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COMPELLING
COMPOSITIONS
WATERCOLOUR OILS BEACHSCAPES Also.. how to

l Use body colour for
best results
l Master perspective
for city scenes
l Paint musical still lifes
step by step
How to start with Practise the alla prima Discover the secrets !
a mess & end in technique for fresher- to painting successful
success! looking paintings beach scenes

p02_ta_oct17.indd 1 24/08/2017 11:19:05
TA10p3_5_Contents_TA04p3_4_Contents 24/08/2017 09:37 Page 5
WELCOME
incorporating ART & ARTISTS
First established 1931
ISSN 0004-3877
Vol 132 No. 11
ISSUE 1047
Publishing Editor:
Sally Bulgin PhD Hon VPRBSA
Deputy Editor:
from the editor
Deborah Wanstall Want to comment on something you’ve read, or seen?
Advertising sales: Email me at theartistletters@tapc.co.uk, or visit our website at www.painters-online.co.uk/forum
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exhibition at Patchings Art Centre (from July 13 to August 20), the excitement about the
Online Editor: depth of talent and quality of the work of our readers was palpable. For David Curtis the
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should be sent to: The Artist, Circulation The absolute highlight, agreed by all the judges, was winner of The Artist Purchase Prize Tom
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Payments by credit card are taken in sterling loved the restrained Velasquez-style palette of warm and cool greys used throughout Tom’s prize-
at £50. Foreign currency prices include bank winning painting.
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expressed, or represents endorsement of the Holy Saviour, Prague (page 75) with its strong composition with figures in the foreground in
products, materials or techniques. TAPC subdued light, set against the church in which part of the building is caught in dramatic sunlight, and
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PLC, The Maltings, Manor Lane, Bourne, considered, consequently the light pervading throughout the image adds to the overall concept. This
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artist Caxton House, 63/65 High The team at The Artist is really looking forward to adding Tom’s painting to The Artist’s collection,
Street, Tenterden, Kent TN30 6BD Telephone featuring all past winners of our Purchase Prize Award in our offices in Tenterden.
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THIS MONTH’S COVER
Best wishes
Sally Bulgin Publishing Editor
Peter Burgess Sheringham, oil on

panel, 221⁄2⫻221⁄2in (57⫻57cm). Let us know what you think at • theartistletters@tapc.co.uk • www.painters-online.co.uk/forum
See pages 12 to 15 • www.facebook.com/paintersonline • twitter.com/artpublishing
artist October 2017 3

16 72
CONTENTS 28 Beach views FC
Mike Barr demonstrates how to
paint a successful beachscape in oil,
with advice on colour, composition
and perspective
FEATURES PRACTICALS 32 The city in perspective

Robert Dutton explains how to get
12 Exploring the visible FC 16 Celebrating the rose the perspective right when painting
MASTERCLASS Peter Burgess begins Peter Graham shows you how buildings and cityscapes
a new three-part series in which he roses can add atmosphere to your
shares his approach to composition, paintings as he demonstrates two
with tips on using the Golden Section paintings in oil
63 Charles Williams’ musings 20 A touch of body colour

The Horse’s Arse Judi Whitton explains how to use
opaque media to great effect in
72 The Artist 2017 Open your watercolours
Competition
Be inspired by this year’s competition 24 Alla-prima oils FC
winners Freshen up your paintings with
Haidee-Jo Summers‘ tips as she
78 Adebanji Alade’s demonstrates an alla-prima oil
motivational tips Slow down and sets a useful exercise to try
36 Smooth, strong colour
Susie Hodge loves Derwent’s new
Procolour pencils
38 Mess versus finesse FC

Paul Talbot-Greaves brings his
contrast in watercolour series to a
close by urging you to relax and
loosen up
42 Still life with violin

Adele Wagstaff suggests you try
musical instruments as a beautiful
and interesting subject for a still life
46 Jackson’s linen boards

20 42 Max Hale recommends you try
Jackson’s ready-prepared linen
boards as a support
4 artist October 2017 www.painters-online.co.uk

NEXT MONTH
IN
FEATURES
u MASTERCLASS
In the second of his
three-part series, Peter
Burgess explains the
reasons behind his
choices of materials
and equipment
48 PRACTICALS
t Follow Charlie
48 Mixed-media watercolours Pickard and create a
Paul Riley demonstrates how to add different media to
great effect in your watercolour paintings
self-portrait in charcoal
and chalk
52 How to paint edges
Michael Jules Lang shows you how to master edges, and
explains why this will help you to improve your paintings
u Graham Webber
56 A–Z of colour reveals the secrets to
X is for dangerous colours,
by Julie Collins
painting successful
skies in the first of a
58 Sketching on the new three-part series
move on landscape painting
Barry Herniman’s advice
on what to pack for a
sketching holiday when
you’re on foot l How to use the rules of perspective to create
dynamic coastal scenes and seascapes by
Robert Dutton
PLUS l White is never just white, says Marie Antoniou,
7 The Art World 10 Your views who demonstrates a painting of a white wolf in
acrylics
65 Art Books & DVDs 66 Exhibitions
l Paint impressionist interiors in oils with Haidee-Jo
68 Opportunities Summers
l Capture the light and atmosphere of autumn in
EDITORIAL CONSULTANTS watercolour with Paul Weaver
l Catherine Strong demonstrates how to use
textured grounds to great effect for painting
seascapes in acrylics
PLUS
l The A to Z of watercolour by Julie Collins: Y is for
Ken Howard OBE, RA Jason Bowyer NEAC, RP, PS David Curtis ROI, RSMA yellows
studied at Hornsey School of
Art and the Royal College of
studied at Camberwell School
of Art and the Royal Academy
has won many awards for his en
plein air and figurative
l The do’s and don’ts of running your own art gallery
Art. He is a member of the Schools. He is the founder of paintings in both oils and
NEAC, ROI, RWS, RWA and RBA. the NEAC Drawing School and watercolours. He has had
He exhibits extensively and has exhibits his work widely. several books published on his And much more! Don’t miss out:
won numerous awards. work as well as DVD films, and
exhibits his work extensively. our November issue is on sale from October 6
artist October 2017 5

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6 October 2017 www.painters-online.co.uk
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Oct TAW tidied_Layout 1 25/08/2017 15:04 Page 9
THE ART WORLD

NEWS, VIEWS, INFORMATION AND SPECIAL EVENTS IN THE ART WORLD
compiled by Deborah Wanstall
p Jason Bowyer Flower Structure, oil on canvas, 311⁄2⫻233⁄4in (80⫻60cm)
To celebrate 20 years of working from his studio at the the subject is an industrial interior, a landscape or a single
London Museum of Water and Steam, one of our editorial flower.’
consultants, Jason Bowyer, is holding a special exhibition of Flowers on the Anvil is at The Oil Store, London Museum of
flower paintings. Jason says: ‘Observation is of prime Water and Steam, Green Dragon Lane, Brentford, Middlesex,
importance to my work. My paintings develop out of my TW8 0EN from October 13 to 15, from 11am to 5pm, and
drawings.There is a constant considered figurative/abstract afterwards by appointment. www.jasonbowyer.com
interplay, a desire to find the essence of the motif whether www.waterandsteam.org.uk
www.painters-online.co.uk artist October 2017 7

l South Hams Arts Forum Arts

Trail 2017 runs for two weeks, from
October 14 to 29. From the Devon
coast to Dartmoor, the many
disciplines include painting,
ceramics, sculpture, photography,
textiles, jewellery, printing, wood
turning and furniture making. For
full details see www.shaf.org.uk
l The Scottish Society of

Botanical Artists’ second annual
exhibition is at the Stirling Smith Art
Gallery and Museum, Dumbarton
Road, Stirling, FK8 2RQ until Sunday
October 22. Telephone 01786
471917. www.smithartgaller
andmuseum.co.uk
l Artists with Transit Van is a fine

art delivery service run by artists.
Lynch’s landscape Based in London, they transport

artworks across the capital and the
UK. All works are insured to a
New paintings by James Lynch are to p James Lynch The Post Van, Parrock Hill, collective value of £20,000 per trip
be shown at Jonathan Cooper Park egg tempera on gesso-coated panel, and there is full public liability cover.
Walk Gallery. Lynch works in egg 19⫻23in (48⫻58.5cm) Their vans are properly equipped for
tempera with paints made from the transporting delicate objects and
they operate flat fees across central
eggs of his own hens. A keen A Parallel Reality is at Jonathan Cooper
London – longer distances will be
paraglider, many of his paintings are Park Walk Gallery, 20 Park Walk, London
quoted for. For full information see
of bird’s-eye views of the English SW10 0AQ from October 19 to November www.artistswithtransitvan.com or
landscape observed whilst flying over 11. Admission is free. Telephone 020 7351 telephone 020 7407 5308.
the countryside. 0410; www.jonathancooper.co.uk
EDITOR’S GALLERY CHOICE

This month’s website gallery is by Michael Leetham-Cooper, who comments:
‘I combined several photographs using Paint Shop Pro to produce this figure,
which I then drew onto the canvas using a pencil grid. In my working life I was
involved in the development of art/graphics software and I still find a computer
useful for developing an image from multiple sources. My intention was to express
Andrea’s personality, hence the simplified background and the use of broader
brushwork. The narrow white border is part of the image and is broken only by the
figure in order to suggest some separation between the two elements and to
throw the figure forward out of the landscape, which was deliberately limited to a
near-monochrome flattish grey, whereas the figure was rendered in polychrome
as a further reinforcement. I use oils, as acrylics never seem to dry quite the same
as they appear when wet. I also change my mind too frequently, moving,
obliterating or introducing elements, to be any good with watercolour. I tend to
use a limited palette of titanium white, lemon yellow, cadmium yellow, cadmium
red, alizarin crimson, plus occasionally permanent rose, ultramarine and Prussian
blue. I mix black from Prussian blue, cadmium red and a very small amount of
yellow to produce the darkest tones. For greys and other neutrals I add a similar
mix to white. I occasionally use drying medium but rarely use linseed/medium.
I use a lot of turpentine to thin the paint – on occasions almost to the point of a
'wash', building up layers as the painting progresses, often contrasting this with
elements depicted using a much thicker consistency. I used this wet-on-wet wash
p Michael Leetham-Cooper Andrea, oil on canvas, technique in the background, whereas the figure, especially the arms and head,
271⁄2⫻193⁄4in (70⫻50cm). On show in our online gallery have tube consistency paint more precisely applied wet-on-dry. I had the painting
at www.painters-online.co.uk float-framed so the narrow border remains fully visible.’
To upload images of your own work and receive valuable feedback, go to

our website and click on the link to the gallery. This is a free service.

New Tate
St Ives opens
The new Tate St Ives opens on on
October 14. Sunk into the cliff
alongside the original building, the
new gallery will provide a column-
free space lit by six large skylights and
will be open all year round. While the
original gallery will be dedicated to a
display exploring modern art in St
Ives, the new space is for seasonal
exhibitions, the first of which is a
major survey of Rebecca Warren, who
is known for her exuberant, roughly
worked clay sculptures. This will be
followed in 2018 with an exhibition of
women artists inspired by Virginia
Woolf and a retrospective of Patrick
Heron’s paintings. For full information
about opening times, prices and
details of all exhibitions, see
www.tate.org.uk ART CLUB OF THE YEAR 2017
The winner of the Art Club of the Year p David Church (Cardigan Art Society)
Competition 2017 was chosen at this The Artist at the Folie Bar, oil, 32⫻413⁄4in
year’s Patchings Art, Craft & (81⫻106cm).
Photography Festival in July by Hazel
Soan, who headed-up the panel of was also a visitor’s choice award, which
judges. First prize went to Cardigan Art was won by North Lincs Art Society;
Society, who received Jackson’s Art their prize was £100 worth of Jackson’s
Supplies vouchers to the value of £500 vouchers.
plus £100 towards a demonstrator. The All five entries from each of the three
two runners-up, Pinner Sketch Club and winning clubs can be seen on the news
Hornsea Art Society, both received pages of our website:
Jackson’s vouchers worth £250. There www.painters-online.co.uk
A love affair with India

Howard Hodgkin loved India, which he
first visited in 1964. This exhibition,
conceived several years before his death
earlier this year, features a range of
p Jan Robertson Silver Birch and Indian-themed works on paper made
Tree Creeper, coloured pencil, between 1967 and 2012, including
151⁄2⫻103⁄4in (39⫻27cm) gouache paintings, editioned prints and
hand-coloured impressions. Hodgkin had
l Bath Society of Botanical a special relationship with the Victoria Art
Painters have taken trees as the Gallery; he first exhibited there in 1952,
theme for this year’s exhibition, and the earliest work in the exhibition is a
which will be on show at Bath previously unseen portrait of Clifford Ellis,
Royal Literary and Scientific Principal of Bath Academy of Art, where
Institute, Queen Square, Bath Hodgkin taught from 1955 to 1966.
BA1 2HN from October 5 to 23. Howard Hodgkin: India on Paper is at
As well as paintings for sale, there Victoria Art Gallery, by Pulteney Bridge,
will be cards, postcards and other Bath BA2 4AT, from October 14 to January
gifts. For more information, 7, 2018. Admission is £4, concessions p Howard Hodgkin Night Palm, 1990–91,
please see www.bsba.co.uk £3.50. Telephone 01225 477233; intaglio with carborundum, 63⫻54in
www.victoriagal.org.uk (160⫻137cm).

Oct letters SF tidied_Layout 1 25/08/2017 14:29 Page 1
YOUR Email theartistletters@tapc.co.uk or write to The Editor,

VIEWS Letters, emails and comments The Artist, 63/65 High Street, Tenterden, Kent TN30 6BD
X STAR LETTER Jenny if she has read all the articles in the
series?
Amused by musings As an example, Jenny mentioned my
article on Prussian blue; in fact in the
Musings – it’s an old-fashioned word that suits these lovely articles by summer 2012 issue, page 66, my article
Charles Williams. When I first read them and looked at his paintings, on Prussian blue has PB27 written clearly
I was amused and unappreciative. Strange little people, drab colour: next to Prussian blue. In the October 2011
very odd! But after seeing them month after month I began to look issue, also on page 66, my article about
forward to reading his frank, honest and straightforward words, that ultramarine blue mentions PB29. I would
also like to bring to Jenny's attention my
are slightly tongue-in-cheek sometimes, I think. His paintings grew on
article in the April 2012 issue, page 55;
me and I began to understand their humour and originality. the article is called ‘Choosing colour’, the
Charles Williams is so ‘solid’ – may he become a permanent article advises readers precisely about the
contributor to The Artist! colour names and index numbers and
Sylvia Ditch, by email every colour mentioned in the article has
its code next to it.
Charles Williams is a regular contributor The January 2012 issue has an article
and will remain so for as long as he entitled ‘Components of colour’ on pages
continues to enjoy sharing his thoughts 46 to 47. The paragraph on pigment
with us all. I hope this is for a long time reality on page 47 could be of value to
ahead! Turn to page 63 for this month’s her, so that she can make informed colour
musing from Charles – Ed. choices in the future. There are many
more examples within these articles.
This month’s star letter writer will receive a I believe there are three years worth of
Landscape Selection of 48 Van Gogh soft monthly articles and I am pleased to say
pastels worth £49.99, courtesy of Royal Talens. that some of my students have laminated
For more information about these, and other these pages into a useful handbook.
Royal Talens products, see The manufacture of art materials from
www.royaltalens.com pigments (not generally made for making
paints for artists) is a very long-winded
and complicated business. These articles
were written to guide readers, with
Happy memories Thank you, Charles Williams, for your simple advice and instruction to make
I found Charles Williams’ musing on excellent article and for reviving their artistic colour choices easier, not to
summer schools (The Artist, June 2017) so memories of happy times with two take them on a scientific journey.
readable and enjoyable – please can we inspirational painters.
Soraya French, by email
have more! Kate Willoughby, by email
It also rang a bell – I had travelled to
Sztendre, near Budapest, in recent years Preserve your brushes
Pigment information
to see the work of one of Hungary's 20th- I’d like to share an idea I have for applying
century master painters, Bela Czobel, in I’d like to reply to Jenny Hopkins's letter masking fluid without ruining your
in the July 2017 issue, in which she refers brushes. You will need a tube of silicone
the town’s museum.
to the lack of pigment index number in
In 1959, living in Paris, I was befriended (bath sealant). Squeeze a small amount
my articles.
by Czobel and his wife Maria. I often onto a piece of paper or plastic and leave
Over the course of three years I wrote a
visited them and sketched with them. it a week or so to harden. Then cut shapes
comprehensive number of articles on
Czobel painted me reading his newspaper or longer pieces of hard silicone out of it.
colour for readers of The Artist magazine.
and gave me the painting, which I still These articles were designed to teach I usually cut a long strip about the size of
treasure. When I returned to England we colour in a simple language and concise a match and Sellotape it to a toothpick.
corresponded for years, his letters full of format. They were also carefully thought This can then be dipped into masking
witty advice, and I continued to paint, through and designed to form a simple fluid without the need to use brushes. It
thanks to their inspirational guidance. If I overview of colour attributes, pigment can be used time and time again. It's a bit
lack ideas for my work, I only have to read characteristics, colour mixing and colour fiddly to cut the right size and to
through his letters and I start painting relationships that flowed from one Sellotape it, but I swear it works wonders.
again! month to the next. I would like to ask Les Ward, by email
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MASTERCLASS
Exploring the visible

In the first of a new three-part series, Peter Burgess
shares his approach to composition, including using the
Golden Section, and tonal structure
P
ainting is an obsession – I love abstractionists such as Mondrian and p Sheringham, oil on panel, 221⁄2⫻221⁄2in
the feel and smell of the paint, Robyn Denny. I also respond well to (57⫻57cm).
the magic of colours and shapes more painterly artists such as William A square format can be a challenging shape
turning into an image which has Scott or Patrick Heron. In my foundation in which to arrive at a settled composition.
never existed before. Over the years course I saw myself as a pop artist, The strong areas of light and shade in the
my work has gradually evolved. My greatly influenced by Richard Hamilton. motif attracted me with their evocative
tastes have always been quite catholic. In my fine art degree course I became patterns. I invented the presence of different
Although my main interest is in various obsessed by the Euston Road School: coloured floats and buoys with the intention
types of realism, I enjoy geometric all paintings were made in front of the of creating a slightly surreal atmosphere

u Still Life with Venus, oil on panel,

14⫻111⁄4in (35.5⫻29cm).
The head of Venus is taken from Botticelli’s
The Birth of Venus in the Uffizi Gallery,
Florence. I have sometimes borrowed directly
from the Old Masters – they are certainly a
lasting inspiration. The background is Winsor
& Newton Venetian red with charcoal grey
added for the right-hand shadow
‘Although my main
interest is in various
types of realism,
I enjoy geometric
abstractionists such
as Mondrian and
Robyn Denny’
subject by direct observation, with

measurement of proportion and
interval an overriding concern.
During my postgraduate course
I started to work more from landscape
drawings, which were heavily annotated
with colour notes. For a period of time
I made a number of fairly large
landscape and figure compositions that
were partly influenced by Michael
Andrews.
Subject matter
As a teenager I would happily dash out
several paintings a week, but nowadays
I like to take my time, and live with the
development of what are fairly small
paintings over a prolonged period. My
main subjects have become still lifes,
maritime compositions and
townscapes. I feel some sort of
emotional connection with these, and
find them visually exciting. This interest
can be difficult to define or explain in
words, which is perhaps one of the
reasons we paint.
The still lifes are painted from direct
observation of objects in the studio, p Rye Harbour, oil on panel, 153⁄4⫻20in (40⫻50cm).
but the settings have an element of There is a wonderful rendition of this subject painted by Eric Ravilious in 1938. It is interesting
invention, so that the end result might to see how the location has changed since this time. I wanted to recreate the way Ravilious
be a sort of abstracted fiction that rendered the effect of the horizon disappearing in a milky light. It was enjoyable to paint the
never existed in reality. The marine marker posts on the left getting smaller and smaller as they get further away

the right, simply because it feels better

like that, is a perfectly valid thing to do.
For all his apparently geometric
perfection, it is said that Mondrian
worked in this way, rather than
following a mathematical formula. It can
be counter productive to constrain
oneself by trying to follow rules.
However, I have to confess I have a
fascination for formulations like the
Golden Section. Much has been written
about this geometric theorem but it can
be summarised briefly as being the
ratio of 0.618 to 1. The Golden Section
is a satisfying proportion that can be
used to link different sections, intervals
or measurements in a visually balanced
and satisfying way. This proportion is
often found reproduced in natural
phenomena such as leaves, seeds and
shells. It also relates to the construction
of spirals, and the mathematical
progression called the Fibonacci series.
A simple example of how to use the
formula is to place a principal element
of a painting, whether it be an object,
building or figure, approximately or
exactly 0.618 between left and right
side of the composition. Alternatively
the formula could be used more
comprehensively to help link different
parts of a painting.
p Villes-sur-Auzon, oil on canvas laid on paintings and townscapes are There are actually many different ways
panel, 83⁄4⫻7in (22⫻18cm). developed with the aid of photographs of dividing up a space geometrically.
I liked the way the little street leads the eye although the placement of various Sometimes the Golden Section is
to the buildings in the distance. The street elements is usually altered to help confused with the rule of thirds, which
surface is painted with Winsor & Newton make a coherent composition. The is dividing a composition into thirds.
burnt umber with the addition of blue-black quality of light is central to the feel of There is an exotic beast called the Root
for the shadows the image, and this also might be 2 Rectangle, and then a series of
changed in some way from the original others: Root 3, Root 4 and Root 5.
experience of the subject. Esoteric stuff, but if you are so inclined,
I sometimes like to think in terms of these things can be fun to explore, and
trying to create work more akin to can even have a relevance to the wider
chamber music rather than symphonies. world: the paper sizes A0, A1, A2 etc
Having been through an earlier phase are all Root 2 rectangles. The 15th-
of largish and quite complex figure century artist Piero della Francesca and
compositions, I now prefer smaller the 20th-century Canadian realist Alex
formats, and more modest and quiet Colville were masters of pictorial
subject matter. In fact all my recent geometry.
work is at the relatively tiny size of
83⁄4⫻7in (22⫻18cm). Off balance
Occasionally I have experimented with
Thoughts on composition the visual game of throwing things
Composition could perhaps be completely off balance, and then trying
described as the gradual development to rescue the situation. For example,
of ideas in one’s mind. I find thumbnail putting the principal subject on the
sketches can help – and these can be extreme left or right, and then
p Apple and Ultramarine, oil on panel, quite rough. I tell myself that the attempting to regain balance with
6⫻6in (15⫻15cm). purpose is not to impress anybody with subsidiary elements on the other side.
I wanted to paint a very simple composition elegant draughtsmanship, but rather to A principal mass on one side is
using an apple, related to geometric divisions skim through different ideas – a type of sometimes called a repoussoir, from the
of the Golden Section. The shape in Winsor & lateral thinking. French verb meaning to push back. A
Newton French ultramarine is an exact Sometimes I feel happy about placing repoussoir also helps to create space by
square, which echoes the format of the elements of the composition in an contrasting foreground and background.
painting intuitive way. Shifting a building a bit to A very traditional approach to
14 artist October2017 www.painters-online.co.uk

constructing a composition is to place Imagining a painting reproduced as a p Penarth, oil on panel, 141⁄2⫻18in
elements within a pyramid shape. Used black and white photograph can help (37⫻45.7cm).
in the Renaissance for many altarpieces, with this process. Does it make a I wanted the fluttering shape of the Welsh
this also makes a very stable set-up for satisfying arrangement of lights and flag to hint at the presence of a pleasant sea
a still life, and is an approach I have darks? Are there too many similar mid- breeze. Many cultures read from left to right
been exploring recently. tones (sometimes called half tones)? and this influences the way we look at
It is often the case that aiming for a A good rule to follow is to change the paintings. To stop the eye drifting away to the
single focal point can benefit the tone at least slightly when objects or right of the painting the elaborate cast-iron
impact of an image. In contrast to this colours are side-by-side. Painting railing acts as a repoussoir and also emphasises
the placement of objects of equal studies or exercises using just blacks, the distance to the distant hills of Devon
importance side by side can be very whites and greys is a good learning
effective. There are marvellous strategy.
paintings by the Spanish realists Following on from consideration of
Zurbarán and Cotán that follow this tone, is the question of colour
idea. structure. Colour is an immensely
It is interesting to think about the complex field, with many diverse
numbers of objects in a still life. Just options available. In relation to the
one is perfectly valid, both as a question of composition, it is helpful to
learning strategy with painting think of making something that has a
exercises and to produce a serious unified feel. Having colours and
finished piece of work. The introduction mixtures that recur throughout the
of a second object immediately raises painting can help. One of my tutors,
the question of how you relate the two Roderic Barrett, used to talk about Peter Burgess
entities to each other. There can be a different parts of a painting having studied at Wimbledon School of Art
magical balance that is curiously more ‘conversations’ with each other. and the Royal Academy Schools. He
easily attained with odd rather than Alternative colour treatments can has exhibited in many solo and group
even numbers, which makes using an markedly alter the impact an image exhibitions in the UK and has work in
even number an interesting and makes. TA collections in Britain, Europe and the
worthwhile challenge! USA. He is exhibiting at Patchings Art
Centre, Calverton, Nottinghamshire
Thoughts on tone from September 2 to October 8.
An important consideration in In the next article I will look at choices of www.patchingsartcentre.co.uk
composition is the tonal structure. equipment and materials.

TA10p16_19_Peter GrahamSHORTER_Layout 1 23/08/2017 10:34 Page 16
Celebrating the rose

Colourist Peter Graham describes how he uses roses to create
atmosphere in his light-filled still-life oil paintings
T
he rose is such a classic form; still-life roses ‘as much a flower as
with its wonderful shape it is a anything could be and yet painted in
perfect vision of natural beauty. perfectly solid impasto’. Fantin-Latour
The symbolic connotations of the painted roses all his life and even had
rose bring so many feelings and moods: a rose named after him.
the purity of the white rose, the joy of
the yellow rose and the passion of the Practicalities
red rose. I associate the rose with I prefer roses with thin stems and no
protection and compassion, and I hope thorns – look out for lively foliage and
Peter Graham my love of roses comes through in my always cut the stem before arranging in
will be exhibiting new works at the painting. The chance to paint the light the vase. For painting, I like the rose to
The Royal Institute of Oil Painters’ as it reflects on the petal, the fragility of be a few days old, which allows the
annual exhibition at the Mall Galleries, the surface, the rich foliage, the varied head to open up. Rose hue is very
The Mall, London SW1 from November and exciting range of shapes and important to the mood of the work –
29 to December 10, 2017. Admission is textures are all great for the painter! I love white, pink, yellow and classic
£4, concessions £2.50. For more details Roses were a favourite subject of the deep red, and always look out for a
telephone 020 7930 6844; French Impressionists, notably Édouard variety with a large rose head with well-
www.mallgalleries.org.uk Manet, who transformed paint into defined elliptical leaves.
http://theroi.co.uk/peter-graham roses with his deft and lively A rose softens the composition. In my
brushwork. Van Gogh said of Manet’s still-life paintings I love to reflect the
rose in silverware and glass. The
angular edges of the flower head are a
challenge to capture in paint and it is
one of the few areas where I will use
definite outlines, often using a Prussian
green and alizarin crimson, or something
deep and dark and related to the
background colour in some way.
Observation is key to catching the
radiance and curves of a rose; the
contrast of the flower and the leaf can
be a highly dynamic part of any rose
painting.
Atmosphere
Atmosphere is what I look for. In many
ways, it is like walking into a room and
not knowing quite what to expect; the
tableau becomes the space where you,
the artist, creates the scene. For me,
the energy must come first, through
powerful movements of the brush and
bold decisions on areas of cool and
warmth, of dark and light. Then I think
about how to tackle perspective,
ellipses, overlapping and partially
obscured objects. This is all about
making the scene believable.
The emerging element is the mood,
then the painting takes on its own
character. In my view it is essential to
connect with your subject, which
p Roses on Blue, oil on canvas, 153⁄4⫻153⁄4in (40⫻40cm). involves showing yourself through the
A blue and yellow contrast creates a lively mix in this still-life study paint. This is an element of exposure

that can be uncomfortable. Within still Materials p Le Café, oil on canvas, 193⁄4⫻193⁄4in
(50⫻50cm).
life this can manifest itself through I work on oil-primed and stretched
This composition is centered around the large
familiar objects or a favourite subject – canvases. Generally I start with small
garden rose. My glossy black coffee pot acts
such as roses. varnish brushes – often costing just a
as a foil to the fragility of the rose
couple of pounds each, these brushes
Oil colours are great for maximum coverage when
Increasingly, I depart from a traditional putting down the ground colours and colour. I use various techniques to draw
colour response and tend toward the shapes. the eye into my composition. I like to
technicolour – each stroke a separate My brush selection includes hog have a strong vertical to act as an
colour and very little blending. I prefer filberts and flats for the main painting anchor and often use a strong colour to
colour to dominate the general and I use round sables for swift lines link different areas. I give as much
composition, often creating a shape or and contours in the final stages of the thought to defining the space between
colour that exists only on the canvas, work to sharpen up detail. In order to the objects as the objects themselves.
not in the studio. For this type of get a good performance from your In terms of self-expression and self-
subject I find rich greens very helpful, brushes you need to keep that springy fulfilment, it is one thing to catch a
such as Winsor green, Prussian green, feel, so it is very important when working likeness but another to capture the
viridian and cadmium green. with oils that brushes are meticulously essence of your subject. Expressive
My other colours include lemon cleaned after use with white spirit. mark making and pushing boundaries
yellow, cadmium yellow and titanium with composition or subject and, above
white, cadmium red, cadmium red Techniques all, freedom of expression are ways to
deep, alizarin crimson and brilliant Pattern is very important as it can link make that vital connection. Painting a
rose. Blues and mauves include French different parts of the painting. still life presents the perfect
ultramarine and Winsor violet. Earth Successful paintings do have their own opportunity to explore self-expression
colours include burnt sienna, raw visual balance, achieved through and I have consistently found the rose
t
sienna, raw and burnt umber. careful use of perspective, line and a very rewarding subject to work with.

OILS
DEMONSTRATION 1 Rose Bouquet
p STAGE TWO
Here the roses are taking
shape. Using a dark
green background to
represent the leaf works
to present the rose head
as a negative shape
p STAGE ONE
Emphasis in the early stages was put on drawing the ellipses
and shapes, which defines the character of my painting
t
FINISHED PAINTING
Rose Bouquet, oil on canvas,
241⁄2⫻241⁄2in (62⫻62cm).
The lively dance of the
foliage contrasts with the
white roses against a
complementary red
background

PRACTICAL
DEMONSTRATION 2 Roses and Fruit
p STAGE ONE p STAGE TWO

This busy table has two vases of roses. I built up the composition At this point I was restating and redrawing to get my ellipses and
with a strong coloured ground and energetic brushwork, with little angles right in order to establish the final composition
or no blending
u
FINISHED
PAINTING
Roses and Fruit, oil on
canvas, 153⁄4⫻153⁄4in
(40⫻40cm).
The focus is on the twin
rose bouquets with their
delicate petals; they
draw the eye through
the powerful tri-colour
backdrop of yellow, red
and dark blue

TA10p20_23_Judi Whitton_Layout 1 23/08/2017 16:21 Page 20
A touch of body colour

Judi Whitton explains how to introduce opaque media to your watercolours
to ‘produce timeless, subtle and harmonious’ paintings
W
hilst perusing an old auction Emphasis was given to the practical
catalogue, I noticed a and technical side of working with body
delightful watercolour with colour whereas here I will delve more
the caption ‘Graphite and deeply into the creative and
watercolour heightened with opaque interpretive side. Further examples will
white on grey wove paper’. My heart illustrate the great benefit of using
leapt with joy at the charming picture opaque media to enhance your work
and the uncomplicated description and produce timeless, subtle and
which evoked times gone by when harmonious watercolours.
‘understated’ seemed to carry weight in Like so many aspects of painting
Judi Whitton the world of watercolour painting. watercolours it is important to try to
is a well-established watercolour artist In my article ‘Enhance your vary the procedures in a painting. In
and an enthusiastic plein-air painter. Watercolours’ (The Artist October 2015), the same way as it can be desirable to
She has had many successful solo I introduced the use of gouache in have a balance of light and dark tones,
exhibitions and is a popular tutor. Her traditional watercolour painting. hard and soft edges, warm and cool
latest book Painting Venice was I explained how it can either be mixed colours it can also work to have a
published in 2015, price £24 plus p&p. with the watercolour paints, can be balance of transparent and non-
For more details and to order this and used as highlights or as glazing, and transparent media.
copies of her other books, go to gave a list of six advantages and nine Estuary, Heron Cove, Mizen Peninsula, West
www.watercolour.co.uk or disadvantages of incorporating it in Cork (above right) was painted using
email judi@watercolour.co.uk your palette. I stressed that unpainted traditional transparent watercolour
paper will always give a crisper white pigments on watercolour paper tinted
than any white media. with a warm grey wash. Towards the
end I added white gouache to highlight
the tops of one or two rocks bordering
the estuary. Many watercolour painters,
such as John Yardley, use a few light
Opaque pigments come into their
touches of body colour towards the
own when you are painting in
completion of a picture.
Venice. This photo shows a
terracotta-coloured render being How much body colour?
applied to walls, leading to a
The minimal application of body colour
colourful dense non-reflective
in Estuary, Heron Cove, Mizen Peninsula,
texture. Gouache or chalk heavy
West Cork can be compared with that in
watercolour pigments, such as
San Geremia and Palazzo Loredan, Venice
Naples yellow, are a valuable
(centre right) where it was used more
addition to your palette for
liberally. Here opaque paint (white
conveying this flat look
gouache, Naples yellow reddish) was
applied on the sunlit marble-clad
buildings at the front. By comparing the
two you can see that the Heron Cove
painting still has the translucency so
Here a typical weathered wall in characteristic of watercolour, whereas
Venice has peeling render that this is lost to some extent in the other
exposes the traditional red brick. work, where I was mainly concerned
It is helpful to have non- with showing how the Palazzo Labia
transparent media in your palette appears to be intertwined in the
to broaden the ways in which you complex of lovely buildings with the
can show the beautiful shapes church of San Geremia at the back. I
and varied surfaces resulting from emphasised the buildings at the front
this decay using ink and body colour. Glazes had
been placed over the sky and buildings
at the back to encourage them to

u Estuary, Heron Cove, Mizen Peninsula, West

Cork, watercolour with pen and body colour
on pre-tinted Langton HP 140lb (300gsm),
10⫻11in (25.5⫻28cm)
t San Geremia and

Palazzo Loredan,
Venice, pen and body
colour on pre-tinted
Canson Not 140lb
(300gsm), 81⁄2⫻11in
(21.5⫻28cm)
q Helicopter with
Military Personnel in
Afghanistan,
watercolour with
body colour on
Bockingford Not
140lb (300gsm),
10⫻11in
(25.5⫻28cm)
retreat. My final touch was to add some

white gouache mixed with cerulean
blue in the sky, over the glaze, around
the base of the domes. This technique
gave a small boost to the picture and
drew attention to one of the areas of
interest.
You can see a similar approach in
Helicopter with Military Personnel in
Afghanistan (right). Jaune brilliant No.1
by Holbein enhanced the military
uniforms and was applied in the sky
around the rotor head to elevate the
painting. In this way you select areas
you feel are significant and it is these
t
choices that give your individual style.

p Sailing Boat in Bantry Bay, West Cork, watercolour with pencil and body
colour on Bockingford Not 140lb (300gsm) previously toned with a blue
grey wash, 11⫻15in (28⫻28cm)
‘Several blissful hours were spent

trying to capture the lovely vista’
I was fortunate to see the magnificent body colour gives lovely subtle whites palette for the blue sky areas to help
sailing ship (above) moored in Bantry and creams, but there is no doubt that maintain its colour when painted on the
Bay. Out came the paints and several using gouache to retrieve light areas tinted paper. Study 3 was painted on
blissful hours were spent trying to never gives the same sparkle to the an ochre and warm grey background,
capture the lovely vista. The boat work as leaving the white paper with small areas of white gouache
swung about a lot but fortunately did unsullied. added at the end to give an extra
not disappear whilst I was working. Some artists, such as David Curtis, highlight.
I selected watercolour paper that had protect the paper in specific places Ca’ D’Oro, Venice (right) depicts a small
already been toned with a blue grey before adding the initial wash. You can part of the elegant façade of this
wash, and kept to a limited palette of do this using masking tape or masking beautiful palace. The white and
cerulean blue, Prussian blue, perylene fluid. This method allows lighter tones coloured marble, intricate detailing and
green and cadmium orange (Maimeri). in the finished picture. When I am the quatrefoil windows of this building
White gouache was applied in part of working I tint the paper beforehand so have drawn the attention of many
the sky area and hull of the vessel and this technique is not appropriate. artists throughout the years. I selected
the reflections, whilst the creamier a piece of watercolour paper with a
jaune brilliant No.1 was used on the Skies variegated background wash of light
masts of the boat and for the distant The three sky studies (above right) are ochre and blue grey. In places I mixed
water. examples of skies depicted using white gouache with pigments and in other
Opaque pigments come into their own gouache. Study 1 was painted on a places added opaque media at the
when using coloured paper. Just the warm blue grey background, with neat end. It is really important not to get
small addition of some gouache can white gouache added to wet washes of carried away with the gouache. Keep
transform the painting. Toned paper cerulean blue and burnt umber and left the non-transparent paint for the chalky
gives a wonderful harmony to your work to settle onto the paper. This is a very bits but when you are depicting the
as the underlying tint shows through unpredictable method but can give window panes and dark shadow areas
the transparent watercolour washes. exciting results. Note the small sailing ensure the gouache does not
However, you have lost the ability to boat depicted in gouache. Study 2 was contaminate your pure watercolours or
retrieve the light tones provided by the also painted on a warm blue grey you will lose the opportunity to portray
white paper so gouache is a valuable background; cerulean blue was colourful translucent darks. I cannot
addition. A sensitive application of amalgamated with gouache in the stress too strongly that you must be

PRACTICAL
t SKY STUDY 1
‘Note the
small sailing
boat depicted
in gouache’
p SKY STUDY 2 p SKY STUDY 3
cautious when using body colour and

do not allow them to mingle with the
watercolours in your palette or they will
lose their transparency.
Final thoughts
The purists have used words such as
‘adultery’, ‘illegitimate’ ‘dead’ and
‘contaminate’ to describe their views
about the use of opaque paint in
watercolour painting. I believe, like
many artists, there are no rules in
painting but I do respect those painters
who refuse to use white media in their
work. If you enjoy using tinted
watercolour paper then gouache can be
a very useful addition to your palette.
Alternatively you can add touches of
pastel or white chalk at the end to
retrieve the lights.
The technique of using body colour
has been in use for centuries. If you
feel your watercolours need a little
uplift then perhaps it is time to begin
to consider adding non-transparent
paint to your palette. There still must
be a place for harmonious, gentle and
sensitive watercolours ‘heightened with p Ca’ D’Oro, Venice, watercolour with pencil and body colour on pre-tinted Schut Noblesse
opaque white’ in the 21st century. TA 140lb (300gsm), 7⫻8in (18⫻20.5cm)

TA10p24_27_Haidee Jo_Layout 1 23/08/2017 10:31 Page 24
artist
Alla-prima oils
Haidee-Jo Summers says the alla-prima approach is a great way
to freshen-up your oil paintings. Here she suggests you put yourself to
the test by limiting the number of brushstrokes you use
A
lla prima means ‘at the first suffice for most simple subjects, but if oil primer tinted with oil colour. Allow
stroke’. It is used to describe a you want to make things a little easier several weeks for the boards to dry if
painting approach whereby start with 30 and work your way down. using this approach and ventilate the
paintings are started and Each time you lift the brush off the room well.
completed in one session, before the board, that counts as one brushstroke.
paint dries. It is a good place to begin Count the brushstrokes as you go and Pushing yourself
getting used to the process of paint keep a tally so that you do not lose Putting limits on yourself in this alla-
application and a useful technique for track. prima exercise sounds like it could be
all sorts of circumstances such as This exercise is intended to teach you counter-productive, but sometimes the
painting en plein air, when speed is of how to identify which parts of an image additional challenge is just what you
the essence. Working alla prima in oils are most important by restricting the need to motivate yourself. Although it
suits my simultaneous needs for number of brushstrokes you are is difficult and occasionally frustrating
enthusiasm, freshness, simplicity, and allowed to make. to adhere to your self-imposed limits,
speed. You will find it’s extremely important you must be strict and force yourself to
Oils can be a great medium for those to be organised before you start. Be stop with the last stroke of your brush
learning to paint and for speedy work. ready for action with generous limit, or at the end of your time if you
The rich buttery colours remain quantities of paint already squeezed have imposed a time limit on your
workable and wet, which allows you to out onto your palette and your brushes painting. If you allow yourself to do ‘just
achieve many different effects, from to hand so that you do not have to a little bit more’ you will carry on to
thin transparent glazes to thick impasto waste precious painting time cleaning paint the way you always paint and
passages and all the possibilities in up your brushes. Note that the painting bring the painting to your usual level of
between. You can put paint on, take surface is small and the brushes finish. You know the famous saying,
paint off with a knife or rag, push the relatively large. This will help you to don’t you? If you do what you have
paint around as it stays wet and cover the surface more quickly and as always done you will get what you have
workable. an extra benefit it is more likely that always got!
you will make confident, definite Capturing the essence of your subject
Limited brushstrokes statements. truly helps the observer to be able to
The following is a good exercise for see what you could see, but without a
beginners and those who find that their Toned grounds need for detail. Practising exercises that
paintings are looking overworked or It helps to start work on a board that challenge how you approach painting
excessively fiddly. It will help you to has already been underpainted with a will soon get you achieving a bolder
work out what is important information mid-toned colour, as this saves you and more direct approach with your oil
to include in your painting and what having to paint over the clean white paintings, resulting in more vibrant,
you can leave out. It will also help you surface before you establish your tones. successful paintings, whatever the
explore ways of using the brushes – The quickest method is to apply a coat subject.
from light touches to confidently of tinted gesso. I mix a mid-toned warm If you struggle to stick to your limits,
drawing with a heavily-loaded brush; grey acrylic paint colour into gesso and ask someone else to come and remove
you will find that mixing up large pools use this to cover my little boards. It’s a the brush from your grasp! TA
of colour and loading up the brush good idea to prepare many boards at
gives you the best chance of success. once, and you must leave them to dry
Instead of putting a time limit on your well before painting on them with your This extract is taken
painting you ration the number of oils. from Vibrant Oils by
brushstrokes that you make – 20 should Most commercially available canvases Haidee-Jo Summers,
and boards are sold ready-primed with published by Search
an acrylic gesso. The label will state Press, ISBN
t Hyacinth and Cupcake, oil, 10⫻8in ‘universal primed’, which means it can 9781782212539,
(25.5⫻20.5cm). be used with acrylic or oil paints. Do price £15.99. Readers
This still life was painted in 30 minutes: I used check before you apply an undercoat can save £2 and enjoy
a timer to make sure I didn’t go over my time because you won’t be able to cover an free p&p when
limit. I think it has a delightful freshness that oil-primed surface with acrylic paint or ordering from our online bookshop – see
would have been lost if I had continued to acrylic gesso, but you can still tint the page 64 for details. To see a short video of
work on it. I find that the earliest marks made surface using a thin wash of oil colour Haidee-Jo painting, go to
in a painting are often the most useful, mixed with turps and rubbing it into http://painte.rs/2vsBYFb
t
concise and descriptive the surface with a rag or a thick coat of

ALLA-PRIMA OILS
Exercise Limited brushstrokes
MATERIALS
l Oil paints: viridian, cadmium
yellow lemon, rose doré,
ultramarine blue, titanium white,
raw umber, cadmium orange,
blue-black, Kings blue light
l Brushes: size 8 flat, size 10 flat, size
5 long flat
l 8⫻10in (20.5⫻25.5cm) canvases
l Thinner, glaze medium and rag
u STAGE ONE
Mix a plentiful amount of viridian with
cadmium yellow lemon, then add rose
doré to mute it a little. Without lifting
The subject the brush away from the canvas, make
a zig-zag stroke with a size 8 flat
p STAGE TWO p STAGE THREE p STAGE FOUR

Vary the pressure to create different Vary the mix by adding ultramarine Some shapes, like the bird, can be made in just two or
marks. Rather than painting each blue and continue three strokes: the first a mix of transparent oxide red
stem and leaf, look for shapes that can and rose doré
be described in single brushstrokes
t STAGE FIVE
The same mix can be
used for the shadow,
which can be laid in with
one stroke
u STAGE SIX
Mix a purple from
ultramarine blue, rose
doré madder and
titanium white and
establish the main
groups of flowers with
the size 5 long flat brush

PRACTICAL
p STAGE SEVEN p STAGE EIGHT p STAGE NINE

Develop the dark greens. Add increasingly Mix titanium white, cadmium orange, Add viridian and Kings blue light to the
more titanium white to the purple mix for cadmium yellow lemon and a touch of blue- yellow for a different green, and add some
variety and highlight the flowers using the black. Use the size 5 long flat to paint the further strokes to join the flower heads and
size 10 flat brush ribbon around the jar introduce some variety
u Keep a tally
Make a mark at the
side of your
painting every
time you lift your
brush to help you
keep track of how
many brushstrokes
you have used – and
of which colours
Haidee-Jo Summers
studied illustration at DeMontfort
University, Leicester. She has exhibited
widely and won many awards, including
The Artist Purchase Prize at The Artist
Open Competition in partnership with
Patchings in 2014, and is a regular
contributor to The Artist. Haidee-Jo tutors
workshops and demonstrates for art
societies. Her DVD Vibrant Oils is
available from APV Films, price £28.55.
Telephone 01608 641798; p Last strokes
www.apvfilms.com Add some shadow in the flower heads Haidee-Jo is leading a The Artist holiday to Île de
www.haideejo.com and with your last two or three strokes, Ré, France, from June 8 to 16. More details are
www.haideejo.blogspot.co.uk using the lilac-purple mix with a little available from Spencer Scott Travel, telephone
blue-black added 01825 714310; www.spencerscotttravel.com

TA10p28_31_Mike 2_Layout 1 23/08/2017 10:35 Page 28
t Cockling Day, Goolwa, oil on canvas,

291⁄2⫻291⁄2in (75⫻75cm).
When you step onto Goolwa beach, the sky
dominates – everything seems immense. The
shallows are always wide and there are
always people, just walking or collecting
cockles when in season. The huge sand hills
disappear into the distance and this is a great
way to convey the idea of space. I always
think such scenes are nothing without the
figures that give it scale and life. It's
important to keep the clouds looking soft
and not too solid
completely lose focus. My favourite

palette for beachscapes is white,
ultramarine blue, alizarin crimson,
viridian, raw sienna or yellow ochre and
a red. I use yellow ochre instead of
brighter yellows as I find them too
harsh – if I need a yellow highlight I
break out the cadmiums.
Aerial perspective
Beaches have space and distance, the
sky is unhindered all the way to the
horizon and the expanse of sky and sea
is impressive. I nearly always add
clouds, even if they are not there in
real life, because they add expanse to
the sky and are part of the illusion of
space. Even a bird or two in the sky can
Beach views
help with this.
To convey this in a painting is a game-
changer, but many artists seem to give
it a miss. Getting a handle of
atmospheric perspective or the illusion
of distance and space through colour
and tone is the biggest benefit an artist
Mike Barr reveals the secrets to successful can learn and will be the difference
beachscapes, with tips on colours, composition between an ordinary painting and one
which you feel you can walk into.
and perspective Generally, things get bluer as they
recede into the distance. Darks get
lighter and lights get darker. The very
best way to see this in action is to go to
I
n a nutshell, the ability to convey don’t use a ruler or tape when you a major art gallery and spend some
the illusion of space, light and paint it, as it will look too harsh. Paint it time in the Impressionists section.
distance with paint is the key to freehand, and even though there will Failing that, look up the Impressionists
believable seascapes. For me, be a few wobbles your overall line will online, both the trailblazers of the 19th
painting is not about seeing how close be straight – this makes it look real century and those of modern days, and
we can get our work to looking like a without it looking like a technical see how they have tackled aerial
photograph, it’s about creating drawing. perspective.
atmosphere that the viewer can feel,
even though it may crafted with very Use a limited palette Control the composition
few brushstrokes – artists should be I recently saw a palette with 22 colours Don't let photographic reference or real
skilled illusionists. Here are a few on it, and that included seven yellows life get in the way of a good
pointers to help you with your and reds, plus white. That's too much. composition. I often use references
beachscapes. By having fewer colours on your palette from a number of photos in my beach
you will learn to achieve other colours scenes, particularly when adding figures
Get the horizon straight by mixing intuitively rather than by and boats. Sometimes things are in the
It's so simple that it's almost an insult colour charts, and this will help to wrong position, or there are too many
to mention it, but once a slanted harmonise your work. It's all about things, or not enough. Be the boss of
horizon is noticed it's all you will ever practice and painting a lot. your paintings and, as I like saying,
see. Measure the horizon with a ruler Having too much colour on the canvas don't be a slave to the photograph
and draw it in with a pencil. However, is distracting and can make a work because it is so easy to do.

u Beach Path Shadows, oil on canvas,

471⁄4⫻233⁄4in (120⫻60cm).
For some subjects a tall canvas works and
enables a walk-through effect when hung on
the right wall. It is the extra activity in the
painting that really makes it work, with birds,
people and the yachts partially hidden
behind the dunes
Add life
I have seen many wonderful works that
miss the mark for no other reason than
there is no sign of life whatsoever. It's
as if life in all its forms was whisked
away by some alien power and this is
particularly noticeable with a beachscape.
Even a few flying seagulls will break the
shackles of lifelessness. Learn how to
paint figures, it's much simpler than
you may imagine, but don't get bogged
down with drawing them with a pencil
first. Draw with the brush and it will
help you keep them simple.
The addition of a few figures will give
the painting life and focus and help
viewers to identify themselves in the
scene. Sails are another great prop in a
beach or seascape – just a hint of a sail
is all it takes.
Keep water and reflections

simple
The sea is very complex and it's easy to
drown in its visual busyness. The
temptation to paint every curling wave
is strong, but it is best resisted unless
it's the very focus of the painting. It's
helpful to use big brushes until you
absolutely have to use smaller ones as
this will help to simplify the sea. Look
for the shallows as these will reflect the
colour of the sky and take wonderful
reflections of things like people and
boats. I always make the shallows wider
than real life to exploit their special
reflective qualities – we artists can
change things as we see fit.
Finishing touches
A few little highlights can really bring a
painting to life and this is why I really
love the end stages. A few sparkles of
light on the waves, sunlight on the
shoulders of some figures or a few short
sweeping strokes of the brush can
indicate seagulls being blown by the
breeze. These are some of the things to
look for as we finish the painting. Of
course, there is always a time to stop
fiddling and that time is usually before
t
you think it has arrived! TA

DEMONSTRATION
Autumn Holiday, Semaphore
This is one of many photos taken at the Adelaide annual kite

festival at Semaphore beach
p STAGE ONE
Contrary to my normal practice, I pencilled-in
main forms first, rearranging what was in the
reference photo and left a gap for viewers to
look through – it's so easy to close-off a
painting without thinking. I ignored some
initial pencilling and broadly filled in with
some ultramarine wash. I didn’t use a ruler to
paint the lines of the jetty, because that
would have tightened up the painting
My palette comprised my usual basic

beach palette of ultramarine, alizarin,
white, viridian and raw sienna, and
spot colours cadmium yellow and
cadmium red.
Glazing gel was mixed with the
white to make the painting dry in a
day or so.
p STAGE TWO
I established the sky by adding some drama.
In contrast to the solid structure of the jetty
the clouds are free and brushy – the best way
to paint clouds. I used white, ultramarine,
alizarin and raw sienna. Then I punched in
some darks, exaggerating the shadows using
viridian and ultramarine, to give depth to the
painting
u STAGE THREE
I always find jetty railings tedious to paint but
at the same time I try not to be too careful.
I added colour and light to the figures –
always an enjoyable process for me – which
brought the painting to life. The sand is made
up of white, raw sienna and small amounts of
ultramarine and viridian. The shadow of the
jetty is a real anchor in the composition

p FINISHED PAINTING
Autumn Holiday, Semaphore, oil on canvas, – I have toned it all down to produce a softer
351⁄2⫻381⁄4in (90⫻97cm). autumn scene. As always, details and fiddling
I really love the last stages of a painting. could go on and on, so stop before it's too
Compare this with stage three to see how just late! After a day or two it is good to have
a few highlights and details finish it all off. another look, as you will nearly always find
The photo reference is a lot harsher in colour something to finish it off
u Fishers, Port Willunga, Mike Barr

oil on canvas, 193⁄4⫻233⁄4in is based in Adelaide, South Australia.
(50⫻60cm). An award-winning artist, he is known
I'm not a real sunset artist for his beachscapes and rainy-day
but couldn't resist this one scenes, both of which feature water
because the cliffs at Port and reflections. Mike demonstrates
Willunga turn red, too. regularly and has his own gallery room
The coolness of the at Red Opus Art Space. He is a fellow of
shallows and sea contrast the Royal South Australian Society of
wonderfully with the Arts and is represented in Adelaide,
warmth of the sky. The Goolwa, and Miami, although he is
figures were not fiddled seeking representation in the UK.
with too much and the https://mikebarrfineart.com
distant ones give blog: http.artofbarr.blogspot.com
everything distance and email: theartofbarr@iprimus.com.au
scale

TA10p32_35_Robert_Layout 1 23/08/2017 16:23 Page 32
PERSPECTIVE IN FOCUS: 2 OF 3
The city in perspective

Robert Dutton continues his series with advice on how to use the rules
of one-, two- and three-point perspective with exciting viewpoints to
create dynamic cityscapes
P
erspective is the foundation to
everything you will ever want to
paint convincingly – be it
expressively, detailed or any
other way. By learning the rules of
perspective first, your creative
interpretations of the world around you
will be confidently executed – behind
every great painting is a great drawing.
Perspective drawing is a technique
used to create the illusion of a three-
dimensional surface on a flat surface.
There are other ways to convince the
viewer that your work appears to be
ONE-POINT PERSPECTIVE
Eye level
Diagram 1: one-point
perspective seen from above
The rules of one-point perspective do not
necessarily need to apply to a view seen at
street level. This diagram shows how, using
one-point perspective, the viewer is led
directly down into the city from above. Note
how the lines of perspective converge to a
vanishing point way below the buildings. As
artists we have to learn to see through
shapes to find the anchor points we need to
make every aspect of the drawing correct. In
this case the eye level (and theoretical
horizon) is almost through the centre of the
drawing. Notice how the buildings above that
line appear to converge downwards towards
the vanishing point, while those below it
p Evening Light, Manhattan, pastel on Canson Mi-Teintes ‘Touch’ black pastel paper,
appear to converge upwards to a vanishing
350gsm, 201⁄2⫻14in (52⫻35.5cm).
point somewhere in the sky. The buildings
Here one-point perspective leads the viewer through the painting to the right of centre. By
bisected by the eye level (such as the round
making use of the diagonal, I have created a dynamic composition
tower) do both

three dimensional – tonally through p Evening Light towards the Rialto, Venice,
aerial perspective, or by drawing pastel on sanded paper, 19⫻23in (48⫻58cm).
objects in front or behind one another, One-point perspective was applied to the
for example, to give the illusion of individual buildings along the Grand Canal.
depth. Notice how the buildings on the left (in
Perspective drawing can be divided shadow) have a vanishing point not dead
into three main groups – one-point, centre but to the right. The building on the
two-point and three-point perspective. far right (in full evening sun) also has a
The most challenging, yet most vanishing point stretched to the left of
exciting, in my opinion, is three-point centre. However, both are fixed to points
perspective, as looking down on a parallel to one another on the eye line. To
cityscape from above, or looking up have drawn all buildings directly from one
from street level, creates really axis point in the middle would have been
dramatic viewpoints. wrong!
Find your horizon

The horizon line is also your eye level One-point perspective
and the axis around which a One-point perspective is used to create
perspective drawing is constructed. As compositions that show objects
a rule of thumb if you stand to draw, appearing to get smaller as they get
your eye level will be higher than if you further away, converging towards a
sit. If you can see the horizon, that’s a single vanishing point on the horizon,
massive help. Often within the city it is or bigger as they come forward, using
hard to determine were the eye level the same guidelines.
actually is because the horizon is likely At street level when the subject is
to be hidden behind buildings. viewed front-on, perhaps looking along,
If the horizon is hard to find, how do or down on, a street, one-point p Towards the Fish Market, Venice, pastel on
we discover where it is? For hard- perspective is appropriate. The Canson Mi-Teintes ‘Touch’ 350gsm black
surfaced subjects (such as buildings), painting Evening Light Manhattan (far pastel paper, 17⫻13in (43⫻33cm).
draw the angles of many different left), clearly shows the principles of Standing at my easel my eye level was quite
façades as they slope towards or away one-point perspective from my high, but the moored gondolas were right in
from you in real space. Observe how viewpoint looking down onto the city front of me and the one at the front was
the lines converge to one single point from Brooklyn Bridge. almost below me, creating an almost
in the distance, known as the vanishing foreshortening effect. By following the rules
point. By drawing a perfectly horizontal Two-point perspective of one-point perspective I was able to create
line through that vanishing point you When you can see a building at an this impressionistic sunlit scene confidently
will discover your horizon line, as angle, such as on the corner of a street, and accurately, with all the interesting
shown in Diagram 1 (left). you would use the rules of two-point elements perfectly one in front of the other

PERSPECTIVE
TWO-POINT PERSPECTIVE
Eye level
p Diagram 2
The principles of two-point perspective for above eye level, on
eye level and below eye level p Diagram 3
Two-point perspective in stylised detail. Note the architectural
details reflected in the pond in the foreground which also helps
increase depth in the drawing
q Soft Evening Glow, Manhattan, pastel on perspective to interpret this, and there to the left or right, but with careful
Sait P500 pastel paper, 22⫻72in (56⫻183cm). will be two vanishing points. Again, first observation, and following the angles
Note how the two perspective points are determine your eye level, then draw from the top and base of the buildings
outside the composition. To find the all- your lines from both sides of the to where the lines converge at eye
important vanishing points I set up two building to the points where they meet level, you will be able to draw the
draughtsman’s parallel motion boards at on the horizon, the vanishing points. correct angles of the buildings with
exactly the same angle, equal distance from Diagram 2 (above), shows two-point confidence.
one another across the studio, with a very perspective when looking at simple
long sheet of rigid wooden board between cubic shapes, directly at and from Three-point perspective
them. Drawing pins and taut string also above them. Have you ever wondered how to draw
helped! In Diagram 3 (above right), the eye or paint buildings convincingly when
level is approximately through the looking up or looking down on them?
centre of the drawing. Notice how both This is when you use three-point
the vanishing points (to right and left) perspective, which will have three
are outside the composition. In the real vanishing points, but be aware they
world, vanishing points can be way off may be outside your picture plane –

PRACTICAL
THREE-POINT PERSPECTIVE
Eye level
p Three-point perspective with buildings being

below eye level; the angles are very extreme but the
drawing is dynamic
Eye level
p Evening Light Towards the Santa Maria Della Salute, pastel on Canson Mi-
Teintes ‘Touch’ 350gsm black pastel paper, 20⫻20in (51⫻51cm).
Two-point perspective was applied for this high vantage point. Using a 1/3 to
p Three-point perspective with the buildings 2/3rd divisional ratio for the square composition, repeating triangular shapes
stretching above eye level and to the left and right and placing the axis point pretty much through the main bell tower of Santa
give you the feeling that the buildings are really tall Maria Della Salute makes for a strong design – but it is the celebration of the
with the emphasis of them stretching away from you glowing Venetian light that makes the painting really dynamic
see the diagrams (above). Without doubt,

three-point perspective can be used to
create the most unusual and dynamic Robert Dutton
compositions. teaches pastel, acrylic,
Other types of perspective watercolour and mixed-media
techniques nationally and tutors
Aerial perspective is another form of art holidays in the Lake District,
perspective, used to give visual and Norfolk and Spain. He exhibits
creative effects of depth in your work. widely and has won several
Next month we will look at this more closely awards for his work. Robert has
when we focus on coastal seascapes. contributed pastel paintings to
Whether you are working with Artist’s Drawing Techniques
conventional materials such as pencils published by Dorling Kindersley,
and paints, or other media, a knowledge price £20, ISBN9780241255988.
and understanding of perspective drawing To learn more about Robert’s art
remains an essential tool to help you holidays and workshops and to
enhance your drawing technique. see more of his work, visit:
A clear understanding of the rules of www.rdcreative.co.uk
perspective will, without doubt, strengthen
your painting. TA

TA10p36_37_Derwent report_Layout 1 24/08/2017 09:05 Page 36
t Cherries, Derwent Proclour pencils,

113⁄4⫻141⁄4in (30⫻36cm).
Colours used: plum, crimson lake, geranium
lake, primary red, bright red, blue violet lake,
soft violet, heather, burnt carmine, Mars violet,
grape, dark indigo, pink madder lake, light
moss, olive green, sap green, burnt umber,
brown ochre. Soft layering was used across this
entire picture with gentle pressure, no
burnishing, just colours overlaid on each other
and the white of the paper left for highlights
TEST REPORT
Smooth, strong colour

‘Firm, velvety-smooth, intensely coloured and reliably lightfast’ is how
Susie Hodge describes Derwent’s new Procolour pencils
rocolour pencils are Derwent's about this new addition to Derwent's quickly, but layering one colour over
P new vivid, highly pigmented and

easily blended coloured pencils.
Derwent have been making the
finest coloured pencils since 1938, with a
heritage dating back to 1832.
'family' – but no concern was needed!
From the moment I tried out the first
pencil, it felt comfortable in my hand and
performed beautifully. Colours glided
easily over the paper, and varying
another or several colours on top of each
other were particularly successful for me,
and burnishing also achieved good
results.
You can also use Procolour in
Subsequently, the consistencies of all pressure created different effects. They conjunction with other media, such as
their coloured pencils have improved over worked well with expressive or loose over a light wash of watercolour, inks or
the years, the number and intensity of the work, as well as for finer, more meticulous Inktense, or you can add chalk or oil
colours they create have increased, and and detailed image building. I mixed new pastels over the top, layering materials for
the portability, ease of handling, colours by overlaying thin applications of even greater density and texture. Talking
lightfastness and immediacy have different hues, and created stronger, more of textures, I found that smoother
become ever more liberating for artists. opaque marks using firm pressure or surfaces were more sympathetic for my
Firm, velvety-smooth, intensely coloured layers applied in different directions. The fairly sharply defined images as the rich
and reliably lightfast, Procolour pencils glow and opacity of the colours work well colour is 'grabbed' by any tooth and I was
combine the strength of the Derwent whether they are soft and pale or deep after fairly clean contours, but Procolour
Artists' range with the smooth, layering and dark. The pencils sharpened easily are also effective on coloured or more
abilities of Coloursoft. Each pencil with either a knife or a pencil sharpener, textured paper for looser, more expressive
contains the highest concentrations of and depending on how each pencil is work. For the images on this page, I used
pigment for purity and intensity, blended applied, marks can be soft and indefinite Procolour on smooth white cartridge
with excellent quality binding ingredients, or sharper and more defined. Slightly paper and built up most layers from light
and so their rich colours can be easily harder than Coloursoft and softer than to dark, or softened darker or brighter
layered, blended or burnished to create Inktense or watercolour pencils colours and tones by burnishing with a
subtle variations of tones and hues. (watercolour pencils by their nature are light colour over the top. Holding the
necessarily hard), they produce intense, pencils at an angle produced broad, soft
Velvety-smooth radiant and instant colour, and feel marks, whilst the sharpened tip was
As a lover of Coloursoft and watercolour velvety to use. By varying the pressure, capable of fine, precise detail for greater
pencils, I wondered how I would feel subtle gradations of tone were obtained accuracy. The more layers you add, the

TA10p36_37_Derwent report_Layout 1 24/08/2017 09:05 Page 37
u Iris, Derwent Procolour pencils,

121⁄4⫻121⁄4in (31⫻31cm).
Colours used: cobalt blue, dark indigo,
phthalo blue, spectrum blue, Prussian blue,
ultramarine, mid-ultramarine, magenta,
plum, spectrum orange, deep cadmium,
primrose yellow, deep chrome, light moss,
sap green, mineral green, cedar green, yellow
ochre, grass green, moss green, olive green,
burnt umber. Complementary contrasts of
yellow and violet and orange and blue were
used, while the white of the paper creates
highlights and suggests light shining through
the petal edges
greater the sheen of your drawing as the

pigments coat the underlying surface and
fill in the natural tooth.
From vibrant and light, to

deep and dark
The 72 colours in these new Derwent
Procolour pencils include brilliant, jewel-
bright primary and secondary colours
with cool and warm options and softer, worked or loosely finished images are burnishing, rather than simply reaching
lighter and deeper shades and tints. There also effective, as the colours have such for the white, try soft violet, salmon or
are also more subdued, earthy tones and instant impact and density. 'Lifting out' champagne over darker colours to
a good range of neutrals. Greens, browns, using an eraser does not completely smooth, soften or even out darker or
reds and yellows are all versatile, with remove the colour, but has more of a brighter colours beneath. Use Procolour
dark, light, vibrant, cool, warm, subtle and burnishing effect. So if you enjoy working freely with big arm movements, or closely
strong variants. And because they blend with this method, use it for creating for a more precise finish. The great thing
and mix so well through layering and smooth tonal transitions as an additional is that they can be picked up and put
burnishing, you can also create many method of burnishing rather than down, used for quick sketches or for more
more colours. Versatile, practical and specifically for highlights. Try also carefully drawn final images, at home or
ready to use, there are so many effects blending and layering different colours in the great outdoors. They're a great
you can make with these. Depending on together. Alternate the order of these for addition to any artistic repertoire. TA
the look you are going for, stippling, different colours and effects, such as red
hatching and many other methods of over yellow and yellow over red, and I'm definitely pro-Procolour. For more
mark-making work as well as smooth rather than using black, try blending information about them, visit
tonal gradations, while both highly brown and indigo for a rich dark hue. For www.derwentart.com
‘They blend and mix so well through layering and burnishing,

you can also create many more colours’
u Apple and Pear, Derwent

Procolour pencils, 101⁄2⫻173⁄4in
(26.5⫻45cm).
Colours used: lime, light moss, sap
green, yellow ochre, bronze, brown
ochre, burnt carmine, deep
cadmium, grass green, ultramarine,
dark indigo, burnt yellow ochre,
sepia, foliage, champagne. I used
an eraser and lighter colours for
burnishing the surface of these
objects, smoothing and blending
the tones. Different application
methods were used to convey the
subtle differences of colour and
surface texture of these fruits

TA10p38_41_PTG_Layout 1 22/08/2017 10:14 Page 38
C O N T R A S T S I N W AT E R C O L O U R : 6 O F 6
Mess versus finesse

In the last of his six-part series Paul Talbot-Greaves urges
you to loosen up and allow yourself to start with mess –
it really will end in success!
A
mantra that I have developed not a fan of pre-wetting paper but if
over the time I have been you prefer it that way then go for it. Be
painting is ‘start with a mess, mindful, however, that paint added to
end in success’. It’s true. The pre-wetted paper usually dries lighter
looser and messier the start of the than expected due to the dilution of
painting, the better the end result will the colour on the damp surface. Use a
be. If you start with a careful and timid big brush and don’t try to paint careful
outset, making perfect washes and hard shapes or individual features, just
edges, the entire painting will follow in broadly apply colour of the lightest
a tight and constrained way. There is values only. Where adjacent shapes
Paul Talbot-Greaves nothing wrong with that of course if that have different colours allow them to
has been painting for over 20 years is how you like to work, but if you blend and fuse where they meet. At the
and teaches watercolour and acrylic prefer a looser and more expressive end of this stage I sometimes slosh
painting in his home county of west way of working, let go and start your water onto the paper to make colours
Yorkshire. He also runs workshops and painting with what many people run further and create runbacks, as this
demonstrates to art societies describe as a mess. I aim to capture generates more interest in the washes.
throughout the north. Paul can only the colours and values at the
beginning of a painting, using fluid Colours, shapes and values
be contacted by email:
information@talbot-greaves.co.uk or washes of paint and allowing them to When the messy wash is dry I begin the
through his website: fuse and blend as I brush them on. I’m painting on top, but I hold off any fine
www.talbot-greaves.co.uk
work or details. Instead I concentrate
on building up the colours, shapes and
values that I see. I allow a lot of the
THIS brushwork at this stage to be messy
MONTH’S too, as the refinement of the subject
CHALLENGE generally comes after this layer has
dried. I work from shape to shape,
allowing fusing between them, and I
use paint in various consistencies,
Create a painting from this
depending on the value required at the
photograph of the tree-lined
time. All the time I am painting I
road. I’d like you to let go with
consciously refrain from painting tight
the starting washes and allow the
details such as the leaves of a tree or
paint to do what it wants. Mess it
fenceposts, and so on. I use mop
up a bit by sloshing with water
brushes for good coverage so that I can
then allow to dry and build up
capture the main shapes without
the painting using the first wash
working too fiddly. If you find yourself
as the lightest values. Tighten up
painting walls brick by brick, or you
at the end with some finesse.
constantly paint every blade of grass in
the foreground, try some of the
Take a good-quality photo of
following ideas to loosen things up a
your painting and email your
bit before adding just a little
work to dawn@tapc.co.uk
refinement at the end.
together with a brief
description (no more than 100 Stand your reference material
words) about the process you out of reach
used, with PTG6 in the subject If you’re not careful you can find
line, by November 24. yourself painting with a brush in one
Have fun, good luck hand and your reference photo in the
other. If this is the case, I’m guessing
and happy painting the reference picture will end up held
at close quarters, allowing your brain to

PRACTICAL
‘When the messy

wash is dry I begin
the painting on top,
but I hold off any
fine work or details’
ABOVE AND RIGHT

Heather, Moor and Pasture, watercolour on
Saunders Waterford 300lb (640gsm) Rough,
15⫻22in (38⫻56cm).
Above you can see the painting at the second
layer stage, where I have allowed colours,
shapes and values to run loosely and fuse.
The piece at this stage is loose, messy and
expressive. The image on the right clearly
shows how tightening up really brings the
picture together
scrutinise every minute detail. If that is

the case you will no doubt attempt to
paint all those details, which can lead
you towards a tight, overworked
painting. Try placing your reference out
of reach so that you can’t scrutinise it or
even see the finer detail. This will help
you concentrate on only the colours,
shapes and values that are far more
important.
Work from smaller photos break this down into manageable parts short while. I prefer to stand with my
If you print your own reference as you analyse your reference, so ask painting at a shallow angle on a table
photographs, try printing them small, yourself what is the colour? What and my arm held loosely outstretched. I
say around 6⫻4in (15⫻10cm), as this shapes are you painting? And, how paint through the movements of the
will consolidate details, allowing you to strong or weak are the colours? thumb and finger and the shoulder and
concentrate more on the overall picture I find this is a reasonably controlled but
instead of becoming distracted by Holding and handling the expressive way of painting.
fiddly little shapes. Often plain typing brush Towards the end of the work, I usually
paper produces prints of poor quality Your hold on the brush has a direct tighten up some details and shapes
that lose detail. These can sometimes effect on how messy and loose your using smaller brushes or tools such as
make preferable reference material brushwork can be. Holding it at the ruling pens and card stamps for making
over quality photo papers that produce ferrule with your hand resting on the finer marks. This is the finesse at the
pin-sharp images with every detail and table is usually comfortable, especially other end of the scale to the earlier
nuance captured. if you sit down to paint, but this will mess. I usually look out for anything
produce a tight finish to your work as containing fine lines, such as tree
Concentrate on colour, shapes the movement will come from the wrist. branches and twigs, wire, fencing – that
and values Sitting down to paint is restful but can sort of thing. Just a small amount of
Try to work only on colours, shapes and be restrictive if you want to put energy finesse contrasted with a majority of a
values. To a large extent these can be into your paintings. Holding the handle messy painting will be enough to
achieved by painting through half- towards the opposite end of the ferrule tighten up your picture and the two
closed eyes to consolidate and will give looser results but if you’re sat contrasting approaches will really
t
eliminate the finer details. You can down, this can produce arm ache after a complement each other.

W AT E R C O L O U R
DEMONSTRATION Through the Autumn Woods
u STAGE ONE
I began the painting
with a loose drawing
using a 4B pencil. I
always aim to sketch in
the main shapes
without describing
detail and I look at my
drawing as a guideline,
not an outline. When I
was happy with the
placement of the shapes
I selected some colour
and squeezed out fresh
tube paint, ready for
painting
u STAGE TWO
Using a size 5 squirrel mop brush I added a varied, messy mixture
of colours, starting at the top with permanent sap green, burnt
sienna, cadmium yellow pale and bits of cerulean blue. Without
pausing I continued into the road, capturing the lit parts of the
tarmac with cobalt blue, alizarin crimson and yellow ochre. When
the paper was covered I splashed some water on top to make some
runbacks and textures. The more variety and the more mess you
can create at this stage, the better
p STAGE FOUR
Continuing down the paper with the colours, shapes and values,
p STAGE THREE I connected the background to the foreground with the strong
When it was dry I began to add the mid- and darker values in the linear lines of the shadows. These were painted in French
trees using slightly heavier colours of permanent sap green, ultramarine and brown madder using a well-loaded size 4 mop
cadmium yellow pale, burnt sienna and cobalt blue. As I painted, brush, which allowed me to continue making marks without
I allowed each shape to fuse gently into the next having to reload the brush constantly

p FINISHED PAINTING little spatter to generate a suggestion of leaves.

Through the Autumn Woods, watercolour on Saunders To make lighter leaves stand out against the dark I
Waterford 140lb (300gsm) Rough, 15⫻11in (38⫻28cm). mixed cadmium yellow pale with permanent sap
Finally, when the painting was dry it was time for some green to make an opaque colour. I added a few
refinement and a little finesse. Using a size 2 round marks to the road and a highlight to the wall top.
brush and with French ultramarine and burnt sienna, I The level of detail here isn't much but it is enough
added the branches and twigs of the trees, then used a to pull the painting together

TA10p42_45_Adele_Layout 1 23/08/2017 16:25 Page 42
Still life with violin

Adele Wagstaff says that musical instruments make a beautiful
subject, and demonstrates a still life of her violin
I
nstruments have inspired many a number of still-life pieces, either as
artists through the centuries; their sole subject or placed alongside other
sensuous and rhythmic shapes objects.
have provided painters with a In recent paintings the violin had
fascinating and challenging theme. In been hung against a light background
Caravaggio’s paintings we see many or placed on a light surface with other
beautiful instruments and also in the objects. The idea for this painting was
work of Chardin, Vermeer and Holbein. to place the instrument amongst the
Musical instruments have long rich reds and greens of the studio chair,
featured in my work, whether being which make the warm colours of the
Adele Wagstaff played during rehearsals or used as a wood appear more intense and vibrant.
trained at Newcastle University and the
still-life subject. The beautiful shape of I also began to think of the painting as
Slade School of Fine Art. She has taught
the stringed instruments hold a a kind of self-portrait, in so much as I
in Belgium, Germany, Italy and the UK,
particular fascination for me and, as a am showing another aspect of my
including West Dean College, Putney
violinist, my own violin has featured in painter’s life. TA
School of Art and Design, Slade School
of Fine Art and Royal Academy of Arts.
Adele has been shortlisted for the DEMONSTRATION Still Life with Violin
Jerwood Drawing Prize and the BP
Portrait Award, and her work has been
exhibited in the National Portrait
Gallery, Discerning Eye, Royal West of
England Academy and the Royal
Society of Portrait Painters. Adele has
published two books: Still Life Painting
in Oils (2012) ISBN 9781847973139 and
Painting the Nude In Oils (2015), ISBN
9781847979056, both published
by Crowood.
www.adelewagstaff.co.uk
MATERIALS
l Oil paints: warm white, cadmium
lemon, raw sienna, burnt sienna,
cadmium red, alizarin crimson, p STAGE ONE p STAGE TWO
viridian, terre verte, cerulean blue, The violin was propped up against cushions Continuing the drawing, the shape of the
ultramarine and raw umber was used in the studio chair so that it was positioned violin was adjusted, using a larger brush with
for the sketching-out. The brands I use diagonally across the composition. Once the a little turpentine to soften any lines that
are Michael Harding, Winsor & violin, bow and music had been placed I used needed re-positioning. After blotting the
Newton, Blockx and Old Holland a viewfinder to observe how the shapes, surface, less dilute paint was used to
l Brushes: riggers, sizes 2 and 4, and a balance of colours and weight appeared continue and fine-tune the shapes. The
selection of synthetic rounds and within the rectangle. Moving the viewfinder outline had become a little too heavy and
filberts from Rosemary & Co and nearer to and further away from the set-up ideally should have been lighter. The scale of
Winsor & Newton helped me to decide on the amount of space the various parts of the violin were
l A wooden palette, palette knife around the subject. The intricate shape of the continually checked throughout this drawing
l Turpentine and linseed oil violin was drawn onto the linen using a dilute stage due to the complexity of the shapes
l Oil-primed extra fine linen from Belle wash of raw umber with a fine rigger brush. A and a subtle foreshortening and curvature
Arte line was placed along the diagonal that runs across the front of the instrument
through the centre of the instrument

p STAGE THREE p STAGE FOUR

Blocks of green and red were patched-in over the background. These I began to look more closely at the surrounding colours. I mixed a
transparent colour mixes were far too vivid at this stage – the colour number of colours on the palette – all mixing at this stage was done
would deepen as it was built up in layers during the following stages. with a palette knife to ensure that enough of each colour was mixed.
Establishing the tone of the background early on in the painting helps Small amounts of thinner mixed in with a knife stopped the paint
you later on as you will be able to judge the relative values of the becoming over diluted. The darkest tone in the lower part of the
objects against the background composition was established and more of the crimson mix was glazed
over the right-hand side. These various mixes of green were patched-
in quite broadly. The cooler mixes included cerulean blue and a touch
of white was added to make these areas opaque. A mix of both raw
and burnt sienna was applied over the front of the violin
t STAGE FIVE
The colour placed over the front of the violin was initially applied
quite thinly so as to not lose any of the references or structures drawn
underneath. All remaining darks were added, the darks of the
fingerboard and chinrest are the darkest tones in the composition.
Another layer was painted over the red area; the colour was slowly
becoming richer and vibrant, with greater depth
t Detail
This shows how small
areas of colour were
patched-in over the
background instead of
using one flat colour.
Various green mixes were
made on the palette and
painted in quickly; warmer
vivid viridian green and
subtle terre verte was
placed against cooler
mixes with cerulean or
alizarin crimson added
t

t Detail
This close-up shows how
colour was applied over the
wood, using brushstrokes
that follow the length of the
instrument to echo the
direction of the wood grain
and patterning of the wood.
The drawing of the outer
curves has been sharpened
up using light, cool mixes to
show how light describes
these edges. Light lines were
used to begin to suggest the
strings over the bridge
p STAGE SIX
Using a rigger and small round synthetic brushes, the outline
of the violin was drawn in more carefully; a few alterations
were necessary after checking the symmetry of the curves. A
lot of time was spent looking closely at the painting upside-
down to check the overall weight, shape and balance of the
composition. Small areas of contrasting tone and colour,
including the colours seen in the reflections on the different
woods, were then painted
p STAGE SEVEN
The long diagonal of the bow was placed alongside the violin. Because the
lighter mix was beginning to pick up the crimson, the underpainting was
allowed to dry before work continued. Using graphite, I began to suggest
the notation on the sheet of music in the foreground. Once the crimson
underpainting was dry enough the edges of the
bow were tidied up. The curved shadows
on the cushion made by the bow were
painted along with the deep
shadow on the right of the violin
u STAGE NINE
Up to this point the scroll and
tuning pegs at the top of the
violin had had little work done
to them. The warm dark tones
p STAGE EIGHT of the wood continued the
Using a rigger brush, and making the line as faint as possible, colour used for the wood of the
the characteristic f-shaped sound holes were carefully drawn– bow. This area was kept fairly
it is the tone of the negative shape that describes the sketchy so as not to take the eye
structure. The right-hand hole is lighter in tone than the left, away too much from the main body of
to show how light falls inside the instrument

p FINISHED PAINTING
Still Life with Violin, oil, 193⁄4⫻153⁄4in (50⫻40cm).
The reflection of light along the bow was placed using a very pale cool blue mixture. A few small
details in the lower part of the bow were also added. Finally, there was a little more work to the music
using both graphite and very dilute paint to pick out the movement and shapes of the groups of notes

TA10p46_47_Jackson report_Layout 1 22/08/2017 10:16 Page 46
PRODUCT FOCUS
Jackson’s linen boards

Max Hale loves painting on Jackson’s ‘clever’ linen boards. They’re available in
a wide range of textures and weights that should meet every artist’s needs
o paint on canvas in acrylics or oils portrait or detailed painting. Where product that not only gives portability
T is a joy and affords the artist a

range of expression and mark
making that is unlikely to be
available on other surfaces. Canvas
boards – canvas sized, glued and primed
Claessens linen is used, there is a scale
that will help you to identify the grade, as
the higher the number following the
description, the finer the weave.
The choice continues with the material
but the feeling of something significantly
substantial when painting. Do be careful
when ordering as there is a heavier 3.2mm
panel that also carries the designation
Ultralite. This is a more general-purpose
onto a rigid support such as card, onto which the linen is mounted. thickness suitable for using en plein air or
compound or wood – are convenient and Jackson's offer a superb selection and in the studio. The stable continues with a
affordable. I use boards when painting en combination of boards using lightweight, substantial 4mm MDF that is available
plein air as they can be easier to carry and medium or heavyweight substrates from with many linen surface options, a very
will also fit neatly into my pochade. which to choose and, of course, you can nice product indeed.
pick the surface you wish, depending on One element I do like is that the boards
The surfaces your task. fit easily into a carrier or pochade – wrap-
Jackson's manufacture and supply a huge This was the one element that I felt was around canvas boards can be too thick for
selection of canvas panels and boards clever in as much as your favourite linen the slots, so this is a definite advantage
(panels have linen wrapped around the surface can be purchased in a range of and the boards look smart, too.
board). They are handmade and varied in options to fit your practice or your
their material and texture, and weight convenience. I'm sure a painter has had Painting experience
and rigidity. input into this idea. There is also a choice I painted on each type of surface starting
The greatest difference between linen of universal or oil-primed surfaces across with the rough jute – which is like a fine
and cotton is that linen has a less the range, along with white or clear sacking – and I found it suited my loose
regularly patterned texture than cotton primer. style, especially in acrylic. It makes for
with a particularly sophisticated feel wonderfully broken swathes of colour if
under the brush – quite individual, The substrates your brush is used at an oblique angle
I would say. Ultralite board is just 0.8mm, a thin and gives lots of opportunities to have a
Jute is a heavyweight rough-textured composite that is pure genius in my 'broken' image where the texture doesn't
material with an open weave, ideal for opinion, and especially useful for travelling. allow the paint to move into the hollows
any painting where detail is less It’s not quite as rigid as the more common in the weave. Likewise, going back over or
important or perhaps the artist's style thicker board, it may require some returning to the section to scumble over
reflects a looser approach. Linen, available support if used on an easel; it’s better can cause interesting results as the
in rough and fine, is more suitable for than a paper, especially as it won't curl up texture gives selective pickup. The paint
general subjects; super fine is ideal for when you paint. This is a gem of a can be directed where required by
q Rough jute, fine and super-fine linen
p The different weights and thicknesses of a selection

of boards from the Ultralite 0.8mm compound, the
Ultralite3.2mm compound and the 4mm MDF

TA10p46_47_Jackson report_Layout 1 22/08/2017 10:16 Page 47
pressing or heavily charging the brush p Country Track, acrylic on Jackson’s rough-grain jute over MDF, 71⁄2⫻12in (20⫻30cm).
with the medium. The rough texture of the jute produces a very pleasing result. The board was underpainted with
The fine and super-fine textures were a neutral mid-tone and completed using Jackson’s Artist acrylics
superb and gave the smoothest result I
could imagine from a canvas. Perhaps
someone who paints finer detail than me
might make more of the very fine linen For more information about Jackson’s linen boards and panels, see.jacksonsart.com or
than I did during the evaluation, but I am telephone 0207 254 0077.
looking forward to trying it out at my next
portrait session – my bet is it will prove to
surpass anything I have used in a cotton
variety.
Like all Jackson's own-brand products,
these well-made linen canvas boards offer
good value for money. It’s likely they will
change your view on texture of support,
as well as give you an opportunity to
experience a superb product at an
affordable price. TA
Max Hale
studied at Harrow School of Art.
He teaches workshops and painting
holidays, and offers personal mentoring.
His DVD First Steps in Water-Mixable Oils
is available from Town House Films price
£29.95; www.townhousefilms.co.uk
telephone 01603 782888. p Five Bottles, water-mixable oil on Jackson’s fine linen over MDF, 12⫻151⁄2in (30⫻40cm).
www.maxhaleart.co.uk This canvas feels wonderful to paint on. Results from wiping-out are excellent as the surface is
so resilient and flexible, even on such a rigid support

TA10p48_51_Paul Riley_Layout 1 22/08/2017 10:17 Page 48
Mixed-media watercolours
Paul Riley suggests introducing other media to your
watercolours, with advice on the best way to do this. It’s all down
to good planning…
W
atercolour can be
particularly tricky, especially
for beginners. There are
many pitfalls that snare the
unwary and the results can be frustrating
and depressing. It all seems so simple
at the outset – what could go wrong?
Pitfalls
Well, as anybody who has tried will tell
you – loads! Colours run into one
another creating muddy tones and
blurred edges. Often as not the
painting lacks intensity, looks wishy-
washy or smudged. This invariably
leads to the addition of some other
media to save the situation. The first
job is to reach for a pen and some ink,
or a Pentel-type pen, and rectify those
lost edges. The trouble is that the
results can often get smudged, creating
an obvious mess. By this time, in
desperation, you reach for some
gouache to clean and recover some of
the paint areas and cover some of the
ink. But the likelihood is that more
muddiness will result. Finally, if all else
fails there are pastels, which by some
miracle can quite often save the day. If
not there are always the scissors. There
may be something worth saving if that
bad quarter or half is chopped off…!
Potential
The reason for using alternative media
to rescue a deteriorating watercolour is
invariably to cover up something
physically and also intellectually – a
lack of preparation and planning. To say
it is a cover for poor workmanship
would be unfair to a beginner who
knows no different.
Watercolour is a transparent medium,
so the light areas must be accounted
for at the outset. The paint must dry
thoroughly in order to maintain crisp
p Venetian Façade – Hvar Island, mixed media on Saunders Waterford HP 300gsm, 18⫻12in edges. If you must use a pencil to draw
(45.5⫻30.5cm). in the image (graphite isn’t
I used quite a broad and stiff pen nib that glided swiftly over the HP surface. The ink is a sepia watercolour), then keep it clean. No
bought in Venice! It is not waterproof so the watercolour went on first. Gouache was added smudging with the hand or sleeve, and
thickly and carefully so as not to disturb the ink work. Finally, pastel was broadly added for keep the eraser at bay. In short, pure
texture. Here I used soft pastel rounds watercolour has its limitations but also

u The Cathedral – Hvar Island, mixed media

on Saunders Waterford HP 300gsm, 12⫻8in
(30.5⫻20.5cm).
The process was identical to that used for
Venetian Façade – Hvar Island (left). In some
instances where the ink has badly smudged
(easily done), I used pastel to readjust the
finish. Pastel’s covering power is ideal for this.
Using the four media in watercolour – pen
and ink, gouache and pastel – offers
wonderfully varied creative options. Let the
processes flow and develop your own
approaches
its joys. Adding other media to it is

possible but certain criteria need to be
applied to make it work, and the results
can be exceedingly rewarding.
Understand your media

l Pen and ink: Nibs come in various
sizes and forms. Cornelissen & Sons*
stock a wide variety. My personal
choice is a fine but flexible tip that can
produce a varied width of stroke to give
added interest. Ink comes in a variety
of colours as well as black which can, if
you’re not careful, dominate the image
and make it appear more illustrative. I
use watercolour in place of the ink so I
can choose colour that will relate to the
colour scheme of the image. My other
favourite inks include sepia, a beautiful
red-brown that is less harsh than black,
and sumi ink for greys and velvety
blacks. Used judiciously, pen work can
add delicate ‘bones’ to an image,
especially if done with care and good
draughtsmanship. The latter requires
practice and is a most enjoyable
experience.
l Gouache: This is ostensibly an
opaque water-based medium. I say With gouache, if you overlay blue over brilliant and most effective.
ostensibly because if sufficiently yellow the blue will read as blue. Very l Combinations: all the above are
diluted it can perform similarly to a useful. potential additional media but do need
semi-opaque watercolour, like the l Pastel: This opaque medium is used to be planned for. They are not
cadmiums and certain earth pigments. dry. Pastels come as ready-mixed substitutes for poor planning or
Gouache has good covering power, but colours, which is why many pastellists workmanship and each has its own
if overlaid it disturbs the under layer, seem to have hundreds of sticks of beauty and must be allowed to glow
resulting in a mess, particularly if them. However, you can mix them. If and bask in their own glory. They can
applied over wet pigment. Opaque you lay down some blue, for example, be adjunct to the watercolour singly,
media lack the translucency and then rub over some yellow you can, doubly or all three. The sequence of
transparency of pure watercolour but with your fingers, cloth or torchon, exploitation is often first watercolour,
gain in density and intensity. People blend them together to get green. I use followed by pen then gouache, then
who are used to oils and acrylics are pastels periodically where I want an pastel. The pen and ink can precede
familiar with this characteristic. I tend to emphasis on texture. Their natural the watercolour. Acrylics can be used as
introduce gouache towards the latter crumbly nature lends itself to a rich a substitute for gouache and to
part of a watercolour painting, variety of textures ranging from introduce impasto into the mix. But to
particularly in areas I want to advance undergrowth, buildings rocks etc. This me acrylic doesn’t add anything
spatially. The fact one can superimpose potential for texture is further specific to a watercolour. Again, it’s a
over a transparent zone gives this extra emphasised if laid over a Not surface question of taste, so feel free to
dimension – it’s a bit like using impasto paper with a watercolour underlay. I experiment.
in oils. Do note that this needs to be have used a watercolour underpainting l Collage is worth experimenting with.
done when the watercolour is dry. In to depict a nude or portrait onto an HP Using watercolour to paint textures
watercolour, if you overlay a colour, say surface, then used blended pastels for onto paper then cutting them to create
blue over yellow, you will get green. the flesh tones. The effects can be an image is great fun, and incorporating

MIXED MEDIA
DEMONSTRATION Venetian Fragments
t My reference sketch
A very small sketch gives the basis for an
idea. This was done on the spot and I
have no photograph. I had to make it up
on the go!
p These are the two pens I used for

drawing. Note the underdrawing in blue.
I refrained from using graphite pencil as
this can dirty the image. In the middle is a
bent back paperclip, which was used as a
pivot for a straight edge to set up one-
point perspective lines
p STAGE ONE
Venice provides a lot of
scope for experimentation,
seeing atmosphere and
noting textures. For mixed
media it’s ideal –
watercolour, wetness,
penwork detail, gouache
and pastel textures. I
commenced with a light
drawing-in using pale
phthalo blue using a No. 2
sable round. The washes
were wet-into-wet, applied
gouache into the mix adds to it. With vertically
collage you can get crisp edges, which
can appeal to those who are a little
impatient when it comes to waiting for
things to dry.
l Water-based oils can be diluted to
various consistencies from very watery
to creamy, and poured and t STAGE TWO
manipulated like watercolours or oil The pen work was
paint. These can be done on deliberately kept loose.
watercolour paper or on canvas. The Too much use of a straight
effects are startling and well worth edge will result in a
experimenting with, such as with a mechanistic look, which
watercolour sub-base with water- isn’t quite Venice! Further
soluble oils as an additive. It just goes watercolour was added
to show that there is always something over the ink colour – this
new around the corner. Along with comprised phthalo blue,
mixing the media try variations in paint burnt sienna and burnt
handling – dripping, pouring, printing, umber watercolour, varied
splattering, ragging etc. Have fun! TA in tone and colour. The
pen colour remained fixed
* www.cornelissen.com under the watercolour

PRACTICAL
p STAGE THREE
This was the stage to exploit the opacity of
the gouache. The earth colours raw umber,
raw sienna, burnt sienna, Naples yellow and
indigo were mixed with white and applied in
varying concentrations. This is ideal for
textures and highlighting around windows
Paul Riley p FINISHED PAINTING

runs short residential courses from his Venetian Fragments, mixed media on Saunders Waterford 425gsm Not, 18⫻101⁄2in
home and studios in south Devon. (45.5⫻26.5cm).
For details telephone 01803 722352 or A Not surface provides ample opportunity to exploit the crumbly nature of pastel. For finishing
email lara@coombefarmstudios.com I used broad strokes occasionally blended with fingers or torchon to add texture and a certain
www.coombefarmstudios.com looseness to counter the uptight penwork. This approach added to the fragmentary nature of
my information and the nature of the subject

TA10p52_55_MJL_Layout 1 24/08/2017 09:11 Page 52
How to paint edges

Michael Jules Lang explains, with examples, how to
create a variety of edges, and why this will help you to achieve
subtle, more sophisticated paintings
T
he variation of edges between
soft and hard can be one of the
signs of a more sophisticated
painting, introducing an element
of subtlety. Hard edges, or edges that
are very visible, are easy to paint and
tend to be produced without much
conscious thought. Soft edges are less
visible.
In this article I will explain how to
create edges – there are more methods
than described here, which you can
discover by experimenting. These
methods are applicable whether using
a brush or palette knife – I have used
oils. I refer to brushstrokes in this
article for simplicity, but palette knife
strokes are implied, too. Indeed, any
kind of tool to deposit or remove paint
on a surface could be used, whether a
finger, cotton bud, paper tissue, rag,
etc.
My recommendation is to study the
methods, practise them, and aim to
internalise them, then to work
instinctively rather than analytically
while painting. Also it is well worth the
effort to study the works of old masters
as well as contemporary artists to
understand how they achieved their
edge effects.
Why vary an edge?

We see an edge because of a contrast
at the border between two shapes. The
contrast can result from a change of
value (degree of light or dark), hue (the
intrinsic ‘colour’) or saturation (colour
intensity or chroma, how ‘pure‘ the
colour is) or any combination.
So why bother with varying edges?
When we look at something (the focal
point or focal area), we tend to see
everything else with less clarity, hence
edges appear to be less hard. You can
see this if you look at something with a
hard edge, then look away but keep the
object in your peripheral vision: it will
no longer look so sharp. So varying
p Cadel, oil, 16⫻12in (40.5⫻30.5cm). edges between soft and hard mimics
Methods 4, 5, 6, 7 and 8 (see page 54) were used in numerous places, for example in the fringe, the way we see and is useful for
the edges of his hair, the shoulders and the numerals on his top representational painting.

PRACTICAL
Where there is little or no contrast of Soft edges p Scottish Valley I, oil, 24⫻31in
(61⫻78.5cm).
value, hue or saturation between two You may choose to paint without the
Methods 2 and 4 (see page 54) were used in
shapes, the edge will disappear. An knowledge of how to soften an edge,
several places. I used a palette knife. Have a
edge can also disappear and reappear, but having an understanding of what is
look at the rocky slope on the right (method
which is usually referred to as a lost- possible allows you the freedom to
2) and also on the right at the ‘fingers’ sloping
and-found edge. For example discard it if you choose. There are two
downwards, some of which have edges of an
someone’s hairline may appear sharp main approaches. The first involves
orange colour of intermediate value to soften
where the light illuminates it. painting directly on the edge to reduce
the transition to the grassy areas (method 4)
What follows may seem arid and its hardness. The second is indirect and
technical, but I believe that achieving involves painting on either side of the
variety in a painting, and balancing that edge, or on both sides, but not on the titanium white (Winsor & Newton),
with unifying the painting, is important edge itself. In one painting one or more lemon yellow lake (Michael Harding),
and one way to do it is through varying methods may be useful on the same cadmium yellow pale (W&N), cadmium
edges. edge or on different ones. red (W&N), permanent alizarin crimson
(W&N), ultramarine blue (MH), cerulean
Hard edges Materials blue (W&N), burnt umber (W&N).
A hard edge often appears without any While materials are not directly Sometimes I supplement the palette
thought. However, sometimes an edge important to varying edges, I have with one or two specific colours for a
may need to be hardened further to listed what I use in case it is of interest. painting. I use Liquin Impasto (W&N) in
make it more prominent, particularly at I buy brushes from Rosemary & Co: varying quantities, which adds body,
the focal area of the painting. This can Classic short flats size 12 for canvases helps to retain brushstrokes and
be achieved by increasing the contrast up to 50⫻40cm and proportionately quickens drying.
between the two shapes through larger for bigger canvases. I use RGM Understanding why we vary edges,
varying the value, hue, saturation or palette knives. I mix paint on a large and knowing how to do this, can
any combination of these for one or kidney-shaped palette with a mid- elevate your representational art to
both shapes. Another approach is to brown colour. My colour palette is another level by adding an additional
increase the contrast by painting over limited, with a warm and a cool version dimension to those of drawing, value
t
the edge. of each of the traditional primaries: and colour. TA

LOST & FOUND EDGES
HOW TO SOFTEN AN EDGE

Direct softening
This involves working directly on the Blend across the edge in the same values of the two shapes forming the
edge direction as the brushstrokes forming the edge. The hue can be similar to that of
l Method 1: blend across edge and shapes. The difference with Method 1 is either shape or somewhere in between
against brushstrokes (example 1.1). that the soft edge is neater and looks or different. The saturation can vary
Blend across the edge in the opposite more natural. too.
direction to the brushstrokes, forming l Method 3: blend along edge and in l Another approach is to blend the
the shapes. Use a clean brush, line with brushstrokes (example 3.1). intermediate paint just laid down using
traditionally a fan-shaped brush but Blend along the edge in the same one of the previous methods.
other brushes will do, to tease the paint direction as the brushstrokes forming the
back and forth across the edge on both shapes. Subjectively this is perhaps less Indirect softening
sides. The result is a softer edge, but too effective at softening than Method 2. This involves painting on either or
much reliance on this method can lead Blending in the opposite direction is less both the shapes bordering the edge,
to a weaker painting. This is partly effective still. Ingres is likely to have used but not on the edge itself. The idea is
because the brush removes paint, direct softening, in my opinion, to to break up the edge visually without
leaving less on the surface. A solution achieve smooth paint effects, particularly actually painting over it. The aim is to
could be to blend with paint of an on the skin tones of his sitters. fool the brain into perceiving the
intermediate colour on the brush, but l Method 4: paint along edge with edge as softer than it is.
achieving a smooth blend would be intermediate value (example 4.1). l Method 5: paint next to the edge
more difficult. Paint on the edge, either along or across, on one side (examples 5.1, 5.2 and 5.3).
l Method 2: blend across edge and in without blending, using a colour having Paint on one of the two shapes forming
line with brushstrokes (example 2.1). a value that is intermediate between the the edge. The brushstroke touches the
edge, but does not cover it. Its hue and
value can be the same as those of the
other shape or of intermediate hue and
value, or the same value as that of the
shape and the same hue as that of the
other shape.
l Method 6: paint next to the edge
on both sides (examples 6.1, 6.2 and
6.3).
1.1 2.1 3.1 4.1 Paint on both of the two shapes
forming the edge. The brushstrokes
touch the edge but do not cover the
edge itself. The hue and value of each
can be the same as that of the other
shape, or of intermediate hue and
value, or those of the shape.
l Method 7: paint away from the
5.1 5.2 5.3 6.1 edge on one side: (examples 7.1, 7.2
and 7.3).
Paint on one of the two shapes forming
the edge. The brushstroke does not
touch the edge. Its hue and value can
be the same as that of the other shape
or of intermediate hue and value or
those of the shape.
l Method 8: paint away from the
6.2 6.3 7.1 7.2
edge on both sides (examples 8.1, 8.2
and 8.3).
Paint on both of the two shapes
forming the edge. The brushstrokes do
not touch the edge. Each hue and
value can be the same as that of the
other shape or of intermediate hue and
value or those of the shape.
7.3 8.1 8.2 8.3

p Emily, oil on canvas, 20⫻16in

(51⫻40.5cm). Michael Jules Lang
Method 4 was used in the roll-neck of was awarded the Helen Wilson Prize at the Heatherley
Emily’s top, where I over-painted the edge Open Studio Exhibition and shows with several London
in turquoise. Method 5 was used in the galleries including Gagliardi Gallery in Chelsea, Osborne
right edge of her top near the bottom of Studio Gallery in Knightsbridge, Llewellyn Alexander
the painting, where I painted in dark Gallery in Waterloo, Russell Gallery in Putney and Stafford
orange next to the edge. The left edge of Gallery in Wimbledon Village. He tutors on a one-to-one
her top was softened using method 6, basis. For more of his work see www.michaeljuleslang.com
where I painted in blue and orange against and for commissions www.yourportraitpainted.co.uk
Self portrait
opposite sides of the edge

TA10p56_57_ColourTWEAKED_Layout 1 22/08/2017 10:19 Page 56
THE A-Z OF COLOUR Julie Collins

studied painting at the University of
Reading. In 2016 she received the
Watercolour Award, 1st Prize at the Royal
West of England Academy. Julie has been
Some colours should be used with caution, regularly selected for the ING Discerning
Eye, where she has won the regional award, and she has
advises Julie Collins, so much so that if received many awards from the Royal Watercolour Society.
Her paintings have been selected for many exhibitions and
mix your own you’ll obtain a better result she is the author of six art books. www.juliecollins.co.uk
X is for dangerous colours

Fugitive colours
Fugitive colours are colours that
disappear because they are affected by
sunlight, humidity, temperature and even
pollution. It is best to think of fugitive
T
he dramatic title of this article is Payne’s grey colours as temporary, and the most
to draw your attention to I have found that many students are accurate and best advice I can give you is
particular colours that can to check the lightfastness of a colour on
keen on Payne’s grey and can become
potentially dominate or spoil your the tube. Take particular care if you are
very reliant on this powerful colour. I using old watercolour paints. I say this
work in some way. It is not to say that have never been fond of Payne’s grey,
you shouldn’t use any of these colours because most recent watercolours have
mainly because it contains three been improved; for example, Winsor &
but they either need to be treated with pigments: black, ultramarine and Newton’s Professional watercolours are
care or could be substituted for another sometimes crimson. Any black in now lightfast. However, if you have a tube
colour or mix. watercolour can be dangerous as it of alizarin crimson as opposed to a tube
will dull or deaden your work. If you of permanent alizarin crimson, it is more
Blacks and greys than likely that it is not lightfast. It goes
use a colour that is made up of two or
Black is an extremely dominant colour three pigments already, like Payne’s without saying that if your painting
and some watercolour artists go so far as grey, then when you mix with another
disappears or fades it would be very
to say not to use it at all in your disappointing. In the Winsor & Newton
colour your mix contains four colours. Professional range opera rose, alizarin
watercolour paintings. Personally, I use it Too many colours in a mix can very
very rarely and would never allow a crimson and rose madder genuine aren’t
easily dull your work. Lastly, when we lightfast. You can substitute permanent
watercolour beginner to use black. This become reliant on a very strong colour rose for both opera rose and rose madder
is because it is so strong and mainly it can dominate your work and also genuine, and substitute permanent
because it is possible to mix your own prevent you from experimenting with alizarin crimson for alizarin crimson.
blacks and greys. I would encourage you other colours that could be more If you are unsure if any of your
to do the same and also to refer to suitable. watercolours are lightfast, paint some of
‘darks’ rather than ‘black’. the colour in question onto some
watercolour paper and put it in sunlight
Blacks, greys and dark blues straight for several days to see what happens to it.
Indigo from the tube Lightfast readings can usually be seen
Indigo contains black, so the on the side of the tube of paint or can be
information about Payne’s obtained from the paint manufacturer.
grey also applies to indigo. Most watercolour manufacturers produce
You could try using Prussian excellent charts of all their watercolours.
blue instead. I = Excellent
Mars black Neutral tint Mars black Ivory black Lamp black II = Good
Mars is a dense black with III = Poor
brown undertones. Mars black IV = Fugitive
is made from iron oxide and is
the alchemical name for iron.
Ivory black Payne’s grey Indigo Prussian blue Sepia
Ivory black has brown
undertones.
+ Permanent
Lamp black Modified alizarin
Lamp black is one of the oldest lamp black crimson
pigments and is made of pure
carbon. This chart
shows lamp + Winsor
Neutral tint blue (yellow
Neutral tint is a grey-black black that has
shade)
pigment and is opaque and been modified
staining. by the gradual
Sepia addition of
Sepia is a black-brown and another colour + Raw sienna
made from carbon and umber.
Lamp black

TA10p56_57_ColourTWEAKED_Layout 1 22/08/2017 10:19 Page 57
PRACTICAL
Mixing your own darks
There are numerous good combinations
that can be used to make your own
darks. It is useful to experiment mixing
your own darks. You can see here where French ultramarine + burnt sienna = A dark medium grey medium/pale grey pale grey
I have mixed my own darks, firstly with blue
French ultramarine and burnt sienna.
Remember that you need to use plenty
of pigment with little water when you
are mixing a very strong dark. Then I
have used a blue, red and yellow to French ultramarine + light red + new gamboge = A dark medium grey medium/pale grey pale grey
make a strong dark, which in turn has blue yellow
been gradually diluted to create various
grey tones. Try out different
combinations of red, yellow and blue to
discover your own darks. Some other
suggestions include cadmium red,
cadmium yellow and French ultramarine
blue. This combination makes a very
dark grey, which is almost black. Then
French ultramarine + permanent + quinacridone = A dark medium grey medium pale grey pale grey
you could try aureolin, rose madder blue alizarin gold
genuine and cobalt blue, which will crimson
make a soft black. Here I also show
French ultramarine blue, permanent
alizarin crimson and quinacridone gold
that make a dark with a brown tinge.
Then try using Winsor blue with various
reds and yellows to make many more
Winsor blue + permanent + cadmium = A dark medium grey medium pale grey pale grey
darks. alizarin yellow
(red shade)
crimson
Greens Mixing your own greens

Any watercolour used straight from the tube can be ‘dangerous’ as the colours Experimenting with all of your blues and
can look too crude if there is little or no mixing. Green can be particularly brash. yellows will help you to discover how to
Below we can see several greens painted straight from the tube and in the row mix particular greens. The chart (left)
below they have all been modified with a touch of burnt sienna, which can shows greens mixed from French
make them look more natural. ultramarine blue, cobalt blue, Winsor
lemon and new gamboge yellow. There is
50 per cent blue and 50 per cent yellow in
Greens and modified greens each mix. You could try altering the ratios
of blue and yellow to create more greens.
Staining colours
Winsor green Winsor green Hooker’s Permanent Terre verte Oxide of chrome
(yellow shade) (blue shade) green sap green Staining watercolours are usually excellent
transparent and vibrant colours. However,
they can be impossible or extremely difficult
to lift off once painted down. Also, take care
when mixing a staining colour with a non-
staining colour, as the staining colours can
+ a touch of burnt sienna dominate the mix. However, staining colours
Mixing your own greens mix very well together and can create very
even areas of paint.
Cadmiums
The cadmiums are potentially slightly toxic if
Cobalt blue + Winsor lemon = inhaled or digested, but the risk is very low
because of the dilution of the pigment in
watercolour paints. However, it is worth
French + Winsor lemon = mentioning that it is important not to lick
ultramarine your watercolour brushes as some pigments
blue
are toxic – it’s better not to get into this habit.
Cobalt blue + new gamboge =
yellow
Julie has a solo exhibition at the Isle Gallery, Isle of

French + new = Man until September 24 and also has work in the
ultramarine gamboge Summer Exhibition at the Wykeham Gallery,
blue yellow
Stockbridge, Hampshire, until September 27.

TA10p58_60_Barry_Layout 1 22/08/2017 10:20 Page 58
Sketching on the move

Seasoned traveller and plein-air sketcher
M
y painting holidays usually
centre on a chosen venue
each day, where we take in Barry Herniman reveals what he packs in his
all the sights and sounds of
the immediate surroundings. However,
lightweight sketching kit – the one he takes on his
last year I got together with Matt at walking holidays. Our Art Courses & Holidays
Alpha Painting Holidays to organise
something a little different – a supplement, supplied free with this issue, has
sketching and walking holiday in
Exmoor. We had to carry everything
more ideas to inspire you!
with us, so painting kits were pared
down to the bare minimum and,
because we weren't bogged down with MY TRAVELLING KIT
a shed load of painting paraphernalia, l A5 landscape hardbound sketchbook
everyone concentrated on producing with 140lb Saunders Waterford HP
quick and lively sketches throughout paper
the walks, which was very enlightening. l My’ Cloverleaf ‘ paintbox with my
selection of Schmincke Horadam
My sketching kit Artist Watercolours
The sketching kit I took with me may l Da Vinci Cosmotop round paint
look like a lot of equipment but it is a brushes Nos: 12, 8 ,4; riggers Nos: 6, 2
lot less than I usually take. The main l Faber-Castell Artist Pitt Pens F and S
alteration to my usual kit was a l Collapsible water pot
lightweight three-legged stool with a l Spray diffuser bottle
backrest. I had trawled the internet for
l Herring versatile easel
a stool like this and they were either
too heavy or were the right weight but l Lightweight 3-legged stool
had no backrest (a prerequisite to which was too large to take in the l Swiss army knife
avoid back strain). So imagine my Daysac. This sketchbook proved to be l Karrimor day sack
delight when I discovered one that ideal for this purpose.
ticked all the boxes…at the right price!
The seat I usually take is rather large Hiking gear rainproof jacket with me at all times,
and cumbersome and totally Needless to say that when embarking which also keeps out the wind as well
unpractical to take on a walk, hence this on a hiking session it is imperative to as the wet stuff! Comfortable,
purchase. The other change to my usual wear the right clothing and footwear. I waterproof walking boots are a must
gear was the substitution of a smaller always suggest wearing layers, which and I tend to favour Merrell footwear
A5 landscape format hardbound can be put on or taken off as the for those reasons but there are many
sketchbook for my usual 10⫻11in one, weather dictates. I keep a lightweight other good brands. TA
DAY 1
t Watersmeet, watercolour sketch, 6⫻13in
(15⫻33cm).
Starting off at Hillsford Bridge we made our
way down the wooded pathway towards
Watersmeet. On arrival I set up and did a
quick demo in my small sketchbook, trying to
keep the ever-increasing raindrops away from
my sketch but not always succeeding!
Waterproof pens are fine for line work on dry
paper but tend to smear on wet paper so you
will see the odd blob here and there on my
sketch. After a good sketching session we set
off further downstream to the Memorial
Gardens at Middleham, where we stopped for
lunch

PRACTICAL
t Lynmouth Shore, watercolour

sketch, 6⫻13in (15⫻33cm).
On reaching Lynmouth later in the
afternoon we set about sketching
various aspects of the harbour
front. The sun was coming out in fits
and starts so we took advantage of
this to do a sketch a little further up
the shore to get this view of
Countisbury hill and cliffs. Keep a
look out for that special light
quality that transforms an ordinary
scene into the extraordinary!
DAY 2 t Barry Herniman

p Flex Barrow, watercolour sketch, 6⫻13in tutoring members of his
(15⫻33cm). painting group on the hill
It rained all night and in the morning our above Flex Barrow
original route had to be changed because the
path was waterlogged. After a tour around
Simonsbath we headed through the wood to
this lovely panorama out across the Barle
Valley at Flex Barrow. The sun came out and
we were able to capture the fleeting shadows
across the scene.
We were able to build up some nice
transparent washes on our sketches as the
weather was much warmer, unlike the cold
and damp conditions we were working in
yesterday! I laid in the first overall washes, let
them dry, then applied the shadow area
washes over them
u Birch Cleave Wood, watercolour sketch,

6⫻13in (15⫻33cm).
Moving a little way down the hill we came to
Birch Cleave wood, the highest birch wood in
England, and did another sketch. Every now
and then the sunlight came through the trees
and really lit up the scene, which I have tried
to capture in this sketch. After lunch we did a
few more sketches nearby, one at the bridge
and another in the water meadow
t

SKETCHING ON THE MOVE
DAY 3
p Silcombe Farm, watercolour sketch, 6⫻13in
(15⫻33cm).
We woke to bright sunshine, which was a
welcome sight after all the rain and wind we’d
been having. Our route would follow along the
coastal footpath from above Broomstreet Farm to DAY 4
Porlock Weir. Our first sketching stop was at
Silcombe Barn; it’s perched on the side of the hill
On our last day we headed for Barry Herniman
the lovely town of Dunster. We organises and tutors painting
with the Severn estuary in the distance started off on the coast at holidays at home and abroad. He is also
Dunster beach and walked along available for workshops and
q Culbone Church, watercolour sketch, 6⫻13in the shore, past a long line of demonstrations to art societies. His
(15⫻33cm). chalets before making our way Cloverleaf paintbox is available online
The jewel in the crown was Culbone Church, the inland. Our first sketching stop at: cloverleafpaintbox.com. Barry buys
smallest church in England, where we had a was the quaint railway station his sketchbooks from Frances Iles
relaxed sketching session. Pen work is great for where we were graced with the Artworks, 104 High Street, Rochester,
buildings where I can get into a little more detail. arrival of two lovely old steam Kent ME1 1JT, telephone 01634 843881.
Afterwards we carried on the path which led us locomotives. On reaching Copies of Barry Herniman's Travelling
through Yearnor Wood and down a fairly steep Dunster Castle we set up in the Sketchbook are available from his
and twisty track to finish up in Porlock Weir. Time grounds for our lunch and website, price £25 inc p&p.
for a welcome coffee or ice cream – and a quick another sketching session before www.barryherniman.com
sketch of course! we packed up and headed home

October issue 17 sub ad_Layout 1 22/08/2017 11:06 Page 1
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Subscribe now at painters-online.co.uk/store COMPOSITIONS
and enter code TP1710 or
call 01580 763315 and quote TP1710 WATERCOLOUR OILS BEACHSCAPES Also.. how to
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Master perspective
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Paint musical still lifes
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THREE-POINT
CUS: 1 OF 3 PERSPEC TIVE PRA CTICA L
PERSPECTIVE IN FO
The city in perspective

ONLY
Eye level
on how to
series on perspective with advice
Robert Dutton continues his exciting
three-point perspective with
use the rules of one-, two- and
- cityscapes
viewpoints to create dynamic
to
erspective is the foundation
Three-point
P
perspective
to below eye
everything you will ever want level; the angles with buildings being
drawing is are very extrem
paint convincingly – be it dynamic! e but the
£2.92
any
expressively, detailed or
rules of
other way. By learning the
perspective first, your creative
three dimensional – tonally through Evening Light towards the Rialto, Venice,
aerialaround you or by drawing
interpretations of the world perspective, pastel on sanded paper, 19⫻23in (48⫻58cm).
– behind
objects in front or behind one another, One-point perspective was applied to the
will confidently executed
drawing. individual buildings along the Grand Canal.
every great painting is a great
for example, to give the illusion of
depth.
technique Notice how the buildings on the left (in
Perspective drawing is aPerspective drawing can be divided shadow) have a vanishing point not dead
of a three-
used to create the illusion
intoflat centre but to the right. The building on the
a three
dimensional surface ontwo-point
main groups – one-point,
surface.
far right (in full evening sun) also has a
and
thethree-point perspective.
There are other ways to convince vanishing point stretched to the left of
The most challenging, yet most
to be
viewer that your work appears
exciting, in my opinion, is three-point centre. However, both are fixed to points
perspective, as looking down on a parallel to one another on the eye line. To
cityscape from above, or looking up have drawn all buildings directly from one
from street level, creates really axis point in the middle would have been Eye level
dramaticTIVE
ONE-POINT PERSPEC viewpoints. wrong!
Find your horizon Evening Light

Towards the
One-point perspective Three-point Teintes ‘Touch Santa Maria
The horizon line is also your eye level perspective ’ 350gsm black Della Salute,
stretching with the buildin Two-point pastel paper, pastel on Canson
an issue
and the axis around which a One-point perspective is used to create above eye gs perspective 20⫻20in (51⫻5
give you the level and to was applie Mi-
feeling that the left and 2/3rd divisio d for this high 1cm).
perspective drawing is constructed. As compositions that show objects with the empha the buildin right nal ratio for
the square vantage point.
gs are really and placing composition, Using a 1/3
a rule of thumb if you stand to draw, appearing to get smaller as they get sis of them tall the axis point to
stretching Maria Della pretty much repeating
your eye level will be higher than if you further away, converging towards a away from Salute makes through the triangular
Eye level
you
glowing Veneti for a strong main bell tower shapes
sit. If you can see the horizon, that’s a single vanishing point on the horizon, an light that design – but of Santa
makes the it is the celebra
massive help. Often within the city it is or bigger as they come forward, using painting really tion of the
dynamic
hard to determine were the eye level the same guidelines. see the diagra
actually is because the horizon is likely At street level when the subject is ms (above).
three-point
to he hidden behind buildings. viewed front-on, perhaps looking along, perspective Without doubt,
create the can be used
most unusu
If the horizon is hard to find, how do or down on, a street, one-point Towards the Fish Market, Venice, pastel on compositio al and dynam to
we discover we’re it is? On hard- perspective is appropriate. The Canson Mi-Teintes ‘Touch’ 350gsm balck ns. ic
surfaced subjects (such as buildings), painting Evening Light Manhattan (far pastel paper, 17⫻13in (43⫻33cm). Other type Robert Dutt
Diagram 1: one-point draw theabove
s of pers pective teaches pastel, on
perspective seenfaçades from asangles of many different
they slope towards or away
left), clearly shows the principles of one
point perspective from my viewpoint
Standing at my easel my eye level was quite
high, but the moored gondolas were right in
Aerial persp
ective is anoth acrylic,
do not perspective er form of watercolour
The rules of one point perspective
from you in real space. Observe how looking down onto the city from front of me and the one at the front was uses
effects of depth to give visual and techniques
and mixed
-media
a view seen at creative
necessarily need to apply thetolines converge to one single point Brooklyn Bridge. almost below me, creating an almost we will look in their work. nationally and
tutors
how, using at Next month art holidays
street level. This diagramin shows
the distance, known as the vanishing foreshortening effect. By following the rules focus on coastathis more closely when Norfolk and
in the Lake
Distric
is led a perfectly horizontal Two-point perspective l we Spain. He exhibi t,
the viewer
one-point perspective, point. By drawing of one-point perspective I was able to create Whether you seascapes. widely and
line from
through thatNote
above. vanishing point you When you can see a building at an this impressionistic sunlit scene confidently are working with has won severa ts
directly down into the city conventiona
l materials awards for
his work. Robert
l
will discover
converge to ahorizon line, as
your angle, such as on the corner of a street, and accurately, with all the interesting and paints such as penci
how the lines of perspective
shown inbuildings.
Diagram 1As(left). , or other media ls contributed
pastel paintin
has
the you would use the rules of two-point elements perfectly one in front of the other and under , a knowledge
vanishing point way below standing of Artist’s Drawin
g Techniques
gs to
see through remains an perspective
artists we have to learn to essential tool drawing published
by Dorlin
to be
points we need to
www.painters-online.co.uk artist October 2017 33 enhance your to help you price £20, ISBN97 g Kindersley,
shapes to find the anchor A clear under
drawing techn 8024125598
drawings correct. In ique. To learn more 8.
make every aspect of the perspective
standing of
the rules of about Robert
(and theoretical will, witho holidays and ’s art
this case the eye level your painti ut doubt, streng workshops
see more of and
horizon) is almost through
the centre of the ng. then his work, visit: to
www.rdcrea
NEW!
above that TA tive.co.uk
drawing. Notice how the buildings www.painters-on
towards
line appear to converge downwards line.co.uk
those below it
the vanishing point, while
to a vanishing
‘Touch’ black pastel paper, appear to converge upwards
pastel on Canson Mi-Teintes The buildings
Evening Light, Manhattan, point somewhere in the sky. artist Octobe
as the round r 2017
350gsm, 20 ⁄2⫻14in (52⫻35.5cm). use bisected by the eye level (such 35
1
to the right of centre. By making
viewer through the painting
Here one-point leads the tower) do both
a dynamic composition
of the diagonal, I have created
32 artist October 2017
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Paint musical still lifes
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LP10 HolBrown_Havana1_Layout 1 23/08/2017 11:56 Page 1
ABROAD
February
19 to
March 2,
2018
Paint with
‘Our man in Havana’
Peter Brown NEAC ROI
Don’t miss this fabulous opportunity to work alongside
‘Pete the Street’, a highly respected figurative painter,
in one of the most colourful and atmospheric cities
in the world, before it loses its time-warped appeal t
Pete painting in Vietnam
Havana Painting programme

Havana’s appeal lies in Peter is a humorous, enthusiastic and inspirational guest artist.
its endless layers of colour He will be working in oils but all media are welcome. He will
and culture, its wonderful encourage you to learn by example and provide guidance
diversity and dynamic street when needed. Tuition, demonstrations and critiques will not
scenes, and the faded be provided. Peter will be painting from dawn to dusk as the
grandeur of its lavish light moves across Havana and you are welcome to work
Baroque architecture. alongside him or paint independently. Dinners are social
Cuba’s time-warped allure, and jovial occasions when you can get to know Peter.
colourful African roots and
relaxed Latin American Practical matters
You will be staying in an historical hotel (1908) located on
atmosphere fuelled with
the outskirts of Old Havana that featured in Graham Greene’s
rum, salsa and cigars t
Clock Tower by Peter Brown
novel Our Man in Havana. The Sevilla is a ‘grand dame’
transports you back to the
and its proximity to Vieja (old town), a street-level pool
days of Hemmingway and Greene. There is also the fascination
surrounded by palms and a roof-top restaurant, offers
with the great revolutionaries; Che Guevara and Castro. Old
fabulous views across the city, making it ideal. A travel
Havana is a UNESCO World Heritage Site where there is
escort from the UK will look after you and take care of
much to inspire all artists.
all the arrangements, enabling all students and Peter to
Peter Brown is a member of the NEAC and ROI and in
focus on painting. Everything is included except lunches.
2006 became the first Artist in Residence at the Savoy Hotel,
Direct flights are from London.
London. In 2008 he won the Prince of Wales Award for Portrait
Drawing. Popularly known as ‘Pete the Street’ from his practice
of working on location in all weathers, he has developed 8 to 12 intermediate and experienced students
a vigorous en plein air style, and happily interacts with Price per person in a twin: £4,795
passers-by and fellow students while at work. Single-room supplement: £700
For full details contact 01825 714310

art@spencerscott.co.uk www.spencerscotttravel.com
Also in 2018: The Atlas Mountains with Lachlan Goudie ROI, Ile de Ré with Haidee-Jo Summers ROI, Venice with Ken Howard OBE, RA, India
with Patrick Cullen NEAC, PS, Isola di Ponza with Richard Pikesley NEAC, RWS and The Peloponnese and African Wildlife with Hazel Soan.
The Artist magazine has been offering overseas painting holidays with renowned tutors since 1990. These holidays are organised
by fully licensed operator Spencer Scott Travel Services CAA ATOL 3471
TA10p63_Charles musings_Layout 1 23/08/2017 10:37 Page 63
Charles Williams’ musings
The Horse’s Arse

W
hen this book came out I got Edwardian artist and bohemian, details a
hold of a copy as soon as I life that was shocking at the time but is
could. You should too, it’s the story of every man or woman today,
great. It is advertised as an with its continual turnover of lovers and
update of The Horse’s Mouth by Joyce Cary children and property and endless search
and it is, in a way. The Horse’s Mouth was for self-gratification. The making of art,
published in 1944, a time when art was like promiscuity, also seems to be more
not really allowed: there was not much acceptable in contemporary British
place for it in British society, except in the society than it was in the forties.
nooks and crannies of Bohemia. Lots of people want to be an artist, but
I know Laura Gascoigne a little from my no one much wants to pay for the art
small involvement in the London Art they (we) make. The market for the
Scene, and I have an interest in this book product of artistic endeavour does not The Horse’s Arse by Laura Gascoigne is
that goes back a few years. One post- match the supply. A businessman of my published by Clink Street Publishing, PB,
private view evening in a Mayfair pub she acquaintance once told me that that is price £8,99, ISBN 9781911110873
was recommending a book to David Lee, the same in all businesses, but it isn’t; you
the editor of The Jackdaw magazine, for don't find people making hand cream
which she also writes, but could not bring (that was his line of business) because tax payer out of millions, supporting
its title to mind; recognising her they ‘feel compelled to’, doing MAs in shady mafia businesses and completely
description, I leant across the bar and hand-cream making just in order to get a wiping out the careers of many blameless
named it. I think they were both shocked factory and some feedback on their hand artists. It might make your hair stand on
that an artist might have read something cream, dreaming of making hand cream end to know this, but it’s not news to
other than a review of a rival's exhibition, while in their dull jobs as dentists and anyone who reads The Jackdaw magazine,
and we got talking about Gerald Wilde, teachers that they were forced by their which exists primarily to point the finger
the putative model for Joyce Cary's parents to train for but always longed for at the Emperor’s new clothes.
protagonist Gulley Jimson in The Horse's the chance to be in the factory, stirring in A few years ago, for example, they
Mouth. the lanolin. Or whatever one does to hand unearthed a wonderful story, helped by
Cary denied that Wilde was Jimson’s cream. my old friend Charles Thomson the
model, but I had recently found a story in So where The Horse’s Arse differs from Stuckist, about connections between
Julian Maclaren Ross’ Memoirs of the The Horse’s Mouth is that, while Cary trustees at the Tate and the Tate’s
Forties in which one of Wilde’s exploits are concentrates in horrified fascination on acquisition policy that might, in other
described in detail. Jimson was a crueller the character of Gulley Jimson, we take contexts, have looked like a criminal
man, but in his amorality and disregard Laura Gascoigne’s character Phelan for conspiracy. I don’t know how that
for anything but the activity of painting, granted while we stare with her at the resolved.
in his rackety lifestyle and outsider status, ghastliness that is the contemporary art Like all satire this is a book with sadness
Wilde is more or less an exact fit for business. He is a loveable rogue who in its heart. It's wonderful, clever,
Jimson, played later in the film by Alec makes beautiful paintings which she knowing, witty and full of character and
Guinness. It may have been Guinness who elucidates so that we can almost see colour, but it tells a sad story. Unlike The
said he used Wilde as a model. them, paintings that take time to describe Horse’s Mouth, it is in the way the activity
Maclaren Ross's stories were all about because they have taken time to make, in of making art is degraded by the activities
Soho, the ultimate cranny of Bohemia; contrast with the hilarious descriptions of of the market. No one takes offence at
Dylan Thomas, Roberts MacBryde and artworks created by the absurd gallery of Phelan for the mere fact of being an artist,
Colqhuhoun, John Minton, Francis Bacon. puppets based transparently on or sees him as an agent of social change.
They talked about an art world that was contemporary art world luminaries - their The intense students and willing devoted
desperate, brave and uninterested in ‘the works don’t need to be dwelt on because disciples who harry Jimson are replaced
market’ except in so far as it might the content is not important, but rather with middle-aged hobbyists assembling
provide the next drink, money to pay off their ‘value’. In this book, as in life, they in Phelan’s studio once a week for an art
debts, studio rent. The fact of being artists have ‘personalities’ but no character and class. He even likes them. Jimson
cut Soho’s denizens off from society, and there’s good fun to be had in identifying despised them. But there is still no place
was associated with all sorts of other them from their work and their distorted for the product of his work. Phelan gets
aberrations – homosexuality, promiscuity names, but what fascinates Laura little or no money for pursuing his muse;
and otherwise – deviating from the norm Gascoigne is the way value in the however wonderful the paintings, few
of the 1940s and ‘50s. contemporary art world is manipulated, people actually want to put bread on his
Being an artist isn't the passport to played, and cashed. The meat of this book table in exchange for one. Welcome to my
social exclusion that it was. What used to is the unblinking and satirical gaze she world. But, as Cary says in the
be seen as aberrations are now seen as levels at the market. introduction to The Horse’s Mouth, ‘the
normal behaviour. Michael Holroyd’s life There is a scam at the heart of the story, original artist who counts on
of Augustus John, the celebrated which essentially involves swindling the understanding and reward is a fool’. TA

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TA10p65_BooksFITS_Layout 1 23/08/2017 16:29 Page 71
ART BOOKS & DVDS Reviewed by Henry Malt
Foundations of Drawing Perspective in Action Places of the Mind

Al Gury David Chelsea British watercolour landscapes
Watson Guptill Books on 1850–1950
books are always perspective can Editor: Kim Sloan
good value for largely be This is published
money and this is categorised as to accompany a
no exception. practical but not free exhibition at
While the title technical or the British
suggests technical but not Museum that ran
something practical. until August 27.
relatively basic, it Anything that The exhibition
is really more of a falls in between featured 125
masterclass, these two works, mostly from the museum’s own
although it also gets to grips with its subject extremes will collection, and half of them had never
from the ground up. The subtitle (a practical usually have been seen before. Artists included
guide to art history, tools, techniques, and something to recommend it. Written by Whistler, Burne-Jones, Sargent, Nash and
styles) provides more of a clue and the book a graphic novelist, this work, which falls Moore.
itself amounts to something I have been firmly in the middle of the arc, brings an If that doesn’t whet the appetite, then
championing for a while: a comprehensive interesting new slant. For sure, there are the ridiculously low cover price of £20
guide to the history and practice of drawing grid lines aplenty, but there are also should convince you, as should the
that looks at how things have been and can be drawn examples and the comic book impressive quality of the reproductions.
done, as well as defining approaches for the approach for the most part does away While the works included are not the
student. Al Gury has 30 years’ experience of with lengthy explanations. A sympathy artists’ most famous, they are by no
teaching and has clearly learned a lot in that with the medium will probably help, but means of second-quality and are entirely
time. He writes eloquently and his plentiful the frame approach breaks things up representative both of individual styles
example illustrations are well chosen. If you nicely and makes an inevitably technical and the prevailing mode of the period
regard drawing as an art in itself, and want to subject reasonably digestible. The 33 they cover. That period is a cleverly
learn more, look no further. multimedia projects are based on chosen one as it encompasses the move
Watson Guptill £21.99, 216 pages (P/B) ‘famous’ perspective experiments and from Victorian social representation to
ISBN 9780307987181 cover pen & ink, digital art, collage and modernism, abstraction and experiments
even woodwork. This is a bold and with colour.
Classic Sketchbook: Botanicals: Secrets broad-scope approach and will certainly This is one of the best surveys of British
of Observational Drawing intrigue, even if it will in the end landscape painting you are likely to find
Valerie Baines probably either delight or annoy you. and an absolute bargain.
This simple guide Watson Guptill £18.99, Thames & Hudson/British Museum £20
to botanical 172 pages (P/B) 192 pages (P/B)
drawing aims to ISBN 9781607749462 ISBN 9780500292815
teach by example.
Valerie Baines
begins by quoting Vibrant Oils
the image of the Haidee-Jo Summers ROI
student working This is amazing. Books on oil painting are a rare thing,
in front of an old but this is a whole lot more than that. You could, in
master painting in fact, ignore the medium completely and treat it as a
a gallery. It’s an apt example as the images she guide to the practice and philosophy of being an
works from are classic ones – the signature of P artist. For a start, it’s not insubstantial, although the
J Redouté appears several times. paperback format tends to disguise that. It is also
The introductory apparatus is mercifully short filled with illustrations that cover just about every
and you won’t find yourself wading through subject you might want to tackle. Badly-handled, this
page after page explaining what a pencil is. A could lead to superficiality, but there are examples,
simple list of materials occupies a single spread. demonstrations, hints, tips and breakout panels that
The remainder of the book is devoted to the keep you interested throughout. Haidee-Jo’s style will
aforesaid examples and simple explanations of be familiar to The Artist readers – it has a vibrancy that
how to deal with the subject in hand. These are
handled thematically rather than as specific
enthuses all by itself and contradicts the often worthy
reputation of oil painting. This is a book to revel in.
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Rockport £12.99, 112 pages (P/B) Search Press £15.99, 176 pages (P/B) books
ISBN 9781631591396 ISBN 9781782212539
Some of the books reviewed here can be purchased from our online bookshop:
visit www.painters-online.co.uk/store and click on the link for books

Oct Exhibitions_Exhibitions for Vivien 25/08/2017 14:24 Page 62
EXHIBITIONS
GALLERY OPENING TIMES AND EXHIBITION DATES CAN VARY; IF IN DOUBT, PHONE TO AVOID DISAPPOINTMENT
☎ 020 7235 9667

LONDON Geoffrey Humphries: Fact
BIRMINGHAM FALMOUTH MANCHESTER
Box; portraits, nudes and Royal Birmingham Falmouth Art Gallery Imperial War Museum
Bankside Gallery theatrical pieces, Society of Artists
☎ 01326 313863
North
☎ 020 7928 7521
48 Hopton Street SE1. Municipal Buildings, The Moor.
☎ 0121 236 4353

September 26 to October 12. 4 Brook Street, St Paul’s Square. The Quays, Trafford Wharf
☎ 0161 836 4000

National Original Print OUTspoken; celebrates Road.
The Queen’s Gallery Metropolis 2017; outspoken artists from Alfred
Exhibition; the best of
☎ 020 7766 7301 (tickets)
Buckingham Palace. until September 30. Munnings to Banksy and Wyndham Lewis: Life, Art,
contemporary printmaking,
September 20 to October 1. Sir Joshua Reynolds to War;
Canaletto and the Art
of Venice;
BRISTOL Tracey Emin, until January 1, 2018.
Browse & Darby September 23 to November 4.
until November 12. Arnolfini Gallery The Whitworth
☎ 020 7734 7984
19 Cork Street W1.
☎ 0117 917 2300 ☎ 0161 275 7450

16 Narrow Quay. Oxford Road.
Royal Academy of Arts GUILDFORD
Craigie Aitchison; paintings
☎ 020 7300 8000

and prints, Piccadilly W1. Grayson Perry: The Most Watts Gallery South Asian Modernists;
Popular Art Exhibition Ever! Pakistani and Indian artists
☎ 01483 810235
October 6 to November 3. Down Lane, Compton.
Matisse in the Studio; September 27 to December 24. who worked with Victor
Dulwich Picture Gallery until November 12. GF Watts: England’s Musgrave between 1953–63,
Royal West of England
☎ 020 8693 5254
College Road SE21. Dali/Duchamp; Michelangelo; significant September 30 to April 15.
October 7 to January 3. Academy
paintings from private and
☎ 0117 9735129
Sargent: The Watercolours; Queen’s Road, Clifton.
until October 8. Tate Modern
public collections, MORETON-IN-
until November 26. MARSH
☎ 020 7887 8888
Bankside SE1. Annual Open Exhibition;
Estorick Collection of October 1 to December 3.
Modern Italian Art Soul of a Nation; contribution HASTINGS John Davies Gallery
☎ 020 7704 9522

The Old Dairy Plant,
39a Canonbury Square N1. of black artists to a dramatic BUXTON Jerwood Gallery
☎ 01608 652255
period in American art and Stratford Road.
☎ 01424 728377
Museum & Art Gallery Rock-a-Nore Road.
Poor Art/Arte Povera: Italian history,
☎ 01629 533540
Influences, British until October 22. Terrace Road. A Selling Retrospective,
Paula Rego: The Boy Who Part II; the work of the late
Responses; Fahrelnissa Zeid; abstracts
Harold Riley: A Derbyshire Loved the Sea and Other David Prentice,
September 20 to December 17. with Islamic, Byzantine, Arab
Retrospective; Stories; October 7 to 28.
and Persian influences fused
Flowers September 16 to October 21 to January 7.
with European approaches,
☎ 020 7920 7777

21 Cork Street W1. until October 8. November 25. NORWICH
KENDAL
Aleah Chapin: Within Wilds; Tate Britain CAMBRIDGE Castle Museum & Art
☎ 01539 722464
Abbot Hall Art Gallery Gallery
☎ 020 7887 8888
new works, Millbank SW1.
☎ 01603 495897
October 4 to November 4. Fitzwilliam Museum Castle Hill.
Painting Pop;
☎ 01223 332900
Queer British Art; Trumpington Street.
Jonathan Cooper Park until October 1. until October 7. Rembrandt: Lightening the
Walk Gallery Darkness; Rembrandt’s
Degas: A Passion for
☎ 020 7351 0410
20 Park Walk, SW10.
Victoria Miro Mayfair Perfection; KINGSBRIDGE fascination with printmaking,
☎ 020 3205 8910

14 St George St W1. October 3 to January 14. October 21 to January 7.
James Lynch: A Parallel Harbour House Gallery
Reality; new works,
☎ 01548 854708
October 19 to November 11.
Hernan Bas: Cambridge
CHICHESTER
The Promenade. OXFORD
Living; new paintings inspired
Mall Galleries by the lore and romanticism of Pallant House Gallery Exploring Life and Sarah Wiseman Gallery
life at Cambridge, Landscape; Janey Hunt, Kath 40–41 South Parade,
☎ 020 7930 6844 ☎ 01243 774557.
The Mall SW1. 9 North Pallant.
☎ 01865 515123
until October 21. Pelforth, Clare Pumfrey and Summertown.
Frank Wotton,
Royal Society of Marine John Minton: A Centenary;
The Wallace Collection October 3 to 8. Dialogues; Sarah Spackman,
Artists: Annual Exhibition; until October 1.
☎ 020 7563 9500
Manchester Square W1. paintings, and Linda
October 5 to 14. Bomberg; a major review with
Society of Wildlife Artists: El Greco to Goya – Spanish
over 70 works, LIVERPOOL Bloomfield, ceramics,
The Natural Eye 2017 October 21 to February 4. until September 30.
Masterpieces from the Tate Liverpool
October 19 to 29. Bowes Collection;
☎ 0151 702 7400
Albert Dock. PENZANCE
September 27 to January 7. EASTBOURNE
National Portrait
Portraying a Nation: Penlee House Gallery
Gallery Towner Art Gallery
Germany 1919–1933;
☎ 01323 434670.
and Museum
☎ 020 7306 0055 REGIONS
St Martin’s Place WC2. College Road.
Germany between the two
☎ 01736 363625
Morab Road.
world wars seen through the
BP Portrait Award; Sussex Open 2017;
eyes of painter Otto Dix and
until September 24. BATH until October 1.
photographer August Sander,
John Armstrong: Dream
and Reality;
until October 15.
Nunnery Gallery Victoria Art Gallery September 16 to
EXETER
☎ 020 8980 7774 ☎ 01225 477244
Bow Arts, 183 Bow Road, E3. Bridge Street. Walker Art Gallery November 18.
☎ 0151 478 4199

Royal Albert Memorial William Brown Street.
The Working Artist: The East John Eaves: Echoes of Place; Museum & Art Gallery SHEFFIELD
☎ 01392 265858
London Group; oil, watercolour and collage, Queen Street. Alphonse Mucha: In Quest of
September 29 to December 17. until October 8. Beauty; drawings, paintings, Graves Gallery
☎ 0114 278 2600

Howard Hodgkin: India Exeter’s Fine Art Collection: photographs and poster Surrey Street.
Osborne Studio Gallery on Paper; Modern; designs; touring exhibition,
2 Motcomb Street SW1. October 14 to January 7. September 12 to April 29. until October 29. Going Public: International

Oct Exhibitions_Exhibitions for Vivien 25/08/2017 14:24 Page 63
Art Collectors in Sheffield; ☎ 0131 624 6200

painting, sculpture, works on Beyond Caravaggio;
paper and photography by Caravaggio and his followers,
Carl Andre, Donald Judd, until September 24.
Joseph and Anni Albers,
Bridget Riley, Lewis Baltz and Scottish National
more. Gallery of Modern Art
☎ 0131 624 6200

until December 2. 75 Belford Road.
Millenium Gallery True to Life: British Realist
☎ 0114 278 2600

Surrey Street. Painting in the 1920s
and 30s;
Master of all Trades: The until October 29.
John Ruskin Prize 2017;
until October 8. Scottish National
Portrait Gallery
SOUTHAMPTON
☎ 0131 624 6200
1 Queen Street.
City Art Gallery Looking Good: The Male
☎ 023 8083 2277

Civic Centre Road. Gaze from Van Dyck to
Lucian Freud;
From Mile End to Mayfair; until October 1.
looks at East London Group’s
most iconic pieces,
until January 6.
STOW ON THE
WALES
WOLD CARDIFF
Fosse Gallery Albany Art Gallery
☎ 01451 831319
The Manor House, The Square. 74b Albany Road,
Martin Llewellyn;
The Thinking Eye; latest September 14 to October 7.
works by George Underwood, Royal Institute of Painters
October 1 to 29. in Water Colours;
October 12 to November 4.
STRATFORD ON CONWY
AVON
Royal Cambrian
Compton Verney Academy
☎ 01926 645500
Wellesbourne.
☎ 01492 593413
Crown Lane.
Browse &
Seurat to Riley: The Art of
p
Perception;
Jan Gardner; Darby, Craigie Aitchison Washing Line, Montecastelli II, 2001, oil on
Paul Joyner; London
until October 1.
September 16 to October 14.
canvas, 24⫻20in (61⫻51cm)
WAKEFIELD
The Hepworth ART SOCIETIES Community Centre, from October 14 to
27. www.bournemouthbayart.co.uk
Poole & East Dorset Art
Society (PEDAS)
Wakefield Alton Art Society Autumn exhibition at the Gallery Upstairs,
Crown Hills Art Society
☎ 01924 247360
Gallery Walk. Annual exhibition at Alton Assembly Upton Country Park, from September 29
Annual exhibition at Crown Hills
Rooms, from October 7 to 15. Community College, on October 21 and to October 16. www.pedas.org.uk
Howard Hodgkin: www.altonart.org.uk 22. Tel: 0116 2419781. Stow Art Group
Painting India;
until October 8. Ambleside & District Dedham Arts Group Autumn exhibition at Lower Slaughter
Art Society Fiftieth anniversary exhibition at Village Hall, near Stow-on-the-Wold, from
Annual exhibition at Ambleside Parish Dedham Parish Church, from October September 21 to 26.
YORK Centre, from October 18 to 29. 24 to 28. Weald of Sussex Art Club
York Art Gallery Arnold Art Society Dorking Group of Artists Annual exhibition at Martletts Hall, Burgess
☎ 01904 687687
Exhibition Square. Autumn exhibition at the Pondhills Annual exhibition at Denbies Wine Hill, from October 11 to 14.
Community Centre, on October 14 Estate, from October 13 to 15. Tel: www.wealdofsussexartclub.org.uk
Albert Moore: Of Beauty and and 15. www.art4arnold.com 01372 375123.
Aesthetics; Woking Society of Arts
until October 1.
Artful Dodgers Epsom & Ewell Art Group Autumn exhibition at The Lightbox, from
Art Group Autumn exhibition at Bourne Hall, October 17 to 22.
Autumn exhibition at Wetherby Town Ewell, from October 16 to 28. www.wokingartsociety.org
Hall, on October 7. Tel: 01904 705552.
Horsforth Art Society
SCOTLAND Attic Art Club
Art fair at Queen’s Hall, Cuckfield, from
Exhibition at The Studio, 15 Back Lane,
Wye Valley Art Society
Autumn exhibition at Shire Hall,
from September 30 to October 8. Monmouth, from October 19 to 22.
EDINBURGH September 29 to October 1.
Plymouth Arts Club www.wyevalleyartsociety.co.uk
Royal Scottish Academy Biggleswade & District Annual exhibition at Columns

Art Society Bakehouse Cafe, Ocean Studios, Royal
☎ 0131 225 6671.
The Mound. To submit details of an
Autumn exhibition at Northill Village William Yard, from September 26 to
RSA Open Art Exhibition; Hall, on October 21 and 22. October 22. exhibition for possible listing
until October 1. www.biggleswade-art-society.co.uk
Plymstock & District Art here, email Deborah Wanstall
Bournemouth Bay Society (PANDAS) at deborah@tapc.co.uk or
Scottish National Art Group Autumn exhibition at St Mary’s Church, telephone 01580 763673
Gallery Autumn exhibition at Moordown Plymstock, from September 27 to 30.
The Mound.

Oct Opps LHP _Layout 1 25/08/2017 14:34 Page 1
OPPORTUNITIES
& COMPETITIONS Check out the latest competitions to enter
and make a note of important deadlines
Sending-in days drawing and models. Three works managers Parker Harris. Cost: £15 per work; £10 per work for
should be no larger than 59in ) 01372 462190 artists under the age of 35.
Rugby Open (150cm) in any dimension, including Contact: The Federation of British
Details: Entries of visual art and craft frame; two works should not exceed Rye Winter Salon Artists, 17 Carlton House Terrace,
are invited for Rugby Art Gallery and 141⁄4in (36cm) in any dimension. Details: Entries are invited for the London, SW1Y 5BD.
Museum’s open exhibition. Open to Online registration and submission Rye Creative Centre’s Winter Salon. ) 020 7930 6844
artists and makers aged 16 or over in first instance. All work must be for Open to all artists aged 18 and over,
on November 19 2017 provided they sale. Cash prizes. The exhibition is at living or practising in the UK or EU. Columbia Threadneedle Prize
also meet one of the following the RGI Kelly Gallery, 118 Douglas Up to three works may be
Street, Glasgow G2 4ET from Details: Entries of fresh and topical
criteria: is a member of one of the submitted – painting, drawing, paintings, drawings, prints, collages,
local art groups (see website for full November 11 to 26. Full details and original prints, photography,
enter online at sculptures, 3D works, sculpture,
details); is currently studying, or has sculpture, maquettes, collages, video, maquettes, installations (video
studied, in the Rugby Borough; lives https://theroyalglasgowinstituteofth installation and performance will all
efinearts.co.uk allowed) or reliefs are invited from
or occupies a studio within a 15-mile be considered. Maximum size, 941⁄2in
artists aged over 18 and living or
radius of Rugby Art Gallery and When: Submissions deadline, (240cm) in the longest dimension. All
practising in the UK or Continental
Museum (see website for list of October 1. Handing-in, October 30 work must be for sale. Digital
Europe. A maximum of six works
villages). Up to three works, created and 31. submission in first instance. Selected
may be submitted. Maximum size,
in the last year, may be submitted; Cost: First work £10; two works £20; works will be shown in the Rye
941⁄2in (240cm) in the longest
acceptable disciplines are painting, three works £25; four works £31; five Winter Salon at the Rye Creative
dimension. All works must be for
drawing, original print, photography, works £36. Concessions available for Centre, New Road, Rye, East Sussex
TN31 7LS from November 25 to sale. Digital submission in first
film/video and craft. Performance students. Hanging fee for selected
December 9. First prize is a solo instance at
and installation cannot be accepted. works, £20 per work.
Maximum size of 2D and 3D work, exhibition at the Rye Creative Centre. http://mallgalleries.oess.uk. Selected
Contact: RGI Kelly Gallery. works will be exhibited at the Mall
) 0141 248 6386
59in (150cm) in any direction, For full details and to upload images,
including diagonally; one person go to http://ryecreativecentre.co.uk Galleries, The Mall, London SW1 from
must be able to carry the work and it January 31 to February 17. First Prize,
Daiwa Foundation Art Prize When: Submission deadline, October £20,000 and a solo exhibition at Mall
must be under 25 kilos in weight. 15, 11.59pm.
Selected works will be exhibited at Details: The Daiwa Anglo-Japanese Galleries, awarded to best new work
Rugby Art Gallery and Museum, Foundation’s triennial competition. Cost: £5 per work, or £10 for three of figurative and representational art;
Little Elborow Street, Rugby CV21 The winning artist receives a first works. five prizes of £1,000; a Visitors’ Choice
3BZ from November 28 to January solo show at a gallery in Tokyo, Contact: Rye Creative Centre at Award of £10,000.
Japan; a participation fee of £5,000 above address.
) 01797 229797
13. First prize is cash plus an When: Submissions deadline,
exhibition in Floor One Gallery; other and a period of support and September 22. Handing-in, October
prizes include a People’s Choice introduction to key individuals and 28, 10am to 5pm.
Award of £100 and, new this year, organisations in the Japanese Pastel Society
Cost: £15 per work; £10 per work for
the Martin Valentine Prize for contemporary art world. The Details: Artists over the age of 18 are artists under the age of 35.
promising young artists (aged 16–24 competition is open to British artists invited to submit works for the Pastel
years). Full details and entry forms resident in the UK who have neither Society’s annual open exhibition. Contact: The Federation of British
can be found at www.ragm.co.uk. had, nor are planning, a solo The society seeks the best in Artists, 17 Carlton House Terrace,
London, SW1Y 5BD.
) 020 7930 6844
exhibition in Japan. Acceptable contemporary pastel and dry media,
When: Submissions deadline,
media are painting, photography, with applicants combining creative
November 12. Handing-in,
print, drawing, sculpture, ceramics, originality with traditional skills.
November 19, 10am to 4pm. Chelsea Art Society
installation and moving image. Acceptable media are pastels, oil
Cost: £5 per work or £12 for three Entrants may submit one pastels, charcoal, pencil, Conté, Details: Annual exhibition open to
works. application, to be supported by four sanguine or any dry media. A non-members for work in all media:
Contact: Rugby Art Gallery and recent works in any medium, a maximum of six works, completed paintings (all media accepted),
Museum, address above. supporting CV and personal within the last 12 months and not prints, drawings and sculpture. Up to
) 01788 533201 statement in the first instance. An shown elsewhere, may be submitted; three works may be submitted, all of
exhibition of shortlisted artists will up to four may be selected. which must be framed and for sale.
Royal Glasgow Institute of be held at the Daiwa Foundation’s Maximum size, 941⁄2in (240cm) in the Needlework, beadwork,
the Fine Arts (RGI) Japan House Gallery, London in June longest dimension. All works must photographs, mosaic or stained
Details: Annual open exhibition 2018. The winner’s exhibition at be for sale. Digital submission in first glass will not be accepted. The
established in 1861 to promote Mizuma Gallery, Tokyo, Japan will be instance at exhibition is at Chelsea Old Town
contemporary art in Scotland. Works autumn/winter 2018. For full details http://mallgalleries.oess.uk Hall, King’s Road, Chelsea, London
previously submitted for this and to apply, see www.dajf.org.uk Selected works will be exhibited at SW3, from October 27 to 30. Prizes
competition will not be accepted. Up When: Submissions deadline, the Mall Galleries, The Mall, London include the Wedlake Bell Award for a
to five works may be submitted in October 2. SW1 from February 20 to March 3. young artist; the Tiranti Award for a
painting, sculpture, fine art Prizes include Alfred Teddy Smith young sculptor; Heatherley’s Award
Cost: £5 per artist. and Zsuzsi Roboz Prize of £5,000, for a drawing; and Green and Stone
photography, drawing, mixed media,
stained glass and architectural Contact: Queries to project awarded to a young artist, aged 35 Award for a painting; many other
years or under, for traditional skills, awards. Full details and entry forms
used in an original way; Jackson's available from the website:
Award of a full set of 200 Handmade www.chelseaartsociety.org.uk
A much larger selection of opportunities can be viewed Soft Pastels in a wooden box; The When: Handing-in, October 23,
on our website, where you will find a list of workshops, Artist Award of a feature in the 8.30am to 3pm.
magazine. For full details see
tutors, painting holidays and more. www.mallgalleries.org.uk. Cost: £12 per work.
When: Submission deadline, Contact: Honorary Secretary,
www.painters-online.co.uk November 3, 12 noon. Handing-in,
January 6, 10am to 5pm.
Chelsea Art Society, 50 Bowerdean
Street, London SW6 3TW.

Project2_Layout 1 10/10/2013 14:30 Page 3
THE ARTIST’S DIRECTORY OF COURSES, MATERIALS & SERVICES

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October 2017 71

TA10p72_77_Patchings Open winners_Layout 1 24/08/2017 09:20 Page 72
The Artist 2017

THE ARTIST OPEN 2017
Open Competition
Be inspired by the excellence of some of the winners of
this year’s open competition and exhibition, organised in partnership
with Patchings Art Centre
The Artist Purchase Prize & curved, distorted reflection. This gave blocked in the main areas before
a unique and otherwise impossible refining smaller areas. I try and pay
Exhibition Awards view of a small space and allowed me very close attention to values and
Tom Hughes
to include myself in the painting. It’s a colour temperature when I paint and
Studio Interior with Imac and Air Filter, oil,
very personal piece and I feel it shows feel I managed to capture the cool
30⫻30in (76⫻76cm).
me at my most comfortable, doing greys and purple tints on the shadow
‘I love the intriguing corners of small what I love. areas on my white walls. The hardest
cluttered rooms and wanted to ‘The initial drawing part of the part, tonally, was making the
capture my studio space on a single painting was all done with a brush (no computer screen and lamp look
canvas, showing it from floor to charcoal) and seemed to happen bright enough compared to
ceiling. I struggle judging very wide naturally. I love those early stages, everything else in the room. Tricky!
scenes like this with just the naked working around the canvas judging I’ve done another similar painting
eye so I bought a large convex mirror, angles and scale until the jigsaw since on a larger scale which features
the sort you normally see in roadside puzzle of all those intermingled two separate light sources, one warm,
hedges opposite tight driveways. I shapes matches up. I then went in one cool, which you can see on my
placed it on a tripod and painted the with opaque accurate colour and website.’

p Premium Art Brands Award p Royal Talens & Exhibition Awards

Corry Kooy Bohuslav Barlow
New Born Red & White Calf, pastel, 16⫻12in (40⫻30cm). Blue on Blue Jar, oil, 23½⫻27½in (60⫻70cm).
‘Born in 1960 I am a Dutch artist who ‘I have been negotiating the murky waters of allegory and narrative
paints with pastel, oil and watercolour; imagery for the last 50 years. In swimming, as in life, one eventually has to
I studied art in Rotterdam, Holland. come up for air in the search for renewed simplicity and order. At one such
I painted this calf on a farm near my recent period I did just that when I found myself hooked by the vivid
house. I always do these on the spot to try cerulean and ultramarine blues of the Isnic pot depicted in this painting.’
to catch the movement. I do several
pastels at the same time. So if the calf
moves I move with him or her. I study the
gesture of the calf like this. I also try to do
this with chicken or other animals but
also dancers etc. I love movement so for
that reason pastel is a nice direct medium
to paint with.’
u Canson Award
Peter Barker
Sheds and Sunlight, Brancaster, Staithes,
pastel, 13⫻19in (33⫻48cm).
‘I have been painting for a living since
giving up a 12-year career as a golf
professional in November 1983. In 2015 I
opened my own gallery in Uppingham in
Rutland, selling 30 or so esteemed
colleagues’ work, as well as my own.
Selling superb art is a buzz in itself, but
my passion for painting remains
undimmed and I constantly seek to
improve and tackle new subjects and I
will need to live to 100 to paint all the
things I want to paint! (61cm) screen. I felt it would suit the sheds and vessels – were blocked in and
‘The “hook” for this painting was the pastel medium so set out the modelled a little with the fingers, the fun
pure sunlight bouncing off the mud composition on my favoured surface, and bits were left to do – the smudges of
behind the boat in the foreground, and moved the dark foreground boat a little reflected spots of sunlight, using pure
the incidental flashes on the boat and to the left, so that it wasn’t too central. titanium white soft pastel, with subtle
other bits and pieces. A fleeting light Making careful note of the relative tones touches of yellow and orange to give that
effect like this is difficult to capture on of the darks in the sheds compared to the blinding flare around them. I was
site, so I took a couple of reference photos nearer post-supports and the foreground delighted to find the painting won the
and painted the picture in the studio, boat, made sure of giving the illusion of Canson Award, and many thanks to
t
using the images displayed on my 24in depth. Once all the main players – the Canson for sponsoring the prize!’

p Clairefontaine &
find the right angle or viewpoint. The backed stencils, which I then stick on
Exhibition Awards photos are manipulated in various the canvas and paint over. Then I do it
Kris Mercer programmes on the computer and then again and again and again. By the fifth
A Corner of South Kensington, acrylic, when I am happy with the picture I stencil the canvas is moving and lining
24⫻36in (61⫻91cm). make stencils, anything between eight up is nigh on impossible. The stencils
‘A passion for architecture, an interest in and 12 with up to three colourways for are one use only. I very often have to
people watching and my lifelong love of each. I then paint a base colour on a repaint parts where the paint has been
photography are the inspiration for canvas which corresponds with a colour pulled off with the stencil. It seems like
many of my traditional-style paintings. in the painting and then a sky if a difficult process but I love how the
I use my own photographs and can relevant. I spend hour upon hour painting builds up and it’s the way I
spend hours, sometimes days trying to picking little bits out of adhesive- love to do it.’
t Derwent Award
Carol Emsley
He Loves Being a Goalie, mixed media,
18⫻14in (46⫻36cm).
‘I trained as a mature student at Hull
College of Art. I have painted all my life
and I’m also a printmaker. I love all
media. The inspiration for this piece
was my little grandson who was trying
on his rather oversized football kit; I
knew immediately that I would paint
him. I didn’t even need a photograph
as the image was imprinted on my
mind.
‘I created a background on hot
pressed watercolour paper, using craft
acrylics and a roller. I pressed
bubblewrap into the wet paint (lower
right) and used PVA glue to stick on
pieces of painted paper (lower left).
Then I rollered white Artist quality
acrylic on to some plastic mesh and
printed it on to suggest the goal
netting.
I then painted the figure with Artist
quality acrylics and added details with
a cork, some small pieces of paper and
a pen. Finally I gave it a coat of heavy
matt gel to protect the surface.’

p Daler-Rowney & Exhibition Awards

Peter Kuhfeld
The Church of the Holy Saviour, Prague, oil, 40⫻44in (102⫻112cm)
p Great Art &

Exhibition Awards
Andrew Hird
Via degli Strozzi, Florence, oil, 12⫻8in
(30⫻20cm).
‘This is a plein-air painting from a trip to
Florence last September. The view looks
along Via degli Strozzi towards Piazza
della Repubblica. I was attracted by the
light and shade between the buildings
from the early afternoon sun, and the
striking arch over the entrance to the
piazza. As always, painting plein air only
gave a limited time to catch the effect so
this was done in about an hour. I tend to
use a limited palette: my colours were
titanium white, Naples yellow, yellow
ochre, Italian pink, raw umber and
ultramarine blue, plus a dash of cadmium
red. I use prepared linen boards when
painting on the street and put a mid-tone
ground on them before use to help
establish correct high and low tones
when I start. My brushes are generally
flats with a round size 1 or 2 for detail,
although I try to use as large a brush as
p Sennelier & Exhibition Awards possible to save fiddling with too much
Barry Freeman detail and wasting time. The location was
Allotments, Afternoon, oil, 15¾⫻15¾in (40⫻40cm).
very busy but I find the general buzz of
‘Painting in allotments provides me with about 40 per cent of my output. I am activity and the occasional conversation
inspired by the mix of formality and natural chaos. Rather than paint a large area of with passers-by always seems to help
the allotments, I isolated a single shed and its surroundings for a more dramatic transmit some of that energy to the
effect. It was taken from a series of sketches and then painted on canvas in the studio.’ painting. ‘

THE ARTIST OPEN 2017 u St Cuthberts Mill Award

Mike Rollins
The Working Hour, acrylic, 40⫻30in (102⫻76cm).
‘I live in Hitchin, Herts, where I divide my
time between painting, running workshops
and designing graphics for the heritage
sector. I originally gained a degree in Theatre
Design at UCE Birmingham in the early ‘90s
but continued to paint for pleasure, taking a
number of commissions and holding several
exhibitions before deciding to concentrate
on fine art as a career. This painting is
named after a song by Tears For Fears that
reminds me of my first visit to London and
the track’s haunting saxophone intro is the
soundtrack to this painting. It captures that
moment in the city as it awakes to a fresh,
new day.
‘The painting was built up with layers of
acrylic paint on canvas, generally working
from dark to light. I love to use a mixture of
Prussian blue and burnt umber for my
underpainting, with a limited palette of
earth colours picking out some warmth in
the buildings and a zing of lemon yellow to
pull your eye into the scene. I wanted a
dreamlike quality, where figures are in blurry
motion and elements at the edge of the
painting are indistinct or transparent – lots
of dripping and splattering of runny acrylic.’
t Pro Arte Award

Rodney Kingston
Self Portrait 2017, oil, 24⫻24in (61⫻61cm).
‘My creative background is in graphic
design but I have always been a keen
artist. I'm mainly self-taught but for the
last few years I've dedicated myself to
becoming a better artist by taking part in
artist-led workshops, short courses and
plein-air competitions. I study
contemporary artists' work and follow
their careers with interest, which is a great
way to learn. This painting is the first one
I've had accepted to an open
competition. In it I'm pictured entering
my studio space through the loft hatch to
provide an interesting perspective to view
the room. The support is an aluminium
panel which provides a solid, smooth
surface with absolutely no warping.
Having coated in gesso I painted a warm
ground and experimented with wet drips
of various colours to give a textured base
to paint over. I continued using acrylic for
the underpainting before switching to oils
for the main painting. In some areas, parts
of the warm acrylic base are visible, which
I like as it shows the journey the painting
has taken through a build-up of layers.’


u Caran d’Ache
& Exhibition
Awards
Darcey Murphy
Talia, oil, 47¼⫻49½in
(120⫻126cm)
THE ARTIST OPEN 2017 AWARDS

The Artist Purchase Prize Award Daler-Rowney Awards Sennelier Award
Selected by guest judge Ken Howard OBE, Two Artists’ Watercolour Wooden Boxes £250 worth of Sennelier art materials
RA for a work up to the value of £5,000 worth £295 each www.globalartsupplies.co.uk
Winner: Tom Hughes www.daler-rowney.com Winner: Barry Freeman
Winners: Jem Bowden, Peter Kuhfeld
The Artist Exhibition Awards St Cuthberts Mill Awards
Selected artists invited to exhibit in an Derwent Awards Two prizes of £200 worth of watercolour
exhibition at Patchings Art Centre in 2019 Two prizes of £300 worth of art materials paper
www.patchingsartcentre.co.uk www.pencils.co.uk www.stcuthbertsmill.com
Winners: Bohuslav Barlow, Clare Bowen, Winners: Carol Emsley, Terry Ward Winners: Kelv Holtom, Mike Rollins
Barry Freeman, Andrew Hird, Kelv
Holtom, Tom Hughes, Peter Kuhfeld, Kris Great Art Award The Artist Highly Commended
Mercer, Darcey Murphy, Paul Talbot- £250 worth of art materials from Europe’s Award
Greaves, Terry Ward largest art materials’ supplier A subscription to The Artist worth £100
www.greatart.co.uk www.painters-online.co.uk
Canson Awards Winner: Andrew Hird Winner: John Shave
Two prizes of £200 worth of paper
www.canson.com Premium Art Brands Award
Winners: Peter Barker, Paul Talbot- One set of Pan Pastels worth £250
Greaves www.premiumartbrands.com
Winner: Corry Kooy
The Artist People’s
Caran d’Ache/Jakar Award Choice Award
One prize of £250 worth of art materials Pro Arte Award
www.jakar.co.uk Brushes to the value of £150 You can see the winning work
Winner: Darcey Murphy www.proarte.co.uk on our website – go to
Winner: Rodney Kingston www.painters-online.co.uk
Clairefontaine Award and click on News. The
One prize of £250 worth of art products Royal Talens Awards people’s vote winner will
selected from the Clairefontaine Graphic Three prizes of £250 worth of art materials also be published in a later
& Fine Art range www.royaltalens.com issue of the magazine
www.clairefontaine.com Winners: Bohuslav Barlow, Clare Bowen,
Winner: Kris Mercer Tom Hughes

TA10p78_Adebanji_Layout 1 22/08/2017 10:32 Page 66
A D E B A N J I ’ S M O T I V AT I O N A L T I P S : 1 1 O F 1 3
Slow down
Haste is the artist’s worst enemy says Adebanji Alade.
This month he advises you to take your time – it will help
you to produce better paintings
I
teach at two art schools in London, things rightly positioned and in the beginning. But if that wasn’t the plan
the Art Academy and Heatherley’s right proportion, than spending and you know you could have put in a
School of Fine Art, and I have valuable time trying to correct things bit more effort and time, then take my
noticed the speed at which some that could have been avoided with advice and slow down – you’ll be
students approach their work. I’ve told careful and slower planning. surprised with the quality of, and the
them a thousand times to slow down. In Depending on the size of the artwork, response to your work in the future. TA
fact one of the things I always say in the I would say a very good piece will take
classes I teach is ‘Don’t rush, slow from 90 minutes to 40 hours or even
down; I would rather you had an more, to complete. Always have this at
Use the following questions
uncompleted beauty than a completed the back of your mind. This does not
to prompt a slower process
mess’. I heard this somewhere and it mean you then have to work the piece l Have I measured?
really resonates with me. to death with so much detail and l Is it proportional?
I know from experience the buzz that blending. What it does mean, is that l Is the drawing accurate?
hits us when we approach a new you need to make sure you have given l Is this how I wanted it to look like
painting, especially when painting from yourself enough time to put in the right at the beginning?
life. For most artists it’s pure amount of effort on the piece that l Have I spent enough time planning
excitement but for some it’s anxiety at would result in a very successful the composition?
the beginning. painting. It’s only when you approach l Would it be worth doing some
My usual advice is to approach every your works this way, that you are going studies before starting this piece?
work with a plan, a plan that allows you to be able to know whether you have l Do I need to resolve that area?
to dedicate enough time to ensure that produced your best work or not. l What would I think if this wasn’t
everything about the positioning is Many artists, myself included, have my work?
right, by which I mean the drawing. It’s had works rejected for open exhibitions l Is this the best quality that I can
not something to rush, you’ve got to and competitions because they had produce?
measure, and plan the position of been rushed. My advice is to start on l Have I allocated enough time and
whatever you are painting and how it is time. Plan the work in stages and make effort in this piece?
going to fit on the surface you are sure each stage is allotted a sufficient l What have I overlooked here or
painting or drawing on. This is the stage amount of time for completion and to there?
that most people spend the least assess whether you have done justice l Am I relying on the fairies to fix this
amount of time on and, nine times out to the piece. part of the painting?
of ten, this will result in corrective I know some works don’t need much l Have I really considered all the
painting or drawing, with constant time – they are done with a quick dash main factors of drawing, tones,
rubbing in and rubbing off. In this state and still come out good. That’s OK as colour, temperature and edges?
of mind, progress is always going to be far as that was the purpose and you
slow. I would rather be slow in getting planned for such a piece at the Next month: Celebrate other artists
Adebanji Alade
studied fine art in Nigeria and has a
diploma in portraiture from Heatherley’s
School of Fine Art, where he teaches in
the Open Studio. He has exhibited
widely and won many awards. Adebanji
In order to spend is a member of the Royal Institute of Oil
sufficient time on Painters and a council member of the
a plein-air piece, Chelsea Art Society; he tutors
I might visit the workshops and gives demonstrations
same spot for art societies and also offers private
between four and coaching. For more details see
six times, and www.adebanjialade.co.uk
sitting helps to www.adebanjialade.blogspot.com
slow me down. It’s www.sketchinspiration.com
always worth it

artist
COnTriBuTOr VideOS
Check out these inspirational videos by some
of this month’s contributors for additional
informative online demonstrations
pAintinG in the
pennines
u Tips on using mixed media
in the landscape from
robert dutton
http://painte.rs/2vw5voB
river scenes
See how paul talbot-
Greaves tackles painting u
water in watercolour
http://painte.rs/2hqk6kl
Artists’
OutdOOr kit
u See haidee-Jo summers’
en plein air painting kit
and learn how to paint
outside in oils
http://painte.rs/2vsBYFb LINEN
S U R FAC ES
WAtercOlOur
techniques
paul riley demonstrates
u
how to paint leaves in
watercolour
http://painte.rs/2w9nydi
Be inspired!
Adebanji Alade shares his
u thoughts and passions as
a professional artist
http://painte.rs/2hqFs5O
plus View a demonstration by Lesley Birch,

The Artist prizewinner and exhibitor in The Artist
Collection exhibition in October in the Barn Gallery
at Patchings Art Centre at http://painte.rs/2u72Fqf
SuBSCriBe And SAVe!

Visit www.painters-online.co.uk/store
Or call 01580 763673
www.painters-online.co.uk October 2017 7979
p79_ta_oct17.indd 79 24/08/2017 12:36:09

DW Procolour Whole Page 210w x 297h (3mm Bleed).pdf 1 16/05/2017 16:18:59
CM
MY
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CMY
p80_ta_oct17.indd 1 24/08/2017 11:20:40

Inspirational
2 ACH Cover 2017 Oct v3 final.qxp_Layout 1 31/07/2017 16:33 Page 1
A and artist supplement
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p02_hacoct17.indd 1 02/08/2017 10:19:42

ACH Top 38 v3.qxp_Layout 1 31/07/2017 15:48 Page 8
PAINTING GETAWAYS 10%

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www.paintinginitaly.com
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Freephone: 08081185729 • Email: Inspirational art courses and holidays 2017/18
HandG.indd 1 20/08/2015 16:14:33
info@paintinginitaly.com
HandG.indd 1 20/08/2015 16:14:33
p03_hacoct17.indd 1 22/08/2017 11:48:14
EXCITING NEW 2018 BROCHURE NOW AVAILABLE!

ENJOY PAINTING CATALONIA LAST YEAR’S PRICES HELD
For brochure and other information contact John or Christine on
QUALITY ART RETREATS IN SPAIN 01202 393234 info@artholidaysindorset.co.uk
www.artholidaysindorset.co.uk
Art Holidays in Dorset

ENDRE PENOVAC DOUBLE-UP-DEAL - BOOK TWO CONSECUTIVE HOLIDAYS IN PINK &
SAVE £169 PLUS A FREE NIGHT DINNER, BED & BREAKFAST
• Prices from £155 SNEAK PREVIEW OF SOME OF THE DOZENS OF
ZBUKVIC • 500 m from the sea COURSES IN 2018
• Free transport 26-29 Mar Spring Gardens with Watercolour studio based
CASTAGNET • Highly professional tutors 5-8 May Explore Painting in the Style of Picasso and
• Friendly house-party atmosphere Braque partly studio based
CHIEN CHUNG-WEI • Delicious food and wine
9-12 May The Place and It’s Space - portraying Depth and
Distance in Landscape partly studio based
• All accommodation en-suite
14-17 May Painting from Your Favourite Photos studio based
• No single supplement 18-21 May South Coast Scenes with Acrylics and
• Stunning locations - easy walking Palette Knife
• All abilities and non-painting 2-8 June Painting with Watercolour in Dorset
partners welcome 27 Jun-2 Jul Dorset Summer Sketchbook
• Well equipped studio 3-6 Jul South Coast Scenes with Acrylics and
• Small numbers to ensure Palette Knife
11-14 Aug Seascape and Coastlines with Watercolour
individual attention
partly studio based
15-18 Aug Sketching Landscape with Pen and Wash
partly studio based
Picture by David Webb

SUPER P 3-8 Sept Immerse Yourself in Fantasy studio based
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Two full days’ tuition in our cosy studio from 10am to 5pm,
light lunch and delicious dinner plus bed and breakfast all
for only £155 Why not pamper yourself and add Friday and/
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angela@epc-artcourses.com 14 & 15 Oct Swift Lines and Singing Colours

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Laid-back
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If you enjoy painting, then why not take your hobby on the road
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PAINTING WALKING SINGING SIGHTSEEING HOLIDAYS

CALL US ON info@authenticadventures.co.uk
+44 (0)1453 823328 www.authenticadventures.co.uk
10
4 Inspirational art courses and holidays 2017/18 www.painters-online.co.uk
p04_hacoct17.indd 1 22/08/2017 11:50:23

oT p Tu t o r s
Top Courses
Select from
some of the best
art courses in the
UK and abroad
Art Safari tutor, Mary-Anne

Bartlett, sketching an Albatross
on an Art Safari to the Galapagos
Archipelago. Art Safari return to
the Galapagos in May 2018
Coombe Farm Studios Expressive Art Art Safari

Relax and advance your painting, with with Robert Dutton The Art Safari ethos is to get out there –
fantastic locations, a gorgeous studio, Robert is a regular contributor to to see the world with an artist’s eye. Mix
passionate skilled artists, who want to The Artist magazine. Loosen up and your paints with the fun and colour of
share their techniques with you, develop your style… in style! Popular, travel, wilderness and wildlife, cities and
delicious food, great company and exciting and inspirational studio and culture and learn from professional
someone looking after the day-to-day en plein air expressive mixed-media tutors. Ask our Suffolk-based team
logistics of your course. Five-day course and pastel art holidays, weekend and about UK workshops and worldwide
costs £640 inclusive. Courses are day workshops, and short art courses holidays. ATOL 9916.
available all year round. Tutors include at top class locations throughout the E info@artsafari.co.uk
Paul Riley, Bettina Schroeder and UK and abroad. Suitable for improvers/ T 01394 382235
Gerry Dudgeon. intermediate levels and above, really www.artsafari.co.uk
E lara@coombefarmstudios.com wanting to learn!
T 01803 722 352 E rdcreative@ntlworld.com London Art College
www.coombefarmstudios.com T 0113 2252481 Improve your artistic skills from the
www.rdcreative.co.uk comfort and convenience of your home.
Bath Painting Summer School London Art College has many home-
Nestled amongst beautiful countryside, Art Holidays in France study art courses from digital illustration
Bath is a fabulous setting for a painting Escape for a week of art and discovery to pet portraits, art history to
holiday, offering inspiration from its in the glorious Lot and Garonne. Stay cartooning, landscapes to oils and many
medieval Roman and now quintessential full board in secluded luxury others. All courses are supported by
Georgian architecture. We offer teaching accommodation and enjoy daily hands- experienced and enthusiastic tutors. We
from highly respected and on teaching sessions from our guest have 83 years’ experience in helping
internationally renowned artists. For artists close to home and on location. artists, from beginners to experienced
2018 we have classes with Judi Whitton Enjoy good company in a great location, artists, develop their skills using our
and Jennifer Johnson. whilst improving your skills. self-paced courses.
E lynne@roche-dolls.co.uk E pruemurray@yahoo.co.uk E admin@londonartcollege.co.uk
T 01225 318042 T 07770 811757 T 0800 3280 465
www.bathpaintingsummerschool.co.uk www.artholidaysinfrance.com www.londonartcollege.co.uk u
www.painters-online.co.uk Inspirational art courses and holidays 2017/18 5

Art in the Algarve

Operating since 2008 we offer a winning
formula: learning, enjoyment, meeting
new people, discovering new destinations,
scenery, culture and colour – together
with glorious sunshine, lots of laughter
and great food. We offer week-long
holidays painting in all media for all
abilities. Tutors include Grahame Booth,
Roger Dellar, Bettina Schroeder, Paul
Weaver and Sue Ford, amongst others.
E info@artinthealgarve.com
T 0203 287 7140
www.artinthealgarve.com
Tuscany in the Frame

Italian painting holiday specialists in
stunning locations: Tuscany, Amalfi,
Venice/Lake Como, Malta, Matera and
Puglia, Sicily. Tutors include Jan Pollard,
Margaret Evans, Phil Hobbs, Tom Wood.
E info@tuscanyinthefame.com
T 00 39 0575 610406
www.tuscanyintheframe.com
The Open College of Arts

With the OCA, you can study a one-off
course or a BA (Hons) Open degree from
anywhere you like, at a time to suit you.
You will receive support from a one-to-one
tutor who is also an arts practitioner and
SBA DLDC ad 2017 HC issue:SBA DLDC ad June 09.qxd 30/06/2017 13:00 Page 1 you will become part of a thriving student
After a hard day’s painting with community.
Art in the Algarve, find a spot to relax Freephone 0800 731 2116
www.oca.ac.uk/ta u
The Society of Botanical Artists PAINTING HOLIDAYS

DISTANCE LEARNING DIPLOMA COURSE
• A unique course in botanical painting based on textbooks
IN SCOTLAND
The Art of Botanical Painting, The Botanical Palette and
Botanical Sketchbook.
• Assignment-led two-year course: twelve separate assignments
and a Diploma portfolio specifically created to develop and
hone skills.
• Expert guidance and tuition: learn from experienced members
of the Society, specialists in the fields of pencil, watercolour,
coloured pencil and gouache. Set in the stunning Loch Lomond
• Comprehensive marking structure: critiques and marking and The Trossachs National Park,
delivered after each assignment. historic Gartmore House offers
both watercolour and painting
• Meet Tutors and fellow students at the Introductory meeting in with mixed media holidays.
the first year and the Seminar in the second year of the course.
Enjoy accommodation, full board
Course 12 Diploma work and expert tuition from our
by Kay Leeves DipSBA(Dist) tutors.
Applications being taken now for the
2 nights to 7 nights available.
15th course starting in January 2018.
From £289 - £659 per person.
Closing date November this year.
For prospectus, application form GARTMOREHOUSE.COM

and comprehensive details, visit the
website or contact the Society on
01747 825718.
#gartmoreexperience
www.soc-botanical-artists.org
Charity reg no 1110869 Stirling, FK8 3RS | 01877 382 991 | mail@gartmorehouse.com
p06-07_hacoct17.indd 6 02/08/2017 10:38:35

BEAUTIFULLY CRAFTED
CREATIVE HOLIDAYS
Inspirational painting, drawing, Stone Carving courses
stone carving/sculpture, with Simon Keeley.
stained glass, marbled paper
Workshop in Illuminated
and print making courses and
Manuscripts, Miniatures & Frescoes,
writing retreats in the heart
with Claudia Tulifero.
of Umbria.
Stained Glass course,
Master Classes and Painting Classes
with Neal Winfield.
in Italy with Grahame Booth,
Kelly Medford, Caroline Bays, Price includes tuition, art materials,
Adele Wagstaff, Belinda Biggs, complimentary accommodation,
Liz Chaderton, Roger Dellar food, wine and refreshments.
and Paul O’Kane.
All inclusive from £1085
Writing Retreats course with
Visit our website arteumbria.com
Sue Moorcroft.
for full details on all our courses.
Phone 0033 643 436 721 or 0039 340 371 6510

Follow us on Twitter: @arteumbria; our Facebook page
ArteUmbria; and Instagram arteumbria
ARTE UMBRIA
T H E L E A D I N G PA I N T I N G H O L I D AY D E S T I N AT I O N
ART IN THE ALGARVE

Watercolour • Oil painting • Oil & Acrylic • Specialist courses
Call us on: 0203 287 7140 info@artinthealgarve.com

www.artinthealgarve.com
p06-07_hacoct17.indd 7 22/08/2017 11:51:59

ACH Top 38 v3.qxp_Layout 1 31/07/2017 15:48 Page 5 ACH T
H&C 12-15 Cooperv2.qxp_Layout 1 16/08/2016 16:58 Page 2
t Copsa Mare, watercolour,

113⁄4x141⁄2in. (30x37cm). Painted in
situ. The rooftops were a very specific
red (almost purple) so I added a tiny
amount of alizarin to burnt sienna;
brown madder would have done the
same job. Green gold with ultramarine
or raw sienna was employed to make
some speedy green tones.
hours later to surroundings seemingly

unaltered for centuries. Cows were
gently grazing on untainted verges;
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p Copsa Street, 3B pencil in Moleskine sketchbook, 51⁄4x81⁄4in. (13x21cm)
for the past 200 years. Transylvania is
still mostly agricultural and superstitious
in many ways and it is easy to
understand how the vampire myth was
cultivated. All the villages are dominated
by fortified Saxon churches with
imposing spires that rise up from the
landscape in a slightly menacing way,
depending on the weather. That said, Barry Herniman
some of the older villagers are still more teaching in the Camilo,
afraid of the brown bear, but we didn’t western Algarve, for
see one on this visit. Alpha Painting Holidays
Holiday painting
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www.art-holidays.com
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You stay in a beautiful house beside an

old watermill in a graceful valley
fringed by the Appenines.
We offer all-inclusive painting holidays
with acclaimed tuition, fantastic food
and excellent accommodation.
For more information and booking, please email info@watermill.net or call Bill or Lois on 0039 327 379 9178
8 Inspirational art courses and holidays 2017/18

Inspirational art courses and holidays 2016/17 13
p08_09_hacoct17.indd 8 02/08/2017 10:45:51

p12_hac_oct16.indd 2 24/08/2016 10:58:47
Lake Pichola, Udaipur, India –

just one of the painting
destinations with Arte Umbria
Arte Umbria techniques and joys of watercolour. accommodation, lovely food, friendly
and Painting in Europe Paint en plein air in great destinations: atmosphere, and its extensive list
We offer painting and creative Antigua, Mallorca, Venice and Provence. of tutors. The studio and gardens
courses in Umbria and other exotic E tessa@tessasprovence.com of Dedham Hall as well as the
world locations. Check out Udaipur, T 0033 4 94 68 73 76 beautiful Stour Valley offer the perfect
the Himalayas in India or their new M 0033 6 11 25 29 72 setting to relax and let your creative
stained glass course in Umbria next www.paintprovencewithtess.com juices flow.
year. We guarantee the best art E sarton@dedhamhall.demon.co.uk
workshops with top tutors dedicated The New Pastel School T 01206 323027
to ensuring that you achieve fantastic Nel Whatmore and Rebecca de www.dedhamhall.co.uk
results. Take the painting trip of a Mendonca, with over 50 years’
lifetime in 2018! experience between them, run four Authentic Adventures
T 0033 643 436 721 courses in the UK and one in Italy. Devised with artistic travellers in
T 0039 340 371 6510 Our courses are friendly, structured mind, Authentic Adventures offer
www.arteumbria.com and and designed to inspire! We both innovative escapes set in inspiring
www.paintingineurope.com teach on each course and, as locations. The range of painting
www.paintingineurope.com/india.php professional artists, our work is also holidays is with small groups of
exhibited at national exhibitions. fellow artists, with each holiday led
Paint Provence E thenew.pastelschool@yahoo.co.uk by a professional tutor. The aim
with Tess Goes Global T 07801 051468 or 07719 585957 is to combine a memorable and
Our all-inclusive painting holidays www.thenewpastelschool.co.uk enjoyable holiday whilst helping
include transport and accommodation in participants achieve their true
beautiful villas. Five-star meals cooked Dedham Hall painting potential.
by professional chefs and amazing Dedham Hall has been hosting E info@authenticadventures.co.uk
locations. Looked after from start to residential art courses for nearly T 01453 823328
finish, you will be guided through the 30 years and is well known for its www.authenticadventures.co.uk u
art safari
UK, USA
Cambodia
Galapagos, Costa Rica
Malta, France
Where will you paint next year? Norway, Spain
Join us and paint. Art Safari runs UK art workshops and exciting holidays Malawi, Zambia
worldwide with artist tutors Mary-Anne Bartlett, Karen Pearson, Roger Dellar, Namibia, Botswana
James Willis, John Threlfall, Sian Dudley, Julia Cassels, Jackie Garner, India, Sri Lanka
Claudia Myatt and Mark Boyd
Bhutan, Mongolia
Call us today on 01394 382235
www.artsafari.co.uk ATOL protected 9916
p08_09_hacoct17.indd 9 02/08/2017 10:45:59

Painting Getaways
Discover new places while developing
your own style with the help of
watercolourist, Ibolya Taligas, who has a
lot of experience painting outdoors and
knowledge of the local areas of central
and southern Europe. Small groups,
individual attention, varied locations,
scenic accommodation and a friendly
environment. No previous experience
needed.
T 0208 458 3583 or 07564 906 850
www.paintinggetaways.com
The Watermill at Posara

Secluded millstream gardens, sun-
drenched terraces, riverside walks – just
some of the charms of The Watermill at
Posara in Tuscany, Italy. Set in the
unspoilt region of Lunigiana, the
Watermill offers relaxing, inspiring, sun-
filled, fun-filled painting courses with
internationally renowned tutors in
watercolour, oils, pastels, acrylics and
other media.
E info@watermill.net
www.watermill.net
H & G Italy Ltd

Painting in Italy provides the very best
in fully organised holidays with painting
or cooking tuition. We use high-standard
Osumi River at Berat, Albania. Explore new and hotels, provide excellent food and wine,
exciting locations with Painting Getaways professional tuition and excursions to
interesting places. The holiday suits
Gorgiano Studios
All inclusive Art Holidays in the Heart of Italy
Now with private ensuite rooms for all artists
This has been the best vacation of my life! I came

for the painting but just as much loved the food and
wine and fantastic company. Karyn, Canada
Happy days – painting, singing, laughing, laughing,

laughing. Val, UK
www.paintingholidaysitaly.com
or ring/text 0039 968 0796 for a brochure
p10-11_hacoct17.indd 10 02/08/2017 10:55:36

clients travelling alone or partners and

friends, who want to go on holiday
together but do different activities each
morning.
E info@paintinginitaly.com
Freephone 0808 1185729
M 07802 682575
www.paintinginitaly.com
Watercolour Painting Holidays

at Gartmore House
A painting holiday at Gartmore House
gives you the chance to improve your
skills in relaxed company and the
stunning surroundings of The Trossachs
National Park. Breaks include
accommodation, full board and expert
tuition. Available for two to seven
nights, from £289 to £659 per person.
Find out more at
www.gartmorehouse.com
Gozo Painting Holidays

Our Gozo holidays are known for their
spectacular locations, offering days out
in the sun, while the rest of Europe is in
the middle of winter. An all-inclusive trip
(no flights) comprises transfers,
accommodation, meals, tuition and a bit
of sightseeing. We also offer tailor-made
individual holidays so please feel free to
enquire. Contact Doranne Alden
Caruana (art tutor and host). Paint in the spectacular Trossachs National Park with
E gozopaintingholidays.com@outlook.com Watercolour Painting Holidays at Gartmore House
www.gozopaintingholidays.com u
“Your First & Best Choice for a Painting Holiday”

Wells in Somerset, Exmoor National Park & North Devon Coast, North Cornwall
Coast, Wye Valley, Lake District, Provence, France & The Western Algarve
David Bellamy, Grahame Booth, Jem Bowden, Roger Dellar, Joe Francis Dowden, Soraya French, Jeremy Ford,
Steve Hall, Barry Herniman, John Hoar, Richard Holland, Michal Jasiewicz, Anne Kerr, Carol Kibble, Arnold
Lowrey, Kevin Scully, Keiko Tanabe, Andy Walker, Paul Weaver, David Webb, Dave White & Peter Woolley
“We guarantee you won’t want to go home and

you will definitely want to come back!”
 Organisers on location with the group
ovely  All Destinations researched thoroughly by Alpha beforehand We only pick
 At Alpha we use only proven tutors from around the world perfect places to
 Art Materials included on selected holidays
ainting  Non painters & All Abilities Welcome
have painting
 Studio & Location based courses in all media holidays you will
oliday  All rooms en-suite & some Ground Floor rooms never forget
Combined Sketching & Walking Holidays
dventure 01934 733877
p10-11_hacoct17.indd 11 02/08/2017 10:55:44

Abbey Arts
On this practical course, you’ll learn the
techniques and secrets of egg tempera.
Our expert tutor will guide you through
the stages of this timeless process via a
clear structure. Accommodation is a
unique property in the magical Loire
Valley, France. For five per cent
discount use code ‘renaissance17’
at checkout.
E info@abbey-art.com
www.abbey-art.com
East Devon Art Academy

Be inspired. Breathtaking scenery,
fantastic top-level tutors and friendly
atmosphere in a ‘town caught still in
timeless charm’ (John Betjeman).
Devon coastal location in an AONB.
Tutors include Amanda Hyatt, Francesco
Fontana, Haidee-Jo Summers, Laura
Reiter, Stephie Butler, Jake Winkle, Paul
Weaver, Gareth Edwards, Chris Forsey,
Jem Bowden and many more.
E info@eastdevonart.co.uk
T 01395 516284
www.eastdevonart.co.uk
Unlock your Jan Blanch: Cottage Flowers

creativity and With courses in Norwich and Corfu, Jan
develop your teaches painting flowers, gardens and
skills as you join landscapes in watercolour and mixed
Abbey Arts in media to all abilities from the absolute
the Loire Valley beginner to more experienced painters.
Jan’s watercolours have sold in the form
Dedham Hall
2018
Egg Tempera: The Italian Primitives
22nd - 31st October 2017
Loire Valley, France
This practical course will teach you the techniques

& secrets of the Renaissance artists. A rare
opportunity to learn & paint with egg tempera.
John Hoar
Come to Dedham Hall where we offer tutored courses run by an ever-increasing

number of tutors that include Alvaro Castagnet, Soraya French, Paul Banning,
Roger Dellar, Jane Evans, Liz Seward, Chris Forsey, David Howell, Carole Massey,
John Hoar, Herman Pekel and many more.
Dedham Hall has been hosting residential art courses for nearly 30 years and is
well known for its accommodation, lovely food, friendly atmosphere,
as well as its extensive list of tutors. The studio and gardens of Dedham Hall
as well as the beautiful Stour Valley offers the perfect setting to relax and let
5% discount for readers. Use code RENAISSANCE17 at checkout your creative juices flow.
www.abbey-art.com E. sarton@dedhamhall.demon.co.uk
T.01206 323027
www.dedhamhall.co.uk
p12_13_hacoct17.indd 12 08/08/2017 11:52:21

Top usev2_Layout
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1 113/12/2016
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15:48 7Page
7 10
of giclée prints, greetings cards and Enjoy quiet year-round. Run by people who actively
stationery in Harrods, Fortnum & time painting enable the creative process, with access
Masons, Liberty’s of London and in and relaxing in to stunning private Devon coastal
Kobe, Japan. the courtyard locations, gorgeous food and tutors,
E info@janblanch.co.uk at Coombe who actively teach and demonstrate,
T 01493 393639 or 07702 069300 Farm Studios Coombe is an ideal creative break.
www.janblanch.co.uk E lara@coombefarmstudios.com
T 01803 722 352
Quality Art Retreats in Spain www.coombefarmstudios.com
Dramatically improve your watercolours
54
in Spain. Enjoy a life-changing painting Artsmartuk
experience away from the world with Tutors include Varvara Neiman,
the best watercolour masters: Zbukvic, Ali Cockrean, Barry Herniman and
Castagnet, Chien Chung-Wei, Schaller Jonathan Newey teaching landscapes,
and Penovác. Every detail is fully Enjoy a week of painting in seascapes and portraiture in oils,
organised, just for you to relax, enjoy beautiful surroundings with watercolour and acrylics. Locations:
the sun, the food, exquisite wine and Dalvaro Art Holidays (page 7) Buckinghamshire, Oxfordshire, Italy,
the company of your favourite tutor. Spain and France. Weekly and weekend
51
E angela@epc-artcourses.com
David Webb innovative and informative learning courses together with painting holidays
T +34 645 767 contributor
Popular 403 to Leisure programmes for adults. Drawing on the in perfect locations for beginners and
www.epc-artcourses.com
Painter, David, runs adult watercolour specialist knowledge of its staff, improvers.
art classes, workshops and holidays. practitioners and historians, and E info@artsmartuk.com
The Norfolk
Learn Painting
useful painting School
and drawing utilising the museum’s incredible T 01494 670372
The Norfolkand
techniques Painting
choose School
from is the UK’s
venues collections and exhibitions, the V&A www.artsmartuk.com
in Dorset, Cornwall, south Walestuition.
leading specialist in oil painting and delivers lively and engaging sessions
55
From traditional
Essex. Groups have glazing skills to of 12
a maximum for a wide range of interests. Tuscany in the Frame
expressive
students to contemporary
allow one-to-one oils,tuition.
we have T 020 7942 2000 Italian painting holiday
Tcourses
01803for all interests, abilities and
846321 www.vam.ac.uk/courses specialists in stunning locations:
ambitions. Tuition starts from as little
www.davidwebbart.co.uk Tuscany, Amalfi, Venice/Lake Como,
53
as £199 with our affordable ‘Pay Now’ Coombe Farm Studio Malta, Matera and Puglia, Sicily. Tutors
Join Martin Kinnear at
52
pricing. To find out and
Victoria moreAlbert
and read Painting Holidays include Jan Pollard, Margaret Evans,
student reviews, just visit our website The Norfolk Painting
Museum (V&A) ‘I learnt more in a weekend than I have Phil Hobbs and Tom Wood.
or call. School for oil painting
The V&A Learning Academy was in years!’ Unlock your creativity, paint E info@tuscanyinthefame.com
T 01485in 528588. courses for all levels
launched 2016 to build on over fresh vibrant watercolours, get to grips T 00 39 0575 610406
www.norfolkpaintingschool.com u
30 years’ experience of delivering with oils or experiment with acrylics www.tuscanyintheframe.com bb
Painting Holidays Self Catering Accommodation

TUSCANY Acclaimed Artist tutors Jan Pollard,
Margaret Evans, Phil Hobbs,
IN THE FRAME Tom Wood and more...
2018 dates
Lake Como 5th-12th May
Tuscany 6th-13th June
Amalfi 1st- 8th Sept
Amalfi 8th-18th Sept
Amalfi 18th-23rd Sept
Tuscany 23rd Sept-1st Oct
Amalfi 1st-8th Oct
Sicily 9th-16th Oct
Sicily 16th-26th Oct
Sicily 26th Oct-5th Nov
Other workshops to be
Villa Nobile Villa Nobile updated.....check website
For more information, contact Raffaele Nobile

TUSCANY IN THE FRAME
Villa Nobile, Loc. Oppiello, Farneta, Cortona, 52044 (AR)
Tuscany, Italy
Italy +39 0575 610406 Mobile +39 339 825 6617
Email: info@tuscanyintheframe.com
Website: www.tuscanyintheframe.com
10 Inspirational art courses and holidays 2017 Inspirational art courses and holidays 2017/18 13
p12_13_hacoct17.indd 13 03/08/2017 11:41:49

Enjoy a house-party
Fire your enthusiasm for painting atmosphere and plenty
in an unspoilt region of central of individual tuition with
Italy with Gorgiano Studios Art Holidays in Dorset
Art Holidays in Dorset St Ives School of Painting Wild and Tame wildlife
We offer professional, supportive For nearly 80 years, we have been workshops in pastels
tutors, comfortable, en-suite providing high-quality art tuition in Cate Wetherall runs small friendly
accommodation and no single spacious studios overlooking the beach. wildlife pastel workshops at her home
supplement. There’s a relaxed, friendly Our tutors are well-respected exhibiting studio, set in six acres of
house-party atmosphere. Enjoy our artists with the training and ability to Buckinghamshire countryside. You’ll
attractive secluded courtyard, well- share their knowledge. We work in small meet her donkeys, goats, hens and
equipped in-house studio, stunning groups so there is a friendly atmosphere ponies, which are often used as the
locations and delicious home-cooked and plenty of one-to-one time. subjects of the day! Small, unhurried
food. Small groups ensure individual All materials are provided which makes and relaxing workshops enable you to
support. All holidays include full board packing easy and all this in one of the develop your own style, using a variety
and wine. most stunning locations in the world. of pastels and papers.
E info@artholidaysindorset.co.uk. Use code EARLY10 for 10% off courses E cate@wildandtame.co.uk
T 01202 393234 booked by end Sept. T 07702 060113
www.artholidaysindorset.co.uk T 01736 797180 www.wildandtame.co.uk
www.schoolofpainting.co.uk
Inspired Painting Holidays Watershed Studio
Join Catherine and Peter Stott for Gorgiano Studios Watershed Studio holds a wide variety
inspiring 2018 painting holidays in Art holidays in central Italy now offer of art workshops throughout the year.
beautiful Devon and Exmoor. Enjoy four- private en-suite rooms for each artist. ‘We are very lucky to have such a great
star accommodation, a spacious studio Unleash your creative side with the team of tutors who teach here and we
and wonderful locations with individual resources of our vast studio and find try to cover most media. We specialise
attention from experienced tutor, inspiration in this unspoilt region. With in one and two-day courses, priding
Catherine, and Peter’s lovely cooking! delicious food and wine included, and a ourselves on good-quality, professional
Small groups, family atmosphere, all range of floppy hats, you just bring the but affordable painting breaks.’
levels. ‘Fabulous painting experience. enthusiasm. E allison@watershedstudio.co.uk
The whole set up – painting, rooms, E caroline@paintingholidaysitaly.com T 01255 820466
food, atmosphere – is brilliant,’ VD, T 0039 328 968 0796 www.watershedstudio.co.uk
Carshalton www.paintingholidaysitaly.com
E info@catherinestott.co.uk Cumbrian Chapel Studio Breaks
T 01398 332094 or 07763 882955 Society of Botanical Artists Unique painting holiday venue with
www.inspiredpaintingholidays.co.uk Course director Simon Williams SBA optional tuition situated near the
says: ‘Our independent SBA Distance historic city of Carlisle, Hadrian’s Wall
Callington School of Art Learning Diploma Course is highly and the Scottish Borders. Sark Chapel is
Callington School of Art offers painters respected internationally. Each year it a delightful, spacious conversion with
of all abilities the chance to develop and evolves with new aspects, assignments accommodation for individuals or groups
improve their techniques in any medium and tutors and the standard of students’ of up to six guests. Large and light
or try something new. ‘There is a studio work continues to rise. Many graduates studio with original feature chapel
to die for and Tessa is a patient and go on to become full-time botanical windows. Enquiries welcomed for tailor-
knowledgeable tutor. Peter’s cooking artists, illustrators or tutors throughout made courses with professional artist
always attracts praise.’ the world so if you aspire to be a and tutor, Ceri Allen. Contact Ceri at
E info@callingtonartschool.com botanical artist then we look forward to E art@ceriallen.co.uk
T 01579 383491 welcoming you to our course.’ T 07944 859849
www.callingtonartschool.com www.soc-botanical-artists.org www.ceriallen.co.uk b

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The opportunity to learn how to assess artworks critically and link
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