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ll
OLIVIA FRASF.R
SAFDARJUNG's Tomb
RMES
o U
Hermes House
88-89 Blackfriars Road
London SE1
No
be reproduced, stored
transmitted in any
way
8HA
in a retrieval
may
system, or
A CIP
is
Samantha Gray
Project Editor:
Designer: Michael
Morey
Typeset by
MC
Printed in
Typeset Limited
Hong Kong
2004
13579108642
Contents
DRAWING
WATERCOLOUR
OIL
& ACRYLIC
68
130
PASTEL PAINTING
192
Suppliers
252
Index
254
I)(,
BRIG
Stepping Oui
III
Introduction
Drawing
It is
because
it
but different
At
activities.
be described as
all
its
simplest
marks made on
word "drawing"
human
it
can
a sheet of
it is
activities.
Young
manual dexterity
to grip the
what they
world
made by
important factor
in all
is
an
For most
artists,
it is
a direct response
Learning to draw
Drawing
and
it is
is
gift,
who seem
TED GOULD
Claire
(Above) Pastel
is
is
a lovely
the face
lightly,
and clothing
it
On
PIP
CARPENTER
artist's
using the
tip
ROBERT
MAXWELL WOOD
Yesterday's
Nudes, Radishes
(Left) In his picture, this
artist uses
coloured
pencil in a completely
way to John
Townend (below). He
different
achieves meticulous
detail
and considerable
no
to be able to
drawing,
acquired;
draw
like writing,
if
is
a skill
the motivation
is
which can be
there,
most
certain
in a
is first
seeing.
TED GOULD
Girl Sketchi ng
(Right) Wax crayon is a
less subtle
drawing
medium than
it
il
pastel, but
'wf f
is
thus
it
"Mi
drawing, the
artist
'irljW
JOHN TOWNI
network of loose
Su m m
(Above) This
hatching
lines.
bis subject,
Beyond
rHi
'
Pooi
artist icoiks
the
il
medium
is
dest ribing.
DAVID CUTHBERT
Polly Wants a Pot
(Left) In this delightful
flat colour.
is
stressed by
Although technical
not the
as
it is
void.
first
stage in learning
of drawing, which
your
combination of pastel
this
exploration of shapes
light
him
to build
highlights
up both
and shadows
touch of colour to
what
is
essentially a
monochrome drawing.
draw,
beautifully even
own
failed in the
is
still
primary task
satisfaction.
Such
failures are
do
is
simple, because
a certain
you have
it is
not that
to learn to look in
it
skill to
Our
It
it is
want
Man- M a d e and
Natural Objects
how to
find that
PAUL BARTLETT
important,
lines of
to
skill is
to learn
how to draw
all
if
you
you need
to
to
rather than
what we
see with
our
own eyes.
GERRY BAPTIST
Bananas and Other Fruit
(Left) This lovely
done
drawing
is
which blunts
easily
and
this
and
in
PAUL
drawing or painting.
ARTLETT
Self portrait
(Below) A comparison between
this
Here the
effect
is
drawing and
versatility
of the
almost photographic
its
in its
subtle
gradations of tone.
right, particularly
much
objects.
you
will
large because of
make
If
you
a table with a
are that
But
on
when
it,
the chances
it.
have caused
it
to "shrink", so that
it
may
only
way
subject,
to
approach drawing
whether
it
be
The
known
be a portrait, an apple on
TED GOULD
(i
Left
in
an Armchair
effects,
but a
drawings. In
is
also a lovely
this figure
essentials of the
superimposing
pose
study the
in a
few pen
where the
lines
incorrect or needed
<
intrit
ate
medium
and elaborate
artist
has
strokes,
first
<
aught the
sometimes
drawing
larifying.
JOHN TOWNEND
Shunting Locomotive at Bow
(Below) For this sketch,
has used
oil pastel,
made on
effects
built
up
require fixing.
The sgraffito
ELISABETH
a plate or a tree,
HARDEN
to force yourself to
is
Nettles
it
to
before.
combination of pen
Only
in this
be able to assess
it
lines
accurately.
it
A drawing can
is
few
sketchbook,
is
be
many
lines of "visual
made
things:
shorthand"
to
it
can be a
in a
remind the
artist
some
it
can be a
first
of delicate
this
effect seen in
drawing.
of
ideal
independent existence;
it
can be a finished
of the coach.
P C A R P F N T
In ree Fishes
(Right) This
is
also a
&
on paper, and
mixed-media drawing;
only by experimenting
will
not.
why
are
activity
in
which
it
may have
aspirations to
to
because
If
who
own
its
sake,
it is
now
a wider choice of
whole
become an
it
media. There
satisfying
illustrator, or
as a necessary
white paper
much more
exciting effects
light
work
together, or the
line
it is
no
is
drawing
JOHN TOWNEND
East End Family Hoiisi
(Opposite) In this pen-and-ink drawing, tones have
create a
somewhat mechanical
is
this,
in
good medium
for
as the impossihilttx
& Equipment
Materials
drawing as
work
ink or
are a great
Now there
later.
look at these
first.
Pencils
These are the most basic of
tools, as well as being
sensitive
and
versatile.
all
drawing
Few
artists
would be
made
of graphite,
manufactured
in the
CONTE CRAYONS
which
is
much
is
made
in different grades,
'V
SHARPENERS
would provide
good
CONTE CRAYONS
These are square-sectioned
sticks, similar to
They
in black, white,
and a
are
made
selection of "earth"
lines
TO DRAWING BOARD
INTERCHANGEABLE
NIBS FOR
PEN HOLDER
only drawback
that
is
Conte cannot be
erased easily.
Charcoal
This
is
it
all
the
encourages
form of drawing,
art
recommend it to novices.
made from fired twigs of wood,
teachers often
Charcoal
is
is
sold in different
smudges
It
easily,
and
REED PEN
corrections can be
off;
however,
this
it
less suitable
it
BAMBOO PEN
than
Compressed charcoal
both
stick
also available, in
is
QUILL PEN
less
is
Pens, inks
easy to erase.
and brushes
SYNTHETIC BRUSHES
quills
start
modern
felt-
and
fibre-
with a
drawing
line.
set of various
best to
it is
it
and
Papers
The most common
is
does for
that
you buy
SPRAY FIXATIVE
many
professional artists.
There
is
a variety of
Some
artists prefer to
If
however,
and
is
clogs
them up.
in
your
stick to
browns),
smooth cartridge
(drawing) paper.
in reservoir-type pens, as
Felt-
wash drawings,
you want
in
Additional equipment
A
rigid
You
if
is
required to
will also
and
can
<>t
need
spray
Monochrome Techniques
Pencil
As
the pencil
implement,
is
it
allows each
artist to
cross-hatching.
develop
is
used in
all
The
which
latter technique,
is
dealt with in
pencil that
\X
soft pencil
subsidiary role.
his or her
no one technique or
detail
the subject
it is
pencil.
example, gives
pencil, for
built
and
up by
ith
light
2B
pencil
which
line plays a
relatively
They
An HB
in
you
drawing
ink.
set of
N
G
more
side-lighting. If
in
strong
home, take
good
set
up
specially
selection of pencils
initial direct
response to
pencil
pencil
Frottage
This
is
a specialist technique
It is
which
1A
is
"
/.
on
verb frotter, to rub, and the method will
thin cartridge
be familiar to anyone
home.
in the artist's
:,"'
variety of frottage
not restricted
it is
easier to stick
is
also
down
is
texture in a
drawing-
patterns of
wood grain
for example,
taken from
incorporated into a
still life.
The
effects
done on
the crispest
and
clearest impressions;
on
2
light
the drawing,
made from
of paper. The
first
piece
is
cut out.
its
nature.
Frottage method
best
You need a
soft pencil
clear impression.
and fairly
is
down
in
At a
(a pencil
used to take a
(Right)
interesting use
difficult to use in a
17
Monochrome Techniques
Charcoal
Charcoal
is
a wonderfully versatile
medium,
drawings or
amount
however,
ideal.
willow
Erasing techniques
is
medium;
you
to build
up deep,
its
side allows
surface,
line,
more usual
is
fixative at
it is
easier to correct or
the
technique
down any
to rub
keeping
work with
intervals or to use a
it is
in
this
smooth
known
rise to
an interesting
WILLOW CHARCOAL
Having covered a
sheet of cartridge
it
cotton
hall) to
down
wool
cotton
(Right)
main
works on
light areas
of
details,
is
and
applications of charcoal,
and
eraser
to be lifted out.
create a
picture
produce grey.
the
with
(a
background establishes
wipes
A rough drawing
and provides a
detail.
now used to
new highlight.
and dramatic,
painterly effects
the lifted-out
drawing procedure,
in
eraser. This
figure
to
method
drawing
often applied to
is
it
can be drawn
in this
way.
is
to start
by covering
it
which provides
- that
highlights.
Once
the
a guide for
in
working more
lightly
if
It is
not as difficult as
it
sounds,
effects
large areas.
19
Monochrome Techniques
Conte Crayon
Black Conte crayons and Conte pencils give
a less subtle line than charcoal or pencil, but
made from
Conte crayons
makes them
smudge
fix
You
Conte drawings,
easily,
but
it is
as
difficult
more
delicate effects
Paper texture
As with charcoal drawings,
the texture
A textured surface,
such as pastel
specks of white to
a slight speckling
show through
to create
effective in a light- or
mid-toned drawing.
WOR KING.
-4
TROIS
COULEURS
Drawings
often
in
done on
usually a
warm cream
on
or light brown,
rich colours.
/',
For a
effect,
which provides
left
as
IThe artist
working on
but a traditional technique
to pick out
is
colours
couleurs. This
is
- hence
trois
way
an excellent
off-
been established
now
beginning to take
hatching lines of
dimensional form,
in
the
dark brown
black to strengthen
the
some
the face
\J
is
on
is
studies.
The face
nude
drawing
to
is
lines slightly.
shadowed side of
and neck.
solid, three-
work
and
is still
light
delicate.
left
can be achieved
Highlights have
been added
in this
in
way.
putty eraser
is
alive
the eyes.
be erased completely,
but
it
can be softened
and smudged.
(Right)
and
21
Monochrome Techniques
&
Pen
The
was
pencil
Ink
with us for
were being
in
on
the
are now
artistic revival,
and are
bought from
specialist suppliers or
as
many
you can
artists do.
also
many
different
latter
well
quill
19th century
until the
enjoying a major
Europe
today,
in
all
Scribble drawing
You can
also build
looser, less-organized
is
in a
way, by scribbling
a harder technique to
has a
let
random
the pen
quality
you must
was
a technique
in revolt
learn to
much used by
is
built up.
Picasso
It
when
1A
this self-portrait,
constructed
the pen
in a fre
moving
aln
and
scribble
worked
drawing takes
live,
moving subject.
is
Hatching and
cross-hatching
As pen and ink
linearity
you
is
uncompromising
can't shade
in its
and smudge as
in
Hatching
network of
which go
made on top
is
IThe artist
cross-hatching
in
of
are, the
is
lines
is
working on a
Notice
(drawing) paper.
lines,
dots
to small
and dashes.
to use a series
is still
the
lines,
and
(Right)
The drawing
is
built
up
further hatching
where there
is
work
is
three-dimensional impression.
lines
lightly scribbled
in the
foreground.
a convincing
lively effect.
Although
all
roughly diagonal,
You
really
need to
good
art
shops
try
them out
to discover
you do
this,
most
and
choice will
to
do and
a
might be
in
red.
the
be
needed for
ideal for
the
depend
town or
is
not
a useful
drawing
either -
this
Monochrome Techniques
& Wash
Line
Another way
to build
pen-and-ink drawing
D
up areas of tone
to
is
combine the
made from
line
diluted
This method
painting,
but
it is
tone to
G
It is
is
when
in a
used in watercolour
fff
monochrome drawings.
work more
and shadow, so
artist begins
in tone,
skill,
is
closely
fc.-.
freely
the
by working
using a large
2
to
reed pen
is
used,
draw
Line
is
not intended
to play a
dominant
role,
work
but more
same
sensitive line
now painted
than mechanically
washes
soluble ink.
lines.
it is
same
because the
line
is
always
bamboo pen
on
bamboo
quill,
rigid impression
the
out
try
You can
you intend
to use a
and
spoil
line.
stretch the
paper
first,
it
lift it
in a
on
stick
tape)
it
reed pen
The drawing
if
possible,
it
it
in front
at a halfway stage,
to see
damp
to dry
vou put
is
this
assesses
turally
and
the
it
around the
further washes,
gumstrip
all
the
out carefully
The shadow on
left-hand building
of
lines.
is
used again,
watered
ink, to
make
the steps.
of
may
tear off.
Working methods
In order to
drawing,
produce a well-integrated
try to
develop the
line
and wash
drawing.
One way
to
do
this
is
N
G
to use
spread
this
more washes
some
as required.
However,
remain
waterproof ink
in the
pen
You
is
some washes
first in
and
lay
add
details
and touches of
suitable
approach for
a landscape subject.
in the
is
pen work.
left,
the
known
as hackruns,
)ccur in
wash
plasterwork.
25
Monochrome Techniques
Brush Drawing
In a
The
of painting.
tip of a
if
this
is
similar
to that of a
softer,
effect
is
and the
line
Having
laid
watered
some
light
washes of
works
into
Still
softly.
for both.
and-wash
attempt to correct.
figure drawings,
is
for
particularly well
A variant on
washes to create
soft effects,
must be stretched
first,
on the
as explained
method
it
more
detailed
when
the
(Right)
to build
rapidly than
is
The
example of the
or
trees.
The
original ink
trees
extent,
washes on the
and
was needed, so
the paper
effect
was
left
The
ivall
artist
which
is
is
of drawing.
and now
the trees.
B rush
d)i
</
paint
II
1
1
'
*^"
iH
*n
Ilk
^H'-
IB
Pir
iK
..."
Kyi A
P
v.'**
HYm mtw
W ^B' ja
Nu
^^
<mp
^*f
(Above and
The brush
as line
done with
is
that
brush
and
slightly
is
unnerving
initially
errors; nevertheless
method
to try,
releases
some
drawing
freer
it is
an exciting
inhibitions
and
it
You can do
less fussy.
use,
how you
hold
it
and
apply, so
it
to
different
work with
Both these drawings were done
minutes, with slightly diluted
is
in
no more than
brown
ink
ten
and a
tl"
al
and held
handle rather
at the ferrule.
Drawing
in
Colour
Colour Drawing
Materials
Drawing with
pencils, charcoal
and pens
really
experiment
as polished as
as expressive
fortunate position of
- the
only
start.
OIL PASTELS
Coloured pencils
These make a good starting point for
same way
as the
start
Like
all
made from
Some
will find
You
fairly transparent.
km Am
4 i J
A i
HARD PASTELS
and opaque,
is
like
SOFT PASTELS
COLOURED PENCILS
water-soluble
in
some
parts of a
- they
known
use very
much
like
If
in
water-soluble inks,
lines in others.
s\
are
as liquid acrylics
to last,
when
dry.
guard
Pastels
Pastels are
watercolour";
made
in soft
form of
in the
this
is
The colours
discolour.
made
bound with
a tiny
are
original
in
any drawings
is
necessary for
made
broad wedge-shaped
either with
tips
(these are
with fine
tips,
in
them can
who
those
like a
in pastel.
matter.
Some coloured
may not
oils.
The
is
variation
Papers
For coloured-pencil and oil-pastel work,
is
who
artists
in
your
pastel
their
oil pastels,
so
which
suitable, as the
it is
made
to
Coloured drawing
wash of water-
made
colour
wide range of
brilliant colours
with a light
it
first.
are
i
bound with
shellac,
work Ingres or
- or watercolour paper.
work on coloured
in a
fall off,
not usually
Mi-Teintes paper
you
is
pigment tends to
)l
c.l
HI
DINKS
but prefer
If
Drawing
Colour
in
Coloured
Pencil
Although coloured pencils are becoming
increasingly popular with fine artists, both
for sketching
and
works, at one
for finished
widely used
still
careful shading.
and cross-hatching.
accommodate
in a
wide range of
many
as
as colours can be
surface,
it is
not
you
did,
you would
still
have to
rely
on
The
building up in layers.
been dipped
tip
in water,
whole
the
effect.
Colour mixing
Colours can be mixed
in a
number of
Burnishing
method being
depth of
in places
with deeper
shadow
this
is
good method
finished, detailed
process,
added
work,
to
layers of hatching
make
to
of the drawing
and purples.
While
it is
for highly
not a rapid
tight
As you can
see in
therefore
works
better
be mixed
in this
a torchon
effective.
is
more
is
An eraser removes a
little
of the
Impressed-line drawing
With water-soluble
mixing
you can
wash with water and a
colour,
into the
first
as
when mixed
it
of the design
out first on
pencil pigments
draws
it,
but in
onto
directly
it
at the
prevent slippage.
wet.
Burnishing
This method can be used to increase the
brilliance of colours in certain areas of a
drawing, but
it is
up
Having been
rubbed with
stump sold
built
paper
marks are
lines or
paper
is
all
Impressing
If
lines
but a
design, as
is
this,
complex
over.
The
lines
show up
clearly
through
is
is
is
to play a
major
role in the
the white
drawing
- or draw
it
directly
lines
and orange-reds
now
is
trace
it
lines accurately.
it
If
used
lightly to give
greater depth of
<
<
olour,
white
lines.
Drawing
in
Colour
Pastel Techniques
There
work
is
this
is
merely
no
real
In general, a
emphasis
is
built
up thickly
in
minor
done with
although not
a brush.
Pastel marks
In the context of drawing,
it is
the mark-
up colours that
field
is
their
most
they are
A coloured
variety,
have a
soft
PASTEL PENCILS
OIL PASTEL
marklike
them
prefer
crumbly,
fixing.
less fragile
make
with the
use,
stick.
and
artists
same
Some
to reveal another.
is
scratched back
broken-colour
effect
and to soften
lines
where necessary.
mak
achieved by scraping
Papers
Oil pastels
either,
effects,
be
made
32
and
ide.
bold drawings
The
make with
pastels,
Oil-pastel sgraffito
D
R
W
Working on a smooth-surfaced watercolour
is
making
2
left
will be overlaid
artist
N
G
lines.
is
top of the
little
of the original
4
is
The sgraffito
effect has
been built up
used quite
of the
all
over the
knife.
Here
it
lightly.
is
work
as
it is
you
usual
smooth paper
might also
for pastel
try
one of the
work - velour
is
paper. This
soft,
in exactly the
same
light, as
m this
tit
is
most
awing.
13
Drawing
Inks
<?/?,
The
in
Colour
^Markers
drawing
inks.
These can
mixed
to
(if
exciting to
draw
effects,
(the
they are
more
Both markers
which may be
which
washes of colour. In
this
felt-tips
watercolour.
The
solid,
produce a
lighter effect.
(Right,
who
subtle effects.
Drawing with
coloured inks
You ntn make a
light pencil
drawing
as a guide for
pen
in this case
lines if
straightaway.
and some
She
lightly
is
swapped the
finer
one
in
original broad-nibbed
pen for a
lines.
and
colours,
the artist
now describes
the shape
Wax
resist
of the mixed-
4
this
The broad-nibbed
which
pen
oil
is
used again, as
needs bold
effects.
Even
is
and water.
wax
(oil
is
wax
resist,
crayons,
oil pastels,
an
oil
bar
are laid
how it is
held - notice how in the
according to
fascinating effects.
left,
from
thick to thin.
The background
artist
as the
wanted to
establish
deciding
The contrast
between the
fine lines
middleground helps to
create a sense of space as
\S
Techniques
Comparative Demonstration
j$
There
is
IWhen there
in order to
own
style
and
pencil
lot
it
may like
work. For
the effects
you
see in
making sure
case
oil pastel, in
response. Here
two
is
that
correctly
cannot be
the skull
example, you
any
by looking at
artists'
is
build-up of coloured
continues.
which
artists
demonstrate two
Having established
the overall colour
of the
skull, laying
one
now works
composition of
the drawing.
show how
pencil drawing as a
chosen
oil pastel,
much
bolder
medium
skull,
at
by the
reflected colours
browns and
greys. Excited
now been
on the
an early
stage.
it
would be
in place.
In
any
line
pencil or pastel,
it is
you make, and here you can see a wide range, from
long hatching lines on the table top to shorter, curving
strokes describing the forms of the skull.
artist
lines that
and
over another.
As
in the
coloured
shadow plays an
important part
in
is
in the
the
same
lighting
was altered to
medium
it is
is
difficult to
which the
making
the
intensified.
Although the
arrangement
If you
pastel one,
skull the
picture.
now
Because she
working on coloured
"reserving them
as she
Oil pastel
is
much
bolder
medium than
soft,
it
covers
\a\
and white
37
at the different
them
to
make
is
Working sight-size
drawing
can
effects they
to learn
how to
use
so that
it
should
in
looks
Accurate drawing
'real'.
drawing -
likeness of a
few
lines
subject, whether
careful detail.
It is
first
an object
right,
and foremost
be a face, a
any amount of
it
and the
and
relative
this requires
careful observation
and
constant checking.
Learning to draw
the
basic skills
is
and
by early
to decide
gift",
for you.
failures in
It is
easy
drawing
when you
to draw.
first start
Drawing sight
size
either
level as
it,
or by using a ruler
making a
series
of marks
and have
life
their drawings.
very helpful.
very easily
what
sight-size
mug on a
table
of
in the position
it,
draw
it.
Then
If
in front
and you
sake, accuracy
will avoid
qualities,
having to make
when you
paint.
Measuring by comparison
make
example, rather
own
for
its
corrections
is
If
close
Drawing
sight-size
scale objects
it
is
up or down
doesn't always
in
work because
a sight-size
measurements.
When
drawing a small
still-life
to
be quite close to
the subject.
Making relative
measurements
"key"
size,
and relate
measurements
unless your
With the
marked in,
worked
is,
eyes open.
out
the artist
in the
way, that
saw
first
normal
same way
in the
test this
mug first
Only when he
that something
was
in relation to the
paper.
in his
be some distance
further measurements,
want to draw
and
the ellipses.
it.
mug here,
Make sure
be accurate
exactly the
work out
relative sizes. In a
interior, for
same
the objects.
example, there
you
will help
drawing of an
may
be a table
with both
objects
will not
hand is always
from
distance
measurements
establish a
to
as the
working sight-size,
the width of
will place
boldly
may
if
you
in charcoal, sight-size
approach.
In
still
use
one "key"
size
and check
this.
the unit of
important part
draw
in the
composition.
If
you
window behind
it,
with the
mug on
first
When
length and
make
same position
change
as
soon
move forwards
sui
th
.is
yon
i
i
or
or backwards.
\9
Drawing
Shapes
Drawing
among other
involves,
means of its
defining a shape by
fact
Improve your
things,
observational skills by
outline, a
setting
no true outlines
still
have to invent
is flat
in nature.
and there
However, we
because
this outline
up a group of
positive
it
and then
as
negative shapes.
Drawing outlines
objects
bottle
perhaps
mug,
a plate
as
still
and a
two-
is
way
will be
However,
allows
it is
this.
a
a brush
useful exercise as
carefully
and
it
not easy
is
have to make
corrections, so use a
will
medium
The artist
is
drawing with
carefully at the
in white.
at the
way the
ladle
was not
is
now
lines.
shapes
relate to
one another.
them so
If
(Right)
spoon and
much
larger, taller or
tall
is
object
width to height
is.
A common fault is to
no good drawing
if it is
drawing
a perfectly
in isolation;
it
shaped apple
it sits.
and a ghost
helpful guide
when
40
the
which can be a
erase completely, as
you are
line remains,
more so
managed
easier
difficult at
However, by looking
Making comparisons
when you
is
ellipse
that
Drawing an
same mistake.
well.
Negative shapes
of a drawing
is
the artist
the
mug with
now drawing
still-life
group
"in
If
she
is,
is
a handle,
and
try to
between the
objects.
between
it
It
can
all.
Drawing
is
seems
slightly perverse,
it
forces
skills. It is
you
also enjoyable,
way and
of will, but
effort
way
it
can
Once
simplify matters.
those
to look at things in a
completely different
in this
involves an initial
observational
as
it
Drawing
made by
the
thus
still
As
in the
previous
drawing, the
artist
make
corrections.
may have
them properly
It is
in this
almost
first
time
kind of drawing.
failed to
to the body.
You
another function -
it
teaches
you
to consider
thus to
and
is
lively
41
Drawing Form
So
far
we have looked
at systems of
For
more
of course,
than
but there
Drawing
N
G
world
in
to
it
lit
from the
this.
is
you
objects,
preferably
rounded
this exercise
need a selection of
and dark.
good
a convincing impression
its
outline.
you must
sounds.
Form
on an
falls
is
rely
is
on
less
direct
easy than
it
object,
which creates
light
and
-i,
^
I
3
'
f$
_-
.-.
line,
^^r
-Jm
%.-.
charcoal
is
used. Because
charcoal
is
soft
and
smudgy, however,
it
Working
stick,
line,
various vegetables.
42
of the charcoal
its
side,
we
lived in a black-and-white
would be
finger tip
is
used
of
The dimples
at the
dark, so the
tip
Because charcoal
of a colour), but
smooth paper -
the artist
shadows are
of
the charcoal.
it
well to
transitions of light to
soft highlights.
world
is
working on
more or
less
it
anything you
be a face or an
cartridge (drawing)
need to be re-established
the light
and dark
much
more
see
making
areas.
it
It
difficult to place
helps to half-
when
makes
it
look
flat.
The
outline of a round or
mug,
where
it
begins to turn
this
than on
if
the
of solidity
is
destroyed.
is
outline altogether
if
working with
Try
out method.
use charcoal
lifting-
to
linear approach.
smudging, hut
technique.
highlights
It
this
is
become
easily
lost
is
that
through
remedied by the
lifting-OUt
4*
Drawing with
Line
Having
how form
explained
just
may seem
with tone,
it
to say that
you can
is
built
contradictory
up
now
create an impression of
combination of lost-
It all
and how
depending on the
you vary
solid
it
in
line
and dark,
light
and
lighting, the
it is
delicate or soft
shapes and
and
reproduce them
scarcely visible.
accurately,
seen,
drawing
you
will
hard outline
its
solidity
Some
of the edges
may
be relatively well
is
shadow beneath,
These "lost-and-
on the simplest
human
face, are a
in
You can
see
object, while
as flowers or the
soft
it is
worth
practising, as the
(Right)
Although there
objects, the
is
no shading on the
and partly
to the accurate
ellipses.
Using
drawing, and
is
She continues to
shadow
area.
u 1\
^
1
ITo make
this
of drawing,
kind
it is
helpful to restrict
yourself to a
medium
artist is
give a
Observing the
lines
and
as the
and dangling
spectacles.
ink.
beginning to
is
shirt collar
finished, the
drawing
in
to
The
itself to
Having drawn
good impression
Pattern
is
and
exercises, this
human
same
as
less
be
clothing
- perhaps
forming a
series of folds
on
a combination of
can be instructive to
all
restrict
kinds of drawing
in
line to
a pattern
it
Contours
of the form.
and
Not
all
objects, of
form
it
would be
difficult to describe
them
in
if
an
they are
your picture,
line
alone or with
Sketching
There
is
no
real difference
between
word
made
sketch
either for
There
pictorial aims.
a difference
is,
its
own
its
own
drawing or
a painting.
go through
their
sketchbooks
refresh their
scene.
memories on some
sketch, the
detail of a
more
Choosing
observational
skills. In
some
or
in
uses a large
it is
sketchbook
cases,
which case
this,
book
Sketching for
painting
by
made as
planning an
and
oil painting,
made
spiral-bound sketchbook
enables him to remove
the sheet
near his
and pin
easel.
it
up
Choosing the
medium
(Far
left)
out sketching
wise
it is
to take a selection
different
as
of
drawing media,
particular subject
better suited to
Townend
another. John
likes
is
one than
where colour
is
important than
less
line.
Collecting ideas
(Left)
David Cuthbert
does not
make sketches
several sketchbooks in
sees, often
taking photographs at
the
and tone
may need
is
sketches in colour
make
made
and
and ink
is
is
virtually impossible;
you
will
oil pastels,
and so are
light. It is
all
wise to
make
a habit of including
sketches if you
clip pieces
on your
Making colour
notes
(Below) Gerry Baptist
works mainly
you can
ideas to hand.
latter
You can
that he
pastels
same time so
in acrylic,
watercolour sketches
preoccupations; a
monochrome pencil
it
in colour,
colours.
make
"blue" or
medium
if
and
frustrates you.
would therefore
in
painting.
restricts
sketch
and another
for the
difficult to translate
Materials
For sketching you can use any drawing
is
good
feel
comfortable.
all-rounder, as
it
allows you
and ink
47
Focus
Figure Drawing
that "If
human
that the
challenging of
W
I
N
G
figure
all
is
subjects,
aspiring artists
ground
was recognized
Checking angles
for
in the past,
formed an
life
on
it,
at
Nowadays
any rate
there
less
is
life
classes,
professionals return to
them
emphasis
precise angle
and many
life
class
is
not essential
if
by hold-
and adjusting
length
at stages
but
in art schools,
amateurs flock to
it is
important to represent
until
skills.
take
you
it
it
to the
it
coincides, then
carefully
down
find
someone who
or you can
However,
is
draw yourself in
for
a mirror.
model
as well as a decent-sized
which
to
draw, so a
alternatively,
model with
class
is
room
in
friends or colleagues.
Theproportions of
the figure
In the main,
drawing
is
learned by practice,
Checking balance
overlook
often
human
it is
helpful to
is
standing pose,
this
plumbline, as
a common
analyse
what
is
error
special
and
here. This
help you to
holding up a pencil,
slightly
seven-and-a-
is
Proportions
shown
a slightly
are drawing.
is
is
that the
remember
is
it is
body
is
about
essential to
relatively large.
where there
of tilting
head
it
is
a danger
away from
the vertical.
(Left)
If
arms arc
line
one foot
to the
wrists will be
The balance
way in which
weight
is
the
distributed.
The hand
is
- try
is
out
this
hand -
approximately
Foreshortening
In figure drawing, the
as the unit of
head
always used
is
to
it,
is
the
can be
from the
feet will
It
you know a
leg
is
a certain length
see,
and find
it
and partly
is
and
Some degree
of foreshortening
is
it is
vital to
take measurements. As
at
arm's
and
is
with a
little <>j it
by the
hand
taken
resting
on
the table.
common
or
49
Drawing
movement
(Right)
To
depict the
figure in motion, a
difficult
but rewarding
subject,
you need a
medium which
actively
discourages detail. In
Arms Swing
Hil Scott
ink,
adding touches of
charcoal
line.
definition
is
the drawing
The
minimal, yet
is
an elegant
(Left)
and
is
arm
and
the
opposite directions.
(Below) Very
weight
is
little
taken by the
tilt
on one
leg, for
hips slope in
and align
pencil
it
with the
mark
down
in the angle as a
In a
line.
guide
drawing and
this
to the
correct, as
body.
It is vital
your drawing
will
that
not look
way
in
distributed,
and the
feet,
of
is
Choosing the
right
Balance
medium
*\
very
drawn
the
model
in a side
is
view,
down
to the feet.
thus wise
fast. It is
and
notoriously restless
usually have to be
lines are
between the
feet,
but
on one
will
to choose a
broadly.
medium
leg
it
if
is
way
references
is
to use a plumbline,
which
Mother and
Child,
The way
in
deft touches.
it,
it is
is
less
obvious
in a
equally important to
it is
stiff
and
essential to check
plumbline.
You can
system of balance
lines or
mark
same
in a central
The standing
figure
(Right)
As explained on
it is
vital to
and how
is
is
distributed
the whole
affected by
.'
body
any
movement. In
his
two
brush-and-wash
drawings James Horton
captures beautifully both
the swing of the body,
and also
its
three-
dimensional quality of
<
31
51
Composing
the
drawing
Drawings can be
(Left)
or
which happens
your fancy.
to take
A drawing,
case
composition. Paul
Bartlett's Father with
Lamp
is
as carefully
composed as any
painting, with the
and writing
and
the dark
vertical line to
relate the
of the torso.
on
their clothes
is
if
opportunity to practise.
is
You
more
don't need a
may
oblige, indeed
flattered to be
more
studies, friends
and
many people
are
asked to pose.
forms beneath
lines,
but
it
it,
sitting or standing. In
must look
little
way
idea as to
its
wearer
'
v
x
in a
you can't
difficult to
'
shapes of
some
in
feet
draw;
its
it
V?
d
R
W
I
N
G
can become so
on a
fabric, that
the figure
you
fail
to
make
sense of
itself.
Rounded forms
(Above) This simple pencil drawing by Elisabeth
Harden concentrates on
the
left leg
shapes
Drawing
(Right)
light
light falls
on them, so
in life
in
which the
drawing or portraiture
it
side, slightly
and down
the hip
and leg.
53
Focus on Figure
Pastel Demonstration
James Horton
painter,
primarily a landscape
is
working mainly
in oils,
but for
work. Pastel
is
and he exploits
its
how it is
linear qualities,
remains
distinct.
He
and overlaying
it is
This
is
made
3
2
work up
tints.
to the highlights
and down
easier to
it
to the darks.
(Right)
the
first
show through
livelier effect
stick lightly
they do not
all
go
in the
method of
same direction.
At
this Stage
much
paper
is still
of the
uncovered, hut
it
does
greenish-brown
is-
very
is
paper
right
an important
The compressed
charcoal
is
used
w
(Above) The process of building up the darker
I
colours
brown
arm.
and to sharpen up
drawing
the
drawing. Charcoal
and can be a
pastel
visible,
N
G
it.
pastel,
better
and defining
background or foreground
in detail,
lines.
is
is
55
Focus
Animals
Drawing animals can be rewarding and
frustrating in equal measure. Whether
they are wild creatures, farm animals or
pets, animals make wonderful
it
is enjoyable simply watching
subjects
them but unfortunately they are not the
household
cats,
have
as
However, many
artists
have portrayed
Rhythm and
movement
in
choosing
(Above) In an animal
drawing, as
study,
it is
convey the
in a figure
important to
living quality
of the creature
the secret
way it moves,
lies in
all in this
You
methods
will certainly
to
medium which
you
context,
your
to
work
and
Study
is
a large-scale
likes to
the
allows
freely.
work "from
the
rapidly
drawing: she
not be able to
and
so choose
elbow ",
directly
paint.
The diagonal
You may
it
find
it
difficult at first,
polish.
because
the
maybe
in a
few minutes, or
just a
even your
first,
perhaps not
your observational
skills,
Sketching
become
is
a knack,
easier the
and
it
really
more you do
it.
all
suitable.
bird,
does
Use
Drawing texture
soft fur
tail,
give a strong
sense of movement.
to
draw animals
in
when
motion so you
will
drawing
a preliminary
is
medium
which
in
three-
dimensional form
is
less
arrangement of shapes.
What
first
Elisabeth
subject
attracted
Harden
to the
Multiple drawings
(Far right) Animals
is
to
do several
at the
time, as Vicky
Repeated movements
There
her
is
drawing anything
brush-and-wash studies
the
movement
in
in
motion, particularly
if
is
terms, as
on
help in practical
to
another drawing as
one
split
"Ah,
second
that's
in
what
it.
There
no
is
It is
moves, but
century British
also creates
an impression similar
an animated cartoon.
to
artist
George Stubbs,
specialized in horses,
was unable
them convincingly
motion.
in
It
we know how
that
who
fully
Now
understood.
moves,
a horse
it is
much
was
galloping horse
the
making
when you
are
visual record of
the legs
for these
on
a complete
all
and body.
to portray
was not
Photographic reference
The advent of photographs was invaluable
to the 19th-century painters in correcting
still
providing
in
If
you
to
their
will shift
small changes
in
then position.
Do
not
instt
and
begun witl
has delayed finalizing the positions
limbs
and
feet
././.
57
Focus on Animals
COLOURED-PENCIL DEMONSTRATION
Judy Martin
is
artist;
is
soluble pencils on
"
From time
else.
begins by laying
little
light lines
Here
own
inter-
pencil
is
jm
*m^
>
marks without
disturbing them.
photograph
~A
some of the
colour and softens the
releases
some
and then
working mainly
:
>.
different effect
is
it.
As you can
see, this
3
it
light tones
background.
of the cat
on the
left is
an early
Warm
stage.
reddish
soft effect
on the
fur.
tail.
a slow process
easy to
to
up
(Right) Building
a complex pattern
make
and it
mistakes;
guard against
tracing
is
is
is
this,
made from
the
working
surface.
background has
and a patterned
cloth (which
was not
in
some
interest in the
foreground. As
difficult to
it is
work without
artist's
collection of still-life
the picture,
and
builds up detail
of
brush to touch
in the
C\
\J
"1
_L
'
drawing, the
composition
is
as
important as the
representation of the
subject; here careful
planning
h<is
balant ed
at's
body with
the
S9
Focus
Buildings
The man-made environment of cities, town?
and villages provides a wealth of varied and
you are
atmosphere.
It is
drawing buildings
is
a special
skill,
but,
and
word
"perspective"
linear perspective
is
geometry
based on mathematics
who
at school, that
failed to grasp
is
quite
enough
to
Converging parallels
It is
were
but
it is
The
and
draw one
own
eyes.
down
at
some time
a straight road
sides converge in
line
same place
would meet
Central vanishing
point
(Above) The drawing
has been done from a
central position, so the
is
with reality
the
lines
is
Without perspective
it
diminishing size
is
becoming smaller
effect of this
law of
we
is
also
with the
in the centre,
down
horizon
line,
to the
which
is
at
Vanishing points
would be
vanishing point
three-dimensional surroundings on a
flat
piece of paper.
As
reasons,
parallel lines
are.
If
you were
it is
to
line
is
your
imaginary,
all
it
This
is
the
most
isn't arbitrary
changes as
is
located on an imaginary
important fact of
it
away they
and
- it is
why perspective
soon as you move your own
of the
slope
more
steeply
is
perspective.
Moving position
(Right)
to see
The
artist
has
now moved to
the
left in
order
the vanishing
this
position.
sfs
There
is,
If
depending on
old
be
drawn through
the tops
their
will
own
at
town or
odd angles
village,
houses
may
be set at
many
Perspective by eye
In such cases
establish
important to mark
but
it is
line
and,
if
in the
horizon
tilting
it
Two
vanishing
points
(Left)
The majority of
architectural subjects
have
at least
two
different vanishing
depending on
points,
sloping
more sharply
down
to the
on the
right
horizon line
<\ll
drawing
HUH *JMUUD
ZTIfuul/
W8
:
>
__
61
the perspective
is
impressively
is
number
window and the exact size of each
of bars
brick
in
each
sketchbook study
in
variety of
an opportunity to explore
and
colour. In
made by
and shadows.
until
it
Interiors
window
building
is
as interesting
draw
and rewarding
to
as the exterior,
and you
the picture
bonus of being protected
and
his
inquisitive eyes. In
pen-and-ink drawing
indeed
the vanishing
this will
be
time to time
if
you
see
If
are
bad
will
at
become
something that
drawing
all
impossible, as
to get
all
the others to
distorted.
drawing straight
And
lines
if
it
the
you
don't be
exciting composition
diagonal
and
lines.
Proportion
is
perspective
it is
so.
While
perspective which
realistic
over,
it is
drawing look
to
fall
conveys character.
draw
makes
a portrait
You would
not expect to
Buildings as a
setting
(Left) In
Gerald Cains'
mixed-media drawing
and ink)
who
watercolour
it is
the people
s?s
claim attention
He
setting.
has
and
by playing with
scale;
Composition
(Below)
Making a
finished drawing
it is
surprising
how many
structurally impossible
and bizarre
When drawing a
if
if
doors
are
in relation to walls.
from
sketches or photographs
comfortably
in
stoop or walk
in
sideways. People in a
adjust reality.
to
Ray Evans
sketches continually to
and when
he makes finished
drawings he often
as
in
can
several sketchbook
studies.
in
is
and
when your
subject
is
town houses;
which
will give
"sense of place".
Relative sizes can be measured by holding
up
drawing
sight-size
down
and moving
it,
but
if
you are
Work
its
width, the
and
size of the
make
the spaces
is
windows themselves
unwary. Be particularly
63
Focus on Buildings
Mixed-media Demonstration
Karen Raney
is
an
artist
who
enjoys
sgraffito technique in
drawings
as
is
all
an
oil bar,
it is
pastel.
over
which
Having drawn
this
with Conte
crayon, she
more
is
now applies
in selected areas.
is
smudged with a
finger so that
it
mixes
V
-
and the
,(
**
'-.,
soft effect.
wLs
Vv_
HKZ.
'
V
.
'
Conte crayon
inscribed
is
now
more
applications of oil
crayon.
and
The drawing
is
with the
and
is
gradually.
employed,
it
and then
to
0?
8
oil
further
application
<>/
with the
'"'!'<
beneath top
Some of the
lines are
pencil. In this
effect
soft p
be manipul
Continut
65
'
!
!
v^
"*&
-^"^
f
V'.
'
'
,r
'^L-r'^M
IM&r^
r
li
J&5
#*#W.
-1
JL
f\
\J
is
the buildings,
sufficiently
work on
uses a
2B
advanced
&:^
the details of
"
To suggest the
:.
JL texture of the
building on the
left,
i&
pencil, applying
1-i
s&
The picture
(Right)
making a
:-y^:
-1I
she
1
draws into
it,
'
and now
Ww
using the
>
"
k
flj
\m
-/^
it
r-x'
ft
'
i
i44^
mf
'*
\
1
A]
tWfJS jjR9
~^1|
-1
(Above)
v4
lines
is
given by
-|
With
-L
^y
details
all
the
of the
foreground buildings
now completed,
artist turns
the
her attention
an exciting evocation of a
is
not only
city scape,
it is
suggest distance, so
layering
also
The repeated
~WT
[Hi
~TW
\
^.
>,
tut
i)
W
I
N
G
67
Introduction
About Watercolour
&
eminence today.
reasons for
this.
its
It is
The
it
position of pre-
of the
medium
still
are, the
is
its fluidity,
most
and water-
freshness
far
and
amateurs.
artists are
subject matter
is less
professional
limited.
The medium
is
still
can be painted
is
painted in watercolour.
Watercolour
In fact, there
is
in the past
new about the
nothing
oil
paintings
when
of paintings,
was regarded
dictated
as a
poor
more by market
anything
else.
relation, this
was
forces than by
New Delhi
one of the
The
artist
it is
its
deep, rich
common myths
a wishy-washy medium.
laying one
building, and,
on the building
create a
(Left)
JOHN LIDZEY
With Candles
Still Life
(Above) This
of
although
both
in
arrangement and
in the
manner of execution,
a pleasing composition,
and he
objects to
form
controls the
wool
lift
and
to
RONALD JESTY
Kippers
(Right)
both
Although
still lifes,
this
painting
and John
more
Lidzey's are
different in
paintings,
is
in his
to look
the pattern
71
ELISABETH HARDEN
Blue Interior
(Above) Painting interiors
is
a branch of still-life
is
and
the composition
RONALD JESTY
Rock Pool
particularly for
(Above) This
artist
artists
their
on
You can
the
on
where small
patches of light-coloured
paint have been
uncovered by
'&
left
later
of colour.
paintings,
more
was
around them.
see this effect
the water,
oil
portraits, so
oil
paintings.
dry, reserving
highlights by painting
carefully
commissioned
dark
rule
painters
in
water-
and seascapes.
of John Sell
is
(a
well
books of reproductions,
genius
who
worth looking
as are the
KEN PAINE
Amelia
(Below) At
it is
made no
initial pencil
amount of white.
(Above)
it is
white.
in this
The
are
now
The
effect
fairly thinly, as
is
it
achieve thicker,
is
used
if required.
own
(in
were
better-known).
JULIETTE PALMER
Birch Trunks
(Left) In this evocative
painting there
is
and intricately
detailed
way
feel that
departure from
we
white because
it
there
is
this constitu
we must
ol
nevi
TREVOR CHAMBERLAIN
Still-life Session at the Seed
Warehouse
(Above) Figure groups are not the easiest of subjects
to tackle in watercolour, as
it is
hands there
is
nothing the
artist
it
surface.
ELISABETH HARDEN
Making Marmalade
Here the contrast between warm and cool colours has
been
dominant
is
shadows
to create variety
links
KAREN RANEY
ST
LAUR
(Left)
NT-D
F. -
E R
A N
slight angle,
board upright on an
down
left
easel,
but
in this
worked with
the
bottom of the
picture.
She has
- the runs of
&
MIKE BERNARD
medium on
its
own;
to introduce
and
the linear
try
anything new
done. Interestingly,
all
it is
are raised
if
simply not
these theories of
up
surrounding
oil
in
The
enormous
well as
variety in the
methods used,
as
moved
picture surface
the paint
around on the
to run;
medium
it
in places. In short,
he used
way around.
it is
is
isn't
course,
that
it
else thinks
it
right, plus, of
it
someone
a mistake
in the
way
you should.
is
never easy,
own way
of working, the
be minimized.
75
Materials
& Equipment
Paints
1*
One
of the
many
that initially
the
way
& Brushes
delights of watercolour
is
a great deal in
for water,
start.
a jar
The
materials
and equipment
basics; as
listed
and way of
style
may want to
IIIM
out special
try
up
as
it is
WATERCOLOUR PALETTE
and build
you go along.
The paints
Watercolours are produced
in tubes,
pans
make
to
which
if
you are
to buy.
starting
Both have
from scratch
their
is
advantages
make
to
up a
and
to
mix
who work on
a large scale).
However, they
fit
neatly into a
another, but
it is
more
difficult to release
to scrub
enough colour
ATERCOLOUR BOX
WATERCOLOUR
PANS
known
as "artist's" colours.
paints,
Most
a?
<?
than
artist's
with
fillers,
to achieve
sometimes making
it
impossible
WATERCOLOUR TUBES
you choose
palette
will
one long
side. If
slot in
you opt
which they
for tubes
all sit
in
pan or
side by
or
largely disappeared
still
Brushes
The
work
recommended
There are
now many
and
invest in
You may
find
you want
later
on;
if
lifetime
if
you look
after
Most watercolour
which can be used
to
box of equipment,
mopping up
good
alternative to brushes
and
for
run.
It is
also a
so,
Other items
natural sponge in their
made from
WATERCOLOUR SPONGES
Of course, you
also need
and paper.
last a
them.
and you
will
one
for detail
size will
depend on the
flat
brushes
you won't
start with.
and
mop
There are
brushes,
and should be
invest in
them
FLATWATERCOI
to
later on.
77
Materials
& Equipment
Stretching
Paper
watercolour paper
Stretching the paper before use prevents
it
paint.
bumps may
The luminous
the rule.
so
is
many people
result of the
to watercolour
work
the
is
much
heavily
of the paper to
which
is
lighter
for
if
you
work wet
into
on
a large scale
is
if
(300i
1401b,
you work
it is
2WHTTEN
most types of
which
of colour, but
it.
layers
all
medium rough
machine-made
known
as
as "hot-pressed"
"Not"
(i.e.
is
not hot-pressed), or
handmade
texture.
left until
you
The
painters,
use
Not
texture,
in
a bath or sink.
lift it
out by one
cm
2.5
sized painting
on the
and dampen
side,
(1 in)
and up
to
cm
(2 in)
drawing board.
alike,
in place
but
Rough paper
^ __
^^^^J
on
weights, expressed as
refers to the
500
sheets.
which
is
effects
because
it.
made in different
pounds
(lb).
This
smooth
it
it
so
more
it
costs,
first.
makes
at every point.
thick that
it
and board
Don't worry if
WHITE NOT
HOT-PRESSED
5,6, 7
(90LB)
GUMSTR1P
^#
Colour
Advice on Mixing
here have
all
been made
The
The
first
difficult skill
to master in
red; orange
colours.
is
the colours
you
see,
is
to
is
would you
you can
Most
it
and
facts
error.
But
it is
useful to
know some
may
or
if
in
may not
combine
know which
greys
biases, or leanings
Of the two
is
vivid
and
alizarin
ultramarine and
make
Different permutations
of the primary colours
other.
these
make more
To mix
bright
Thus ultramarine
(red biased)
- browns,
muted
and
more muted
The
aiming
cadmium
greys and
greens.
proportion of each
in pairs,
to
muted mixtures.
When mixed
subtle mixtures
green.
you
you need
trial
at
and on the
strength of the
individual colours
some pigments
bias.
produced by
many
How do
this profusion,
and how
many
generally have to
because you
mix colours
CADMIUM RED
ALIZARIN CRIMSON
CADMIUM YELLOW
LEMON YELLOW
to produce
generous
ULTRAMARINE
PRUSSIAN BLUE
CERULEAN BLUE
V1RIDIAN
more than
three or four.
SAP GREEN
YELLOW OCHRE
are
A Starter palette
The
all
Making
It is
resulting colours
(secondaries) are
RAW UMBER
PAYNES GRAY
(ADMIUMRH)
MIXTURE
ADMIUM YELLOW
MIX HIRE
<
AOMIUM YELLOW
ULTRAMARINE
ULTRAMARINE
ALIZARIN CRIMSON
MIXTURE
CERULEAN BLUE
MIXTURE
LEMON YELLOW
MIXTURE
PRUSSIAN BLUE
1P
LEMON YELLOW
w
A
T
E
O
L
CADMIUM
YELLOW
CADMJUM ALIZARIN
YELLOW CRIMSON
CADMIUM
ULTRAMARINE
RED
CADMIUM
YELLOW
CADMIUM
LEMON
YELLOW
ALIZARIN
CRLMSON
PRUSSIAN
BLUE
ULTRAMARINE
U
R
CERULEAN
RED
BLUE
<
\
Tertiary colours
buy
A secondary colour is a
mixture of two
other colours;
the result
These are
is
no
is
there are so
many
possible
ways of
two
greens) and
in different
tertiary
all
proportions.
Why
mix
would be
it is
necessary to mix
many ready-made
at all
when
you were
greens,
if
in
However, you
to
there
is
no
substitute.
HI
Exercise
*f
Making colour
shown on
you
to devise
you valuable
Having begun
with a light brush
drawing
artist
way
to learn to paint
is
to
do
it
that
and
this exercise
all
is
to discover
the secondary
whether
and
tertiary
work by
primary colours two reds,
in yellow, the
now paints in
shadow beneath
plate. This
the
the
warm
colour,
modified by other
colours laid on top.
and
stronger solution of
cadmium
shadows
yellow. Again,
will be
added at
a later stage.
colours
is
crucial.
The
or, if
you
like to paint
it
six colours,
will be
what
your copy
is
known
as a "transcription".
Prussian blue
is
well-watered
colour,
is
more concentrated.
a
little
blue
is
Now
added to
down
slightly.
6
to
(Below) Final
side of the
lemon with a
well-diluted mixture of
ultramarine, lemon
n>
and
to build
up the
The grey
is
washed over
is
now
is
It
Step
mixed in
muddy;
that they
In
make
the mixture
the majority of
81
Techniques
Laying Washes
&
is
the
to
half of
part;
it
it
make up more
amount
painting, definition
may
be added with
amount of water
up some
washes come
first
is
that of laying a
more
paint,
If it
and
if
looks too
into a
light,
stir it
add
Stir the
paint in
wash
84
You cannot
stop
particles of
left
on the
DAVID CURTIS
Sailing Boats
(Below) The clear, pale
is
flat
wash of watercolour.
Flat
*t>
w
A
T
E
IThe
paintbox because
it is
area.
when
is
tested
appears
it
on a spare piece of
is
Several successive
bands of colour
now been
have
with gumstrip,
angle,
and
is
slight
the brush
is
laid.
each
are no perceptible
it
propped at a
laid.
The board, on
new
The
band, so there
boundaries.
dry.
lighter as
Flat
it
dries,
originally expected.
is
Some
personal preference.
a matter of
artists like a
a flat one,
lay
IThe paper
is
it
should
you
first
be
which
in
stretched
angle.
on
The brush
(or sponge)
band
first.
laid
brush
This process
The
tilt
is
This
is
but
it
a quick, effective
method for
at a slight
covering large areas.
is
first
band of colour
is
Laying
a flat
wash with
sponge
is
covered.
Some
artists like to
new
one
dampen
the
It is
initially,
watercolour work.
the
down
to avoid
then swept
above.
is
whole area
to run
dampened all
is
is first
any
lines
to discover
which you
in
order
Again working on
the sponge
is
damp
believe that
it
will
paper,
taken from
it is
dry flat.
hard
to
2
i
dampened,
ones,
and
completely disappeared.
prefer.
85
Gradated washes
Laying a
gradated
1A
strength colour
is
is
paper
brush
is
more
difficult
band the
effect
if
from
paint mixture.
For artists
is
called,
ones; the
it is
result in a stripy
careful.
much
easier to control
if
full-strength
is
in the
If
darker at the
down
and work
lighter at the
flat
are interested in
skies,
light to dark,
the effect
who
than laying
reflect this.
band of full-
bottom
wash
same way.
weaken
the
into
it
wash
Laying
variegated
the
wash
first
band
will
itself.
two colours
Variegated washes
Washes frequently contain more than one
colour. For instance, an area of grass in a
hard edges.
On this occasion
the board
and
The
is
held
the paper
effect relies
is
dry.
on the
colours remaining
distinct;
they
would flow
into
need to mix
require,
on damp paper
one
new
in
advance
all
the colours
you
you
colour to keep
it
pure.
you
of
The green
separately.
flat
shadow
be used and
so that the
in
start. If
no obvious boundaries,
it is
best to
Tricky edges:
and perfect -
it
is
method
IThe wash
on
laid
not the
hills,
has been
hang of
to?
wash
lay a
but
how do you
wash
lay a
that starts
want it
it,
You may,
for a sky,
want
for example,
below which
it
reaches the
clean, because
it is
~1\
completely
is
The
flat.
now dampened
which
trees
paper
to
is
and a
and
the buildings,
loose multi-
coloured wash
must stay
The
Complicated edges
the
so the paper
dampened in
soon as
is
to be
is
discussed later.
entirely
all
is
If
laid.
to be painted
in different colours.
In fact, this
but
it
is
much
easier than
it
sounds,
to establish exactly
area of the
in the
wash
If
dampen
you
as usual
want
IThe board
the paper
wet
only, taking a
and
If
like to
upside
it
will
you
is
turned
down and a
around the
Tricky edges:
method
roofs.
line
of the
A round brush
is
best
and
you want
wash which
is
darker at
down
down -
and
at
that
is,
up
in
paint flows
that
is,
downwards,
sky area.
It is left
to dry
in this position.
87
Techniques
Making an Underdrawing
30*
Changing
and colour
are
effects,
it is
important to start
means
place the
first
where
to
not easy to
make major
watercolours, so an
initial
mind too
that
corrections to
drawing
will save
which
Also, of course,
painting time
down
to
it
what
is
it
if
because
Making
elaborate a drawing
it
is
faint,
unnecessary
otherwise the
lighter
sure that
you have
wrong lines
that the
while making
amend
outlines
drawing
is
correct.
become scuffed
some papers
when
unpleasant blotches
it is
mean.
less
If
at the idea,
is
Too
light
the paint
is
pencil drawing
*\
A
I
IThe
artist
is
make a
and is
less
easy to erase
(Right)
but the
lines are
to outlines only,
88
if you
mistake.
will quickly
become obscured by
is
too pale
&
Squaring up
1A
drawn over
is
easy to
the
important, as
transferring the
visual information.
numbers and
letters,
the
where each
line intersects
If
photograph
transfer
it
method
tried-and-tested
Using a
ruler,
draw
larger squares,
work out
the photograph
to
many
have
want your
will
picture to be.
size
you
For example,
cm
if
{Vi in)
(1 in),
one
any
risk
putty eraser
is
to
show
used to avoid
where each
well worth
subject
is
set-
This
any compile.
exact angles oi
from
judj
by com)
Techniques
working from
in
light to dark. It
really
is
dark
in
order to
is
known
as
must be
fully
is
added,
it
is
When
IThe
The method
careful planning.
much
It is
not wise to
on
pile
reflective surface
among
on too
more than
three
stirred
a painting
what
becoming
you need
the finished
only in this
to
work
is
to look like, as
first
is
painted on top, so a
hairdryer
is
used to
washes.
is
a very useful
piece of equipment
when
working indoors.
You
in
As
watercolour
are
painting around
it.
and
The same
light
is
bottom.
It is
best to
bottom whenever
in the
same way, by
opaque
and sparkle
the
now
introduced at the
in the
shadow areas,
around them.
limit yourself to not
to
possible, to avoid
(Above) Shiny
surfaces reflect light
their
surroundings, creating
very sharp and distinctly
The
crispness
is
the
in
Step
that,
is
used for
on the
lid
of
<
left
arefully. These
form of the
shadows,
like
object.
reserved as a highlight.
91
Techniques
new
allowed to dry,
is
first
often regarded as a
although some
pictures
artists
perhaps more
it is
colour
One
is its
is
in
to be.
top of the
first
in the
new brushstroke
away slightly,
still
remaining separate
effects,
the paint
is,
to
how wet
by
side,
lifted
and tilted to
the
(Right)
the top
and
hills,
and
Several applications
of paint have by
layers of paint
to
artist
Here the
enormously
unpredictability,
do paint whole
enjoyable.
Working on
dry paper
is
now tilted so
that the
is
very heavy
with the
the brush.
paint
tip
of
3
in
now
damped only
one area so
that the
The
tip
of the brush
is
n>
method is used
duced into a
lighter
wet
with the
tip
of the brush.
(Left)
The soft
effect
of the wet-
into-wet painting
is
enhanced by the
occasional crisp edges.
Parts of the wall
and the
picture at a specific
that
you
you often
is
find that
a particular effect.
it
moment.
create a lovely soft
this reason,
is
often
effects. It
You can
exert
some
Artists
will
who
until
also
in
to
You can
any subject
crisper ones
93
Techniques
Brushwork
People do not always think of brushwork
in
emphasis
is
much
obvious
buttery
in
watercolour than
medium
Sometimes
in general
it is
like oil,
is
flat
artists lay
almost no
washes, constructing
network of
less
in a thick,
it still
Some
sky.
conventional
interconnected brushmarks.
although brushwork
windswept
capabilities
has a place.
brush.
with
just
it
one brush
if
hold
apply.
some
trees,
Brushwork
classic
is
more important
artist's
nearer the
in the
possibilities presented
it
firmly
maximum control,
blends of colour
it
light, flicking
what happens
it
at the
if
end of
you use
a stroke. See
a flat brush
and
or draw out a
twist
brush
reflections in water, or
as
in a
it
in mid-stroke,
is
time, as
you
is
never a waste of
will be training
your hand,
albeit unconsciously.
IThe artist has chosen to work on a smoothsurfaced watercolour paper, which enables her to
softer wet-into-wet
broad strokes,
letting the
still
3(
'.risp
strokes
<>/
almost undiluted
colour are
now worked
pulling
it
downwards
&
in
uses an
upward flick.
A broader effect
suggesting the dark
green foliage
is
produced
colours
show through
a modified wet-into-
wet technique.
and
formed as
on the
tree trunk
and foliage
effects rather
than
the
95
Techniques
Lifting Out
As we have seen
Lifting out
earlier, highlights in
clouds
is,
however,
made by
it.
Highlights
method have
it
Having
to dry
and then
painted a multi-coloured
wash on
diffuse effect
is
laid a pale
into
if
out
is
It is
the
beautifully easy;
all
you do
down
into
or wipe
it
it
it
is
lay
damp
blotting paper
anything absorbent
in fact.
To darken
the
undersides of the
clouds,
If
wet paint.
lifting
and
is
partially
to
it
or, for
lifting
out
soft
lift
out
colour.
on
landscape, can be
made by allowing
to be.
in small areas,
more water.
commonly used
is
The
effect
with the
is
very realistic
&
2
(Right)
cotton
into water
work
is
now used to
paint, creating
much
can be achieved by
reserving.
1A
series
made by scratching
lay colour
on
(Right)
must
painting because
it
impossible to
top.
The
lifting-out
method is
is
most
on foliage or
effective
97
Techniques
Masking
Highlights
with masking
them
is
ideal
if
is
fluid
may
masking
which case
fluid.
Some
be small and
it is
helpful to use
is
watercolourists
suggesting dappled
them
She
as
more
freely. If
masking
is
that
it
to paint
little
reserve, there
fluid allows
you
is
tight
work
to
like,
fluid
small bottles.
latter
see
is
It is
danger
and
fussy;
as
top.
When
when
plastic eraser.
applied
washes are
laid
is
a finger or a
It is
Wash
hairs
in
a
to
make distinctive
on.
it
dry,
provides a convenient
Painting
white shapes
Masking fluid not only
knowing
on
fluid
shapes
Masking
on the masking
light.
with a pencil
The
starts
is
very difficult
and
don't use
brushmarks of white.
Being thick,
it
holds the
see
you can
removed after
the paint
are thus
white, in a
way
that
is
otherwise impossible
with watercolour alone.
n*
wash
light blue-grey
is
and allowed
to dry
largely
(Above)
When
masking
fluid
taken
off,
the
is
that
been
the
left
hare
as white on
two left-hand
tree
darkened elsewhere;
4
is
now painted
centre
and on
the lighter
(Right)
The
finger.
is
patch of foreground.
fluid.
fluid
light
this
99
Techniques
medium
in the past,
nor
is it
in the
Renaissance period
in the
gouache
Many of today's
paints.
use
artists
their colours
little
opaque white,
much
preserving
still
watercolour
is
sometimes referred to
as
"body colour").
you can do
this
method
you want;
if
for atmospheric
IThe artist
weather
effects, for
or
hills
is
is
rather
the perfect
but
it is
makes a
thicker
careful
wet.
He
on water.
Working over
colours;
it is
you
It is
any
now
papers
in
made
for pastel
first,
watercolour papers.
effective
opaque-
to
add white
is
to the paint
up the
watercolour technique
2
and
to use
sparingly.
it
being applied
is
now
pure
watercolour.
addition of crimson
is
to create
a slight blending of
colours. Wet-into-wet
effects are less
dramatic
less freely.
it
Xk
^
fciM
w
^ ~^MW
i
--
-y
ri
6
(Above) The
finished picture
delightfully delicate
is
and
translucent qualities
associated with
show between
brushstrokes
in the
background and
is
it
and paint
is
111
was used
details of
built
up with small
watercolour work.
<
to
windows;
foreground,
impoi
overaL
101
Techniques
Texturing Methods
can be hard to
cornhead? In
that
it
One
is
dry brush
which, as
with the
good many
its
method
is
The
is
between thumb
Dry-brushed
grasses
1.4s the name of the
method implies,
the
dipping
it
into
Using a square-
to
of fine
paint.
is
lines.
spattering or
is
loaded with
(Left)
One layer of
which the
marsh grasses
102
lean.
Toothbrush
spatter
it
is
to release a spray of
is
1A
toothbrush
pencil
is
too
but
should
it
you are
If
is
and a
it
literally,
it
pulled
The spatter
lying
is
fairly close in
it is
it
will
look
artificial.
Paintbrush
spatter
ideal for
is
salt spatter,
which involves
The
salt
salt into
wet
according to
The
is
some pigments
light
spattered into a
indicates that
itself
results,
wash has
it is
when
effects vary
and which
are
move
apply the
salt
which
so
it is
salt
worth
Salt spatter
IThis technique
works
best
on a
non-absorbent paper,
(hot-
pressed) watercolour
paper
is
used.
The
salt
is
water immediately.
and the
103
Techniques
Wax
In
one way
Resist
technique
this
masking
that of using
Watercolour
and oil bar
similar to
is
Both involve
fluid.
creating a block
resist
It is
based on
wax) and
If
resist
masking
fluid,
wax
effect.
however,
is
wax
textured, so the
effects
by means of a
and now
scribbles over
This
good deal in
watercolour washes
is
results. It
is
often
Types of
wax
and
lakes, rivers
way
another
provides yet
seas. It also
of describing texture.
The
texture of the
paper, the
crumbling
cliff
and
easily
wax
resist,
new
wax underdrawing as
complex
as
you
like.
oil bars,
which
simple or as
Some
artists build
up
on more
try as
it
paint.
It is
wax
before putting
an exciting method to
will
the kind of
wax
used.
an
example and
oil
other two.
More
and
household candle
pressure applied
happen.
be
made
with a
wax-oil crayon.
^
2
As the watercolour
method is
is
applied on top,
slides off
Dark
is
in the
foreground
is still
down
craft knife
paint.
it
is
smeared
wet, a
wax and
wax is
where the
slightly scuffed
paper surface.
lighter scratching
but in
method
is
is
The
(Right)
artist
resist in the
describing
wax
it
literally.
Her approach
is
impressionistic
itself to
ins
Techniques
Wash
Line &
Traditionally
illustrators
it
as
in use for a
none of
appeal.
its
was employed by
today as a means
it still is
what were
and
Nowadays
line
and wash
long
in
ink.
technique of
is
essentially a
in all
mixed-
such work,
media to create
a unified image.
Thus
it is
on colour.
side by side,
You
IThe
often
combined with
and
develop
drawing
to provide
now dry,
he draws
waterproof ink.
He
less assertive
than pen.
is
the
if
you want
you
minimum
at this
will
need to
is
market.
You can
on the
make
lines
is
Waterproof ink
it is
is
and areas of
hatching.
To avoid
giving too
much
prominence
to the linear
when
the
and colour
line
demands.
wash watercolour
artist likes to
together, so he has
line.
now
3*
(Above)
entire
When
drawing
the
is
become
rather tight
and
"filled-in
of
drawing ".
and
good
The area
in front
of the house
washes
in the
is
defined with
irregular edges,
lines.
our,.
applied
succession of washes
freely; final
l<
nil
107
Techniques
BACKRUNS
If
before
the
it is
dry,
tried to
work
into a
phenomenon
of the backrun.
reasons.
it
in the
in
mind,
odd
- some
and flowers.
abandon
wash
The new
people
wash
the area
down
at least
Mill
begin again.
However,
watercolour work
is
learning
how
important part of
a very
PALETTE
precision, but
Some
at the
happen
painting.
The
different
at will
if
You can
tilt
a hairdryer to
when you
backrun
remember
that wet-into-wet
paint goes on
moving
in a
Accidental backruns
but
was
not.
in
the second,
it
to
artists
WATERCOLOUR
first,
appeared dry
until
it
dries.
Deliberate backruns
1A
is
n>
laid first,
and a
slightly
is
Yellow
is
away
and a
light
to create a pale
is
will continue to
move
until
it is
wet,
fully
to dry
and
the
At
spread immediately.
The paint
dry.
produced
in this
variety
way.
of
Techniques
Paint Additives
to
gum
make watercolours
called
gum
arabic,
which
most good
art shops.
makes
more
the paint
runny, giving
to build
it
it is
A little gum
gum
as
lustrous
less
with conventional
water)
and
you
in small
It is
the trees
gum
Using
water
is
picture
detail, particularly
if
a lot of precise
you intend
muddy and
dull. It
and
a
gum
let it
If
is
you
become
remains separate.
mixed
away very
and how
each brushstroke
the
the colours
to use dark
lifting-out technique.
The gum
come
water-
is
soluble, so a
water dissolves
dabbed
wet brush
layer.
^Ulfl<*k
*.\
Jj
'jMr irfM^^JIM
map -'"rr
Me*
<
#$8 IWk&
%*-
Vwr>-$\
*
^1
'*
m&B
HWVa^^Kj^H
^Mj^jfj
A damp
rag
is
create softer,
dabbed
more
diffuse highlights.
wash remains
Note how
intact; this
first
is
colours.
'
'M
JS
'^^B'Lii
\
ffifS
(Left)
lifted-out highlights
is
artist herself,
turpentine
1#
IThe brush has been dipped into a strong
solution of colour
it
holds
into turpentine
and then
first
into
paint
from the
oily
is
applied on top.
bristle
ridges
it
forms
the
circles.
for this
another
for watercolour
sold specially
and
is
therefore
known
as a "water-
water-and-paint mixture
scratchy texture.
effects
and could be
ideal for a
You
is
you
lay
down some
it
- the
bubbles,
in
so that
dramatic
stormy sky.
the watercolour.
gum
is
tension hreaker".
effect to
effect.
freely
medium
light,
Ox gall,
dry.
Soap
is
and the
oil will
If
it,
the paint
giving a streaky or
marbled appearai
try.
Ill
Techniques
Comparative Demonstration
3*
Watercolour
sometimes
on smooth
paper
restrict
themselves unnecessarily
the
same
style.
- artists
admire but
it
is
only one
u
R
way of doing
paint the
same
combination of wet-
on medium (Not
bowl, the
silver
artist begins
the background.
careful pencil
easier to
by
it
whom they
ITo make
drawing
in
order
to
effect
surface) paper,
carefully
around them.
in turn
be reserved as highlights,
together with the small
patch on the
right,
has been
white.
left
which
to use wet-into-
of the
on the
silver
and
pot he
(Above)
glass
is
assembled on
a checked tablecloth.
each stage.
&
4A
on the apple
is
The background
colour
is
taken
around the
To
soften areas of
the background
and
carefully
wool
in tone
damp
(a
employed to
you can
dry.
cotton ball) to
Cotton wool
(cotton balls)
and a
important items
in the
artist's "tool-kit"
and colour,
ball) is
lift
laid
on
the apple in
cotton wool
cotton
again
out
painted over
it
clearly in this
shadow gives
extra solidity.
which watercolourists
new
wet on
photograph - the
to prevent the
see
wash
the apple
like
on
smooth paper.
The combination of
soft,
effects
edges
wet-into-wet
and crisp,
is
clean
very attractive.
in
highlight
ard patch of
reflected coi
the obfi
Continui
in
A.
h>
_ s
IAs
artist
has
artist,
(Above) As blue
painting,
Two main
duced.
is
the
dominant colour
washes are
the cloth
laid
on
is
to key the
background and
dark ultramarine
over
with
some of the
been laid
lighter blues
blue, the
mix
to
two colours
produce green.
bottom of the
vase,
which
colour
reflects
(Right)
The broken
and the
silver
inside
of the
achieved by stippling, a
version of the dry-brush
technique, which
is
and its
is
used
this
reflection in the
lightly
intro-
in the
blue, a
and cloth.
W
A
T
E
O
L
washes were
laid
on the
O
U
R
tablecloth to strengthen
it
slightly,
of background behind
the table
was darkened
with a
warm
This
is
blue-grey.
7
not
still-life
last is
often a
painting, as sometimes
good
you do
and impat
t.
added
light.
of the cloth
upside-down to
is
is
turned
of the wash.
115
Focus
Landscape
&
In
is
In the landscape
may
be because there
is
a long tradition of
and
its
is
fluidity
portability,
make
it
an excellent medium
from
life all
don't have to
the time
- we
and the
Of course, you
work
will be
directly
looking at
of the
houses providing
alternative
methods
later on. If
you are
advisable to do at least
as there
to
is
no substitute
some
it is
location work,
make some
initial
decisions about
you must
how you
of composition.
contrast. In
The
Conservatory
(left)
she
of contrast more
thoroughly, using the
of the
architectural features as
one
particular feature in
background or a vivid
area of colour,
become
in
it
will
it
and how to
emphasize
it.
In Juliette
led towards
it
by the
shape of the
tall tree
you can
see,
you
mean
move
trees
what viewpoint
you do have
you
start,
interesting angle
walk around a
the
bit to
subject; once
you
visual links
From
on the
of the
foreground and
distance
to
to decide
how much
will devote to
so on. Before
Making
you have
to take,
you
that
picture
3*
still
in
more
in
landscape
middle
to
composing the
However, you
picture.
still
and to consider
minimum of definition,
letting the
lines
scene
for effect, or
any
in the
You
Creating movement
(Right) A good
landscape painting
scene, to create
movement in
the
composition. In
Road
to
brushwork
left
from
foreground to back-
117
scene;
about
it
to include
all,
there
if
is
in,
thus removing
the
you would
a tree
first
on one
side of
other.
is
to
work
tree
move
it;
The golden
alternatively,
it is
less obtrusive.
rule of composition
avoid symmetry.
It is
to
is
that
possible.
helpful to
It is
as quickly as
make
a note of the
you begin.
if it is
Nor
and movement
example a
Symmetry
in
is
dull
- in
this
change them.
first
main shadows
tree,
and
for a feeling of
your work.
the
same painting
it is
overcast,
is
Changing
for
hours
or to work on two
the
at the
same
those
light
is
a constant
problem
if
see
- say three
consecutive days
Human
(Left)
interest
You can
often give
additional interest to a
landscape, or stress a
centre of interest, by
Ronald Jesty's
A Wild Day,
the
men
the
her
wave and
woman pointing
hand
in
warning
introduce an element of
narrative,
and
and both
these
the surrounding
draw attention
to the
&
A
T
E
R
o
L
O
u
R
later.
try to
well-trained visual
yourself-
what
You can
it is
It is
is
to
make
much
watercolours in the
little.
this painting.
in
Landscape
La Crete Region,
Tuscany,
is
wide. Referring to
sketches
and the
and drawings
for painting.
Working indoors
Studio paintings
sometimes making a
compose and
you
direct
your
own
pace, incorporating
improve the
Making
might
rather a special
skill,
as
you must
learn
Artists often
make
better to paint
at
from
is
seldom
who
use photographs
on
make
memories when
and colour.
gradations of tone
possibilities, artists
overlaid brushstrokes
and occasionally
To
detail.
to plan
the composition, he
working drawing
all.
camera
flatten
it is
with no
picture.
feel
impossible, so
own
sketches as well.
119
Focus on Landscape
Demonstration
Hazel Soan
is
known
primarily as a
work
on occasion. She
likes
but,
she does
to paint
in oils
paint
if
this,
she composes
it in,
referring to
the photograph
guided by her
pencil drawing.
just
and
initial light
one photograph,
unwanted
put away
stage of
features.
when
work
The photographs
are
develop independently.
COLOURS
USED mauve,
permanent
rose, cobalt
ultramarine, yellow
cadmium yellow,
new gamboge, Winsor
ochre,
a tiny
and
amount of
cadmium red
in the classic
light
washes to
watercolour technique,
methods
mixture
in certain areas.
is
light rose
left
of the
overall
at
warm
an early
vivid red-
stage.
in
trees
the lake.
now complete,
the artist
not so saturated.
method has so
To strengthen
is
is
to achieve
(Right)
on how strong
Continued
121
2*
large tree
on the
right
had
in yellow,
left
removed from
is
flowerheads
foreground by gently
brilliant yellow.
the
X
in the
left in
place, creating
an
On
the reeds
1^1
it
will
attractive speckled
10
resist.
_L flowerheads
in the
'
&
^1
_L
j--i in the
this
")
the painting.
-L
in
-^ (Above)
-I
xj
The
artist
make more
reflections,
c
of the
which u
learly risible in
ere
one of
against
it.
empha
preferring to
eof water.
123
Focus
Flowers
If
landscape
the
is
for
it
simple
two
Keeping
best paintings, so
if you
when you
can improve
perhaps
Elisabeth
in a
new to
up
flower painting
it is
unreliable weather
who
then
By
setting
It
to
up your own
work
at
are
light,
and discomfort.
still life,
floral
and
it
own pace.
your
still-life
colours
many
- in
want too
The most
for attention.
You could
choose
all
one
neither
cramped nor
and avoid
you sometimes
see in churches
You
it
will paint
and
Putting
others,
facing you.
on paper
more confidently
if
you
in the
and
start
background unpainted.
perhaps best to
paint flowers.
flowers
to the shapes
become
still life.
(or both)
left
the
Flowers
(Left)
in still life
Still
as in
Elliott Bates.
objects
way
the curtain
&
which provides a
flowers
is
E
R
O
L
O
u
R
consider
try to
of flowers
avoid
in
this
Colour unity
Fruit Elisabeth
is
Harden
enough asymmetry
in the
arrangement
is
the flowers
A device
Backgrounds
itself
one
watercolour flower
left
window behind
in front, to
If
there
is
objects.
and similar
blues
greys appear 11
very effective
if
tall
suggest
it,
framework
cropped
at
one
to the composition.
.1
and
r/>.
md
Or you
patterned
As
made by
a general rule,
however,
it is
best to
and greys.
125
Making
(Left)
pattern
There
a strong
is
element
built-in pattern
in floral subjects,
which
Audrey Macleod's
Casablanca
Lilies.
and leaves
the flowers
have been
up
built
completely
realistic
and
three-dimensional, the
painting makes
its initial
impact as a pattern of
light
effects
and
in parts
of the
background were
achieved by washing
down
avoid too
Using colour
(Opposite) The
foreground
too
many
the paint.
treat flowers,
by introducing
way you
or any
on what it
is
that
particularly interests
The painting
colour
in
of touch;
if
you overwork
is
lightness
the
Try to
most of the
reds
and reserving
If
dark greens.
mask
you can
foreground
the flowers
Single
set
some
places
in
blooms
make
and
art,
working
all
the shapes
as they should
stages should
only
in the
in particular
until a
Try to
He has also
you are
brilliant
and yellows by
fluid
made
Masking
all-important;
Flowers he has
is
Clandon Garden
in the final
tiny, fine
lovely Sunflower
owes much
to
and
in
wet paint.
difficult to
and
this
Here, the
the dark
way in which
the flowers
merge into
to the
almost
like a
firework exploding.
127
Focus on Flowers
Demonstration
entirely in watercolour,
way
its
painting to develop in
its
drawing
lifes
own way. He
with
is
still
self-taught
methods.
He
in
4B
He
pencil.
with a detailed
unpredictable
encourages the
it
measuring to
this,
and so
on,
and
on smooth-surfaced
(hot-
around more
move
freely.
COLOURSUSED
cadmium
yellow, ultramarine,
cadmium
red, carmine,
wool
piece of cotton
(a
cotton ball)
to control the
is
used
flow of
the paint.
The
initial applic-
allowed to dry
darker colour
slightly;
is
then
wool
(a
cotton ball) to
It is
unusual to
darkest colour
- darks
up
however, the
wanted
(Above) To start with, the
artist
to establish the
arranges
some
bright,
leaves.
in
H<
The painting
is
and the
and
leaves
been deliberately
left
showing, to provide
further suggestions
of detail.
The artist
subsequently improves
the composition by
plat ing
is
to
he
left
uncovered
fine-pointed brush
toiii
bes
<>/
darker [mint
paper masks
doin:
at
I.
tl
on dry
and
harat
ter.
The
artist
is
<
working wet
risp
look hai k
ed
at St(
different e this
bat a
mal
129
Oil
& Acrylic
Introduction
&
medium,
is
much
in fact
at
and
ceiling paintings)
pigments suspended
with some
(wall
oil is
what
Van Eyck
Impressionists, the
it is
origins of the
popular.
use,
artists
ideas.
medium,
Tempera was
it
had exper-
a difficult
medium
to
in the
works of the
was
and
became
it
itself
Whatever the
rapidly
its
appreciation for
The
Later
visible.
in
by a layering
and frescoes
richer, achieved
any rate
thinly, rather as
of
oil
paintings
medium, and
made
it
it is
this quality
so popular from
its
which has
inception to the
DAVID CURTIS
Red Lane,
near dronfield
(Left)
Brushwork
is
important element
this oil
an
in
painting on
and
branches, describing
economy of means.
Depth and recession
are
on the right-hand
is
thick
the
it
GERRY BAPTIST
Pines on Bhauvbai.la
slightly diluted
paint.
is
is
realistic
maximum
TED GOULD
Snow Scene
(Above) While David
Curtis has juxtaposed
scheme
in this
painting
is
is
in acrylic,
and applies
same methods
acrylic
the
to his
work.
is
canvas
Some artists
used
like to paint
reflects
133
BRIAN BENNETT
Malvern Hills
(Left) This artist, well
works
the traditional
in
medium
of the usual
which he has
"customized" to create
particular effects. Knife
present day.
Any
painting
medium should
artist,
no two
artists
need paint
and
oil
manner
in the
same
or
even
You can
also
move
paint
you can
gone by,
artists
had
to
employ
to
make up
we have no
work
all
presents
manufactured
possible
and there
is
MADGE BRIGHT
Victorian Roses
as well as brushes to
lovely painting,
Furthermore,
paints
The
oil
late
19th
oil
in
Glass
paint
is
the
scheme
and dark
greens.
is
irregular
(Left)
Light
painted in
is
oil
The
is
w>
KAREN RANEY
Clairmont Road
(Above)
the
of light. In
shadows thrown on
on canvas,
window
in
theme.
order to stress
STEWART GEDDES
Rose-Colouri
(Left)
/;;
!)
House, Provenci
appear surprisingly
rich
colour; the bu
contrail,
enham
done
artist
with
thi
'
Uttdt
inspir
nl<,:.
and he
< thi
in oil
on board.
135
OLIVER BEVAN
Sharp Corner
(Right)
Bevan paints
not
W/
way that is
strictly naturalistic
powerful atmosphere. In
this oil painting,
strong
contrasts of tone
and
dramatic
effect,
slight sense
with a
of menace
reinforced by the
two
in the
foreground.
ANNE VANCATO VA
Blue Interior
(Left)
Painted
in oil
on canvas,
this evocative
colour.
An
the canvas,
and form
is
is
is
and
a celebration of
minimum of
dark, linear
perspective
TIMOTHY F.ASTON
R
TO RATI ON
The degree
(Right)
of
is
breathtaking,
described -notice
especially the peeling
0fr
and
worn by
become
the centre of
interest,
near-black
brown
is
and golden
figures play a
minor
can
almost be read as an
abstract composition
in colour.
Acrylics
A by-product of the new plastics industry,
acrylics
were invented
Perhaps
in the 1950s.
amount of prejudice
scene, a certain
ROSALIND
them
CUTHBERT
Chrysanthemum
One of the
beauties of acrylic
that,
because
oil-based,
in
it
it is
some
quarters,
which
Giant
(Opposite)
exists in
still
against
is
not
can be used
conjunction with
One
of these
standpoint
so that
like.
is
vital from
the
own.
much
as
you
is
creating a
and detail
muddy
new
layer
advantage
less
is
made from
it.
suspended
fine-ground pigment
in liquid
is
form of plastic
Another
oil-based and,
if
polymer
oil.
Likewise, brushes
sgraffito technique.
same
are that
it
any degree
must always be
left in a
However,
the
\\
ill
be
vil
new
to
brushes
container of
the
water, not
preparation, or "priming".
Acrylic paints can be used as "imitation"
in
spirit.
ruined.
much
is
resin to be
and bound
to the
All
drawing media.
paints are
particles
make-up.
in
risk of
in
amateur
always a
and
You
their
is
handling and
two, both
them
tl
to begin.
137
& Equipment
Materials
Both
oils
and
acrylics
come
in tubes,
in pots, of
though
When
Prf*
f f
fl
-&
l-hiiix
w$
OIL
COLOUR
COLOUR
many
OIL
COLOUR
is
an excellent
&4
(Ml
OIL
COLOUR
flat,
also
size as those
Mediums
Q>4
OIL
COLOCR
OIL
COLOUR
tuvn
cfe
alow
conufuii
<*"<
h
,
paint
is
usually
working
left at
session,
some
tubes and
is
is
lid
AND ACRYLIC
for oils.
Mediums
OIL
is
in as
immediately.
Both
oils
and
acrylics
its
is
quality.
oil-painterly effects.
A SELECTION OF MEDIUMS FOR OIL AND ACRYLIC
Brushes
Long-handled
bristle
brushes are
made
and
They are
filberts, all
of which
make
and are
rounds
a different
paint colours
it is
prefer, so as with
range
soft
oil
paints
initially,
but you
we
on, so
oil,
or with linseed
However,
alone.
oil
will
there
is
useful
one
if
later
with techniques.
you intend
from the
to try acrylics,
special
start.
fiffij
"
fr
This
is
find
a retarder,
*
TUBE ACRYLICS
POT ACRYLIC
oil
and
glazing
acrylic, for
thin
it
the paint
without causing
it
to manipulate
it
more
easily. It
is
to
you
performance, but
it is
its
of these
only
mode".
'
I
r
If
139
& Equipment
Materials
The
of
wood and
made
rectangular (to
fit
thumb
so that
in the traditional
to
standing
work
Many
palette.
artists prefer
an improvised
Glass
is
acrylic.
are not
KIDNEY-SHAPED
removed
easily
when
dry;
you need
WOODEN PALETTE
RECTANGULAR
Some
makes
it
difficult to
in pairs.
is
for acrylic
useful
if
when
special palette
work, which
is
made
particularly
is
is
a top layer of
non-
sheets)
to stick the
onto a
Water
is
stiff
board
You can do
(size)
or with
oil paint,
prevents the
oil
from
this
which there
is
one other
"Stay-Wet" palette
in
Another method
mixing them.
There
tray
laid
made
There
is
and
now
painting boards
and
it.
acrylic.
for oil
paint fresh
fits
is
also a transparent
more or
You
less indefinitely.
oil
painting you
Working surfaces
The best-known
acrylic gesso.
(also
that
is,
is
stretched canvas
linen material
The
own
You can
is
(drawing) paper
acrylic built
more
solid,
up
is
fine,
but for
thickly, use
oil,
or
something
WOODEN PALETTE
\J
PAIN
INC. KNIVI'S
it
across
is
(2 in)
round at
least
cm
Hammer a
centre of the
first
long
side,
the
out of alignment.
remove
this is
in the
neatly
tack to hold
the ivay
rectangle
canvas,
second measurement
differs
all
it
in place.
Fold
in the
again.
CANVAS STRETCHERS
it.
To
pliers.
Mixing
Primary &
Secondary colours
Mixing secondary
W/
you
The colour
pictures in this
book
are
colours
shows mixtures of
primaries
see in a rainbow).
"like"
those with
and
not work
may have
its
wave-
when
it
it
knowledge
one
The
to painting.
just
is
to be physically combined.
still,
cannot be applied
comes
uses in photography
or colour printing,
usefully
in this
The
first
would you
how to mix
belief that
it is
left,
The mixtures
proportion of
this
rise to the
possible to
mix
If
you look
at
starter
equal proportions.
A Starter Palette
As
as
a general rule
it is
gradually.
It is
CADMIUM RED
ALIZARIN CRIMSON
CADMIUM YELLOW
LEMON YELLOW
ULTRAMARINE
PRUSSIAN BLUE
CERULEAN BLUE
YELLOW OCHRE
RAW UMBER
IVORY BLACK
TITANIUM W HITE
who
artists
have
will
and
acrylics,
names
For
is
in
divisions.
Mixing secondaries
bottom row
colours produced by
shown on
is
the
artist's
More important
a similar
|||Ml|
1IIIIII
-"
16
IS
ADMIUMRED
2,3
LKMONYELLOW
27, 28
30
15
14
17
17, 18
AND
BROWN
18
PLUS BLACK
17
16
PLUS BLACK
19
BROWN
PURPLE
palette,
biases.
made by adding
12
24
7, 8
LEMON YELLOW
CADMIUM RED
21
27
26
10
ULTRAMARINE
22,23
11
29
28
CERULEAN
AND 24 MIXTURES
15
II
111
25
AND 9 MIXTURES
14
13
12, 13
AND
30
14
ULTRAMARINE
25
MIXTURES
26
CERULEAN
blue,
you
One
ORANGE
is
WHITE
PLUS WHITE
GREEN 12PLUSWHITE
21
GREEN
is
22 PLUS
13
BLACK
have different
greener than
ultramarine
11
yellow
20
19
is
cadmium
yellow;
GREEN
24
15
PLUS BLACK
MUTED ORANGE
Making
their
50:50 mixtures of
primary colours shown
chart above have
own
make
which are
muted
white added.
cadmium
shown
here,
first
on
discover
PLUS
colours are
cannot make
PLUS WHI
16
or Prussian blue.
PURPLE
PLUSWHII1
some
how
you may
as finding out
black or
first
20
18
20 PLUS
with
MIXTURES
19
23
ALIZARIN CRIMSON
PURPLE
in the
10
CADMIUM YELLOW
WHITE
CADMIUM YELLOW
ALIZARIN CRIMSON
16
AND 29 MIXTURES
13
22
IIP
IIIIII
2]
20
AND 4 MIXTURES
is
IS
||||||
to
useful mixtui
iny paintings
ly,
characterless neutral
interesting grey
is
often
mple, an
made from
Exercise
Using
Restricted Palette
an
is
hues
is
yellow,
You
you may
seductive one;
the easy
also a
tempted to take
want to darken
muddy,
to
it is
feel
a colour,
dull mixtures.
because there
is
and
this
White
no other way
is
can lead
permitted
to lighten
it
pink, so
add yellow
it is
sometimes
instead.
yellow and a
little
cadmium
He leaves
show through
for the
highlights.
Choose
a simple
still-life
group
like the
some good
is
your
ability to
make dark
ultramarine and
You can
use either
cadmium
dark areas to
oil
or acrylic
test
the
exercise
is
about mixing
yellow,
two
mixed
in
varying
proportions to produce a
COLOURS USED
cadmium
red,
red.
(Above) The
all the
artist
six,
five,
and
by
is
similar to the
is
more Prussian
blue,
on the tomatoes.
145
Colour
Colour Relationships
Establishing
how to mix
you observe
the ones
is
colours similar to
it
exists in isolation
also
how
No colour
Warm
and
As can be seen
all
defined by
An orange or lemon
framework
placed on a
and provide
that,
is
The
fruit
little
impact.
know which
because
it is
hard
much on warmer
Relative values
The colours
in
centres of the
when
blue.
the
two
first
when
colour at
latter,
used
their
own colour
biases.
which has no
all
if
ever, be
colours have
In the
still.
second
warm, but
the alizarin
Greys are
the orange.
Temperature
they must
Blues, blue-greens
as
"warm"
However, the
so-called
front of
in
neutrals
for them.
here, the
contrast,
warm
push forward
is
Neutrals
These colours, the greys, browns, beiges
cool,
fit
in
A useful
painting.
device
is
to scrape
your
Neutrals
All the colours
shown
in
made from
black and
and yellow
in
warm
is
and
colour
additions of other
colours. Seen in isolation
used, will
because the
this subtle
painting.
all
the colours
towards
blue.
in
colour
is
relative;
recessive habit
contrast of
warm
if
there
is
even a
may
lose
an insufficient
To complicate
are warm and cool
colours.
is
warmer than
palette.
But everything
on the
lemon yellow,
colour
is
to use
its
complementary.
Complementary colours
and green,
blue.
violet
When
red, green or
However, the
show how
differently
on
their surroundings.
In the first
and
is
shown
against a vivid
background
grey
and white.
much more
impact.
in the
painting
third
is
a neutral
made from
black
m,
ORANGE ON ULTRAMARINE
YELLOW-GREEN ON BLUE-GREEN
ORANGE ON ALIZARIN
NEUTRAI (.KM ON
IRAUARINI
>-\\1l
OIOI'RONC.RI
"I
147
Exercise
Painting White
There
is
no
better
way
of learning
how to
on
a white background.
how
discover
object
you
You
will also
at a
is
white
or even none at
all.
little
pure white,
objects,
which
-a
group
is
set
particular
problem
if
your
it is
COLOURS USED
Indian red,
cadmium
!+
burnt umber,
it
is
in first.
the plate
and background.
for
He moves on
to the area
of strongest
As he works, he
carefully assesses
one
in
comparison
W
4
brushstroke
and a
little
is
and
it
fine canvas
lightly tinted
He finds
that a
and in a
subject such as
it is
particularly helpful.
solidly built
to the
red to darken
is
mixed with a
and warm
little
yellow and
it.
149
Techniques
know how
up an
The
to build
oil
direct
start
different
ways
their subject,
many
Impressionists
from
known
This method,
as
became
own
the
IN
TECHNIQUE
in
which
many
earlier ideas,
art.
been built up
added only
were done
one
mid-toned
Working in
artist begins
oil
ways of
starting
and completing a
is,
however, one
wet.
These paintings
When paint is
brushstroke
is
wet into
crisp
new
Working wet
"alia
as a final stage.
underpainting, a method
different
in the studio,
artists prefer to
The term
had
outdoor
beginning with a
monochrome underpainting on
rapidly
for
who
not only
is
session.
"alla
However, many
now being revived
work over an
technique
the French
overturned
in
and
one
is vital.
A REVOLUTION
first",
norm, particularly
methods.
in
working
have their
entirely
and
Vi
into still-wet
into wet
still
A soft,
blurred highlight
by wiping
The first
more
lustrous surface.
this
makes a
softer impression.
now created
is
now
(Left) In
any oil
painting, but
wet methods,
it is
best to
becomes unmanageable.
Here the thickest colour
has been used for the
red flowers.
4 now
(Right)
The paint is
\
'^i
^H^m vUHi^EB
and
one another.
new
colour
jjk
^n?
*|^*j|
1*.
u%
effects
you
soft, slightly
blurred
Monet's beautiful
in this
The method
way.
is
it
best
it's
is
produce a gentle
pink highlight.
achieved
see in
to avoid too
(Right) White
is
^Jjj
\%
to
each
the
^^i
vV
turpentine,
used more
in a
If
this
happens, scrape
acrylic
if
retarding
you use
medium
tin
in. It
in
made-for-the-purpose
to
and workable.
151
Techniques
Underpainting
Most
artists
make
drawing on
their
to paint;
Underpainting
in acrylic
framework
this
one step
of diluted grey-green
further,
making
a full-scale underpainting
in
the composition
to plan
on the colour.
- monochrome simply
is
to provide contrasts of
left
to
show through
is
in the finished
acrylic, gradually
is
working
on canvas board.
The underpainting
is
now complete,
working
in acrylic,
she
method of beginning
with thin paint.
The Renaissance
building up
same way
thin
warm
blues predominate.
layer.
Some
artists
begin their
this to
dry and
Because
oil
is
sometimes
up
in this
way, although
oil
3
it
She
now turns to
paint,
still
oil
4m*Z-
using
and then
slightly
more
^BBl
-.*
warm
paint thinned
W
*
^M
Ji
*f
'
w.
O^f
^V
'
iff
l|
underpainting depends
S*','
on the
effect
you want
to
>
is
-'
\r/
4
The
oil
details
paint
is
portraits
and figure
work, as
it
and
helps to
in places the
establish a contrast
underpainting
is still
visible;
you can
and warmer
highlights.
by diluting the
thin
oil
if
you are
When
thick.
(lean) paint
is
laid
paint, cracking
which shrinks
diluted
(fat)
to the top
bottom one,
slightly as
it
dries.
Apart
minimizes the
risk of
last also
churning
it
up by
153
Techniques
Working on
Up
it
until the
many
given an
imprimatura. The
abandoned
Impressionists
oil-painting practice to
others,
this practice, as
and worked on
Tinted Ground
choices are neutrals such as browns, yellow-
was standard
they did so
Monet
brighter colours.
on which
Some
to apply
artists like a
warm brown
but there
is
artists are
no doubt that
white
makes
first
White
is little
is
an
light,
show through
it,
or no true
by creating a
way
like
effect
You
because any
series
ground can
a coloured
act very
much
an underpainting.
Laying a ground
judge the
too
ground colour
difficult to
it
strength of the
a coloured
helpful.
colour (there
in nature) so
surface
for a
Today's
ground
is
two
spirit
oil
paint
obviously one
of
the
allowing you to
areas and
down
work up
to the
Acrylic on
will influence
if
your
doesn't matter
completely
flat
effect; a
oil
paintings
is
It
in acrylic.
blue ground
if
to the lightest
dark ones.
first
artist,
working on watercolour
light area
of sky, painting
brush.
The paint
is
it
made
corrected by overpainting.
Ja
HV^BT''
"-%_-
^^M
~
w
!*
lff-^^rt
-*-"
-
U'
Dark green
is
W*
this
^JH
make
The paint
is
it.
were
slightly blurred
by
well-watered paint,
applied with a large,
soft brush.
To
paint
colours,
is
lightly
which are
to cover all
now dry.
Again, care
is
taken not
ntre of inter*
155
Techniques
Brushwork
is
thick
and
oil
the
smooth
layers or glazes,
built
up
The
brushmarks
for
Working
in
brushwork
Exploiting the
is
an
idea of
on
in oil
oil-sketching paper,
brush as a drawing
implement, making
began with
sweeping strokes to
artists
such as Titian
16th
in the
was
it
two
still
artists
with brushwork.
are spoiled
It is
not necessary to
when
there are so
here
it is
quite thin
and
(it
many
the brushstrokes an
how
to
drawing
mix
right,
much
needs as
showing through
in
some areas.
you
hills.
is
out
of the
exploit brushmarks,
it
can help
you are
want
sweep of a
hill
and
it is
the
to suggest the
work by following
directions than
it is
the forms
to build
or
field,
let it
do
and
up the shape
One
is
inconsistency of brushwork.
brushstrokes do not
all
Your
have to go in the
size
Brushes are
made
in different
shapes as
(though
same
it is
worth
approach throughout.
landscape
is
painted
If
kinds of
the sky in a
flatly,
and bold,
mainly large
and
hills,
appear
flat,
licence. Paintings
individual
veil
do
artistic
brushmarks
in the
sky area as
brick-like stroke,
them
all
in different
pressure to
make
in smaller
the
is
brushwork
similar to that
long,
sweeping strokes,
letting
hills.
n>
6
(Below) The
brushwork
is
consistent throughout
first
applications are
now dry;
and
consequently,
the painting,
The brush
is
used
in a different direction,
and not
with
without describing
imparts
it
movement and
literally.
1S7
Techniques
IMPASTO
Impasto means thicker-than-usual paint.
For some
artists,
and
acrylic
is
of
oil
up
Using
thickened
paint
IThis photograph
surface textures.
shows the
far
from new.
oil
paint
brownish substance on
in
some
areas of their
Rembrandt's
sculpture.
the
relief
first artist
to
many
left).
mediums
Similar
in acrylic.
some of
applications elsewhere. In
the
Sometimes impasto
is
reserved for
certain areas
of a
painting, usually
added
but
used
is
throughout. At this
artists
and dynamic
sometimes squeezing
it
on
it
it
straight
colour
from the
with a brush, or
is
to avoid
of
kept separate
mixing and
muddying.
it is
good idea
to bulk
it
impasto work
is
in
both
oil
and
acrylic.
This
than
slightly runnier
effective,
oil.
The media
it is
are
is
Impasto used
to
add white.
is
any small
There
is
good reason
brush
is
taken in
different directions,
creating ridges
and
swirls of paint
which
varying degrees.
(Left) Finally,
deft touches
with the
tip
with
made
of the brush,
yellow-browns on the
tree trunks. Paint
out thoroughly.
(Right)
To produce
a soft blend of
worked into a
is
lighter
The
new
159
Techniques
Knife Painting
A brush
is
the
commonly
made
for
Knife-painted
flowers
on with a
ITo provide a
background for the
and
from any
a brush.
The
on
smooth plane
is
and
painting
lines of thicker
when
first
knife strokes.
whole
create an energetic
and
lively effect.
Like
size,
the
the
one another
laid
over
muddled impression.
flicks
on
emph-
a flick of the
on the vase or a
some
fine strokes
dull
of colour, achieved by
scraping
side
it
of the
landscape
1
H
and
sensitive instruments.
They
are not to
A light blue-green is
laid over the darker
flat
of
how
this flattens
made
and pushes
it is
and highly
are
produced
shapes and
in a
sizes.
and
Aril
foreground with
made with
make
laying
now
dark
floral subject,
thick,
T
^^^^^^bb
-"
(Right)
The flowers
combination of strokes
using the point
and side
for
is
ideal
chrysanthemums and
W,
sharp
flick.
(Above) Grey-green
5
is
background colour
now
the stems
with the
and leaves
flat
of the
If the flowers
knife.
and leaves
wet background
would
(Left)
The flowers
and leave*
arc
convincingly depicted,
and
picture
is
increased by
The
thick
and
knife
from
t'<
in
some
thin paint.
vhiU
areas
background
is
<>/
the
the canvas
with colour.
161
Building up
colours
Techniques
Glazing
Instead of using
strength
&
full-
opaque colour
it is
Glazing
that
is
is
regaining popularity
reason, as
it
- and
for
good
effects.
The
a series of glazes.
oil,
The
or
can be achieved
oil
in
can be glazed
over acrylic.
The
transparent colour.
you
reds
saints
see in the
brilliant blues
gowns
were achieved by
madonnas and
Changing
method.
colours
of
this
and
One
was
applied, so
when
prima painting
alia
was
largely
abandoned.
one
Now,
beloii'.
cut
method
is
painters.
at all
and so the
no time
fast,
The
medium
If colours
(matt or
matt
finish,
while the
medium
gives
depending on which
it is
thick impastos
made with
a brush or knife
also a
good way
to suggest texture,
to consider buying
oil
some
and
opaque, some
is
the
way one
layer of
of acrylic
Glazing over
monochrome
light glaze
which give a
appear too
Toning down
transparent colours.
monochrome - black
and white or shades of
one colour and glazes
subsequently laid on top.
Techniques
Broken Colour
When you drag oil or acrylic paint lightly
Dry brush
acrylic
paint,
it
some of the
visible.
in
earlier colour to
remain
is
employed
frequently
It is
in landscape, for
it is
to apply the
is
minimum
of paint to the
dry mixture.
fairly thick,
control and
is
more
It
now drags
involves
stiff bristle
brush
use the
method
You might
produce a shimmering
effect),
or for richly
is
the deepest
cover too
wanting to
much of the
is
still life.
applying
The
effects of these
methods are
it
with
horizontal sweeps.
up with small
make
less
invented by the
would be interpreted
(Right)
ideal
as green.
method for
livelier effect
than
flat
areas of colour.
It is
this picture
best to
has been
Techniques
Scraping back
Removing Paint
The
#2,
first
are
canvas could be
Scraping back
When
painting,
oil
scrapes over
If
it.
is
effect of
rather attractive
it
with the
is still
this,
Working on canvas
board stretched
now
correcting mistakes;
in
its
own
several
right. It
it
can be a technique
well-known
artists,
who
portraits at the
painting tool.
in
The foreground
has been darkened
subsequently scraped
him exactly
the effect he
this
wanted
gave
for the
now
Scraping back
is
a layering technique,
to scrape
similar in
some ways
to glazing, as each
new
it
to build
up subtle colour
effects,
or to
as
between
the weave.
(Right)
The technique
is
shapes
in the
effects
it
back
diagonal strokes.
in
oil
paint
0fr
Having
laid a
foundation of
The point of a
scalpel removes the
more
and
Drawing
wet
into
paint
on canvas board, a
thoroughly, revealing
dark
beneath
similar indentations to
paintbrush handle
is
it,
and
cleanly
in a series
of
paintbrush handle.
Sgraffito
This involves scoring or scribbling into the
paint while
it is still
wet
into thick
paint in this
way produces an
indented
textures
London, tonking
is
another correction
technique.
An oil
utilized as a
where
there
is
new
it is
to
add
of grass or tiny
light.
muddy,
way
with
a paintbrush, such as
that any
decorative
which are
unworkable because
a stage
method
stalks
useful
useful for
difficult to achieve
Working
TONKING
(Above) This
method is
texture of clothing.
fine lines
Rembrandt used
hairs of a
lines as well as
indentations.
from the
is
a variation of sgraffito.
a pattern element to
a sheet of
your work.
thin,
If
it
is
with a sharp
still life
could be outlined
to the paper.
The
image can be
resulting softened
is
work,
pleasing in
itself;
is
easier in oil,
too, as
it is
it
tried to
Tonking
is
to
atl
a concentration of paint.
as a painting board.
165
Focus
Comparative Demonstration
W/
One
many
is
to attempt to
artists
whose work
you admire.
as well as to
variations in approach,
artists to
James Horton
is
possible
we have asked
working
on
in oil,
three
subject.
still life
fine
also
working
is
in oil,
is
painting in
of glazing methods.
^w.
IThe
artist
drawing
(in
warm
and
It is
in
His method
colour
all
is
in
now been
work on
returns to
and tone
dark greens.
"
working methods.
In this
painting
itself.
0fr
brushwork
fully covered.
is still
stage, the
The paint
is
Ellipses are
initial
oil
and Damar
in spite
varnish.
of careful
were added,
Notice
and the
ellipse
label,
of the glass.
is,
'ontinued
167
0fr
IThe artist began with a drawing in soft
from time
pencil, erasing
it
was
correct.
thinly, diluting
synthetic
to time until
it
bottle
is
is
stages
artist takes
is
on the next;
now virtually
The first
finished,
painted
are given
is
large kidney-shaped
which
Once more,
is
echoed
in
the palette.
it is
background, so
this
6
this
The biggest
difference between
painting
is
in the
consistency of paint,
The brushwork
paintings
first,
is
in
lively
both
and
has a distinctive
style.
IThe
artist begins
seldom makes an
initial
drawing when
Her method is
medium
still
becomes more
it
transparent as the
medium
is
laid
dries.
method clearly -
from
drying out.
background.
paint
up the more
to build
initially
colour
As
in the
the glass
on the
until last.
The
highlights
from the
tube.
and
and
improve the
composition.
169
Focus
Still Life
Throughout the
history of painting,
still life
Still-life
less
popular
were certain
when more
many
came
artists
into
its
own;
have painted
historical
still life
made
it
in
some have
their speciality.
There
skills
works,
is
no
better
way
of practising your
own
subject.
When you
on the
spot, the
is
still life
you are
and take
as long as
you
like
over the
still-life
painting,
to lay paint
on paper, so
it is
Still
tablecloth
and
care.
is
established between
Repeating colours
(Left) Elizabeth
(oil) is
is
some unifying
Pattern and
viewpoint
(Right)
n@ m
The viewpoint
'
Most
depends on your
XL TfHJ^HflL
"^
l^^<^E&
in
extent,
Life with
(oil)
Aubergines
iljfejp
'"'^L'
^Klflt^
is
^\iH
r*^-
lifes
odd
Robert Maxwell
M>
Still
common
and vegetables
common
level. In Still
An
ill-assorted
than at eye
some
still lifes
theme
Seen from
flattened to
Choosing
- notice
^^
the
(^S^S^^S
Wb\
objects, placed
for contrast.
on
You might
be attracted by
stemmed flowers
as printed pattern.
in a tall vase, or
Composing with
(Below
in
right)
light
Light and
vital role
Lilies
shapes
made by
the
(oil)
bars
and
window,
which
is
further illustrated
can also
one. Artists
theme of light,
by the hat
in the
and
a series of
ovals.
tell
a story, or hint at
may choose
to their hearts, or
be
a subject close
working
desperation of his
life at
the time.
painting.
You
mercy of the
back on when
it is
fall
option.
You have
still life is
to take as
not an easy
much
care over
still
Try to aim
initial
arrangement.
at a natural-looking
it
still life is
grouping
highly
Floral
(Left)
still life
in floral
some way.
if they
n>
Still
He has
is
some of the
for example,
is
Unusual treatments
(Above)
life
awkward, cramped
Consider too the spaces between things wide gaps between objects may make them
look disconnected, in which case some kind
of link needs to be established. Depending
device
still lifes,
It
start to paint, or to
drawing.
object
is
too
adjustments;
good
many
it is
objects
chose
of onions for
terms
this
bunch
his acn'lic
or
crowded
shapes suggested
movement, so he has
painting,
it,
new
in
to the front.
preliminary
approaches,
tall,
make your
when you
that the
is
often suggest
painting
objects
feeling.
One of the
arranged them
way
in
such a
like.
is
Once
satisfied
If
to place
what viewpoint
to leave
it
to take
around the
played up by using
strong shadows and
long, sweeping
brushstrokes.
Found
still life
still-life
something makes a
on a
almost anything
in
associated with
objects. If
and
still-life
his oil
Maxwell Wood
painting.
your group
is
is
in the picture,
it is
down
slightly
when
circles (plates
Outdoor
term for a
do
circle in perspective
at eye level.
- the
- than you
it
helpful to settle
all
that
is
still life
still life
it
follows that
in
and bottles on a
cafe
low
(Above)
Some
these
End Pipes
to explore
making a
scries of
group, seen
in
various ways.
173
Focus
Still-life
M<
Demonstration
paints portraits
still life
it
He works in
on a small
on canvases he
scale, painting
which
will help to
drawing,
made
he uses an equally
Yr
oil
home-made
with
to
it
subject, enabling
working on
priming, he tints
a
because
The artist
(Right)
dislikes
warm
red-brown.
size.
(Above)
He begins
by placing brush-
working
but to scrape
the colours
it
off,
is
is
drawn
in
with a fine
light, cool,
neutral colours.
is
and
visible in places
W/
Too much
detail in
7,the background
would detract from
in the
that
foreground, so the
in the
the basket
weave of
was created
by working small
brushstrokes of light
m
/Kl
For the
final details
area,
lines
of the weave.
is
used to touch
is
this
in the
still
clearly visible,
warm
colours
175
Focus
Landscape
many
Both
oil
and
on your
but,
advantage
is
palette before
if
you use
completely dry
stop
if
you
prefer.
With
oil,
into
the artist
must
common
device
is
travelling
Vineyard
in the
used the
lines
Languedoc
(oil)
of the vineyard
distance,
and in
in the
same way, so
that
group of houses.
is
excellent
microcosm
in his
Human
interest
(Opposite) Another
painting
is
into the
(oil). It is
in
of figures
in
landscape
is
field.
Creating space
(Right)
if
you arc
of landscape
close-up
in
to
but in a panoramic
The Ploughed
Edge
it is
done
this in
ways:
He has
vital.
two main
firstly
by
exploiting the
converging
lines
of
by using paler,
slightly
you
will
carry
the painting
is
large
and
it is
problem
a
if
windy day.
much
in paintings
it
wrong.
how
acrylic
is
that
you can
let
the
much
changing
light
easily occur;
when you
made
instead of horizontal.
tree
The answer
work;
this
on the
right,
to take
when you
begin to
the freedom to
make any
necessary changes.
oil
paintings,
board.
It is
surfaces with
Using a
177
The foreground
problem area
in
landscape
you
it is
to treat
is
closest to
is
however, be unwise, as
it
it
M/
Easton's
the
Dwarf
it
Firs
and Cottage
(oil)
Timothy
he has solved
first,
Cropping the
foreground
(Above) Sometimes
the foreground in a
viewfinder
to decide
is
good
also a
how much
This device
easily
is
idea, to help
you
made by
cutting a
it
up
at different angles
and
at
different distances
distance, but
it
can be
painting, as in Gerry
Baptist's
On the Coast
of Provence (acrylic). In
when you
employed a
traditional
of bringing them
to the front
of the
J recedes.
set
up a
will
although you
may
centre of interest
lies.
exist,
a centre of interest,
Examples of an obvious
is
drawn.
focal point
might
some people
sitting
down
we
lines or
is
effect
darker ones.
probably already
and bottom of
hill,
compositional device,
at the top
Try
a pattern
you
making
field
gleam of light on
order
in
might be a ploughed
in the
landscape serves to
fellow humans.
identify with
our
is
Do
If
not
make
field.
is
in the
foreground will
middle distance or
much
detail in the
detract from
it.
Controlling tones
Creating space
is first
Landscape
in
Provence
and foremost a
this.
One
is
soft,
pearly glow
knows
reduces contrasts of
become smaller
that things
by the
the further
ffl,
away
or a far-away lake
you
fail
easy to under-
it is
You know
is
a certain size
to realize that
it is
and darkness
of colours must be
and
controlled extremely
actually tiny in
your picture.
lightness
that a field
carefully.
there are
It is
Notice that
no dark colours
even
here
foreground
preliminary
it;
in this
and
whispers of golden
tree
the
way you
the composition
is
which
is
of delicate mauves,
yellows and golds.
to create space
is
to use
aerial perspective.
in the
field
closer.
atmosphere create an
is
light as
easy to under-
it
be
will
would be
When
if it
it
much
were
comes
it
that
field is
way
it is
(oil) is
as
much about
itself,
tree
dark
full rein
but, in
in the
the
middle distance.
and
overcast sky,
it
foreground.
The
in relation to a still-
ray of sunshine
up part of a distant
hill
looks
is still
you
will
master them.
179
Focus
Landscape Demonstration
Karen Raney
works
in a
is
an experimental
number
artist
who
indeed,
interest.
Although
photographs as an
own
photographs, aided
many
times. She
is
working
in oil
IBrushwork
landscape,
is
an important element
and the
artist
immediately, employing a
in this
flat bristle
brush to
it
make
Once
thickly,
adding a
little
it
more
oil paint,
(Right)
To
create the
a bristle brush
then built up
is
marks
way
from
in
trees,
used straight
Notice the
0fr
is
which the
is
it
no added medium
brush-
dictate
to see
less deliberate
some artists,
next,
approach to
and experimenting
uses upward-sweeping
(Above) The
now reinforces
works
lines
artist
need to be echoed
(Right)
Having
in this
built
sweeping roof
and
between the
tiles.
shadowed
Continued
O
181
&/
The distant
which
is
I'illage,
the focal
now treated in
way as
is
a late stage;
it is
same
the
brushstrokes describing
and forms.
the shapes
The brushwork
depicting the houses
walls
the roofs.
The
behind are
more
*^~
w^9
hills
0- "^
now built up
decisively.
-1
/~\
-L
\J
scratches into
>
A.
fingernail
beneath, which
is
now
completely dry.
11
links
It is
important
to create visual
and a
little
of
middle ground
is
now
of the
hills.
pm
"~ *~~-
^ftT*i
<
"
lJ^-^
12
(Right) Strokes
^i
of thick,
_L
^}
beautifully
light
what
is
illustrates
and
of movement
around
in a
is
led into
to
183
Focus
whether painted as a
figure,
A still
may
the ellipse
on
a vase or plate
top
is
if
life
is
we
are
all
and
human
figure
is
complex and
is
work
relies
a painstaking
and then
in,
fill it
as
the time as
to
make
paints
With
is
oil
and portrait
much as on
does not mean that you must
painting. This
make
subtle. Figure
on drawing
the drawing
corrections.
Working
a considerable
in
opaque
advantage here.
you can
drawing by overpainting.
is
pays to join a
however.
if
you intend
and clothed
life class. It is
figures
it
not essential,
What is important
is
to practise
draw yourself
in the mirror;
reading
or simply relaxing.
Whether you
nude
;r
that
you are
how to achieve a
likeness
tendency to draw
lines
satisfactory,
of the
sitter,
there
is
however, as hard
lines
(oil),
is
can
the
with the
face
seldom
human
difficult to paint,
use of line,
built
As a general
is,
rule, the
colours in
shadows
and Gerry
its
own
is
0fr
terms.
Painting
monochrome
in
(Left) In this
unusual
brushwork. The
effect
is
extraordinarily powerful.
it
in
It
monochrome,
and
that
all
the other
i
same
the
paintings.
applies to figure
The model
is
vWH|
~yi*t
Much
-*
~*~
still,
~^^^H
would not
fit in.
Too much
l^^wT'^T
with
attention
vl
is
introspection
in
background. This
figure
but
it
is
the
most
is
one
in
- a good
which everything
is
conveyed
understandable, as the
composition
H|
g jfk
sitter's
other elements
and
they
igfc
more
J.
brushmarks as well
i SPA
is
MM
sitter's intens*
as
by the
but inward-
looking gaze.
^m\\\\\\a\\\\
i,
It
IP
IKS
Composing
figure study
(Left) In a figure paint-
ing
where
to place the
figure, ivhether or
W/
not
and
model, thus
as a balance. Peter
If
spontaneity because
and body.
lighting set-up,
Those
light.
have
it is
painted, but
positive,
it is
composed,
carefully
light
and many
artists deliberately
and opposing
a
all
young woman or
in a portrait
choose
it, it is
subjects. In a painting of
child, for
example, a
diagonals in the
diffused light
background.
is
more
stiff
as does a direct,
side
more space
is
often
is
little
and
it
will
how
Painting children
engaged
seem cramped.
in
some
typical
Lighting
in the
Lighting
is
is
vital in portraiture
and
figure
remain
you look
light,
it
at a face
looks
depth, but
if
flat
added
If
look
and
the light
side
it
The form of
work
is
and
tion
comes from
<
ne side,
to
seldom
for long,
which they
when
posed. In her
it
artificially
throwing
interesting configuration.
still
conscious
more
case of children
a question of
necessity; they
light
face, giving
sometimes
opposite the
left
sitter is
sitter,
on the
By-
as a net curtain
you are
in portraits are
and unnatural,
face-on approach.
If
head or figure
to place the
on the canvas.
how
painting by a
(oil)
Karen Raney
moment of
communication between
her two young subjects.
still
THE FIGURE
IN
CONTEXT
background
is
frequently
in
left
must be put
deliberately
order to focus
whole
figure
included.
If
in a life class,
for a
own home
and
A writer or
surrounding your
sitter.
Full-length portraits
(Above) When you intend to paint the whole figure
rather than just a
and what
in familiar
as
with Jacqueline
Outdoor
(oil),
which
light.
settings
(Right) Light
Easton's
own
surroundings
is
sitter
like
David
more by posture,
Timothy
Curtis, he
clothing
and
visible.
it is
With careful
perfectly possible
of a person without
all.
187
Focus
Portrait Demonstration
Elizabeth
portraits
Moore
and
paints landscapes,
still lifes,
working
in all the
(Right)
pencil
pastel,
towards
oil.
initially
own way.
This
oil
two
and one
in
in oil
were made to
explore possible
idea in her
The
sketches,
painting
was
and experience.
The
artist
is
working on primed
brown
to provide a
brush drawing
in green,
(Right)
is
The deep,
painted first,
face.
working blind in a
in
rich purple
of the background
Without a
sense,
and must
is
(Above) At
this
stage in the
lightest
and darkest
tones.
the
distance.
sockets,
To avoid these
gives
flat
brush.
Continued
___
189
7
in
In
particularly
is
and eyelids
are defined
of
a filbert brush.
The face
is
lightly
on the
dress.
paint
now used is
thicker
in the
early stages.
1-i
_L eye socket
-'I
JL
is
f\
\J
dress,
and
neck,
is
which
the deep
is
mirrored
shadow on
in
the
common
colour.
is
nearing completion,
left
and unblended.
^i
*\
(Opposite)
One
_L Zmd composition
are
made
is
to be broken,
to avoid
and the
artist
has deliberately
and dignity
to the image.
191
Introduction
About Pastels
Pastel
and
is
unique
in that
it is
medium.
a painting
It
both a drawing
tends to be
Many of
first
sight look
Pastel
is
rapidly
is
of the
boxed
One
sets of pastels in
- open one
of the
which seem
tube of paint
is
have squeezed
it
out.
JAMES
CRITTENDEN
Summer Hillside
(Left) Pastel
is
often
powerful landscape
shows
that considerable
feeling
effect
is
very
much
brushstrokes in an
acrylic painting.
like
oil
or
PATRICK CULLEN
Window in Provence
(Opposite) The colours are also built up thickly in this
painting, hut the technique
is
them
carefully,
and mid-tones,
and changing
controlling
KEN PAINE
Head of a Young Woman
(Right) This artist exploits the directness
and
He
by
"underpainting"
accents are
paper
left until
is still
monochrome
The coloured
visible in areas.
MAUREEN JORDAN
Rose and Geranium Textures
(Below) The artist has exploited the whole range
of pastel techniques
combining
in this vivid
solid, thickly
flowers
and petals.
marks
in
creates
its
sticks of colour
also appealing.
is
form
a direct link
medium,
them
ideal for
- pastels
are
up thickly
you
will see
paintings
As
shown
medium and
there are
many
different
ways
of using them.
No medium
those
may
who
is
perfect,
however, and
become
pastels can
GEOFF
M ARSTERS
Landscape
Auvergne
(Left)
up
When
pastels,
he
in
the
first
took
Marsters was
medium
as a painting
technique,
and through
constant experiment he
own
methods of working. He
achieves his rich, dense
colours by working on
abrasive (pumice) paper,
fixing
and then
on
top.
He loves the
brilliance
of pastels, and
One
that you
work
against you.
is
as
make
mistakes.
easily,
try
paints,
it is all
pastels
it
carefully, laying
top.
it
flat
it is
vital to store
it
paper on top.
Despite these minor problems, pastel
too easy to
advance
in
if
surface. Unless
also
to be
but, because
out mixes
especially
is
a wonderful
have taken
it
medium
to use.
Few who
abandon
it.
with a tired-looking,
One
muddy
may end up
painting.
Maurice
work by over-mixing;
that
it is
example.
not a
It
medium
hands too,
has to be admitted
for those
It is
who
like to
hard on the
as they
colour as soon as
The
sticks
which
it is
pigments tend to
fall
fixative,
PATRICK CULLEN
Casa
df.
Lido
(Left) In this
atmospheric
painting, the
approach
colour
in the
is
more
to
naturalistic than
there are
some similarities
in
sandpaper, or on heavy
which he first
lays a
GEOFF M ARSTERS
Interior of Boathouse
(Right) This subject, with
its
angularity
of detail,
medium such
better for
as pastel,
broad
effects,
which
is
and profusion
soft,
crumbly
usually considered
it
and edges
is
and
created by
and colour.
JACKIE
SIMMONDS
Still Life with
Blue Spanish
Glass
(Left) In this gentle
and
has
made clever
smoothness of the
material, but the central
been
left slightly
rough,
been dragged
lightly
197
___
J.
JACKIE SIMMONDS
Tea on the Patio
(Above)
TTn's delightful
and fresh,
handling
is
delicate. In fact,
in controlling the
medium than
to
its
in
inherent properties;
it
artist's skill
effects.
ELIZABETH MOORE
Still Life
still life,
medium
it
worked
in oil pastel,
which she
likes
because
it
more
bloom on
the plums.
MAUREEN JORDAN
Pansy Textures
(Above) The characteristic crumbly texture of pastel
and here
JAMES CRITTENDEN
Orange Grove in the Evening
(Left)
As
skilfully
in
this artist
qualities
is
both
appear at
realistic
first
complex network of
PIP
CARPENTER
worked on a
dark, greenish
is
by the
the
effect
of the
artist
light
different surfaces
ornamental iron
table.
JUDY MARTIN
Bandstand Series
(Left) Vivid
colour was
of primary importance
in this painting,
and here,
used
in
combination
was mainly
in
top in vigorous
strokes.
You can
sec this
red paint.
199
& Equipment
Materials
Pastels
There are four main types of pastel: soft
(also
known
pastel pencils
made
in the
and
"filler"
some
traditional
graphite
one being
are
is
is
softness
on
somewhere
binder
is
pastel pencils
lie
in the middle.
Oil pastels
tragacanth.
in
combination with
used
in the
manufacture
rather than
gum. They
are,
Although the
texture.
effects.
What
is
particularly intriguing
about them
you may
form
a useful
complement
and
pastel pencils
a finer consistency.
easily
for detailed
spirit,
to these.
Hard pastels
pastels contain
is
OIL PASTELS
and are
and powdery
oil
however, an
fragility
any
gum
Soft pastels
little
will repel
top. In terms of
and hardness,
Very
and
slightly greasy
work. Some
so
to a fine point
artists
apply
it,
just as
paint.
The
grows
in popularity,
medium
PASTEL PENCILS
1U
manufacturers are
crumbly than
work over
Different shades
In oil, watercolour
and
acrylic painting,
They can
also be used
on
their
own, but
in
means of mixing.
is
more
linear,
Pastels,
colours
paint.
is
comparison with
soft pastels,
where the
many more by
however, can't be
gives
Choosing
you
you
many more
a range of colours
which
Pastel pencils
ranges contain
so
form
a useful addition to
your
kit;
they are
as well as for
literally
where do you
Fortunately
hundreds of colours,
start?
many manufacturers
help
sets tailored
There
are, for
sets,
One
with a
of these
SOn
PASTELS
could
make
good
starting point.
You can
all
on choosing by
you
colours bear a
latter
are
made
in a
name and
latter
light
and dark
by adding black.
Unfortunately, there
or numbering system
pastels,
it is
well as in boxes.
If
whether
some of the
number. The
but, as
no standard naming
among manufacturers
want
is
quite quickly.
Variations
There are considerable differences
*
\*r *
in
another so,
the
always worth
it's
Experienced
artists
two
become
familiar with
favourite colours
particular
in
their "paintbox".
The
Some
"soft"
are so
as
You can
find these
it's all
I'VMII
IM
N(
II
>
201
& Equipment
Materials
Papers
The choice of paper
in pastel
extremely important
is
the colour
and
picture.
done on
(this is
known
as "tooth").
If
you work on
about and
fall off,
making
work
like to
in
(these
a type of paper).
wide
in a
it
who
artists
the minority.
some
There are
your picture.
in place. Ingres
is
a laid
slightly
The reason
is
that
it is
for
Even
heavily on
still
if
its
you use a
side,
will
jumpy
the colours.
effect, as well as
Thus
it is
AND 2 MI-TEINTES
AND 4 INGRES
SANDPAPER
"wrong"
if
6AND7SANSF1XPAPFR
you
involves
look
like
s\\
more
difficult, as
picture will
is
Some
It is
will only
you
it
devaluing
work on
usual to
these, as
flecks of white
\TERCOLOUR PAPER
artists
will
it
Fixative
Although some
use
it
all,
you
as
little
and
need
will certainly
it
when you
thickly in layers,
it is
essential to spray at
new
you can
ones.
immediately, there
smudging them
if
a serious risk of
is
you
fail
to spray
them
Even
after fixing,
you
will
still
need a
it.
fixative
is
that
it
slightly;
working
until
as light as
You can
now "ozone
all
and produce
They
fefen^ft
might
However,
ingredients are
up
friendly"
hairspray as an alternative
built
*>
is
any painting
fixative
completely dry.
for
SPRAY FIXATIVE
overwork with
like to
much
LIQUID FIX A
IVF
- the
the same.
MOl' H DIFFUSER
I
colour.
can
left for
like to
areas of sky
work on
artists
snow
To
start with,
it is
probably best to
what you
manage
until
dark
you know
are doing.
Other papers
You can
also
work on
a variety of papers
medium (Not
a very
which breaks up
If
it
advance by laying
pronounced
a contrasting colour,
tint
artists
who
produced for
like to build
pastels, used
by
up colours very
paper and
Sansfix paper.
Sandpaper
is
the
same
as the fine
abrasive. There
is
no need
for fixative
when
Techniques
Line Strokes
Pastel
is
painting one, in as
like a pencil,
is
much
as a
which
all
something of a
way
in
which
marks,
visible lines or
lost
this
gap
is
the stick.
try to
pastel painting
artists
draw
practise
hold
mark-making, don't
or scribble as the
one of
trails off in a
its
narrow
Although pastel
when
To
how you
opportunity, as the
if
is
it
tail.
soft
you break
a stick in half
fine
contemporary
oil
nowadays most
finishes
paintings.
emulated
However,
its
do
this successfully,
The
tip
own
if
pastels,
in
addition to soft
to give free
(Below) These swatches
Side strokes
In order to
pastel.
so
you
The way
will
"handwriting"
in
show the
pastel painting
is
to
sweep the
side of the
marks
variety of
that
make with
side
you can
the tip
and
of a pastel stick.
>?
MAUREEN
JORDAN
Nude Against
of "blocking in"
Pink
A
classic
line
beautiful
combination of
be seen in
this lively
used
- they can
and expressive
just a
means
be as varied,
as line strokes.
can be created by
by blending
in
laying one
linear marks.
The other
factor
strokes, even
you are
weave.
On
heavily,
try to
make
side strokes
stick,
it
will
added
to
which
is
the
texture such
up the
you
A heavy
be denser and,
If
affects side
linear ones,
the stick.
which
more than
The
a short length
is
more
it
will
Be warned
you apply
if
means
laid
should be kept
will c|iiickly
will
the pastel
that,
strokes as a
one colour
if
side
or the paper
become clogged.
205
Techniques
Mixing Pastels
However many
pastels
Lightening
hundreds - you
mix them
to
Nature provides
far
more
always have to
will nearly
see.
and varied
required,
sometimes
it is
any manufacturer of
pigments.
artist's
Here white
is
laid
over a mid-blue.
made
in light
colours are
tip.
controlling the
amount
more
Be prepared to use
of pressure you
- the
in pastel
heavier the
"
However, you
have to
will frequently
may
small areas.
A pale
call for a
a mixture of
Darkening
dark blue
Black
is
very dark, so
work
as
it is
Black
a useful
is
colour in pastel
work, as
it
can be
Methods
down first,
of mixing
is
blending.
Two or more
is
stump made
you choose
effect,
fingers, a
wool or an implement
areas of a picture
is
way.
ideal for
with the
techniques for
your pastel
it.
laid
green on top.
is
rely
on
it
With experience
you
will discover
darkened
is
rather
soft
too much,
Mixing greens
Vo reproduce the wide
range of greens in
nature,
you generally
to
laid over a
is
/f
produce a
lightly to
also be
added to ready-made
greens to modify them.
Mixing oranges
To mix a pure orange,
choose the strongest red
and yellow
set,
and
in
your pastel
when
if it
one. Experiment to
and
dark-over-light
mixtures.
Mixing grey
Most pastel ranges
include a
good selection
mixed from
The
result
be affected by the
blended gently.
207
Feathering
large
particles
scribbled together.
This
to blend the
colours knocks
some of the
is
a useful
method for
Jftnj
down an
for toning
colour.
strokes are
Here
over-bright
light feathering
an area of red.
light,
opaque, and so
first
light colours
can be laid
way
For
many
artists,
attractions of pastel
Choosing paper
Fen Light
vigorous linear
marks of the
GEOFF
M ARSTERS
pastel stick
effects
have been
When one
colour
is
laid
over another
it
brushwork
it
If
you choose
a neutral
effect will
It is
important to remember
this, as
the
in
you can
see
On
effects of the
method
is
feathering,
A related
which
is
often used to
flat
It
and
dull
and provides a
tip
useful
of the
means of
any
is
right.
some of the
between
stages.
For the
bright patches of
highlight in the fields,
the artist has used the
tips
this reason,
when
not
effect to laying
For
blue
in painting).
(like
in the overall
context of
lightly
&
Overlays
(Above) As you can see
pastel
is
show through,
colour.
in these
examples, even
when
"
against which
on.
it
you
Working on
difficult to
in
it is
wise to choose
(Left)
In-
another to produce a
lively,
sparkling effect.
209
Techniques
exercise: experimenting
with Different Papers
It
good
requires a
know which
it is
deal of experience to
Painting on
toning paper
a simple
still-life
in
Working on dark
still life,
making a
set
up
bottles, again
contrast
still life
for contrast.
Or you
consisting of green
perhaps an orange
or apple.
in
drawing
light
red-brown
Initially,
pastel.
she
concentrates on
non-green areas,
establishing the
contrasting
warm
paper
entirely; the
shows through.
Painting on
contrasting
paper
Paint the
on a colour which
i
is
group. This
is
main colour
orange-yellow
if
in the
if
you have
Iln
yellow-brown of the
board, but
is
in
violet.
To counteract
different selection
greens
blue, or a blue-grey.
You should
dark or mid-toned
find that
the
of
painting.
Here the
colour scheme
is
warmer
Some
artists
less
dominant.
(the
now builds
pepper
in the
Touches of the
show through
an overall unity
in the
series
composition.
lightly
up heavily
to prevent too
brown
this
is
and
orange-
in the
background.
the need
to build up
and more solid, forming a stronger contrast with the wooden
board. Both paintings are on the "wrong " - smoother
side
in
preference to the
more
" side.
211
Techniques
However, some
who
those
range of
in a vast
artists, particularly
up
like to build
thickly, prefer to
and
their colours
Laying
wash
1A
knife
dry
is
used to
work on watercolour
tint in
advance
you
Laying
tinted ground
this.
of colour.
One
is
by
However,
pastel
if
is
quick and
in
to hand,
in
with what
do
this
by holding
wash of pastel. To
called a dry
is
you
first
it
two
for
applied lightly on
is
a landscape, using
(a
cotton
wool
ball).
When you
wool
a piece of cotton
rag into
it
and spread
(a
cotton ball) or a
it
you want an
method
also allows
you
to introduce tonal
some
You can
blue has
more
Some of the
to
produce a yellow-
colour, perhaps
wash
for
also a useful
method
If
for creating
you intend
this.
hazy
work
with
not do
it
to
is
that
you need
wash
should be sprayed
with fixative.
d bristle
brush
blocked
used a pastel
tip to
bristle
used to spread
is
particles.
a soft
brush
>>
^ ^^JaJr&fc&r
W^*0?
J&j&^
J&r
some of the
releases
JJB
colour to form a
watercolour
^JeSe&SS'
"'
_rr^^k.
effect,
'-~*diir^~
leaving the
Wf^j^0^^
AtfsF^Fr -&MBEM r*
]xRBg&F^
J;
marks of
Watercolour paper
She proceeds
with the
tip
to
drawn on
'
'a
^*^
.ijrjffr
1/
.^^^'^^^J'
and branches. In
still-damp paper to
the latter
may buckle.
and strokes.
Wet brushing
If
you go over
brush dipped
soft pastel
marks with
in clean water,
it
You can
somewhat
releases
the pastel
in
and wash
use this
line.
Wet
brushing
pencil;
It
allows you
it
is
light
and shade
The
is
who
is
not
took to pastel
painting
when
was one
see
you
wash, which
is
ideal for
cliffs
in the
his eyesight
began to
his pastels,
spraying
sometimes steaming
warm
fail,
a paste of
his
board or
stiff
brushes,
Techniques
Underpainting
\N
The
practice of
painting, usually
or acrylic,
is
done
in either
watercolour
pastel-painting circles.
It
making
a full-scale underpainting,
introduce as
many
you can
is
that
at the
You can
also
work on smoother
many
be
less risk
the surface.
As
work on
it
paper
can be exciting to
much
as the
smooth colour.
and
darker blue-greys.
order to
*?*
(Above)
artists
Some
use a water-
colour underpainting
much
as they
would a
the
colour playing an
important part
in the
overall effect
of the foliage.
movement
The
railings
and later
light applications
now darkened so
<
entral area
<>f
<
foliage
is
learly.
215
Techniques
although
is
it is
bound with
gum.
that
oil
rather than
Its
it fills
means
making
quickly,
it
colour
mixing by layering.
medium
used "dry" like conventional pastel. The
However,
is
this
is
great advantage of
only true
if
oil pastel is
the
V:
that the
more
work over
up
layers. If the
_,
Working on
in the
pastels.
composition
You can
also
lightly
oil
like,
as
On oil-sketching paper
many such
corrections as
come
Oil pastels
in a
more
limited colour
this
wet-
As with
paints,
on the working
moisten the
dipped
oil pastels
make an
sketching.
colour
they
and transfer
As
tip
surface.
ideal
all,
do not need
medium
for
fixing
outdoor
hard to manage;
it is
best to
work
in the
bristle
brush dipped
in
white
spirit
is
used to
relatively transparent
applied
because the
early stages,
first
up too
is
colours were
thickly in the
3 now
and colours of
method is
that
the
works
dark red
earlier colours.
in
white
spirit.
is
and slight
to re-working.
series
of
When
into a still-wet
creates distinctive
to
m oil painting,
and a suggestion of
trunks and branches,
area
amendments can be
To produce
textured effect on
marks
ridges rather
artist
oil pastel is
her approach
of sgraffito.
impressionistic.
through
The
reflecting
now
is
ti
than coloured.
217
Techniques
charcoal underdrawing
done
in pencil
- the
greasiness of graphite
used to
Any
make
loose dust
the charcoal
charcoal
is
often
is
is
away and
then brushed
applied on top.
is
largely
is
plays
no part
However,
positive
it
in the finished
work.
more
in a
As charcoal
gives
it is
and wash
drawing
work and
portraiture,
is
to
make
With the
underdrawing
charcoal dust
areas. This
which are to be
colour, as, even
relatively
when
"low-key"
in
bristle brush.
drawing
the charcoal
is
fixed,
little
of the
is
is
flicked
The
sprayed with
on top picks up
effective
not
muddy
the colours.
it is
in
it is
hand
less
particularly
The
is
artist's
to build
method
up her
series
successfully.
in
sky at
dragging a light
astel
veil
of charcoal over a
colour to tone
it
down.
of overlays. The
be
modified by later
applications. Although
dark
made on
a mauve-
is
is
blue paper chosen to set the key for the later colours.
watercolour painting).
figure
this picture is
relatively
and provide
detail
in
in tone, the
colours
The
it is
therefore
to reds
is still
lightly
visible, as
is
this
lightened slightly.
Finishing touches
Both of the
trees
lightly,
smeared strokes,
merge them
with
to
partially
219
Techniques
Building Up Pastel
Working on
Sansfix paper
amount
versatile
and allow
layering,
thickly
for a certain
painterly effects,
it is
of
really
like truly
and is
and
Sansfix paper.
begins
work on
the
lightest areas.
that
painterly effects in
windowsill, which
pastel
layering colours
more or
less indefinitely.
where the
some
pastel paintings
These papers
much
all
on sand-
The colours on
face
the
thickly,
original application of
when working
considerable
partially balanced
by the
if
fairly expensive. If
fact that
any -
you
you
fixative,
It is
which
layering methods.
it
best not to
amount
of building up by such
to the
tend to
of pastel, the
now lays
light
the white.
artist
grey over
hP
4fe4L
He has
deliberately allowed
grey paper to
show
through to create a
broken-colour
lively
effect.
la
j^
j9^Hl3
its
thick
and
is
reminiscent of an oil
painting. This paper
is
_
221
Techniques
Laying
The underlying
Textured Ground
Some
texture of their
relying
A tinted and
is
textured
in pastel
artists like to
own making,
work on
ground
rather than
A "home-
made"
is
a series of
canvases for
oil
acrylic painting,
and
makes
an excellent textured
to the
It is slightly
thicker in
laid
that
it
fairly thickly so
heavy texture,
The
make
sure
you
and
in
it.
only
quite
way
and it dries
Here
it
fast.
and applied
to thick
of
it.
acrylic paint
texturing
is
like this
that
latter is
acrylic
is
as well as
the
and textures
The
deliberately
uneven application
Don't overdo
it,
in
different
of unpredictability,
allowing you to exploit
pastel.
This method
is
applications of pastel;
work on
you
will
need to
ground on ordinary
pastel paper, as
it
will
semi-accidental effects.
it
the brushstrokes of
method which
is
is
it is
not
w
4
(Left)
Here the
artist uses
broad
strokes of pastel to
colours
and shapes of
the flowers.
painterly effect.
,w
223
Techniques
Sgraffito
This technique,
in
It is
is
sometimes used
oil
in oil
recogn-
which
You can
is
really
scratch into
and exciting
more dramatic
effects are
in oil pastel
and, because
oil
a fairly
smooth
make
a fine, delicate
firmly
you work on
However, the
if
first
example,
is
one
scratching, the
in turn; alternatively
picture to another
the possibilities
of this
Sgraffito landscape
'
w 1
4
j
>
...
*3
flUi
,
t
'.'-'
which she
by scratching back
later
2 now
(Right)
Dark
greens, blues
first
colours,
and a
knife
used to scratch into the central area and the tree at top
left.
To
"
'3F*r*7
I
much of
{yd**
added vibrancy.
1 -
>
..'
jfifejl
'
Ht ^
Bp*
^ m^fit^k
r
U
i
technique.
in
laid
a loose cross-hatching
marks
in
(Above) The
successive layers of
scraped-back colour
shimmering
light.
The
over-obtrusive nor
self-
4
is
of oil pastel.
There
and greens
lines,
broader
is
effects
can also be
down
is
pulled
in the
filtering
through the
leaves.
225
Techniques
Comparative Demonstration
If
you
visit
when
the
used.
Too
often,
is
really
things.
no
to tone
wash was
dry, he
(Above
down
right)
When
the
instead of laying
the outset
made a
is
unusual:
later,
he proceeds
which
(Right)
the
used.
the
in oil pastel
is
shown
the
artist,
on oil-sketching paper,
more conventional
Teintes paper.
It is,
whose work
The
and
right
Patrick Cullen,
works
make it easier to
amateur
artists to
first,
a definite set of
is
up
medium
rules
is
instead,
diversity
surface
Mi-
(Below) In spite of
the simplicity of the
subject
and
the limited
is
satisfying
and
The
highlights
on the saucer,
in white.
on
its
top.
on
light
and this
right
was
less
com-
insufficient
is
left
making
and saucer.
\>
111
The colours
(Right)
have been
built up,
ffe^
spirit
is
used to
warm pinks
background.
(Above) Tfee
arfr'sf
drawing
pastel
in
grey
and then
light veils
oil
applies
of colour with
Her
can so easily
be corrected.
This artist
is
and saucer.
now scribbles
The painting,
with
its
vivid
array of colours in
the
background and
foreground,
quite
is
The style
is
very different
been treated
in
much
A
S
T
E
1A
A
I
N
T
I
N
G
on
this,
finding
it
easier
when working on
a contrasting paper.
(Above) The
artist
changes the
composition from a
horizontal to a vertical
format by placing
of the cup
is
The ellipse
then
re-
grid of
At
this stage
it
whole area
is
is
it
possible to over-work.
to
wrong, so the
rag. Pastel
cannot be
makes
squares on the
il
are
now used to
lines arc
not
window
mauve
blue
lot of frustration.
229
Focus
Landscape
Both soft pastels and
oil pastels
soft blends
and
marks is capable of
Best of
directly
less
all, if
weather and
light.
from the
subject,
you
will
need
far
paints.
The only
that
you may
find useful.
Landscape
in close-up
One of the most difficult
decisions to make when faced
(Left)
is
how much to
and what
You can
often
to focus on.
make a more
expressive statement by
moving
in close, as
Doug
is
balanced
light
middle distance.
Tonal contrast
(Right)
paintings
lightness
is
in
landscape
In
James
also
%f
Placing the horizon
(Opposite) In a wide, panoramic landscape
important to consider
space,
very
how to divide up
flat,
in
it
&QJ*
the picture
^*
******
"
-.*
it is
in
you
will
do
smudge unfixed,
are carrying
it
finished
in
advance
is
when
usually limited
easy to
home.
Planning
to
it is
spot,
it
always pays
initial
how much
of the
horizon. There
is
to place the
a natural tendency to
is
two
distinct areas of
if it
division over-symmetry
always be avoided as
it
makes
creates
should
pictures look
Varying the
If
you work on a
greens
pastel
sketching easel.
frequently spoiled by
poor observation of
dust
in pastel
if
You
you
will quickly
try to
be covered
colours, particularly
is
step back
periodically to assess
light
and shade.
In Patrick Cullen's
You
will get
you use an
or, better
wipes. For
it.
a packet of
oil pastel
you
some
rags
moistened hand
will
silver-greys
and creamy
yellows to near-browns.
spirit
and rags
brushes
You
if
will
to clean
you intend
creating
oil pastels
in
panoramic landscape,
for
upward
in
it.
Conversely,
light source,
need white
Chickens, Petrognano,
the "greens " vary from
landscape;
perhaps three-quarters of
still,
in
you can
important
that
extraordinarily varied,
vitally
space. In a wide,
and an
lap,
which are
but
-a
or over-dominant foreground. As
.1
weak
general
1\\
Mark-making
(Above) The marks you
Too much
it.
shapes in
As well as
in
life
and
represents. In
you look
sitting
completely. In a
a practical role in
foreground shadow
marks are
an area
become
in
dull if treated
is
how much
composition grow
some
is
high or low.
down, you
will notice
flat
it
changes
landscape, particularly,
need to - this
also
which
re-assess
make changes
in
it is
sky. If
When
later
not entirely
a compositional
problem:
much
the picture,
you
possible improvements.
A small change
whole
work
or cardboard and
a flat way.
it is
could be
feel that
satisfactory, although
- but it is
to the
may
indoors, you
for example,
ideal
feel
it
to
Making changes
Some
As
pastels are
another quite
you
you
it
if
why. Usually
is
is
sides
of painting in pastel.
importance. There
bottom or
and then
how
You can
of the
directly related to
James Crittenden's
individual
letting the
You
subject
need and
by taking a
as
it
failure
giving
important
as brushstrokes in an oil
painting.
rule,
artists
life.
location, but
do
it all
afterwards by
though -
things around.
However,
it is
good
idea to
just
make
mount
(matt)
which
Painting water
(Opposite) Water
is
one
seems. Although
be
dtSi
of the
it is
many
most attractive
different colours
''
it
must be
Simmonds's Waterlilies
lilies
A focus
(Right)
and
mX&fr^
sp%\
find that
you
will
Almond Blossom
pale tree,
in
attention to
it
is
the
by using
beyond. To balance
hills
left
of the picture.
Preliminary sketches
(Left)
Some
landscape
painters always
work out
it,
compose
their paintings in
notes
and sometimes
photographs. Patrick
Cullen's Landscape in Le
Crete
is
large-scale watercolour
painting, which
would have
it
an ideal
sketching medium.
Working indoors
As
it
can be so
difficult to
painting,
compose
way
of working
is
to
make
in the
context of
oil
painting, pastel
just
off can
become
in
jabs
sketches, even
to think about
if
how
233
Focus on Landscape
Demonstration
Artist Patrick Cullen specializes in
works
in oil
this painting.
and watercolour
pastel, usually
on
a large" scale,
references
made on
He
as well as
composing
from sketch
painting on sandpaper
"working drawing"
in
which he planned
the composition.
same
mapping out
works
carefully, as
it is
is
the
by
He
marks on sandpaper.
'ML
".
7
2
colours cannot be
To
twists
course of a painting.
in tb*> centre.
it.
in
an
oil painting;
lively
strokes,
and crisp
here
*7
from
linear
and
textures.
This illustration
clearly
artist's
shows the
method of
is
recommended for
beginners, as
it
involves
is
used to make
Continued
D>
235
A
S
T
E
L
P
A
I
N
T
I
N
G
it
in the
lightly
the house
painting.
brush
strokes of green
trees
is
different
drawn with
composition because
you can
9 On
is
'A
f\
The painting
JL
\J
but requires
is
outline
is
it
and bright
forward
in space.
is
important to the
crisp touches
some
Vivid green
it
in the
1-1
lightly
-1
J. ^- completed
re-assessed
it
in
one working
%/4
made some
on the
in
between
7\I
237
Focus
Flowers
When you open a new box of pastels you
see
brilliant colours
an array of
which
you have
soft,
many
Drawing
Flowers are certainly a wonderful subject
pastel painters
who have
always
are.
there
that
is
and en masse
in
many
different shapes
and produce
itself, it is
a painting in
and colours
as
wrong
easy to go
relate to the
make
drawing
you can
it
do
right,
pencil marks.
You
can, however,
draw
until last. It
lightly in
may
is
difficult to achieve a
high
Unity through
technique
(Above) Pip Carpenter
has carried the shapes of
the flowers
When
you come
may
be helpful,
when
and leaves
medium
in
a light-
enough
for
broad
effects
is
and
essentially a
it is
often
edge of a leaf or
for
up a
over the
possible.
If
draw each
it
in a
lay
on the
you
movement. Jackie
individual
light initially, as
pastel colour,
will certainly
Pattern
different technique in
her
in all the
still life
elements by repeating
colours.
,;
nd you have
to
fabric to ceramics
in a
(opposite,
makes an
attractive display,
It is
it is
many colours
tend to fight
To maintain
the coherence
Avoiding overworking
(Above) The essence of flowers
is
freshness,
and
Lilies,
working on an
crisp,
Flowers
(Left)
in
When
landscape
more broadly
Maureen Jordan
there
is
In Bluebells at Isabella
very
little detail;
by
even the
dots
immediately
IV)
Light on dark
(Left) A traditional
way of painting
white or light-coloured
flowers
is
to set
them
make
the
most
an outdoor setting,
and contrasts
of tone.
your painting
it
of
in a variety
to the colour
floral
against a plain
some
areas. Alternatively,
uncovered
it
in
and
setting
them against
own
The way
in
pastel
You
is
can
movement by
in
show
let
and
the pastel
create a
in different colours.
and
delicate, there
is
As flowers are
lines
mind
is
to set
done
in
White Daffodils.
made
use of
in the
soft
that this
flowers
always a tendency to
Light on light
(Above) An alternative approach for white or pale
is
shadow
is
surprising
can be seen
how
in white.
Complementary
colours
(Above) The colours
Habitat
to
called complementaries,
setting
subject.
and violet,
important part
in
when
Simmonds's Tuscany
Steps, the red
Whether
wild flowers in a
woodland or
You
is
scheme
problem
in
in
is less
watercolour or
you decide
up colour
If
"portraits" of flowers,
be garden flowers or
field,
make outdoor
acute than
it
might be
in
oil painting.
and green
both
and the
vibrant colour.
blossom
general approach.
Flowers
in a
garden or
if
single
in a
you are
and colours of
tree in spring.
field, for
bough of blossom
the Oriental
as
kind of treatment.
241
Focus on Flowers
Demonstration
Rosalind Cuthbert works in a number of
different
portraits
light
and
is
artist
tall
working on smooth-surfaced
it
does not
Having sketched
two pink-and-white
stick.
Her method is
lines.
with linear
lilies
with the
to build
tip
of the
of the pastel
up colours with a
series
be modified later
(Right) It
is
and dark
of the
tip
can be seen
in the
colours. In this
pastel,
although some
background,
is
in
is
dominant colour
has chosen a
now draws
main shapes
in charcoal.
lightly
is
now sharpened up
left relatively
with a crisp
The
Continued
f>
243
/9
The
to imitate their
smooth
thickly for
on the
vase.
9
in
is
carried
*A
JL
f\
\J
their liveliness
also set
and
'A
_I_
^J
is
something
in
and to
has
artist
The background,
is
flowers
1"|
built
up
-t
^\ A
_L
Z^
broken
stick
used to create a
lines
series
of little
now toned
white
lily.
down
hard pastel.
The underside
is
and
vase.
also carefully
at
and enclosing
the
245
Focus
way
in
which
versatility of pastel
it is
particularly important to
of paper, especially
you intend
both to
full-scale finished
It is
also suited
compositions and
of it uncovered, as
Ken
to quick sketches.
in
Paine's superb
Young
Girl.
painting
Portraits
if
to leave areas
is
The
almost
monochromatic, with
medium for
18th century, when
the lights
artists
the
and darks
built
brown paper.
and
its
delicate effects.
also find
it
Many of today's
artists
and
figures,
less
on
is
on
Embarking on
that
require a degree of
skill
and confidence,
If
you
as
is
do about
find
Light and
(Left)
mood
For a portrait or
figure painting in
it is
which
important to
describe features
forms accurately,
and
it is
three-quarter lighting,
it.
There
you can
however, some
are,
in charcoal.
many changes
as
you
like to the
is
charcoal
Working on one
and reducing
the tonal
as
may also
You can do this to
kind of lighting to
create a gentle
and
mood that is
meditative
the subject.
major alterations.
Practising portraiture
One of the
is
finding
difficulties
someone who
is
willing to
sit
for
Dramatic
(Left)
light
Maureen Jordan
is
light rather
it is
which
over-doing
this,
as
it
can
make
&
in places,
itself,
treated as
is
a bold, broad
him
main
implies, the
subject
thickly,
working on
textured watercolour
a considerable build-
up of pigment.
made with
light
early
and
Most
artists
self-
is
in
skills
of portraiture.
artist's
work; up
most
an essential part of
It is
best to
make what
in
If
you
copy of someone
end of
considered
are
known
as
means choosing
your model.
try to
make
oils,
as
a faithful
copy
their education.
"transcriptions", which
work
until the
artists
this
to
is
it
own
You can
same
palette of colours.
composition by copying.
Do
not only
why
particular way.
You might
try
making small
which
will give
Some
Sketching
Although you can sharpen your technical
skills
If
all is
much and
as
feel
purpose too: a
series of
made
in pastel
colour sketches
Many
from
Interiors with
figures
hands, while
many "crop"
show
half
below the
just
Figures
Mediterranean town or
as furniture playing a
front of a sunlit
difference.
portrait
is
in a
setting
is
The dictionary
one
essential
definition of a
a "likeness of an individual",
whitewashed wall,
in a
village.
as part of
interior
The
of the room.
real subject
painting
colour,
is
light
and
is
where the
perform
still life
and
its
of the
the people
in the corner.
be a nude
and
as inanimate objects,
the counter
it
echoing the
this function.
This
is
tree
on
in a
the chair
its
don't become
features
- it can
this
need not be
You might
and
figure compositions
from photographs.
Composing
(Right)
portrait
you need
paper and,
vitally
figure
the picture
in
to consider
how to place it on
the
good composition
a full-length study,
Amanda
triangle,
is
the
with the
line
them
the face
is
yf
frame at
focused on
and body.
Figure groups
(Below) In landscape painting, a distant figure or
group of figures
is
Crab Catch,
them
this
to
it is
in Sally Strand's
sharing a
common interest,
but the
artist
charming
and bucket,
and
to create a strong
figures.
249
& Figures
Focus on Faces
Demonstration
Ken
works occasionally
in oils
principally in pastels,
their spontaneity
and
and
acrylics,
which he loves
directness.
but
for
He has
which he
effort,
and atmosphere,
sees as equally,
if
not more,
he
weight and
solidity.
For
this
demonstration
that is,
begun
chrome
in
is
mono-
to provide a
IThe painting
shadowed
the
more
to be
almost a random
scribble, but already the
which
to build
will be consider-
background
to enable
him
to
particularly important,
and he continually
assesses
is
now
only
sombre colours a
characteristic of this
work.
and into
to
4 ^M
Ih.
*^^**
Kffi
'
?n
method is
is
much
lit
side
MM
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many
J-
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p
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if
oil paintings,
is
the shadows.
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the
suggestions of detail
drawn
what fine
is
in
can be produced
which suggest a
much
in this
'
head
altogether
more
satisfactory.
and
to this area.
hand completely,
as
in
251
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s
O
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I
AUSTRALIA AND
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253
Index
learning,
line,
Oil paints
materials, 13
monochrome, materials
for,
1427
negative shapes, 41
outline,
40
shapes, 40, 41
Brushes
drawing,
oil
8-12
with, 44, 45
and
for, 15,
and
142-147
comparative demonstration,
166-169
26, 27
acrylic, for,
alia
138
figures
watercolour, for, 77
and
glazing,
Frottage, 17
184-190
portraits,
162
landscape,
Charcoal, 15
palettes
19
218,219
still life,
Conte crayons, 14
paper texture, importance
using,
of,
20
170-175
using, 18
trois couleurs,
surfaces,
140, 141
erasing techniques, 18
pastel, and,
176-183
and working
underpainting, 152155
working, 21
20
I
Inks,
Papers
15,29,35
for,
29
monochrome drawing,
Drawing
accurate, making,
38,39
56-59
buildings, 60-66
48-53
form, 42, 43
28-34
for,
15
210-213
pastels, for, 32,
watercolour,
animals,
figures,
colour drawing,
33
for,
78
Pastel painting
219
Markers, 29, 34
comparative demonstration,
226-229
137
figures, 246-251
238-245
landscape, 230-237
faces
and
flowers,
line strokes,
Sgraffito, 224,
mixing,
oil,
Scale
204, 205
200203
206210
paintboxes, 77
paints,
Tempera, 132
210-213
83
8487
29
demonstration, 54, 55
marks, 32
32, 36
for, 32,
Watercolour
33
32
77
brushes,
Pencils
brushwork, 94, 95
comparative demonstration,
burnishing, 30, 31
colour mixing, 30
112-115
124-129
flowers,
impressing, 31
landscape,
line
72
popularity of, 70
techniques,
77
224, 225
papers
76
palettes,
Pastels,
Sketching, 46, 47
sgraffito,
opaque
Sight size, 38
oil,
225
</
and tone, 16
monochrome drawing,
Perspective, 6062
116123
for,
14
line
97
masking, 98, 99
wax
resist,
104, 105
Wax
resist,
255
Credits
Cornelissen
London
WC1B 3RY
Daler-Rowney Ltd
PO Box
10
RG12 8ST
(0344) 424621
Russell
Canvas
23
Monmouth
London
Street
WC2H 9DE
(071)836 7521
Harrow
Middlesex
HA3 5RH
(081)427 4343
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how
to
oil,
acrylic
materials
and pastel
more advanced
all
artist
the latest
Packed with
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classical subjects
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in
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