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 A R T I S T S & I L LU S T R AT O R S • O C T O B E R 2 0 2 3

Regulars
5 SKETCHBOOK Quick tips,
ideas, inspiration and exhibitions
12 PRIZE DR AW Win £1,000 to put
towards art tuition
14 WE PRESENT… British Art Club
member Sandra Pond
22 HOW I MAKE IT WORK
Landscape artist Richard Blades
shares his art journey
78 YOU TELL US Write in and win
a £50 Atlantis art voucher
82 PICTURE THIS This month,
with oil artist Naimal Khawar

Inspiration
16 IN THE STUDIO with
American landscape and still life
painter Bryan Mark Taylor
24 HOW I PAINT Still life artist
James Gillick shares his rich
family history in the arts
30 THE BIG INTERVIEW
with landscape artist
Charles Stuart Callis
36 RETROSPECTIVE A look into
J. M. W. Turner’s now-open home
in Twickenham
40 THE BRITISH ART PRIZE
Last chance to enter!
42 ART THER APY Sarah Graham
is fundraising through art for
mental health awareness
49 THE BRITISH ART FAIR
16
42
A must-see event for anyone
interested in contemporary art

Techniques
50 WORKSHOP Luca Indraccolo
paints an oil piece using the
wet-on-wet technique
54 STEP - BY- STEP Igor Lukovic
shows you how he drew an
adorable Staffordshire terrier
62 HOW -TO Create a vibrant
portrait using Derwent’s Inktense
XL Blocks with Jake Spicer
66 TECHNIQUE Paint a fruit still
life with Tracy Goldfinch Elson
72 DEMONSTR ATION Penelope
Kirk demonstrates how to paint a
pet portrait 62
ARTISTS & ILLUSTRATORS 3
 ED I TO R 'S L E T T ER

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ARTISTS & ILLUSTRATORS making art can reduce stress, lower anxiety EDITORIAL
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Welcome to
THE
British
for her fun and joyfully kitsch paintings – can Contributors
relate to. She has struggled with her mental Bianca Dumas, Tracy Goldfi nch,
Amanda Hodges, Luca Indraccolo,
health over the years and had a severe breakdown in 2017.
Penelope Kirk, Igor Lukovic, Jake Spicer
Fortunately, she has been in remission for four years but cites
info@artistsandillustrators.co.uk
very honestly that “art saved her life” and helped her on her path
to recovery. But it wasn’t just art. In her times of great need, the
ADVERTISING
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Group Sales Director
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artworks are joyful, varied and spectacular. Read more about
Sarah and her campaign on page 42. Advertising Manager
Elsewhere in the issue, we’ve got lots to keep you inspired and Hannah Lees
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their game. If it’s landscape motivation you’re after, we also speak allpointsmedia.co.uk
to an artist based in the American wild west, who uses the desert
as his muse, as well as a British painter who gains his influence MANAGEMENT

Art
from the north Norfolk coast. & PUBLISHING
CLUB Meanwhile, if you’re a fan of J.M.W Turner – one of the most Managing Director
famously revered artists in history – you can go and see a new James Dobson
The fabulous new exhibition at his actual home in Twickenham. Then, this issue
Publisher
Simon Temlett
website for showcasing features the very last call for entries to this year’s British Art Prize.
THIS MONTH’S COVER BY PENELOPE KIRK

Chief Financial Officer

and selling your art Don’t delay – enter today for your chance to win big! Vicki Gavin
Subs Marketing Manager
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PENELOPE KIRK
This month’s cover artist is
a wildlife artist generating
donations for animal
conservation through her
artwork. In the same spirit,
she also captures the
personality of pets with her
dog portraits, with a
percentage of sales going to
a variety of dog welfare
charities here and abroad.
BRYAN MARK TAYLOR
As a painter, Bryan has won
top awards in national and
international shows,
including four major awards
in the international ARC
Salon. His work is in private,
corporate, and museum
collections worldwide.
Bryan received his BA from
BYU and his MFA from the
Academy of Art University.
NAIMAL KHAWAR
Naimal is a visual artist and
painter whose work explores
themes of the human
condition, beauty and
personal observations. She
graduated from the National
College of Arts, Pakistan
with a distinction for her
thesis and later specialised
in fine arts at the
University of Arts, London.
Write to us!
RICHARD BLADES
Send us your latest paintings,
Richard’s work reflects an
tips or artistic discoveries and you
emotional response to the could win a £50 voucher:
landscape, capturing the
changing light and visual info@artistsandillustrators.co.uk
poetry of the sky, sea and
@AandImagazine
land. Based in Norfolk,
Richard can often be found
/ArtistsAndIllustrators
chasing the sunset or cloud
spotting on the north Norfolk @AandImagazine
coast as he gathers inspiration
and ideas for his paintings. @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

Days, mixed media on

canvas, 50x40cm

Things we love...
Using the language of paint with
nods to the great storytellers of the
past, artist Amy Dury unites the
experience of being a woman in our
time with our complex history, for her
latest exhibition, Evidence. Dury guides
us using paint that shifts between
detail, form and abstracted pattern.
There is pathos and significance in the
moments portrayed, but also humour,
with knowing callbacks to well-known
cultural moments. From 9 September
to 1 October 2023 at 1 Victoria Grove,
Brighton and Hove BN3 2LJ.
AMY DURY

amydury.com ▫
 Sketchbook

BANKSY’S VALENTINE’S DAY MASCARA AT DREAMLAND MARGATE, 2023. PHOTO CREDIT: JACK MASTERS

SURREY SCULPTURE SOCIETY

ART IN THE GARDEN
Surrey Sculpture Society
returns to The Savill
Garden a horticultural gem
in the heart of Windsor
Great Park. The ‘Art in the

Don’t miss...
the chance to own Banksy’s Valentine’s Day
Mascara mural. Showpiece, the marketplace for some
of the world’s rarest collectables, announces the latest
in its portfolio of artworks and artefacts to enter into
fractional ownership: a 2023 mural by world-famous,
anonymous and notoriously elusive street artist
Banksy. The Valentine’s Day Mascara mural, valued at
£6 million, will be made accessible for ordinary
members of the public to own a share of – for just Garden’ event is now an
£120. Banksy’s Valentine’s Day Mascara first appeared annual treat for visitors
on a house in Margate, Kent, on Valentine’s Day 2023. to this beautiful site in
The work was removed from the building for Englefield Green, Surrey.
preservation earlier this year but the owner has The trail will open from
fought off significant offers from private collectors, 6 September to 31 October
firm that the work should remain in the town it was 2023 giving visitors the
created, and available to the public. Now, through maximum opportunity to
fractionalisation of the work – open to all – the mural visit. Tickets to the event
will be able to make its temporary housing, at can be booked online.
Dreamland Margate, its official home. showpiece.com surreysculpture.org.uk

Join us online! B O OK O F THE M O NTH

Are you enjoying the
inspiring content in this
magazine? If so, find lots
more on the fabulous
Artists & Illustrators website.
One of the biggest and best
digital resources for artists of all abilities, the
refreshing new redesign makes our How To
guides, competitions and interviews even more
insightful to read. artistsandillustrators.co.uk
ERIC RAVILIOUS
LANDSCAPES AND NATURE
Ella Ravilious
This joyful and celebratory gift book is devoted
to the work of the much-loved English artist Eric
Ravilious (1903-1942) and the influence of natural
forms and themes in his work. Written by Ella
Ravilious, granddaughter of the artist, this book
explores his appreciation of the natural world and
the techniques he used in a variety of media to
convey those elements.
Thames & Hudson, £14.99, 28 September 2023

THE
18 SEP TEMBER 2 5 SEP TEMBER 30 SEP TEMBER 1 OCTOBER
Artists over 18 who have Enter your artworks for Paralym Art World Cup Submit your works for the
graduated from a The Boomer Art Prize for wants art by people with Bada Art Prize, seeking to

D IA RY
UK-based art school
within the last five years
can enter the Ingram
Open calls, Prize 2023 now for free.
prizes and artist ingramprize.artopps.
opportunities co.uk
a chance to exhibit at The disabilities on the theme: promote 'the antiques of
Boomer Gallery. The prize JOURNEY. You could win tomorrow.' You must be
fund totals £10,000. a cash prize and attend an enrolled in or completed
Entries cost £35 for award ceremony in higher education at a UK
three works. Tokyo. Free entry. institution. Free to enter.
boomergallery.co.uk paralymart-wc.com bada.org

6 ARTISTS & ILLUSTRATORS

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STUART MCALLISTER, WOODLAND LIGHT. PHOTO CREDIT: CAMERON MCALLISTER
Sketchbook

MARK ENTWISLE'S ARTWORK DONATED TO THE 2019 A LETTER IN MIND EXHIBITION

A LET TER IN MIND
This year marks 10 years of The National Brain Appeal’s
art fundraiser, A Letter in Mind, where the charity asks
artists to get creative on an envelope. The theme of this
year’s exhibition is ‘Changing Perspectives,’ to
acknowledge patients and families who often experience
a changed outlook on life after a diagnosis of a
neurological condition. Artworks will be exhibited at
Gallery Different, Percy Street, London W1T 1DR from
24 to 28 October 2023, and sold via the charity’s online
gallery from 25 October, previewing online from
23 October. The deadline for entries is 22 September 2023.
aletterinmind.org

Be inspired...
by this group of artists who are working together to put Moray on the map.
The 12 creators who exhibit together as Moray Artists are taking part in the
North East Open Studios (NEOS) and they want to ensure that Moray gets a
slice of the artistic action. NEOS, which is one of the largest arts and creative
events in Scotland, runs from 9 to 17 September 2023. Over the course of the
nine days, 270 creators and artists who have signed up, open their studios to
the public from Forres to Stonehaven. northeastopenstudios.co.uk

ARTS TR AIL
Art lovers will be treated 70 Y E ARS OF PRINTMAKING
to one of the biggest A special exhibition of work by Norfolk printmaker H.J.
displays of work in a Jackson will be a celebration of John’s long and successful
range of coastal 70-year artistic career. Jackson cut his first lino block
locations this autumn during his last year at school in 1953 and is still printing
when artists and craft seven decades later. The display will have works from
makers take part in The archives dating back to Jackson’s first years producing
South Hams Arts Forum editioned prints. The anniversary will also be
(SHAF). It promises its commemorated by the launch of a new book published
largest arts trail to date by Mascot Media, Drawn to Print. The 160-page softback
with 74 artists putting on will emphasise the process of developing ideas on paper
displays in 35 locations before transforming the drawing into linocuts. It will
ON THE FORESHORE

across this beautiful part include early sketches and preliminary drawings
AMANDA BROOKS

of South Devon. From 14 showing the development of his draftsmanship and

to 29 October 2023. documenting the ideas that never made it to Lino. From
SHAF.org.uk 7 October to 1 November 2023. birchamgallery.co.uk

ARTISTS & ILLUSTRATORS 9


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 S E P T E M B E R O N WA R D S
CHARLIE BILLINGHAM © BJ DEAKIN PHOTOGRAPHY
TALE S FROM THE RIVERBANK
10 to 15 October 2023
An exhibition of contemporary art
inspired by Kenneth Grahame’s The
Wind in the Willows will display over
20 works from artists such as Stanley
Donwood, Malene Hartmann
Rasmussen and Charlie Billingham.
Tales from the Riverbank will bring
10 ARTISTS & ILLUSTRATORS
Sketchbook
BARBARA JONES, FAIRGROUND, PRIVATE COLLECTION, IMAGE © THE ESTATE OF BARBARA JONES
PAR ALLEL LIVE S
16 September 2023 to 13 January 2024
This exhibition looks at the careers and experiences
of eight female artists, whose lives spanned the 20th
century: Wilhelmina Barns-Graham, Prunella Clough,
Ithell Colquhoun, Evelyn Dunbar, Gertrude Hermes,
Barbara Jones, Enid Marx and Monica Poole.
Stylistically diverse, they drew selectively on art
movements with some at the forefront of developments
within their artistic fields including neo-romanticism,
realism, surrealism, folk art and abstraction.
St Barbe Museum and Art Gallery, Lymington,
FRANK WALTER, PLANTAPON FIELDS AND WORKERS, OIL ON CARD, 31.8X45CM COURTESY FRANK WALTER FAMILY AND KENNETH M. MILTON FINE ARTS
Hampshire SO41 9BH. stbarbe-museum.org.uk
FR ANK WALTER: ARTIST,
GARDENER, R ADICAL
4 October 2023 to 25 February 2024
together works from leading British- Antiguan artist, writer and environmentalist
based contemporary artists, working Frank Walter was one of the most significant
in photography, ceramics, painting and Caribbean visual artists of the 20th and twenty 21st
drawing, that explore the iconography century. Artist, Gardener, Radical will transport
and themes that have made The Wind visitors to Walter’s ‘castle on a hill’ studio in
in the Willows such a celebrated and Antigua, bringing together over 100 works.
significant text. Garden Museum, Lambeth Palace Road, London,
TIN MAN ART, 4 Cromwell Place, SE1 7LB. gardenmuseum.org.uk
London SW7 2JE. tinmanart.com
 THOMAS GAINSBOROUGH, THE BRIGDE, C.1786, OIL ON CANVAS, 40X48.3CM, TATE COLLECTION

MARZIA COLONNA, MANGO SELLER

MAN Y MOONS
9 September to 11 November
2023
In a rare and special exhibition,
Marzia Colonna and Fiamma
Colonna Montagu, mother and
daughter, will be exhibiting
together at Sladers Yard. Each is
an artist with her own unique
voice and has work in important
collections in the USA and
Europe. Many Moons is a
celebration of the years, finding
R ADIC AL L ANDSC APE S their personal paths, putting
21 October 2023 to 18 February 2024 forward voices and ideas that
Radical Landscapes is an exhibition that will explore the natural world as a space for artistic are different but intriguingly
inspiration, social connection and political and cultural protest through the lens of William Morris, compatible, with the pleasure of
one of Britain’s earliest and most influential environmental thinkers. Organised in collaboration seeing each other’s work develop
with Tate Liverpool, the exhibition will display work spanning two centuries and feature more than and often live side by side.
60 works by artists including JMW Turner, Claude Cahun, Hurvin Anderson, Derek Jarman, Jeremy Sladers Yard, West Bay, Bridport,
Deller and Veronica Ryan. Dorset DT6 4EL. sladersyard.co.uk
William Morris Gallery, Forest Road, London E17 4PP. wmgallery.org.uk

NEX T:PRE VIOUS

2 to 30 September 2023
A group exhibition
curated by Steven Scott,
ANDREW BICK, OGVGGT [DOUBLE ECHO], 2020, ACRYLIC, PENCIL, OIL, WATERCOLOUR, AND WAX MEDIUM ON LINEN ON WOOD

Next:Previous brings together

works from eight artists with
practices established in
diverse fields to offer
correlations between form
and reference, concurrency
and possibility. The selection
of works for this exhibition
began from structural
concerns around dual and
multiple images and
interrelationships between
the temporal sequence and
the spatial array. It is hoped
that alignments perceived as
a result of bringing these
different works together will
allow for new relationships
and perceived concurrencies
to be revealed.
Gerald Moore Gallery,
London SE9 4RW.
geraldmooregallery.org

ARTISTS & ILLUSTRATORS 11

 P R I Z E D R AW

£1,000 worth
of expert
art tuition
Learn something new with the ST IVES SCHOOL OF PAINTING HOW TO ENTER
Enter by noon on 23 October 2023, either
ll artists will experience a creative celebrates its 85th birthday, the studio

A
slump at some point. An inspirational
art course is a sure-fire way to get you
back into creating, regardless of the reason – a
lack of desire or displeasure at how much
progress you’re making. This month, 10 lucky
Artists & Illustrators readers will each have the
chance to receive top-notch art tuition thanks
to our collaboration with the esteemed St Ives
School of Painting.
The school was established in 1938 by two
young officers and is housed in magnificent
studios with a view of Porthmeor Beach in St
Ives. They made the decision that, if they
made it through the atrocities of war, they
would one day reside in St Ives and pursue
their artistic endeavours there. It was an
instant success. The school has always
inhabited a creative and inventive zone,
walls still bear the brush marks of
illustrious graduates of the St Ives School
and it continues to hold a special place in
the vibrant artistic community in the area.
St Ives School of Painting offers a broad
and fascinating curriculum of studio and
online courses for artists of all ability levels,
from complete beginners to those with more
experience. If you can’t make it to Cornwall,
you can still keep your creative juices
flowing with their small group online
courses. These are the closest thing to
taking a studio course in person with real
time teaching and feedback from your tutor
with a bespoke learning platform to access
resources, share your work and get to know
your fellow students - wherever you are in
the world.
at artistsandillustrators.co.uk/
competitions or by filling in the form
below and returning it to:
St Ives Prize Draw,
Artists & Illustrators,
Chelsea Magazine Company Ltd, Jubilee
House, 2 Jubilee Place, London SW3 3TQ
TERMS & CONDITIONS
The prize is non-transferable. No cash
alternatives are available. For full terms
and conditions, visit
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ART TUITION
DRAW
Name: ......................................................................................................................

attracting students from all over. As it schoolofpainting.co.uk ▫

Address: ...............................................................................................................

THE PRIZE
................................................................................................................................................
Two winners, chosen at random, will each have the chance to join one of
the following courses:
..............................................................................................................................................

● Sculptural Luminosity with Cold wax Painting: 5 to 7 December 2023.

Three ONLINE live sessions over three days. Worth £290. Postcode: ............................................................................................................

Join artist Laura Menzies and explore how to use cold wax to add texture, depth
Email:
* NOT AVAILABLE IN NEW ZEALAND

and luminosity to your oil paintings. .......................................................................................................................

● Still Life: Surface and Space: 24 to 26 November 2023.

Three days in the St Ives STUDIO. Worth: £375.
Working in the studio from still life compositions, learn to develop your observation,
composition and painting skills with artist Tom Rickman.
● Eight runner-up prizes worth £50 each are then up for grabs.
Winners can each choose two of the St Ives School of Painting’s popular webinars.
Telephone: .......................................................................................................
The closing date for entries is noon on 23 October 2023.
Please tick if you are happy to receive relevant information from
The Chelsea Magazine Company Ltd. via email post or phone
or St Ives School of Painting via email
Parallel Lives: Eight Women Artists
Parallel Lives looks at the careers and experiences
of eight women artists, all born within twenty
years of each other and whose lives spanned the
twentieth century: Wilhelmina Barns-Graham,
Prunella Clough, Ithell Colquhoun, Evelyn Dunbar,
Gertrude Hermes, Barbara Jones, Enid Marx and
Monica Poole. Their work covers a range of media:
sculpture, painting, printmaking, textile design and
book illustration. Stylistically diverse, they drew
selectively on art movements with some at the
forefront of developments within their artistic
fields including neo-romanticism, realism,
surrealism, folk art and abstraction.
What binds them together is an independent
outlook and a willingness to pursue a singular
artistic vision often in defiance of prevailing
St Barbe Museum + Art Gallery
New Street, Lymington SO41 9BH
www.stbarbe-museum.org.uk
Registered charity no 1018779
16 SEPTEMBER 2023 – 13 JANUARY 2024
fashions and influences. Each was an original and
innovative creative force, who built a career on
their own terms and developed a significant and
enduring body of work.
The exhibition follows their successes while
considering the challenges they had to address,
noting also the moments when their lives and
experiences overlapped or corresponded.
Curated by Gill Clarke and Steve Marshall,
Parallel Lives is a celebration of these artists’
individuality, their remarkable lives and their unique
contributions to British art.
A full colour, hard backed catalogue of the
exhibition will be available online from the start
of the exhibition through our online shop:
shop.stbarbe-museum.org.uk
Images clockwise from the top left: Enid Marx - Wally Dogs. Private collection, image
© Estate of Enid Marx; Wilhelmina Barns-Graham - Inside Outside No.2. Private
collection, image © Wilhelmina Barns-Graham Trust (detail); Monica Poole – Pilgrims
Way. Julian Francis Collection, image © Estate of Monica Poole (detail); Barbara Jones -
Fairground. Private collection, image © Estate of Barbara Jones (detail).
 This
m o n t h ’s
spotlight on a
British Art Club
member

SANDRA POND
An artist who has always had an
obsession with the natural world

E
ver since Sandra Pond “found delight in being
able to portray an image very accurately” – at just
age six – she has loved painting. Her uncle used to
paint in oils and encouraged Sandra to do the same.
“He taught me various painting techniques. My first serious
painting (at 11 years old) was of Beethoven, who I greatly
admired as I loved playing his piano sonatas. And still do.”
As a young child, Sandra would use her replica Siver Cross
pram to push – not dolls, but rather – soil full of worms, snails
and beetles around. Her mother was a great gardener and
Sandra developed her love of nature and insects early on
through time spent with her mother in the garden.
She was encouraged by her parents – who supported her
immensely – to experiment with her drawings. “To give an
example, after being told by the school’s Careers Officer that
I would never make a living as an artist and should seek a
‘career’ as a typist or ‘check-out girl,’ my mother stormed
into the school demanding to see the headmaster.
“She was outraged by what he’d said and that he’d not even
looked at my portfolio. The outcome was that I was excused
from needlework (which I hated) and received extra art
lessons instead!” Sandra, therefore, progressed with extra art
tuition at school and was accepted at the Norwich School of
Art, despite not having all the required formal qualifications.
Sandra has spent the majority of her career illustrating
books on natural history driven by briefs from publishers.
This didn’t leave much time to develop a personal style for
non-illustrative work. But in later years, she has had more
freedom and time to express her individual style.
“Early on in my artistic development, I struggled greatly
with oil paint because of the smell of linseed oil and
turpentine, which gave me headaches. I, therefore, moved on
to watercolour, which I absolutely loved. I am enthralled by
the way this medium has a mind of its own but that you can
also control to produce the fine detail required in illustrative
ART COMMISSIONED FOR IPSWICH HOSPITAL

work, for example, the fine hairs on the abdomen of a hoverfly.

Watercolour painting is often regarded as ‘unforgiving’,
however, I find that there are ways and means of overcoming
most problems which I find satisfying and rewarding.
“I think all artists share a desire to create something
beautiful and shocking or different – this is what makes us as
artists feel satisfied that we’ve done a good job.”
britishartclub.co.uk/profile/sandrapond ▫

14 ARTISTS & ILLUSTRATORS

Lily of the Valley,
watercolour,
30x30cm
H O W I WOR K IN T HE ST UDI O

Teton Sunrise,
oil on panel,
114x152cm
This Utah-based, landscape and still life artist’s favourite studio is the great outdoors.
Ramsha Vistro finds out more about what inspires him and his art ▸

17
H O W I WOR K IN T HE ST UDI O
ll of Bryan Mark
Taylor’s seven siblings
do something creative – from
art and dance to music and
interior design. His
grandfather started
painting in his retirement, which inspired
Bryan to take up oil painting at a young age.
“I loved art as early as I can remember, but a
pivotal moment came when I was eight; my
parents enrolled me in an art school because I
told them I wanted to be an artist. It gave me a
great drawing foundation and I continued to
study with various artists and institutions until
I graduated with my master’s degree from the
Academy of Art University in 2005.”
He started drawing and painting
imaginative subjects and doodling “funny”
characters during school – exploring all kinds
of ideas and styles. In all this experimentation,
he found he had a knack for loose, gestural
and free-flowing lines and shapes. Today,
he still likes to keep things interesting by
interchanging from still lifes, landscapes
and even abstract themes in his work.
Does Bryan paint what surrounds him?
“We have a backyard farm with numerous
fruit trees and vegetable, flower and herb
gardens. We also tend sheep, ducks and bees.
The backyard serves as inspiration for my
still life work. I buy antiques or uniquely
traditional hand-crafted local objects for still
life subjects too, or bring seeds from faraway
18 ARTISTS & ILLUSTRATORS
First Lights of the
Loire Valley, oil on
panel, 91.5x122cm
Typewriter Blue,
oil on panel,
40.6x51cm
lands and try to grow them in my backyard.
“I also travel the world extensively, painting
the cities and landscapes that inspire me.
Europe is like a second home but I’ve also
enjoyed spending time in Asia, India, South
America and island countries.
“Travelling worldwide has been my most
important muse. I love to explore new places
and cultures. The sights, sounds, smells and
colours help me see my work from a fresh
perspective. It has been the best way to
re-awaken the childhood sense of wonder,
which is easy to forget when you are bogged
down with life’s responsibilities.”
Bryan enjoys examining the way light
interacts with the subject. The things he has
learnt in still life painting translate well into
landscape painting too. “I love painting bread Apple Bag,
oil on panel,
and find it has helped me see the structural
30.5x40.6cm
planes and bouncing light in clouds or rocks.”
He primarily uses oil for his artworks but
occasionally experiments with different
mediums in his free time. “Oils are so
versatile, they can look like other mediums,
but no other medium looks quite like oils.
The richness, depth and texture make it one
of the most dynamic mediums to work with.”
Many of Bryan’s alla prima paintings are
done in one sitting, in a matter of hours. For
these smaller pieces, typically done from life,
he likes to make the paint strokes intentional
but fresh, confident and free. On the contrary,
his larger paintings take several months. ▸
Ballaro Fruit Apricot Blossoms,
Market, oil on panel,
oil on panel, 30.5x30.5cm
35.6x45.7cm

ARTISTS & ILLUSTRATORS 19

H O W I WOR K IN T HE ST UDI O
“For me, the most enjoyable part of painting
is following my intuition at the beginning;
making strokes quickly and decisively while
the paint is wet. The most challenging part is
days later when I spend a lot of time just
staring at the painting and adjusting things
to make the relationships work during this
phase. I keep as much of the initial stage as
possible in subsequent layers, so the painting
feels fresh and vibrant.”
Bryan usually starts his day early, which
he begins by riding on the local mountain
biking trails in Utah. After breakfast, he
tackles his emails before making his way to
his studio where he spends the rest of his
day painting. Evenings are spent with his
wife and kids, and doing some work on
their backyard farm, which he thoroughly
enjoys. His day ends with another couple of
hours spent painting.
“I’m in the process of building a 30x40-foot
studio in my backyard with skylights and
beautiful northlight windows. In the
meantime, I’m currently alternating
between my basement and garage spaces
until the studio is finished. I enjoy building
and designing custom things; I’m looking
forward to a vaulted ceiling and north light
in my new studio.”
His favourite ‘studio’ however, is the great
outdoors and he has even designed a line of
plein air equipment to use. “The light and
colour is wonderful, and I have unlimited
access to it. I love en plein air painting, but
when I don’t have time to stop and paint, I
take pictures to paint later in my studio.
“If I can, I always like to at least get a quick
sketch of the subject’s proper colour and value
relationships in addition to the photo. It’s all
about capturing the light, and I leave out all
detail and focus on a few key shapes. These
small studies only take a few minutes to do
and can be super valuable in informing me of
the proper relationships in a scene.
“I enjoy listening to music while I paint back
in the studio and have eclectic taste, including
classical music, cinematic scores like Hanz
Zimmer, Italian Opera and American 1980s
big hair rock bands.”
Although Bryan does start his day early and
loves creating paintings en plein air, he is more
of a night owl than a morning person. “I have
had trouble sleeping since I was a kid because
my mind is constantly racing with ideas, so if
you look through my work, you’ll see I paint
many more sunsets than sunrises.”
What does Bryan hope to achieve at the end
of his paintings? “I want the piece to live,
breathe and communicate my emotions for a
subject. I want it to capture light, atmosphere,
mood and motion. The specific subject plays a
part but is often a vehicle for deeper and more
20 ARTISTS & ILLUSTRATORS
Night in Luthadel,
oil on panel,
30.5x30.5cm
subtle feelings and motivations. I want
people to awaken something within them,
I want people to maybe a familiar sound, smell or memory.
Sometimes we have poignant, empathetic,
awaken something sublime, or beautiful moments in our lives
within them, maybe a and I want to help people recall those
memories when they look at my art. Life
familiar memory can be extremely difficult and painful, but
I’d like to focus on the good.”
Bryan believes he has a unique view of the
world because of “where I have lived, what I
have observed from my travels and my
insatiable curiosity to understand and ask
questions about things I have never seen,
tasted or experienced before. I’m generally
sceptical of dogmas in life and painting. This
has fuelled experimentation in my art,
leading me to explore various techniques
and tackle new, and sometimes strange,
subjects and ideas.”
He is as interested in science as he is in art
and finds the intersection between the two
disciplines one of the most fascinating
aspects of life. “I’m an open personality and
tend to empathise with a wide variety of
A B OV E Bread Glow, oil on panel, 30.5x30.5cm subjects, people and circumstances. I admit
B E L OW Buildings of the Bay, oil on panel, 30.5x30.5cm this lifestyle and mindset sometimes puts me
at odds with the traditions of family, friends
and neighbours, but I often desire to share
the merits of new ways of thinking and doing.
“It takes a lot of intrinsic motivation to
do this type of work because you’ll have
challenges, and many people will doubt you
can do it. But when you show persistent
dedication by treating it as a life calling or
intense labour of love, the people in your life
will come around.”
bryanmarktaylor.com ▫
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G UES T COL U MNIST

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

Richard Blades
Landscape artist Richard Blades tells us about his journey of
becoming a professional artist
RICHARD’S TIPS
ON BECOMING A
Solitary Sunset VI,
oil on panel, FULL-TIME ARTIST

1
25x25 cm

It takes time to
establish yourself
This requires embracing
both success and setbacks
as part of your journey.
Give yourself that space
and time to develop,
setting little goals along
Winter sun, the way and visualising
gouache on paper, where you would like your
15x15 cm
journey to lead.

2
Passion is your
greatest asset
Looking West,
gouache on paper, If you believe in what you
15x15 cm create, then that belief can
be seen in your work and
you will have more chance

I
grew up in the East Anglian fens. It’s an
extremely flat landscape and the skies there
are phenomenal. This directly fed into how I
work today. Returning to live on the East Coast felt
like coming home, the skies are so familiar and
only now do I feel that ability to capture them with
painter and thankfully received positive feedback. of attracting collectors
From there, I set up my website and began making and exhibition
sales. As with now, I had been teaching painting opportunities. Create
on the side and this gave me that time and space work that you are inspired
to paint and develop my style. to create, not what you
I spent a good eight years locked away in my think people might want.

the emotional resonance they deserve.
I was always a creative child with a vivid
imagination. However, it was whilst living in
Devon and Cornwall in my twenties that I found
my true inspiration. Discovering the work of the
St Ives school and a growing appreciation for the
landscape switched my mind to thinking more
about painting. It was a collection of moments
and realisations that soon manifested in an
overwhelming desire to paint.
Becoming a full-time artist took a great deal of
focus and hard work, and there have been many
moments of uncertainty and doubt along the way.
It took me time to develop my practice to the point
that I felt comfortable putting my work out there. I
used Instagram as a gauge of how I was doing as a
3
studio, painting and just absorbing anything I
could about art. I lived in London at the time so
would visit galleries regularly. I think it’s so
important to engage with art history, to relate to
it as an artist and to have knowledge of painting, The art world has
beyond our creativity. Equally, I spent time changed greatly
learning about how galleries, curators and artists Today, we have some
go about creating a sustainable business model. great tools for sharing and
There’s not much I would change. I spent most selling our work. Use social
of my twenties travelling and soul searching and media, your website and
sometimes I regret not being more creative. newsletters. Learn from
However, I have come to learn that this is very others; pay attention to
much part of my journey as an artist and artists and galleries, and
sometimes one needs to absorb many things watch how they use
before that creative focus can align with these tools.
experience. richardkbladesartist.co.uk ▫

2 2 ARTISTS & ILLUSTRATORS

 KO L I N S K Y S A B L E SY N T H E T I C F I B R E

South West Academy

Open Exhibition 2023

CALL FOR ENTRIES:

2D AND 3D ARTISTS
Exhibition Dates: 31 October – 11 November
at Kennaway House, Sidmouth, Devon

Entry Deadline: 3 October 2023

Enter online via www.southwestacademy.org.uk
Artwork images from Open Exhibition 2022

ARTISTS & ILLUSTRATORS 2 3

H O W I WOR K HO W I P AI N T
JAMES GILLICK is a
Lincolnshire-based artist
whose work is based on the
figurative tradition. Niki
Browes finds out more about
the artist, whose large family
is steeped in the arts
2 4 ARTISTS & ILLUSTRATORS
J
ames Gillick’s family are
predisposed to the arts in the same way
that some families are overloaded with
teachers, policemen or doctors. This
has been a trait of several generations;
his great uncle Ernest Gillick was a very
well-known monumental sculptor whilst his
wife, Mary, was a famous medallionist.
Today, his cousin Liam is a Turner Prize
nominee and a “big cheese in the art world.”
His twin brother, Theodore, is a sculptor
who has built and runs his own foundry.
Growing up in a large family of 120 cousins,
nephews and nieces, nearly all run their own
businesses whilst only one isn’t involved in
the arts – he’s a banker. “Nobody talks to
him!” jokes James.
gillick-artist.com ▸
Art Deco Silver
Coffee Pot,
oil on linen,
19.7x45.7cm
We were brought up in a house
of pencils, pens and paper.
We’ve always lived in the countryside
and small towns. I come from a very
big family who are busy, gregarious,
emotional and argumentative. We all
love each other very much.

I was called “the painter” by my

family from a young age.
I did very well in my art exams at school
but went to college to study landscape
architecture to obtain a failsafe degree
rather than art school. I qualified in
1991. After that, I returned home to
study painting for two years and build
my first portfolio of work. It was during
that two-year period that I decided to
concentrate on a painting method based
on early 17th Century European
techniques, a preoccupation that has
stayed with me. This study of early
painting techniques has become more
common, but it was quite radical when
I started doing it.

As far as I can tell, I think people

have a characteristic way of moving
their hands, which normally shows in
their handwriting.
I developed a close understanding of my
own mark-making, probably when I was
about 14, and that hasn’t changed since
then because it can’t change. Other than
that, over the decades, the mood of my
painting slowly blows hot and blows cold,
and I move from one subject matter to
another as clients demand me to. But
overall, having consciously worked hard to
find my mark at a young age, I have enjoyed Honey Pot,
the benefit that I haven’t jagged left or right oil on linen,
in my style since that time. 17.9x11.5cm

My studios have always been

agricultural buildings, unheated
and basic; they have all had pitched Music,
roofs into which I have cut North Manuscripts
facing skylights. & Pens ,
oil on linen,
I have a big easel and two smaller ones
30.5x61.1cm
that face subject tables that look like a
sculptor’s trestle. I have cupboards for still
life objects, shelves for ingredients for my
paintings, a paint-making table, and a
small old food trolley for my paint box,
brushes and paints. It is an orderly but
scruffy space.

I don’t have a favourite time of day

to paint.
When I go through my studio door knowing
that I have clear time to settle there and
concentrate, whether it is day or night, I’m

26 ARTISTS & ILLUSTRATORS

 H O W I WO RK HOW I P AI NT

Chicory &
Balsamic Vinegar,
oil on linen,
28.6x45.7cm

I try my hardest with

my work as I love to do
it and am interested
in small details

happy. Finding peace in order to do that is a

difficult thing.

The Spanish painter Velázquez was

instrumental in encouraging me to find
my mark early on.
I competed with him in my mind as we both
became fixated on art at the same age, and
although he is a greater painter than me by
an order of magnitude and lived in a very
different time, we have a similar honesty
about the way we look at things, and I think
we both love our wives the same. When
Velázquez died, his wife couldn’t live for
A Pale Red Rose
very long without him and died six months in a Green Vase,
later. I am extremely jealous of Velázquez oil on linen,
that he gained an 18-year-old King as a ▶ 42x38.4cm
H O W I WOR K HO W I P AI N T
Green Sauté Pan,
Mushrooms & a
Blue Egg,
oil on linen,
25x49.8cm
patron when he was 19 years old who asked
for only 134 paintings of him in a career
that spanned 44 years. If the commercial
art world now permitted artists to work
with such care by giving them that much
time, our art would be extraordinary. I
dreamt of getting a patron before I was 20,
but as I grew up, I locked that dream away
in a box and bound it with chains.
The chief variables in my technique are
the brushes I use.
I’m always on a search for better hog hair
filberts; the quality of which has been
deteriorating in recent years. But for
detailed work, the round sable brushes
that Rosemary & Co make are without
comparison in this country. I also use
Handover natural hair brushes, and
Jackson’s Shiro Professional Hog brushes
are as good as I have found at the moment.
My pigments, I source from various places.
I bought 25kg of genuine lead white
from Cornellisons about six months before
it was banned in Europe; I still use that
supply. I make by hand my own panels,
gesso, varnish, painting mediums and so
forth. My paintings are hand-built in
their entirety.
Every successful painter owes much
of their early success to the generosity
of a patron.
We all have a small handful of individuals
who we look to with great fondness because
of their unwarranted and generous
2 8 ARTISTS & ILLUSTRATORS
Glazed French
Jug, oil on linen,
17.9x21.6cm
support. Meanwhile, I show in Chelsea,
Kensington and Knightsbridge as it’s where
the highest expressions of culture and fine
art in the UK are displayed and sold. It’s the
place to end up if you’re worth your salt.
I try my very hardest with my
work because I love to do it, and I
am interested in perfecting its
small details.
But I have stood beside my wife several
times as she has given birth to our children,
and I know for a certainty that I would be a
fool to overplay the brilliance of anything
that comes from a man’s hands, having
seen the splendour, the commitment and
the courage of that great night of art when a
woman brings a gasping, little new life into
the world.
I have been asked to judge art
competitions in the past, something
I love to do.
The thing I admire most is a total
commitment to the task at hand,
irrespective of hand skill. I have no time
at all for people whose work is untruthful,
flashy and fashionable. To my mind, success
would be the artist who eloquently says one
truthful thing. Still, I am not a good judge of
my own art, and I never step in between
something I have made and a viewer and
sought to impose on them any idea of how
they should feel about it.
Anxiety makes starting painting
difficult, but experience has taught me
that as soon as I get going my whole soul
comes back to life.
So, no, I don’t ever lack motivation. I
certainly miss painting sometimes, when
other things get in the way.
If you want to become a professional artist,
I would say find a way to be courageous..
Courage is something you will need in
buckets as stage fright and the fear of
painting only gets greater as you get older.
You will find the courage by breaking down
your processes into simple steps, by keeping
the job in perspective, and by simply
refusing to overthink things. Step out of the
boat; walk on the water. ▫
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3 0 ARTISTS & ILLUSTRATORS
 T H E BIG I N TE R VIE W

Landscape artist CHARLES STUART CALLIS’ pieces

are based on photographs taken by his grandfather.
Bianca Dumas discovers how his work is more
gestural than representational

C
harles Stuart Callis
works in an historic building
in a small, Wild West town.
The ceiling has been stripped
away and the rafters are
visible, the walls are bare brick and the
floor is unpolished hardwood, marked up
from a century of use. The studio tells
more of a story now that it can show its
structural past, than it would if its
surfaces were neatly covered in drywall
and paint. It is finished but unfinished,
and this is the spirit of Charles’ work.
Many of his landscape paintings are
drawn from photographs taken by his
grandfather, Keith Hayes, which depict
American life in the 1930s-50s. The
personality of this patient, soft-spoken
Guest Season, oil, and hardworking grandfather comes
61x51cm
through Charles’ contemplative
interpretations of the landscape in which
Hayes lived and worked. But rather
than make representational paintings,
Charles’ work is gestural. He hints at the
original photograph, fills in the canvas,
then removes paint and adds in more
drawing as he goes. This ever-present
insistence on showing the underpainting
– or of drawing onto the paint – adds
narrative depth to otherwise
straightforward landscapes and
depictions of daily life.
These layers seem to be a way of paying
tribute to the past. Whether that means
honouring the underlying structure of a
painting by letting it peek through, or
crediting the grandfather who took the
photographs that much of the work is
based on, or paying respect to his
teachers, Charles always tries to give
origins their due.
thehelperproject.net/charles-stuart-callis ▸

ARTISTS & ILLUSTRATORS 31

When I was young, my grandfather
had a whole cabinet full of these little
yellow boxes.
They seemed magical, but they were
off-limits to us kids. Years later, we were
clearing out the house and I was finally
able to go through those boxes, which were
my grandfather’s slides. He was an engineer
for a mining company, so he travelled to
deserts in the American southwest. His job
took him to places that I would probably go
to for painting references. To see what he
was interested in compositionally and
subject matter-wise was really cool. It made
me feel like paying tribute to that creative
side of his life, which I never knew. I feel
fortunate to make his images live on in a way.

In the late 1950s, he started having kids

and in those slides you start seeing this
domestic scene.
Even though they’re people I have a
personal relationship with, the photographs
are very much American iconography. I
think that sort of guided me towards more
narrative-based work and reintroduced
figure painting to me. I think you can make
a clear narrative with just the landscape, but
once you put figures in, it reads as much
more of a story.
Gathering, oil,
41x51cm
Working from photographs is really
challenging because it’s easy to be
seduced by all the information present
in a photograph.
A photograph makes it hard to be gestural
and spontaneous. So I filter out a lot of the
information by drawing from the
photograph. If I like the feel of a drawing,
that becomes the main reference point for
the composition. Finding subject matter is
a balance of using your intuition along with
focus and observation. I start with an idea
but try to be open to changes or new ideas
that might arise from the creative process
because you can get so focused on finishing
a painting in a certain way, you don’t realise
there’s a certain beauty to it already. You
can lose some of the spontaneity if you’re
not careful. Spontaneity is part of the
finished/unfinished look that I’m always
trying to create.

Photography and en plein air painting are

of equal importance for me.
When you’re in the studio you have enough
time to really ponder every move you make.
When you’re outdoors, it forces you to
respond quickly: clouds are moving, it’s
windy, you’re battling the elements. You
have to make moves fast. That makes for Summer, oil,
some cool decision making. So en plein air 41x41cm

32 ARTISTS & ILLUSTRATORS

 T HE B IG IN T ER VI EW

Parade, oil, 84x76cm

Solar, oil, 102x127cm

Skylark, oil,
102x127cm

painting has been really important in how I

approach studio paintings because I use it
to inform the larger works. I don’t always do
a plein air study and then make it bigger, but
keeping in touch with plein air study always
informs how I like to paint in the studio. I
don’t necessarily think about it as I’m
making a finished product. I try to be pretty
gestural and use broad strokes. Figuratively
and literally.

Drawing was my first passion.

The general consensus is that drawing
evolves into painting, but the line work of a
drawing is unique and isn’t always present
in a painting. I think having a lot of line
work can reveal the bones or the structures
of the painting. We might traditionally see
that as the beginning stage, but I like
leaving some of the drawing there or even
filling in with drawing strategies as I go. I
use a lot of oil sticks. They’re very fluid and
you can put a lot more material down with
them. I think drawing back into the
Guide, oil, painting is a way for me to get back to that
102x114cm
sort of open feeling instead of a closed
finished product. I’ll kind of push back and

3 4 ARTISTS & ILLUSTRATORS

 Spinning Away, oil,
41x61cm
I use a lot of oil sticks.
They’re very fluid and
you can put a lot more
material down
forth. When I feel like a painting is getting a
little stale, I’ll draw on it or sand it so I can
push some fresh ideas back into it.
There’s an old school train of thought
that you’re not supposed to let the
viewer see the brush strokes.
A representational painting is supposed to
be an illusion and you’re like a magician.
You don’t want them to know how you’re
doing the tricks. But I don’t try to cover up
all my moves. If I’m painting a still life you
can see when I’ve moved the object a few
times. It builds up a history on the surface
that can be visually interesting. I always
felt uncomfortable about the notion that a
painting is finished when every square
centimetre is covered. So I guess an
unfinished look is what I’m after, and it’s
been a long time in the making to figure
out what can be received by the viewer as a
finished end product. For example, I think
people are attracted to contrast, so if you
have a really resolved, refined part, it speaks
louder if there’s an unresolved part nearby.
It’s been really fun to discover that.
I think if you work long enough,
personal style just comes.
I want to work on things that feel open, so
I’ve developed a method of doing that which
ends up being my look. I start with a muted
palette and add punches of saturation here
and there for dramatic effect. That lets me
build up a quiet surface and then use bright
colour in the areas where I want to guide the
viewer’s eye. My work also relies upon the
fundamental theories of linear perspective,
atmospheric perspective, and light logic
that were given to us by the masters.
When you learn from a teacher, you’re
absorbing their past.
Somebody is showing you the secrets that
they’ve learned. In a way, that prevents you
from discovering them, but we need to be
shown things. It’s our job to master
techniques. That leaves our subconscious
to take care of the mechanical aspect of
painting, and our conscience is left free to
focus on spontaneous creativity. So I feel
really rooted to a lot of the fundamental
methods, but also want to very subtly rebel
against them. To that end, I think there’s an
inner conflict within me and even within
the paintings themselves.
I read a lot of westerns.
My brother gave me a few Cormac McCarthy
novels. The landscape is such a prominent
character in a lot of his novels. And then I
found Lonesome Dove by Larry McMurtry. I
loved reading those books and then going
out and painting in the desert. It’s such a
beautiful and unforgiving landscape and
it’s so subtle. The limitation is so eloquent.
I never think of myself as a desert or a
southwest painter, but you’re that by
default of where you live and paint. So I’d
like to become more of a roving painter in
the future. ▫
ARTISTS & ILLUSTRATORS 3 5
 RE T ROSP ECT IVE

Turner’s drawing
room
DRAWING ROOM © STEPHEN CHUNG. TURNER’S HOUSE PLAQUE © LUCINDA MACPHERSON

J. M. W. TURNER is one of the most famous and acclaimed

painters in the land. If you want to dig deeper, visit his Turner’s home in
Twickenham
now-open home in Twickenham. By Amanda Hodges

F
or a painter whose creed
was “Light is therefore colour,” Italy
would always beguile and it proved
pivotal for landscape artist J.M.W.
Turner. Just why his first trip in 1819 was so
seminal is currently explored within the
exhibition Seeing The Light, held in the
beautiful setting of Turner’s House in
Twickenham, the place that he, once an
aspiring architect, conceived himself.
Exhibition curator Dr Carly Collier says,
©LUCINDA MACPHERSON
“It’s been special to think about Turner’s
watercolours, his practice and life in the
unique setting of Turner’s only 3D artwork;
the house he designed, enjoyed and knew so
well.” And House Director Dr Matthew
Morgan explains the role it fulfils for
contemporary visitors: “One of the purposes
of the house is that it allows us to think about
Turner as a man. You go to the Tate or
National Gallery and see the paintings, his
public side. Here it’s an opportunity to
engage with him on a more personal level.”
Nestled within what was once Sandycombe
Lodge, his rural retreat in Twickenham, the
exhibition offers an opportunity to view
beloved cities like Rome and Venice (the
latter a recurrent subject) through Turner’s
eyes in watercolours dating from his first
Italian foray, chronicling his evolving use of
The Thames from
Richmond Hill,
c.1815 from
Seeing the Light
exhibition at
Turner’s House
©TATE
light in a place rapturously dubbed “the
land of all bliss.”
In 1819 Turner finally embarked upon his
first artistic pilgrimage to Italy. As a young
man, prospects of the Grand Tour were
thwarted by finances and by the turmoil of
the French Revolution, so although he’d
briefly visited in 1802 it wasn’t until his forties
that a substantial trip became feasible.
Like any seasoned traveller, Dr Morgan says
of Turner, “We know he planned meticulously
for all journeys, whether in Britain or the
Continent.” Inspired by a land which
represented the apotheosis of cultural
inspiration, he also intended “to follow in the ▸
ARTISTS & ILLUSTRATORS 37
RE T ROSP ECT IVE Hythe, Kent, 1824,
watercolour,
14x22cm
footsteps of his great artistic hero,
[fashionable 17th-century] artist Claude
Lorrain,” whose use of light he emulated.
Arriving in Italy armed with sketchbooks
and annotated guidebooks after a long,
arduous journey, Turner was “just hit by
the wonderful light,” travelling across the
country from July 1819 to February 1820.

THE GUILDHALL GALLERY

He discovered reality surpassed his wildest
expectations. Sadly, nothing extant records
these impressions but the subsequent
return time and again to Italian landscapes
demonstrates how formative Italy was
in shaping his art.
He was a man who lived by the dictum:
The Castel
“I know of no genius but the genius of hard dell’Ovo, Naples,
work,” and curator Dr Collier admires his with Capri in the
sheer perseverance: “Turner certainly made Distance ,1819,
the most of this journey, he was absolutely watercolour,
25.5×40.4cm
indefatigable.” Travelling with a dagger
apparently hidden in his umbrella handle
and sketching copiously, “He filled 23
sketchbooks in six months. He painted
watercolours, probably at the end of the day,
vivifying them with colour.” Guidebooks on
display, possibly scrutinised at Sandycombe,
reveal intense preparation. There’s also “a
special loan of a travelling watercolour
palette, a tangible link to Turner and his
practice.” And Dr Collier commends, “How
inventive he was on the road, fashioning
something on paper to capture all the

wonderful things he was seeing.”
Once home in early 1820, Turner wished
to translate what he’d imbibed into future
paintings. “He’d always been thinking about
light and colour,” says Dr Morgan, “but this
exciting experience crystallised things and
he never looked back. His approach to light
altered.” Curator Dr Collier agrees, “Italy
changed his views of Britain. He came back
and saw the British countryside, a familiar
countryside, through an Italian lens.”
Exhibition visitors can witness the
painter’s evolution. “You can see Turner
in the watercolours trying to capture this
wonderful Italian light using new
techniques.” Dr Morgan cites “A fantastic
watercolour of Hythe in Kent that Turner
turns into the Amalfi Coast.” He’d painted
Richmond Hill c.1815 and after 1819
produced another of the same vista,
“Which seems like you’re looking at the
Roman Campagna,” his perspective infused
by a fresh vision.
“A master of both watercolour and oils,”
Turner used pencil and watercolours abroad
and now wanted to diversify. “His solution”,
©TATE
using a lighter base; the effect is oil paintings
Seeing Turner’s work just popping with light…Unique to him,
he waters down oils, adding extra oil and
in his own home is a turpentine.” Paint becomes more fluid and
subtle nuance possible, “From the yellow of
chance to get to know the sun to the blues of the sky because he’s
him more intimately able to manipulate colour in different ways.”
As Dr Morgan observes, “From 1819, he
was able to take lessons learned from
observing paintings from Claude to another
level; by the time we get to the late Turner
of The Fighting Temeraire – that lots of people
love – you can still see the influence of his
early obsession,” but his independent
identity is firmly established.
Italy’s inspiration would prove palpable
and enduring. When art critic John Ruskin
praised Turner’s 1844 oil painting Approach
to Venice as “the most perfectly beautiful
piece of colour I have seen produced by
human hands,” its origins, like many others,
could be traced back to that first courageous,
life-changing trip of 1819. ▫
©LUCINDA MACPHERSON

says Dr Morgan, “Is to approach oil paintings Seeing The Light runs until 29 October 2023,
the same way as watercolours (traditionally open Wednesday to Sunday.
you started light and worked towards dark, in Turner’s House, 40 Sandycoombe Road,
oils the reverse.)” Turner “turns this around, Turner’s travelling palette Twickenham TW1 2LR. turnershouse.org

3 8 ARTISTS & ILLUSTRATORS

 A L L
TC !

ABIGAIL WADDELL
ANN JAMES MASSEY

2023
I N PA R TN E R S H I P W ITH

Artists & Illustrators is thrilled

to be back with The British Art
Prize 2023 and we’re super excited
to have Adobe as this year’s partner.
S U P P O R TE D BY Enter today and you could win
some fantastic prizes, have your
artwork displayed at a prestigious
London gallery and also have your
art featured in this magazine

W
e’re excited to host the annual
British Art Prize once again this
year, sponsored by digital giant
Adobe. A significant national art competition,
The British Art Prize will provide winning
artists of all levels with a broad platform for
achieving beneficial exposure and
recognition for their artwork.

40 ARTISTS & ILLUSTRATORS


Prizes
GARY BLYTHE
This year, all 50 shortlisted artists of The
British Art Prize will each receive at least one
award. The prize fund totals over £10,000,
including cash prizes from Adobe, plus
valuable coverage in Artists & Illustrators and
inclusion a the popular central London
exhibition at gallery@oxo.
AMELIA WEBSTER
FIRST PRIZE
The overall winner of The British Art Prize
will receive a £2,500 cash prize courtesy of
Adobe, a £500 Royal Talens gift voucher
and a six-page feature in a future issue
of Artists & Illustrators. The winning
painting will also be shown at the esteemed
gallery@oxo in early 2024.
adobe.com, royaltalens.com
SECOND PRIZE
A £1,000 cash prize from Adobe and £500
worth of Derwent art materials to polish
CHRISTINE PORTER LOFARO
your skills. Inclusion in the Artists &
Illustrators British Art Prize winners’ special
issue, where a branded 10-page editorial will
include images of all the shortlists and
winners. The winning painting will be
shown at the esteemed gallery@oxo in
early 2024. derwentart.com
THIRD PRIZE
A £500 Pegasus Art Supplies gift voucher
and inclusion in The British Art Prize
winners’ special issue where a branded
10-page editorial will include images of all the
shortlist and winners. The winning painting
will be shown at the esteemed gallery@oxo
in early 2024. pegususart.co.uk
THE PEOPLE’S CHOICE AWARD
A £1,000 Atlantis Art Materials voucher and a
feature in the March 2024 issue of Artists &
Open to everyone, whether you’re a Illustrators. The winning painting will be shown
novice, an up-and-coming artist, or a at the esteemed gallery@oxo in early 2024.
seasoned painter, all genres, media and
methods will be taken into consideration. Atlantis will also be providing a £50 art
The British Art Prize provides artists with materials voucher for each of the 50 short-
the possibility to sell their creations to a listed artists. atlantisart.co.uk
combined audience of around one million
art enthusiasts and collectors, as well as a
first-of-its-kind amount of national exposure
across four major magazine brands.
Additionally, there is an enormous prize M E D I A PA R TN E R S
fund including cash awards, art gift cards
and the opportunity to be featured in an
exhibition at the esteemed gallery@oxo in
early 2024. A spectacular, private opening
evening ceremony with artists, collectors
and other VIP visitors will be held for the
shortlisted artists. Each and every entry will
also come with a plus-one admission to the
exclusive event.
COM PE T IT I ON
How to enter
Entering The British Art Prize couldn’t be
easier. Visit artistsandillustrators.co.uk/
britishartprize and simply fill out the online
form. Attach digital photographs of your
artwork when requested and click the submit
button to complete your entry. The entry fee
for the first artwork is £17 and £14 for any
additional artwork.
Selection process
Submissions close at 5 pm on 28 September
2023. Our panel of judges will select a
shortlist of 50 artworks, including the
three top prize winners. The shortlist will be
announced online and in the January 2024
issue of Artists & Illustrators, which goes on
sale on 24 November 2023. If you’ve entered,
visit artistsandillustrators.co.uk after that
date to see if your work has been shortlisted.
Readers will be able to vote for their
favourite shortlisted artwork at
artistsandillustrators.co.uk/britishartprize.
The People’s Choice Award will be decided
by this vote and announced online and in
the March 2024 issue which goes on sale
on 19 January 2024. The British Art Prize
2023 winners will be announced online and
in the February 2024 issue, which goes on
sale on 22 December 2023.
Enter for free
The British Art Club members can enter
The British Art Prize 2023 free of charge.
The British Art Club is an exciting online
community that allows you to share,
showcase and sell your artwork for as little
as £2.49 per month. As well as free entry into
The British Art Prize, other membership
benefits include:
• Sell your artwork commission free to
an active audience of more than 100,000
monthly visitors
• Access exclusive competitions,
opportunities and offers
• Appear in Artists & Illustrators, social
media, newsletters and more!
Sign up to The British Art Club at
britishartclub.co.uk
LAST
CALL FOR
ENTRIES!
Gary
Armer, oil,
30x23cm

Paul Kenton,
oil, 30x23cm
 Drew Bauer,
emulsion,
spray paint,
floor varnish,
30x23cm

Best-selling artist SARAH GRAHAM

shares her battle with bipolar – and
how she has started fundraising
through art to help other sufferers

S
arah Graham was listening to a podcast
with the brilliant Background Bob earlier this
year. For those unaware, Background Bob is the
15-year-old Noah, who has cerebral palsy along
with other conditions, and his dad, Nathan Jones.
During lockdown, they started painting abstract
backgrounds on cardboard and sent them to some artists
© THE NATIONAL GALLERY, LONDON

they knew to paint over. It has since grown to over 750

artists, including Grayson Perry and Ed Sheeran. So far,
they have raised an amazing £160,000 for their local
children’s ward at the Colchester Hospital.
Feeling inspired by this, Sarah wondered what she could
do to raise money for a charity close to her heart. ▸

ARTISTS & ILLUSTRATORS 4 3

AR T T HER A PY

The Samaritans are a society she has heavily

relied on at difficult times in her life. She has
bipolar disorder, which started in 2005. Sarah
has rung them countless times and says, on
more than one occasion, they literally saved
her life. She is deeply grateful that they were
there for her when she believed she had
nowhere else to turn. She truly felt she
couldn’t keep burdening her friends and
family, whereas the Samaritans would just
listen, in a very caring, non-judgemental way,
which she relays was a great comfort during
the severe depressions she used to experience.
Happily, Sarah has been in remission from
the disorder for four years. Being stable has Melanie Paice,
been life-changing and recently she felt ready oil, 30x23cm

to put her energy into giving back. The

Samarivans project is a raising money project
for The Samaritans and a massive thank you
Fletcher
for the support they provided her at the lowest Prentice, oil
points in her life. on canvas,
So, she sent out her stencil of a basic camper 30x23cm
van to all the artists she knows, for them to
create their own artwork from. When she
came up with the name Samarivans, she was
“Pretty chuffed” and, the next thing you know,
they’re 170 artists in (and counting).

I’ve been using my camper van stencil for

over 15 years.
I make cards with it for people’s birthdays or
new babies and personalise the number plate.
I also use them during my art workshops as a
warm-up exercise. I even ran a camper van
stencil workshop at Jamie Oliver’s Big Feastival
in 2012. So there have been hundreds created
over the years by myself and others.
Why camper vans? They are iconic and
nostalgic, which is what so much of my art is
all about and have featured in several of my
photorealist oil paintings. They have so much
personality. My boyfriend owns one too, so
we get to go on adventures in it. He even lets
Jonathan
me drive it! Stewardson,
oil and
I approached most of the artists involved, varnish,
either via text or Instagram. 30x23cm

I’ve been a full-time artist for 22 years, so have

got to know so many talented people in that
time. Then, as the fundraiser began and we
posted completed Samarivans online, we were
approached by other artists wishing to take
part. The standard of pieces that have come
back to us is simply incredible and has been
overwhelming at times. Artists have put so
much thought and work into them all, and
they have really thought outside the box, too.
We have glass, wood, fabric and many have
also completely reworked the stencil image in
paint. A few even turned it upside down! We
have had several Beano artists create pieces,
and some hugely popular artists from across ▸

4 4 ARTISTS & ILLUSTRATORS

 Grazie, spray
paint, acrylic
and posca pen,
30x23 cm

Leigh Francis
(aka Keith
Lemon),
Sharpie,
30x23cm

Anna Cascarina,
embroidery
thread on patches
of denim,
30x23cm

Natasha Armstrong,
acrylic on canvas
▸ board, 30x23cm

ARTISTS & ILLUSTRATORS 45


the UK. We also even have some very well-
known people including Leigh Francis (aka
Keith Lemon) Ricky Wilson (the front man
from the Kaiser Cheifs) James Bay, West End
and Broadway star Kerry Ellis, Joe Lycett and
Kim Wilde whilst we are waiting on
Samarivans from more famous faces.
I will continue to campaign for mental
health issues.
I’ve been living with bipolar my entire life as
my dad suffered too. So I have a breadth of
understanding from being a carer to a sufferer.
I am also a very open person and have always
worn my heart on my sleeve. So speaking out
comes naturally to me. Given how well I have
recovered in the last four years, I feel strong
enough to share my experiences. The only way
we will end the stigma surrounding mental
illness is to speak out and try to normalise it,
so people are less afraid and ashamed.
I’m also a patron of the creative mental health
charity PoetsIN, which provides wellbeing
programmes in schools and workplaces, as
well as supporting those struggling with their
mental health and educating people to
eradicate the stigma.
I will continue to do all I can to make a
difference, and to show people they’re not
46 ARTISTS & ILLUSTRATORS
alone – and there is hope. I’m even running
the London Marathon next year for The
Samaritans, so I am committed to fundraising
to help others.
We truly hope all the work artists have
put in will mean we raise a lot of money
for The Samaritans.
We are holding an exhibition which will take
place from 23 to 29 September 2023 at Arkley
Fine Art, in my hometown of Hitchin, where
my local Samaritans branch is based. The
gallery is kindly giving us use of the space
free of charge, and we’ve had several local
businesses generously sponsor the project,
so the show will be a big event for the town,
celebrating everybody’s efforts. There will
even be a vintage VW called Penny outside
the gallery on the opening night!
We’re also involving schools, providing a
downloadable PDF of the stencil for students
to create their own Samarivan. I’ll be visiting
my old primary school in Hitchin too, to run a
special one-off workshop where pupils will all
create a Samarivan, with the aim to exhibit
them in an empty shop in the town.
There will also be an online auction from 23
September running alongside the exhibition
for 10 days. There is a dedicated page for each
Alistair Little,
oil on canvas
board,
30x23cm
artist on my website; so you can view all the
pieces there ahead of the auction.
I did a simple oil-painted ‘test’ Samarivan
early on, but it was to check the primer
was good enough.
I have just completed one based on Care Bears,
which to me is a great metaphor for what the
Samaritans do, as well as tying in with my
work which often features retro toys.
Don’t be afraid to ask for help, the worst
thing you can do is bottle it all up and
suffer in silence.
There is support and help out there, and you
can gain control back of your life, through
medication, therapy, exercise, mindfulness,
and making positive lifestyle changes.
For me personally, art has saved my life.
It has given me something positive to pour my
energy into. My work is now so joyous, in stark
contrast to the very dark places I have been.
If you can find that thing that is personal to
you, that can give your life meaning and lift
you up, a happy, healthy life is possible. ▫
arkleyfineart.co.uk
sarahgraham.info/samarivans
THE HEATHERLEY
SCHOOL OF FINE ART
Chelsea. Established 1845.

Post Diploma in
Figurative Painting www.heatherleys.org

EILEEN CHAMBERLAIN
 from our trusted partner Tripsmiths

Amsterdam

Exclusive to The Telegraph

Six days from £1,745pp*

Discover Vermeer What’s included

Exclusive events with Andrew

and the Dutch Masters Graham-Dixon

Return Eurostar travel

with Andrew Graham-Dixon Five nights’ accommodation at the

Hampshire Delft Centre Hotel, Delft
Visit to the Rijksmuseum and the
Rembrandt House Museum
Departs October 8, 2023
Coach transfers
Tour manager throughout
There are only around 35 known paintings credited to Dutch artist Johannes
Vermeer, yet his works are among the most recognisable in the world. On this
exclusive tour of the Netherlands, you will see Girl with a Pearl Earring, View
About the expert
of Delft and other Vermeer paintings, as well as great works by Rembrandt.
Andrew Graham-Dixon is one of Britain’s
In The Hague, The Telegraph art critic Andrew Graham-Dixon will join you leading cultural commentators. He has
presented numerous programmes and
for a private out-of-hours viewing at the Mauritshuis. He will also share his is the author of several books.
vast knowledge of the Dutch Golden Age in a private talk. In Amsterdam,
you will enjoy a full-day city tour and a visit to the Rijksmuseum, where the
Dutch Masters take centre stage. In partnership with

telegraph.co.uk/tt-dutchmasters +44 (0)203 918 3671 Quote TST1SEP23

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The British Art Fair is a must-see event
for all interested in contemporary art. At
the Saatchi Gallery, why don’t you get a
ticket today and make a day out of it?
R
oll up, roll up! With 70 stands
and a whole section titled Solo
Contemporary dedicated to rising
stars of the art world, The British Art
Fair is the event for anyone interested in
collecting or researching British art. Featuring
an eclectic mix of artists, you can be sure to see
the very best of this genre throughout all three
storeys of Saatchi Gallery, London. Housed in
an elegant museum-like atmosphere, it’s a
show-stopping event for all contemporary art
aficionados. Head on down to Chelsea, London,
for a great big gulp of all the fair has to offer.
But, for now, we introduce you to three of its
major shining stars.
Terraced Hill
Maro Gorky
From: New York, USA
Gallery: Long & Ryle
Medium: Oil on canvas
She says: “All my methods were taught to
me in the 1940s by my father Arshile Gorky,
who had a seminal influence on Abstract
Expressionism. Meanwhile, my stepfather Jack
Phillips taught me about powder paints and
vinyl. I love Winsor & Newton watercolour and
gouache. I also paint with Winsor & Newton
and Mussini oil paints on canvas or use
Zecchi’s own colours. With landscapes, I draw
or paint on paper, using gouache watercolour
for the composition. Generally, I practice the
image on different sized papers, then take the
most resolved idea about the landscape and
make a painting from it, often starting on a
small canvas and proceeding to larger.”
Transience X
Miranda
Boulton
From: Cambridge, UK
Gallery: Cynthia Corbett Gallery
Medium: Oil and acrylic spray paint
She says: “My paintings are about the
passing of time, they are Memento Mori,
reminding us of our mortality and the
transience of life. I paint flowers, alive,
beautiful, decaying, dying, haunting,
life-affirming, poignant, reassuring. They
cover the monumental and the everyday.
Memories of Flower paintings from Art History
are the starting point for my process. I am
searching for a space where I have touched on
the feel and presence of a painting from the
past. There is an essence of the original, an
acknowledgement of a time, place and
history all in the mix. My practice is an
ongoing conversation with the past, I explore
new forms from old imagery and narratives,
linked through expressive layers of colour,
gesture and form.”
A RT F A IR S
Counting Sheep
Sabrina Shah
From: Worcester, UK
Gallery: MC Llamas
Medium: Primarily oil and acrylic paint;
sometimes collage and screen print or
encaustic on canvas.
She says: “I want my paintings to portray
the extraordinary effort, strength and grit
that it takes to fight for survival each day.
The characters that I paint used to be
entirely made up, based on shapes, food or
collaged images. Now they are more
recognisable, borrowed from Disney fi lms,
toys or popular cartoons. The images are
loaded with symbols of hope, strength, play
and power. But they always contain a double,
triple or quadruple meaning. They are
bright, happy and straightforward but
also peculiar and serious.
Why am I so drawn towards this theme? I
wonder if it is because I have experienced
injury, pain and recovery. I wonder if it is
because I am a woman. Each of us, blighted
by our own unique constellation of setbacks
and difficulties, is fighting to survive. Every
time I suffer a blow, I learn something: about
risk, about adaptation, about what matters.”
From 28 September to 1 October 2023.
britishartfair.co.uk ▫
A R T I S T S & I L L U S T R A T O R S 49
WO R KS HOP

Portrait and figurative painter

LUCA' S LUCA INDRACCOLO regularly teaches
MATERIALS workshops at the Raw Umber Studios. Here,
Old Holland he shows you how to create an oil piece
Oil Paints
Cadmium Yellow Light using the wet-on-wet technique

I
Raw Sienna Deep
find painting portraits session) and ‘direct painting’ is
Alizarin Crimson
from life endlessly fascinating. the fact that the latter makes use
Prussian Blue
Taking advantage of the depth of multiple layers. While direct
Ultramarine Violet
of colours and values that are painting can be challenging,
Raw Umber
observed in nature is one of the especially for beginners, it offers a
Ivory Black
most rewarding challenges for an rewarding and dynamic approach
Lead White
experienced painter, and a great to oil painting. It encourages artists
Italian Brown-Pink
learning opportunity for the to embrace experimentation and
Lake
aspiring artist. However, it might develop a heightened sense of
Support
be difficult to find the right model observation. Through direct
Cold pressed linseed oil
whilst working from photographs. painting, artists can convey not
Fredrix Polymural
When selecting a photograph, make only the visual aspects of their
Canvas, acrylic-primed,
sure it’s well-lit, has clear light and subject matter but also their
stretched by hand on
shade, and that the lights aren’t too personal interpretation and
25x35cm stretcher bars
bleached or the darks too dead. If emotional response to it. Although,
Tools you’re looking for high-quality to be able to paint in such a manner,
Filbert hog brushes photos, then Raw Umber Studios the artist has to develop confidence
from size 1 to 10 has a wide selection on their website. in drawing with brushes directly on
Filbert and long flat Usually, I employ a technique the canvas. It also requires the
synthetic brushes size 0 called ‘direct painting,’ also known ability to accurately mix colours
Winsor & Newton as wet-on-wet and often confused and values on the palette without
Palette Knife No 23 with alla prima. The main difference relying solely on glazing.
between painting alla prima (in one luca.indraccolo.com ▸

50 ARTISTS & ILLUSTRATORS

ARTISTS & ILLUSTRATORS 51
 1
START BY MIXING
COLOUR
The first thing I do is
mix a few pools of colour on the
palette, one for each main area of
the painting. Of course, this is just
to create a basic structure onto
which I will add variety in time.
Then, I start drawing with a brush
the outermost points of the
drawing, to establish the overall
size of the portrait and the
composition, essentially placing
the image within the canvas.

FILL IN THE

2 BAC KGROUND
After those first few
lines are placed, I usually switch
immediately to ‘mass drawing’
by filling in the background with
the flat colour I have premixed. I
really enjoy working this way,
as it promotes a loose approach
to the first phases of the work.
By starting without an accurate
drawing, the portrait emerges
from this simplistic visual
impression and I can move
things around easily to ultimately
capture the likeness of the sitter.

3
DR AW THE
PORTR AIT -
DEFINING SHAPE S
I continue to fill in flat areas of
the painting approaching the
value scale from the darkest
dark (in this case a warm black
mixture) to the average light tone
established by the imprimatura
(an initial stain of colour painted
on a ground). Here, I try to draw,
as accurately as I can, the shapes
that will eventually define the
portrait. This is by no means a
straight forward process, as those
first few masses will continue to
change as I move on.

52 ARTISTS & ILLUSTRATORS


4 7
C RE ATE THE
SHADOWS
Once I have established
the approximate shape of the face,
I divide it up by introducing paint
masses indicating the position of
the eye sockets, bottom of the nose
and lips. Then, I use the same colour
mix to create the shadow on the
neck and side of the face. While
working on this I make sure that
the planes of the head are clearly
defined rather than overly blended.
5 8
SOF TEN YOUR
WORK
When I feel that the big
shapes are relatively in the right
place, I introduce an average mix
for the light masses, and then an
average mid-tone. This helps soften
the harsh and geometric impression
of the planes established in the
previous phase. It is worth noting
that temporarily all the skin colour
mixes are quite warm. I do this so
that my focus remains on refining
shapes at first, without being
distracted by the seductive nature
of colour nuances.
6
KE Y ING IN
Next, I make sure to
introduce some of the
lightest planes in a process called
keying. By introducing this new
value, I am starting to extend the
number of steps at my disposal
between the darkest and lightest
areas of the painting. This gives
a stronger light impression to
the whole piece. Also, I introduce
details in the features, albeit in
a lighter value than I observe
until I am more confident with
their placement.
W OR KS HO P
ADD COOL TONE S
I now introduce some cooler
colours to the skin. This is a
step that, if overstated, can impart an
interesting but unnatural appearance to
the painting. Essentially, any colour we
perceive as cold within the skin is still
warm. For instance, if a blood vessel
appears greenish, it is only in relation
to the warmer colours which surround
it. However, if compared to a greener
object – for instance a blade of grass – the
warmth of the skin colour is obvious.
TONE AND COLOUR
From here on, I embark on
the subtle process of refining
transitions between the colour and
value shapes I have established. I feel
that the likeness is accurate, and now
it is a question of making sure the
anatomical forms of the portrait feel
three-dimensional. I make sure to pay
attention to each individual feature by
applying delicate variations of tone
and colour until they defy the two-
dimensional confines of the canvas.
9
THE FINAL STAGE
Finally, I move on to apply
subtle highlights in the hair
and add some small variety in the
background to suggest a sense of
atmosphere. My main concern at this
final stage is making sure to leave some
of those original, loose brush strokes. I
intend for the face and features to be the
focal point of this composition, so to
support this visual idea, I am leaving the
hair and shirt of the sitter in a relatively
unrefined state. ▫
rawumberstudios.com
ENJOY THIS FEATURE?
For more step by steps go to
artistsandillustrators.co.uk
ARTISTS & ILLUSTRATORS 5 3

IGOR ’S
MATERIALS
Pencils
Faber Castell: Black, Dark
Indigo, Cool Grey 1,2,3 and 4,
Warm Grey 2, Copper, Gold,
Caput Mortuum, Caput
Mortuum Violet, Earth Green,
Light Flesh, Medium Flesh, Van
Dyche Brown and Dark Sepia.
Caran d’Ache Pablo: Cream,
Bluish Pale and Cream.
Derwent Lightfast:
Nightshade, Champagne.
Derwent Inktense:
Dark Chocolate, Black
Derwent Drawing:
Chinese White
Surface
Clairefontaine Pastelmat A3,
Blanc White
Support
Faber Castell kneadable eraser,
Swordfish pencil sharpener,
Paper stumper,
Soft Brush
5 4 ARTISTS & ILLUSTRATORS
IGOR LUKOVIC shows you how he drew this adorable
Staffordshire terrier in coloured pencil. Read through
to see the precise and detailed results
I
am a self-taught,
coloured pencil artist –
originally from Serbia,
now based in
Birmingham for the past 17
years – who is passionate
about creating realistic
hand-drawn portraits that
owners can cherish for life.
As a proud dad of two retired,
loving and very gentle
Greyhounds, I know how
important our four-legged
friends are to us. I want to help
pet lovers all over the world,
by immortalising their pet in a
unique, one-of-a-kind portrait,
that will last a lifetime. I love
capturing their character,
heart and soul, which instantly
connects and speaks to their
owner – as well as using the
highest grade of art materials.
ORIGINAL
That is my biggest priority.
I M AG E
igorsfineartstudio.com
 ST E P-BY -S T EP

1
START BY MAKING A
SKETC H OF THE SUBJECT
I always use a reference photo. I
make sure the proportions are 100% correct,
and in my opinion, this is where every artist
should spend most of his time. Speaking
from my own experience, it doesn’t matter
how good your technique is; when it comes
to shading and texture drawing, if your
proportions are not correct, then the portrait
won’t look right. Using light pressure, I
outline the dark areas around the eyes, then
lightly fill in the pupils (in this case using
Dark Indigo and Black), leaving the
highlights free of pigment. Slowly, I start
working around the pupils in the rest of the
eye area (using Cream, Van Dyke Brown,
Warm Grey 2 and Copper) using light
pressure, making sure I start with the
lightest colour, and working up to the
darkest. Once I am happy with the shades
and the colour of the eyes, I increase the
pressure and make sure the darks are dark
enough, and the lights are light enough.
The last step is using the blending pencil to
adjust the pigment in the eyes, to get that
glossy look, and if I need to, I darken up the
darkest areas of the eyes. ▸

ARTISTS & ILLUSTRATORS 5 5

 2
START MOVING
ONTO THE ARE A
AROUND THE E Y E
Once I’m happy with the eyes, I
start moving around it, following
the direction of the fur and paying
attention to the length of the fur.
Remember: short-haired animals
need shorter strokes.

3
NOW FOR THE FUR WITH DARKE ST SHADE S
FIRST, E SPEC IALLY ON A TRICOLOUR ANIMAL
This is something I would strongly suggest, as this will
massively help you out finding where you are in certain areas. But
even in this step, I would suggest using light pressure, and consider
it as just laying the main landmarks, which you can easily darken up
later on as you progress through the drawing. I start working on the
ear, as I colour in the darkest areas first, adding Caput Mortuum
over the Black as well as in the skin area of the ear, followed by the
Cold Grey 2 and Dark Indigo. I highlight the lightest areas of the
ear as well as the stray hair, which helps to build the depth of the ear.
Once the ear is complete and I am happy with the tonal values,
I finish the top left-hand side of the forehead, using Derwent
Champagne in light areas, followed by Copper, Dark Indigo, Van
Dyke Brown and Black. Finally, I join the forehead area with the
ear with the Caran d’Ache Che Cream. The same process is repeated
on the right-hand side of the face, by starting out with the darkest
tonal values first, then moving on to mid-tones (Copper, Van Dyke
Brown and Caput Mortuum).

MOVE ONTO THE LEF T - HAND SIDE OF

4 THE FAC E
I start again adding the darkest areas first with Black,
Chocolate, Van Dyche Brown and Copper. For the light fur, I use a
combination of Cream, Gold and Earth Green making sure I don’t go
too light, as this is the darkest side of the dog’s face in the reference
photo, so it’s important to replicate that in the portrait. Finally, I
start working on the nose area – one of my favourites! Using the
same method, I map out the shape of the nostrils, coming down the
middle of the nose with the black and then colour in the nostril
areas. I continue outside the nostrils around the nose, using Dark
Indigo, Derwent Nightshade and Caran Dache Bluish Pale. I then
start adding the texture of the nose print, using the dotting method,
followed by the black around the dots on the nose, to create the
depth of the texture and make it pop.
 ST E P-BY -S T EP

5
CONNECT
THE NOSE
I connect the
nose with the top part
of the dog’s face, using
Cool Grey 4, Black and
Cool Grey 2. Finally, I
use Chinese White to
colour in the white area
as well as add highlights
around the muzzle and
the white mark between
the eyes up to the top of
the forehead.

6
FINE DETAILS
I carry on using the Dark Indigo, Cool Grey
2, Black and Bluish Pale, all working on the
area around the nose and mouth. This is the area that
I like to add the most fine detail as possible as this
area sticks out the most. By doing this, I am able to
bring the dog’s face even more forward; this will
instantly engage with the observer. I close in the
other side of the face by mapping out the darkest
areas first, with the Dark Indigo and Black, then
adding the light shades in between with the
Champagne. Once the darks and the lights are in
the right place, I carry on with the Van Dyke Brown,
Copper and Dark Sepia, to add the mid-tones. ▸

ARTISTS & ILLUSTRATORS 57

 7
GO OVER THE ENTIRE
ARE A ONC E AGAIN
Once I am happy with the
development of the face, I add more
pigment, such as Caput Mortuum and
Reddish Orange around the eyes, and
below ears, then I move to the muzzle
area adding more Night Blue. I use
Black again as well as Dark Chocolate to
darken up the darkest areas and make
them look more natural. I use Black to
darken up the lips of the dog and move
down to the chin area with Dark Indigo,
Cool Grey 2 and Warm Grey 2. To add
the finest fur detail below the nose area,
I use a slice tool to scratch the pigment
out above the lip and to create more
depth. Going back to the chin area, I
add some of the Light Flesh, followed by
Earth Green and Warm Grey 2, paying
close attention to the shades of the
shadow under each side of the lip in
order to achieve that natural look and
depth. Finally, I add more highlights at
the tip of the chin to bring it forward.

8
WORK BAC K WARDS!
With Cool Grey 4 I add in the darker tones
first, followed by Dark Indigo and Caput
Mortuum Violet. I then I work backwards by adding
the mid-tones next, using Cool Grey 2 and Warm Grey 2.
Finally, I use the slice tool to lift some of the pigment
off and highlight it with Chinese White.
I move onto the collar by marking out the darkest area
with Blue Indigo then – by increasing hand pressure – I
gradually add the darker shades such as Nightshade and
Black. I finish it by blending those colours, using the
paper stumper, then adding Gold, Copper and Cream on
the metal parts of the collar, as well as Sky Blue and Cool
Grey 1 and 2 to highlight the lightest areas.
I move onto the shoulders of the dog, first starting on
the left, adding Copper and Van Dyke Brown, to mark
out the darkest areas. This is followed by Champagne
and Cool Grey 3 and 2, to add highlights, following the
direction of the fur, yet I try not to go into the finest
details purposely so it appears softer.
The same principle is applied to the chest area, by
adding the darkest areas first, using Dark Indigo and
Cool Grey 4, then moving to the mid-tones with Cool
Grey 2, Warm Grey 2, and down to the lowest part of the
chest. I also add Medium Flesh, Gold, Warm Grey 2 and
Earth Green. Once I am happy with the tonal values and
depth, I use my slice tool again to lift the pigment off,
following the direction of the fur and finally, add the
highlights with a touch of Sky Blue and Chinese White.

5 8 ARTISTS & ILLUSTRATORS

 ST E P-BY -S T EP

9
ALMOST DONE
Moving to the final part of the
dog’s shoulders, on the right-hand
side, I once again start by adding the darkest
shades first using Dark Chocolate, Van Dyche
Brown, Dark Indigo and Black. Then, I add the
light areas using Champagne, Red Orange
and Copper. In this area, I once again use my
paper stumper to blend those colours, as well
as using the fine brush to soften up this area.
Once I am happy with the tonal values, I go
over the same area multiple times to achieve
the fine detail, by each time adding more
hand pressure on both, the dark and the light
pencils, to achieve the desired depth of the
fur and texture.

10
POLISHING UP
At the very end, I use the fine
brush to fade out the edges of the
dog, so the completed portrait looks more
natural, rather than leaving sharp edges that
would not only look odd but would also give
the floating impression of the dog because
there is no foreground in this portrait. ▫

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ARTISTS & ILLUSTRATORS 59

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H O W -TO

Here are five ways to use the brilliant Derwent Inktense XL Blocks, by JAKE SPICER

W
hen Derwent released their
first set of XL Blocks back in
2013, I was an immediate
adherent, using them in
large-scale life drawings, grating them into
gesso for tinted grounds and introducing them
into my tutored life classes. When the lab at
Derwent sent me a trial set of the brand-new
Inktense XL Blocks, I was delighted and put
them to use on a new series of portraits which
eventually made their way onto the new tins.
In this article, I will share some of the lessons
I have learnt working with them, in the hope
you might enjoy using them as much as I have.
I’ve always found that students are hesitant to
try the blocks at first, but once in hand, they can
be a great way of encouraging large-scale
drawing. Inktense XL Blocks are an extra-large
water-soluble medium made with a formula
based on Derwent’s Inktense pencils. So, if
you’re a lover of the existing Inktense range or
you’re keen to make expressive drawings with
a medium capable of larger marks then you’ll
find the blocks will be a great catalyst for new
marks and methods of working. Here are five
suggestions for getting the most out of the
blocks, and some examples of the ideas put
into practice in a portrait.
jakespicerart.co.uk
derwentart.com/en-gb

62 A R T I S T S & I L L U S T R A T O R S
 Derwent
Inktense
XL Blocks

Derwent
Inktense
XL Blocks
showing
mark-making
versatility

STEP 1: USE THE WHOLE BLOCK

To start, make the most of the hand-sized scale
of the medium – explore the range of marks you
TOP TIP
can make with the broad edge of the block. Unlike
their XL charcoal and graphite counterparts,
Inktense XL blocks are harder, with a waxier
texture and imparts less material to the page
– you’ll get the smoothest marks by rubbing one
edge on scrap paper to wear it down first. Think
about how you can use the weight of your body Liquid Inktense becomes
to make broad marks that emanate from your permanent when dry allowing
shoulder or elbow and how you can angle the you to layer translucent glazes
block to use its edges and corners for finer marks. without colours mixing
I have a habit of overworking drawings, so I’ve
begun this portrait with some broad marks which
I will aim to retain as the drawing develops. ▸

ARTISTS & ILLUSTRATORS 6 3

H O W -TO
STEP 2 : LIQUIF Y DRY MARKS
While it is an effective dry medium, Inktense XL Blocks come into
there own with the addition of water. You can add water to an existing
mark with a brush; I usually use a Derwent Push Button Waterbrush
to feed water to the tip of the brush as I go or spray water onto the
page with a Derwent Spritzer. Once it is liquefied, it can be moved
around like paint while more paint can be added directly to the page
by using the Inktense Inktense XL Blocks like a giant paint pan. I did
a little of both in my drawing, selectively liquifying marks and using a
fine brush to make delicate marks using the big medium.
STEP 4: WORK ON WET PAPER
Once the page is wet – either with clean water or liquid Inktense –
you can work back into it with the Inktense XL Blocks and liquid
paint, drawing marks through the water which partially dissolve
and spread out over the wet paper. In this drawing, I introduced
new Inktense XL Blocks marks over the top of the wet paper to add
new textures to the drawing. You can grate the XL Block onto wet
paper for spots of colour or you can grate it into a reservoir of water
to create a paint of controllable intensity.
6 4 ARTISTS & ILLUSTRATORS
STEP 3: COMBINE WITH INK TENSE
PENCILS
The success of a drawing often relies upon striking a balance of
contrasts. As well as considering the balance of colour and tone
in your image, think about creating contrasting scales of mark.
Because Inktense Paint Pans, Blocks, XL Blocks and pencils are
made with the same formula, they will complement one another on
the page and can be used to create a wide variety of marks in a single
drawing. I used Inktense pencils to make finer and more detailed
marks alongside the broader Inktense XL Block sweeps.
STEP 5: BE PL AYFUL
Inktense XL Blocks are substantial enough to hold their structure
when wet, making them well suited to more unusual uses as a
reservoir of intense colour. They can be snapped or cut to give a
sharper edge; the gratings can be dissolved into water to create a
more intense colour or water can be added to the block and dripped
or splattered with a brush. I’ve added splatters flicked and dripped
off the brush to my wet image to break the edge of the drawing and
add a little playfulness to the mark-making. ▫
ADVERTORIAL
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Use the block as a whole for broad strokes
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and grate into powder for textures and detail.
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watercolour paint. Watercolour techniques
include wet-on-wet, wet-on-dry, dry-on-wet,
INKTENSE XL BLOCKS TIN ILLLUSTRATION BY JAKE SPICER
splattering, spraying and mixing. The
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previous applications.
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Scan here to discover XL Blocks in action

TRACY’S MATERIALS
Paint
Jackson’s oil colours: Titanium
White, Sap Green, Vermilion,
Alizarin Crimson
Michael Harding oil colours: Burnt
Umber, Cobalt Blue, Ivory Black
Winsor & Newton oil colours:
Naples Yellow Light, Green Gold,
Cadmium Orange, Cadmium
Yellow, Winsor Green
Brushes
A selection by Jackson’s
Support
A clear-primed linen board by
Jackson’s
Still life artist TRACY GOLDFINCH ELSON shows you
how to create a balanced composition of fruit
W
ith my obsession for the
paintings of the old
masters and the never-
ending fascination with
the light and shadow they seem to
capture, it’s no surprise that this has
found its way into my painting style.
Creating a still life composition comes
quite naturally – having had a lot of
practice in photography – but there is
always something new to learn in every
painting experience. As a full-time
mother of two (and attempting to be a
full-time artist at the same time!) it can
be very much a stop-start process. In this
feature, I will be showing you how I
break this into stages. I absolutely love a
carefully balanced still life composition,
of fruit or vegetables and some favourite
T E CH NIQUE
vintage or antique items (usually charity
shop finds). In this one, I’ve included a
pewter tankard and plate, some silky
fabric for light play and some delicious
fruits. I’ve also added some vine leaves
from the greenhouse to help with the
flow of the composition. I’ve set myself
quite a challenge as this arrangement is
a busy one. I often work on small
paintings of one or two objects, but it’s
good to push oneself when time allows.
Because I know that the painting is going
to be completed over several sessions, I
find that it’s important to take photos
(my iPhone is sufficient) that I can use
for reference. After all, when using fresh
items in the heat of Summer, they may
not look as perfect over the coming days.
Instagram: @goldfinchelson ▶
ARTISTS & ILLUSTRATORS 67
 1
◂

PREPER ATION
I’m using a clear-primed linen board for this piece. I will be
working in oils as I adore the depth of colour that can be
achieved. I will begin by using Burnt Umber to roughly sketch the outline
of the objects. It’s fine to use light pencil strokes for this stage if you are
not feeling confident (mistakes can be erased). Take moments away from
your work and return with fresh eyes. This will help to ensure that you are
happy with your spacing and accuracy before going on to the next stage.

4
BLENDING COLOUR
◂ For this part, I’m mixing up
some grey (using the black and
white left over on my palette) to fill in
those mid-tones to make sure that all
areas of the piece have a nice foundation
layer to build upon. Once these areas are
covered, you can use a clean flat brush to
help blend them together with the dark
and light areas. Having used Burnt
Umber to outline at the start, I will work
this in with the greys. This will help to
give a warmer feel to the painting.

5
FOLLOW THE
CONTOURS ◂
Throughout each stage of
painting, (both underpainting and
subsequent layers) aim to use your brush
to follow the real-life contours of each
object, to consider each, in its three-
dimensional form. I’ve left the piece for
a day or two, since underpainting so
most areas are a touch dry. I’m using a
stunning Naples Yellow (a virtual tube
of pale sunshine!) for the mangoes,
using smooth brush strokes, following
its curves and contours. Then, I’ve added
a little Cadmium Orange and Vermilion
to those areas where the light and colour
is bouncing off the nectarine.

68 ARTISTS & ILLUSTRATORS

 T E CH NIQUE

UNDER -
2
LIGHT
◂ CHASER
Next, I’m
3 PAINTING
The next part I will
going to try to identify tackle in this underpainting
the areas of light stage will be the darkest areas.
where it hits each If you are using any photos for
object. I’m using reference, it can be helpful to
Titanium White for view them in black and white,
this. This is the first to assist your eye in finding
part of the the blackest spots and the
underpainting – the deepest, darkest areas of
initial layer of paint, colour. This, together with
that helps to establish stage four, will form the
tonal values. I really foundation of your finished
enjoy this part, being a piece plus you won’t have to
light chaser! Plus, I work quite as hard for your
find that it helps to depth of colour and tone).
train my eye and really
focus on bringing each
object to life.

6
A RIOT
OF REDS ◂
I’m using
Alizarin Crimson, a
wonderfully rich,
cool red for the silk,
adding some Cobalt
Blue for the darker
areas. I’m using this
red again for the
nectarine, together
with a Vermilion for
the rosier parts.
Again, use your
brush to pull these
strokes, following
the three-
dimensional
structure of the
nectarine’s surface;
this will really help
to bring those
contours to life.
 TIME FOR THE GR APE S
◂ 7 This is a tricky area, so I’m beginning with the colours that
express the fruit’s translucency. I’m using some Vermilion
mixed with Green Gold (or Verde Oro) and some Alizarin mixed with
Cobalt for the deep purple. Once you have pulled and blended these
areas around each curve, you can apply a little white and carefully
blend and swirl with a fine brush for the bloom on each orb.

◂
8
LIGHT AND SHADOW
For the pewter tankard, I’m using a little Cobalt mixed with
white to create a soft, pale hue. I’m adding some linseed oil to
thin my paint here, for soft blending between the areas of light and
shadow. My leftover Alizarin and Vermilion mix is used for those
other-worldly shapes and reflections of the surrounding objects in the
tankard’s curves. I’ve used several shades of green for the vine leaves –
I had to play around a little to get that bright lime pop, where the
sunshine lights up some areas. I used a mix of Sap Green and Cadmium
Yellow, then added Windsor Green for the cooler, darker areas.

FINISH WITH THE DETAILS

◂
9 The painting is really coming together now. I’m just going
to pick out a little of the detail in the wood grain of the crate,
that the arrangement sits on. Then add another layer of black on the
background. I will use a finer brush with thinner paint around the
leaves, stems and main objects for a neat, crisp finish. ▫

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 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 71

 D E MO NS TR AT I ON

A
s a fine artist, the main body of my work has
Wildlife artist evolved into wildlife art, which I often submit to
PENELOPE KIRK is
PENELOPE ’S
charities to raise funds for animal conservation.
Alongside this, I also paint dog portraits, with a MATERIALS
fascinated with the lives percentage of sales going to various dog rescue charities Acrylic paint
of animals. Here, she both in the UK and abroad. Golden Fluid acrylic:
There has been a long tradition of dog portraiture
shows you how she across the centuries, with artists as diverse as
Raw Umber,
Winsor & Newton
created this charming Gainsborough through to David Hockney, celebrating our Designer Gouache:
relationship with dogs by capturing the intelligence,
painting of a Miniature independence and spirit of these faithful companions.
Titanium White
Faber Castell Albrecht
Schnauzer, Wilma, the Edwin Landseer depicted dogs in narrative scenes that Durer Watercolour Pencils:
conveyed human aspects and frequently contained
subject of her best- moralising undertones reflecting on the human
Cold Grey V, Cold Grey VI,
Walnut Brown, Dark Sepia,
selling card on Etsy condition. By contrast, George Stubbs often showed his Paynes Grey, Black, Raw
canine subjects in profile, thereby accentuating the Umber, Nougat, Cadmium
individual characteristics of the breed. Red, Light Ultramarine
As an experienced dog owner myself, I totally
Derwent drawing pencil
appreciate the unwavering devotion of ‘Man’s Best Friend’
Chinese white
and the vital role dogs play in our lives, thanks to our long
history of developing this unique and valued relationship. Support
Through my commissions in oils and mixed media, I have Paper: Fabriano Artistico
often been given the task of immortalising dogs both living Extra White Hot Pressed
and deceased. In my experience with these paintings, paper 640gsm,
helping to commemorate and remember them, they help to Masking tape,
bring a great deal of solace to owners who’ve lost a beloved Foam/sponge brush 2”,
companion. HB pencil,
The subject of this dog portrait is Wilma, a Miniature Tortillion (blending
Schnauzer who is happily still with us. She’s a regular stump),
visitor to my studio and the muse for my best-selling Etsy Daler Rowney System3
greetings card. Thank you for the inspiration, Wilma! liner brush
penelfineart.com ▸

ARTISTS & ILLUSTRATORS 7 3

D EMONS TR ATI ON

BAC KGROUND WASH

1 I prepare the paper by using masking

tape which will create a crisp white
border around the image. Using a foam brush,
I then put a good wash of water on the paper
and, using a brush and Raw Umber Golden
Fluid Acrylic, I apply a dark layer of paint to the
bottom of the paper. Using the foam brush, I
brush from side to side and up the paper to
create a graded effect.

2
SKETCH AND BASE
THE COLOUR
Whilst the acrylic is still wet, I use a
paper towel to absorb a little of the moisture
in the area that will be worked on as I have
found that if the paper has been too wet,
where I want to use the pencils it does not go
on smoothly. When the paper is totally dry, I
sketch in Wilma with a 2B pencil making sure
I place her in the correct position within my
masked frame.

74 A R T I S T S & I L L U S T R A T O R S
 4
BUILDING UP THE L AY ERS
To create the layers of fur, I start by using dark shades to
build up the layers of colour with Dark Sepia, Black, Walnut
Brown and Paynes Grey over the existing light shades of Cold Grey. It
is really, really important to follow the direction of the fur, especially
the long whiskers around her nose and her quizzical eyebrows, as this
accentuates the contours of Wilma’s face and defines her character
and breed. To the ends of her moustache, I add Raw Umber and
Nougat as this expresses her mouth to give her that unmistakable
Schnauzer expression.

FIRST L AY ERS

3 To make a base layer, I used Cold

Grey watercolour pencil for Wilma’s
coat, and Walnut Brown for her eyes; then I
softened the pencil marks with a brush and
water. When dry, and using dark Sepia,
Paynes Grey and Black, I continue to draw in
the fur using the darker colours to build the
contrast between the lighter and darker areas.
I then add more Walnut Brown, Paynes Grey
and black to accentuate her beautiful eyes.

5
COLL AR
If your subject is wearing a collar, this can add to their
appearance and also add colour and a different texture to
the portrait. In this case, Wilma’s red collar nicely compliments her
fur colour. I draw it using Cadmium Red and Raw Umber and, where
the collar is in the shadow under her fur, I used Paynes Grey. The
addition of her name on the dog tag personalises the portrait further
and adds a touch of kitsch. ▸

ARTISTS & ILLUSTRATORS 75

 6
HIGHLIGHTS
Now for some highlights using a Derwent drawing pencil in Chinese White. I have found that this pencil has great coverage over coloured
pencil and makes soft marks which can be blended easily with a tortillon. I work over the whole drawing to make sure I add highlights to
the lightest parts, including her dog tag, collar and legs.

76 A R T I S T S & I L L U S T R A T O R S

G L A ZE S
7 After drawing in the highlights and blending, I now go over
with coloured pencil to add glazes. This method is often used
with oil paints and acrylics but you can glaze with coloured pencils by
adding a soft layer of colour over another. This alters the tone of the
original colour making it richer and more interesting.
D E MO NS TR AT I ON
WHITE GOUAC HE
8 To add extra opaque white highlights where the light catches
Wilma’s fur, I use Titanium White gouache which really adds
an extra depth, which I love. Using a Daler Rowney Liner brush I add in
the fine hairs but blend it in carefully so it’s not just sitting on top. This
also helps with the highlights on the rivets of the collar, her metal dog
tag and the reflections in her eyes add the all-important finishing touches.
C HEC KING VALUE S ON
9 THE FINISHED ART WORK
Casting my eye over the whole
piece, I check the values making sure there is
a suitable contrast in the lights and darks to
accentuate Wilma’s features, particularly her
eyebrows, moustache and nose. To make sure
the darks and lights have a subtle variety of
colour I also check that the glazes I’ve used
are strong enough. Finally, I carefully remove
the masking tape to reveal a clean border
around the portrait framing Wilma. ▫
ENJOY THIS FEATURE?
For more demonstrations go to
artistsandillustrators.co.uk
ARTISTS & ILLUSTRATORS 7 7
LET TERS

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As a subscriber to Artists and Illustrators for over 10 years now, the register to purchase the magazine
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Newcastle-upon Tyne 2021, to continue developing as a ‘painter.’ on a series of small paintings of
It is great to read monthly about how other artists work and gain the rocks in Rockport, MA, the
insights into their tips and techniques and receive information about Cape Ann region and knew that
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focused largely on Contemporary Portraiture in the age of The Selfie, me. I’m delighted to have been
alongside some experimental work lately in still life and landscape introduced to Artists & Illustrators
painting. What unifies my work overall, however, is a love of ‘colour’ and look forward to reading more Share your stories and
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78 ARTISTS & ILLUSTRATORS

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ARTISTS & ILLUSTRATORS 79

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In every issue, we ask an artist to tell us about a piece of work that is important to them. This month, we
speak to Pakistan-based oil artist NAIMAL KHAWAR
This piece is very close to my heart and I believe it was the best way to
communicate my feelings at this point in my life – about the nature of
life around me and my thoughts regarding life, death and the afterlife.
The idea for this painting was developed over time; through a series
of thought processes and many conversations about time, life, death
and the afterlife. I have been working on this concept for quite a long
time – around eight months. Part of the credit goes to my husband as we
engage in a lot of discussions about ‘what happens when we die.’
The name, ‘Transience’ signifies the passing of time and our lack of
awareness regarding it. After becoming a mother – and giving birth to
82 ARTISTS & ILLUSTRATORS
Transience,
oil on canvas,
140x100cm
another human – I began thinking on a deeper level about life
and the inevitable: death.
My favourite aspect of the painting is the bunch of grapes;
although small, they hold a substantial message, serving as a
reminder of transience into another life – how they are beautiful and
ripe, to begin with, but eventually end up decaying – just like human
life. Similarly, the fly on the clock represents disintegration with time.
Although parting with my artwork is bittersweet, I hope this piece
ends up in a home where the owner resonates with it as much as I do.
naimalkhawarart.com ▫
 POETIC DELICACY

“Back Study of Nico”, 2020, 50 cm x 94 cm,

Charcoal and white chalk on grey toned watercolour paper

WITH NITRAM CHARCOAL

“For centuries the study of the human figure has been an essential part of any great
artistic education. I have created many figurative drawings over the years, and I
have fallen in love with the wonderful charcoal provided by Nitram, and the poetic
delicacy one can achieve with it.

This charcoal drawing was executed from life on heavy watercolour paper, toned
by hand with ink diluted in water. Since I chose not to use any blending techniques
in this drawing, it called for very precise form hatching and most subtle
mark-making. The beauty and excellence of Nitram Charcoal lies specifically in the
wide variety of marks one can achieve with the different degrees of hardness
amongst Nitram’s range of charcoal. From bold, dark marks to a most refined,
pencil-like quality when sharpened to a fine tip, one will never feel limited when
drawing with Nitram Charcoal.

A fine work of art demands the use of only the best materials, and I always advise
my students to work with tools of the highest quality. When it comes to drawing in
charcoal, there is no brand I would rather use or recommend than Nitram.”

~ Carl-Nikolas von Tiedemann

Carl-Nikolas von Tiedemann is a classical draughtsman and painter born in 2000 technique is supposed to serve a humanistic endeavor, in which he wants to connect
in Hamburg, Germany. to the individual in front of his easel in an attempt to capture something deeper than
their mere physical likeness — it is their essence, which he is after.
Already expressing an interest in the arts at a young age, Nikolas began attending
various private classes in drawing and painting early on in his life, which eventually
To inquire about his work or to apply for private instruction and
led him to study at the prestigious Florence Academy of Art in Italy.
upcoming workshops, contact info@carlnikolasvontiedemann.com
In his Florentine studio, Nikolas is now teaching academic drawing and painting,
while creating his own work with a constant eye on the old masters. He gains most of Instagram: @carlnikolasvontiedemann
his inspiration from history’s greatest works of art, the classics of music and literature, Website: www.carlnikolasvontiedemann.com
as well as the people around him. Very versatile in his approach to painting, his

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