreat. With studio views that
overlook the serene sea, it’s an inspiring escape. During the break,
they’ll receive expert guidance from three accomplished artists,
covering diverse techniques and subjects. It’s a thoughtful present
that allows artists to recharge and enhance their skills, making
their Christmas even more meaningful with Marilyn’s cherished
TRIO breaks. marilynallis.com

BBC Maestro
◂

This Christmas, treat your loved ones to exclusive time with world-class
experts through BBC Maestro’s selection of online courses. Whether it’s
with one of the art world’s most in-demand portrait painters, Jonathan
Yeo (who we have an exclusive interview with on pages 20- 24), levelling
up your Christmas dinner with cookery skills from Michelin-starred chef
Marco Pierre White or drafting the next bestseller on everyone’s
SHUTTERSTOCK

Christmas wish list with advice from Julia Donaldson, Malorie

Blackman, or Lee Child, there’s a BBC Maestro course to suit every
stocking. Subscriptions from £79-£120. bbcmaestro.com
 Xencelabs

◂
Unwrap the gift of creativity this Christmas with the Xencelabs Pen Tablet Medium bundle,
meticulously crafted by industry professionals and artists. Its sleek design, lifelike drawing
surface and efficient features make digital art a joyful breeze. Ideal for students and professionals
in various fields, from graphic design to 2D and 3D animation. The 16:9 LED-lit surface offers
glare-free realism, while wireless or wired connectivity caters to your needs. With two pens

Clip Studio Paint offering several pressure levels, a QuickKeys remote, a carrying case and drawing glove, creativity
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Created with artists in mind, Clip Studio
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of tools for digital art of all kinds. The
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◂ St Ives School
natural drawing feel and an experience that
even traditional artists can appreciate. The of Painting
digital brushes come in a wide variety to suit Treat your favourite person to a memorable
your painting style, with customisation creative experience with a St Ives School of
available for the ideal brush shape and Painting gift voucher. Based in stunning
texture. All the painting tools you need to studios overlooking Porthmeor Beach in St
sketch and paint on the go, without the Ives, the School offers a varied and exciting
clean-up. Available on all major platforms programme of studio and online courses,
including Android and iPad. Licenses from suitable for artists of all levels from complete
£0.82/month. clipstudio.net beginners to those with more experience.
These can be used towards any of their
courses, studio or online. Vouchers start
from £10. schoolofpainting.co.uk

◂ Da Vinci
This Christmas, elevate your artistic
journey with Da Vinci’s Luxury Travel
Brush Set and experience the perfect
Win!
You can have the chance to
fusion of innovation and elegance. The
win in all of this – worth over
elaborate click mechanism lets you
£2,000 – in our Christmas
securely fix, exchange or store brush tips
bonanza gift guide on
within the handle, ensuring precision on
page 16. How about
the go. Discover the Ethergraf tip at the
that for a Christmas to
handle’s end, enabling you to sketch and
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draw on modern paper. Presented in a
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the stylish creative in your life. Travel
Brush set at £199. davinci-defet.com

14 ARTISTS & ILLUSTRATORS

 Have yourself a
Cult Pens Christmas
Giving a gift is wonderful. It’s even better if it’s something
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Stationery of course!
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ult Pens offer an ever-growing
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There’s… well, everything! Pens, markers
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Customer Service team is on hand to help
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And all that on one easily navigable website.
All of this, simply at the touch of a button.
There’s a host of beautiful, useful things
to browse for Christmas with gift wrapping
and engraving available, too. And if you’re
faced with somebody really difficult to buy
for, Cult Pens offer a Gift Card as well!
But what makes Christmas, Christmas?
A lot of it is sheer anticipation, so why not
count down with a daily bottle of ink?
Without giving too much away (because
that’s just too bah humbug), the Diamine
Ink-vent Calendar contains 25 little bottles
of sheeny, shiny ink. You could keep the
contents for stockings or Secret Santa. Or
yourself, obviously.
It wouldn’t be Christmas without a tree,
would it? So how about adorning it with felt
pen and ink bottle decorations that support
rural households in Thailand? They’re
hand-made at home which means women
don’t have to venture into cities to fi nd work.
What better Christmas message than that?
Oh, and don’t litter the Christmas table
with bits of plastic that just end up in the bin.
Shower the family with useful stationery
instead! Cult Pens’ Christmas Crackers
contain pens, clips, tape and even a ruler.
There are obligatory hats and stupid jokes,
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Have a cracking Christmas!
cultpens.com
Use the code CPART10 at check-out to
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 worth over HOW TO ENTER
Enter by noon on 30 December 2023,
either at artistsandillustrators.co.uk/
competitions or by filling in the form

£2,000
below and returning it to:
Christmas Hamper,
Artists & Illustrators,
Chelsea Magazine Company Ltd,
Telegraph Media Group,
111 Buckingham Palace Road,
London, SW1W ODT
Enter our Christmas prize draw and seize the opportunity to relish a
wealth of art supplies and beyond, as the new year begins!
xperience the enchantment of the sack also holds a £250 gift voucher from CHRISTMAS HAMPER

E holidays with our spectacular Christmas

Hamper Giveaway, overflowing with
festive cheer and valued at over £2,000! We’re
Rosemary & Co, St Ives School of Painting and
Marilyn Allis. Don’t miss the Clip Studio Paint
license worth £183 and a one-year subscription Name:
PRIZE DRAW
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thrilled to play Santa and grant one lucky
reader with a treasure trove of artistic wonders.
Inside this amazing hamper, you’ll unwrap a
to BBC Maestro, worth £120.
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bundle of creative delights, including a by adding a bundle of art materials – including

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16 ARTISTS & ILLUSTRATORS

 A R T I S T S & IL L U S T R AT ORS F E S T I V E P R OMO T ION

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 This
m o n t h ’s
spotlight on a
British Art Club
member

JACKIE WARD
An artist who likes to continually
experiment and sees inspiration all
around her

J
ackie Ward has always enjoyed painting,
but never really considered herself an artist as she
“didn’t think I was clever enough to be classed as
one.” Even so, when she was much younger, she won
several painting competitions, which inspired her
to try harder. “The competitions were mainly in the
local newspaper when I was about 12 years old. Prizes
were books, the loan of a piano accordion and some
free lessons,” Jackie shares.
She likes to experiment constantly with different
media and subjects, out of interest in new materials and
techniques. Her favourite medium is acrylic paint as it
“dries more quickly than oil, but I won some oil paints
and decided to use them for the still life paintings.”
Jackie attended a comprehensive secondary school
in the ‘50s and unfortunately, careers and university
opportunities were promoted more for boys in those
days. Thus, she’s never had any art tuition at all and is
completely self-taught.
“Fine art has never been a career for me, always a hobby,
but I was a graphic artist back in the day. I am completely
retired now, but still paint and experiment for pleasure. If
I wasn’t a painter, I would love to be a vet and in my spare
time, I dabble in pottery as I have an electric kiln.
“We live by the sea; the seascape is ever-changing, and
its power and motion are fascinating. No two days are the
same. In everyday life, I am mostly inspired by the sea but
I see inspiration all around me and never need to look
for it. I have no definite style of my own and, although
I’ve always enjoyed traditional landscapes, I like to
experiment with a whimsical feeling. I begin with
looking at a traditional landscape picture and then
recreate it using a limited colour palette.”
With each painting, Jackie hopes to “create something,
that someone will like enough to hang in their home.”
Any words of wisdom for the artists of today? “Aspiring
artists should paint whatever interests them and, most
importantly, enjoy it.”
britishartclub.co.uk/profile/jackiewardart ▫

18 ARTISTS & ILLUSTRATORS

The Wharf, St
Ives. Circa
1890, acrylic
on board,
50x50cm

Off Piste, acrylic on board, 63x74cm

Saphire Bay, acrylic on board, 64x74cm

Fishing Boats, Mevagissey, acrylic on board, 76x63cm

ARTISTS & ILLUSTRATORS 19

H O W I WOR K IN T H E ST UD IO

Renowned for pushing the

boundaries of portraiture and
challenging the very essence of
art itself, one of the world’s
most in-demand portrait
artists, JONATHAN YEO, is a Claire’s Room
(Grayson Perry),
vibrant luminary in the oil on canvas,
127x101cm
contemporary art scene, says
Ramsha Vistro ▸
20 ARTISTS & ILLUSTRATORS
ARTISTS & ILLUSTRATORS 21
H O W I WOR K IN T HE ST UDI O

J
onathan Yeo directs mesmerising
cinematic stories of colour and form
that transcend the traditional confines
of portraiture. His work – an alluring
amalgamation of realism and
abstraction – plunges deep into the
psyche of his subjects, unveiling their
complexities, layer by layer. As a maestro of
the canvas, Jonathan’s artistry brings forth a
kaleidoscope of emotions and narratives that
captivate the viewer, leaving an indelible
mark in the tapestry of modern art, where
portraiture becomes a journey of revelation.
Still, his venture into the art world wasn’t a
straight path. Jonathan reminisces about the
factors that facilitated his creativity growing
up. “In retrospect, something which helped
me concentrate when drawing, was – what I
now know as – ADHD.”
According to the National Library of
Medicine, hyperfocus – a lesser known yet
common symptom of ADHD – can be a
valuable asset, especially for artists, as it can
help them focus intensely on things they
are interested in. “I found it easier at school
to concentrate when I was drawing and doing
something with my hands, but particularly Helena Bonham
drawing,” he shares. At the time, Jonathan Carter, oil on
couldn’t have foreseen how these early canvas, 101x101cm
experiences would set the stage for a prolific
career as an artist.
Was there a pivotal moment that ignited
Girl Reading (Malala
his passion for art? “I don’t know, really,” he
Yousafzai), oil on
muses. “My grandmother was a big art fan.
canvas, 89x89cm
She wasn’t practising herself, but she was
always giving me art books.” It was such
gestures that lit the artistic spark within him.
Jonathan didn’t go on to study art at
university as “in the early ‘90s, no one was
really bothered about painting, especially
figurative painting,” he notes. “There weren’t
many courses available.” So, Jonathan took a
detour into the world of film studies, a field he
thought might lead to a more practical career.
However, it was during this time that he began
to see the subtle ways in which his artistic
sensibilities were shaping his perspective.
“Film is a very visual medium,” he points out.
“It gave me a lot of exposure to the history and
culture of cinema.”
This spotlight on visual storytelling, lighting
and composition greatly influenced his later
work as a portrait artist. “I’ve always been very
interested in cinematic lighting,” he confesses.
“I’ve got film lights here in the studio. I never
use flash photography and pay great attention
to the lighting in my paintings.”
Jonathan’s west London studio is an
enchanting realm of creative exploration.
Bathed in natural light and greenery, the
space exudes an ambience of artistic serenity.
Stacked canvases adorn the walls, showcasing

2 2 ARTISTS & ILLUSTRATORS


portraits that capture a multitude of human
emotions. Every corner holds a treasure trove
of inspiration, from shelves filled with art
books to the film lights that speak of his
cinematic influences. It’s a sanctuary where
Jonathan’s vibrant visions come to life.
His approach to portraiture evolved in
tandem with these cinematic influences.
“If you’re painting a human subject,” he
explains, “it can help a lot if they’re putting
something into it and telling stories through
their body language and expressions.” This
knack for capturing the essence of his subjects
is what laid the foundation for Jonathan’s
foray into portrait painting.
On the topic of celebrity sitters, a hallmark
of Jonathan’s career, he reflected on how this
fascinating aspect of his work had unfolded
over time. “It happened bit by bit,” he admits.
“A majority of my early work was just
HRH the Duke of
Edinburgh, oil on
canvas, 38x30cm
painting friends and family.”
It was a fundamental moment during his
university years that provided an unexpected
opportunity to delve deeper into portraiture.
“During my last year at university, I was being
treated for cancer because I had Hodgkin’s
lymphoma,” Jonathan reveals. “I was
throwing myself more into painting to keep
my spirits up.”
Then, a family friend requested a portrait,
ARTISTS & ILLUSTRATORS 2 3
H O W I WOR K IN T HE ST UDI O

and this seemingly ordinary commission

became a turning point in Jonathan’s career.
“I think I was asked entirely out of sympathy,
but that painting was a bit of a revelation,”
Jonathan admits. “Initially, it was going
badly, and I didn’t really know why,” Jonathan
shares, reflecting on that decisive moment.
A friend, who was attending art school,
offered a suggestion that would alter the
course of his career. “He said, ‘It doesn’t really
feel like you, why don’t you start again and
just have fun with it?’ I thought that was a bit
reckless, but I took the advice. The next one
came together in a couple of hours,” he
continues, “and it was loose with a bit of that
cubism and gentle abstraction. It felt easy and
enjoyable and was a much better piece.”
He adds, “At the time, I was struggling a lot
in every way, personally and professionally,
and this was my break which led on to a
handful of commissions which meant I was just
able to eke out a living for a couple of years, at a
point when it was so easy to be put off.”
Jonathan has captured numerous notable
figures from various walks of life. His
remarkable portfolio includes portraits of
renowned individuals such as Nobel Prize The Preserving
laureate Malala Yousafzai, royalty; including Machine, oil on
canvas,
the Duke of Edinburgh Prince Philip and
101.5x76cm
iconic actress Sienna Miller. These portraits
offer a window into their multifaceted worlds,
portraying their uniqueness and how you could tell a story through depicting the
contributions to society. Does the artist invite process and results of these operations.”
his sitters to his studio, or does he prefer
I’ve always been Jonathan’s artistic journey is marked by his
painting from photographs? “In an ideal very interested in willingness to embrace uncertainty and
world, you’d have someone sit with you all spontaneity. “When I’m painting, I like not
the time,” he laughs. “But in practice, that’s cinematic lighting. knowing how it’s going to end up,” he smiles.
quite difficult because it’s hard to predict His approach involves experimenting with
when you’ll want to work.”
I’ve got film lights different techniques and embracing
He highlighted the importance of capturing here in the studio unexpected developments along the way.
his subjects in various settings and moods, His recent collaboration with BBC Maestro
emphasising the dynamic nature of his reflects his commitment to sharing his
creative process. “I think it’s healthy to see Jonathan described the thorough process, knowledge and insights with aspiring artists.
people on different days,” he adds. where each piece demanded hours of He described how the lockdown led to
Photographs often played a role in his work, meticulous effort; carefully matching creative experimentation with the positive
providing valuable references, especially magazine cut-outs with painted elements, response to his online art tutorials, which
when time constraints limited his access to crafting intricate compositions. reinforced his belief in the value of teaching.
sitters. Jonathan also shared a unique But the collage of Bush wasn’t just a Jonathan’s artistic journey continues to
technique he used to gain a more standalone piece; it was part of a broader evolve, guided by his curiosity, willingness to
comprehensive understanding of his subjects. exploration. It was during this period that take risks and passion for storytelling
“I often print out dozens of little snapshots of Jonathan’s interest in plastic surgery began to through art. His career serves as a testament
people in different expressions,” he reveals. “It take shape. He saw the potential to use his art to the power of embracing uncertainty and
helps me get a sense of someone being more to tell powerful stories about societal shifts pushing the boundaries of creativity. As he
than just a fixed expression.” and the psychological pressures people face. ventures into new territories, Jonathan
One of Jonathan’s most notable moments “To depict these stories authentically,” he remains an artist who inspires others to
in his career was his collage of George Bush, explains, “I had to work from photographs that explore the limitless possibilities of art.
which gained significant attention. “Some of the surgeons provided. In other cases, I was jonathanyeo.com
my friends were nervous that it might ruin granted access to operating rooms to take my
my reputation as a serious painter,” he own pictures.” His approach required a slight Jonathan Yeo is collaborating with BBC Maestro
recalls. However, Jonathan didn’t share those departure from his usual style, leaning towards for his first-ever online course. Enter this
concerns and was willing to take a risk. a more classical aesthetic that would effectively month’s prize draw for your chance to win a
Creating these collages was no small feat and convey contemporary narratives. “I realised free lesson with Jonathan. bbcmaestro.com ▫

2 4 ARTISTS & ILLUSTRATORS

 A S O LO S H OW BY D R J O H N LOW R I E M O R R I S O N O B E

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G UES T COL U MNIST

H OW I M A K E I T WO R K

Kelli Folsom
American oil artist Kelli Folsom shares how she fully committed
herself to an art career no matter the challenges

W
hen I decided to go
KELLI’S TIPS
to art school and ON BECOMING A
become an artist at FULL-TIME ARTIST

1
28 years old (15 years ago), I
didn’t realise that I would end
up supporting myself solely
with my art. But I divorced my
then partner who I was Choose to believe you’re
counting on for financial good enough right now,
support. Everyone was worried just as you are
about how I would ‘make it.’ I Don’t wait to get better.
guess I should’ve been too, but You’re not going to reach a
I was determined. pinnacle of perfection or
So, I did what I had to do to: have someone magically
first, get through art school. anoint you as ready and
Then, I realised that if I was worthy. Stop comparing
going to make it after art school, yourself to everyone else;
I needed to get so much better at stay in your own lane, do
my art and start learning how to your work and put it
sell it as soon as possible. I out there.

2
started entering local shows in
Connecticut (where I went to
school) and started selling a few
paintings here and there. Then,
I started privately tutoring Promote your work
kids and that opened doors to consistently
teaching art classes for adults. Any artist who’s afraid to
I tried a lot of different paths. I be ‘salesy’ will never make
think you have to, but one thing a good living. Be your own
I chose not to do was get a job, cheerleader and manage
even part-time. I’m a believer in your emotions, your mind
the ‘burn the boats’ mentality. and your energy. Have
Why would I have a plan B your own back through
when I haven’t even tried plan both victories and defeats.

3
A? You can’t make decisions out
of a scarcity mentality when
you’re an artist. You’ve got to
decide what you want and then
T O P Fall Sunflowers,
go after it full steam ahead. oil, 50x41cm
Don’t stop your education
You’ll have tough times and A B OV E Farm Fields at at just art technique
good times. It’s just part of the Sunset, oil, 25x76cm That is only 20% of the
deal. You are sort of walking a L E F T Orange Ginger formula for art success.
Jar, oil, 22x31cm
tightrope without a net. Even art school doesn’t
There’s no manual to follow teach you the business of
to get any of it ‘right.’ There’s art. So, invest in education
only your internal compass, that helps you learn how to
listening to your voice and market and sell your work
working at it. vigorously.
kellifolsom.com ▫

26 ARTISTS & ILLUSTRATORS

THE HEATHERLEY
SCHOOL OF FINE ART
Chelsea. Established 1845.

Post Diploma in
Figurative Painting www.heatherleys.org

EILEEN CHAMBERLAIN
2 8 ARTISTS & ILLUSTRATORS
 H OW I WOR K HO W I PA IN T

Self-taught landscape artist, TONY

ALLAIN tells Sarah Edghill about his love
of colour and light, and how his extensive
travels have influenced his work

T
ony Allain was five years old when he was caught
drawing butterflies on the wallpaper in the family dining
room, and the artistic bug never went away. As a small boy,
growing up in the Channel Islands, his spare time was
spent sketching – often ink drawings from life – and as an adult
landscape artist, he paints vibrant and dynamic work that
celebrates the colour and light that he sees in the world around him.
Completely self-taught, he was lucky enough to have a good art
master at primary school who recognised his natural talent and
enthusiasm and encouraged him to continue. Tony says “he was a
wonderful man” who took him under his wing and introduced him
to watercolour, which was a natural progression and enhanced his
Bennybeg Farm, ink drawings and guided Tony towards Impressionism. Sadly, he
pastel, 50x65cm
died after just a year of mentoring the young artist, so that was the
end of his formal training. From then on, Tony was flying solo.
Today, his work has become highly sought after and can be found
in many leading galleries, as well as in private and corporate
collections. Tony is a member of the Pastel Society London and the
Royal Society of Marine Artists, among others.
tonyallainfineart.com ▸

ARTISTS & ILLUSTRATORS 29

Pastels found me 45 years ago, via a
chance meeting.
An artist friend used to make his own
pastels and gave me a bunch of misshapen
homemade sticks to try out, which was a
lightbulb moment for me. In my early work
in watercolour and oils, which I practised
for about 25 years, I tended to be a tonal
painter using lots of ochres and earth
colours. The first time I picked up a stick of
pure pigment, my whole outlook changed,
and I was charged up with light and colour.
This was an extension of all those years of
drawing and sketching. No more Mr Grey!
No more brush washing! No more paint
mixing! I was getting instant and
immediate results and, as I’m an impatient
painter, pastel is well suited to my way of
revealing my vision.

Colour and light are my motivations for

choosing a subject.
The inspiration I get within the landscape
comes from seeing the effect of light
falling across a particular area – maybe a
mountain with snow peaks – or the way
shadows skip and dance over the land, or
the hard edges created by the facets of
rock. I favour the light and mood of early
morning and late afternoon: the light
sparkling on the water, the colour
reflected in the landscape. There is no Winter Snow,
finer experience than to be presented Glancoe, pastel,
with a wealth of material, literally on 70x102cm
one’s doorstep.

I have been fortunate to work in some

Field of Refuge,
great locations. Scotland, pastel,
Living in New Zealand for 10 years allowed 50x64cm
me to paint dramatic mountain ranges. I
lived in Cornwall, which had quaint fishing
villages, and having been born and raised
on the small island of Guernsey, I was
comfortable painting marine subjects.
Now, I live in Scotland, which has wild
Highlands and more than 30,000
freshwater lochs. The clarity of light at
certain times of the day in these locations
invites me to try and capture those
conditions. I get most inspiration from
the mood that can be created from the
atmosphere, generated by the nuances of
colour and light bouncing within the scene.
I value the stimulus of new places, but also
know there is an advantage for me to
return to more familiar locations.

Sketching from nature teaches me how

to use an abstract process.
The combination of line, shape and value
allows me to be constantly and totally at
one with my chosen subject. My goal is to

3 0 ARTISTS & ILLUSTRATORS

 H O W I WOR K HOW I PAI NT

Sothern Alps,
New Zealand,
pastel,
50x65cm

Snowdrift, Crieff,
Scotland, pastel,
20x46cm

record the atmosphere that gives me the

initial inspiration for a particular subject.
I try to get out into the landscape at least
twice a week to paint and also gather Above the
material with my sketch journal and Treeline, pastel,
camera at every opportunity. 50x65cm

My painting process is always

the same.
I start by making thumbnail sketches
incorporating the three main values of
dark medium and light. For these
sketches, I use various sizes of ink marker
pens and graphite pencils, sometimes
adding gouache to help me with colour
notes and highlights. For me, the most
important process is to block in my darks
to create the bones and structure of the
composition. Once I’m happy with this
stage, I then move on to adding local
colour, which helps me set the
temperature of the composition. As I
build up layers, I am conscious at all times
where the light source is coming from.
Glazing colour on top of other colour takes
a little practice because there is a tendency ▸

ARTISTS & ILLUSTRATORS 31

H O W I WOR K HO W I P AI N T
for colours to become muddy and
overworked. Once all of this blocking is
done and the main colours are established,
I work from the back of the painting (the
bones) and work my way forward. I save
the detail on the highlights until last to
keep the whole painting fresh and
clean, avoiding the colours that I don’t
want to become contaminated by the
darker passages.
Squinting helps cut out the unwanted
detail at the blocking in stage.
I frequently step back from my easel to
assess my progress. I paint alla prima,
which fires up my enthusiasm for keeping
the work fresh and alive. I try to stay clear
from any reworking of my paintings. My
aim is to make every mark with confidence
and never touch it again!
If I make a bad mark, I simply place a
better one next to it, to camouflage or
redirect the eye away from any
imperfection. I know when I’m laying
down marks that do not contribute to the
overall effect, that it is time to stop.
32 ARTISTS & ILLUSTRATORS
When I’m laying down
marks that don’t
contribute to the
effect, it’s time to stop
The quest for perfection can bring with
it fear of making mistakes.
This can result in a style which seems
inhibited. I’m not interested in pure
representation, my work is about
responses to the mood and atmosphere
generated by the landscape, still life or
even a busy street scene. For me, pictures
should be found to allow the artist to add
their own visual story to capture that
moment. The most precious thing an artist
has is their own visual language. When
selecting colours in order to express the
mood and atmosphere of the painting, I
generally find it helpful to exaggerate
these colour contrasts and relationships
First Snows,
Scotland, pastel,
50x65cm
which hopefully enhance and contribute
to the overall effect.
I’ve always been an impatient and fairly
aggressive painter.
The paper I use and other homemade
supports, do at times get a beating from me.
I’m not frightened to push, scratch and even
throw the pastel onto the paper, as long as I
get somewhere close to the initial concept
that first attracted me to the composition.
Sketching and drawing are the ABC
of painting.
It’s a language we can learn. I’m not sure if
you can teach someone to paint. I think an
established artist can guide and offer the
student a wealth of information; however,
learning one’s craft is a lifelong path of trial
and error. Ultimately, it’s all about practice.
Good lessons will provide students with the
necessary tools and knowledge to express
themselves using colour, tone and line, but
you will only discover the artist in you by
having the passion and desire to paint
through continuous practice. ▫
 Art in Italy
Small Group Luxury Art Retreats

Indulge your passion, explore truly authentic Italy and take in the breathtaking
surroundings on a thoughtfully crafted retreat with renowned tutors
Staying in the historic centre of a picturesque, medieval hill-top village with an infinity-
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Paint in stunning locations as well as our air-conditioned studio
Luxury en-suite air-conditioned rooms, serviced daily
Airport transfers and local transportation
Gourmet meals and delicious local wine all included
Easels, boards and portable stools and chairs provided
Non-painting partners welcome

2024 PROGRAMME
Helen Dannelly Palettes of the Italian Landscape 12-19 April
Justin Ogilvie Creative Portrait Painting: Expressive Realism 3 - 10 May
David Shkolny Plein Air for Colour Lovers 10 - 17 May
Oksana Zhelisko Capturing the Italian Countryside 17 - 24 May
Richard Claremont Colours of the Landscape 24 - 31 May & 31 May - 7 June
Eli Cedrone Sketching, Watercolours, Oils 7 - 14 June
Anthony Barrow Italian Light using Water-based Media 14 - 21 June
Terry Jarvis The Wonders of Watercolour 28 June - 5 July
Christopher Cole Make Art in Le Marche 12 - 19 July
Tracy Verdugo Paint your Wanderlust in Italy 9 - 16 & 16 - 23 August
Lori Siebert Adventures in Mixed Media Collage 23 - 30 August
Jennifer Bonneteau Life in the Landscape 30 August - 6 September
Gaye Adams Catching the Light en Plein Air 13 - 20 September
Jenny Aitkens Painting Light 20 - 27 September
Samantha Williams-Chapelsky Capturing Italy in Textured Acrylics 27 September - 4 October
Julia Morgan Watercolour: An Essence of Place 4 - 11 October
Debbie MacKinnon & Mike Stanford Fast & Loose Drawing & Painting 11 - 18 October
Karen Bishop Go with the Flow 25th October - 1st November

www.hotelleonemarche.com info@hotelleone.it +39 366 5749 169

T HE BIG I NT ERVI EW

British semi-abstract painter TAMARA WILLIAMS’

design background strongly influences her work.
Sara Mumtaz learns more about other inspirations
behind the artist’s practice

B
orn in a family of creatives,
Tamara Williams’ love of art
comes naturally. A contemporary
British painter, designer and
printmaker, she creates art which
is a blend of texture, mark-making,
letterpress and mono-printing. At a young
age, she referred to her drawings as a visual
diary which helped translate and capture the
true essence of what she felt in the moment.
Tamara’s work is hugely inspired by her
surroundings whilst she finds that
daydreaming is the best form of inspiration.
She lets her intuition guide her artwork and
take her someplace ‘other;’ somewhere she
hadn’t planned. Through her art, she hopes to
emotionally connect with her audience by
capturing a moment that she didn’t know
existed for them.
With a degree in graphic design – and
having worked with the likes of Marks &
Spencer and Burberry – Tamara eventually
decided to revisit her love of printmaking.
She is the co-creator of Ruby-Kite, a brand
which creates timeless, wearable art pieces.
The process of seeing colour stories from her
paintings come to life on silk and cashmere
is rewarding. She says, “Our aim is to create
treasured, timeless pieces that prioritise
longevity over fast fashion; original art
scarves that stand-out in a world of
mass production. Making our products
as sustainable as possible is key.”
tamarawilliams.co.uk ▶

3 4 ARTISTS & ILLUSTRATORS

The Sun Stepped Back,
acrylic, emulsion, ink, oil
pastel and wax on canvas,
65x65cm
TH E B IG I NT ERV IEW

Most of my family are creative but

in different ways.
My grandmother painted, although not
professionally. My parents were involved
in the film industry – performing, writing
and directing – and my older sister became
an art director which inspired me to study
art and design. My work is a visual
amalgamation of memories and feelings
from the places I have visited.

The landscape around my studio

in Surrey, near the Thames is a
strong influence.
The riverbank and surrounding fields filled
with their tangle of wildflowers and graphic
shapes, which I deconstruct into abstracted
layers of texture, are represented in my
latest work. As an artist, I frequently suffer
from creative blocks and the best thing to
do is go for a walk and start looking, rather
than doing. It fills my head with imagery
that kickstarts creative thinking again.

Stepping outside the art world allows Dunkirk Little Ships,

you to think freely. acrylic, emulsion, ink,
When creating a piece, the planning and oil pastel and wax on
composition take the most time. The wood panel, 51x51cm

sketches act like a design blueprint in my

head, which makes it easier to start each
piece. Having a vision of the finished
painting gives me the confidence to go
‘off-road’ with lots of texture and mark-
making. That’s the fun bit! Then comes the
execution. While I paint in acrylics and use
a variety of mixed media, such as oil,
pastels, charcoal and ink to create different
textures, I love painting on plaster, which I
cast as small, uneven (usually wobbly) tiles.

I started experimenting with

plaster when I first enrolled in a
printmaking class.
This was mainly because the print work
was too far away. I didn’t have a printing
press in my home studio, so I researched
and played with other ways to transfer the
images I was creating either as relief or
intaglio prints. And that’s when I
discovered plaster. It’s a highly
unpredictable medium to work with and
thus, I have a lot of pieces that don’t work.
So rather than waste anything, I started to
paint on the reverse. The plaster was a
revelation. It creates a chalky, highly
absorbent base which I work back into once
the paint has dried, carving and sanding
Retreating Verdant,
with a selection of printmaking tools. acrylic, emulsion,
Painting and printmaking onto natural ink, oil pastel and
materials, such as plaster and wood, adds a wax on wood panel,
more interesting texture narrative that 51x51cm

threads its way through most of my work.

36 ARTISTS & ILLUSTRATORS

Tapestry, acrylic and
ink on cast plaster,
12x12cm
Creative thinking doesn’t have an
off switch.
I always used to draw as a kid. Capturing
moments that seemed easier to draw than
to write about. Everything was in pencil or
charcoal, no colour. I liked the marks that
different-weight pencils made. Painting
came later. My earliest memories are of the
illustrations in many of the older books my
parents collected. I loved the storytelling
and greatly admired the work of illustrators
such as Eric Ravilious, with his imagined
modernist landscapes and detailed wood
engravings.
Having a vision of the
finished painting gives
me the confidence to
go ‘off road’
As a teenager, I became interested in
the Bauhaus movement.
Especially in the geometric patterns
created by textile artist and printmaker,
Anne Albers, who also connected with the
use of typography and wordplay in design.
The work of brilliant graphic designers
such as Milton Glaser, Saul Bass, Alan
Fletcher and Peter Saville informed my
choice of career. The way these designers
combined graphic imagery with powerful
words to communicate their ideas had a
huge impact on me.
I converted an old garage into my studio.
We moved to the riverside about eight years
ago. I rebuilt a huge wood-top table to
create space for boards and panels ▶
ARTISTS & ILLUSTRATORS 37

England’s Harvest,
underneath. It became the centrepiece of
acrylic, emulsion, the room, surrounded by other worktops
ink, oil pastel and and a wall filled with shelves of my
wax on wood panel, paintings and books. At the time, I was still
65x65cm
consulting for my design agency a couple of
days a week, so the space was more design
than art-based. But with time, my work as
well as the studio has evolved. The table is
now covered in layers of paint and ink and
my books have been replaced by paintings.
The large, east-facing windows make the
studio light beautiful and the view makes it
the perfect outlet for daydreaming. I can
look out onto apple trees and fields which
are filled with buttercups and ox-eye
daisies in the spring. I really miss the buzz
of working in a busy design studio, so I try
to replicate that. I always have something
playing in the background. I have an old
Roberts radio and I tune into various chat
3 8 ARTISTS & ILLUSTRATORS
Harbourside Happy,
acrylic, emulsion,
ink, oil pastel and
wax on wood panel,
20x20cm
shows all day. Now and then, I register
what’s being said, but more often it just
creates chatter in the background.
The ordered chaos is focused on a
single piece at a time.
I plan my work around my exhibition;
for my paintings, open studios or for the
big craft events for my wearable art.
Commissions tend to come from each
show, so they’re difficult to factor into a
painting plan. Whenever I am out, I make
visual notes and collect lots of textures and
colours, which I create into idea boards.
These act like pieces of a puzzle, which
always piece together perfectly. I aim to
keep going till it feels right; a strong
composition with a myriad of textural
layers that feel intuitively right. The
more you look, the more you see. ▫
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Gail Seres-Woolfson with her painting

Ossie Wearing a Fair Isle
Sweater, 1970, coloured
pencil on paper,
43.2x 35.6cm

Amanda Hodges looks into an exhibition of DAVID HOCKNEY’s early drawings and finds
the young artist obsessed with close observation and detail
C
harleston in Firle, East Sussex is currently hosting an
intriguing new exhibition of David Hockney’s early
drawings. Once home to painter Vanessa Bell, Charleston,
in the heart of the South Downs, became the country base
for many of the Bloomsbury Group, some of the 20th century’s most
innovative collection of writers, thinkers and artists.
It’s surely the ideal place to view the work of one often considered
our greatest living artist, a man of versatile, eclectic talent who takes
perennial delight in experimentation. As Hockney recently recalled
on The South Bank Show, “From about eight years old I wanted to be
an artist. I knew this. I just wanted to draw and make pictures.” And
today he retains enthusiasm for every type of art: “I’m interested in
all kinds of pictures however they are made; with cameras, with
paintbrushes, with computers, with anything.”
© DAVID HOCKNEY
Exhibition curator Chris Stephens says artist and venue are a
natural fit since “Charleston and Hockney are historically
intertwined. Hockney was an early supporter of Charleston on its
RET R O S PE CTI VE
journey to becoming a trust and opening to the public,” and he adds,
“drawings were also a really important part of the Bloomsbury
group’s practice.” In addition to this, given the often fluid nature of
their personal lives, Stephens emphasises, “Charleston is a place that
spotlights queer artists. Hockney’s art shows intimate moments
amongst his contemporaries, friends and lovers. His is a strong queer
iconography which, in its time, would have been very radical.”
Organised by the Holburne Museum in Bath, Hockney’s upbeat
creed of ‘Love Life’ lies at the heart of this exhibition, one celebrating
his artistic roots, specifically drawings from the 1960s and 1970s
when he led a peripatetic existence between LA, London and Paris. In
2017 Hockney painted the words ‘Love Life’ on the wall of a show in
the Pompidou Centre, Paris. When asked why, he replied that this
simple phrase succinctly conveys his personal philosophy, saying “I
love my work. And I think the work has love, actually. I write it at the
end of letters: ‘Love Life,’ David Hockney.”
His enduring zest and deep connection with the world are well ▶
A R T I S T S & I L L U S T R A T O R S 41
RE T ROSP ECT IVE
reflected within the scope of this exhibition
which showcases both well-known and
unfamiliar drawings. Considering him “one
of the greatest draughtsmen of all
time,” Chris Stephens explains, “the show is
specifically highlighting Hockney’s
observation of mundane details of everyday
life and his ability to conjure the feeling of a
place and time from very little.”
The exhibition encompasses his formative
years “because in the early ‘60s, his drawing
was much abstracted and stylised and at the
end of the seventies he abandoned drawing
altogether for a while.” Initially, the
exhibition was conceived as “a show just of
still-lifes and interiors. However, I realised
that the genius of his portrait drawings also
comes from close observation of detail – the
fabric of a jacket, the fall of a tie, odd
incidents in the background.” Now images of
a box of matches on a table share space with
one of his friends and designer Ossie Clark,
whilst furniture sits alongside another
picture portraying a reclining lover. Whether
Hockney’s drawings
of intimate moments
still resonate with a
freshness and joy
capturing character or simply depicting
empty spaces with wit and perception,
Stephens says the exhibition offers “an
uplifting celebration of life through the
revelation of wit and beauty in the most
ordinary of things.”
During the years spanned by the exhibition,
Hockney’s talent grew with an incisive ability
to meticulously capture the heart of his
subjects, using tools like coloured crayon,
pen and ink and pencils. He has said of the
medium that it can be helpful for achieving
artistic clarity, stating that “drawing makes
you see clearer, and clearer and clearer still
until your eyes ache!”
‘Love Life’ may be a fairly recent
declaration but, as curator Chris Stephens
comments, “This show demonstrates that it
is a philosophy that has underpinned his
life’s work.” Hockney manifestly proves the
importance of closely observing all that we
encounter. For him everything in life has
potential importance as a subject; for, as he
has ruminated, “To me, the world’s rather
beautiful if you look at it. Especially nature.”
Until early Spring 2024, visitors to Firle
will have the opportunity to view the
42 A R T I S T S & I L L U S T R A T O R S
© DAVID HOCKNEY
© DAVID HOCKNEY
T O P Christopher Isherwood’s House, Santa Monica,
1966, ink on paper, 25.2x31.5cm M I D D L E 1059
Balboa Blvd, 1967, coloured pencil on paper
35.6x45.1cm A B OV E Dale and Mo, 1966, coloured
pencil on paper, 29.8x65.4cm
© DAVID HOCKNEY
disparate range of Hockney’s subjects
encompassing the personal and the prosaic.
“There is a continuity in the observational
quality and wit of these, through to the
recent iPad drawings, but visitors who’ve not
seen his early work will be struck by the
extraordinary skill and confidence of the
drawings,” says Chris Stephens. “Being, in
many cases, purely pen and ink on paper,
there was no room for error or correction,
Hockney’s fluent line had to be spot on every
time. That’s why he spoke about the process
being exhausting.” In awe of such precision,
Stephens judges that “Hockney’s early
drawings display such a level of skill that
they are not just amongst his most
important works, they are amongst the
best drawings of the 20th century.”
Nathaniel Hepburn, Director and Chief
Executive of the Charleston Trust concludes,
“It’s wonderful to see these works at
Charleston, a place where art and
experimental thinking have always been
placed at the centre of everyday life.”
Hockney’s work encompasses the type of
communal experience with which all can
identify, as he affirms, “Art is about sharing.
You wouldn’t be an artist if you didn’t want
to share an experience, a thought.” And as
Hepburn says, it’s wonderful that “made
over 60 years ago, Hockney’s drawings of
intimate moments still resonate with a
freshness and joy.”
David Hockney: Love Life on from 3 September
2023 to 10 March 2024 at Charleston.
charleston.org.uk ▫
ARTISTS & ILLUSTRATORS 4 3
NATIONAL GALLERIES OF SCOTLAND. PURCHASED BY PRIVATE TREATY 1982

Georges Seurat,
Seated Youth, Study
for ‘Bathers at
Asnières,’ 1883,
black conté crayon,
31.7x24.7cm
 I N-D EPT H

© THE WHITWORTH, THE UNIVERSITY OF MANCHESTER. PHOTOGRAPHY: MICHAEL POLLARD

Vincent van Gogh, The
Fortifications of Paris with
Houses, 1887, graphite,
black chalk, watercolour
and gouache,
38.7x53.4cm

Once confined to the studio as a means of preparation, paper came into its
own as medium thanks to the Impressionists who brought drawings, pastels
and watercolours to exhibition walls. In a new show, dazzling, rarely-seen works
on paper – by some of the world’s best-loved artists – reveal how this simple
material levelled up with painting. By Martha Alexander ▸
ARTISTS & ILLUSTRATORS 45

Edgar Degas,
Dancers on a
Bench, c. 1898.
pastel,
53.7x75.6cm
U
nfinished forms in charcoal
shadow bend on bright
backgrounds, pencil ghosts
linger under inky skylines, the
bloom and blur of petticoats
and petals: these are just some of the treasures
in store at the forthcoming Impressionists on
Paper: Degas to Toulouse-Lautrec.
The exhibition at London’s Royal Academy
of Arts comprises over 77 works on paper by
the likes of Paul Cézanne, Vincent van Gogh
and Berthe Morisot – each piece radical and
representative of the wholesale change in
how art was made and perceived in late
19th-century France.
This was a period in which works on paper
saw a huge lift in status, transforming the
direction of art by challenging conventions
around who could paint what, where and
how as well as setting the stage for
movements like Abstract Expressionism.
Before Impressionism took root in late
19th-century France, paper was confined to
the studio, part of prep work, foundations to
the masterpiece. These pieces weren’t for
public consumption: it would have been
somehow unseemly for them to be on show.
Ann Dumas, curator of Impressionists on
Paper, explains that “artists have always
drawn and worked on paper but in the past
because there was so much emphasis
especially in France on the official Salon
[which promoted] elevated subject matter
with biblical, historical themes and painting
on a large scale that involved a lot of
46 ARTISTS & ILLUSTRATORS
LENT BY GLASGOW LIFE (GLASGOW MUSEUMS) ON BEHALF OF GLASGOW CITY COUNCIL. BEQUEATHED BY WILLIAM MCINNES, 1944
GALLERIA D’ARTE MODERNA, MILAN
Federico but also in Paris. It introduced a whole new
Zandomeneghi, informality. This was often better – or more
Study of a Woman easily – captured with works on paper.”
from Behind, Their preoccupation to capture scenes in
1890-97, pastel,
real time meant that drawing materials lent
48x38cm
themselves perfectly to the task in hand.
Paper, pencils and pastels were portable in a
way which oils and all ancillary accoutrements
or vast canvases simply are not.
“Part of the Impressionist aesthetic, at
least in the early years, was working outside
and completing the finished picture there
and not in the studio and capturing fleeting
effects of light and nature,” explains Dumas.
She also describes how advancements in
industry, science and manufacturing during
the 19th century also contributed to the shift
in how artists worked.
technique. Works on paper were very much “There was an enormous increase in the
preparatory for large, finished paintings.” production of paper; more mechanised
This changed in line with the preferred forms of paper manufacture came in so that
subject matter of the Impressionists, who many more types of paper were available
first exhibited as a fringe group in Paris in and it was cheaper,” she says, adding that
1874 (there were seven further group shows the same is true of other art materials,
between then and 1886, and each included especially pastels.
numerous works on paper). Their paintings A broader range of colours was available –
were typically quotidian scenes from their and more intense colour, to boot. This was
own lives from rural scenes to urban clearly extraordinarily alluring and exciting
vignettes, which was completely radical to the likes of Degas, who, Dumas believes,
and a far cry from the grand and lofty was “one of the most experimental artists of
paintings that had gone before. this era and sort of the star of our show in a
“They weren’t interested in history painting way” and who adopted pastels as his principal
or the past,” says Dumas. “They were interested medium toward the end of his career.
in capturing the world around them, the Dumas points out that pastel was not a
immediacy of the here and now. Both in nature new medium, in fact it was popular in the ▶
I N-D EPTH

COLLECTION OF DAVID LACHENMANN

18th century for making formal portraits.
But the Impressionists used pastels for
immediacy, vibrancy and ease. It was a new
approach and marked, quite literally, what
Dumas believes “was a golden age of pastel.”
The Impressionists also experimented
with technique: they were innovators and
pacesetters, shaking up long-held beliefs
about colour, composition and mark
making. Colours were bold, brushstrokes
loose, immediate and unconfined – all of
which was easily achieved on paper.
While traditionalists might well have been
horrified by these avant-gardists upending
the status quo, not everyone was outraged.
Beady art dealers actively encouraged works
on paper: from a money-making standpoint,
it was an absolute and obvious boon.
The pecking order that saw vast, immaculate
oils depicting “important” people, buildings or
places as the only viable way to create art at
the top and drawings on paper genuflecting
below, collapsed. Anything was possible and
everything was lucrative.
During the early stages of the planning of
the show, there was a suggestion that a small
group of Abstract Expressionist drawings
might be included, but this was ultimately
mooted because, as Dumas says, “visually on
Henri de Toulouse-
the walls it’s such a historic leap.”
Lautrec, At the Circus:
And yet, the link between the two
The Encore, 1899,
movements is strong and clear. The black and coloured
Impressionists’ penchant for working on chalks, 35.5x25cm
paper offered up a freedom of execution,
imagination and innovation.
“A key idea for the evolution of Modernism Towards the end of the exhibition the garish
in the 20th century is that the artist’s material revelry of Montmarte is laid bare in Henri de
and the technique becomes as important as Before, works on Toulouse-Lautrec’s At the Circus: The Encore
the subject matter so that colour and touch
become a primary vehicle of expression,” says
paper were very much (1899). Black and coloured chalks on paper
depict a kneeling clown before a ballerina on
Dumas. “That is quite a big idea and it didn’t preparatory for large, pointe shoes using the same long, slim strokes
manifest itself immediately but first with his paintings were famous for.
artists like Kandinsky and certainly later on finished paintings Ironically, works on paper are less publicly
in the 1940s and ‘50s when Jackson Pollock available than many other art forms, which
emerged in America.” adds an extra sense of prestige and novelty
Dumas is clear that the likes of Pollock and One of most thought provoking works is to this show. Visitors are going to be given
his contemporaries were not necessarily surely van Gogh’s The Fortifications of Paris access to works that are carefully protected
poring over Impressionist drawings per se with Houses, 1887, in which graphite, chalk, and preserved.
“but it’s just the idea of the artist’s touch and watercolour and gouache was used in “Unlike paintings, works on paper can’t be
the colour which became important”. combination. There are the outlines of two exhibited all the time because they suffer
The exhibition will be presented figures walking – in contrast to the full colour from light exposure,” explains Dumas.
chronologically: works from the 1860s and 1870s lone figure with parasol to the left of the “Many museums have a rule that they won’t
including Degas’ enigmatic Woman at a Window, composition. It’s beautifully intriguing and lend out a work on paper more than once
(1870-71) will open the show and audiences will shows no signs of damage (this piece was every five years. If you want to see work on
move through the next three decades. stolen from The Whitworth Art Gallery at The paper in a collection, you have to make a
Degas’ works are plentiful, showcasing his University of Manchester in April, 2003 before special appointment to go to the room.
extensive use of pastel and clear delight at being found abandoned nearby days later). People will see works by great artists that
and indulgence in colour. There is a Visitors are likely to instantly recognise a they don’t normally have a chance to see
selection of beautiful drawings of ballerinas young boy rendered in degrees of black and
on coloured paper while Dancers on a Bench grey on white paper as by Georges Seurat. Impressionists on Paper: Degas to Toulouse-
(c.1898), one of his last renderings of a ballet Seated Youth, Study for ‘Bathers at Asnières’, 1883 Lautrec at Royal Academy is on 25 November
scene, is one of the show’s standout pieces. is richly shaded, simple and intricate all at once. to 10 March 2024. royalacademy.org.uk ▫

48 ARTISTS & ILLUSTRATORS

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 Always marrying the personal with the political,
PHILIP GUSTON ’s career defied categorisation. As a new
retrospective opens at Tate Modern, Martha Alexander
takes a closer look at the extraordinary life and works of
one of the 20th century’s most intriguing painters

K
ettles, Klansmen, the soles of
shoes, stray limbs and loose irons;
colours by turns as vivid as children’s
picture books or as thick and black as a
starless night. This is just the smallest slice of what
is in store at the Philip Guston retrospective at Tate
Modern, the first of its kind on UK soil in 20 years.
Laid out chronologically, visitors will explore
the Montreal-born artist’s 50-year career which
© ESTATE OF PHILIP GUSTON, COURTESY HAUSER & WIRTH
over 40 years after his death, hard to categorise.
And yet Guston isn’t a household name, unlike
his childhood friend Jackson Pollock, or Mark
Rothko and Willem de Kooning, both of whom he
worked alongside as part of the New York School
in the 1950s.
He was born Phillip Goldstein in Montreal,
Canada in 1913 to Jewish parents who had fled
persecution in present-day Ukraine. But by 1922,

started as a Los Angeles schoolboy and ended as
a recluse in upstate New York.
Guston’s biography is extraordinary and his
reach, immeasurable. He was largely self-taught;
his work was informed variously by cartoon
imagery, European Old Masters painting,
surrealism and Mexican muralism. His own
drawings and paintings are all shot through with
his experiences of and reaction to familial tragedy,
social injustice and activism. His work is by turns
funny, elegant and heart-breaking. He is now,
Guston and his family had relocated to Los
Angeles. The following year, his father, Louis
– depressed and in low-paid work with a large
family to support – took his own life. Newspaper
reports from 1923 say Guston’s mother discovered
the body, but Guston later claimed he was the one
who found his father. Either way, such a loss at
such a formative age cannot have failed to have a
profound impact on a young boy. The years which
came after saw Guston lean into drawing, often
practising in the privacy of his closet – paper lit by ▸

50 ARTISTS & ILLUSTRATORS

 E XHIB ITI ON

Bombardment,
1937, oil paint on
paper, 106.7cm

ARTISTS & ILLUSTRATORS 51

E XHIBITION

a single lightbulb – alone save for what was

clearly a rich, intense imagination.
As a fledgling artist, Guston painted public
art in the form of murals, always with a social
and political message. One of the most
exciting parts of the exhibition is a never-seen-
before high-definition film – projected at scale
– of a mural Guston created in Morelia, Mexico
with fellow Jewish artists Reuben Kadish and
Jules Langsner The Struggle Against Terrorism
(1934-35) which includes hooded figures and
instruments of torture and is essentially a
radical anti-persecution protest piece.
By 1936 Guston had moved to New York and
changed his name: it is thought this might
have to do with his anxiety that his girlfriend
(and later wife), artist and poet Musa McKim’s
parents would not accept her having a Jewish
boyfriend. But it wasn’t until the 1950s that he
moved towards an increasingly abstract
language, as seen in paintings like White
Painting (1951). His first major retrospective
was at the Guggenheim Museum in 1962,
which included works such as Passage
(1957-58). He had, seemingly, made it.
Raymond points to some of Guston’s
abstract works from the ‘50s and ‘60s – Dial,
The Passage and Fable, adding “there is a
reason why Guston was considered one of the
leading abstract painters of that time.”
But less than a decade later Guston felt Painting, Smoking,
Eating, 1973,
disenchanted with the movement he had
oil on canvas,
helped create and was integral to. To his mind, 196.9×262.9cm
his works did not – could not – adequately
address the world around him, a world which
was increasingly evil. The Civil Rights criticism. He very much believed in producing Sunday Interior, 1941,
Movement was underway and he responded what he felt he had to, almost like an inner oil on canvas,
with caricatures of hooded Ku Klux Klan figures 96.5x61cm
taking part in everyday activities. He had in fact His last decade was marked by both
first depicted the KKK when he was just 17 and loneliness and productivity. From 1975 to 1978
returned to the haunting, hooded figures over he painted upwards of 40 paintings a year,
again in the decades which followed. before his death by heart attack in 1980. He
The works were increasingly figurative: his created perhaps his most recognisable works
1970 show at the Marlborough Gallery in New – paintings teeming with eyes, limbs, shoes and
York was a showcase of his new approach – domestic appliances. The cartoonish animated,
and was met with derision and horror by ingenuous-looking images are invariably
critics and peers alike. Ironically, these are commentary on darker, global themes such as
works people are perhaps more familiar with discrimination, violence and brutality.
today such as The Studio and Dawn. While the exhibition tells Guston’s
Guston went to Venice immediately after the extraordinary story in a clear, linear way,
© THE ESTATE OF PHILIP GUSTON, COURTESY HAUSER & WIRTH

show – and was dismayed at what he later
called “a real hatchet job:’ a New York Times
review in which critic Hilton Kramer labelled
him “a Mandarin pretending to be a
stumblebum.” Guston claimed he promptly
threw the paper in a canal and immediately
felt better. But the truth is such criticism
devastated him.
However, the isolation didn’t cause him to
falter. “He continued working in the style he
was committed to it,” says Raymond. “He
would have never just changed off the back of
anyone hoping to get definitive answers
about the meaning of his works is going to
be disappointed.
“He doesn’t necessarily go into so much
detail about what they might have meant for
him,” says Raymond, adding that Guston’s
works often have enigmatic titles. “He didn’t
want his works to vanish into meaning.”
The later works in particular – the legs, the
kettle boiling away, the eyeballs in odd,
uncanny sizes, combinations or compositions
– invite investigation into their meaning.

52 ARTISTS & ILLUSTRATORS

 PROMISED GIFT OF MUSA GUSTON MAYER TO THE METROPOLITAN MUSEUM OF ART, NEW YORK
© THE ESTATE OF PHILIP GUSTON, COURTESY HAUSER & WIRTH
The Line, 1978,
oil paint on
canvas,
180.3x186.1cm
© THE ESTATE OF PHILIP GUSTON, COURTESY HAUSER & WIRTH

Female Nude
with Easel,
1935, oil on
canvas,
106.1x76.2cm

PROMISED GIFT OF MUSA GUSTON MAYER TO THE METROPOLITAN MUSEUM OF ART, NEW YORK © THE ESTATE OF PHILIP GUSTON, COURTESY HAUSER & WIRTH
Raymond cites Monument, (1976) one of
Guston’s later works – a colossal painting in
reds and pinks – which depicts a dense pile of
cartoonish legs. “Some art historians have said
this is a reference to the photographs he saw of
the holocaust – [piles of] shoes and bodies.
And others have said it might relate to his
brother who died when Guston was very
young: a car ran over his legs and he died from
that injury. There are all of these psychological
theories behind why he makes certain imagery
or paints certain paintings but he never talked
about it. So, people are free to try to think what
it means for him or themselves.”
Raymond says there’s plenty of symbolism
to look out for. One notable example of this is
how much he seemed to like to depict people
in bed: sleeping, dreaming. Sleeping (1977) is
his final work in a series of paintings in which
the artist himself is adrift in the land of nod. It
is typically surreal and uncanny – oscillating
between a sweet dream and dark nightmare:
how much of each is open to individual
interpretation, as always.

Philip Guston will show at Tate Modern until

25 February 2024 ▫
 NT
SHUTTERSTOCK
ESE T
PR LIS
K A OUR

P
TIC OFF Y

S E E!
O
N

C
V SH
O

T PR I
E
H
A
MAST ER CL ASS
LIZ’S
MATERIALS
Paints
Watercolours of your choice. I
used tubes of Quinacridone
Sienna (Daniel Smith),
Quinacridone Gold (SAA), Sap
Green (Winsor & Newton),
Perylene Maroon (Winsor &
Newton) and Transparent Grey
(SAA)
Brushes
Round with a decent point –
size 12 or 14. If you wish to
paint loosely, use a brush
which feels a little too big for
your paper size
Support
Bockingford NOT surface
(cold-pressed) 140lb/300gsm,
quarter imperial sheet
(38x28cm/15x11 inches)
Pen
0.4mm fine-liner. Make sure it
is waterproof. Look for
pigment ink and check with
your paper. You will find that
some pens bleed on some
papers but are fully waterproof
on others.
56 ARTISTS & ILLUSTRATORS
In an extract from her fifth
book for Crowood Press, LIZ
CHADERTON gives you the
confidence and skills to paint
lively, contemporary faces and
characters in line and wash
L
ine and wash is where painting and
drawing meet, combining the strengths of
each medium in one piece of art. It is a
wonderful mix of media to capture a
speedy and dynamic portrait of your muse. The
lines define the contours of the features and
perhaps areas of distinct tone within the face,
while the watercolour washes add emotion and
tone. I believe it is at its best when the sum of the
ink and washes adds up to more than the
constituent parts by exploiting the strengths of
each. If you aspire to paint more loosely in
watercolour, the reassurance of the line can help
you work more freely with the washes which adds
energy and expression to the portrait.
Working on a traditional white paper can make
your portrait appear quite stark, whereas working
on a toned paper brings coherence and depth to the
painting. Whether you use a warm skin hue, or
something more unexpected.
Strathmore Toned Tan or Toned Gray mixed
media paper is perfect for this approach. It is a
smooth heavy paper which can take watercolour
washes well without buckling. However, it is only
available in tan or grey; if you are using a lightbox
for transferring your image, it is not transparent
and you cannot lift the background colour to regain
highlights. For these reasons, I suggest toning your
paper with a flat wash to your desired hue and tone.
In the name of clarity, I haven’t got a clue who this
chap is. His. The image is straight from Pixabay,
chosen because I liked his hand and he is royalty-
free. If you would like to have a go at painting him,
you can find him here: tinyurl.com/bdhzfrfb ▶
ARTISTS & ILLUSTRATORS 57
 1
THE PAPER AND WASH
I do not stretch my paper, but
simply tape it down and paint
with it propped up at a slight angle, so I
can predict the flow of the water. I
prepared my palette of Quinacridone
Sienna, Quinacridone Gold, Sap Green,
Perylene Maroon and Transparent Grey.
I like to mix paints to a milky
consistency so that I am ready to
respond quickly to any magic happening
on the surface. I mixed a large thin wash
of Perylene Maroon with a touch of
Sienna, to make a warm salmon colour.
Do test it on a scrap of paper to make
sure it is not too deep a tone and add
more water if needed. I am aiming for it
to be about a third of the way along an
imaginary tonal strip: a dark light tone
or light mid-tone. With a large brush, I
apply as flat a wash as possible and
allow it to dry. The image can be
transferred in your preferred way. I
choose freehand and, using a 0.4mm
fine-liner, I mark in the main contours
only putting in a few hairs in the
eyebrows and beard. I inked in the
outer edges of the highlights, making
sure to break lines and keep them
flowing. Erase any surplus pencil lines.

2
START TO
ADD
COLOUR
With the washes
mixed and ready, the
fun begins. Paying
very close attention to
the tonal map of the
face and using the
paper surface as my
lightest mid-tone, I
start to add colour.
This is irrelevant here;
tone is king. Starting
on the right eye, I note
how the dark of the
brow joins with the
dark of the eyelid and
iris, so painted them as
one continuous shape.
I work wet in wet and
let the colours merge.
You can see the
amount of water on
the surface by the
reflection. The paint
will not be able to flow
if it is too dry.

58
 M AST E RCL AS S

3
DARKS AND
MID TONE S
I concentrated on
getting all the darks and
mid-tones in place, leaving
the lightest toned areas
untouched and continuing
to the left eye, growing the
wash as it travels across. I
really concentrate on
connecting areas wherever
possible, and paint shapes,
not individual features. I
note and put in the shadow
across the white of the eyes
leaving highlights on the
iris and eyelid. I was
tempted to leave the
portrait at this point with
just the eyes staring at us
from over the top of the
hand. Sometimes leaving
areas unresolved, really
concentrates you on the
parts which are painted.
However, I pressed on.

4
JOIN THE WASHE S
Working down the face, leaving
the highlights on the nose, I
joined the washes of the nose mouth and
chin, varying the colour and tone as I
went. I worked in large connect shapes as
I moved down the face, trying not to
think of anything as a nose or mouth and
let the colours merge as I went. ▶
 5
AVOID SAUSAGE FINGERS!
Hands add such character to a portrait but can
look like a bunch of sausages, so it is vital to
concentrate on the shadow and space between the digits.
We see our hands daily and make all sorts of
assumptions when drawing them. Think about the
overall shape and be careful about the size in relation to
the face. The length of an adult hand is roughly three-
quarters the height of the head. I put less of the cooler
green into the hand as it was in full light and I wanted to
bring it forward.

6
E ASY ON THE BE ARD
The beard is connected to the
features and not applied like a
false one. I made sure it was shadowed
under the hand, but also left small
touches of dry paper to indicate bristles.
You really don’t need to paint each
whisker. For a sparse beard, a shift in
tone might be all that is required and soft
edges can create the feeling of volume.
The colour of the skin shows through the
beard, which is achieved here by our
toned background.

7
KEEP THE BAC KGROUND SIMPLE
I let everything dry thoroughly while I contemplated which
areas needed to be darkened, highlighted or softened. In the
end, I decided it only needed a few lines of pen to indicate clothing to
allow the focus to be fully on those brooding eyes. I took a damp flat brush
and ‘tickled’ the knuckles and highlights on the nose, then used a kitchen
towel to lift away the pigment I had loosened. Enough came away to give
me the highlights I needed. They are not the white of the paper, but they
are close enough because of the contrast. If you had used a very staining
colour in the background wash you may find it hard to lift sufficiently, but
you could add opaque gouache or even pastel. ▫

Painting Portraits in
Watercolour by Liz ENJOY THIS
Chaderton is out now and FEATURE?
For more
available from all good
masterclasses
book shops or at:
go to
tinyurl.com/mt8n38jr artistsandillustrators
£12.99; the eBook is £9.99 .co.uk
lizchaderton.co.uk

60 ARTISTS & ILLUSTRATORS

 ARTISTS’
VALUE
BRUSHES
(]HPSHISL[OYV\NOHZLSLJ[NYV\WVMZ[VJRPZ[Z
^^^HY[PZ[ZIY\ZOLZJV\R
MVYM\SSPUMVYTH[PVUVUYHUNLZZL[ZWYPJLZ
.YLH[]HS\LIPNZH]PUNZ

ARTISTS & ILLUSTRATORS 61

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6 4 ARTISTS & ILLUSTRATORS

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 HOW -T O

In last month’s issue, SANDRINE

MAUGY wrote an article giving SANDRINE ’S MATERIALS
you 11 tips to design and print Watercolour paint
greeting cards. Here, Sandrine Daniel Smith watercolours: Hansa Yellow Light
(Substitute: any transparent Lemon Yellow), Hansa
is following up with a Christmas Yellow Deep (Substitute: New Gamboge or Indian
card tutorial in ink and Yellow), Nickel Azo Yellow (Substitute: your two
yellows mixed together, although the mix won’t be
watercolour, painting a as golden as Nickel Azo Yellow), Pyrrol Scarlet
botanical Christmas tree (Substitute: Scarlet Lake), Carmine (Substitute:
Permanent Alizarin Crimson), Indanthrone Blue

C
hristmas is on the horizon and if you (Substitute: Indanthrene Blue), Phthalo Blue Green
want to design your own Christmas cards – Shade, Sap Green (as long as it is a transparent
which are always a touching keepsake for version), Quinacridone Burnt Scarlet (Substitute:
friends and family – and have them printed in Burnt Sienna), Burnt Umber
time, it is time to make a start! For this year’s card, I
Brushes
decided to approach my usual botanical style in a
Synthetic watercolour brushes in sizes 4, 2 and 0
more stylised way, using seasonal botanical subjects to
Support
design a Christmas tree. In order to reinforce the
Watercolour paper – Fabriano Artistico Hot Pressed
finish and make the design stronger, I introduced a
640 grams
black ink outline, finishing with loose, saturated
Cartridge paper
watercolour washes.
Drawing equipment: pencil, ruler and eraser
This is a tutorial of my card. You don’t have to choose
TraceDown transfer paper
the same subject. I would encourage you to be creative
Tracing paper
and pick some relevant subjects that you like, following
SHUTTERSTOCK

Black ink (pen and bottled ink or fine felt tip)

the process while creating your own design.
Palette and water pot
sandrinemaugy.com, Instagram: @sandrinemaugy
YouTube: Atelier Sandrine Maugy

ARTISTS & ILLUSTRATORS 67

H O W -TO

DE SIGN ◂
The design happens in two stages. I start with a very rough
sketch outlining my original ideas confined into a shape
that will fit a standard-size card. My design is A3, which will allow me
to draw the subjects life size. The digitally processed painting will
then be reduced to fit on an A5 card. As well as the overall A3 canvas, I
am adding some guidelines that include a triangle for the tree, some
horizontal lines splitting the canvas into halves and thirds and a
small circle at the top for the “star”. The triangle tree is then filled with
botanical subjects such as holly, ivy, Ginkgo leaves and rose hips, with
a pansy filling the role of the star.

STAGE T WO
◂ This initial sketch is then refined into a neater drawing,
keeping some of the elements and rejecting others. The rose
hips have disappeared, replaced by more Ginkgo leaves. The holly
berries are grouped in clusters rather than being scattered on top of
the foliage. The drawing is refined enough to be used, first traced then
transferred to watercolour paper using transfer paper.

INKING ◂
The drawing is transferred to the watercolour paper, ready
to be inked. Although I want a black outline to make the
design more striking, I still want the colour to be dominant. To
achieve this, I need a fine line. You can use a nib pen and a bottle of
ink or a felt tip. It doesn’t matter, as long as the ink is waterproof. I
used a felt tip with a 0.05 nib.

68 ARTISTS & ILLUSTRATORS

 FURTHER DETAIL ◂
The Ginkgo leaves have the
most elaborate ink work. To
follow the leaves’ veining, I start with
a central vein and I then split the two
halves equally with another set of
veins, continuing the process of
splitting the areas with more veins,
creating a fan-shaped pattern.

PAINTING ◂
All the subjects are painted
wet-on-wet, keeping the style
loose and fresh. I want to use only a
single wash for each area as much as
possible, so the paint I am adding to the
wet paper is not too watery, in order to
stay undiluted and appear strong
enough. As the pansy at the top is meant
to represent a star, I am painting it
yellow. I first add Hansa Yellow Light to
◂

ALTERNATE the wet paper, all over each petal. Then

The design alternates between
light-coloured subjects that
contain a lot of ink work and darker-
coloured subjects that will be mainly
watercolour, with only an ink outline.
Hansa Yellow Deep is added toward the
centre of the flower, letting it merge
halfway with the Hansa Yellow Light. At
this stage, I am ignoring the dark
blotches on the bottom three petals.

G INKGO ◂
For these leaves, I have in mind a
seasonal progression: the leaves
near the top being gold with some remnants
of green from the tree’s glorious summer;
then going down, mainly autumn gold with
just a hint of green and some russet towards
the tips; then at the bottom, some gold but
mainly russet with some brown dropped in
as well, as if these leaves were long fallen and
bearing the marks of winter. ▸
 HOLLY
◂ In order to paint
something as dark as
the holly in one layer, the wash
added to the wet paper has to be
strong, using dark pigments
that will give the darkness
without having to paint
heavily. Indanthrone Blue is a
wonderful colour to achieve
this. Mixed with my main
yellow, Nickel Azo Yellow, it
makes a muted dark green. To
brighten it up a touch, I am
adding a drop of Sap Green. I
am turning the paper upside
down to let the paint run
towards the base of the leaves,
where they would naturally be
darker where they overlap.

IV Y
◂ This is also a
very dark
evergreen but with a
slightly bluer tinge. I am
using the leftovers of the
holly mix and adding a
little bit of Phthalo Blue
Green Shade. It is painted
in the same way as the
holly, in a single wet-on-
wet wash.
◂

BERRIE S
The holly berries are a bright red rendered by some Pyrrol
Scarlet as a base, with a touch of Carmine dropped in the
wet scarlet where they overlap. For this, I am using the same
technique as for the rest of the painting, but with a smaller brush, so
that it doesn’t carry too much paint.

FINISHING TOUC HE S
◂ The blotch on the pansy is a maroon mixed with a bit of everything in the palette:
Indanthrone Blue plus Carmine to make a violet, then neutralised with Nickel Azo Yellow.
A glaze of the Azo is also added to the flower, to link it to the Ginkgo leaves. At this point you can
assess your design to see if it needs some changes: once inked and painted, the positive and negative
shapes look very different from the pencil sketch. I found that my composition was too empty in the
centre, so I added a holly leaf and a few berries in the background. The combination of black ink and
bright watercolours works well to produce striking and colourful designs. I hope this tutorial will
inspire you to create a beautiful Christmas card. I wish you all a merry festive season! ▫

If you want to make your own Christmas cards, try PRINT.WORK, an eco friendly printing
company. All of their products are printed on a range of part and 100% recycled papers,
providing you with the ideal prints while still being kind to the planet. www.print.work

70 A R T I S T S & I L L U S T R A T O R S
VICENTE GARCIA FUENTES
is a Spanish painter
specialising in watercolour.
He has participated in
international selections
and has had various
exhibitions around the
world. Here he shows you
how he painted a boat on a
winter marshland at night

W
henever I start a painting,
I always first ask myself what
I want to transmit with the
work I am going to paint.
This time it will be solitude and mystery.
To represent this, I will paint a boat in the
middle of the night in a marshland.
I always think a lot about the composition
and, this time, will place the boat in the

point of interest – in one of the four hot
spots that are produced when doing the law
of thirds – at the bottom right. I will then
take the shapes into account; the biggest
being the sky, then the marsh, then the
smallest and more detailed shape being the
boat. I also want a big plane in the sky; the
lines will be the mast of the boat and the
dots will be the textures of the marshes. We
must always have a plan, a point and a line.
michaelharding.co.uk
Instagram: vicente_art
1
DR AW THE BOAT
I start by drawing the
boat and the attached
rowing boat in detail. At this stage,
I also make some small marks for
the horizon zones and parts of the
sea. I won’t start on the clouds just
yet as I don’t want a marked line in
the sky.

7 2 ARTISTS & ILLUSTRATORS

 H OW -T O

VINCENT ’S
MATERIALS
Paint
Michael Harding
Watercolour Paint: Payne’s
Grey, Indigo, Pthalo Blue,
Cobalt Blue, Cadmium
Orange, Titan White,
Hematite Indian Red
Brush
Princeton Elite 4850 LR
Support
Arches Cold Pressed
Watercolour paper

2 3
TIME FOR THE GO E ASY ON THE
SK Y WATER
With clean water, I wet In the lower part of the
the whole sky area and mix sky, I intensify the colour by
Cobalt Blue, Cadmium Orange mixing Payne’s Grey and
and Payne’s Grey. Michael Cadmium Orange. In this part, I
Harding’s Cadmium Orange is use less water in my mixture. ▶
the perfect hue, as it is a single
pigment PO20 and does not
produce green. Do note, it is very
important to reserve whites to
have luminosity in your work.

ARTISTS & ILLUSTRATORS 7 3

H O W -TO

DRY WORK
4 After letting the paper completely
dry, I start painting the boat. The
work on this will be done completely dry. I
mix warm and cold colours. Hematite and
Pthalo Blue with Indigo is a good mix.
5
WET WORK
I paint and wet the lower area with Indigo and Cadmium Orange whilst also taking
advantage to paint the reflection of the boat while it is semi-dry, with the same
colours. Then, with a clean and very dry brush, I add horizontal and vertical lines to produce
the optical effect of the reflection.

6 7
CONC ENTR ATE ON THE DISTANC E ADD THE ATMOSPHERE
With the paper dry, I now paint the distance. For this, I use Payne’s Grey and white, I now add warmth in the
and increase the intensity of the water with a little more Payne’s Grey. foreground with Indian Red. By
adding warmer and darker tones, I achieve
atmospheric perspective.

8
ALMOST
DONE
I splash in
a little Indigo and
Indian Red, both wet
and dry. This will
give a lot of rhythm
to the composition ENJOY THIS FEATURE?
and, finally, make it For more How-To features go to
complete. artistsandillustrators.co.uk
D EMONSTRATI ON
JANIE LONGMORE is a British artist specialising in still life
and landscape in oils and gouache. Here, she shows you how
she created one of her favourite new subjects: a book
JANIE’S MATERIALS
Paint
Winsor & Newton Designers
Gouache: Permanent White, Yellow
Ochre, Permanent Yellow,
Cadmium Red, Marigold Yellow,
Cypress Green, Ultramarine, Ivory
Black, Neutral Grey, Opera Rose,
Lemon Yellow
Brushes
Pro Arte Acrylix Series 202/204. Set
of 5: sizes 1, 3, 5, 7. All round head
One stroke 3/8” from Cass Art
Support
Paper: Fluid Watercolour Hot
Pressed 300gsm
76 A R T I S T S & I L L U S T R A T O R S
I
am essentially a painter of still life, inspired by
the classic subject matter of this genre: bottles,
lemons, bowls, textiles, packets and things to
hand that are part of my everyday life. My
favourite painters are Giorgio Morandi, Gwen John,
Jean Siméon Chardin and Édouard Manet. Each was
a master of still life, and I especially enjoy the sense
of intimacy in their paintings. They worked with
a limited, muted palate, which I find very natural
and relaxing to look at, not that I own any!
Recently, I have become fixated with books.
They have become my favourite subject to paint.
I read and own a lot, and I began to consider them
as things to paint in lockdown.
Often the covers are so well designed; illustrative
and colourful. For me, they are ready-made
compositions. I enjoy arranging
them and will choose a colour-coded pile, a theme
or just one on its own.
I paint a lot of book stack commissions. It’s such a
pleasure studying books that are not mine and that
are so precious to their owners that they want a
portrait of them. I love the details: the type,
shadows and, especially, deciding what I will leave
out. This is the best bit. I really want to paint what I
see and not what I think I see. This takes quite a lot
of scrutiny of curled pages and tea stains. The more
character the better.
janielongmore.com
1
THE OUTLINE
I start by mapping out
the basic outline with
a brush, using gouache paint in
Yellow Ochre which is softer
than black, and easy to apply
paint over later. I use good
quality card, or thick water
colour paper, which can absorb
the water better and not warp or
buckle, which often happens
with thinner material. Most
people use textured paper, but I
prefer a smooth surface to
achieve crisp, clean lines.
 2
THE FIRST
SHADOWS
With all compositions,
shadow is so important. They anchor
the picture and the object to the
scene, adding depth and reality. If
I can’t get the shadow right, I’ll
abandon a piece. I often artificially
light my work to get dramatic
shadows. One must scrutinise a
composition for shadows – they can
sometimes be tiny. I look for the
colours in shadows and paint the
colour I really see. It’s seldom grey or
black. Contrast colours for shadows
bring a piece to life and elevate it.
EXPERIMENT
3 BY TE STING
I begin colour
blocking, starting with the
book. At this stage, I’m not
trying to refine or perfect it.
These are the first layers of
paint, and it can be quite rough.
I’ll have a go at mixing a
representational colour on a
tear-sheet palette pad and will
always have a piece of paper on
the side to test the colour before
applying it. You can be quite
bold, but it’s important to
experiment by testing first. ▸
ARTISTS & ILLUSTRATORS 7 7
 4
LET THE PAINT DRY
I add white to cover the ochre paint outline at this
stage, building up layers. I make sure to leave tiny
glimpses of the white card or the original outline to keep the life
of the painting intact. I do apply the paint quite thickly, so I make
sure to let it dry properly before working on it again. I find
holding the paintbrush like a wand helps me to not get too neat
and keeps lines freer.
8
STOP BLOC KING IN
Around now I should be seeing evidence that the
composition is coming together, especially with the
addition of the background colour. Once colours are blocked out,
I really pin the subject down by tackling the shadow again. I
concentrate, not on blocking anymore, but on fine-tuning, trying
to get it as accurate as possible. I try not to totally smooth out
brush marks as these keep things lively.
78 ARTISTS & ILLUSTRATORS
TAKE A STEP BAC K
5 I check in with my progress. For this, I use my phone and
take a photo. It gives a different perspective that allows me
to see if the composition is working. I find it easier to be objective by
looking at an image, and often find that angles or proportions can be
out. At this point, it’s easier to rectify anything fundamental so it’s
critical that you take a step back before going further.
TAKE A BRE ATHER IF YOU ’RE UNSURE
9 This was a wobbly moment for me with this painting.
The image looked boring and flat. It needed energy
bringing back in. I let it dry thoroughly and took some time out.
On return, I painted the cover again, mixing some white paint in
to try to capture lighter areas, representing the matt sheen of the
surface of the book.

PAINT THE BAC KGROUND
6 By now the background has been painted. I deliberately
kept the colour neutral and soft, so it doesn’t detract from
the main subject. I collect bits of tissue paper for the background. It’s
especially good for shadows and gives a contemporary feel to a still
life painting, which can be seen as a more traditional genre.
10
TIME FOR THE T Y PE
With the surface of the book now a good backdrop, it was
time to work on the fine detail. Type does require a more
confident hand, but perfection is not what I am after. I am trying to
capture the essence of what I am looking at. Years as an illustrator
gave me an appreciation for type and I’ll always include it if I can. I
particularly enjoy replicating fonts. You need a small, good-quality
brush for this.
ENJOY THIS FEATURE? For more demonstrations go to artistsandillustrators.co.uk
D E MO NS TR AT I ON
FILL IN THE BAC KGROUND AND
7 FOREGROUND
With gouache, you can subtly build up layers. It goes on light
but will dry darker. Gouache is quite a forgiving medium; mistakes can
be incorporated or painted over after it has dried. That said, one must
be very careful not to overwork the layers. You can kill a painting by
adding too much. It’s a constant dance of going in and pulling back to
make sure you add depth but don’t lose the life or energy of the piece.
11
THE FINAL DETAILS
Throughout a painting, I find I can lose it many times. You
have to be prepared to accept this as part of the process and
really force yourself to think, ‘I’m just giving it a go.’ It is the exciting bit
about creating; anything can happen. You have no control over the
outcome. It takes practice, but once you have produced something you
are pleased with, it will give you the confidence to be more forgiving
with yourself and persist. ▫
ARTISTS & ILLUSTRATORS 79
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 Cloud Light,
oil, 31x41cm

In every issue, we ask an artist to tell us about a piece of work that holds significance. This month, we
speak to Canadian landscape artist DAVID SHARPE

It was a very cold, late afternoon with snow on the way when I
painted this piece. It captures an end-of-day light effect that I see a
lot in the sky here from my studio in Alberta’s mountain foothills.
It evokes a sense of peace and serenity.
Having been a graphic designer for many years, I tend to favour
simple landscapes with a strong design. It’s a simple semi-diagonal
shape of warm colours against the cold blues of the sky and ground
plane. It’s done in oil on a birch panel and I used oil for its ability
to deliver intense colour and blending.
I was inspired by the design of the dramatic slice of light behind
the massive cloud bank. I hope the viewer feels the same sense of
beauty from the light that I felt when I painted it. I hope they are
struck by the splendour and simplicity of that streak as it reflects
up into the sky; it’s my favourite part. sharpegallery.com ▫

82 ARTISTS & ILLUSTRATORS

 MIXED MEDIA DRAWING

“Motherhood” by Sarah Gibson, 116 x 76 cm, Nitram Charcoal, white chalk & ink on hand-toned paper

WITH NITRAM CHARCOAL

“Conceived as a preparatory study for an oil painting, this drawing aims to embody its own beauty through
the language of drawing. I wanted it to revel in its own linear and rhythmic qualities, that harkens back to
the idealized beauty of the Renaissance, and engages viewers in a very different way to the fully-rendered
and more convincing illusion of the final oil painting.

For this project I worked with mixed media: first toning the paper with coffee and ink to get a beautiful
golden hue, then working out the outline and shadow edges in Nitram charcoal. I then used the coffee/ink
mixture to fill in the shadows, and then returned to Nitram and white chalk pencil to model the forms.

Nitram is far and away better than other charcoals that I’ve used and I wouldn’t consider using any
other brand. I started using Nitram while training at the Ateliers in Florence. Now my own students at
The Glasgow Academy of Fine Art use it in all of their drawing projects. Unlike standard willow or vine
charcoals, Nitram comes in three different grades of hardness, all of which can be sharpened to a fine
point. These are both essential qualities if you want to work with precision and control, as the beginning
stage of a drawing requires a very soft charcoal as it is easier to erase and lay in a heavy value, while the
latter stages requires very delicate work to hatch in the more subtle value shifts, which is better served by a
harder charcoal. Nitram also works very well when combined with other mediums such as ink, chalk and
even graphite—making it ideal for mixed media projects.

~ Sarah Margaret Gibson

To watch Sarah M. Gibson work on this drawing with Nitram Charcoal at

The Glasgow Academy of Fine Art and to read the full article, please visit:
https://nitramcharcoal.com/Sarah_Gibson or scan the QR code

Sarah Margaret Gibson (b. 1988) is a contemporary
realist artist, specializing in portraits of people and
birds. Characterized by a rich tenebrism, Gibson’s
work dramatically juxtaposes light against shadow.
She believes that light, and all of its symbolic qualities,
are most poetic when contrasted against dark.
Opening up a dialogue with nature through her work,
she responds to what she finds beautiful and
endeavors to communicate this with her viewers.
Gibson received her formal training in drawing and
painting in Florence, Italy. She studied at the Angel
Academy of Art from 2008-2010, and then completed the
full three-year program at The Florence Academy of Art,
from which she graduated in 2013 and where she
subsequently taught through 2015.
Gibson currently lives on the West coast of Scotland with
her husband, fellow artist Lee Craigmile, and their son.
In 2019 they co-founded the Glasgow Academy of Fine
Art, where Gibson acts as Academic Director.
Gibson is represented by Arcadia Contemporary in New
York, and her work is shown throughout the U.S. and
Europe. Her paintings hang in both museums and private
collections on both sides of the Atlantic.
Instagram: @sarah.margaret.gibson.art
Website: www.sarahmargaretgibson.com
Our primary goal at The Glasgow Academy of Fine Art is to
offer our students the highest quality training in traditional,
representational techniques of drawing and oil painting. We
believe that our job is to teach the means of making art, not the
ends. We teach our students a skill-based approach, rooted in
the great tradition of the European Atelier, which dates all the
way back to the early schools of Renaissance Florence. Our aim
is to prepare students to become practicing, professional artists
and to impart confidence in ability and mastery over technique.
Instagram: @glasgowacademyoffineart
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