How to see with an artist's eye: UK's best-selling paint magazine

LP09 1 Cover 10_Layout 1 30/07/2017 23:33 Page 1
THE UK’S BEST-SELLING LEARN-TO-PAINT MAGAZINE
Our
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How to see with

SEPTEMBER 2017 £4.20
an artist’s eye
ACRYLIC INK
Your recipe
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STEP-BY-STEP
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How to paint a
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Paint a record
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your paintings
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How do I use… HINTS & TIPS

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2 SEPTEMBER 2017 www.painters-online.co.uk
p02_lpsept17.indd 2 28/07/2017 12:32:21

September welcome_Layout 1 31/07/2017 09:04 Page 3
Incorporating Leisure Painter

and Craftsman
and Creative Crafts
VOLUME 51/10
ISSUE 564
www.leisurepainter.co.uk
Welcome
www.painters-online.co.uk
ISSN 0024-0710
from the editor
SEPTEMBER 2017
Editor
Ingrid Lyon
P atchings Festival last month was
packed with fun and interest, and it
was wonderful to watch so many children
Contributing Editor
Jane Stroud enjoying hands-on sessions, not worrying about spoiling good paper
Editorial Consultants
Diana Armfield, RA, NEAC (Hon), RWS
or wasting art materials – just enjoying the action of drawing and
David Bellamy painting, and focusing on the moment. Back at home I took out a
Tony Paul STP
Advertising Sales
stack of pristine sketchbooks, which I haven’t been able to resist
Anna-Marie Brown (Tel: 01778 392048)
(annamarieb@warnersgroup.co.uk)
buying over the years, and pondered on why I can’t bring myself to
Advertising Copy use them while I have a box filled with drawings made on scraps of
Sue Woodgates (Tel: 01778 392062)
(suewoodgates@warnersgroup.co.uk)
paper and the backs of envelopes. These sketchbooks are simply too
Accounts good to spoil! What if the first drawing doesn’t work out? What if the
creditcontrol@warnersgroup.co.uk
paper doesn’t take the medium? Watching the children attacking
Events Manager
Caroline Griffiths those pieces of paper with such relish inspired me to mark the first
Subscriptions & Marketing Manager page of one of my favourite books, albeit with more restraint. The
Wendy Gregory
Subscriptions
drawing wasn’t so bad and with the first page full, I turned to the
Nicci Salmon & Liza Kitney next page with an easier heart.
(Tel: 01580 763315/763673)
Online Editor I love sketchbooks – and especially looking at how professional
Dawn Farley artists fill them. I was particularly pleased to see Steve Strode’s
Designers
Alison Renno sketches and images from his journals this month (pages 27 to 29).
Sarah Poole Steve has presented his latest project over the past couple of issues
Leisure Painter is published of LP – documenting the Mersey shoreline close to his home in
every four weeks by:
The Artists’ Publishing Company Liverpool. He encourages us to fill our sketchbooks with
Limited (TAPC), Caxton House,
63-65 High Street, Tenterden,
photographs, images and colour swatches as well as daily drawings
Kent TN30 6BD and colour work. Steve even finds the surfaces of bottles, driftwood
(Tel: 01580 763315)
Publisher
and stones found on his walks acceptable as painting surfaces. You
Dr Sally Bulgin, Hon VPRBSA may not be able to take out your paints and easel today, but there’s
Publication of an article or inclusion of no reason why a page from a little sketchbook resting on a knee
an advertisement does not necessarily
imply that TAPC is in agreement with can’t be filled using the Biro you picked up to make your shopping
the views expressed, or represents
endorsement of products, materials
list. I think the lesson here is for us all to practise being artists,
or techniques. TAPC does not accept allowing ourselves the time to be creative and have fun, as well as
responsibility for errors, omissions
or images received in good faith honing skills and techniques.
Annual subscription rates: That’s what was so encouraging about watching the children paint
UK £39.99 (includes Northern Ireland);
USA $80; Canada $92; EC member last month. There is no question in their minds – they are artists –
countries €67; all other countries
(sterling rate) £50
and nothing stops them from filling the paper with colour and
Foreign currency prices include creative mark making.
bank charges. Payments made
by credit card are taken in sterling
at the rate of £50
Printed by Warners Midlands plc,
The Maltings, Manor Lane, Bourne,
Lincolnshire PE10 9PH
Newstrade distribution by INGRID LYON Editor

Warners Group Publications plc
(Tel: 01778 391000)
OCTOBER 2017 issue on sale 8 September
www.painters-online.co.uk SEPTEMBER 2017 3

LP09 4-5 Contents v2_News 1st 31/07/2017 09:29 Page 4
Contents SEPTEMBER 2017

34
42 3
12 3
24 Painting project
IN EVERY ISSUE Part 1 This month’s painting project from
a photograph focuses on the composition
7 Diary 59 Books of a garden painting, by Julie King
Things to do this month Some of the best practical
art books are reviewed 27 Mersey shore
8 Exhibitions Part 2 Take time to walk and sketch small
Some of the best shows 60 Art clubs studies as you find inspiration in local scenes,
around the country News, highlights, exhibition by Steve Strode
listings and ‘best in show’ gallery
10 Letters 30 Embrace digital
Your tips, suggestions, 70 Online gallery Part 2 Follow Tony Underhill step by step
ideas and questions Jane Stroud chooses a still-life as he demonstrates how to use digital art
painting from PaintersOnline to expand your traditional painting skills
34 Line and colour

Part 5 Use a limited palette of acrylic inks to
FEATURES achieve a variety of effects, from drawing to
adding washes, by Tim Fisher
On the 12 Night vision
cover Practise your watercolour techniques as 38 Loose and lively
Rodney you paint a moonlit woodland scene from Part 2 Liz Chaderton discusses ideas and
Kingston a sunny photograph, with Ian Pethers techniques, including salt and Clingfilm, for
Fry Sauce, painting bird textures in watercolour
acrylic, 10x8in. 16 Bottles, jars and spoons
(25.5x30.5cm).
Rodney
Be inspired by the contents of your 42 Product report
discusses the kitchen cupboard and paint still lifes in Becky Samuelson puts Jackson’s Raven
value of acrylics, with Rodney Kingston synthetic squirrel brushes through their paces
suggestion, not to produce a variety of effects in watercolour
detail, in your 20 Painting project
paintings on Part 2 Develop composition, colour and 45 Lessons in the landscape
pages 16 to 19 application skills as you paint a landscape Part 2 Develop basic acrylic painting
in watercolour, with Jem Bowden techniques for landscapes, with Cat Croxford

LP09 4-5 Contents v2_News 1st 31/07/2017 09:30 Page 5
Coming
next month
Here are some of the highlights in the October
issue of Leisure Painter – from practical tuition in
all your favourite media to projects for you to try
2 30
16
ON SALE 8 SEPTEMBER
DEVELOP YOUR SKILLS
WITH WATERCOLOUR...
n NEW SERIES Follow
Hazel Soan as she
demonstrates how to
paint wildlife
n Flowers, gardens,
landscapes and pets
made simple
ACRYLICS & PASTELS
n Pastel projects for
you to try
n Acrylic still lifes and
2 38 landscapes to paint
n How to mix acrylic Adrienne Parker Ballet
t
inks with soft pastel Shoes, pastel and watercolour,

1112⁄ x9in. (29x23cm). Build your
OFFERS, NEWS AND COMPETITIONS PLUS... confidence and skills with a
variety of different pastel
6 Join Leisure Painter’s 50th anniversary celebrations n View the award- projects next month
and paint a nocturne for your chance to win winning paintings
a £50 voucher from GreatArt PLUS save money on from this year’s open
Search Press’s Take Three Colours book series competition
LEISURE PAINTER
40 Save money when you subscribe to Leisure Painter n Paint a medieval ON-SALE DATES
this month decorated letter Issue On sale
n Take your first steps
58 Take advantage of the latest offers on practical art October 8 September
November 6 October
books in LP’s online bookshop at PaintersOnline into abstraction December 3 November
68 Your chance to win one of six pairs of books from AND LOTS MORE!
Batsford Books: Hazel Soan’s The Essence of
Watercolour and Soraya French’s Contemporary
Landscapes in Mixed Media, worth £35(rrp)
69 Make savings on Search Press’s Ready to Paint in
30 Minutes book series
50 Just for the record

How to record the changing nature of local buildings and scenes,
with Trudy Friend
52 Take three washes

Paint along with David Webb as you practise his three-wash
technique in watercolour
56 All about tone

Improve your tonal awareness with the use of water-soluble t
Hazel Soan Penguins in Conversation, watercolour, 4x6in.
graphite pencils, by Colin Steed (10x15cm). Pick up new brushstroke skills with Hazel next month

TA K E T H R E E CO LO U R S
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September anniversary competition_Layout 1 27/07/2017 11:45 Page 58

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A N D FO L LOW T H E L I N K TO B O O KS Tel 01756 792929 • Fax 01756 790909
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LP_QuarterPage_TakeThreeColours_September.indd 1 28/07/2017 12:54:35
& PAINTERSONLINE
in association with GreatArt
ANNIVERSARY COMPETITIONS 2017
To celebrate LP’s 50th and PaintersOnline’s 10th anniversaries
we continue a year of painting competitions for Leisure Painter readers
SEPTEMBER’S COMPETITION PRIZES

Are you ready for your next challenge? We are delighted to announce exclusive
This month we invite you to paint a sponsorship by GreatArt throughout
nocturne in any medium and style, this year’s anniversary competitions
taking Ian Pether’s demonstration (pages
12 to 15) as inspiration. Please upload your Each month’s winner will receive £50
entry by 12 noon on Thursday, 2 November worth of art materials vouchers to spend
at www.greatart.co.uk, through the
GreatArt catalogue or at GreatArt’s new
JUDGES shop at Kingsland Road, London E2
Dr Sally Bulgin, publisher
Dawn Farley, editor, PaintersOnline
Ingrid Lyon, editor, Leisure Painter
HOW TO ENTER & CONDITIONS OF ENTRY
Only online entries can be Click through the Current that month.
accepted. Only original work Painting Competition links 4 You will be invited to send a
will be considered and paintings to Anniversary Competitions high-resolution image of your
based on reference photographs 2017. You must be registered winning entry to Leisure Painter
must have been taken by the and logged in to PaintersOnline for publication in the magazine
artist or used with the permission before you can upload an image. in spring 2018.
of the photographer. Only one 2 Upload your September entry by 5 All work entered will be
painting per artist each month the closing date of 2 November featured on our website at
will be accepted. at 12 noon. www.painters-online.co.uk.
1 Online digital entries must 3 Entries will be judged after 6 6 The judges’ choice will be final.
be sent via our website at November and the winning No correspondence will be
www.painters-online.co.uk. entrant will be informed later entered into.
p06_lpsept17.indd 6 28/07/2017 14:12:45

LP September 2017 Diary p7_News 1st 27/07/2017 10:24 Page 6
Diary
In The Frame
Great North
Art Show
The magnificent
Ripon Cathedral will
once again form the
THINGS TO DO THIS MONTH backdrop to The Great
North Art Show this
September, when
hundreds of artworks
go on display by more
than 56 emerging and
established artists.
A highlight of the
exhibition will be a
special collection of
Tom Wood Pigeon One, 2017, oil on canvas,
t
new works by 231⁄2x173⁄4in. (60x45cm)
acclaimed portrait
artist, Tom Wood, whose works are held by HRH The Prince of
Wales and The National Portrait Gallery Print Collection. The Great
North Art Show can be seen at Ripon Cathedral from 2 to 24
September. Visit www.greatnorthartshow.co.uk for more details.
Dennis Hill Trees at Blue Pool, acrylic 153⁄4x211⁄2in. (40x55cm)

t
at the Gallery Upstairs Open exhibition Viewing

British art
Opportunities Thirty-four of the UK’s leading art dealers will be showing work
Inside Dorset from 1900 to the present day at the 20/21 British Art Fair, which,
Artists within a 15-mile radius of Poole in Dorset are this year, is being held at the Mall Galleries in London. Most of the
invited to enter The Gallery Upstairs Open 2017. Work can great names of 20th century British art will be on show, including
be in any medium on the theme ‘Inside Dorset’. The Freud, Hepworth, Hockney, Lowry, Nash and Sutherland, providing
submissions day is Wednesday 29 November and selected a unique opportunity to see their work under one roof. The 20/21
works will go on show from 2 December until Christmas. British Art Fair runs from 13 to 17 September. Visit
For full details visit www.thegalleryupstairs.org.uk www.britishartfair.co.uk for details.
Open studios
n Devon.
Paintings, prints, furniture,
sculpture, photography,
handmade jewellery, fashion,
ceramics and accessories can all be
found at the 18th annual Devon
Open Studios from 9 to 24
September, when 160 studios and
venues will be opening their doors
to visitors. With such a lot to see,
take a look at the website at
www.devonartistnetwork.co.uk to
work out your self-guided tour. A
free guide to the event, with
colour-coded maps and detailed
information is available now from Artist, Shirley Bebbington, in her studio,
t
Sandra Berti Assorted Poppies, mixed media
t
tourist information centres, which will be open as part of Devon Open on board, 8x8in. (20x20cm) on show at this
Studios from 9 to 24 September year’s Herts Open Studios
libraries, hotels and galleries
across Devon. makers will be taking part in the three- accessibility information can be found
n Hertfordshire week event, from 9 September until 1 in the Open Studios brochure, available
The Herts Open Studios event has October. Full details, including illustrated at public locations across the county as
been running for almost 30 years, lists of participating artists, opening well as online via the Herts Visual Arts
and this year nearly 130 artists and hours, demonstrations, refreshments and website at www.hvaf.org.uk

LP September 2017 Exhibitions p8-9_Layout 1 27/07/2017 12:06 Page 2
Exhibitions JANE STROUD RECOMMENDS

LONDON
n British Museum
Great Russell Street WC1. 020 7323 8299.
‘Places of the Mind: British Watercolour
Landscapes 1850-1950’, until 27 August.
n Bernard Jacobson Gallery
28 Duke Street, St. James’s SW1. 020 7734
3431. ‘Matisse’: painting, sculpture,
drawings and prints, until 16 September.
n Dulwich Picture Gallery
Gallery Road SE21. 020 8693 5254. ‘John
Singer Sargent’: watercolours, until 8
October.
n Jonathan Cooper Park Walk Gallery
20 Park Walk SW10. 020 7351 0410.
‘Seeing Red’: new paintings by botanical
artist, Rosie Sanders, 21 September to
14 October.
n Llewellyn Alexander Gallery
124-126 The Cut, Waterloo SE1. 020 7620
1322. ‘Not the Royal Academy 2017’, until
19 August. ‘Society of Feline Artists’,
24 August to 15 September.
n Royal Academy of Arts
Piccadilly W1. 020 7300 8000. ‘Summer
Exhibition’, until 20 August. ‘Matisse in
the Studio’: featuring objects Matisse
accumulated as inspiration for many of
his works, until 12 November.
n Tate Britain
Millbank SW1. 020 7887 8888. ‘Queer
British Art 1861-1967’, until 1 October.
REGIONAL
n Ashmolean Museum
University of Oxford, Beaumont Street,
Oxford. 01865 278000. ‘Raphael: The
Drawings’, bringing together over 100
works by Raphael from international
collections, until 3 September.
n Falmouth Art Gallery
Municipal Buildings, The Moor,
Falmouth, Cornwall. 01326 313863.
‘Winifred Nicholson: Liberation of
Colour’, until 16 September.
n Harbour House
The Promenade, Kingsbridge, Devon.
t
Hilaire-Germain-Edgar Degas The Green Ballet Skirt c. 1896, pastel on tracing paper, 173⁄4x141⁄2in. 01548 854708. ‘Beyond-scapes’: paintings
(45x37cm) by John Henshaw, 18 to 23 August. ‘Island
Drawn in Colour Artist’: paintings by Emma Carter
This autumn brings a unique opportunity to see a collection of rarely seen works Bromfield, 25 August to 3 September.
by Degas at the National Gallery in London. Taken from The Burrell Collection in n The John Russell Gallery
Glasgow, which holds one of the finest collections of works in the world by the 4-6 Wherry Lane, Ipswich, Suffolk.
leading French Impressionist, the exhibition will include paintings, pastels and 01473 212051. Recent work by
drawings, complemented by works held in the National Gallery’s own collection. watercolour flower painter, Christopher
Drawn in Colour: Degas from the Burrell marks the centenary of the artist’s death Ryland, 18 September to 14 October.
and can be seen at the National Gallery in London, opening on 20 September and n Laing Art Gallery
running until 7 May next year. For more information and opening times visit New Bridge Street, Newcastle upon Tyne.
www.nationalgallery.org.uk 0191 278 1611. ‘Paul Nash’, 9 September
to 14 January 2018.

LP September 2017 Exhibitions p8-9_Layout 1 27/07/2017 12:06 Page 3
Railart 2017
The Guild of Railway artists was Members include professional, semi- t
David Halliwell Bushey, oil on canvas
formed in the 1970s and can boast professional as well as amateur artists, board, 12x24in. (30.5x61cm)
renowned artists Terence Cuneo and working in a wide range of media. This
David Shepherd amongst its founder year is a special one for the guild as it year’s exhibition at the Kidderminster
members. Its aims were, and remain celebrates 40 years since its first Railart Railway Museum, is the 14th time that
to this day, “to encourage the exhibition, staged by the Wight the museum has hosted the
furtherance of the artistic portrayal of Locomotive Society – Midland Area exhibition. Railart goes on show at the
railways, the staging of railway art Group at Locke and England’s sale Kidderminster Railway Museum,
exhibitions, and in assisting in the showroom in Leamington Spa in Comberton Hill, Kidderminster from
historical research necessary to November 1977. Since then 122 Railart 26 August until 1 October. For further
accurately portray railway subjects”. exhibitions have taken place, and this information visit www.railart.co.uk
n Manchester Art Gallery

Mosley Street, Manchester. 0161 235 Portraying a Nation
8888. ‘The Edwardians’: exploring the The summer exhibition at
glamour and rural nostalgia of the 1900s, Tate Liverpool focuses on
until 31 December. German society from 1919 to
n The Natural World Gallery 1933 through the eyes of
Banham Zoo, Norfolk. 01493 440972. painter, Otto Dix and
‘The Natural World Art Group Summer photographer August
Exhibition of Wildlife Art’: featuring work Sander – both of whom
selected from open submission, until documented the radical
17 September. extremes of German society
n Scottish
National Gallery of in their work in the inter-war
Modern Art years. The exhibition features
75 Belford Road, Edinburgh. 0131 624 more than 300 paintings,
6200. ‘True to Life’: British Realist drawings, prints and
Painting in the 1920s and ‘30s’, until photographs reflecting the
29 October. stark divisions in the country
at this time of economic
n Scottish National Portrait Gallery
upheaval.
1 Queen Street, Edinburgh. 0131 624
Portraying a Nation:
6200. ‘Looking Good: The Male Gaze
Germany 1919-1933
from Van Dyck to Lucian Freud’, until
continues at Tate Liverpool
1 October.
on Liverpool’s Waterfront
until 15 October. For more
All information given here is correct at information telephone
the time of going to press, but you are 0151 702 7400 or visit
advised to check details and opening www.tate.org.uk
times with the galleries prior to your visit
in case of unavoidable alterations to Otto Dix Self-Portrait with Easel
t
their exhibition schedules 1926, oil, 311⁄2x213⁄ in. (80x55cm)

september lettersv2_News 1st 31/07/2017 09:35 Page 11
Letters
you are looking at a three-dimensional
view of an artist at work and there will
always be difficulties in seeing the
detail as the artist works through his
or her routine.
DVDs should serve as a catalyst to
SHARE YOUR TIPS, SUGGESTIONS, IDEAS inspire the artist, watch how they work,
see how they set up and layout their
AND QUESTIONS WITH OTHER READERS easel and palette, and how they
approach a subject. You won’t produce
Terry Harrison simple solution that works for me. anything creative if you are hoping to
I would just like to say how very Using ordinary tracing paper, draw slavishly copy from their artwork;
saddened I was to learn of the passing your outline; a fine black felt-tip pen that’s not what DVDs are about. This
of Terry Harrison. I had numerous works well. On the reverse of the can never be the way forward and will
workshops with Terry; his sense of tracing paper go over your outline almost certainly lead to stagnant
humour was unrivalled and his jokes using a pastel pencil in a colour of development with little or no progress
were... well typical Terry! And who your choice. Shake off any excess being made, certainly on the creative
remembers his: Did I mention my pastel dust. Transfer the outline on to front.
new book? your good paper. I use a sharp, grade F If this is the route that you and fellow
He was the man who introduced me pencil, which gives a nice clear outline art club members are aiming for then
to watercolour painting. Thank you, without denting the paper. turn to instructional books. There are
Terry. Not only do you make a good clear thousands out there to choose from
Geoff Mitchell outline, but you also can choose and are far more suited to copying, if
appropriate colours to suit your that is really the way you want to go.
Pastel problem painting. I have found that mid to My advice is to get out into the town
From the editor: Here are two responses dark shades work best on white paper, or countryside, or if that’s not possible
to Catherine Lewis’s problem from last but you can experiment with colours set up a series of still-life props or ask
month on transferring images. Many depending on the colour of the ground. one of your members to sit for you all
thanks, Graham and Christine. I use the same method for coloured and draw away, any old scrap paper or
pencil drawings, using a coloured pencil support is all you need and work large.
I was interested to read in the August on the reverse of the tracing paper. Fill the paper and forget using an
issue of Leisure Painter a question from I hope this is helpful. eraser; they are not necessary.
Catherine Lewis on transferring drawings Christine Horlock There is no substitute for good solid
onto pastel paper. As a pastel artist I drawing practice, and it is only practice
have the answer to this problem. How to follow a DVD that will improve your skills. Attempting
Tracedown was designed for use with From the editor: I hope the following to copy from a DVD can never be
watercolour where you don’t want a dark from Jim and Alan helps Marlene Griffin helpful in an artist’s development.
line drawing, as this would show through (Letters, August issue), who, like many Alan Bickley
the transparent watercolour. I use a sheet of us, has problems in focusing on the
of black carbon copy paper instead, initial detailed drawings shown on Send your letters to
similar to the type typists used years ago. filmed demonstrations. Leisure Painter, 63-65 High Street,
Place your pastel paper on the bottom, Tenterden, Kent TN30 6BD.
your carbon paper (carbon side down) Play your DVD on a computer that Alternatively, email the editor at
on top of the pastel paper then your has Windows. When the drawing leisurepainterletters@tapc.co.uk.
drawing on the top. Place a piece of comes on, pause the film, press the All letters published here win a
masking tape along the top to hold Windows key (it has four squares on it, set of 24 Van Gogh Oil Pastels.
everything in place and create a hinge on the bottom row of the keyboard) Find out more about Royal Talens
so you can lift up the drawing and and print screen key (on the very top art materials by visiting
carbon paper to check on your progress. row, marked PrtScrn/SysReq). This will www.royaltalens.com
Using a fine point Biro, trace the take a screen shot, stored in a folder in
drawing through the carbon paper, the pictures folder.
pressing fairly firmly to transfer your Use the search box to open Windows
image onto your pastel paper. The Paint, import your screen shot into
carbon image will not smudge or mix Paint and use the Skew and Resize
with pastel and it will show through the options to find the best view that you
initial layers of pastel. The carbon paper can.
can be used over and over again. When you have finished go to File then
Graham Cox Save As and click the JPEG option. It can
www.moodyviews.co.uk then be printed. I hope this helps
Jim Fortis
May I respond to Catherine Lewis’s letter
in the August issue? I had exactly the One of the delights of viewing
same problem and have found a very instructional DVDs is the very fact that

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L @KenBromleyArt
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LP09 12-15 Pethers_Layout 1 28/07/2017 15:35 Page 12
Pen & wash
Night vision
Part 3 Practise your drawing and painting skills as you paint a
moonlit woodland scene from a sunny photograph, with Ian Pethers
LEARNING OBJECTIVES
n How to adapt a sunny photo
into a moonlit scene
T hroughout the centuries artists
have been fascinated by moonlight,
capturing that magical silver light
from our nearest celestial neighbour. It is
exploited in the works of Joseph Wright,
often fail to pick out the essence
required to form good reference material.
Because of this, I took my camera to my
local wood in broad daylight, using the
sun as my ‘moon’ (below left). With a
n Develop your drawing skills Henry Pether, John Atkinson Grimshaw spoonful of imagination and a change
and, of course, the great Turner himself. of colour scheme, I produced a pleasing
Painting by moonlight is always going work that gave me the mood and
to be an awkward task and photographs atmosphere of a moonlit forest (page 15).
For this exercise I used waterproof
drawing pens of two sizes over a wash
of blue watercolour. I would advise you
to practise on scraps of watercolour paper
before launching into your main painting.
I hope you enjoy ‘moonlighting’ with
me and that the following demonstration
inspires you to create your own
spectacular work. LP
Demonstration
Moonlight
Choose a watercolour paper that is conducive
to the application of masking fluid, remaining
intact when the dry fluid is removed. I opted
for Bockingford 300gsm as it is of a bright white
hue. You may wish to stretch your paper by
sticking gummed tape around the perimeter to
a drawing board and dampening with a wide
brush. Allow to dry completely before beginning
the painting. I decided not to stretch the paper
here, as 300gsm paper is fairly heavy and
I knew I could flatten my painting later.
You will need

n Surface
l Bockingford 300gsm
watercolour paper or similar
113⁄4x81⁄2in. (30x21cm)
n Artists’ watercolour
l Winsor blue (red shade)
or similar
l Lemon yellow
l Hooker’s green
l Burnt sienna
n Watercolour brushes
l Rounds Nos. 10, 4 & 11
n Miscellaneous
l HB pencil
l Water-resistant black
drawing pens Nos. 01 & 04
Your reference photograph for

t
this project, taken on a sunny day

in a local woodland

t
Step 2
1 Position the moon using a self-adhesive
round dot. Ensure that it is well stuck to
make sure no pigment can creep beneath.
2 Using masking fluid, pick out stars in the sky
and leaves that will appear white or pale as
they reflect the moonlight. Allow to dry.
t
Step 1
Your first task is to sketch the positions of the main trees and branches
in pencil and decide on the location of the forest floor.
Step 3
t
Dampen the paper using a broad flat

brush and prepare a wash of blue
watercolour. I chose Winsor & Newton’s
Winsor blue (red shade). Apply the wash
across the page with a No. 10 brush,
making it weaker up to the eclipsed moon.
Ensure there is pigment in the wash around
the moon itself or it will not stand out
white against the background. Don’t
worry if the wash is patchy; this will
be swallowed up by the detailed drawing
on top. Allow to dry thoroughly.
Step 4
t
Carefully peel off the sticky moon label

and gently rub off the masking fluid
from the leaves and stars. If your moon
is slightly smudged or pigment has crept
beneath the label you can always draw
a twig across the affected area.
Step 5
t
1 Using your 01 drawing pen

(Staedtler, Pilot or Edding) draw
the leaves of the main trees in front
of their intended trunks, using a
sideways crescent shape. Scribble akin
to a bunch of seagulls having a scrap.
2 Draw leaves around the white
dots left by the masking fluid.
These are reflecting the moonlight so
ensure they are large enough not to
disappear when the trunks are added.
3 Draw the trunks and branches
between the leaves using a tighter
scribble with the 04 pen so the
leaves stand out in front of the tree
structure. Go lighter close to the
moon itself.

Pen & wash
Demonstration continued
Step 6
t
Step 7
t
Continue drawing across the 1 The forest floor in the foreground

page, working light to dark; will reflect a lot of moonlight so, if your
go lighter when close to the white dots are lacking, you can always
moon to establish its halo. scrape out a few extras with a craft knife.
Some of the white dots in 2 Drawing shadows from the main
the sky will be stars, others trees in perspective will add depth
represent pale leaves. to your painting.
t
Step 9
1 Apply burnt sienna
above the horizon line to
add further depth to the Ian Pethers
distant forest. I also used Ian is based in Gunnislake
this on the tree trunks Station, Cornwall. For
and thicker branches. details of his work, visit
2 Your painting should www.glenrockstudio.co.uk,
now be in its final telephone 01822 834289
t
Step 8 phase with just a little and join his community
1 Now it’s time to add more colour. Diluted lemon yellow adjustment required, on Facebook.
applied over the blue will turn green; lay this over some but don’t over do it.
of the white leaves for variation. It’s always best to leave
2 Use Hooker’s green in the darker areas, such as the shadows. some areas understated.

Pen & wash
t
The finished painting Moonlight, watercolour, 1134⁄ x812⁄ in. (30x21cm)

LP09 16-19 Kingston_Layout 1 28/07/2017 15:47 Page 16
Acrylics
Bottles, jars and spoons

Part 1 Be inspired by the contents of your kitchen cupboard
as you paint still lifes in acrylics with Rodney Kingston
and thick, and push the paint around dry so much quicker than oils, which
LEARNING OBJECTIVES with sturdy brushes, or dilute with makes correcting mistakes a swift task.
n Use the art of suggestion, water and build delicate layers of thin When I’m not happy with a particular
not detail washes, acrylics handle either method area of a painting, I just work on another
successfully. Most of the time I prefer part and wait a few minutes before
n Practise acrylic techniques the first approach, using the paint as painting over the top of the problem area.
without using mediums it comes straight from the tube with Apart from yellow, all the colours I use
no mediums. on my palette are opaque when applied
A crylic is a wonderful medium, as

it offers such versatility in terms
of application. Whether you slap
your colours down on the surface, nice
Although the majority of my work
is painted using oils, it is refreshing
to switch to acrylics for the huge
difference in drying time. Acrylic paints
to the surface so painting over mistakes
and building layers are easy. If I need to
make them transparent, I just add water.
Having spoken positively about acrylics,
I should mention that they tend to appear
significantly darker after they have dried.
You may think you’ve mixed the perfect
colour on your palette only for it to dry
and appear a shade darker than intended.
It takes regular practice, but once you
are used to the darker appearance it is
possible to compensate for the darkening
when mixing your colours on your
palette.
My palette comprises Daler-Rowney
System 3 acrylics: titanium white,
cadmium yellow, yellow ochre, cadmium
red, sap green, ultramarine blue and
burnt umber.
Subject matter
As well as being an artist, I am also a
graphic designer, which perhaps explains
why I find the iconic items for this series
of paintings so appealing. The bold
colours of the labels and the variety
of bottle and jar shapes provide an
interesting combination for still-life
paintings. Another great aspect is how
easy it is to grab out of the kitchen
cupboard when the creative juices
are flowing.
The brands are so familiar it is possible
just to suggest all the details in the
paintings, but give enough information
so they look realistic. This is especially
the case with the golden syrup tin (above
right), which in reality is highly detailed,
but in my painting the brushmarks for the
brand design were only suggested. To
add extra interest and a little narrative,
I placed a spoon in the open tin and put
the lid in front of the tin, which picked
up reflections nicely. LP
Fry Sauce, acrylic on paper, 10x8in.

t
(25.5x20.5cm). I chose half empty jars as

I liked the effect of the residue of sauces
on the inside of the glass. The area of the
ketchup bottle with sauce residue and the
displaced label of the mayonnaise showing
through the glass was a particularly
enjoyable part of the painting.

Acrylics
TRY THIS!
If you’re completely
new to acrylic paint
this exercise is useful
in getting to know its
properties. I painted
on 300gsm watercolour
paper, but alternative
surfaces are canvas
boards, stretched
canvases and primed
MDF boards.
The following will
give you an idea of how
paint looks in different
applications of thickness
and how colours
interact with each
other when made more
transparent by diluting
with water. Choose two
colours and squeeze
generous amount of
paint from each tube
onto a palette.
1 Near the top of the
paper apply very thick
paint from one of the
colours to an area about
the size of a credit card.
The paint should be
so thick it protrudes
from the surface.
2 Next, paint the same
colour directly below
the thick application of paint but this this with more water each time
t
Golden Syrup with Spoon, acrylic on paper, 8x6in.
(20.5x15cm)
time spread the paint evenly so that until by the bottom of the page
it is flat on the surface. Again, aim the paint is a thin wash of colour.
for about the size of a credit card. 4 When the paint is dry, repeat
3 Now dip the paintbrush in water with the second colour, but
and apply the paint directly below make sure you overlap half
the previous area of painting. Repeat of the first strip.
t
Oxo Cube Tower, oil on canvas, 8x10in. (20.5x25.5cm cm). The Oxo
t
Coke and Glass, acrylic on paper, 10x8in. (25.5x20.5cm).
cubes had to be stacked like building blocks. Arranging them was almost I poured half the liquid into a glass. It was interesting to record
as rewarding as painting them! the different glass types – the thin glass beaker reflected its
surroundings in a different way to the thick glass of the bottle.

Acrylics
Demonstration Marmite Jar
You will need

n Surface n Daler-Rowney System 3 acrylics
l 300gsm l Titanium white l Sap green
watercolour l Cadmium yellow l Ultramarine
paper 8x6in. l Yellow ochre blue
(20.5x15cm) l Cadmium red l Burnt umber
t
Your reference photograph for this demonstration
Step 1
t
Use a small paintbrush to sketch the basic shapes of the still life. Aim to
be as accurate as possible with the basic shapes but don’t worry about the
details. Use black paint or a 50-50 mix of burnt umber and ultramarine
blue with a little water to help the brush flow over the surface.
Step 2
t
Block in the large background

area. Use a mix of sap green,
cadmium yellow and titanium
white for the light areas of the
background and sap green,
ultramarine blue and burnt
umber for the shadows, cast
by the Marmite jar and knife.
Step 3
t
Move onto the surface of the

sideboard where the Marmite
is placed. The sheen created
by the gloss-painted surface
reflects the Marmite jar and
lid. Paint the reflections quite
loosely with simple shapes.
When I looked at my painting
later with fresh eyes I realised
I’d painted the reflections too
dark but will talk about how
I addressed the error in Step 7.

Step 4
t
Continue by blocking in the
darkest areas of the jar with
a mix of ultramarine blue and
burnt umber. Now block in the
basic shape of the knife with
a mix of ultramarine blue,
burnt umber and titanium white
to create a blue-grey colour.
Step 5
t
Spend a few minutes looking at
the objects and think about the
colours you can see in the
objects. Mix the colours and
apply them with bold marks.
I made no attempt to blend
my brushstrokes together, just
layered the different colours I
could see with appropriate-sized
brushmarks. There are
surprising colours to be seen in
objects when painting a still life,
for example the blue and purple
shades on the outside of the jar.
t
Step 6
Paint the label next with more detail than the
other parts of the painting but still with a certain
amount of suggestion. Look closely for highlights.
I could see a lightening down the centre of the
label, which I painted with dabs of yellow and
white. Chose an appropriately sized brush for the
other details on the label, like the word Marmite.
Step 7
t
Take time away from your painting so that when you

next see it you are viewing with fresh eyes. I thought
my painting was finished at Step 6, but having come
back to it a day later I noticed the surface the
objects were sitting on was too dark. To lighten this
I used a wash of titanium white and glazed over the
problem area. With a couple of other areas tinkered
with I decided this time it was finished.
Rodney Kingston
Rodney paints portraits, still life and en plein air
landscapes. Follow his progress and keep up-to-
date with his art events on Intsagram @rodney
kingston; Twitter @rodneykingston; Facebook
facebook.com/rodneykingstonartist; and his
website www.rodneykingston.com. He will be
selling work at the Landmark Arts Fair in
Teddington from 13 to 15 October.
t
The finished painting Marmite Jar, acrylic on 300gsm watercolour paper, 8x6in.(20.5x15cm)

LP09 20-23 Bowden_Layout 1 28/07/2017 16:13 Page 20
Watercolour
Painting project
Part 2 Develop composition, colour and application skills
as you paint along with Jem Bowden this month
t
Photograph 1: Your main reference for this project, showing good depth and lead-in
LEARNING OBJECTIVES
n Using soft and hard edges to
create focus and atmosphere
n Limited palette for unity; cool
and warm colours for depth
n Bold, energetic brushwork
for dynamic painting
L ast month I discussed how I

arrived at the compositional sketch
(opposite) by combining two
references photos (above and right)
and using artistic licence. This provides
the all-important tones that we need
to stick to for the painting to work.
I’ll aim to use the limited palette of five
colours to create depth in the painting
and an effect of strong shade and
bursting sunlight. I also hope to show
that you don’t need much green to give
a sense of summer. It’s the relationships
between colours within a painting that
t
Photograph 2: This provides more interest to the final composition with its hay
counts and how one offsets another. and harvested field
I tend to think of colours as just various
warms and cools. and hard edges to draw focus where It should be exciting to paint, which,
I’ll be using soft edges in key parts of it’s needed. Speed and risk-taking are with some luck, might reflect well in
the painting to help with atmosphere, of the essence with this approach. the result!

Watercolour
Demonstration Summer Landscape
You will need

n Surface n Winsor & Newton
l Bockingford 200lb Professional Water
NOT paper 121⁄4x20in. Colours
(31x51cm) l French ultramarine
l Winsor blue (red shade)
n Brushes
l Indian red
l Large wash brush for sky
l Raw umber
l Medium Chinese calligraphy
l Burnt umber
brush or synthetic Round
for other areas
t
The finished tonal and compositional sketch
Step 1 The sky
t
1 To begin draw in pencil the top line

of the field and where the two main
trees are situated. Lightly mark short lines
where you want to keep hard edges at the
underside of clouds and the top of shafts
of light. Paint the sky very quickly using
a large wash brush and the board at
a steep angle.
2 First, randomly lay down generous
quantities of dilute Indian red. Then
add a pale mix of Winsor blue (with a
touch of Indian red) in other areas but
allow it to run on the paper into the
Indian red areas.
3 Immediately add stronger mixes of
ultramarine and Indian red, and Winsor
blue and Indian red. These should blend
with the previous colours, but being
thicker mixes, don’t run as much. Direct
these at the bottom edges of the cloud
shapes. Be careful to leave some white
paper untouched below these areas.
4 Finally, with a clean, virtually dry brush
make a few quick downwards ‘swipes’,
beginning from the untouched paper
beneath the dark areas. This partially
sucks up and partially drags the wet
paint to create the effect of down shafts
of light, falling rain or hopefully both!
Leave to dry completely or use
a hairdryer.
Step 2 The distance, church

and left-hand bush
t
1 Prepare a mix of Winsor blue with

a little Indian red, in a medium-dark
tone (fairly thick paint). When this is
ready, re-wet the paper at the left, over
the top edge of where the distant strip
of hillside will be. Also wet underneath.
Take the clean water about half way
towards the church.
2 Wait a moment for the dampness to
dry a little, before painting right through
it, left to right and onwards to the church.
Now on dry paper shape the church with Indian red and drop in a few 4 Make the darker marks here with a
quickly and continue to the right, before suggestions of darker trees while the mix of raw umber and ultramarine. Done
cleaning your brush and bleeding away paint is still wet. Pick up raw umber and quickly while all is wet, this creates the
that end to nothing with a little clean add it into the left, where the blue mix is soft edges that appear to merge sky with
water. This leaves no hard edge so we already bleeding downwards. Using loose hillside and hillside with foreground bush.
can return here to continue later. brushmarks, take this area down to the 5 Scrape out the shiny rooftops near the
3 Next dry the brush and pick up an even bottom and again bleed it away to church with a fingernail while the paint
t
thicker (dryer) mix of French ultramarine a fairly soft edge. is halfway dry.

Watercolour
Demonstration
continued
Step 3 The main trees
t
1 While the paint dries,
mark out a little more with the
pencil, including the hay bales.
Check the tones in the sketch
then mix up a fairly thick cool
grey using Winsor blue and
a touch of Indian red.
2 With a second brush
re-dampen the edge where
you left the hedgerow last
time and add a few somewhat
random patches of clean water
further along the hedgerow
at intervals. Then start to
paint rightwards, using fast
downward strokes of the
brush, held sideways against
the paper, for the first tree’s
foliage and a few upwards
strokes with the tip to indicate
a couple of visible branches.
Vary the colour on your brush
with a little of raw umber as you come t Step 4 The field wash across the whole area, rather than
to the right again, and let it merge 1 Once the paper is dry add a pale, highly being a uniform mix created from both.
into the first colour in places. diluted wash of raw umber and Indian red 2 While the wash is still damp all over, drop
3 Next mix a strong tone (quite thick paint) over the field area. Add the two colours over in thicker, far less-diluted mixes of the same
from ultramarine and burnt umber and use different parts of the field, one after the colours, just allowing the very tip of the
bold, more horizontal brushstrokes to depict other in random fashion, allowing them to brush to touch the paper quickly each time.
the tallest tree. Lower down, the paint merge into each other while wet. Leave This bleeds but only slightly, forming those
should bleed gently into some of those pre- specks of untouched white paper. This creates soft suggestions of clumps in the field,
dampened areas of paper for softer edges. a subtle variation of the two warm colours and the more distinct lead-in line.

Step 5 The ‘vague’ corner

and hay bales
t
1 We want this corner to be vague and not
to draw the eye too much, since the area
only plays a supporting role. Mix up all the
colours at various points, but there is an
important input of raw umber in places, just
hinting at an underlying ‘greenness’ in the
trees. Overall the colours are warmer nearer,
and cooler further away, but the blues are
used throughout to suggest shade. Having
each colour recurring throughout helps keep
the painting unified, hence there is a degree
of warmth in the sky and the distance.
2 Firstly pre-dampen the paper here with
a clean brush, making sure that you will
have soft edges against the sky and where
the trees meet the bottom corner foliage.
Paint quickly, aiming for a range of marks
of different sizes, shapes, angles, tones t Step 6 Finishing touches
and colours, to give an impression of 1 The far distant area of field is cast under
overlapping foliage, some shaded and some cloud shadow. Dampen the leftmost end first Jem Bowden
sunlit. Keep an eye on the negative spaces then use the same cool colour as you did for Jem offers one-to-one tuition,
(leave gaps!) for the latter. As the paper the distant church to glaze lightly and demonstrations, workshops, weekly
becomes drier (but still damp) return to quickly over the area. The shadow appears classes and teaching on residential
some areas with thicker, dryer paint, but to peter out in the soft edge at the left. painting holidays. His next painting
not as dark as the main tree already painted. 2 I added an extra bale here, as its sunlit holiday is Wye Valley in Watercolour
3 In the bottom right corner take the colour side helps with the general light effect. (9-14 July with Alpha Painting Holidays
down wet, but eventually onto dry paper, Paint negatively around this carefully! www.alphapainting holidays.co.uk).
and work leftwards into the field. Before 3 Next paint the important shadow from For more details, his blog and galleries
you go far, use your second brush to dampen the tall dark tree, beginning with a stroke of his work visit www.jembowden
the paper ahead so the paint will diffuse of clean water where it meets the hedge watercolour.co.uk, email jembowden
into softened marks when you get there. for a soft, hopefully invisible join. watercolour@gmail.com or
4 Once this is done paint the bales, quite 4 Finally, add small marks to indicate birds. call him on 0117 9711735.
simply, using a slightly warmer mix for These are a detail for close-up viewing, but
the closest one. should also help draw the eye into the scene.
t
The finished painting Summer Landscape, watercolour, 1214⁄ x20in. (31x51cm)

LP09 24-26 King_Layout 1 28/07/2017 16:25 Page 24
Paint along with LP
Painting project
Part 1 How to plan a painting of a garden from a photograph, by Julie King
t
Your reference photograph: a garden in Kent
LEARNING OBJECTIVES hand, ready to capture a scene that as a starting point for discussing
inspires me and draws my eye in, one composition and how, with
n Produce and amend with interest, variety and a focal point. adjustments, a balanced painting
compositional sketches If I were painting in the garden can be achieved. It was taken in
n Manipulate scenes to suit I would use a small viewfinder cut my friend’s beautiful garden in the
your purposes out of card with an aperture of outskirts of Tunbridge Wells in Kent.
approximately 8x5cm and, by eye, It was an impromptu visit and it wasn’t
n Work from photograph judge a good composition. I would the brightest of summer days. We can’t
to final tonal sketch decide on the best format: a portrait always guarantee that the sun will be
orientation with its longest side shining and the scene will be perfect
vertical; landscape with the longest for interpreting in watercolour just as
F ollowing my introduction to
painting parks and gardens in
last month’s issue in which colour
and techniques were explored, I now
want to look at the importance of
side horizontal; or a square. Having
then made small thumbnail sketches
I would make changes to the
composition or colour if I felt it
necessary. After all, the beauty of
it stands, but, with a few changes, the
sky can become blue and the sun can
shine to create shadows and contrast.
A photograph provides a starting point
and an artist can improvise as desired.
composition and prepare you for being a painter is being able to
tackling a photograph of a garden. use artistic license. Composition
Whenever I have the opportunity to Composition is an essential element
visit gardens, in villages, towns or Your reference material so initially some thought and planning
cities, I always have my camera at I selected this photograph (above) needs to be done. An inferior

Paint along with LP
composition, however
well it has been
painted, will let it
down. There is a
general rule that
dividing the picture up
into thirds can create a
balanced composition.
The dissecting points
are good areas to place
a focal point.
Due to my
enthusiasm for the
colour and shapes in
this garden, I included
too much in the
photograph. When
I began to study
it, I realised that,
although the path
is a good feature, it
appears a little too
central. There are too
many elements that
make the picture too
busy and distract the
eye rather than leading
it along the path. My
aim was to produce
a painting of colourful
flowers against a
backdrop of trees with
the focal point being
the oak tree. So rather
than replicate the
overcomplicated photo
t
The first compositional sketch
as it appears, I simplified
it, beginning with small sketches.
I made an initial small tonal sketch
(above right) to improve on the
composition. I felt that the angle of
the terraced area on the left didn’t sit
comfortably in the picture, creating a
distracting angle leading the eye away
from the centre. So I removed this along
with the pot of flowers. Just one object
to the left was sufficient so the rock
remained and I shortened the height
of the large hollyhock, which despite
giving a splash of colour due to its height,
vertical growth and proximity in the
foreground, almost divided the scene.
The fork was removed as this broke
the line of the path.
I still felt this composition was too
busy so I began a small gridded sketch
simplifying the shapes (right). I cropped
the picture to remove the tall flower and
the result was a squarer format.
The focus is now on the path that
lies almost on a third line leading to the
tree, which again is approximately on a
dissecting point. The simplistic curves of
the plants echo the curve of the rock and
the path. I suggested less foliage in the
background allowing for more sky to
show and included the fork but in a
different position so as not to break over
the path. The arrows illustrate how the
eye is being draw in from the foreground
towards the oak tree.
Final ideas
Once I had decided on my plan I made
a small tonal sketch (bottom of page 26) The rule of thirds and how to create movement and a lead-in into the scene
t

Paint along with LP
The photograph cropped to show
t
more detail for the final painting
and cropped the photo (left). In

my small sketch I felt there needed
to be a little more foliage on the
right-hand side so that the path was
not so close to the picture edge.
To brighten up the scene
I suggested sunlight coming from
the right side so as to cast a shadow
on the path. This will give more
contrast between light and dark
and offer a sense of warmth in the
finished painting (next month).
Moving to colour
When interpreting in colour
I decided to use the techniques
and colour palette used in last
month’s introduction (below).
Remember: avoid painting every
flower head and stem. Just capture
the feel of the flowers. Add a little
more colour to the sky and shadows
on the path. You can brighten the
flowers or even rearrange them!
In next month’s issue I will
demonstrate step by step how
I painted this composition. I hope
you will join me. In the meantime,
don’t forget to send your finished
work to dawn@tapc.co.uk for
inclusion on LP’s website,
PaintersOnline. LP
JULIE’S PROPOSED COLOURS
Aureolin Ultramarine
Nichel azo Quinacridone

yellow magenta
Phthalo blue Cadmium red light
The final sketch from the cropped

t
photograph (above)
Julie King
Find out more about Julie and her art and
classes by visiting julie@juliehking.co.uk.
Julie’s new book Take Three Colours:
Watercolour Flowers was published by
Search Press this month.

LP09 27-29 Strode_Layout 1 28/07/2017 16:38 Page 27
Inspiration
t
Four at Formby, acrylic on paper, each 4x6in. (10x15cm). Take time to play and create a couple of loose studies.
Mersey shore
Part 2 Take time to walk and sketch small studies as
you find inspiration in local scenes, by Steve Strode
LEARNING OBJECTIVES practicalities sorted so you’re

prepared for your walks.
n Warm-up exercises for you to try A typical day walking for me means
n
wearing the right gear: light, loose
Draw and paint a little every day
fitting clothes and a good pair of
walking boots. If you’re new to the
L ast month we looked at how

setting a project can give your
work more focus. This month,
don’t wait for inspiration to strike, go
in search of it and join me on a couple
outdoors, keep a list in your bag of
what you’ll need to pack. Check the
weather and take a waterproof if you
need it. Look to see if there are
amenities nearby for food or toilet
of walks to see if any of the following breaks. I’m lucky in that a rail link
tips come in handy. runs the length of the coast so a
My recent venture, Mersey Shore, station and a few shops are never
documents the coastline of the Mersey too far away. Alternatively, if you
estuary, but you can decide on your aim to be out for a couple of hours,
own location and use the initial trips eat before you set off so you need t
A journal can add more interest
to scout out places and ideas for future only pack a bottle of water and and focus to your project. Like
paintings. It’s exciting to let everything a light snack. a scrapbook, add anything and
unfold, discovering the new and having Once you’re out and about, try everything to enrich your studies.
to be nowhere other than where you a little of everything as the mood Immerse yourself in your subject
are. Before you leave the house, takes you: take photographs; gather and the interest can go beyond
the painting.
t
however, ensure you have the resources; draw or paint. On these

t
Days End, Crosby, acrylic on board,512⁄ x712⁄ in. (19x14cm)
tone or perspective that we use to

judge figurative painting will still apply
to more abstract works. Besides, there’s
no rule that says you have to paint
one way or the other. This freedom
of expression and looseness can
eventually find its way into studies
that take a little longer.
No matter how fast you can paint,
some moments are so short lived that
trying to capture them with anything
other than a camera is impossible,
but don’t rely on the camera alone.
Take photographs as a quick reference
to aid your painting, but focus on the
subject through drawn and painted
studies.
The philosopher Alain de Botton
t
Japanese Rose, watercolour studies in a 512⁄ x512⁄ in. (14x14cm) sketchbook. Not every noted that: ‘John Ruskin recommended
study has to be a work of art. Use your walks to work things out and experiment. we should all take up drawing, not
with the view to becoming great
initial walks make short studies in minor details. It’s not the wrong artists, but simply because through
and avoid becoming side tracked way to paint, just a different way. If, like the act of trying to recreate on paper
into spending all your time creating me, you prefer a looser approach that’s what we see in the world, we study
a finished piece. as much about the paint as the subject it in a way we never do when we
Painter and critic, the late Patrick then try the following exercise. take a photograph.’
Heron, noted that Paul Cézanne Tape off four sections of a large piece Constantly ask yourself ‘what if’
‘habitually referred to even his finest of thick paper and paint a separate questions to come up with new ideas,
works as ‘studies’ which, he trusted, study in each window (see page 27). LP whether you’re working on location
‘were improving a little each time.’ I sometimes change direction and or reading through your journal at
Remember, if you hit on a good idea turn to face 45 degrees or so to see home. While each study I make is an
or find that perfect spot, you can a different view each time. Allow no independent picture in its own right,
always return at a later date for more than 20 minutes per study. asking questions can so often point
a more concerted effort. Exploring the paint and reacting in new directions that are just as
to your surroundings can be a fun exciting. What if the weather were
Warm up first warm up, but it need not mean different? What if I changed my
When painting figuratively, it’s easy to mindless daubing where anything goes. viewpoint or subject here? What
become so focused on setting down the All painting is abstract to some degree, if I used a different medium or
image that we end up becoming tangled but the formal qualities such as colour, surface to paint this subject?

t
Across the River, acrylic on board, 512⁄ x712⁄ in. (14x19cm). Use the initial walks to earmark possible subjects for a more concerted effort.
Use your eyes and a couple of earth colours in yellow

It takes both the eye and the mind ochre, burnt sienna and burnt umber.
to make a painting. During the walks The umber makes a really good mix
you’ll develop such an eye as you with ultramarine for my darks.
make initial studies or more finished Living amid the chaos and noise
pieces. The mind takes over when of our daily routines, we sometimes
you return to look at your work, the forget to enjoy the present. Setting
resources or investigations you’ve a project can add more interest to your
gathered in your journal. These painting, and enrich your general
reflective moments suggest directions wellbeing into the bargain. You’ll not
you might explore further at home, only accumulate a decent body of
or during your next visit on site. artwork, but you’ll also explore a piece
Knowing what I want to achieve, of landscape you might not otherwise
where I want to go and what I need have considered. There’s also a
to take means I don’t waste valuable pleasure to be had studying the
time wandering around looking for work of other painters, or researching
somewhere to paint. an abundance of writings on every
Once I decided to see out the day to subject the place may throw up.
avoid rush hour traffic. This really was One such discovery for me was
a magic hour as the fading light made Jean Sprackland’s book Strands:
way for dusk. I took a few pictures A Year of Discoveries on the Beach.
and researched other painters who On stretches of the very same coastline
had tackled the same subject, such I was walking, she perfectly described
as JMW Turner and Julius Olsson. the project I had undertaken. ‘I’m
Having made a few studies and embarking on this year of discovery t
Bottles, stones, driftwood and
choosing a couple of likely locations, not as a naturalist, historian or any other unusual surfaces you gather
I often return late afternoon and paint geologist, but as an ordinary walker. along the way can all be experimented
on site. You don’t have long as the I’m setting out armed with curiosity on. These bottles were primed then
light fades, but I sometimes take a few rather than expertise, to pay a painted with acrylic.
photographs and add the finishing different kind of attention to what
touches back home if needed. I see. I hope to cut through the blur
Whether I’m using acrylic or oils, of familiarity, and explore this place
I usually take about ten colours as if for the first time.’
including white, and these can cope Why should these places be any less
with most situations. I have a palette
of warm primaries in cadmium red,
interesting because they are familiar to
us? Book an appointment with yourself
Steve Strode
Find out about Steve, his work and classes
cadmium yellow and ultramarine blue. and set off ‘armed with curiosity’, and
by visiting www.stevestrode.blogspot.com
I also have a cooler trio in crimson that familiar place you once took for
or find him on www.painters-online.co.uk
red, lemon yellow and cerulean blue, granted might just surprise you. LP

LP09 30-33 Underhill_Layout 1 28/07/2017 16:48 Page 30
Digital
Embrace digital
Part 2 Follow Tony Underhill step by step as he demonstrates how
to use digital art to expand your traditional drawings and paintings
LEARNING OBJECTIVES
n
n
Dip a toe into digital art
Use out of register shapes
E mbracing digital art doesn’t need
to be a wholesale change. You can
use it to improve or expand what
you’re already doing using traditional
pens, paints and paper. Last month
create flexible, visually striking tonal
plans to make your work easy to read
and, therefore, more effective. This
month I want to show you one way you
can expand your traditional drawings
and discord colours
I demonstrated how to improve your and sketches by adding digital colour
n Create a balanced design traditional paintings by using layers to blocks to give them a contemporary or
perhaps retro twist and ‘new tech’ feel.
I used the Procreate for iPad app
(£5.99 from the iTunes App Store)
and believe other apps have similar
functions. I selected and drew with
a stylus, but with practice you can
achieve similar results by using just your
finger. Whatever you use, I suggest you
familiarise yourself with the basic user
interface and functions first, through
online manuals and user forums, trial
and error experimentation and
YouTube tutorials.
Use my Market Place, Hitchin
sketch (left) if you’d like to do your
own version of my pen and paper line
drawing and follow along step by step.
Alternatively, scan or photograph it to
use as a readymade digital image.
I hope my two demonstrations have
given you a taster of what’s possible just
by dipping a toe into digital art and that
you’ll enjoy experimenting further.
Tony’s original pen and paper

t
sketch of Market Place, Hitchin

Demonstration Adding digital colour blocks
Actions icon
Layers Icon
Gallery
Step 1 Import the sketch
t
1 Tap Gallery, create a new canvas,

tap the Actions icon and insert your
line drawing. Mine was a pen sketch
I’d saved as a photo on my iPad.
2 ‘Pinch out’ with your thumb and
forefinger to resize the image to suit.
3 Tap the Layers tool, make sure your
sketch layer is selected, tap on the
‘N’ (for Normal) and select Multiply
to make the layer transparent.
Select ‘Multiply’

Colour icon
Step 2 Create a ‘discord’ palette
t
1 Tap the Colour icon, select Palettes, create a new
one and call it ‘Discords’. Discords are colours that are
widely separated on the colour wheel so, rather than
harmonising, they clash. Normally this is something
to avoid but just right for what we’re after here.
2 Using the Colour Picker sliders, select your first
colour and add it to your new palette by tapping
a box in the palette grid. I chose blue-green because
of its bright and striking effect.
3 Repeat for each of your discord colours (in my
case a yellow-orange, some pinks and red-violets
and two more blues) and add white too.
Colour Picker Sliders
New Palette
Selection icon Layers icon Colour icon

Step 3 Shops
t
1 Use the Layers icon to add a new layer,
tap on it to reveal the layer menu, rename
it Shops, then drag it down to sit under the
sketch layer and leave it selected.
2 Tap the Selection icon then tap at various
points on your sketch to create the shape for
your first colour block. We’re aiming for an
‘out of register’ look where colour blocks are
deliberately misaligned with shapes in the
line drawing. There’s no need to be precise,
but make sure the shape is fully enclosed.
3 Tap the Colour icon, select a colour
from your palette to change the colour
swatch, then hold and drag the swatch onto
your shape. Click on the selection icon to
turn it off.
4 By turning the Selection icon on and
off for each new shape and changing
Tap at each corner to create an enclosed shape
colours as you go, repeat the process for
the rest of your shop shapes.
Step 4 Sky
t
1 Create another new layer

immediately under the
sketch, call it Sky and leave
it selected.
2 Use the Selection tool and
Colour swatch to create your
sky shape and fill it with
colour. I used one big shape
and overlapped the shop
shapes in a few places to link
them together. You might
prefer smaller blocks and/
or rounded edges.
3 My sky colour was too
overpowering so I tapped the
Adjustments icon, selected
Opacity and adjusted the
slider to lighten the layer.
Adjustments Colour
icon swatch
t

Digital
Demonstration continued
Step 5 Features
t
1 Create another new layer, call it Features
and leave it selected.
2 Repeat as for the shop blocks and pick
out some features. I chose some chimneys
and windows, a blind, a large umbrella
and most of the people.
3 ‘Pinch out’ on the screen to zoom in if
you need to. Keep the shapes ‘out of register’
and most of the colours clashing.
4 If you change your mind at any point use
the Undo tool to reverse each step in turn.
Undo tool
Step 6 Foreground
t
1 Create another new layer,

call it Foreground and leave
it selected.
2 Repeat as above to create
some foreground shapes. I used
diagonal lines to help suggest
a change in plane and tried to
balance shapes and colours
with what I’d already done.
Add foreground shapes
Step 7 Windows
t
1 Create another new

layer, call it Windows and
leave it selected.
2 Add some ‘out of register’
white shapes over some
of the windows.
‘Out of register’ window shapes

Digital
TOP TIPS
l Make sure your sketch layer
is set to ‘multiply’ (to make
it transparent) and that it sits
above all the other layers.
l Try changing the order and/
or opacity of the other layers
to see what happens.
l There’s no right or wrong way
of doing this so have fun.
The final
Step 8 Final adjustments arrangement
t
1 Final adjustments can be made by of layers Locked

adding new shapes to any layer in any
colour. Earlier steps can’t be undone
without losing the interim steps, but
you can use the Erase tool to remove
areas of a layer to reveal the one below. 3 When you’re all done, tap the
2 I decided to add another feature Layers icon, then swipe each layer Tony Underhill
block and erase parts of the shop layer to the left and ‘lock’ it to protect Tony lives in Bedfordshire and normally
to reveal some additional white areas. against accidental change or loss. uses line and wash. He can be contacted
This helped to balance my picture at tonyunderhill@me.com
better and keep it as lively as possible.
t
The finished image Market Place, Hitchin

LP09 34-37 Fisher_Layout 1 28/07/2017 17:00 Page 34
Acrylic ink
t
Hill Top Farm, FW Acrylic Ink on Sennelier 140lb Rough watercolour paper, 6x9in. (15x23cm)
Line and colour

Part 5 Use a limited palette of acrylic inks to achieve a variety
of effects, from drawing to adding washes, with Tim Fisher
LEARNING OBJECTIVES
n How to handle, apply and mix
acrylic ink
A t first glance, the strong
colours of acrylic inks may
appear a little daunting, but
used in their entirety they can provide
ink cleanly without contaminating the
contents with another pigment. Some
bottles require a good shake before
using, as the pigment tends to settle
n Methods to adapt and erase a versatile medium, both to experiment over time.
mistakes with and to create transparent and For a palette I like to use something
vibrant paintings. disposable, generally a waxed or
n Find a clear working process I prefer to use the Daler-Rowney plastic plate with divisions. I pour the
FW Acrylic Inks. These are available ink into a collection of small wells,
in a wide range of colours, but a which have been used previously
convenient package is the FW primary as packaging for chocolate.
colours set comprising: lemon yellow, Alternatively, the base the bottles are
process magenta, process cyan, sepia, packaged in can be used as a palette.
emerald green and scarlet. I also find The ink can be transferred from
bottles of black and white FW ink these wells into the mixing plate
come in handy. Each glass bottle using a No. 3 Pro Arte Rigger. These
contains an eyedropper type phial, are better to use than the working
which can be used to dispense the brushes, as the Rigger transfers very
little liquid back into the ink, keeping
the colours bright and strong. My
Tim’s equipment: A set of six Daler- working brushes are a Round No. 8
t
Rowney FW Acrylic Inks, three brushes nylon brush and a Jackson’s No. 6
and palettes squirrel mop.

t
St Paul’s from Ludgate Hill, FW Acrylic Ink on Moulin Du Roy 140lb Rough watercolour paper, 11x14in. (28x36cm)
Wet-in-wet technique end walls were added with a mix of I think that adds to the image.
Hill Top Farm (above left) sepia and cyan. The sunlit walls and Using a soft squirrel I washed
demonstrates the inks used wet in chimney fronts were sharpened up by diluted cyan over the dry paper
wet. This medium flows very easily painting over with white ink. I then surface, reserving the buildings as
on the paper surface and produces carefully wet around the buildings white paper. A mix of magenta and
some very satisfactory effects. and wall top with clean water and lemon yellow was washed over the
Taking a piece of Sennelier Rough added the tree line with the No. 8 buildings and I added a streak of
watercolour paper, I drew the farm in brush and a slightly stronger mix almost pure diluted scarlet into
the upper half of the paper using cyan of black and lemon yellow. As the right hand building.
ink and a steel nib pen. I chose this I progressed to the right I diluted the The building on the left was
colour as the building is quite distant pigments back more to give a sense created from washes of sepia mixed
and I wanted the line work to be of recession. I also used this colour with cyan. I let the paper dry then
more subtle. Sometimes when to paint in the stone wall. added scarlet, green and yellow into
working with different coloured inks, When this area was nearly dry, the clothes of the standing figures.
the pen blots without warning. The I painted down to the bottom of the The building on the right as
offending mark should be removed paper with very diluted cyan, allowing strengthened with another wash of
immediately with a damp paper some of the wall to bleed into the magenta mixed with lemon yellow.
towel before it dries. paper to lose any hard edges that I then added shadows over the entire
When the drawing was dry I masked formed as the ink dried. Into the painting with a diluted mix of sepia
the house, outbuildings and top of the bottom right I added a little emerald and cyan. Once the underlying layers
wall using a masking fluid made from green and into the left I added scarlet of acrylic ink were dry they were
Copydex glue mixed in equal parts and cyan from the ink bottle dropper completely waterproof so there was
with water. When dry, I wetted the and flicked in clean water as the no problem with the pigments being
upper part of the paper with the paper began to dry. Over the top lifted off the paper as washes of
squirrel brush and very diluted cyan. of the now dry surface, marks were shadow were added.
I let the shine go from the paper then added with the nylon brush and When I had finished painting
added a slightly stronger mix of sepia sepia to represent grasses and rocks. the bus, it didn’t look quite right.
and cyan for the distant hills. I let this Although normally permanent, the
dry a little before adding the nearer Problem solving ink could be removed from the paper
hill with a stronger version of the St Paul’s from Ludgate Hill (above) surface using a dense white sponge
same mix. is a loose interpretation of a complex called a ‘magic sponge eraser’.
Once the surface was completely subject. I worked very quickly using Care must be taken to work on
dry I removed the masking fluid to the sepia ink and a dip pen to create a good quality paper, as when used
reveal the farmhouse and buildings. the scene. There are quite a few vigorously, these sponges will remove
inaccuracies in the drawing, but
t
Shadows under the roof overhang and the paper surface on a cheaper

Acrylic ink
watercolour paper. Once I had

removed ink from the offending
area I redrew some of the lines and
repainted the bus with scarlet ink.
Highlights
Welsh Farmhouse (left) is an
imaginary scene I drew with sepia
ink and a dip pen. To achieve the
effect of clouds, clean water was
added to the sky into which cyan
was added. On reaching the building
I quickly changed to very diluted
magenta and continued all the way
down to the base of the paper. I let
the paper dry then added the layers
of hills with a mix of cyan and sepia.
Whilst the last hill was still damp,
I introduced the conifer trees with
a mix of black and yellow. The trees
on the left were drawn onto dry
paper with a dip pen and a diluted
wash of sepia added to the edges
whilst the lines were still wet. The
roof and shadows on the building
were added with a wash of cyan and
sepia. The green in the foreground
was emerald green mixed with
a little sepia. As the wash dried,
I added strokes of sepia to represent
grasses.
I finished by adding highlights onto
the grazing sheep and a little smoke
t
Welsh Farmhouse, FW Acrylic Ink on Sennelier 140lb Rough watercolour paper, 10x13in. drifting out of the chimney with the
(25.5x33cm) white ink. LP
Demonstration Ravenglass
You will need
n Surface n FW Acrylic Inks
l Moulin Du Roy l Lemon yellow
140lb Rough l Process magenta
watercolour l Process cyan
paper (11x12in) l Sepia
(28x30.5cm) l Emerald green
l Scarlet
Step 1
t
1 Draw the view of Ravenglass with

a pen and sepia ink. I introduced
a small boat to add foreground interest.
Add the distant shoreline by drawing
the dip pen across an upturned rule
to keep the horizon level.
2 Wet the sky with clean water and
introduce diluted cyan with a squirrel
brush. Adding the clean water to the
paper surface first helps to create
clouds, as the ink will flow readily
into these areas.
3 Continue all the way down the paper
to represent the water. Allow the brush
to run out of ink as you reach the base
of the paper so that it skips over the
rough surface and reveals highlights.
4 Add a very diluted blue into the
shoreline buildings.

Step 2
t
1 Mix sepia with cyan and add

to the distant cliffs.
2 Add a mix of yellow and magenta
over the buildings and shoreline,
reserving the end cottage and boat
as white paper.
3 Paint the rooftops and sea wall a
green-grey, using a mix of sepia and
cyan with just a touch of yellow.
t Step 3
1 Once the paper is dry, add another from the left-hand side.
wash of the same colour over the
rooftops.
3 To finish, paint the side of the
boat with scarlet and finally add
Tim Fisher
Find out about Tim’s workshops,
2 Apply shadows into the buildings and a mix of emerald green and sepia demonstrations, holidays and classes by
sea wall with a stronger version of the onto the shingle under the wall. visiting www.timfisherartist.co.uk
same mix. Bring in more cast shadows
t
The finished painting Ravenglass, FW Acrylic Ink on Moulin Du Roy 140lb Rough watercolour paper, 11 x12in. (28x30.5cm)

LP09 38-41 Chadderton_Layout 1 28/07/2017 17:10 Page 38
Watercolour
Loose and lively

Part 2 Liz Chaderton discusses a variety of techniques and
approaches to painting bird and animal textures in watercolour
LEARNING OBJECTIVES
n Paint textures with salt
and Clingfilm
n Learn classic watercolour
techniques
n Practise brush control
L ast month we considered what

painting loose really means –
and what it doesn’t. Now it is
time to stop reading and to pick up
your brushes. By practising some of
the following exercises, not only
will you create lovely paintings,
you will learn invaluable lessons.
Become your own tutor and
analyse everything you do. If you
are happy with the outcome, ask
yourself why and how could you
make it even better. If something
went wrong, identify at what stage,
what you can do to avoid doing it
again and focus on the positive –
what went right and why? Your
learning will accelerate.
If you hold your brush like a pen,
it will be very controlled. If you
hold it at the end, you will need to
use your whole arm to move it and
it will give less control with more
expression. If you hold it at the
end and stand up, you will achieve
even more expression and use your
whole body. Try to paint with a
larger brush for as long as possible,
on a piece of paper larger than
your intended finished size.
Tip
Use the back of
your hand to feel
if the paper is
dry. If it is cool
to the touch,
there is residual
moisture.
Time to Reflect, watercolour,

t
1734⁄ x1334⁄ in. (45x35cm). My avocet

needed somewhere to wade so I used
Clingfilm to create a few ripples.

Watercolour
t 1 Experiment with your brushes t 2 Tone

Use your largest Round brush and see what Achieving good tonal variation is key to producing a great
variety of marks you can make. Use the tip painting. Tone is the lightness and darkness of the colour,
or the belly, and make sweeping marks that while hue is the actual colour. Tone describes the physical
break up across the paper, straight lines and shapes, while hue captures the emotion. You can paint
wiggles. Avoid dabbing and try to touch the a landscape in purple and, if you make the tones right,
paper only once to achieve your desired result. it will be lively and recognisable. Your painting may have
Now do the same with your smaller Round wonderful colours, but if they are all similar tones it will
and your Rigger. If you have a flat brush, be lifeless. For me tone matters far more than hue.
experiment with the tip, the edge and flat. Try painting your favourite subject in one colour. If you
Keep this as a crib sheet and aim to make find it hard to see tone, use your phone to take a black
the same exciting marks in your paintings. and white photo.
t
Experiment with your brushes – how many
different and exciting marks can you make with
one brush – the tip, the side, the belly?
3 Make the
water work Top Tip
for you If your colours are insipid,
How you handle you may be going straight
the water is more from cleaning off your
important that brush into your wash and
how you handle therefore adding lots of
the paint. You water each time. Blot your
may never be brush on a sponge or paper
fully in control, towel so you know exactly t
Make a monochrome painting to help you concentrate on tone
but it will make how much water is in it. without colour as a distraction
a difference.
4 Wet in wet
t
You may be heartily bored with up surplus water and wash or

your monochrome by now so can be used to soften a hard edge.
choose three harmonious colours I bet you have some really exciting
(close together on the colour wheel) passages – does it bring a subject
or a triad of primaries. Now wet a to mind? Could this make a
quarter sheet of watercolour paper fantastic background?
and, using a big brush, paint broad
strokes of colour. Tilt the paper to
help the colours merge. Spray with
water if you want to wash a path Tip
through the paint. Try dropping in Don’t forget watercolour
more pigment. Use lots of water will dry up to 30 per cent
and paint! lighter.
When you have a pleasing result
with no hard edges, lay it flat to dry
completely. Mop off any puddles
at the edges with a thirsty brush or Wet on wet – look how running
backruns will result. Thirsty brush is water through the wet washes
a clean damp brush that will suck creates a path of light
t

Watercolour
5 Wet up to wet
Working wet up to wet allows you to have the soft
colour merges in a more controlled way. First mix
your colours to a semi-skimmed milk consistency –
you don’t want to have to mix more halfway through.
Place the first colour then place the second alongside
it. Even a tiny gap of dry paper will keep them apart,
but if they touch the magic will happen. The colours
will merge in exciting and unexpected ways.
t
Wet up to wet – let your imagination run wild, create soft and hard
edges, and use the handle of your brush to paint the quill and down
TRY THIS!
1 Find a feather and decide if you want to paint it in real or fantasy colours.
Sketch a light outline. Note the central quill and the way the barbs come out
of it. Look at the downy after-feather too.
2 Now on dry paper using your largest round, begin at the top and work down,
leaving flecks of white to suggest the shaft and barbs. Change colours as you
go to allow them to merge.
3 When you are at the hollow shaft at the end, use the wrong end of your
brush to paint it.
4 Wouldn’t it be nice to have some soft edges? Use a clean brush to paint up
to the edge with water then let a little of the colour bleed away. If you have
a fine spray, try gently spritzing the edge (use your hand to shield parts of the
painting you do not want to spray). If you want to lighten any area to give
a glossy appearance, while wet lift some of the pigment using a thirsty brush.
You can make gentle marks and patterns in this way too.
5 Now repeat the painting, but dampen the
t
6 Combine wet into wet and wet up to wet paper first.
Remember making that lovely wet-in-wet mix in No. 6 Let it dry and analyse. Which area do you Tip A variety of edges
4 (page 49)? Let’s use a more intense mix of the same like? Can you see how the white suggests the – hard, soft, lost and
colours to paint a subject on top. Select a subject with form? Do you like the soft and hard edges? found – will give your
a strong outline and paint it wet up to wet, just as we Can you see how the variety helps your eye painting interest.
did the feather. This shows the importance of tone move round the subject?
and shape. You might drop in some clean water to
create backruns if it is appropriate to your subject.
7 Texture
t
Watercolour is a flat medium with the only real texture

coming from the paper, but you can create the illusion
of texture. When we are painting animals these textures
are wonderful for creating fur and feather, but a note
of caution – only use a technique if it brings something
to the party. If you use lots of texturing, your painting
may become very busy and clichéd.
It’s a great idea to make a reference sheet. You will
find that different pigments make a big difference
to the end effect. LP
For salt, some colours work beautifully (say the pinks and
t
purples) and some don’t (the earth pigments). You will find this
out by trial and error. Often the results of texturing are better
if you let the wash start to dry – putting salt into a very wet
wash simply ends up with a salty puddle.
Paint a fairly intense wash and sprinkle a small amount of
ordinary table salt into it as the sheen is starting to go. Wait
for the magic, as snowflakes appear. Could this be used for
the down on a bird? When absolutely dry, scrape off the
crystals with your nail. t
Table salt

t
Two’s Company, watercolour,
1534⁄ x1534⁄ in. (40x40cm). I used
salt textures extensively to paint Liz Chaderton
these Indian Runner ducks, both Liz is a professional artist based in http://lizintheshed.wordpress.com/. She is
in their downy breasts and in Berkshire. She runs classes and workshops taking part in the Wokingham Arts Trail 23
the background to echo it. and exhibits across the country. Visit her to 24 September and is leading a holiday
website www.lizchaderton.co.uk for details with Arte Umbria from 4 to 11 July 2018
or her blog for more tips and ideas at (www.arteumbria.com)
Repeat with Epsom salts –

t
the larger crystals make

different marks.
Now paint two
t
colours up to each
other. Stretch
the Clingfilm to
make wrinkles
in the
direction you
want and put
it on the
wash. You can
move it
around until
you get a
pattern you like.
Leave it in place to
dry, which will take
longer than usual, as
there is no evaporation.
Don’t use a hairdryer for
obvious reasons! I have used it
t
Epsom salts for wet fur or ripples on water. t
Clingfilm

LP09 42-44 Samuelson_Layout 1 28/07/2017 17:22 Page 42
Product report
Jackson’s Raven synthetic

squirrel brushes
Becky Samuelson experiments with a range of well-made, affordable synthetic
brushes to produce a variety of effects and textures in watercolour
making various strokes (Figure 1,

LEARNING OBJECTIVES below). It is difficult to gauge brush Tip
n Develop your brush-handling sizes from an article so I measured the Avoid swilling your brushes in water
skills length of hair from the base of the brush unnecessarily. I often see people mixing
to the very tip, just to give you an idea.
n Practise watercolour techniques Approximately they measure: No. 4
a lovely puddle of paint then washing
with a range of brushes their brush! If I need a touch of another
is 3.5cm; No. 2 is 3cm; No. 0 is 2.5cm; colour, I use the same brush and gently
and No. 10/0 is 2cm. modify the first colour. This way I know
I t is always a pleasure to test new

brushes and I am delighted to put
Jackson’s Raven synthetic mop
brushes, Series 528, through their
paces. The Raven is made from
The brushes are very comfortable to
use. There is a softness and fullness to
the hair that mimics squirrel brushes,
each brush coming to a really good
point. The brushes also hold an excellent
exactly how much paint I have on the
brush and how wet it is.
synthetic squirrel hair and is a black, amount of paint, facilitating long

short handled mop brush, beautifully continuous strokes of watercolour and Raven No. 10/0, for the fine detail
balanced in the hand and available in felt comparable to the more expensive such as the mast, reflection and buoy.
six sizes. The largest size is No. 6 pure squirrel brushes with regard to It was quickly obvious that the brushes
(£17.20rrp), reducing in size to No. 4 release and application of paint. are beautifully made, sensitive in their
(£13.20rrp), No. 2 (£10.30rrp), No. 0 If this is the first time you have used paint handling and application and,
(£8rrp), No. 3/0 (£6.50rrp) and No. 10/0 a mop brush, I would first play with the because they carry a lot of paint, there
(£5.60rrp). I shall be testing Nos. 4, 2, 0 brushstrokes on paper. Just paint really is a freshness and cleanliness in the
and 10/0 in this report. long speedy strokes to build your brushstroke.
I initially played with the brushes confidence and realise their potential. If you can remember speed of
Don’t be afraid that you are application helps with cleanliness and
wasting paper; just let your freshness in the wash then it makes
hand go and see what you sense to use a brush that delivers that!
can do. This will help you These brushes will hold what you need
remember what to do once to apply the wash without reloading
you start on a sky! your brush too often. I felt pretty
impressed with these brushes and
Good handling keenly planned the next illustration.
I completed various paintings
to try out different techniques Large scale
– some wet in wet, some wet I was keen to try these brushes on
on dry – and find how the a larger scale and using the wet on dry
Raven brushes perform. The technique, which really tests how much
first is a small study of a boat each brush can carry. Having drawn the
(Figure 2, top right). Using picture (Figure 3, right) I mixed a good
the Raven No. 0, I wetted the puddle of cobalt blue and, using the
paper then washed in the sky large Raven No. 4 brush, I painted down
using cobalt blue and light to the top of the clouds in one go. This
red wet in wet. When dry, left some nice hard shapes for the tops
I mixed cobalt blue and raw of the clouds. If you feel you need to
umber for the distant hills soften any edge then immediately do it.
and cobalt and new gamboge Above the hills, I painted a paler low
for the greener aspect. sky wash adding a smidgeon of
For the sea, I applied a pale cadmium red to the mix.
wash, wet on dry, in one Wet on dry is made easier because
continuous stroke, avoiding these brushes hold a huge amount of
the white buoy. paint. Don’t be tempted to use a smaller
When this was dry brush. Be brave and use a big brush
I repeated the wash, adding and enjoy the experience of painting
a touch of raw umber to the with really loose paint delivered by
t
Figure 1 Brushmarks The top, smallest marks are mix, but starting level with a top-class brush.
made with the 10/0 followed by 0, 2 and 4. You can the boat, gently easing the Once dry, I repeated the sky adding
see that both broad and fine marks are possible at top edge with a wet brush. a second layer of clouds wet on dry.
the same time with each brush. I used the smallest brush, I love the drama of skies and enjoy

playing with layering paint. These

brushes encourage expressive and
painterly brushstrokes and would
certainly assist the more nervous
painter to develop bolder and fresher
washes.
I then changed to a Raven No. 2
and added yellow ochre to the sky
colour in the palette and painted the
distant hills. Using a stronger mix of
ultramarine, new gamboge and raw
umber, I painted the next layer of
stronger trees.
Once this was dry, the water had
a similar treatment using Raven No. 4
and a mix of cobalt blue and raw
umber to give a good sea green in
one quick clean wash. The water
was developed adding further paint
to the nearer aspects with the smaller
Raven No. 0 in sweeping horizontal
brushstrokes. Once dry, the light masts
were finally lifted out using the Raven
No. 10/0 and clean water.
Building up layers
With this study (Figure 4, page 44)
I wanted to block in colour by building
up the layers, gradually increasing the
detail. Using the larger Raven Nos. 4
and 2, I covered the whole of the paper
using cobalt blue for the sky and olive
trees and Naples yellow for the barn
and grass. I then let it dry.
t
Figure 2 Boat Study, watercolour, 512⁄ x512⁄ in. (14x14cm)
Figure 3 Harbour View, watercolour on Bockingford Fat Pad, 11x15in. (28x38cm)

t

Product report
I concentrated on working in large

washes of colour repeating the olive
trees using a mix now of cobalt blue
and Naples yellow plus repeating the
grass colour. I continued building up
the tones in the olive trees blocking in
centrally but creating more of an open
framework for the outside edges of the
trees with darker more specific leaf
shapes. The cyprus tree and foreground
had new Gamboge in the mix. I used
the finer Raven No. 10/0 for the smaller
leaves and nearer grass.
I was very excited by these brushes;
they really do perform well and do
everything I asked of them.
Brushstroke variety
This final example (Figure 5, below
left) combines both wet on wet and
wet on dry with both broad and fine
brushmarks. I initially reserved any fine
light areas with masking fluid using a
Colour Shaper to apply it, as it can ruin
brushes! If you don’t have a Colour
Shaper, use a cocktail stick.
Once dry I covered the whole of the
background wet in wet, using cobalt
blue and raw umber for the water, raw
umber for the sand, and raw umber,
cadmium red and ultramarine for the
shadow under the boat. I used Raven
No. 4 for the water and No. 0 for the
sand – a brush for each main colour.
Then I left it to dry.
Next, using the shadow colours
t
Figure 4 Tuscan Olive Grove, watercolour on Bockingford Fat Pad, 814⁄ x814⁄ in. (20.5x20.5cm) I painted the shadow side of the boat;
you only need a couple of strokes with
these brushes. Each application of paint
was allowed to dry before I assessed the
tone and decided whether it needed
another layer of paint.
All the fine work was done with Raven
No. 10/0. The buoys were painted with
cadmium red and new gamboge with
ultramarine for the top. When fully dry,
I removed the masking fluid and applied
shadow colours to the railings.
In conclusion
These four brushes allowed me to
do everything I wanted to do. They
performed brilliantly in covering the
paper for both large expansive washes
and equally for fine, detailed aspects.
Comparing them like with like to pure
squirrel brushes, they hold a comparable
amount of paint, have all the benefits
you would expect from squirrel, but in
a synthetic version (no animal products
were used in their manufacture) and at
a fraction of the cost. I shall shortly be
going on my painting travels and these
brushes will be coming, too. Do give
them a go and I hope you enjoy them
as much as I have. To find out more
visit www.jacksonsart.com. LP
Becky Samuelson
Further information on Becky, her
paintings and tuition can be viewed at
www.beckysamuelsonfinearts.co.uk
t
Figure 5 Fishing Boat, watercolour on Bockingford Fat Pad, 814⁄ x814⁄ in. (20.5x20.5cm)

LP09 45-48 Croxford v4_Layout 1 31/07/2017 10:20 Page 45
t
Cat working on New Year Promises in the studio. See the finished painting on page 47.
Lessons in the landscape

Part 2 Develop the basic techniques learnt last month
to paint a landscape in acrylics, with Cat Croxford
putting the focal point one third in

LEARNING OBJECTIVES and one third up or down is pretty
n Develop your composition skills fool proof. Trust yourself! If it looks
n
odd then it probably is.
Build more confidence with
Be careful when working from
brushstrokes
photographs. A good photograph
n How to mix and layer colours may be just that and only that. Not
every image makes a good painting,
and I’m a big believer in putting it
through your ‘artist filter’. Do not be
L ast month we looked at how

to begin painting in acrylics,
using the largest brush for an
area, three values for each colour
and mixing your paint colours on
a slave to the image. Play with all the
elements, add in extra colour,
simplify unimportant areas, and
eliminate awkward or distracting
form so that the painting eventually
the canvas. This month we take speaks your language!
those processes and techniques
further and consider whether
it matters where we start with
our composition. A small brushmark made by angling
t
the brush over dry paint. Marks to the

Composition right were made into wetter paint and
Good composition is essential and have a softer edge.
t

Acrylics
t
How we left the painting last month. Low colour contrasting detail was brought into the foreground. Stronger light was painted
on the trees, wet on dry for sharper edges. Various greens were added to the left of the canvas to see what balances best.
Developing marks as if it emerges with soft contrast. the sky colours to refine and thin
When we begin with acrylics, Once this has dried, if we want the branch marks. This way we
we use three values and mix the to make any adjustments, the marks can also achieve a lively sky with
colour on the canvas before it dries. will sit heavily on the dry paint, expressive brushmarks, which start
Each mark is soft, because it mixes giving you a sharper mark with contributing to the development
with the existing wet paint and looks more contrast. This is a great way of an individual style.
to bring in detail and highlights. A stiffer brush, such as the DaVinci
To make the adjustment more Impasto brush or Amsterdam paddle
subtle, match the dry colour then brush will give you sharper marks
work your adjustment colours than a more flexible brush.
into it. As you start to build your painting,
We can also work wet on dry you may find yourself making
to create layers of more complex smaller marks to create detail
colour. Many pigments have and texture.
a level of transparency, which Also consider how you are holding
means that when painted thinly, the brush and what part of it comes
the previous dried colours can into contact with the painting. By
be perceived through them. holding the brush almost flat against
Further layers will intensify the the painting means you will lay
applied colour. paint on thicker as you use a larger
Try as much as possible to mix surface area of the brush. If you are
the colours on the canvas. Where aiming for a finer mark, use the
you are working smaller you may edge of the end of the brush by
not have the room to do this so angling it at about 45 degrees from
pick up two colours at a time, or the canvas. Experiment with
mix a little from your three values pressure, not just to mix the paint,
with your brush on your palette but also to create different marks.
before you apply to the canvas.
Colour mixing
Mark making Our starting point has been
By exploiting the process of three values of similar or analogous
painting on dry paint we can start colours. Some areas of your
where we like. We can start with composition may have lively and
the foreground of a composition varied colours that may not fall
and work backwards, or vice versa. easily into three values of one
t
Using an Amsterdam paddle brush By painting a tree and branches first, similar range of colours. If this is the
with cyan and titanium white to refine for example, then painting the sky case, bring all the colours out onto
the tree shape after the tree has dried, we can use your palette you wish to use then

Acrylics
t
The finished painting New Year Promises, acrylic on canvas, 2612⁄ x47in. (67x120cm). Finished! My final marks were small branches
weaving in and out the trees, dulled orange leaves (mixed with blue) and a transparent magenta that gave a subtle colouring over
some purples and oranges, popping the painting.
establish the darkest and the lightest. lay colours down to test them
Within your painting, try to keep out against the rest of the painting.
your palette as simple as possible. Consider your colours in context
For example, if an area calls for rather than agonising off canvas.
green, consider using a blue that Acrylics allow you to do this
you have used already to make the experimentation because the
green. This will aid the sense of paint will dry and you can
balance and cohesion with the work over it.
final painting. Towards the end of the painting
The more you paint, the more you you need to step back more and
will be able to predict colour mixes. more often to consider what
But one trick I rely heavily on is the needs to change. Trust your
power of mixing complementaries. artistic instincts and don’t let the
Whilst next to each other, desire to copy the photograph
complementary colours (opposites exactly get in the way. How the
on the colour wheel) create an often painting stands on its own is
vivid and exciting pairing; mixed what matters, not comparison
together and they can create muddy with your original source.
browns. Carefully combined they can
be used to create subtle additions to The finishing line
your palette. For example, sap green Try not to leave your painting
can be made more khaki by the before you think it’s finished.
addition of a little cadmium or Give it time to settle, and time
pyrrole red. Mixed the other way, for you to become unaccustomed
a little sap green will take the to it. Varnishing is optional; it
brightness and slightly darken the provides a protective layer and
red. Balanced perfectly, and with the may brighten your colours.
addition of a little titanium white, Consider whether you want a
they create subtle greys. Experiment gloss or matt finish, I like
with yellows and purples, blues and Winsor & Newton gloss varnish
oranges. You can mix these both on spray for oil, alkyd and acrylic.
the palette or on the canvas, making Over the page you will find
t
Angling a Jackson No. 8 Akoya flat
small adjustments whilst the paint answers to five questions set brush to achieve a finer mark of Ara
remains wet. by my students. I hope my two Prussian blue. Note the contrasting
articles (last month and this) values of the trees, implying depth
and form.
Composition and balance have answered at least some
As you start new areas of your of your questions on acrylic
painting that you are uncertain of,
t
painting. LP

Acrylics
t
Bloody Poppies, acrylic on canvas, 18x2312⁄ in (45x60cm). Red layered over burnt umber in overlapping marks creates the variety
of values of the poppies, which were painted first and the green last (front to back). The green areas were painted wet in wet to
give soft edges to each mark and to blend colours.
PROBLEM SOLVING
Q My brush is getting sticky Q How do I know if a colour is transparent? forward and what impact that has on your
A Try to wash your brush as little as A Look for the coding on the paint tube brushmarks, style and colour choices. Then
possible when mixing your paints on or refer to the maker’s guide. A clear box test the alternative of starting with the front
the canvas so you continue to build up indicates transparency, a solid box and working the background around the
exciting colour from your brush. However, indicates opaque. front. If you feel very confident about a
at some point the paint may start to dry particular part of the painting, start there!
on the brush. Clean it thoroughly then Q My painting looks flat. The rest of the composition will fall into
dry it off completely. A You may find that you do not have place, and with acrylics there are no closed
enough variety of values, or that there are doors; you can go back at any time to
Q How can I make small marks with not areas of contrasting values to imply change it. LP
a large brush? depth and form. Using three values equally
A Using a large brush can still give you over a composition will achieve a dull and
smaller marks if you angle the tuft of the monotone painting. You need to consider
brush or load paint only on to part of the where the extremes of your values are, the Cat Croxford
tuft. Working this way achieves expressive darks and the lights and how they relate. Cat works predominantly in acrylics
marks and helps you avoid being too tight. Do the values slowly get lighter or darker from her studio in Mapledurham,
Make sure your brush isn’t full of paint, through medium values, or are there sudden south Oxfordshire (visit
wash it and squeeze along the tuft to jumps, contrasts from one value to another? www.catcroxford.com for details).
sharpen the edge. Load the paint on part It may help to mark these changing areas She also teaches a variety of courses,
of the tip (representing the size of the out on your photograph by circling areas including acrylics for beginners, at
mark you wish to make) and use a of values. Joe Daisy Studio in Mapledurham
medium pressure, enough to bend the (visit www.joedaisy.co.uk for course
tuft, but not to splay it. For a finer mark Q I don’t know where to start. details). Meet her at the Affordable
you may find a damp brush helps with A Give yourself a plan. Consider first Art Fair in Bristol (8 to 10 September).
flow, but don’t dilute the paint too much. whether you start at the back and work

LP09 49 Subs_Layout 1 28/07/2017 09:21 Page 1
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LP09 50-51 Friend_Layout 1 30/07/2017 22:19 Page 50
Watercolour
Just for the record

Trudy Friend offers hints and tips on
recording the history of a local building
LEARNING OBJECTIVES
n How to paint with a limited
palette
W ith many village pubs closing
and the buildings being
changed into private residences,
it can be an interesting project to
produce a detailed painting of the
forms and textures using a variety
of brushstrokes that give a realistic
impression. This need not look like
a photograph as it is still an artist’s
interpretation. When sections are
n How to produce texture in changing view – just to record a certain seen as close-up detail the strokes
watercolour period of time in the building’s existence. appear varied and relate to each
n Practise your underpainting skills Rather than a loose, painterly approach, of the areas being depicted –
this project shows how to create the treated in different ways.
t 1 The Cherry Tree

t
COLOURS USED
This watercolour painting is of a pub, formerly named The
Cherry Tree, as it appeared while standing unoccupied after
closure. One of the reasons I chose to paint this building,
when there are others locally undergoing similar changes, was
because it contains so many contrasting shapes and textures –
and a backdrop of trees unifying the composition. The contrasts
of tiled and corrugated roofs, painted walls and exposed Lemon Yellow Venetian Sepia French Hooker’s
stonework, and a variety of perspective angles combine to offer yellow ochre red ultramarine green
opportunities for the use of many watercolour techniques.
t
The Cherry Tree, watercolour, 12x1612⁄ in. (30x42cm)

LP09 50-51 Friend_Layout 1 30/07/2017 22:20 Page 51
2 The current building
t
It has now become a private residence
with the addition of a high fence, removal
of the sign and colourful hanging baskets
adorning the wall. This particular building
retains much of its former character
externally with the new fence only
partially hiding the façade.
t 3 Brushstrokes
A limited palette and a variety of different
direction brushstrokes help to differentiate t
This sketch shows how the façade was affected by the removal of the sign,
between the two types of roofing. the introduction of a fence and the addition of hanging baskets on the wall.
Dry-brush texture
French
ultramarine Erratic
brushstroke Drawing with
Mix of for tiled a fine brush
two hues effect
Sepia
Venetian
red
Undulating line
for corrugated roof
4 Underpainting
t
Here the underpainting was done with a dry brush while the Saunders Overlaying
Waterford Millford paper automatically enhanced the effect. While shadow tone
still damp, touch with a slightly darker hue some of the damp areas,
which will enhance the contrast against the dry areas. When all is
dry, the shadow lines (intermittent, due to the uneven surface) can be
‘drawn’ in with a fine brush like a Rigger. Once dry, a wash of shadow Dropping in tints
tone over the whole area unifies. If you wish, further work may be wet in wet
added to increase depth of tone and texture. I sometimes touch
damp areas with the tip of a finger to encourage more texture.
5 Three-dimensional effect
t
This demonstrates how to create

Useful green Dropping in rich a three-dimensional effect by
mixed from dark tone behind working dark areas behind the
three hues light forms highlighted treetops in front.
Warm or cool translucent glazes
unify these areas or ‘bring the
sun out’ – respectively.
Whether we usually paint in
a loose, painterly way or prefer
Hooker’s Sepia a tighter approach, a project
green like this can be an interesting
exercise, culminating in a picture
that brings back memories of
a building – just for the record.
A warm Glazing with

translucent diluted lemon
wash yellow
French
ultramarine
Trudy Friend
Find out more about Trudy
and her work by visiting
www.trudyfriend.co.uk

LP09 52-55 Webb v3_Layout 1 31/07/2017 09:40 Page 52
t
Dexta, watercolour, 10x14in. (25.5x35.5cm). The warmth of the greens and yellows in this painting is counterbalanced by the coolness
of Dexta, the blue tractor.
Take three washes

Part 2 Paint along with David Webb as you
practise his three-wash technique in colour
Unlike oils and acrylics, watercolour is washes are enough, I won’t add a third
LEARNING OBJECTIVES not so forgiving of our mistakes. We can’t just for the sake of it.
n How to paint with a limited just wipe it off with a rag or cover it with Following this basic system gives me
watercolour palette another layer. And that’s why it is vital three definite aims and, if I’ve done it
to have a plan and a clear idea of where right, a clear beginning and finish.
n Mix colours on the paper you intend to go. My resulting paintings remain fresh
n Practise a three-wash technique and free from overworking.
The approach Last month, I stressed the importance
It always pays to break things down into of identifying tonal values and making
W hen it comes to watercolour,

one of the most common faults
among students is overworking.
We’ve all done it. Our painting begins
well as large washes are applied with
a series of steps before committing paint
to paper. I use the ‘three-washes method’
as a rough framework. I try to keep to
the process that I described in part one
last month, which involves a light-toned,
monotone sketches in watercolour, using
just three washes of light, medium and
dark tones. When you paint in colour you
still must evaluate the tonal values within
a scene but now you have the added task
confidence then, almost without noticing wet-into-wet wash first, which covers of mixing the correct colour to the correct
it, we’re dabbing and dotting at small, just about the entire sheet apart from the depth of tone. How do we do this?
unnecessary details with a brush that’s highlights. Once dry, I apply a second,
way too small for the job. The freshness medium-toned wash, covering those Your materials
has been lost and we’ve slipped back areas where stronger, mid-tones are As well as simplifying your working
into first-aid mode, with no clear idea evident. Finally, the third, darkest wash methods, it is also helpful to do the
of where the painting is going or when is applied to the areas where the darkest same with your painting materials. Being
we’re going to stop. darks occur. in possession of 30 or 40 different colour
It’s when you reach this stage that This method is not intended to be tubes and a small forest of brushes is
you realise that perhaps you’ve applied written in stone though, as I wouldn’t not advantageous.
too many layers of paint. Your once want simply to follow a formula that’s too Palette My own mixing palette is of the
promising painting is now all but rigid. If I think another wash is needed, plastic variety, with a hinged lid. It has 12
covered up. Where did it all go wrong? I paint one. Similarly, if I think two colours, most of which are primaries. I do

also have a couple of browns plus a

violet. I have no greens, as I prefer to
mix my own. The paint is always Artists’
quality tube colour squeezed into the
small slots of the palette. The five larger
areas are for the washes. The paint supply
is always kept topped up so everything
is ready before I start.
That’s all I need. Most paintings are
achieved with four or five colours
(see below right), as mixing is the key.
Whatever subject I am painting will have
a bearing on what particular blue, red
or yellow I choose to use.
Brushes My main brushes are of the
squirrel mop variety. They hold a lot of
water, which is useful as it enables them
to cover quite a large area of paper. They
differ from sables and synthetic brushes
in that they are not springy, and do not
return to their original shape if you flick
them. However, they do have
a good point, once shaped.
Again, my advice is to simplify things
and keep your brushes to a minimum.
I won’t specify which sizes I use, as these
t
Bowls Pavilion, Christchurch, watercolour, 10x14in. (25.5x35.5cm). To prevent the greens
seem to vary between manufacturers from becoming too monotonous, I changed them as much as I could by mixing the colours
(as you may have discovered if you on the paper.
order online).
Use the biggest brush that you can
for the area of paper you wish to cover. COLOURS USED FOR COLOURS USED FOR
This will help you to avoid overworking Bowls Pavilion, Christchurch Rooftops, Dartmouth
small details, especially in the early stages
of your painting. I have a very large
brush for my initial wash, which covers
the whole sheet, and a smaller one for
painting individual shapes. These two Ultramarine Light Raw Indian Ultramarine Light Raw Burnt
are quite sufficient for 95 per cent of the red sienna yellow red sienna sienna
painting. I have one small brush for last
minute details. This brush is only ever
used in the final stages though.
Paper If I am working in the studio or
doing a demonstration for an art club,
I invariably work on stretched paper if it
is 140lb (300gsm) or less. I usually work
on 200lb (425gsm) or heavier, but I like
to be confident in the knowledge that
I can make the paper really wet without
it warping and taking on the appearance
of a washboard.
I use a variety of papers, either NOT
surface or Rough. The choice usually
depends on the subject, as some papers
are more suited or sympathetic to
particular subjects and ways of working.
Colour mixing
For the demonstration painting over the
page and the others shown here, I did
a lot of colour mixing on the paper itself.
This technique allows me to change
emphasis as I go, from warm to cool
then back to warm if necessary. This is
especially useful in scenes containing
a lot of green. Too much of one colour
can be overwhelming, not to mention
boring so I keep adding more blue and
more yellow as the brush travels across
t
Rooftops, Dartmouth, watercolour, 10x14in. (25.5x35.5cm). A limited palette of just
the paper. This is evident especially in the four colours was all that was required for this muted scene. Light red and ultramarine mixed
painting of the tractor, Dexta (above left). together in differing quantities created a pleasing mix for the slate roofs on the houses below.
There is also quite a lot of green in
Bowls Pavilion, Christchurch (above right) of the greens and yellows in the ceiling. I could in the slates of the roofs by
and lots of reflected light bouncing off the The painting Rooftops, Dartmouth mixing ultramarine and light red together
ceiling and walls. You can see clearly (above) depicts a fairly overcast day. on the paper. I hope you enjoy following
However, I kept as much colour as the demonstration over the page. LP
t
where I varied the warmth and coolness

Watercolour
Demonstration Guildford, Totnes

Guildford, Totnes (right) is a colour version of the
monotone sketch I showed you last month. I managed
to keep to my three-wash method for the step-by-step
demonstration painting. It’s always tempting to tinker
with details, but you must ask yourself if it is really
necessary or are you just adding bits and pieces for
the sake of it. Making the decision to stop is often
the hardest part of a painting.
You will need

n Surface n Artists’
l Bockingford to a board watercolour
200lb NOT 10x14in. See colours,
watercolour (25.5x35.5cm) below
paper taped
t
The monotone tonal version of Guildhall, Totnes (see last month for details)
COLOURS USED
Cobalt Alizarin Raw Burnt Aureolin

blue crimson sienna sienna
Step 1 Initial drawing

t
Lightly draw the outline using a 4B pencil. Just

indicate the basic shapes and perspective lines,
as these are important. I like to do as much as
I can with the brush but, if your perspective is
out, no amount of wizardry with the brush
will be able to disguise it.
Step 2 Light tones

t
1 Dilute five colours in separate mixing

wells: cobalt blue, alizarin crimson,
raw sienna, burnt sienna and aureolin.
These will be your lightest tones.
2 After wetting the surface of the paper,
add the colours to the entire sheet,
mixing them wet into wet. Roughly
place them into position, but as the
paper is wet, there will be no hard
edges in this initial wash and colours
will bleed. This is fine, as the first
wash you put down is the lightest,
and sharpening up certain areas
will come later. Once dry, the
tonal values are in place.

Watercolour
Step 3 Medium tones
t
1 The next step is to paint the medium
tones, much of which is done in just one
large interconnecting wash. For the large
L-shaped wash on the left, which covers
just over half the painting, start at the top.
Again, mix the colours on the paper,
changing from cool mixes to warm then
back again. Repeat this method for the
shadowy areas on the right.
2 It’s easy to mix up (or even purchase)
a standard ‘shadow grey’. However, in reality,
shadows may contain reflected colour from
nearby brightly lit objects and are seldom
just grey. Even if they are, I usually inject
some colour to make them more interesting.
I used mostly cobalt blue, alizarin crimson
and burnt sienna for these areas.
3 As you can see, this second wash covers
about 80 per cent of the picture area.
The remaining 20 per cent, where only the
first wash remains, shows the lightest parts
of the scene. Once again, the painting is
allowed to dry completely.
t Step 4 Dark tones

Put down the darks in the third and final wash, along with smaller details that may
David Webb
be needed. Apply the darker tonal values to the deeper recesses behind the columns Visit www.davidwebbart.co.uk to find
and add sharper edges to define the overhanging parts of the building. Finally, add out about David’s work and classes
small details to the windows.
t
The finished painting Guildhall, Totnes, watercolour, 10x14in. (25.5x35.5cm)

LP09 56-57 Steed v3_Layout 1 31/07/2017 09:42 Page 56
Water-soluble graphite pencils
All about tone

Improve your tonal awareness using water-soluble
graphite pencils with these three exercises, by Colin Steed
light passages and, because you spread

LEARNING OBJECTIVES the graphite with a damp brush, the
n Practise drawing techniques
You will need sketches result in a soft watercolour look.
l Canson Imagine 200gsm mixed-
n Encourage your artistic awareness media paper Where to begin
l Dewent water-soluble graphite
n Understand the value of tone I have always sketched with 3B to 6B
l HB light wash, 4B medium wash lead pencils until I discovered water-
and 8B dark wash pencils soluble graphite pencils. I now use them
l No. 6 Rosemary & Co Kolinsky
F or many years I was under the

impression that mixing the correct
colour and applying the paint in
the right way was the key to a good
watercolour. It is true that these elements
Sable Series 33 watercolour brush
l Faber-Castell fine point
permanent ink pen
l Small water container
for 90 per cent of the pencil sketches
I produce. If this is your first time using
these pencils I would suggest you spend
30 minutes making marks and washes
on a piece of good-quality sketching
are vital, but I have come to realise that paper before sketching a subject.
the tone of the colour is the one thing I would recommend you use Canson’s
that underpins any painting. Light, to cultivate your awareness, and I would Imagine 200gsm mixed-media paper with
medium and dark areas give the also recommend using water-soluble Dewent water-soluble graphite HB light
subject its form and light. graphite pencils. They help you to wash, 4B medium wash and 8B dark
Sketching in pencil is a good way achieve dark areas that will enhance your wash pencils. LP
EXERCISE 1
1 Holding a sharpened HB light wash
pencil at approximately a 45-degree angle,
shade a small area on your paper. Begin
lightly, but as you work across the paper
push harder and make the marks t
Marks and the subsequent washes produced by HB, 4B and 8B pencils
increasingly closer until they overlap.
The graphite will now be laying on tone onto the white paper. the pencil at the same angle and position
the surface of the paper. 3 Use the other two grades of pencil to against the paper. This will flatten the
2 Dampen a No. 6 watercolour brush produce similar marks and washes. Using the graphite therefore allowing a larger area
and spread the dark area away from the three grades of pencil enables you to achieve to be covered quickly. Once the wash
lighter pencil work. The graphite will light, medium and dark marks and washes. is dry the graphite will be fixed and
dissolve, allowing you to spread the 4 When shading large areas, continually hold will no longer smudge.
EXERCISE 2
2 Dampen a No. 6
t
watercolour brush
and dampen the
trunk and large
branches, spreading
the graphite as you
work. Without
cleaning the brush,
paint a wash of
graphite in areas
across the tree to give
the impression of
very small branches.
Begin in the centre,
working either side
and upwards, lifting
off and spreading
the graphite from
some parts of the
trunk and branches
to give the tree
t
1 Using the 4B medium wash pencil draw this young density and shape.
oak tree. Begin by drawing the trunk first, followed t
Young Oak Tree, study in water-soluble graphite,
by the large branches then the small branches. 412⁄ x512⁄ in. (11.5x14cm)

LP09 56-57 Steed v3_Layout 1 01/08/2017 08:58 Page 57
Water-soluble graphite pencils
EXERCISE 3
Here is a study I made in my sketchbook.
When I came across this subject in Norfolk
I realised that correct tone would be the
key to painting it successfully and that
producing a sketch using water-soluble
pencils would help me to balance the
wide variety of tones needed.
Using the point of the HB light wash
pencil, I produced an outline drawing,
making sure the tree was just off centre
and the hedge and track created the
correct perspective. Applying more
pressure, I added detail to the tree and
hedge then returned to light shading the
grass areas in the centre of the track,
the grass verges and the far distant trees.
I then changed to a 4B medium wash
pencil to draw an impression of leaves
and hedging without too much detail.
For this I used scribble lines that looped
and twisted about in a loose manner.
In some areas I left the marks open,
but where I required a darker tone,
I spent longer building up the graphite
on the surface of the paper. I then used
the 8B dark wash pencil to achieve the
very dark tones of the trunk and some
t
A Country Lane, water-soluble graphite, 8x1112⁄ in. (21x29.5cm)
of the shadow areas.
The build-up of graphite on the paper’s light areas and darkened the very dark tones. wash of tone I wanted. Once dry the
surface was dissolved and spread with a The soft shadows were then added when the graphite won’t smudge. You can build
damp No. 6 watercolour brush. This brush became loaded with graphite. Dragging up tone on top of any area, but the paper
created a lovely soft wash of tone in the the brush across the paper created the soft must be completely dry first.
TRY THIS!
On my last visit to the lovely
town of Salisbury I produced
this sketch of adults and
children shopping (right).
The strong sunlight lit up the
figures, which created a stark
contrast against the dark
shop interior, while the black
painted lamp post and
hanging baskets stood out
in clear relief against the
sunlit brick work of the shop.
I used the shading
technique (see exercise 1,
above left) for most of the
pencil work, along with
scribble lines for the hanging
baskets. When you shade
a large passage, keep the
pencil at the same angle and
in the same position in the
hand until you have finished
the area. Also try shading at
the angle your object stands.
The shop front is vertical so
use vertical marks to build
up the structure, while the
pavement is horizontal so the
use of horizontal marks helps
to produce the correct effect.
I hope you enjoy t
Figure study, water-soluble graphite, 8x1112⁄ in. (21x29.5cm)
experimenting with water-
soluble pencils using some Colin Steed
or all of the techniques post them on LP’s painting comments about how you
project area of www.painters- produced the work? Your Go to colinsteedart.magix.net for
above. I would love to see
online.co.uk by emailing them finished sketches can then details of Colin’s courses, workshops
some of your sketches when
to dawn@tapc.co.uk with be shared with other readers. and exhibitions.
they are finished. Why not

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LP September 2017 Books p59_News 1st 27/07/2017 10:35 Page 6
Books
WHAT TO READ THIS MONTH
Visit www.painters-online.co.uk/store and click on
the link to books to buy the latest practical art books
available from LP’s online bookshop
Ready to Paint
Cars in motion Ready to Paint in 30 Minutes is a brand new series of books from
Full-time professional Search Press aimed specifically at the complete beginner. The
motoring and aviation focus is to provide quick and easy instruction for anyone short on
artist, Keith Woodcock, has time, as each exercise is deigned to take no more than 30
been painting cars for over minutes. The series kicks off with two titles – Street Scenes in
35 years. In Drawing and Watercolour by Grahame Booth and Flowers in Watercolour by
Painting Cars Keith shares Ann Mortimer. Street Scenes is broken down into eight chapters,
some of his secrets with us, covering tone, colour, perspective, the wash, edge control, brush
explaining the key strokes, adding details and putting it all together. There are 32
components of a successful easy exercises set for you to work on, each of which covers an
painting. The book element of street scenes, such as doorways, or people. The time
includes sections on is limited to 30 minutes spent on each and the size is also limited
materials, equipment and to postcard size, which make them ideal for an A6 watercolour
techniques as well as pad. Three finished paintings are demonstrated at the end of the
specific areas of study to book and are accompanied by actual-size tracings to make it
help make your work more convincing, such as perspective and easier for the complete novice to get started with their painting.
ellipses, colour and shadows. The importance of research, Ann Mortimer will be well-known to Leisure Painter readers and
preliminary work and sketches is given high priority and further in her 30-minute book she covers five main aspects of painting
chapters cover dynamics, atmosphere and emotion as well as flowers in watercolour: working with watercolour, watercolour
alternative adventurous styles and the business practice, techniques, colour and tone, form and details, and finally,
reproduction and publication of the motoring artist. Over 150 flowers in context. Once again the size and time is limited for
finished paintings accompany the text, with full descriptions of each exercise and the final section, also accompanied by actual-
how each was carried out. This is an immensely inspiring as size tracings, demonstrates three paintings that combine all the
well as practical book that will fuel the creative powers of techniques learnt.
anyone interested in the motorcar in all shapes and forms. Ready to Paint in 30 Minutes: Street Scenes in Watercolour by Grahame
Drawing and Painting Cars by Keith Woodcock. Crowood, (s/b), £16.99. Booth. Search Press, (s/b), £12.99.
Ready to Paint in 30 Minutes: Flowers in Watercolour by Ann Mortimer.
Search Press, (s/b), £12.99.
-
Childrens’ portraits
Despite the saying, ‘Never work with and Simon’s square-brush technique.
animals or children,’ artist, Simon Composition follows, with some
Davis, believes that you can make the beautiful accompanying illustrations by
subject as simple or complex as you masters in the art of painting children,
choose. There’s no substitute for hard such as James Guthrie, George Clausen
work, but in his new book Painting and Egon Schiele. The rest of the book
Portraits of Children, Simon suggests is devoted to Simon’s own portraits, in
solutions to common problems. Simon which he demonstrates in great detail
is vice president of the Royal Society of the stages of each. The book concludes
Portrait Painters and his work has with an interesting questions and
gained him a reputation for his answers section with fellow Royal
beautiful portraits in oils. The book Society of Portrait Painters artist,
opens with information on materials, Andrew James.
with a suggested colour palette and Painting Portraits of Children by Simon Davis.
brief discussion on preparing boards Crowood, (s/b), £14.99.

LP September 2017 Art clubs p60-61_News 1st 27/07/2017 10:51 Page 2
Art clubs
OVER TO YOU FOR THE LATEST NEWS ON CLUB
Demonstrations
Halifax Art Society
Artist, Simon Manfield, will give a
talk on illustrating the Orkney
poems, Orcadians: Seven
Impromptus to the Halifax Art
EXHIBITIONS AND ACTIVITIES Society on Friday 8th September,
10.30am to 1pm at All Saints Parish
Hall, Godfrey Road, Skircoat Green,
Halifax. Non-members welcome.
Highlights Visit www.halifaxartsociety.com
Association of Marine Artists developing a contemporary and Hipperholme & Lightcliffe
Open-air exhibitions take place on the rebellious attitude to the making and Art Society
East Pier, Dublin Bay throughout the exhibiting of art. Today the group of 25 Paul Talbot-Greaves will
summer months. The next exhibition is members exhibits internationally, demonstrate Bold and Loose
2 and 3 September. To exhibit go to working in a range of media from the Landscapes to the Hipperholme &
www.dlharbour.ie and search ‘exhibitions’ traditional to the experimental. The Lightcliffe Art Society on 22 August,
for a downloadable entry form. group will be showing at The Set House –
Attic Art Club an historic Second World War Radar
The Attic Art Club will be holding its station at Upper Ripperston, St Brides, CLUB EXHIBITIONS
annual original art fair at the Queen’s which opens to the public for the first
n Bexhill Art Society
Hall, High Street, Cuckfield RH17 5EL time this August. The buildings have
Annual exhibition at the De La Warr
from 12 noon until 8pm on Friday 29 been carefully restored over the past 10 Pavillion, Marina, Bexhill on Sea, from 26
September, then from 10am until 5pm years by John and Jane Dixon who hope to 28 August. Visit
on Saturday 30 September and Sunday to run a small number of annual, www.bexhillart.wix.com/bexhillartsociety
n
1 October. residential creative workshops there. The Blackpool Art Society
Bothwell Art Club exhibition by 56 Group Wales runs from 133rd annual exhibition at the Flyde
The Bothwell Art Club will be holding a 22 August to 15 September. For more Gallery at Booth’s Superstore, Haven Road,
two-day exhibition during the village information visit www.sethousearts.com Lytham, Lancashire until 3 September.
Scarecrow Festival on 2 and 3 Open Monday to Saturday, 10am to 4pm;
Painting in Penn Sunday from 10.30am until 3.30pm. Visit
September at Bothwell Parish Church The annual Painting in Penn arts www.blackpoolartsociety.co.uk
Hall (next to the Chapterhouse Café), weekend will take place at St.
n Dartmouth Art Society
Main Street, Bothwell, Lanarkshire G71 Bartholomew’s Church, Penn,
8EX. Open from 10am to 5pm on the Summer exhibition at Darmouth Masonic
Wolverhampton, from 9.30am on Hall, Lower Street, Dartmouth from 6 to 18
Saturday and from 12noon until 5pm Saturday 2 September until 3.30pm on August. Open daily, 10.15am to 5pm. Visit
on the Sunday. Monday 4 September. The event will www.dartartsociety.wix.com/townstal
Brighouse Art Circle include an exhibition of over 180 n Epsom and Ewell Art Group
On 7 September at 7.30pm The paintings, plus demonstrations and Late summer exhibition at Denbies Wine
Brighouse Art Circle will be holding an workshops by several nationally and Estate, London Road, Dorking RH5 6AA
open evening at Waring Green internationally recognised artists, as well from 14 to 27 August, 9.30am to 5pm daily.
n
Community Centre, Brighouse HD6 2AX as a marquee for a local art materials Ferndown Art Society
featuring an exhibition, displays, supplier. Refreshments are available and Exhibition at The Gallery Upstairs, Upton
tombola, stalls and supper. All admission to the event is free. Country Park, Poole, Dorset BH17 7BJ from
welcome. Telephone Geoff on 01484 Roche Art Group 31 August to 11 September, 10am to 5pm
712947 or visit www.brighouseartcircle.co.uk daily. Visit www.thegalleryupstairs.org.uk
The Roche Art Group will be holding a
Broadstone Art Society one-day exhibition and sale of paintings n Gravesend Art Group
The summer exhibition of the at the Rochford WI Hall, The Square, Annual exhibition at the St. Andrew’s Arts
Broadstone Art Society, with the theme Rochford SS4 1BE on Saturday 23 Centre, Royal Pier Road, Gravesend DA12
A Window on Wimborne, will take place 2BD from 26 August to 3 September. Open
September, 10am to 4pm. daily from 10.30am to 5.30pm; closing at
at Church House, High Street, Demonstrations will take place 4pm on final day.
Wimborne BH21 1HT from 28 August throughout the day. Refreshments
to 1 September, 10am to 5pm daily; n Haslemere Art Society
available. For more information visit
closing at 4pm on final day. The 123rd annual exhibition at Haslemere
www.rocheartgroup.wix.com/roche-art-group
Educational Museum, High Street,
exhibition will include framed and or telephone Bernard 07913 803666. Haslemere from 9 to 16 September. Open
unframed work in various media, plus Tuesday to Saturday, 10am to 5pm. Visit
greetings cards. For details visit
Woking Society of Arts
The Woking Society of Arts will be holding www.haslemere.com/artsoc
www.broadstoneartsociety.org
an outdoor exhibition of art in Mercia n Lechlade Art Society
56 Group Wales Walk, Woking Town Centre on Saturdays 9 Exhibition at the Pavilion, Oak Street,
The 56 Group Wales was founded in and 16 September. For more information Lechlade GL7 3AY from 26 to 29 August,
Cardiff in 1956 with the aim of visit www.wokingartsociety.org 10am to 6pm daily; closing at 4pm on final
day. Visit: www.lechladeartsociety.co.uk

LP September 2017 Art clubs p60-61_News 1st 27/07/2017 10:51 Page 3
and David Newbould will give a

demonstration on Mixed Media with
Two Old Men on 12 September. Both
demonstrations take place at
Brighouse Rest Centre, Park Row at
7.30pm and are open to non-
members. Visit www.handlas.co.uk
Virginia Water Art Society
Alison Board will give a mixed-
media demonstration on Farm
Animals Using Brusho to the Virginia
Water Art Society on Wednesday 4
October at the Community Centre,
Beechmont Avenue, Virginia Water,
Surrey GU24 4EY. Visitors are
welcome; £5 entry. Visit
www.virginiawaterartsociety.blogspot.com
n Llandrindod Wells Art Club

Exhibition at the Garden Room of the
Metropole Hotel, Llandrindod Wells, Powys,
Wales from 19 to 28 August. Open daily,
10am to 8pm; closing at 3pm on final day.
n Lymington Arts Group
Art on the Green at Milford on Sea on 19
and 20 August, 10am to 5pm daily.
n Maureen Pritchard Milly, pastel,
t
North Lincs Art Society
22x18in. (56x46cm)
Exhibition at the United Reformed Church,
Weelsby Road, Grimsby, N E Lincolnshire
DN32 0QA on Monday 18 September, 5 to
7pm; Tuesday 19 to Thursday 21 September Profile
from 10am to 5pm; Friday 22 September, Lindley Art Club
10am to 7pm and Saturday 23 September, This year the Lindley Art Club celebrates
10am to 4pm. Visit www.nlasart.co.uk its golden anniversary with a special
n Orwell Art Club exhibition at St Stephens Church in
70th anniversary exhibition at the Tourist Lindley on 9 and 10 September, where
Information Centre, St. Stephens Church, the club first started in 1967. The club t
Judith Bleazard Woods at Thunderbridge,
Ipswich from 11 to 23 September. Open was formed by Alfred Swallow, the then acrylic, 23x26in. (58.5x66cm
daily, excluding Sundays from 9am to 5pm; verger of St Stephens Church and
closing at 3.45pm on final day. Enquiries to
caretaker of the school and Parish to the Scout Hall at Lindley – taking
orwellart@btinternet.com
Rooms. He called it St. Stephens Painting on its new name at that time. For
n Pateley Bridge Art Club Club using the Parish Rooms in Holly more information about the club and its
Summer exhibition at part of the NiddArt Bank Road, Lindley. When the church 50th anniversary exhibition contact Sandra
Trail at St. Curhbert’s School Pateley Bridge
from 18 to 21 August, 10am to 5pm daily.
sold the rooms in 1994 the club was Knight 01484 657334 or email her at
forced to find new premises and moved sandra.knight1940@gmail.com
n Pawlett Painters Art Group
Annual exhibition at Pawlett Village Hall,
Somerset TA6 4RY on 19 and 20 August,
10am to 4pm daily. n Sidmouth Society of Artists September, 10am to 4.30pm daily.
n The Post Office & BT Art Club Outdoor charity art exhibition at Enquiries to Barbara Waits 01264 782110.
111th exhibition at the Salvation Army HQ, Connaught Gardens, Peak Hill Road, n Wannock Artists
101 Queen Victoria Street (adjacent to the Sidmouth, Devon EX10 8RZ on 26 August, Annual exhibition at Wannock Village Hall,
Millennium Bridge), London EC4V 4EH 10am to 5pm. Enquiries to 01395 514533. Jevington Road, Wannock, East Sussex BN26
n Salisbury Group of Artists n Southend Art Club 5NX from 25 to 28 August. Open Friday
Artist’s Eye exhibition at the Five Rivers Exhibition at Cliffs Pavillion, Westcliff, from 7 to 9pm; Saturday and Sunday, 10am
Leisure Centre, Hulse Road, Salisbury SP1 Southend on Sea on 1 September, 12 noon to 5.30pm. Visit www.wannockartists.co.uk
3NR from 19 to 30 July, 6am to 10pm daily. to 9pm; 2 September from 10am to 9pm; n Westerham Art Group
and 3 September from 10am to 6pm.
n Sherburn in Elmet Arts Club Annual exhibition at the John Fryth Room,
42nd annual exhibition at Church Fenton n Wallop Artists St. Mary’s Church, Westerham, Kent TN16
Village Hall, Church Fenton LS24 9RF from Annual summer exhibition at Wallop Parish 1AS from 26 to 28 August. Open Saturday
16 September from 9am to 5pm and 17 Hall, Middle Wallop, Stockbridge, 10am to 6pm; Sunday from 12noon until
September from 10am to 4pm. Hampshire SO20 8EG on 23 and 24 6pm; and Monday from 10am to 5pm.

LP September 2017 Gallery p62-63 _Layout 1 27/07/2017 10:56 Page 2
Art club gallery BEST IN SHOW PAINTINGS
If you would like to see your art Huntspill Art Group
t
group’s winning paintings Claire Huddy pictured with her winning
reproduced here, encourage crayon and ink painting of a donkey.
visitors to your next exhibition to The Huntspill Art Group meets every
other Wednesday afternoon in East
vote for their favourite work,
Huntspill Village Hall, East Huntspill,
then simply send us the details. Somerset. For more information contact
Full information is given below the secretary, Brian Freestone
right. 01278 760759.
Redcatch Art Club
t
Karen Akroyd Fox,
pastels on velour
paper, 12x16in.
(30.5x40.5cm). The
club, which was
formed 23 years ago,
doesn’t have a
regular instructor,
although several
demonstrations and
workshops are
organised throughout
the year and the
group sets itself
regular challenges.
For more information
email the chairman,
Penny Docker at
penny.docker@
btinternet.com
Mansfield Society of Artists

t
Sue Hughes Ballerina, pastel, 121⁄4x161⁄4in. (31x41cm). The

Mansfield Society of Artists started in 1934 when a group of
miners from Bolsover got together with a common interest in
painting. Eighty-three years later, the society has a strong,
active membership of 50, and a varied programme of events
throughout the year, including demonstrations, workshops
and exhibitions. Society membership is open to anyone with
an interest in art and a desire to improve their skills. This
friendly society is keen to encourage beginners through to
professionals. For more information email the chairman,
Lorraine Gill, at lottiegill@talktalk.net

LP September 2017 Gallery p62-63 _Layout 1 27/07/2017 10:56 Page 3
t Carshalton & Wallington Art Group
Sue Pullen Sea View, acrylic, 10x13in.

(25.5x33cm). The Carshalton and Wallington
Art Group (CandWAG) meets weekly at the
United Reformed Church in Stanley Park
Road, Wallington for practical painting
sessions and demonstrations. Telephone 020
8395 5824 or visit www.candwag.co.uk
t
Kirby Bellars Group of Artists
David Wenborn Langdale Pikes from
Blea Tarn, oil on canvas, 181⁄2x213⁄4in.
(47x55cm). David has been a
member of the Kirby Bellars Group
of Artists for a number of years and
received the public’s vote at the
36th annual exhibition by the
group. “Inspiration came from my
visit to the Lake District during
October last year,” he writes.
“Autumn was rather slow that year
and the colours, I think, particularly
good. We were fortunate enough to
enjoy one or two fine days before
more wintery weather set in.”
Members sketch out of doors each
Monday evening from June to
September and return to Kirby
Bellars Village Hall for painting,
demonstrations and critique
evenings during the colder months.
New members are very welcome.
For more information contact the
secretary, Sylvia Alexander, Old
School Cottage, 1 School Street,
Rothley, Leicestershire LE7 7RA.
t
Arnold Art Society
Yvonne Kirk Shades of Blue, acrylic How you can join in
inks, watercolour and gold leaf, To participate in our best in show feature, arrange for the voting to take place at
153⁄4x153⁄4in. (40x40cm). Arnold Art your next club exhibition, then send Leisure Painter a photograph, transparency
Society is celebrating its 50th year or jpeg of the chosen painting. We can only accept sharp, high-resolution
this year. It continues to flourish (300dpi) images for reproduction purposes. Attach details of the artist, title,
and holds several events each medium and dimensions, along with details of the club itself. LP also welcomes
week. For more information visit art exhibition listings, profiles, events, letters and news. Send to Jane Stroud,
www.art4arnold.com 63/65 High Street, Tenterden, Kent TN30 6BD; or email jane@tapc.co.uk

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01334 472174
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www.gadsbys.co.uk Stocking: Golden, Lascaux, Unison, North Yorkshire BD23 2JB
www.pullingers.com
Stockist of: Derwent,
Stockist of: Derwent, Pebeo,
Pebeo,Loxley
Loxley Stockist&of: Winsor & Newton, Thursday 9am – 6pm, Friday, Stockist of: Canson, Caran D Ache, Cretacolor
Opening times: Monday to Winsor Newton, Daler-Rowney, Sennelier, Daniel Smith, Pro Arte, Da Vinci, Tel: 01756 701177
Reeves, Unison, Daler-Rowney,
Reeves, Unison, Daler-Rowney, Daler Rowney, Caran D’Ache etc 9am – 5.30pm,
Pip Seymour, Canson, Derwent, Roberson, Clairfontaine, Da Vinci, Daler-Rowney, Derwent,
Saturday 9am - 5.15pm Derwent, Montana Gold spray paints, Opening times: Monday to Friday
Sennelier, Winsor
Winsor&&Newton,
Newton,Conte
Conte Faber-Castell, Golden, Royal Talens, Schmincke
Saturday 9am – 5pm
Saunders Waterford, Hahnemuhle, Westgate
Golden, Gallery
Sennelier, Unison and 9am - 5.30pm,
Sennelier, Saturday
Winsor & Newton, 9am – 5pm.
Fabriano
Sunday 12.30
Saunders
Fabriano,
- 4.30pm
Waterford,
Fabriano, Art
ArtMaster
www.jg-innes.co.uk Master
Hahnemuhle,
much more.
83 Westgate, Grantham NG31 6LE
NORTH YORKSHIRE
www.jacksonsart.com www.theartshopskipton.co.uk
Stockist of: Winsor & Newton,

Tel 01476 578800 The Art
Stockists of:Shop
essential high-quality LINCOLNSHIRE
Stockists of: Pebeo, Derwent, Sennelier,
SURREY
Daler-Rowney, Hahnemuhle, Staedtler,
Stocking: Royal Talens, Da Vinci, Schmincke 2 Newmarket Street, Skipton,
painting and drawing materials from WUnison,
F Gadsby
Winsor & Newton, Daler-Rowney,
Pullingers
Parker, Waterman, books, magazines, HERTFORDSHIRE
WEST YORKSHIRE
North Yorks BD23 2JB
brands including
Tel: 01756 70177 Sennelier,
Loxley,
347 HighArtmaster,
Lincolnshire LN5and
Reeves, Hahnemühle,
Street, Lincoln,
7DQmany more.
109 West Street, Farnham, www.theartshop.co.uk AMT Products,
cards, games and a gallery, Winsor & Newton, Golden,
Surrey GU9 7HH Art
TheVan Go - Ilkley
Art Shop Stockist of: Derwent, Pebeo, Loxley Tel: 01522 527 487
Upstairs @ J & 715390
Tel: 01252 G Innes Ltd Old Holland and more. www.gadsbys.co.uk
www.pullingers.com
The Studios, Street,
Hawksworth 1 Stevenage
Ilkley, Road, Reeves, Unison, Daler-Rowney, Artist's
Stockist Palette
of: Winsor & Newton,
West Yorkshire LS29 9DU Sennelier, Winsor & Newton, Conte
Stockist of: Canson, Caran D Ache, Cretacolor Knebworth, Hertfordshire Daler Rowney, Caran
1 Millgate, D’Ache
Thirsk YO7 etc1AA
Tel & Fax: +44(0)1943 432016 Saunders Waterford, Hahnemuhle,
GLOUCESTERSHIRE
Clairfontaine, Da Vinci, Daler-Rowney, Derwent, SG3
Faber-Castell, Golden, Royal Talens, Schmincke Tel:
6AN
www.theartshops.co.uk
01438
Winsor 814946
& Newton, Daler Rowney, Pro Arte, NOTTINGHAMSHIRE
Fabriano, Art Master Tel: 01845 574457
Westgate Gallery
Sennelier, Winsor & Newton, Fabriano Canson, Liquitex, 83 Westgate, Grantham NG31 6LE
Cotswold Art Supplies Opening times: Derwent, Unison, Caran
shop Tuesday to SURREY Saturday 9am - 5pm
D’Ache, Loxley, Sennelier Mapac Local Art Shop Tel 01476 578800
LINCOLNSHIRE
Church Street, Stow on the Wold, Friday 9am – 5.30pm,
Pullingers
4 Main Road, Gedling,
Stocking:
StockistsRoyal Talens,&DaNewton,
of: Winsor Vinci, Schmincke
Gloucestershire GL54 1BB
W F Gadsby SUFFOLK
Saturday 9am – 2.30pm
(closed Sunday & Monday)
109 West Street,
Nottingham NG4Farnham,
3HP
Daler-Rowney, Loxley, Sennelier,
WEST YORKSHIRE
Clairefontaine and many more. Craft
Tel: 01451 830522 Surrey GU9 7HH
347 High Street, Lincoln, The Art Trading Company Tel: 0115 715390
9401721
Opening times:
Lincolnshire Monday
LN5 7DQ to Phone lines open Monday to Tel: 01252 The Art model
materials, Shopkits
- Ilkley
and bespoke framing
36a Earsham Street,Bungay N35 1AQ www.pullingers.com
Opening times:
Tel: 01522
Saturday 527 487- 5.15pm
9.15am Friday
01986 9am – 5.30pm,
897939 service. Professional
Hawksworth artist and tutor-owner
Street, Ilkley,
Stockist of: Canson, Caran D Ache, Cretacolor West Yorkshire
www.gadsbys.co.uk
www.cotswoldartsupplies.com Saturday 9am – 2.30pm or visit
www.theartradingcompany.co.uk Tuesday to Friday 10am - 5.30pm,
Clairfontaine, Da Vinci, Daler-Rowney, Derwent, happy to offerLS29 9DU
expert advice.
Stockist of: Winsor & Newton, Stocking: Golden, Lascaux, Unison, Tel & Fax: +44(0)1943 432016
Stockists online shop Saturday
Faber-Castell,12.30pm - 5pm
Golden, Royal Talens, Schmincke
Daler of: Winsor
Rowney, & Newton,
Caran D’Ache etc Sennelier, Daniel Smith, Pro Arte, Da Vinci, www.theartshops.co.uk
Daler-Rowney, Pro Arte, Unison pastels, www.artvango.co.uk
Pip Seymour, Canson, Derwent, Roberson,
Sennelier, Winsor & Newton, Fabriano
www.localartshop.co.uk The&Art
Winsor Shop
Newton, Daler Rowney, Pro Arte,
Westgate Gallery
Sennelier, Conté, Paperblanks, Reeves. Stockists of: Golden Acrylics, Roberson, Stockists of: Royal & Langnickel,
Canson, Liquitex,
230 High Derwent,
Street, Unison, Caran
Northallerton,
Picture framing on site. NORTH YORKSHIRE
Sennelier, Talens, pigments and binders, LINCOLNSHIRE
Sennelier, Pebeo, Loxley, Golden,
D’Ache, Loxley, Sennelier Mapac
North Yorkshire DL7 8LU
Tel 01476 578800 W F Gadsby
The Art
Stocking: Royal Talens, Da Vinci, Schmincke Jacquard dyesShop
and paints, Khadi, House of Crafts, Cretacolor, Jakar, SUFFOLK
Tel: 01609 761775
Pegasus Art Shop Pink Pig, Seawhite,
2 Newmarket fabrics
Street, and
Skipton,
347 High Street, Lincoln,
Daler-Rowney, Caran The Art Trading Company
Lincolnshire LN5 7DQd’Ache. Saturday 9.30am – 5pm
WEST YORKSHIRE
Griffin Mill, London Road, Stroud, Northoff
canvas Yorks
the BD23
roll. 2JB
Tel: 01756 70177
Tel: 01522 527 487 36a Earsham Street,Bungay N35 1AQ
Gloucestershire
The Art Shop GL5- 2AZ
Ilkley www.gadsbys.co.uk 01986 897939
www.theartshop.co.uk Patchings Art Centre
Stockist of: Winsor & Newton, Stockists of: Winsor & Newton,
www.theartradingcompany.co.uk
Tel:Hawksworth
01453 886560 Stockist of: Derwent, Pebeo, Loxley Reeves,
LANCASHIRE
Street, Ilkley, Oxton Road,Caran
Calverton, Stocking: Golden,Loxley,
Lascaux,
Unison, Daler-Rowney, Sennelier, Winsor Daler Rowney, D’Ache etc Daler-Rowney, PipUnison,
Seymour,
Opening times: LS29
West Yorkshire Monday
9DU to Sennelier, Daniel Smith, Pro Arte, Da Vinci,
Tel & Fax: +44(0)1943 432016 & Newton, Conte Saunders Waterford, Nottingham NG14 6NU Pan Pastel, Unison, Pro Arte, Artmaster,
Saturday 9am - 5pm Pip Seymour, Canson, Derwent, Roberson,
www.theartshops.co.uk Ken Bromley
Hahnemuhle, Art
Fabriano, Supplies
Art Master Westgate Gallery
Tel: 0115 965 3479 Hahnemühle, Pebeo.
www.pegasusart.co.uk
Winsor & Newton, Daler Rowney, Pro Arte,
Canson,
Stockists of:Liquitex, Derwent,
Williamsburg, Unison, Caran
Rembrandt,
Unit 13 Lodge Bank Estate,
SURREY
Opening times: every day
Tel 01476 578800 NORTH YORKSHIRE
Crown Lane, Horwich,
D’Ache, Loxley, Sennelier Mapac 9.30am - 5.30pm
Stocking: Royal Talens, Da Vinci, Schmincke The Art Shop
Old Holland, Pip Seymour, Cobra,
Winsor & Newton, Daler-Rowney,
Pullingers
Bolton BL6 5HY
www.patchingsartcentre.co.uk
WALES
2 Newmarket Street, Skipton,
SUFFOLK
Derwent, Daniel Smith, Schmincke,
10901204
Tel: West Street,
Surrey GU9 7HH
690114Farnham,
WEST YORKSHIRE
Stockists of: Winsor & Newton,
Emrys Art Supplies Ltd
Opening times: Monday to Friday Tel: 01756 70177
The Art Trading Company
Da Vinci, Pro Arte, Arches, Canson, Tel: 01252 715390 The Art Shop
Daler-Rowney, - Ilkley
Derwent, Caran d’Ache, 22 Market Street, Haverfordwest,
www.theartshop.co.uk
36a Earsham Street,Bungay 9am - 5pm
www.pullingers.com
Saunders Waterford watercolourN35 1AQ
paper, Stockist of: Canson, Caran D Ache, Cretacolor
Hawksworth
Unison, Street,
Liquitex, OldIlkley,
Holland, Pro Arte,
Stockist of: Derwent, Pebeo,
Pembrokeshire, Wales Loxley
SA61 Reeves,
1NH
01986 897939 www.artsupplies.co.uk West Yorkshire LS29 9DU Unison, Daler-Rowney, Sennelier, Winsor
Hahnemühle, Fabriano, Somerset.
www.theartradingcompany.co.uk Clairfontaine, Da Vinci, Daler-Rowney, Derwent, Leonard Brushes, Sennelier, Canson, Tel: 01437 779646
Stockists of: Winsor & Newton, Conte Saunders Waterford,
Stocking: Golden, Lascaux, Unison, Faber-Castell, Golden,&Royal
Newton,
Talens, Schmincke Tel & Fax: +44(0)1943 432016
Opening times:
Hahnemuhle, Tuesday
Fabriano, to
Art Master
St Cuthberts Mill, Artmaster, Pebeo.
Jackson's Art
Sennelier, Daniel Supplies
Smith, Pro Arte, Da Vinci, Daler-Rowney, Daniel
Sennelier, Winsor Smith,Fabriano
& Newton, Liquitex,
Winsor & Newton, Daler Rowney, Pro Arte, Saturday 9am – 5pm
PipJ,Seymour,
Unit Canson, Derwent,
The Aquarius Centre Roberson, Bob Ross, Derwent, Caran d’Ache,
LINCOLNSHIRE
Canson, Liquitex, Derwent, Unison, Caran SURREY
www.emrysart.co.uk
Edison Close, Waterwells Business Pro Arte, Loxley, Bockingford, Arches, D’Ache, Loxley, Sennelier Mapac
NORTH YORKSHIRE
Park, Gloucester GL2 2FN W F Gadsby
Saunders Waterford and accessories. SUFFOLK Pullingers
Stockists of: Winsor & Newton, plus many
more
109 including
West Street, Daler-Rowney,
Farnham, Sennelier,
Tel:The
0145 Art222 Shop
6378 347 High Street, Lincoln, SUFFOLK
The Art Trading Surrey
Unison,GU9Pro7HH
Arte, Derwent.
Lincolnshire LN5 7DQ Tel: 01252 715390
2 Newmarket
Opening times:Street, Skipton, The Art Trading Company
Monday to Friday 9am - 5pm
Tel: 01756 70177
LONDON
Tel: 01522 527 487
www.gadsbys.co.uk
Company
36a Earsham Street,Bungay N35 1AQ
www.pullingers.com
Stockist of: Canson, Caran D Ache, Cretacolor
www.jacksonsart.com
www.theartshop.co.uk
Stockistwarehouse
of: Derwent, Pebeo, Loxley
Stockist of: Winsor & Newton,
Jackson's ArtD’Ache
Daler Rowney, Caran Supplies
etc
55 Earsham
01986 897939 Street, Bungay
www.theartradingcompany.co.uk
Suffolk NR35 1AF
WEST YORKSHIRE
Clairfontaine, Da Vinci, Daler-Rowney, Derwent,
Faber-Castell, Golden, Royal Talens, Schmincke
Jackson’s holds painting, Stocking: Golden, Lascaux, Unison,
Reeves, Unison, Daler-Rowney, 1 Farleigh Place, Tel: 01986 897939 The Art
Sennelier, WinsorShop
& Newton, Fabriano
drawing, printmaking and sculpture
Sennelier, Winsor & Newton, Conte Westgate Gallery
London N16 7SX
Sennelier, Daniel Smith, Pro Arte, Da Vinci,
Opening times: Monday
Derwent, to Hawksworth Street, Ilkley,
materials from
Saunders Golden,Hahnemuhle,
Waterford,
Fabriano,Winsor
Art Master
Sennelier, 83 Westgate, Grantham NG31 6LE
Tel: 020 7254 0077
Tel 01476 578800
Pip Seymour, Canson,
Saturday 10am – 5pm
Roberson,
LINCOLNSHIRE
West Yorkshire LS29 9DU
Schmincke, & Newton etc.
WTel:F 01943
Gadsby
Opening
Stocking: times: Monday
Royal Talens, to Friday
Da Vinci, Schmincke
NORTH YORKSHIRE
(closed Sunday and Bank Holidays)
432016
SURREY 9am – 5.30pm, Saturday 10am – 6pm

The Art Shop
347 High Street,
Opening Lincoln,
times: Monday to
HAMPSHIRE
Pullingers WEST YORKSHIRE
www.jacksonsart.com
www.TheArtTradingCompany.co.uk
2 Newmarket Street, Skipton,
Lincolnshire LN5 7DQ
Saturday 9am – 5.30pm
Tel: 01522 527 487
Stockists of: Old Holland, Michael
109 West Street, Farnham, The Art
Stockists Shop -drawing
of: painting, Ilkley
and
North Yorks BD23 2JB www.theartshops.co.uk
www.gadsbys.co.uk
Harding, Sennelier, Golden, Lascaux,
Perrys
Surrey GU9Art Suppliers Ltd
7HH printmaking
Hawksworth materials
Street, from
Ilkley, Tel: 01756 70177 Stockist of:of:Winsor
Stockists Winsor&&Newton,
Newton, Daler-Rowney,
Tel: 01252 715390 West Yorkshire LS29 9DU www.theartshop.co.uk
Daniel Smith, Rohrer & Klingner, Winsor Daler Rowney, Caran D’Ache etc
109 East Street, Southampton Daler-Rowney, Winsor & Newton, Loxley, Pip Seymour, Pan Pastel, Unison,
www.pullingers.com Tel & Fax: +44(0)1943 432016 Stockist of: Derwent, Pebeo, Loxley
SO14 3HD
Stockist of: Canson, Caran D Ache, Cretacolor
Old Holland and Michael Harding etc.
& Newton, Liquitex and many more.
Reeves, Unison, Daler-Rowney, Westgate Gallery
Pro Arte, Artmaster, Hahnemühle, Pebeo.
C W S

6
p64_65_lpsept17.indd 64 28/07/2017 12:53:53
PERFECT PENCILS
Derwent Procolour pencils are the perfect combination of
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GERSTAECKER ERGONOMIC
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p64_65_lpsept17.indd 65 28/07/2017 12:54:14

LP Marketplace
To advertise your holiday, course or business call Anna-Marie now on 01778 392048
Holidays & Courses
The Old House Studio.

In the Peak District National Park, Derbyshire Art Holidays in France
2018 Dates Now Available For: Domaine de Gigan, Gigan, Coulx, 47260, France
Hashim Akib, Tim Fisher, Robert Dutton, Tony Hogan, Joe Francis Dowden,
Paul Talbot-Greaves, Paul Dene Marlor, Judith Selcuk, Escape for a week of Art & Discovery in the
Carol Hill & Richard Holland. glorious Lot & Garonne. Stay, full board, in
* Experienced Artists who are experts in their field.
luxury secluded accommodation and enjoy
* Courses aimed to provide an enjoyable and interactive experience for all abilities. daily hands on teaching sessions from our
* Small classes maximum 10 students. guest artists close to home and further afield.
* 2 Course lunch provided * B&B accommodation available. Enjoy good company in a great location,
whilst improving your skills.
For information on all courses available please visit the website.
Telephone: 01457 857527 Email: info@pennine-art.uk Contact: Prue Murray 07770 811757
www.pennine-art.uk pruemurray@yahoo.co.uk
Visit www.painters-online.co.uk/Marketplace
for further details of goods and services
EXCITING NEW 2018 BROCHURE NOW AVAILABLE!

LAST YEAR’S PRICES HELD
For brochure and other information contact John or Christine on
01202 393234 info@artholidaysindorset.co.uk “Your First & Best Choice for a Painting Holiday”
www.artholidaysindorset.co.uk
Art Holidays in Dorset Somerset, Exmoor National Park, North Devon Coast,
North Cornwall, Lake District, Wye Valley, Provence,
DOUBLE-UP-DEAL - BOOK TWO CONSECUTIVE HOLIDAYS IN PINK & France & The Western Algarve, Portugal
SAVE £169 PLUS A FREE NIGHT DINNER, BED & BREAKFAST
• Prices from £155 SNEAK PREVIEW OF SOME OF THE DOZENS OF
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COURSES IN 2018
26-29 Mar Spring Gardens with Watercolour studio based
David Bellamy, Grahame Booth, Jem Bowden, Roger Dellar,
• Highly professional tutors 5-8 May Explore Painting in the Style of Picasso and Joe Francis Dowden, Jeremy Ford, Soraya French, Steve Hall,
Braque partly studio based
• Friendly house-party atmosphere
• Delicious food and wine
9-12 May The Place and It’s Space - portraying Depth and Barry Herniman, John Hoar, Richard Holland, Anne Kerr,
Distance in Landscape partly studio based
Arnold Lowrey, Kevin Scully, Keiko Tanabe, Andy P
Org LUS
• 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 Walker, Paul Weaver, David Webb & more a alw niser
• Stunning locations - easy walking Palette Knife
• All abilities and non-painting 2-8 June Painting with Watercolour in Dorset
a s
partners welcome 27 Jun-2 Jul Dorset Summer Sketchbook
loca ys on
wit tion
• Well equipped studio 3-6 Jul South Coast Scenes with Acrylics and
• Small numbers to ensure Palette Knife
hg
individual attention
11-14 Aug Seascape and Coastlines with Watercolour
rou
15-18 Aug Sketching Landscape with Pen and Wash
partly studio based p
partly studio based
Picture by David Webb
SUPER P 3-8 Sept Immerse Yourself in Fantasy studio based

ovely ainting oliday dventure
EU
DOUBL AVE
BUT THERE ARE STILL PLENTY OF TREATS
S LEFT FOR THIS YEAR!  All Destinations researched thoroughly by Alpha beforehand
DEAL 20-23 Oct Watercolour - the Basics and Beyond studio based
£169 23-27 Dec Christmas Art Feast

WINTER WARMERS


At Alpha we use only proven tutors from around the world
Art Materials included on selected holidays
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/
 Non painters & All Abilities Welcome
or Sunday night dinner, bed and breakfast at the special  Studio & Location based courses in all media
painters’ rate of £55 per night? Most people do!
7 & 8 Oct Use Colour and Shape Like Matisse  All rooms en-suite & some Ground Floor rooms
14 & 15 Oct Swift Lines and Singing Colours
31 Oct & 1 Nov Come Paint and Print Your Christmas Card
Combined Sketching & Walking Holidays
01934 733877
11 & 12 Nov A Seasonal Splash of Acrylics
2 & 3 Dec Spring Flowers in Line and Wash
Art Holidays in Dorset, The Studio, Boscombe Spa Hotel, 4 Glen Road,
Boscombe Manor, Nr Bournemouth BH5 1HR
lp CLA sept_NEW.indd 66 28/07/2017 12:16:22

Sept 17 Holiday of the Month_Layout 1 27/07/2017 12:10 Page 3
Holidays & Courses
art holidays in cornwall
All abilities ‘a great deal more than just a painting holiday...’

Spacious light studio
One, three and six day courses throughout the year
Small groups with plenty of individual tuition
Visit Britain 4 star accommodation Tel 01579 383491
For location work we use the coast,
moors and the Tamar Valley
www.callingtonartschool.com
ALL-INCLUSIVE SPANISH WATERCOLOUR

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HOLIDAYS in the mountains of Southern
Holiday of the month

U.K. Cober Hill and Red Lea Hotels
Spain. Superb
1-8_Callington.indd 1 food and delightful 29/8/12 10:24:34 near Scarborough
en-suite air-conditioned rooms.
Higham Hall and Glenthorne in Cumbria
Instruction is followed by fieldwork,
including visits to Granada and Mojacar. ART HOLIDAYS IN FRANCE Old Shorland Farm in Devon
Old Trenhouse - Dales
Everything included except your flight. Foreign holidays - Spain, Algarve, France
Non-painting partners welcome. For Details: www.sueford.co.uk
special offers and customers' comments Email: sue_ford@email.com
visit www.watercolourspain.com Tel: 01642 712926
Tel: 020 3239 6786 or 0034 637 458679
Brush up your art skills!

Art
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rt bre
r aks
re k in Exmoor
ks E moor
Ex
Expressive mixed media
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omaine de Gigan in the beautiful Lot & Garonne region of ‘The Artist’ magazine and
Ready-made groups also welcome UK Canson Ambassador
south-west France has been home to Prue Murray and her
family for nearly 15 years. The houses are set amongst For further details visit
extensive grounds tucked away behind electric gates, comprising www.rdcreative.co.uk
a five-bedroom farmhouse and luxurious three to four bedroom or call 0113 2252481
Call Sandy or Mark 01598 763505
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Email: enquiries@shorlandoldfa
enquiries@shorlandoldfarm.co.uk
f rm.co.uk
fa
holiday homes whilst retaining all their character. Each property
has its own swimming pool, large living room, terraces and
LEARN AT HOME. Watercolour and drawing. TARN AREA, SW FRANCE. Painting
gardens. This region of France is renowned for its sunflowers and
Beginners/advanced correspondence holidays. Excellent food and
courses. Easy, relaxed, thorough. Details:
plum orchards, hilltop towns and medieval villages and miles
accommodation, superb landscape,
Jenny Trotman NDD. Tel: 01305 264568
upon miles of rolling countryside. It’s the perfect location for
painters wishing to learn in a beautiful and relaxing setting. forestry, mediaeval villages, studio, large
www.catswhiskersart.co.uk
Courses run from Saturday to Saturday and are suitable for all swimming pool. Professional
levels, from beginners to more experienced artists. The holidays tuition by Ken Ray BA, WSCAD,
are fully inclusive with pick up from the airport, full board and Diana Golledge, Cora Martin. Details:
tuition. Courses to look out for include two separate drawing and Bob and Carla Schaap, Chateau de
Watershed Studio painting weeks in September with Mark Page plus location
painting with Adrian Green in the spring and late summer next
Pourpry, 81220 Damiatte, Tarn, France.
Tel: 0033 563 707 176
Celebrating our 16th year year in which Adrian will focus on medieval villages and the Email: bobencarla@aol.com
• Proven reputation for quality courses landscape, flora and fauna of the region. The first few days of
• Warm welcome & home-cooked food courses are usually spent sketching and painting close to home,
PAINTING COURSES IN NORFOLK
• Rural studio in its own grounds moving further afield later in the week. Breakfast and dinner are
• Excellent local accommodation generally served on the terrace of the Old Barn, with a buffet AND CORFU. 1-7 day and weekly art
• High profile, popular tutors lunch or picnic on location. Prue is always happy to discuss your courses painting flowers and gardens,
Tim Fisher, Robert Dutton, requirements before arrival to make your stay as comfortable and landscapes, watercolour or line and
Marie Antoniou, Kay Elliott productive as possible. wash with Jan Blanch in Norfolk also
Charles Evans and many more…
Brusho classes. Very good accommodation.
Call Allison Bond for details:
Contact Prue Murray at Domaine de Gigan, Lot & Garonne, Painting holidays in Corfu.
01255 820466 France; telephone 00 44 1305 753686; mobile 00 44 7770
Email: allison@watershedstudio.co.uk Tel: 01493 393639 or 07702 069300
www.watershedstudio.co.uk 811757; email pruemurray@yahoo.co.uk or visit
Email: janblanchartist@gmail.com
St Clere’s Hall Lane, St Osyth, www.artholidaysinfrance.com
www.janblanch.co.uk
Clacton on Sea, Essex, CO16 8RX

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SOTEad Artist 7/17.indd 1 17/07/2017 10:36
and Batsford Books Competition

PaintersOnline, the online home of
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Landscapes in Mixed Media by French from Batsford Books
Soraya French, together worth £35(rrp). please visit:
Hazel Soan’s inimitable watercolour style is
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treasured by fans across the globe. Now she the online home of
has pulled together her expert advice for all and
practising watercolourists in The Essence of magazines, and click on the links
Watercolour. Acclaimed artist and teacher, to competitions. Closing date
Soraya French, is renowned for her vivid semi-
abstract contemporary landscape paintings.
for entries is October 31, 2017.
Created using a wide range of media, from Winners will be selected at
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watercolour, her landscapes glow with colour. When completing your details please
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p69_Layout 1 31/07/2017 09:54 Page 69
BRAND NEW SERIES

Ready to Paint in
30 Minutes
‘This is genuinely exciƟng evoluƟon of a popular series. You’ll be
gguided through some simple exercises and on to complete painƟng,
gaining valuable insights that will develop and improve your skills.’
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These complete beginners’ guide to painƟng in

watercolour are ideal if you want to learn to paint but are
short on Ɵme. Both books include over 30 quick and easy
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special offer £2 off RRP & Free UK P&P using
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and follow the link to books
magazine
is available Pen & wash
Night vision
digitally
Part 3 Practise your drawing and painting skills as you paint a
moonlit woodland scene from a sunny photograph, with Ian Pethers
LEARNING OBJECTIVES
I How to adapt a sunny photo
into a moonlit scene
T hroughout the centuries artists
have been fascinated by moonlight,
capturing that magical silver light
from our nearest celestial neighbour. It is
exploited in the works of Joseph Wright,
often fail to pick out the essence
required to form good reference material.
Because of this, I took my camera to my
local wood in broad daylight, using the
sun as my ‘moon’ (below left). With a
I Develop your drawing skills Henry Pether, John Atkinson Grimshaw spoonful of imagination and a change
and, of course, the great Turner himself. of colour scheme, I produced a pleasing
Painting by moonlight is always going work that gave me the mood and
to be an awkward task and photographs atmosphere of a moonlit forest (page 15).
For this exercise I used waterproof
drawing pens of two sizes over a wash
of blue watercolour. I would advise you
to practise on scraps of watercolour paper
before launching into your main painting.
I hope you enjoy ‘moonlighting’ with
me and that the following demonstration
inspires you to create your own
spectacular work. LP
Demonstration
Moonlight
Choose a watercolour paper that is conducive
to the application of masking fluid, remaining
intact when the dry fluid is removed. I opted
for Bockingford 300gsm as it is of a bright white
G Instant acccess to your

hue. You may wish to stretch your paper by
sticking gummed tape around the perimeter to
a drawing board and dampening with a wide
brush. Allow to dry completely before beginning
the painting. I decided not to stretch the paper
here, as 300gsm paper is fairly heavy and
I knew I could flatten my painting later.
Yo u w i l l n e e d
I Surface
G Bockingford 300gsm
watercolour paper or similar
113⁄4x81⁄2in. (30x21cm)
I Artists’ watercolour
G Winsor blue (red shade)
or similar
magazine
G Lemon yellow
G Hooker’s green
G Burnt sienna
I Watercolour brushes
G View any time, anywhere

G Rounds Nos. 10, 4 & 11
I Miscellaneous
G HB pencil
G Water-resistant black
drawing pens Nos. 01 & 04
Your reference photograph for

M
this project, taken on a sunny day

in a local woodland
G Easy access to paid-for past

and present issues Go to www.painters-online.co.uk and

G All issues stored in one place click on the ‘Subscribe’ tab, search for
G Subscriptions and single Leisure Painter magazine at these
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LP September 2017 Online gallery p70_News 1st 27/07/2017 12:09 Page 66
Online gallery
Jane Stroud’s selection of works from our PaintersOnline gallery
WWW.PAINTERS-ONLINE.CO.UK
these elements can be seen in her work.

She is inspired by flowers, landscape and
nature, using acrylic ink as the base for
her acrylic work applied in layers to
create depth. “I build up layers with
thicker, more textured paint,” she says,
“editing, scrubbing and refining, adding
and removing paint until I’m happy with
the result. Texture, perspective and colour
are key. At the moment, I am
experimenting with the inclusion of
acrylic ink, pastels and collage in my
work.
“Swan Lake was painted as part of my
exhibition, A New Perspective, at the Sock
Gallery, Market Place, Loughborough in
July. Part of the exhibition focused on my
response to still life in which the
perspective has been flattened. Each
piece holds elements that have some
significance to me.
“For this painting I used a previous
painting of a woodland pond as a
ground. The pond can still be seen on the
table top – and it’s from this that I gave
the work its title. I wanted the painting to
have a Chinese feel so chose an oriental
palette of reds, black and white. The
orchid belongs to my friend, Yvonne,
whose plants I often paint. I love the way
the air roots coil around the plant. The
pottery swan I found in a florist. The
palette is limited to black, white, pyrole
red, cobalt turquoise light, dioxazine
t
Lyn Armitage Swan Lake, acrylic on canvas, 1934⁄ x1934⁄ in. (50x50cm) purple and opera rose.
“I painted the orchid first with a flat
The painting I’ve chosen this month is a carefully crafted still life by artist and brush then used sgraffito to give
teacher, Lyn Armitage. Every element has been well considered and precicely placed, directional lines across each area,
although the resulting painting is anything but rigid, with a freedom to the revealing the underpainting below. I also
application of paint on the canvas and a strong use of colour. Here Lyn describes how scraped back into the paint in the swan
she set about painting this group of objects, the colours used and some of the and candle using the side of a palette
techniques involved to add depth to the work. If you would like to see more of Lyn’s knife, creating texture with the side of the
work, post a comment or upload your own images to our free online gallery, visit knife as well. For the table top I used a
www.painters-online.co.uk large flat brush to block colour quickly
around the items on the table top as I
O
riginally from Yorkshire where she art societies, including the Birmingham wanted it to feel as though it had been
trained to be a teacher, Lyn moved Watercolour Society, the Birmingham Art done spontaneously. Finally, I spattered
to Leicestershire in the ‘70s and has Circle, the Leicester Sketch Club and the red paint over the flower heads to prevent
been teaching and painting there ever Leicester Society of Artists. them feeling too precious.” To see more of
since. Her work can be found in local As well as painting, Lyn is a keen Lyn’s work visit her website at
galleries and she is a member of several gardener and loves walking, and both of www.lynarmitage.co.uk

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Beach Activity, Jan Juc Beach, mixed
media, 10⫻13in (25.5⫻33cm).
I sketched quickly, sitting on a rock whilst
watching the silhouettes of figures along the
top of the dark rock and bright shapes
against the dark shadows. I used orange and
cadmium red with purple lake ink on the
rocks and sand and the complementary
colours of cerulean and turquoise to give
maximum impact where the sea meets the
beach; a mix of purple and cerulean added
depth and perspective to receding cliffs
Australia – w
Jan Juc Rocks from Torquay Beach, mixed
media 10⫻13in (25.5⫻33cm).
Here I made maximum use of complementary
colours, with cadmium red, ochre and orange
against strong hues of cerulean, turquoise
a painter’s vie
and ultramarine. The shadows of the rocks
and cliffs are raw umber, exploiting the reds
and warms in the portrayal of sun-lit
sandstone WATERCOLOUR OILS MIXED MEDIA
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this landscape mixed media
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dark rocks
of portraying dazzling, the 14⫻18in (35.5⫻45.5cm).
experience lia paintings. The light was
with my Austra sunshine, the
lose family
ties take me
to
to help me
is due to the
area’s lack
of air
glittering in
the strong
ing darkly in
the
Using combinations of ochre with white I
added a little more solidity to the cliff and
How to keep your summer
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C
Perhaps it ity to the stack reflect
Australia, to towering cliff time for
Great Ocean
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coastal
pollution, and
also its proxim
seas, but here
the
turquoise waters
. I didn’t have
here but manag d from
ed a quick
foreground and hints of light on foliage using
turquoise, red and pale olive pastel. Wet sand
greens clean & bright
wide beach colde r south polar an added of a sketch
strip has , backed by s clearer, with much then worke on the shoreline was painted in pale,
white, soft
sand and dunesmy last trip I light seem
sparkle and intens ity, compared
with
snap while
walking, and
later while the image
was
transparent purple, and I added more light
Chris Forsey’s
Brushwork techniques to
d hills. On glory of the that a few hours ultramarine
low tree-covere do a painting most
endeavoure
d to
ved my aim; the sun-filled The red-orange cliffs
an. still vivid in my
mind. I used
n crimson and
raw umber to
cloud detail to the sky to give a feeling of
movement. Lastly I painted the white waves,
new DVD From Dynamic Sketch to Finished create energy & movement
nearly achie Mediterrane d shadows, blues and blue, alizari y to the rocks,
Painting is a mixed-media masterclass. It’s
days and very to be missing with colou r-fille red sunlit monum ental solidit describ e a little more tree detail using purple ink, and
available from Town House Films, telephone
seem –I the ochre and give colour to
a holiday can a few works violet, and s of bright finished by adding a few sail boards to add a
some thing unless I do
just can’t do
surfaces are toppe d with blue-
green
colours,
allowing flashe
the cliff. In the foreground
I
little human interest, reflecting how popular
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Royal Institute of Painters in Water Colours
How to capture the Discover the colours New ideas for great
Receive
ng foliag and lime and umber
painti ly. But I also , pink painte yellow
without my yellows, lemon sea changes from alizarin, lemon
fill quite quick turquoise, t over- and the Society of Graphic Fine Artists. Chris
sketchbooks
had a small
pack of basic equip ment
The colou r of the
oise, pale violet
and
to give light and strength withou
the plants and
grasses. For
the is showing at Dorking Group of Artists’ effects of transparency & secrets for painting results with collage
of this
the newness paint small cobalt to turqu all hues deep, clean
and
describing the cliffs I used ‘A holiday can seem to be missing something annual exhibition at Denbies Wine Estate,
with me and
prompted
me to my cerulean blue, hint of grey! shallow water
at the base of
ise and crimso
n
unless I do a few works – I guess I’m an addict
London Road, Dorking, Surrey, from October & glass skin tones & paint
landscape
c paper , working from pure with not a weigh t semi-t ranspa rent turquo round , 13 to 15. http://chrisforsey.com
works on acryli ionally at mind flight the pale pink
backg
glancing occas n. Bearing in ng, I choos
e
applied over dioxazine purple and just can’t do without my painting fix’
sketches and e phone scree when packi blue and pale
on my mobil restrictions , and with cobalt
the image are clear, bright colour
colours that increase my for the deepe
r waters
ur versatile. These ies and help me steer www.painters-online.co.uk artist September 2017 27
Light and colo rous times in the rtunit line.co.uk
d nume mixing oppo www.painters-on
I have painte
6 issues for
my
e and used
south of Europ
well away from the grey neutrals that violet, titanium white and raw umber. tear-off paper palette sheets); a palette
ber 2017
artist Septem one very often experiences in the Two bottles of Daler-Rowney FW knife and 20 sheets of 10⫻13in acrylic
24 northern Europe landscape and help Acrylic ink: purple lake and antelope paper.
me to capture the luminosity of light – brown. My sketching kit comprises:
visiting in January can be quite a visual Oil pastels: white, lemon, ochre, pale hardback sketchbook with two large
shock after our English winter! olive, purple, pale orange and magenta bull-dog clips to hold pages down in
for mixed-media work. breezy conditions, a pack of children’s
My Australia painting kit Two Rosemary & Co flat brushes wax crayons, felt-tip pens, (large Italic IN CONVER
Small tubes of acrylic colour: azo (I recommend these, good value and from Berol and fine 0.5 tip by Pilot,) two
S AT ION
just £15!
yellow, yellow ochre, cadmium orange, hard wearing), 1in and 11⁄2in. chunky water-soluble crayons in blue
cadmium red, magenta, cobalt blue, My fold-up palette (a WH SMITH and black, a field box of watercolours
Prussian blue, turquoise, dioxazine plastic document case with a pad of and watercolour brushes.
Lulu, oil and spray
paint on canvas,
12⫻12in (30.5⫻30
www.painters-online.co.uk artist September 2017 25 ‘As a rule, I much
.5cm).
prefer painting
However, I think from life.
it is unfair to ask
pose from life children to
for obvious reasons,
tactic is to get so my
to know them;
hours with them, I spend a few
taking photos
trying to make and generally
them feel comforta
occasion, we went ble. On this
to an art fair in
afternoon with the
the family and
went out for dinner. then we all
So by the time
to paint, I had I sat down
a feeling for what
could work.’
SUBSCRIBE TODAY I N C O N V E R S AT I O N
Richard Burger
Susie Hodge discovers how Richard Burger achieves
portraits, which are influenced by his time in Italy
his powerful oil
and in London
Richard Burge
studied at the
London. He has
Genoa and New
of his sister was
r
Art Students League
New York and Chelsea
exhibited in London,
York and his painting
shortlisted for
of
College of Art in
and save over £10 on the cover price

BP Portrait Award the 2016
at London's National
Portrait Gallery.
Enver Gürsev
at Chelsea. I always
working in London, he recalls his Richard's sister Carol is the subject of to observe the
everyday and
seek to my canvas or
orn in Genoa, Italy, Richard
B formative years before he became an the portrait that was accepted for the how we see it, renew
and in this respect, paint. I tried charcoal
other
Carol, surface
oil on linen,with oil
Burger studied in New York and 2016 BP Portrait Award (right). Frank Auerbac 271⁄2⫻232⁄4in
for(70⫻60cm
this, but).I
alternative is sepia,
London at art schools artist, and the influences that affected h is probably
the reason
found it left too ‘Carol
much
is the it is lightened simply because
as
I paint. I also love ofexception
a mark to my it resembles a
internationally recognised for his career choice and painting style: ‘I Powerful images Lucian Freud, through the paint.
own rules!
When tone. I also like dark skin
Doig and Chantal Peter I started
I paint, to try
their independent approach to grew up in an artistic household where I Joffe.’ are certain colours
portrait
thethere
hands in my portraits to include the
Richard's figurative paintings are that
on aI blank
tend to
teaching art and their success at was always encouraged to pick up Variety more than others,and atwhich
canvas
use they can say almost , because I think
powerful and colourful: ‘I love painting
with our special introductory offer of 6

home,go as Iinwas
nurturing accomplished, often colours and a paintbrush. Both my of use depend between
ing on the
andin-out
person as the as much about
a
in oil. I find it very forgiving as a In his studio – studios.
theme I didof face.’
groundbreaking, artists. Now living and mother and my sister were artists.’ a shared complex work I'm paintingof three
a total
the
medium, providing you follow the rules. London run by
Bow Arts – Richard
in artists, he struggle
.’ Like
sittings
many of other
three The driving force
hoursseach
I sometimes use acrylic for backgrounds experiments with paintings alone to leave
and thenhis added
materials and thewhen With his wide
to get rid of the whiteness of the formats. ‘I love
experimenting finished. ‘It's very
backgrou
they ndare
at a later variety of projects
stage easy Richard works ,
canvas. I also love using watercolour both textured
and smooth finishes.
with
painting. The the
once Ito
was overwor
happy k with
a both for himself,
keyfaceis to chooses, and for as he
pencil for sketches and preparatory the moment, I'm
going through
At leave it alone.’
andstep
hands.
back After
and the commissions.
three sittings, commissioned ‘With
drawings, expressive observations of a phase of painting a bit of I used photos paintings you
have
on board or people working
people around me and everyday life.’ Masonite. These
rigid surfaces
Portraitureto check the details and with you to develop
make sure what they want.
Of his continually evolving style, hit them hard
without answerin me
let ‘My approachworked everything The best bit about
issues for just £15. Subscribe now at

to portraitu is that once you that
Richard says: ‘Every subject requires The sizes of my
paintings vary.
g back. I much prefer
together.
re is
’ simple, achieve these common
my subjects aims you know
me to look at things afresh. I have biggest painting
so far is about
My from life, but I Bella, oil to sit for me the work will have
am aware and good home. I a
always loved people, both interacting 72⫻28in (183⫻
71cm), and sometim have busy lives, thatspray
on canvas, 12⫻12in peoplepaint also exhibit as
much as
possible. Getting
with and looking at them. Everyone is paint very quickly, es I so I
mixture of life,(30.5⫻30try to use a your work out
so a large painting .5cm).
to capture what it's all about. there is
different and that makes for a challenge probably takes the essence I
me less than two of the portrait,‘This was a commissi
and then work oned thing about exhibitinguess the best
every time. Also, somehow painting to complete. At
other times, I
weeks photos until I'mportrait. For most from g is the positive
work on happy with of my reaction of the people
from the model is more companionable paintings over
a long period paintings, I paint the result.
Often the painting – the viewers
interacting with –
than being alone in the studio! Having letting them stew, of time, goes very aquickly
non- the
and picking them the beginningwhite backgrou
and then sitsnd at for him? ‘A spin-off work.’ So what next
said that, I also love landscapes and again later. Most
of the time, I have
up few months untilthe ice' of the
to 'break
there for a of the BP Portrait
Award, involvin
beach scenes since they get me out in I'm complet
canvas. On this
www.painters-online.co.uk/store and
several painting with it. This delay ely happy g all participants,
s on the go at occasion, the backgrou
also allows been organise has
the world.’ His process is once.’ nd d by Cass Art
fairly tradition was spray-painted me to
use glazing techniqu so I'll be involved in Islington,
Richard's art comments on society, but ‘Normally after
making prepara
al.
nuances to the es to addtothe
slightly more edgy
give a
final with that, and
work. September 2016 in
also allows viewers to interpret what sketches, I sketch tory look.’ I had
the composition ‘I normally try
to avoid using the Vermont Studio a residency at
they see within them. ‘When planning on my portraits. My black in Center in the USA
that gave me the
paintings, I try to find something that I 14
favourite black time and space
artist September 2017 develop some to
like and that the viewer may find more exciting
works.’ TA
interesting, and work on that. With
people, the poses are worked out with www.painters-on
the model. I think that anything that the line.co.uk
enter code LPTA1709 or call 01580

model contributes helps the painting to
show that sitter's character. With
landscapes, I plan and sketch the
composition out before I begin the final
painting, although changes do
inevitably happen as I work.’
Influences
‘My vision, acquired over many years of
open studio drawing and painting,
763315 and quote LPTA1709 My Father Thinking of Me, oil on canvas, 47 ⁄4⫻31
technique I developed with this painting was

1
‘One of my first portraits from life; I used a mixture

sitter tended to nod off during the sittings, and
1
⁄2in (120⫻80cm).
of sittings and photos, partly because the
I was determined to get the eyes right. The
to use a darker skin tone for the outline and then
to build the skin tones dark to light in subsequent
sittings.’
takes its influence from where I grew up
in Italy and from where I have chosen
to live in London.’ As far as individual
influences are concerned, he says: ‘I
grew up in Genoa, so 17th-century
Italian
New
Dorje, oil onseem
‘I painted Dorje
York, I studied
sessions.
McKenzieThe
entirely
andheavier
using sepia and,
William
haunt me! In
painters board,to18⫻12in
fromMary
under
marks
(45.5⫻30.5cm).
Beth
life in five three-hou
Scharf, and with
on the face were
due to the speed outlined
r
it is unglazed. the painting was

It is painted on k made,
www.painters-online.co.u
my favourite surface, board, which has
become
12 artist September 2017 about damagin
mainly because
I don't have to
g the canvas.’ worry
www.painters-on
line.co.uk
artist September 2017

13
Ischia: Wineries & Waterfronts
The dreamy quality of islands makes them perfect for
painting, and Ischia, with its serene coastal scenes and
isolated medieval castles, is even dreamier than most.
Date With Exc
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Incorporating Leisure Painter

Newstrade distribution by INGRID LYON Editor

OCTOBER 2017 issue on sale 8 September

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Contents SEPTEMBER 2017

34 Line and colour

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inks with soft pastel Shoes, pastel and watercolour,

50 Just for the record

52 Take three washes

56 All about tone

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September anniversary competition_Layout 1 27/07/2017 11:45 Page 58

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SEPTEMBER’S COMPETITION PRIZES

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Dennis Hill Trees at Blue Pool, acrylic 153⁄4x211⁄2in. (40x55cm)

at the Gallery Upstairs Open exhibition Viewing

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Exhibitions JANE STROUD RECOMMENDS

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n Manchester Art Gallery

their exhibition schedules 1926, oil, 311⁄2x213⁄ in. (80x55cm)

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GREAT DISCOUNTS UNBEATABLE SERVICE

 TEL: 01204 690 114  EMAIL: sales@artsupplies.co.uk

with watercolorist Ibolya Taligas

All levels welcome. Accommodation, meals, excursions,

Contact: +44 (0)208 458 3583 or +44 (0)7564906850

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Pen & wash

You will need

Your reference photograph for

this project, taken on a sunny day

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Dampen the paper using a broad flat

Carefully peel off the sticky moon label

1 Using your 01 drawing pen

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Pen & wash

Continue drawing across the 1 The forest floor in the foreground

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Pen & wash

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Bottles, jars and spoons

A crylic is a wonderful medium, as

Fry Sauce, acrylic on paper, 10x8in.

(25.5x20.5cm). I chose half empty jars as

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