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the most talked about

exhibition of 2015
Ok, so the private view only took place on 6 January so its a
little early to say for sure, but our Artists of the Year exhibition
was definitely the talk of the town in London last month.
The culmination of our annual search for fresh creative talents,
it saw 50 paintings and original prints made by readers of
Artists & Illustrators taking their rightful place on the walls
of the prestigious Mall Galleries.
It was great to meet so many of the 50 shortlisted artists who
Get in touch
Did you visit our exhibition
at Mall Galleries? Was your
had travelled with friends and family from all corners of the UK and beyond. artwork one of the 50? Send us
Rebecca Wall, the manager of the Jonathan Cooper Park Walk Gallery, was also your thoughts and photos
in attendance to present our overall winner Camilla Dowse (pictured above right info@artistsandillustrators.co.uk
with Rebecca) with her certificate. As part of her prize, Camilla will be working
towards a solo exhibition with the gallery. View more exclusive photos from the @AandImagazine
event online at www.artistsandillustrators.co.uk/aoty14. ArtistsAndIllustrators

And if you want your artwork to be included in next years display, be sure to
AandImagazine
look out for the launch of Artists of the Year 2015 in a forthcoming issue.
Steve Pill, Editor AandImagazine
Artists & Illustrators, The Chelsea Magazine Company Ltd., Jubilee House, 2 Jubilee Place, London SW3 3TQ. Tel: (020) 7349 3700 www.artistsandillustrators.co.uk
Editorial Editor Steve Pill Art Editor Alicia Fernandes Assistant Editor Terri Eaton Contributors Laura Boswell, Anne-Marie Butlin, Eoin Carey, Sin Dudley, Ben Grafton,
Neil Hall, Mark Harrison, Paul Newland, Clair Rossiter, Peter Rush, Jake Spicer, Adle Wagstaff and Thomas Williams
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Artists & Illustrators 3

contents
march 2015
7 your letters 46 talking techniques
Write to us and win a 50 voucher Ruth Nicols poetic take on the landscape
9 the Diary 52 masterclass
The best events and exhibitions in March A blooming marvellous still life demonstration
21 columnist 57 your questions
Laura Boswell on the fine art of self promotion Adle Wagstaff on painting the nude figure
22 the wisDom of unity 60 Demonstration
The artist daughter of Stanley Spencer speaks
37 competition
Try a new perspective on painting cityscapes
62 Drawing exercises
Xin 1000
1,000 worth of Maimeri paint is up for grabs Jake Spicer sets you a figurative challenge of watercolour
38 the gallery 64 river views on page 37
The best new work by Portfolio Plus members How to develop sketches into studio paintings
41 notebook 82 my favourite things 14 skys the limit
Art tips, competitions and workshops to try With Threadneedle Prize winner Tina Jenkins Meet Portrait Artist of the Year Christian Hook
26 subtle observations 30 abstract anD back 34 stuDio iDeas

Emily Patricks latest collection of figurative art Explore Richard Diebenkorns changing styles With childrens illustrator Laura Ellen Anderson
69 give yourself the eDge 70 Do you copy? 72 unfolDing scenes

Try a tray frame for a truly contemporary finish A great six-point plan for drawing in galleries Abstract landscape ideas with Ian Rowlands
4 Artists & Illustrators

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YOUR Letters
Let ter of the month
NEVER TOO YOUNG?
FOOD FOR THOUGHT

RE: Masterclass, Issue 344
I teach art classes for children in
As a way of boosting my confidence and giving myself a project, I decided to hold a small exhibition of Dublin and I find Artists & Illustrators
my artwork at Wolverhampton Central Library where I work as an assistant. As well as providing me an invaluable source of ideas and
with a focus for my work throughout the year, I feel that the whole experience of planning the show, educational examples. I was
selecting the work and creating several pieces especially for the exhibition itself were all positives for surprised, nevertheless, when a
me and helped foster a professional attitude towards my visual practice. It also had the added small group of experienced students,
benefit of costing very little to put the exhibition on. aged 11 to 13, were eager to try the
The library exhibition space was free, and I printed my own exhibition text challenge of painting a still life with a
and labels on my inkjet printer. I designed a flyer, a few of which I circulated clear glass pitcher after the example
locally, as well as doing a little online publicity via my website and blog. To of Lucy McKies masterclass. With its
finish I self-published all of my exhibited material via an online service that dominant greys, its not a typical
offered a free self-publishing option. Holding an exhibition at a local library child-friendly painting.
was an excellent way of using and supporting libraries in this uncertain time of We set up a similar display to allow
public service cuts, as well as being a useful challenge and a way of fulfilling them their own interpretations from
the role of being an artist whose work is visible in the community. life, and coped with the fading Dublin
Kay Fletcher, www.kayfletcher.co.uk winter light. I explained to them how
working in acrylics would be different
from working in oils. The results
JUST DESSERTS
RE: Editors Letter, Issue 348
I always enjoy examining your words
and the artists descriptions of their
music; the sweet part of the
meal of art. Street scenes are the
savoury, for me.
This is a material world, as you say.
write to us
Send your letter or email
to the addresses below:
(below) gave them a real sense of
achievement and amazed parents,
teachers and our Facebook followers.
Thank you for your help and
art and working methods in Artists & Meat and two veg? Give me the inspiration over the years.
Illustrators. Februarys edition, crumble and custard as well please! POST: Karyn Walsh, Artsmart,
however, once devoured, left me Annette Burkitt, via email Your Letters www.artsmart.ie
feeling that I had eaten plenty of Artists & Illustrators
savoury, but no sweet: much of the You make an interesting point, Annette. The Chelsea Magazine
artwork in the magazine was Dont be deceived by the choice of a Company Ltd.
produced on the basis of outward figurative subject though the likes of Jubilee House
observation of that very material Emily Patrick and Ruth Nicol, both 2 Jubilee Place
world that you talked of, with very featured in this months issue, bring London SW3 3TQ Marias jug
little of the artists inner being wonderfully poetic, inventive and
apparently involved. emotional responses to seemingly EMAIL: info@artists
Is imaginative form and highly everyday scenes or subjects. We hope andillustrators.co.uk
skilled, emotional colour use their works satisfy your sweet tooth.
regarded in an unfavourable light? The writer of our letter of
I am thinking not of Turner Prize-type ALL BOXES TICKED the month will receive a
ideas but more Threadneedle Prize. RE: Issue 347 50 gift voucher from our
Mary Fedden, Victoria Crowe and Just a quick word to congratulate partner GreatArt, who
Lisa Wright beautifully combine all everyone at Artists & Illustrators for offers the UKs largest
their vision and thought, inward and a great issue in January, with Unison range of art materials
outward, in their art. Colour pastels (certainly my favourite with over 50,000 art
When I read about art, the most soft pastel), Quentin Blake, Paula supplies and regular
attractive paintings to me are those Rego, vintage fashion illustrations discounts and
that marry outward observation with (I wish there had been more) and promotions. Rachels jug
inward expression. In my opinion, this another favourite of mine, Michele www.greatart.co.uk
is the artists job and what I like to try del Campo mouthwatering!
to do. The imagination, poetry and Peter Morgan, via email
keep in touch info@artistsandillustrators.co.uk @AandImagazine ArtistsAndIllustrators AandImagazine AandImagazine

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the diary
WATERCOLOUR RISING
Watercolour lovers are in for a treat this month with three major exhibitions opening. The Royal Watercolour Societys (RWS)
Contemporary Watercolour Competition kicks things off at Bankside Gallery, London SE1 (6-18 March) with a collection of
innovative and creative works by non-members. Hot on their heels comes the 203rd Royal Institute of Painters in Water Colours
(RI) Open Exhibition (25 March to 11 April) at Mall Galleries, London SW1, which features works by the likes of David Poxon RI
(Brighton Pier, pictured) alongside the best submissions by non-members. The RWS Spring Exhibition, Watercolour Etc., closes
proceeding at Bankside Gallery (27 March to 25 April). Member artists have been invited to submit three watercolours and one
work in different media so expect a few interesting experiments along the way. www.royalwatercoloursociety.co.uk
www.royalinstituteofpaintersinwatercolours.org.uk

exhibitions
mArchs bEst Art shOws
ENGLAND LONDON Painting Paradise: The Art of the Garden Bowes Museum, Durham.
Goya: The Witches and Old Women Album 20 March to 11 October www.thebowesmuseum.org.uk
26 February to 25 May Exploring the changing character of outdoor spaces.
Figurative studies by the Spanish master. Queens Gallery, Buckingham Palace. One Day, Something Happens: Paintings of People
Courtauld Gallery. www.courtauld.ac.uk www.royalcollection.org.uk 6 March to 24 May
Euan Uglow, Lucian Freud and Paula Rego feature.
From the Forest to the Sea Rubens and His Legacy Leeds Art Gallery. www.leeds.gov.uk/artgallery
Until 15 March Until 10 April
Last chance to catch the Emily Carr retrospective. Also includes La Peregrina, a collection curated in John Dobson and John Wilson Carmichael:
Dulwich Picture Gallery. response to the main show by Jenny Saville RA. An Artistic Partnership
www.dulwichpicturegallery.org.uk Royal Academy of Arts. www.royalacademy.org.uk Until 28 June
North East landscapes from the 19th century.
Sargent: Portraits of Artists and Friends Sculpture Victorious Laing Art Gallery, Newcastle. www.twmuseums.org.uk
12 February to 25 May 25 February to 25 May
Sumptuous oil paintings of the artists circle. The Victorian golden age of carvings and busts. The Great Outdoors Paintings by Stanley Royle
National Portrait Gallery. www.npg.org.uk Tate Britain. www.tate.org.uk Until 30 May
Views of the local Yorkshire landscape.
Joshua Reynolds: Experiments in Paint Graves Gallery, Sheffield.
GrEAt brItIsh DrAwINGs 12 March to 7 June www.museums-sheffield.org.uk
26 March to 31 August Insight into the portrait masters methods.
Featuring more than 100 works handpicked from Wallace Collection. www.wallacecollection.org LS Lowry and Theodore Major
the Ashmoleans world-renowned collection, this Until 29 March
rich display expands the remit of drawings to Adventures of the Black Square: Abstract Compare and contrast two Lancashire painters.
include mixed media works. Samuel Coopers 26 February to 25 May The Atkinson, Southport. www.theatkinson.co.uk
17th-century black chalk portrait of Thomas Figurative studies by the Spanish master.
Alcock (below) is among the many highlights. Whitechapel Gallery. www.whitechapelgallery.org Lynda Benglis
Ashmolean Museum of Art and Archaeology, 6 February to 1 July
Oxford. www.ashmolean.org ENGLAND - north Sculpture and painting from the heir to Pollock.
From Bradford to Benares Hepworth Wakefield, Yorkshire.
7 March to 12 July www.hepworthwakefield.org
Sir William Rothensteins achievements celebrated.
Cartwright Hall Art Gallery, Bradford. Henry Moore: Back to a Land
www.bradfordmuseums.org 7 March to 6 September
Consider the sculptors relationship to the world.
ARTIST ROOMS: Anselm Kiefer Yorkshire Sculpture Park, Wakefield. www.ysp.co.uk
7 February to 7 June
Post-war German art using natural materials. Every Picture Tells A Story
Tullie House, Carlisle. www.tulliehouse.co.uk Until 21 March
Invent identities for anonymous portraits.
Face Value Warrington Museum and Art Gallery.
27 March to 13 June www.warringtonmuseum.co.uk
Portraits from the Arts Council Collection.
Abbot Hall Art Gallery, Cumbria. www.abbothall.org.uk ENGLAND - south
Gwen John to Lucian Freud: Home and the World
Rocks and Water 28 February to 7 June
AshmoleAn museum, university of oxford
21 March to 31 May Dexter Dalwood picks from the Swindon Collection.

Landscape art from the Lake Districts and beyond. The Holburne Museum, Bath. www.holburne.org
Buxton Museum, Derbyshire. www.derbyshire.gov.uk
David Hockney: A Rakes Progress
Milk Snatcher: The Thatcher Drawings 31 January to 14 June
14 March to 31 May The Yorkshire legend illustrates a Hogarth classic.
Timely look at veteran illustrator Gerald Scarfes Bristol Museum and Art Gallery.
depictions of the Iron Lady. www.bristolmuseums.org.uk

INVENTING IMPRESSIONISM
4 March to 31 May
While its stretching the truth to
say Paul Durand-Ruel invented
Impressionism, the Parisian dealer
certainly helped ensure that the art
movement survived and flourished.
His 1870s patronage is celebrated
The NaTioNal Gallery, loNdoN
via 85 works that passed through his

hands, including Edouard Manets
Music in the Tuileries Gardens (right).
National Gallery, London.
www.nationalgallery.org.uk
Eduardo Paolozzi & the Printed Collage 1965-72 Homage to Manet BP Portrait Award 2014
17 February to 7 June 31 January to 19 April Until 12 April
Pop Art compositions from the space age. Artworks influenced by the French master. Was Thomas Ganter a worthy winner?
Fitzwilliam Museum, Cambridge. Norwich Castle Museum and Art Gallery. Scottish National Portrait Gallery, Edinburgh.
www.fitzmuseum.cam.ac.uk www.museums.norfolk.gov.uk www.nationalgalleries.org
New Rhythms Henri Gaudier-Brzeska: Art, Sons and Daughters of the Soil ARTIST ROOMS: Roy Lichtenstein
Dance and Movement in London 1911-1915 28 March to 13 June 14 March to 10 January 2016
17 March to 21 June Cornish paintings celebrating farms and gardens. Three room collection of Pop Art portraits.
Drawings and sculpture from his final years. Penlee House Gallery, Penzance. Scottish National Gallery of Modern Art,
Kettles Yard, Cambridge. www.kettlesyard.co.uk www.penleehouse.org.uk Edinburgh. www.nationalgalleries.org
JMW Turner: Watercolours from the West Canaletto: Celebrating Britain The Ballet of the Palette
13 March to 10 May 14 March to 7 June 20 February to 24 January 2016
Eight paintings of Bath, Bristol and beyond. The Italians take on 18th-century Britain. 20th-century paintings chosen by todays artists.
The Wilson, Cheltenham. Compton Verney, Warcs. www.comptonverney.org.uk GoMA, Glasgow. www.glasgowlife.org.uk
www.cheltenhammuseum.org.uk
SCOTLAND WALES
Leon Underwood: Figure and Rhythm Classical Art: The Legacy of Ancients Karel Lek RCA and Audrey Hind RCA
7 March to 14 June 24 January to 10 May 21 February to 28 March
Exploring the sculptors paintings and prints. Modern art influenced by Greco-Roman culture. Character studies and atmospheric landscapes.
Pallant House Gallery, Chichester. www.pallant.org.uk The McManus, Dundee. www.mcmanus.co.uk Royal Cambrian Academy. www.rcaconwy.org
30 British Portraits
Until 25 April
LEONORA CARRINGTON Celebrating the gallerys 30th anniversary.
esTaTe of leoNora CarriNGToN / ars, Ny aNd daCs, loNdoN 2014
6 March to 31 May MOMA Wales, Powys. www.momawales.org.uk

Born into a wealthy upper-class Lancashire
family in 1917, Leonora Carrington studied in IRELAND
Florence, befriended Picasso in Paris and Lines of Vision
eventually settled in Mexico alongside the likes Until 12 April
of Frida Kahlo. Despite such connections, 56 authors draw on favourites in the collection.
Carrington was very much her own woman and National Gallery of Ireland, Dublin.
her visionary art blossomed in the Mexican www.nationalgallery.ie
sunlight. After passing away just four years ago,
her surreal figurative works (including 1947s Joe Dunne RHA
The Old Maids, left) are ripe for rediscovery. 13 March to 26 April
Tate Liverpool. www.tate.org.uk Painterly tempera-on-paper still lifes.
Royal Hibernian Academy, Dublin. www.rhagallery.ie

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the diary
fitting tribute
MADE IN CHINA?
When Evelyn Williams fell ill in her 80s, the artists husband Anthony approached As Sin Dudley explains on page 70, copying a
her many friends, family, curators and collectors to provide written accounts of masterpiece is a great way to learn. Londons
how her paintings had touched their lives. Initially collected together to lift her Dulwich Picture Gallery is taking things a stage
spirits, they will now be published posthumously as a tribute to her talents. further this month, however. From 10 February,
Williams is perhaps best known for winning a prize at the 1961 John Moores one of the 270 paintings hung in the gallerys
exhibition alongside Peter Blake, David Hockney and Sandra Blow. While her permanent collection will be replaced by a
career never reached the heights of those contemporaries, her subtle, haunting forgery commissioned by a workshop in China.
figurative art has gained many admirers including Fay Weldon and Helen Mirren. visitors are invited to spot the fake, before it is
A Lifes Work is published by Sansom & Co., RRP 35. The Last Paintings runs from displayed alongside the original from 28 April.
25 February to 25 March at Martin Tinney Gallery, Cardiff. www.evelynwilliams.com
next issue: DAPHNE ToDD oN BBCS The Big PiCTure A PICASSo-INSPIRED

ART PRoJECT PEN & WASH MASTERCLASS YouR CoLouR PRoBLEMS SoLvED
On sale 27 February 2015
in
Sketchy prospect
Drawn 2015 (left), the
Royal West of England
Academys biennial
open submission
Dont be a mug EvEN tEA brEAks
CAN bE ArtI stIC!
CLOCKWISE FROM TOP LEFT

National Gallery by
drawing exhibition, Emma Bridgewater
returns from 21 March 19.95, www.national
to 7 June. Submissions gallery.co.uk
are still being accepted Artists Tools by
at www.rwa.org.uk prior Ella Doran 12,
to the 5 March deadline. www.elladoran.co.uk
Wind in their sales? Tuscany winners Artist Paint Drip by Tate,
The Royal Society of Congratulations to 10, www.tate.org.uk
Marine Artists holds Emma Alden who wins Rose Hilton by Big
a selling exhibition at a seven-night Italian Tomato Company
St Barbe Museum & Art painting holiday with 16.50, www.newlyn
Gallery in Lymington, Tuscany in the Frame artschool.co.uk
Hampshire this month. courtesy of our
Celebrating the Sea November 2014 issue
runs from 7-18 March. prize draw.

Christian with his portrait of actress
PositionNardini
Daniela Artworkfrom
name,the first round of the
artwork
Sky Artsinfo
Portrait Artist of the Year 2014
Musician, artist, role Model, tutor
Gibraltars Christian ho ok is a Man
of Many talents. and now, at 43, the
newly-crowned P ortrait artist
of the year is learninG how to Put
theM to Go od use, says terri e aton
Painting a portrait can be daunting enough from the comfort

of your own studio, let alone in an entirely new environment
and under the scrutiny of TV cameras. In December, Christian
Hook fended off competition from more than 1,600 artists to
be crowned the Sky Arts Portrait Artist of the Year 2014.
His fate was sealed in a tense final at the National Portrait
Gallery in London, during which Christian and the two other
finalists were tasked with painting legend of stage and
screen, Sir Ian McKellen, live in front of the judges.
When his name was called out as the winner, Christian
could hardly believe what he was hearing. I was totally
overwhelmed. Id worked beside some amazing artists in very
challenging situations, which made winning a lot more
significant, explains the 43-year-old, whose prize included a
10,000 commission to paint a portrait of actor Alan Cumming
for the Scottish National Portrait Gallery. Meeting Sir Ian was
a great honour. He was an inspiring personality and a great
sitter. We were all in awe of him, but he would try and make
us feel comfortable on any given opportunity.
In person, youd never guess that Christian is one to be
struck by nerves. Hes intense and focused by his own >

christian hook
admission, but also extremely passionate about his craft.

A conversation with him can leave you feeling exhilarated,
exhausted and motivated in equal measure. I set the highest
standards for myself. I wouldnt say I was a perfectionist but
the only thing that interests me is my own personal pursuit of
excellence, says the artist, who divides his time between
London and Gibraltar. If you really want to excite yourself,
youve got to raise the bar. Its like starting off with a bike,
then moving onto a motorbike, then a racecar every time
the speed and the risk is greater, but so is the reward.
Thats not to say Christian didnt find certain elements of
the competition difficult. This is a man who loathes the idea
of a stiff painting because he believes everything in life is in
constant flux. Nothing is ever static. Even when youre
waiting, your molecules are moving, he says.
In fact, Christian usually works from video, filming a subject
on his iPad and freezing frames, picking and choosing
information to include in a Cubist fashion,
until he is happy to piece everything together
on canvas. Its what gives his paintings a
unique, filmic quality and a vivacious sense
of movement but its a contrasting process
to what the Sky Arts team expected of him.
left and below Christian had to adapt to survive. I had
Christians portrait obstacles to contend with the lighting was
of Sir Ian McKellen tough, you couldnt choose your view and the
was made in front model was an actor so they were not used to
of the Sky cameras sitting still but halfway through, I would step
oPPoSIte PaGe back from the image and break up what Id
Amir Khan, oil on done and interact with that so it becomes a
canvas, 101x76cm dialogue between me and the canvas,
he reveals. There was always an ultimate
beginning and end, a visual story I could work
towards, but I had to improvise in the middle.
Born in Gibraltar in 1971, Christian believes
he owes his creative confidence to his
upbringing. If he was not inventing new games
with his brother, he was tearing up frets with
his guitarist father, who taught his sons how
to play the instrument from a young age.
Christian also had a finely tuned talent for art
and excelled in the subject at school. I was
usually told off for daydreaming in most lessons, but in the
art room it was encouraged. Its quite sad that pupils are
punished for doing that because it can be very powerful,
says Christian, who now teaches GCSE art at the all-girl
Westside Comprehensive School in Gibraltar.
One of my biggest criticisms of most schools is that
children are taught how to retain information like hard drives.
In real life, the important thing is what you do with what
youve learned. People should be rewarded for how creatively
they can use a small amount of information.
Christian speaks from experience. Growing up, he was
dubious as to whether he could carve a prosperous career
from painting back in Gibraltar and so moved to London in
1994 to study technical and scientific illustration at
Middlesex University with hopes of putting his gift to good
use. I loved the course at the time and I gained a solid
knowledge in techniques, like how to mix and handle paint >

Position Artwork
Cartujano at Medici
name,
Palace,
artwork
oil on panel,
info 150x120cm

christian hook
properly, but I dont think I was ever an illustrator, he says,

candidly. I tried really hard and I did very well, but illustration
never allowed me to explore my ideas as much as painting.
The six years following graduation were spent fulfilling
commissions for household names such as Disney and the
National Trust, as well as imparting his know-how as a
part-time MA lecturer at the Royal College of Art.
The experience taught Christian valuable lessons about the
business end of art while also presenting its own challenges.
Feeling too young and too overworked, he returned to
Gibraltar to teach IT and music. It was a relief to return to my
other great love: music. I became engrossed in writing songs
and it was this creative process that eventually directed me
towards fine art again, says Christian, who had recorded
three albums during this period. I remember coming across
the work of the Spanish artist Francisco Farreras and I was
astounded by how he used raw materials and how he made
relief works. I felt inspired to paint.
Christian was attracted to abstract art first of all, as he
says it complimented his song writing, but he recalls a
particular trip to the Guggenheim Museum in Bilbao triggering
the start of something special for him. Madrid desde Torres
Blancas by Antonio Lpez was hanging in the gallery and its
famous because it took years to paint. The landscape of the
city had changed since he originally started it and so, to me,
it was like a time machine, explains Christian. Now,
whenever I do a painting, regardless of the subject matter,
its always about time, whether thats a year, five minutes or
five seconds. The concept of time even applies to how I apply
the paint, with a mixture of fast and slow strokes.
This endless conundrum of trying to capture time and
motion on a static canvas has allowed Christian to develop
his own visual language, one that he communicates
distinctively in every new painting. He was worried he would
find the parameters of a commission too restrictive for his
style, yet his achievements on Portrait Artist of the Year serve
as a testament to his skill and evolution as a painter. With a
first successful solo exhibition with Clarendon Fine Art last
year under his belt and the added exposure of his televised
win, where this man from Gibraltar is headed, we can only
imagine. Our guess is the skys the limit.
www.christianhook.com

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c o lu m n i s t
If youre serIous about sellI ng your work,

leaflets and busI ness cards requI re just
as much tIme and thought as the art I tself
says our c olumnI st L aura BosweLL
artist
w
henever I am in contact with the public at shows or workshops, I like to be able BELOW
to leave people with some publicity about myself and my work. I have two Laura Boswell,
methods: a business card and a leaflet about my prints and the classes I teach. Off the Cliffs,
In a digital age it is easy to dismiss printed marketing as irrelevant, but I believe strongly Freshwater,
in the power of the fridge magnet: get your work and contact details pinned by someone and Japanese
youll be on their radar. People are surprisingly keen to pick up attractive leaflets or flyers woodblock,
and, while many land straight in a bin, enough of mine produce results to make them well 22x34.5cm
worth the cost of production.
I use business cards for networking or when people ask
specifically for contact details. I leave the leaflet out to be
picked up at events or will put one on each chair before a talk
or with the students fact sheets in a class. Both share the
same colours and fonts of my website and introduce me as
Laura Boswell: Printmaker. My business card also carries a
simple landscape print. It is all too easy to forget, when you
find a business card weeks later, just what that person did for
a living and why they were of interest at the time.
My leaflet is A4, folded into three the format will slip into a
business envelope along with a letter. I have it printed on
inkjet-friendly paper with a section left blank so that I can print
additional information at home, tailoring leaflets to advertise
whatever is relevant to my current audience. Contact and
website details go on both the cover and the inside (no need
to unpin from the notice board to contact me). The cover
shows my hands at work, as this will date less than a specific
print. Inside I have a couple of paragraphs of clear, friendly
explanation about my work and classes while the remainder
of the space is taken up by prints. I work out how many to print
by deciding on the leaflets lifespan (for me about two years)
then roughly estimating how many opportunities there will be
for distribution within that time. It is easy to be seduced by
printing costs: 5,000 costs pennies more than 2,000, but
using the same old leaflet for years can bore everyone
yourself included.
www.lauraboswell.co.uk
I BeLIeve In the
power of the
frIdge magnet
peopLe wILL pIck up
attractIve fLyers

the
w isd om
of
Unity
sir stanley s pencer was one of the finest british
artists of the 20th century. i n an exclusive
extract from his daughters autobio graphy,
Unit y Spencer shares her thoughts on art,
life and the man she called daddy
left Unity Spencer,
Portrait of Stanley
Spencer, 1957,
oil on canvas,
40.5x51cm (from
the Stanley Spencer
Gallery, Cookham)
opposite page
Unity Spencer,
Self-Portrait, 1954,
oil on canvas,
61x51cm
Unity on her fathers techniqUes separated from both her parents at the age of five.
I used to love watching daddy drawing when I was a child, Many of my life memories concern the lives of my parents,
when he stayed with us in Mrs Harters house in Epsom. and dramatic events in mine and Shirins. But I believe that
She had offered her large living room to be his studio, so Id Shirin and I are often considered just as a useful resource,
come in every day after school to see his progress. When being the offspring of a great artist. Since childhood my
drawing a portrait he always started with the eyes and then family, my ideas and my experiences have made me feel
worked out from there, moving out and up and down. I also unordinary. This is a great pity as it compounded my lack of
noticed he was very careful about sharpening his pencils, confidence and zest for living. I have enjoyed some things
using a knife to get a very fine point. He drew like Leonardo, tremendously and entered into them with a great
the Renaissance type of shading which he learned at the wholeheartedness and enthusiasm, but inhibitions and an
Slade: a very fine line, full of meaning. He was sensitive almost permanent sense of guilt, plus paralysing lack of
about the shading creating the form. When he was drawing self confidence and my habitual timidity and nervousness,
it was like meditation: the ego is nowhere around and you have made it all rather sad, and often very difficult.
are the sole vehicle.
I also remember the way daddy drew straight lines. on teaching art
ALL IMAGES UnITy SpEnCER. pHoTo: STAnLEy SpEnCER GALLERy
He would have the canvas on the floor and lay his head I was never too sure how much I should train the children in
down, keeping the pencil as a dot, while pushing it away from my art class at Longclose School, where Id been teaching
his eyeline. Using a ruler was frowned upon at that time. since 1980, to try to paint accurate colour in a still life.
Colour seems such a personal and emotional thing, one
on having a talented parent hesitates to correct them if their colour has its own quality
Children of geniuses tend to have a rather hard time of it. and beauty. Why then do we strive for accuracy in drawing?
And then if the genius and spouse split up when the children I sometimes find it difficult teaching people to draw
are little, then life gets very difficult indeed for them, left to because I dont like to interfere with the expression of their
struggle with emotional insecurity and hardship. Im thinking way of drawing. Some can be quite wild in their method of
of my own experiences and those of my sister, Shirin. Her drawing, and others very sensitive. I would not want to
emotional hardship stemmed from the fact that she was interfere with either of these qualities. But I would be >
Painting a Portrait is
like cooking breakfast...

You have to know when to add the tomato,
while not overcooking the egg
painting projects
failing them if I did not point out proportions to them, or an

understanding of tonal values, or an understanding and
means of drawing things seen near to you and others seen
further away; the intensity of shadows or their subtlety or
a feeling for space in a drawing, or a sculpture, for that
matter. For a while I had to try to forget my ideas about Impressionists were scoffed and jeered at in their turn. above Unity
reality in art, and see that paintings could express another, By the same token, they can cope with and then enjoy Spencer, Pond
equally valid reality. representational art, because they can read the subject of Street Living
the painting fairly easily. But the trouble with true art Room, 1950, oil on
on painting portraits (as also with music, literature, etc.) is that it requires some canvas, 76x50cm
Like my father, I tend to begin a portrait with the eyes; effort to be appreciated. Experiencing that work of art may
it seems a sensible way to go about it. I draw the face in be very enjoyable, and then all of a sudden it changes
paint, mixed with linseed oil and turpentine to get a pale direction, which is a bit unnerving, and it is easy to switch
outline and carefully build the colour and form as I observe off at that point, for whatever reason. This is very obvious
them. I look at the face, find something about it that in the case of music; and with modern music it is even
interests me. If you dont find the face interesting, observe harder and more taxing to follow, so that one has to let go
it carefully. I hope to capture something that enlivens a of past ideas and experiences in order to try to open up to
little spark inside me. I have to be truthful and honest something quite different. Change is often uncomfortable,
about what is in front of me and express the feeling of the so we resist it. It is the same with art.
sitter, even if it is very quiet. I must always be aware of
the sitter and her surroundings, relating the two as I go. on being an artist
Thus I have a two-way relationship with the sitter, who has to It must be wonderful being able to paint, people have said.
be alert to me just as I have to be alert to what I see in them. I know that it is meant as a compliment, but underneath
Painting a portrait is like making breakfast. You have you wonder if they realise the amount of hard work,
the bacon and eggs, and have to know when to add the application and sacrifice that goes into a painting. I have
tomato, while not overcooking the egg. How do I know when no gifts at all, they say. This is nonsense: they were given
its finished? There comes a point where adding something many gifts but because they are not visible they think they
else will spoil it. dont exist. One gift in particular comes to mind: the person
who is a good listener and who is prepared to stand on the
on modern art street corner listening to what someone else needs to say,
The British public still has great difficulty with modern art, even if they are in a hurry. People say to me, Oh Unity,
often feeling inadequate, confronted or offended, and so it must be so relaxing to be an artist. Absolute rubbish.
dismiss it all. People can happily absorb the French Art is hard work. I am lucky to be an artist.
Impressionists, whose art they have grown or matured into This is an extract from Lucky to be an Artist by Unity Spencer,
appreciating, even though in the 19th century the French published by Unicorn Press, RRP 30. www.unicornpress.org

my exhibition
emily patrick
Paintings 2013 2015 is the l atest c ollection of figurative scenes and still life
c omP ositions from one of the uKs most tender, P oetic and instinctive Painters
The last two years have felt like
an unstoppable flow. I developed
a bit of a phobia about missing
a subject. Just when I need to have
a rest from painting, another subject
reveals itself.
A new collection is often a reaction

to what was lacking in previous
paintings. A fiddly picture makes me
reach instead for my palette knife
and big brushes. Too much green
makes me hunt for red. Too much
movement and chaos makes me look
for architecture.
Composition is subconscious or
inevitable with me. Bad balance just
hurts. The painting Marmite, Butter
and Guinness began with a search to
find a yellow subject the Marmite jar
lid. It found its place with the sun fully
hitting it from behind, so sunglasses
were necessary to look towards it.
I struggle with the fatigue involved

in painting someones portrait.
There is only one in the exhibition
(other than the two where I used
myself as a model). It was done on
the spur of the moment: a sons
friend was having a very hard time
and it was the best thing I could do to
cheer him up. Its an example of how I
flow with what life puts in front of me.
Some works have a troubled

gestation. It works to go back to the
original thought and ask, What was it that I really cared about? above Marmite, Butter
Other times I need breaks from the painting for days, weeks or years. and Guinness, oil on
panel, 51x42cm i paint from my
I am driven by the Quaker philosophy that you may no longer exist
tomorrow. This drives me to keep at it today for fear that it will survive
opposite page Seville
Oranges on Slate, oil
imagination
me, looking like a bad picture. on slate, 33x26cm rather than
from life or
I am often asked how my work has changed. It makes me defensive
the work has not dramatically changed. It is a 20th-century idea that
from a photo
artists should keep coming up with a new style. What I enjoy is feeling
more confident; that it might be possible to achieve a picture at all.
Its still intimidating to approach any size of subject with a bare board.
I have no real method that I repeat.
Life events inevitably change ones internal energies. These

profoundly affect the instinctive movement of my hands at work.
You can see in the paintings how strong or delicate I was at the time
of production. That is why pictures done over a long time become so
rich in different strengths. >

painting projects
above Rosehips and I was particularly inspired by the Courtaulds Becoming Picasso.
Iris Reticulata, oil on It was an exhibition of work made when he was a very young man.
my paintings need board, 36x41cm His figurative skills were already electric at that point and the works
unpredictably combined huge grief at the world around him with
to go off and lead heavenly, rich colours.
their own lives,
not remain trapped Exhibiting at a space-for-hire is very high risk and stressful. I can
only do it because my husband, Michael Perry, organises the whole
here with me thing with great attention to the details. On the plus side, it also means
that I hear more of the buyers reactions to the paintings. Stories of
paintings travelling around the world to bring solace these inspire me
greatly to work even harder.
When the artworks leave for an exhibition, the bare house becomes
a clarion call to start painting again. I love that. I have a strong
sense that the pictures need to go off and lead their own lives, not
remain trapped here with me. At the same time, there was a bad day
after the last show when my husband set off to deliver four particularly
important paintings; that had me in tears.
Emily Patrick: Paintings 2013 2015 runs 10-27 March at 8 Duke Street,
London SW1. www.emilypatrick.com

ART IN THE ALGARVE
Watercolour Oil painting Oil & Acrylic Specialist courses
Call us on: 0203 287 7140 info@artinthealgarve.com

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colour
fields
richard diebenkorn
is widely regarded
Of the American artists who formed the Abstract
Expressionist School in the period immediately after
as one of americas World War II, we are all familiar with the names of Jackson
finest p ost-war Pollock, Willem de Kooning and Mark Rothko. Less well
painters. on the known are those artists who worked at exactly the same
time on the west coast, gathered around San Franciscos
eve of a first UK
Bay Area. Of these artists, two names stand out: Clyfford
retrosp ective for
Still and Richard Diebenkorn. Still moved to New York in
more than 20 years, 1950, leaving Diebenkorn to carry the torch for Abstract
gallerist and exp ert Expressionism in California. There is little doubt that he
Thomas williams made an outstanding contribution to that movement from
exp lores the artists his first involvement in 1946 until he abandoned the style
Un iqUe ap p roach to 10 years later to take up figurative painting. The work that
l andscap e painting he produced during his early years was fascinating; the
reasons for his volte-face in the mid-1950s even more so.
Few artists from the 1940s met the criteria of Abstract
Expressionism more perfectly than Diebenkorn. According
to its promoter and apologist, Harold Rosenberg, action
painting, as he preferred to call it, required the artist to
immerse him or herself in the theatre of action. By this he
meant that, rather than approaching the work with a plan,
the form of the image was revealed in the act of painting.
It was by manipulating the paint on the surface of the canvas
that the artist was able to discover the direction of travel.
Diebenkorns first essays in this respect show the strong
imprint of Still, who taught for five years at the California
School of Fine Arts (CSFA) in San Francisco, in the late
1940s. Diebenkorn lived in Sausalito, just north of the
famous Golden Gate Bridge. There he mixed with other
aspiring action painters, and was asked to join the faculty
of the CSFA, even though he was younger than most of the
pupils. He won a travelling scholarship that he spent in
upstate New York where he became familiar with the work
of Pollock and Robert Motherwell. Diebenkorns style began
to move away from the uncompromising abstractions of
Still, and he was starting to free up his technique,
becoming the painterly artist that we know today.
Diebenkorn had a natural mastery over hand and eye,
and it would have been easy for him to make attractive,
left Berkeley commercial images. But that would have run counter to the
No. 52, 1955, anti-bourgeois shock tactics espoused by the Abstract
oil on canvas, Expressionist movement. In order to guard against his
2014 THE RICHARD DIEBENKORN FOuNDATION
148.9x136.8cm natural facility, Diebenkorns paintings became more and >
in 1951, diebenkorn Took his firsT Trip

in an aeroplane and saw The landscape
flattened out from above...
The effecT on his work was insTanTaneous
There is more than a hint of the New Mexican landscape
in the paintings he made at this time. The first element to
change was colour. The brutal combination of earth reds,
browns and blacks with acid yellow and green, a palette
no doubt picked up from the dominant presence of Still in
San Francisco, was replaced with the tones of the southern
landscape; sand yellow, pale brown and pink for the desert
skies. When asked how he coped with the change from the
seashore of Sausalito, where he previously lived, to the
sun-baked inland of Albuquerque, Diebenkorn replied,
The sky took the place of the ocean!
A development in 1951 saw a further shift in his style
in that year he took his first trip in an aeroplane, travelling
from Albuquerque to San Francisco. Planes flew far lower at
that time, and he saw the New Mexican landscape at the
height of a few hundred feet, flattened out from above.
The effect on his work was instantaneous. Drawing directly
on the canvas in Lamp Black and Prussian Blue, he traced
the landscapes features, the canals and rivers intersecting
the valleys and rises of the New Mexican desert.
On his return to the Bay Area in 1953, this time settling
in Berkeley, Diebenkorn continued to develop somewhat
away from his action painting style. The paintings he made
in the following few years were among the most dynamic
and brilliant of his career. But under the skin of abstraction,
it became more and more possible to feel the presence of
a physical structure. Landscape, in particular, seemed to
lurk beneath his brushstrokes. By the middle of the 1950s
the artist had begun to feel that the lack of a referential
subject was imposing too many limits on his means of
under the skin of abstraction expression. He started to experiment very tentatively with
landscape lurked
depictions of his near surroundings. These early figurative
paintings increased the vocabulary of his work, allowing
him to explore moods and associations beyond those he
beneath his brushstrokes believed he could examine in his purely abstract art. It put
Diebenkorn in direct opposition to the modernist movement
more difficult. It was a badge of honour for him that in the US, which was still immersed in the mythical
paintings were blockbusters, that they should have a qualities of abstraction. Indeed, one of his erstwhile
bad effect and be ugly close up. The paintings the artist colleagues in San Francisco, Ernest Briggs, accused him
made in the late 1940s reflect that struggle against the of being a moral sell-out, really throwing in the towel.
aesthetic values of balance and harmony. Diebenkorn showed great courage in continuing his
For the remainder of the decade, Diebenkorn stayed in exploration of figurative art. It became clear that his 1950s
San Francisco, where an extraordinary group of artists had work was more of a development of his abstract style than
gathered, including Rothko, Still and photographer a break away from it. The formal, painterly qualities that
Ansel Adams. The turn of the 1950s, however, saw had guided him since his period in Albuquerque came to
significant changes in New York, with both Pollock and de dominate his art, both figurative and abstract. These were
Kooning re-evaluating their abstract work. In San Francisco the qualities that served as the foundation of his famous
the management of the CSFA now came under the control Ocean Park series. Eschewing purely abstract art certainly
ALL PAINTINgS 2014 THE RICHARD DIEBENKORN FOUNDATION
of a far less progressive director, Ernest Mundt. At this removed him from the orbit of Still and Pollock, and was
point almost all the main players quit the Bay Area, bringing seen as a clear rejection of the original tenets of Abstract
to a close that remarkable chapter in west coast Abstract Expressionism. Yet, his more personal, tactile approach
Expressionism. Diebenkorn took the offer of a allowed him to move forward in a way that pronounced his
postgraduate course at the University of New Mexico in above Ocean individual voice. He maintained a bond with the physical
Albuquerque, and lived there for nearly three years. Being Park #27, 1970, world, enabling his response to his surroundings to dictate
removed physically from the influence of other artists, he oil on canvas, his art. As for the supposed conflict between the two
was able to perfect the wonderful interplay of his vigorous, 254x203.2cm schools of abstraction and figuration, as Diebenkorn
abstracted brushwork with a more subtle understanding of RIGHT Cityscape #1, concluded in 1985, Finally its all the same thing.
composition and colouring. This became the hallmark of 1963, oil on canvas, Richard Diebenkorn runs from 14 March to 7 June at the
his style, both as an abstract and a figurative artist. 153x128.3cm Royal Academy of Arts, London W1. www.royalacademy.org.uk

r i c h a r d d i eb en ko r n
in the studio with
laura ellen
anderson
this talented young artist has illustrated more with a coffee and put the computer on. Ive got six
than a d ozen childrens bo oks since graduating projects all overlapping at the moment so some days
in 2010. she works from a home studio in north I can be working from 8.30 in the morning until midnight.
I do like working from home though because I can play
lond on. words and p hotos: ste ve pill
my music loud and weve got the balcony for fresh air.
How long have you been in this studio?
Two years. Before moving here, I was working in my How much contact do you have with your publishers?
bedroom at my parents house in Essex. I graduated in I tend to always see them at the beginning of a project.
2010 and was lucky enough to live at home rent free to Ill get the initial email to say they are considering me for
get my career started. When I moved here, the front a project and a lot of times I will go in for an in-house
room was big enough to be a studio and save me meeting to get the book started. Ill often meet up with
getting somewhere else. editors and designers for a cup of tea as well to see how
the book is going. I much prefer to see people face to
What brought you to London? face, but a lot of the process is just via email.
I always wanted to live here its where all the action is,
and its where all the publishers are, so its perfect for If you initiate meetings, can it help with getting work?
going in for meetings. There are parks dotted around for Definitely. Ive recently signed my first author-illustrator
inspiration as well so Ive got the best of both worlds. deal and Id been working with the publisher for a couple
of years. The more I went to meet with the editor, the
Do you find it difficult to work from home? more I could discuss ideas for future projects, and it
It does get very isolated. I have times when I realise Ive came up that I would like to write my own books as well.
not unlocked the door for two days. The hours are long They said to send some ideas forward through my
as well. As soon as I get out of bed I am straight in here agency, Pickled Ink, and it obviously went well.

in the studio
You have two desks: one with traditional art materials

and one with your tablet computer. How do you split
your work between them?
A lot of the work takes place on the computer. Nowadays
deadlines are so tight and working digitally seems to be
the way forward. The drawing and painting table is more
for note taking or creating roughs for my Evil Emperor
Penguin comic. Ill scan in the rough strips and neaten
them up in Photoshop.
Is there a downside to digital illustration?
Will you use paint for your own book projects? Yes, when Photoshop decides to crash and hasnt saved
Itll very much be in the style of my Snappy Birthday thats an illustrators worst nightmare! Its very
illustrations [Lauras recent collaboration with author annoying, but Ive learned to back up my work a lot.
Mark Sperring] the bright, fresh colours and the
wobbly lines. I will start by drawing thumbnails on paper, Which illustrators do you turn to for inspiration?
but then it will be predominantly digital. Id love it if I The picture above my desk [see bottom left] is by a
could paint it all by hand, but realistically there isnt the visual development artist for Disney called Brittney Lee.
time to make changes quickly enough. Her work is absolutely beautiful and she uses very fresh
colours, which Im very inspired by. Also, Ive been lucky
Do you settle on a colour palette from the start or enough to work on a book called Witch Wars and when I
experiment once you have drawn the characters? was younger I was a huge fan of The Worst Witch books
I have a palette that I tend to use a lot of the time with by Jill Murphy. I read them over and over, and even went
the very warm greens and yellows someone described as far as trying to dress like the characters. Witch Wars
it as a sunny palette. For example, with Snappy Birthday, was a dream project and I was very much inspired by
I wanted the colours to be quite warm, no bright girly Jills illustrations and also Tim Burtons work for that.
pinks or purples. I tend to use a lot of copper textures in Laura hosts a workshop on 20 February as part of
Photoshop too, which brighten up the colours and give the Imagine Childrens Festival at Southbank Centre,
them quite a saturated look. London SE1. www.southbankcentre.co.uk/whatson

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notebook
MASTER
How to...
Match a colour
CLASSES
Daler-Rowneys John Ilia has a quick
four-step method for the perfect mix
Five new c ourses that take

inspiration FroM ic onic artists
1. Pick a target colour

Which of the main colour groups is closest
on the colour wheel? In this case, yellow.
1
2. Analyse the hue
Start with a blob of Primary Yellow
and compare it to the original swatch.
5
The swatch has more of an orange hue
so add a bit of Cadmium Red (a yellow-
biased red) to achieve a yellow-orange.
3. Analyse the value

How light or dark is it? Try painting a
swatch onto a bit of scrap paper, let it dry
and compare. If its too dark, add white; if
1. Pissarro Painting of Painting, Cornwall. this free half-term event. its too light, add a complementary colour.
Kieran Stiles teaches impasto www.schoolofpainting.co.uk 17 February, Barber Institute
and pointillism techniques in of Fine Arts, Birmingham.
oils inspired by the French 3. Drawing the www.barber.org.uk
Impressionist. sculPture Victorious
19 March, Ashmolean Get exclusive after-hours 5. eric raVilious:
Museum, Oxford. access to Tates new comPosition
MuSEuM, unIvErSITy oF oxFord; PrIvATE CoLLECTIon
ThoMAS GoodE & Co. LTd., London; AShMoLEAn
www.ashmolean.org sculpture show as you learn Explore the work of the great
2. abstracting the
Figure in Paint
life drawing techniques.
6-27 March, Tate Britain,
London. www.tate.org.uk
British 20th-century artist via
a programme of watercolour,
collage and mixed media
4. Analyse the saturation
How bright or dull is it? Tone it down with a
Americas 1950s Bay Area workshops with Jo Lewis. touch of a purple-bias blue: Ultramarine.
Figurative Movement is the 4. Picasso Family Day 18 March to 15 April, Be careful with darker colours, as they
starting point for this Let kids (and big kids!) Dulwich Picture Gallery, often have a higher tinting strength than
inventive four-day life class. paint postcards and create London SE21. www.dulwich yellows so you only need a tiny amount.
16-19 March, St Ives School collages inspired by Pablo at picturegallery.org.uk

notebook
OF THE MONTH
Beginners Watercolour (C&B Crafts, 7.99) is aimed at the

novice painter, yet there is plenty to learn for more experienced artists too.
Seasonal palettes, tonal exercises and precise drybrush techniques all
help you develop a controlled and rather graphic style, while the subject-
specific projects will provide plenty of inspiration for new paintings.
dates diary
Shenzhen International The universe is full of
Watercolour Biennial 2015 magical things patiently
Brief: Open to UK residents, waiting for our wits to grow
Chinas premier competition sharper, a quote from
requires work in water- author Eden Philpotts.
based media. 50,000 Artworks should be created
worth of prizes are on offer. in response to the theme.
Deadline: 10 July 2015 Receiving days:
Fee: Free 29 June to 3 July
Enter online and more info: Exhibition: 11 July to 3
www.shenzhenbiennial.com September at MoMA Wales
Fee: 10 (2 for under 18s)
Tabernacle Art Competition Enter online and more info:
Brief: This years title is www.momawales.org.uk
FrEE easel on
Portfolio Plus
This month, Portfolio Plus members can
receive a free Daler-Rowney wooden table
easel worth 11.95 when they spend
25 or more at www.artdiscount.co.uk.
RBA to host daily painting workshops

To coincide with the Royal Society of British Artists Annual
Sign into your Portfolio Plus account
today to receive an exclusive discount
code. Not a member? Not a problem!
Exhibition (11-21 March at Mall Galleries, London SW1), several Join today at www.artists
members will be hosting workshops. Highlights include Artists & andillustrators.co.uk/register
Illustrators contributor Jeremy Galton co-hosting a still life to take advantage of this great
workshop on 12 March and president James Hortons portrait offer and share your work with
masterclass on 14 March. www.royalsocietyofbritishartists.org.uk over 100,000 monthly visitors.

Call for entries
Open all Media exhibition 2015
At the RBSA Gallery
Open to artists working in all media*.
Deadline to enter Weds 18 February, by 4pm
Delivery of work Sun 22 February, 10.30am-1pm
Exhibition on show Weds 25 February - Sat 28 March
+ Download the interactive application pack at rbsa.org.uk
or send us a SAE marked Open all Media exhibition.
* Except photography. Image - Pete Monaghan MA SGFA, Trawsfynydd III, Mixed media, 2013 (detail).
Royal Birmingham Society of Artists

RBSA Gallery, 4 Brook Street, St Pauls, Birmingham, B3 1SA
T 0121 236 4353 W rbsa.org.uk
Registered charity no 528894. Registered company no 122616.
Capel Manor
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ta l k i n g t ec h n i q u es
Ta l k i n g T E c h n i q u E s
ruTH
nicOl
influenced by p oetry and p olitics, this
edinburgh artist has created a series of
Ruth Nicol is a force to be reckoned with, not only as
an artist but also as a political thinker. Shes a proud
Scotswoman and has strong sentiments about celebrating
her homelands identity, particularly in light of 2014s
Scottish independence referendum. It makes perfect sense,
then, that with such a big personality, this fiery mother-of-two
is at her creative best when painting on a large scale.
ep ic l andscap es dep icting modern sc otl and. Her pictures often measure up to three-metres wide and
WOrds: Terri Eaton. P HOTOS: eoin carey her tenacity deserves such a broad canvas.
Id work to that size every day if I could, admits the
Edinburgh-based artist. However, I often dont have the time
or resources. Theyre physically demanding some paintings
have had me bent over double with my eyes popping out my
head. You just have to go cacanny, as they say here, which
means slowly and gently. Its also about accepting what the
paint is doing and going with it. When youre working on a
big surface, the picture will eventually start to breathe
and live for itself.
Ruths latest project, Three Rivers Meet, is a remarkable
collection of Post-Impressionist-inspired landscape paintings

Bayble, Lewis 2014, Ian Crichton Smith

(and detail, inset below), acrylic on canvas, 200x300cm
three-metre canvases are physically demanding...

some paintings have had me bent over double
with my eyes popping out
in acrylic that are optimistic in outlook yet complex to create Detail of Bayble, Lewis 2014, Ian Crichton Smith,
and to understand. They have already been shown in four acrylic on canvas, 200x300cm
separate solo exhibitions, with two final ones planned almost
simultaneously at the Line Gallery in Linlithgow and the Park
Gallery in Falkirk. Her latest paintings will be divided
between the two venues, with seven extra-large canvases
featuring at the latter.
Inspired by Alexander Moffats 1980 imagined group
portrait Poets Pub, her landscapes describe the union of
three intertwining themes close to Ruths heart great
modern Scottish poets, the landscapes that influenced their
words, and her own family memories. They also attempt to
explore the rich tapestry of Scotlands history and how
events from the past have shaped the countrys individuality.
Holyrood 2014, Robert Garioch features a view
overlooking Arthurs Seat, Holyrood Palace and the Scottish
parliament buildings, all of which are extremely significant,
explains Ruth, who left a career in finance to study drawing
and painting at Edinburgh College of Art in 2006.
The references to our identity are everywhere. Its why it >
was very important for me to depict Scotland in a defining

year of cultural and national reflection.
Ruths artistic journey was accompanied by many miles
in the car, traversing Scotland with her husband Bill and
children in tow, taking in the Shetlands, Orkney, Glasgow,
and beyond. Once she had an angle that took her fancy,
she took reference photographs and made quick sketches
so she could capture the atmosphere without causing too
much interruption.
She always begins each new painting by stretching
her considerable canvases, with the help of her husband.
Were constantly having to move the stretchers, from
vertical to flat and back again, but its easier to work with
him because I dont have to explain what needs to be done,
she reveals. Weve got a routine and weve learned to do it
in silence.
She prepares the canvas surface with several coats of
Talens Gesso Primer 1001 before sketching a faint pencil
outline of her chosen subject to help her establish the
composition, though not in too much detail, before laying
down a gestural, fluid sky. We get tremendous skies here so
I try to keep my palette sympathetic to the original view, she
says. Theres no need to exaggerate. Sometimes the skies
are quite plain, but I try to combine figurative elements
alongside large passages of abstraction.
Many of Ruths paintings have an intriguing marbling effect
that the artist is keen to remain tight-lipped about, but she
suggests a lot of it is down to layering the acrylic effectively
above Holyrood
2014, Robert
Garioch, acrylic
on canvas,
200x300cm
left Ruth mixes
colour in her
Edinburgh studio

TA L K I N G T EC H N I Q U ES
ITS NOT HOW I APPLY THE PAINT

THAT MATTERS, IT IS HOW
I PUSH THE COLOUR THAT COUNTS
and exercising patience while each section dries. The paints sponge or even a cake slice that doubles up as a palette
consistency ranges from thick and rich to delicate and dilute knife. Its not how I apply the paint that matters, its how I
within a single work. Colours are typically mixed together on push the colour that counts. Of course, I cant get where I
the canvas rather than on the palette, and she trusts the need to be in one go, so I build up the different coatings of
properties of the paint to work of their own accord. acrylic to create a richness, she says, enthusiastically. Its
She favours Daler-Rowneys Cryla range of artists acrylics like a fruit cake it takes all the different fruits to be added
and her standard palette includes Prussian Blue Hue, otherwise you wont have that punchy flavour.
Crimson Alizarin Hue, Cadmium Yellow and Deep Violet. Bayble, Lewis 2014, Iain Crichton Smith is typical of
As long as youve got a good range of colours and you have Ruths approach. The open road is the backbone of the
good quality paints, everything else is mixable, she says. composition, holding together an exciting variety of textures,
When it comes to the application, Ruth calls on anything colours, shapes and subjects, as it disappears and
that brings out the best in the acrylic, whether thats a round reappears through rolling hills and towards a moody,
or long flat Daler-Rowney System 3 brush, a household uncertain sky. Paint is spattered, dragged and blotted >

TA L K I N G T EC H N I Q U ES
1 2 3
TECHNIQUES MATERIALS INFLUENCES
Ruth likes to use fluid brushwork within the tight Ruth buys all of her materials from Greyfriars Art Artist and author Alexander Moffats painterly
geometrical framework of the various landscape Shop in Edinburgh. The manageress, Alice, is a work is one of Ruth greatest inspirations. She also
shapes. I then layer up, starting from the back wee star. Ive recently started using Schmincke admires contemporary Scottish painters, such as
and eventually coming forward with detail. watercolours on her recommendation. Will Maclean and Ronald Forbes.
ABOVE The Road within the geometric lines of the landscape, pieced together theyre here and theyre vibrant and so I just get on with it.
to Biggar from like a map to help the viewer navigate their way across the The task of representing some of her favourite
Brownsbank, mammoth image. The flat, graphic houses are scattered like characteristics of Scotland was overwhelming at times for
Hugh MacDiarmid, Monopoly pieces and appear almost insignificant in Ruth but it was also a fantastic motivator, and shes already
acrylic on canvas, comparison to the beauty of the land. hatching a bolder follow-up project that will delve deeper into
150x150cm Its a special place, she says of the village on the Isle of the history of the land that inspired the poets.
Lewis in which it was painted. There are tremendous skies, Part of me thinks that my next plan is too big, she says,
splitting sunshine and phenomenal beaches that look like but if Three Rivers Meet has taught me anything about
they could be in the Caribbean. However, when I got there, myself as an artist, its not what hurdle I fall at but how I pick
there was a massive storm brewing and there was only one myself back up again that counts.
bit of clear sky. I wanted to capture that sense of the horizon Three Rivers Meet runs from 31 January to 24 February at
falling over but also the colours I saw. A Scottish landscape Line Gallery, Linlithgow, and 2 February to 19 April at Park
artist working in colour is a bit of a clich, but theyre real, Gallery, Falkirk. www.ruthnicol.co.uk

...a truly excellent art materials shop
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mastercl ass
Painterly
STILL LIFE
In this months extended step-by-step demonstration,
artist Anne-Marie Butlin shows you how to make an
exp ressive resp onse to a neatly arranged subject
m a s t er c l a s s
A
nemones are beautiful flowers to coffee cup, a small pink cup and a brown
YOU WILL NEED
paint. The complexity of shapes as metal bird. As the red of the anemones was
they open, the subtle gradations of so strong, I placed them against a simple, Oil cOlOurs
colour, and the dramatic black centres give warm grey background a large sheet of Cadmium Lemon, Yellow Ochre, Naples
them a certain gravitas. I generally paint painted cardboard that I placed quite close Yellow, Alizarin Crimson, Cadmium Red,
whatever I can grow in my small city garden, behind to pick up a firm shadow on one side. Winsor Red Deep, Burnt Sienna, Raw Umber,
but these dusty red anemones from the As a final touch, a page of my National Trust Davys Grey, Winsor Violet and Titanium
florist really appealed to me as they had the Pattern Design book provided the 1920s White, all Winsor & Newton Artists Oil
quirkiness of garden flowers. They were so fabric design in the background, which pulled Colour; Sap Green, Daler-Rowney Artists
lovely that I felt a real sense of urgency to all the colours together and gave the whole Oil Colour
capture them at full force before they faded. set up a slightly vintage quality. canvas
My aim, then, was to produce a relatively Although the set up was quite formal, Winsor & Newton Artists Linen, 61x76cm
quick, intense painting in one to two sittings. I hoped to keep the painting as loose and BrusHEs
Having put the flowers in a glass Art Deco painterly as possible, capturing the Pro Arte Series A hog long flats, sizes 4 and
vase, I took some time to choose and personality of the flowers and the calm 6; Pro Arte Series 007 Prolene round, size
arrange some complementary objects simplicity of the other objects. 4; Pro Arte Series 008 Prolene flat, size 4
around them, including a chocolate brown www.anne-mariebutlin.com
1 RESOLVE THE COMPOSITION 2 BLOCK IN FOLIAGE 3 BLOCK IN FLOWERS
Having spent a long time arranging the The green leaves and stems were quickly The reds and pinks of the anemones were
objects, I decided to work straight onto blocked in using two greens a deep, rich then added using Cadmium Red, Winsor Red
the canvas without doing any preparatory green mixed with Sap Green and Alizarin and Alizarin Crimson in varying combinations.
drawings. I used a Burnt Sienna ground, Crimson, and a lighter shade mixed with Remembering basic colour theory, I used Sap
keeping the paint thin and pushing it around French Ultramarine and Lemon Yellow. Again Green mixed with the reds to create areas of
with a large brush until I felt that the I kept my brushwork very loose, just knocking shadow on the flowers (and add some colour
composition was working. I aimed to in the basic shapes and forms very simply. on the cup). I used Naples Yellow with a light
complete the painting while the ground was The Sap Green is quite a translucent paint, red mix to describe the dusty pink parts of
still wet to give the painting an overall so I tried to employ this quality to convey the the flowers and some of the highlights. I was
warmth and glow. I always work standing up, different tones of the leaves. I loosely placed using a fairly dry brush here to push the paint
stepping back from the painting periodically some green inside the vase too. around and even lift it off at times, so the
and applying paint energetically. layers were really thin and appeared to glow
against the white canvas underneath. >
4 WORK THE BACKDROP 5 FIND THE DARK TONES 6 BALANCE THE COLOUR
Using a small, square-headed flat brush I added dark tones to the bird and the coffee As I paint each area, I always look to place
I picked out the gaps between the leaves and cup with a mixture of Alizarin Crimson and a spot of every colour somewhere else on
the flowers, and refined the stems. I did this the various greys on my palette. I also began the canvas to create a sense of rhythm and
with a background grey colour of Davys Grey to paint the surface of the table using the movement throughout. I found hints of pink,
with Naples Yellow, a little Cadmium Red and grey mix from the background with white for example, on the bird, the vase, the coffee
Titanium White. I also simplified the complex added. I mixed the colour in small amounts cup and the background pattern. I also tried
shape of the vase using a combination of all and tweaked them further to give the to keep my brushstrokes lively as I did this.
the reds, greens and greys on my brushes. background some movement and depth.
Top ti p
PUSH THE PAINT
8 FINISH THE FLOWERS
AROUND THINLY SO I made a conscious decision not to do

THE COLOURS ARE much more to the painted flowers as the
ALLOWED TO GLOW actual specimens were wilting. I felt I had
captured their vitality and I didnt want to
deaden them by over-working. I did add
some deeper red mixes, however, just to
give the flowers a bit more depth, and to
link them to the deep reddish brown of
the other objects on the table.
7 ADDING PATTERN
I needed to decide how much of the 1920s

pattern to include. In the end, I felt that the
colours really united the different elements of
the painting, and that they didnt distract
from the paintings main focus: the
anemones. I identified a soft blue in the
1920s pattern that I could usefully pick out
on the vase and the foliage. I really refined
the uneven drawing on the vase here, and
I warmed up the colour on the bird too.

M A S T ER C L A S S
9 LOOK AT STRUCTURE 10 KEEP THAT ENERGY
This detail shows how I tried to improve the I lightened up the background with a lighter
structure of the bird while keeping the grey mix and used the same colour on the
brushstrokes really loose. I used the edge vase, adding a little more detail to the
of a flat brush to pull in the pinks and blues drawing of this and the other objects.
from other areas of the composition. I tried I took the canvas into another room to view it
to keep the lightest areas of tone very in a different light this can be a useful trick
close and used lots of the grey mix that Id when you are nearing the end to make final
used for the background and table. decisions about brushwork and colour mixes.
11 REFINE THE VASE 12 ECHO THE COLOURS 13 FINISHING TOUCHES
On reflection, I felt I had tightened up the I worked into the vase again, simplifying the I worked on the two cups and pattern here.
brushwork a bit too much, particularly on the shapes and highlights, trying to use all the Photographing the painting in stages was a
vase. I placed some newspaper over the vase colours on my palette. The coffee cup was really interesting exercise and looking back
area, rubbed gently and lifted off some of the beautiful, a really richly dark inside and matt, I felt that I maybe should have finished
excess paint. I often use this technique when bluish outside. I began to refine the shapes sooner as some areas were becoming a
I have overworked an area (it is also useful to with my flat brush, trying to keep the tones little overworked. Keeping the drawing strong
give the effect of glass as it leaves behind a fairly soft and, as with the bird in step 9, and conveying a strong sense of structure
nice thin sheen of oil). After removing the echoing the pinks and blues used elsewhere while maintaining a freshness of colour
excess, I felt I should add some decisive in the painting. and looseness of brushstrokes is tricky.
marks to give the vase a convincing form. As always, the art is in knowing when to stop.

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ZD568 Arte Umbria Ad (Art & Ill)_Art & Ill 14/01/2015 17:43 Page 1
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talking techniques
yo u r q u e s t i o n s
PAINTING
NUDES Author and ARTIST
Adle Wagstaff
answers your figure
painting p roblems
Can reference photographs help me?

Once you have begun a portrait from direct observation, it is
better to continue to do so throughout the development of
the entire painting. Photographs can flatten the appearance
of your subject and not give you all the information you will
need to describe form, volume, depth or colour relationships.
What are the benefits of making directly with brush and paint from
preliminary drawings or thumbnail the very beginning.
sketches first? Try to keep the under-painting as
A thumbnail or preliminary sketch focused as possible, only establishing
gives you an opportunity to become the most necessary information and
familiar with the shapes and angles framework of your composition. Its
of the sitters body, and to determine easy to get carried away and add too
how the figure is going to be placed much information at this early stage.
within the rectangle or square of Remember that any under-painting will
the composition. soon be covered over once you begin
By making quick sketches, you may to block-in areas of colour.
examine the figure from each angle so A fine round or a rigger brush is a
that you have a greater understanding good choice for this task, as both can
of how the pose is put together and give a fine delicate line similar to a
how the various parts of the body pencil. Likewise, a dilute wash of a
relate to each other within the colour like Raw Umber is ideal for the
position, analysing the form and initial drawing. If you make a mistake
structure of the body. as you draw with the paintbrush, you
Thumbnail sketches do allow you to can easily wipe it off or soften the
experiment with different scales within mark with a little turpentine applied
the composition. How big will the figure with a clean brush.
be within the frame? Do you want
more space around the figure or will Have you got any advice for lighting
it fill the entire composition? the model?
When you are placing a model in the
If Im painting a nude for the first ABOVE Lucy, Is it better to start with a drawing studio, be aware of how light may
time, are there certain poses or oil on canvas, or an under-painting? change throughout the duration of a
angles that are easier to tackle? 30x40cm Once you have decided on the pose sitting. Of course, light conditions can
When painting a model for the first PREVIOUS PAGE and composition, it is better to draw and do vary all the time, but it is
time, you may find it more Helen Seated,
straightforward to select a pose that oil on canvas,
doesnt have a lot of difficult 61x40cm
foreshortening or difficult twists or
angles. Painting a seated pose may
offer an interesting position without
being overly complex. Reclining poses
are beautiful to paint, but can result in
some tricky foreshortening as well as
being harder to return the pose to
exactly where it was after each break.
If it feels daunting to paint a full
figure, you may wish to crop it partly.
Think of the Italian painter Amedeo
Modiglianis nudes, both seated and
semi-reclining, in which the pose has
often been cropped mid-thigh and at
the forearm or wrist. These paintings
are beautiful and sensual images of
the human form, demonstrating how
a pose can be simplified.
What can I do to make sure I get the proportions of my figure correct?

Measuring allows you to check and double-check the proportions and scale of the figure as you work. For accuracy,
select a part of the body that can be used as a measurement unit throughout the composition as a whole. In the
images above, the length of the head was used as a unit of measurement. In the left-hand image, lines along the
length of the body show the number of head lengths that could fit into it. In the right-hand image, further drawing
established the angles of the shoulder and pelvis, while an outline delineated the outer contour of the torso and hip.
As well as measuring in relative units, try looking at negative shapes or the spaces within and around the figure to
help you check the accuracy of your angles and proportions.

Ive heard about colour
blocking. How does it work?
Blocking-in areas of colour
will help you to quickly
establish the tonal values of
the painting during the early
stages, allowing you to cover
the white primer of the
canvas with larger areas of
colour straight away. Smaller
blocks of more accurate,
localised colour can then be
added to better describe the
form of the various parts of
the sitter.
always good practice to ensure that a particular shape or bristle that you
there are as many constants as feel works best for you.
possible as a sitting progresses. To begin with try a small range
For example, avoid placing your of assorted brushes, for example a
sitter in direct sunlight as this causes couple of round synthetics, small and
changing shadows and influences large size square hog bristle and a hog
the perceived colour brightness, hair round and filbert. The rounds are
saturation and temperature. Likewise, very useful for drawing purposes,
if you are working on a sustained particularly a fine rigger brush for
pose, try to ensure that all the sittings the first marks. Larger brushes with
take place at a similar time of day round, filbert or square heads are
where possible. good to use for blocking-in broader
areas of colour.
Can you recommend a good basic
palette for painting a nude? Have you got any tips for observing ABOVE LEFT AND Ask yourself how much detail is
A good basic palette to use would and mixing shadow colours? INSET (DETAIL) really required. If there is some
be Titanium White (or Flake White), When we observe shadows, there are Reclining Nude distance between you and the model,
Cadmium Lemon (or Lemon Yellow), many different influences which affect Contrejour, oil on be honest with yourself about how
Cadmium Yellow, Cadmium Red, the way we perceive the colours canvas, 46x40cm much you can actually see rather than
Alizarin Crimson, Cobalt Blue (or present. Within a shadow we may painting what you think you can see.
Cerulean Blue) and Ultramarine. see a lot of reflected colour present, If you work with a painterly
This selection will give you a warm particularly if we are looking at strong technique, for example, make sure
and cool of each primary colour. or bright colours sitting next to one that you dont begin to tighten up too
From these seven tubes, an extended another. But also look out for a much, or begin to smooth out the
range of colours can be mixed, from suggestion of the complementary paint surface.
secondary colours through to tertiary colour. As we observe any particular If you feel that your intensions from
mixes and coloured greys. colour, the eye simultaneously the outset of the painting have been
Alongside this range, the requires a complementary this is achieved, stop, rather than keep
introduction of a few earth colours known as simultaneous contrast. adding for the sake of it. It is better
may be helpful to you for example, Even if the complementary colour to keep a painting slightly unfinished
a Yellow Ochre or Raw Sienna to is not already present the eye will rather than risk overworking it.
supplement the palette further. generate it spontaneously. Adles latest book, Painting the Nude
in Oils, is published by Crowood Press,
Which brushes would you How much detail should I include? RRP 16.99. Her course, Drawing the
recommend using? It can be very easy to overwork a Figure with Drypoint, runs 20-22 March
It is worth experimenting with a range painting and be overly concerned at West Dean College, Chichester.
of different brush types until you find with putting in too much detail. www.adelewagstaff.co.uk

h ow t o pa i n t
vertical
YOU WILL NEED
Oil paints
landsCapEs
Titanium White, Zinc White, Cadmium
Yellow Light, Cadmium Red, Winsor Violet
(Dioxazine) and Winsor Green (Phthalo),
all Winsor & Newton Artists Oil Colours;
Lemon Yellow, Venetian Red, Burnt Sienna,
MaRk HaRRisOn shows why a tal l, thin format Permanent Orange, Ultramarine Blue and
makes an interesting t wist to a painted view Bright Green Lake, all Michael Hardings
Artists Oil Colours
A high vantage point is a great compositional amount of street visible without superfluous BRUsHEs
device that I use every so often. For Dream buildings on either side. Daler-Rowney Bristlewhite B36 short flat,
Street, pictured above, I had an image in my Dream Street is mostly painted from size 1; Pro Arte Acrylix Series 202 and 204
mind of a lonely figure walking up a deserted my imagination, but I did look at reference brushes, various sizes; an old painting rag
street with low, raking sunlight producing a photos I had taken in New York to get an idea Canvas
pattern of shadows and light. I decided that of the general architectural styles. I used a Winsor & Newton Artists Canvas, 30x80cm
this would work best in an upright, panoramic flattened perspective, similar to one you liqUin and tURps
format so that I could have the maximum might see through a telephoto lens.

p r o j ec t
1 I drew out the composition roughly

with the B36 brush and a mix of
Zinc White, which allowed some of the
underpainting to show through. Thinly
Burnt Sienna and Winsor Violet thinned scrubbing on an opaque layer of paint
with Liquin. When dry, I washed in the how I might develop this, I roughly washed in in this way makes the surface textures
shadow areas using a rag and a mix of Burnt some thin glazes of these colours across the more interesting. More colour was added to
Sienna and Winsor Violet thinned with Liquin painting using a rag and brush. A rag keeps the shadow areas too, mainly green-blues and
and turps. washes uneven and creates some interesting a few violets to complement the yellow light.
textures that will show through later layers.
2 I ragged on another darker wash of the

6 To strengthen the sunlight, I painted
Burnt Sienna and Winsor Violet mix and
left this to dry overnight. I then used the B36 4 I wanted to keep the colour fairly
subtle with a pinkish-gold raking light
glazes of blues and violets over the
existing green-blue shadows to heighten the
brush to complete the tonal underpainting suggestive of early morning. I wanted the contrast. As the street recedes into the
the contrast gave me a better idea of how to main building on the left to be brick red so distance, I made the edges progressively
approach the first layer of colour. Dont be I used a darker version of that colour for the softer and the shadows increasingly lighter
afraid to refine your drawing as you progress right-hand building too. Echoing colours like in value to suggest depth. I introduced a
the perspective of the building in the bottom this can tie together a painting nicely and the touch of green to the middle building on the
left corner looked awkward so I corrected it. saturated reddish-orange of the billboard left to add more variety to the colour scheme.
further helped the sense of cohesion. This tiny area of contrast acts as a focal point
3 I chose a complementary colour to distract the eye from going straight to the
scheme of orange-reds and green-blues
to give the painting impact. To get an idea of 5 To introduce the sunlight, I scumbled a
semi-opaque mix of Lemon Yellow and
figure; I wanted the person to be noticed later.
www.paintingsbymarkharrison.com

S P E C I A L : PA R T T H R EE
FIGURE
DRAWING
FEET
author and art tutor
Jake Spicer exp l ains a
simp le technique for
drawing your extremities
Feet are one of the areas of the body that
consistently challenge most figure drawers.
1 Top plane
When viewed from above the plane of the top of the foot slopes away
from the ankle down to the toes. Draw the overall shape that the toes
will fit in first, and then divide that space up with lines between the toes.
They are often added as an afterthought but
2
well-drawn feet lend stability to an artwork
and neednt be an intimidating subject.
It is easy to draw feet too small. They are
the furthest extremities from our face so we
often fail to appreciate their size, but
remember that they are the stable platforms
on which your entire body is supported
the foot from toe to heel is actually as long
Inside plane
The inside plane of the foot is approximately triangular, running from
as the forearm from wrist to elbow. the ankle to the big toe and heel. Use a rounded shape to establish
Establishing the position of the feet in the positions of the heel and ankle; the relationship between them
relation to the body will help maintain a is important for the stability of the figure.
sense of balance in your drawing. Hold your
pencil vertically and check the position of the
toes and the heels in relation to the body
above and use the negative space between
the feet to ensure they are positioned
correctly in relation to one another.
SHAPE AND STRUCTURE

Unlike a hand, a foot has a blocky structure
and can be simplified into planes. Imagine
you are a sculptor, carving the foot from
wood: start by establishing the rough form,
then chip away at the details. You can use
these structures as under-drawings or simply
an aid to make clearer observations in future.
3
Try copying each of the five basic planes
shown here, and then follow the exercise to
make studies from observation so that you
can assimilate the idea of simplified planes
into your drawings. The structures arent
intended to be set in stone; each foot is
unique and will have its own character,
shape and pose.
Underside
The underside of the foot is the kind of shape you see imprinted on
Jakes Draw People in 15 Minutes is published by the sand on beaches, the curves of this plane are more pronounced
Ilex Press, RRP 9.99. www.jakespicerart.co.uk although it will still fit within a broad triangle.

F I G U R E D R AW I N G
EXERCISE
A quick challenge to help you
WHAT YOULL NEED
Your feet
A mirror
Your preferred drawing medium
A sketchbook
DURATION
15 minutes
4 Angled view
Youll rarely see any single plane exclusively. Use the idea of the planes
of the foot to break a complex shape down into simple elements before
developing the drawing to more closely reect what you see.
5
Lean a mirror against a wall at oor
height. Take off your shoes and socks.
Make ve-minute studies of your feet in
your sketchbook using the ve
suggested structures. (Youll need a
Back of the foot

The calf muscles taper to the Achilles tendon, and that in turn creates a
friend to pose for a good view of the
underside of the foot or back of the
heel.) Repeat these studies as often as
hard edge on the back of the foot as it connects to the heel. You can see you can to improve your observational
the ankle protruding out to each side and the foot sticking out in front. skills and develop a personal approach
that suits your way of working.

riverviews
in depth
The royal WaT erc olour So cieT yS vice p reSidenT Paul Newl aNd revealS hoW
he uSeS mulT ip le SkeTcheS To creaTe deTailed imp reSSion S of The r iver ThameS
Like most Londoners, I have been constantly aware of along the stretch from Lambeth Bridge upriver
the River Thames, even when I lived nowhere near it. to Putney Bridge.
You orientate yourself by it: despite its many curves, Developments were going up quickly, leaving
North London is everywhere north of the river and sections of wharf or buildings that I dimly recollected
South London is everywhere south of it. from childhood river excursions with my grandfather.
For many living on either side, the river is a kind of When the tide goes right out, a wealth of
frontier; things are not the same on the other side. archaeological indicators are revealed spars and
North Londoners complain of the south; South stonework from the glory days of the Pool of London.
Londoners have their gripes about the north. The energy of change and the records of the remote
I became a south Londoner when I moved to past make a stirring conjunction. As an artist, it made
Camberwell in 1995. To get to my teaching job, I had a fascinating subject.
to thread my way from east to west along a stretch of Over the next four pages, I will explain how I used a
the Thames. Train delays or traffic jams often led me selection of sketches made in situ to build up several
to pay plenty of attention to the waterway, particularly exhibition paintings.

left Thames Capriccio I, watercolour on paper, 28x38cm

Thames Capriccio I began as a broad sketch, done on the
spot using rough, cheap Khadi paper. At the time, I was
making many studies from an area on the north side, using
oil, watercolour or pencil.
Two or three of those sketches seemed worth developing,
particularly given their pleasing proportions. Accordingly I
stretched the sketches (never easy with Khadi) by damping
the back of each image then gumsticking down. After a
couple of attempts on location, I realised I kept changing the
sketch to suit the conditions of the moment and this seemed
a waste of time. I decided to continue one as a studio work,
using other sketches as information. Bits of the original
sketch can be seen in the water largely untouched after
the first stab and in the dark industrial building to the left.
To help me complete the painting back in the studio, I
drew upon three other sketches that I had made on location.
Sketch 1 was done on a small sample of Waterford paper,
one late afternoon in winter. The sky was transparent yellow,
but this faded to twilight pink, so I laid a pink gouache over
the yellow paint to block it out. The bits of yellow left behind
remind me of the earlier conditions. Studies can do this
mark the passage of time and changes in light. I used a
palette of Indanthrene Blue, Indigo, Yellow Ochre, Naples
Yellow, Light Red and Cadmium Red for this sketch.
Sometimes I use even fewer colours, as in the smaller
Sketch 2. It was made on a different occasion, on a scrap of
Ingres paper just 10cm wide. It shows the riverbank about
100 yards further along. I wanted to remember the local
colours of the wharf, the shapes of the huge ropes, and the
effects of very low tide. You can see how the basic layout of
Thames Capriccio I is taken from these two sketches.
Sketch 3 contained more gouache than watercolour. It
was made on Ingres paper, which is not absorbent and lends
itself to hasty work as the colour spreads across the surface
easily. My palette included Indanthrene Blue, Indigo, Indian
Red, Cobalt Turquoise and Naples Yellow watercolours and
a white gouache. I enjoy contrasting the opacity of some
pigments with the transparency of others.
For the finished painting of Thames Capriccio I, the
derelict building in the centre of Sketch 3 was replaced by
a splendid piece of fantasy port architecture by Piranesi
that I adapted quite heavily. The big yellow crane was added
from an old photograph of the docks at Lisbon. These
developments and additions in the image speak of a places
historical and geographical reach and its associations. >
Sketch 1
Sketch 2 Sketch 3
Sketch 1 In the finished work, you see that I have again plagiarized
Piranesi in fact, this was another part of the same vast
edifice that I excerpted in Thames Capriccio I. I added a few
washes of quite dense gouache in some sections, as Ingres
paper is not very receptive to overlaid transparent colours.
In addition to the blues used in the studies, my palette
included Cadmium Red, Cadmium Yellow, Yellow Ochre and
Cobalt Turquoise. The latter was useful for the areas in which
I wanted to convey the brilliant half-tones seen in shadow
areas, such as the roof of the main wharf building.
top Thames Capriccio II, watercolour on paper, 42x60cm Sketch 2

Thames Capriccio II also began as a sketch made on the
spot on Ingres paper, a surface whose resilience and lack
of sympathy to watercolour sometimes appeals to me. As I
painted the initial sketch that eventually formed the basis for
this piece, I was sat behind some iron railings that obscured
my view and so tried to produce an image quickly. The results
were horrible and I put it away when I got home.
Last summer, I looked at the sketch again. I had left
it stretched on the board I used originally and started to
work on it again, using more studies as reference. The sky
and some of the water remain from the first attempt.
The studies were lightweight but showed some changes
of mood, some movement.
Sketch 1 was made on a similar sheet of paper and used
quick washes of Indigo, Indanthrene Blue, Indian Red and
Cadmium Orange hence the brownish greens.
Sketch 2 was completed on cartridge paper in pencil,
biro and watercolour mainly Indigo Blue, Light Red and
Cadmium Yellow.

m a s t er cinl Dock
KG 15 ass
bottom Thames Capriccio III, watercolour on paper, 30x38cm

Like the other two Capriccio paintings, this was begun on the
spot using a very heavy Turner Blue paper, a small supply
of which I found in a shop in Tunbridge Wells many years
ago. Traces of the work I did during that initial session can
be seen on the extreme left of the picture, and also in the
handrails of the wharf and dock.
I first tackled this particular scene in KG 15 in Dock, a
simple pencil-and-wash work made largely in situ several
years ago. As I tried to develop the larger work, however, it
became necessary to go back and make further studies.
Life at that time only allowed me to create these studies in
Sketch 1 the late afternoons during winter and this is reflected in the
colour and tone of these studies.
I based the sky of Thames Capriccio III on a sketchbook
study I made of South London from a tall building see
Sketch 1. Notice the way in which I have used extremely
thick gouache strokes dragged over the paper in a few Pauls work features in
places, so I could draw into it afresh. The water breaking the RWS Spring Exhibition,
against the wharf was scratched out with a blade because Watercolour Etc., which
there was too much pigment there from previous attempts. runs from 27 March to
This article has concentrated upon three related works 25 April at Bankside
developed over a period of about five years. I suppose Gallery, London SE1.
you could say they are romantic in mood: they draw on www.royalwatercolour
observation, recollection and imagination. society.co.uk
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w H y n o t t ry. . .
trAy FrAMes Artist Peter rush exp l Ains the benefits of this
cleAn, modern Ap p roAch to frAming your work
To my mind, the tray frame is the expensive. Its not impossible that from the painting to the frame
most elegant solution to finishing you might find a framer who will ever more subtle and unobtrusive
a painting that I know. Coming agree to cut and join the two the hallmark of a successful
first from the USA, the clean lines parts of the frame (the inner and frame. Above all, the tray frame
are perfect for framing large outer sections), but leave you to is inexpensive, clean, simple and
abstracts, rather than the ornate fit them together and finish them elegant, and at no time does it
frames favoured by the Old yourself because this is where look mean or utilitarian.
Masters, which are quite often
out of keeping with much
much of the working time is spent.
Even better, is to order your
Peters new book, Painting Skies
and Seascapes, is published by tip
contemporary art. frame in lengths known as chop. Crowood Press, RRP 14.99.
This sees the frame cut in the www.peterrushart.co.uk order your tray
How it works required lengths and mitred, frame in lengths
The painted canvas or board sits leaving you to put them together and trim to fit
them at home
in a tray-like frame and appears yourself by pressing in clever,
to be floating since it doesnt hidden dovetail studs that can be
actually touch the edge of this done easily. If, like me, you still
outer, projected frame. suffer from nightmares resulting
In actual fact, there is a from attempting to make your
shadowy gap before the frames own perfect mitres then you will
outer edge, which is also slightly readily appreciate this approach.
higher than the board or canvas I get mine from Jacksons Framing
thereby offering some protection Ltd. and find it a surprisingly
in transit. inexpensive way to frame.
An inner frame underneath the
painting helps to bring it up to the furtHer twists
correct height. This is attached Another pleasing feature of these
to the outer frame, at the back, frames is that the outer edge can
by small plates. be painted brightly in a gold or
silver perhaps, while the inner
tHe benefits edge can be painted to echo a
The outstanding feature of these colour from the artwork itself.
frames is that they neednt be This helps to make the transition
right The inner

and outer frames
are attached via
small plates

the diary
copying
forces you to
ask how the
original was
achieved

c a r eer a dv i c e
copying
masterpieces
There is a sT igma aT Tached To c opying The work of anoTher arTisT buT
d one c orrecT ly iT can be a valuable way of learning. Sin DuDley
exp l ains T he benefiTs and reveals her six-p oinT p l an for suc cess.
illusTraT ion: Cl air roSSiter
During a recent visit to Tate Liverpool, I hastened across the follow any rules (for example, the Rule of Thirds) or do they
gallery to examine a painting when I nearly tripped over a break them? As you start to copy a work, you will be forced to
small child. I had actually failed to notice a whole class of notice more subtle features in the background that have led
them, sitting on the floor, studiously copying the exact picture your eye along a particular path; not only the placement of
I was trying to look at. They were engrossed in what they were other objects within the image, but also marks and lines that
doing, with no hang-ups about copying the images. It was a subliminally direct your gaze.
joy to behold.
It is a shame that copying gets such a bad press when it is 3. Tone
in fact an extremely useful tool for artists of all levels. I want The most effective way to learn from another artists use of
to be clear here: I am not advocating any activity that breaks tone is to make a copy in greyscale. Digital media makes it
copyright law. Context and intention is important here. easy to convert a photo of a painting to monochrome, but this
Copying for personal improvement is acceptable, copying for is no substitute for making your own version. A quick
financial is not. Artists deserve to have their creativity and thumbnail sketch in pencil can help you understand how tone
livelihoods respected. If you are in any doubt, the safest thing was used within the composition to lead the eye. A more
to do is not to take the risk in the first place. detailed tonal study will further highlight the juxtaposition of
However, there is a long tradition of major institutions tones or the use of negative shapes.
allowing artists to copy directly from original paintings the
National Gallerys website, for example, invites us to do just 4. Colour
that. Copying forces you to ask how the original was achieved Copying another painting gives you a great opportunity to
and to find, by experimentation, ways to emulate that original. learn how the colours were selected and laid down. How has
Even if you dont succeed, you will discover new techniques the colour scheme affected the mood and atmosphere of
that you can apply to your own work. your chosen work? Were the colours mixed on the palette or
When I copy a painting, I work through the following the paintings surface? Which order were they applied in? Can
six-point checklist. It helps me focus upon what it is I am you identify or even match the particular colours used?
hoping to learn. Avoid copying the whole image if all you need (Remember that a reproduction almost always affects the
to do is find a solution to a particular problem. Remember to colours so seeking out the original is important here.)
observe acutely, do not make assumptions, and take time to
notice details. 5. Mark-making
Look at the types of marks, where they were used, and
1. Inspiration consider how they might have been made. Copying requires a
Choose a painting that has inspired you one that has huge amount of experimentation, giving you opportunity to
evoked an emotional response at some level causing you to really understand how your materials and tools work. How do
want to paint it. In spending time making a copy of the image they respond to one another? If you are working in a different
you are getting to know it intimately, enjoying details you may medium, how close can you imitate the original marks?
have missed initially and deepening your response. What
does this tell you about images that excite you, and the type 6. Application
of image that you want to paint? Having discovered new techniques or found ways to solve
problems, your ultimate aim is to appropriate the best of what
2. Composition you have learned to enhance your own work. Pick the
When you first see a well-composed picture you will probably techniques you liked or found useful and discard the rest.
not be aware of the subtleties in the composition; the artist Ask yourself whether you are enjoying the method of working
will have successfully led you to look at the things he too. I once copied an image of some trees that I found
intended you to look at. stunning, but did not enjoy the physical experience of the
Start with the placement of the focal point and other main chosen method, so I wont be using it again.
features. How are they arranged within the frame? Do they www.moortoseaarts.co.uk

project
a b s tr ac t
ing the
c i t ys c a p e
Ian Rowl ands uses the work
of Daniel P reece anD r icharD
Diebenkorn to show you simP le
ways to DeveloP anD abstract
the c olour schemes of your
l anDscaP e work
This spring sees the opening of an exhibition of works

by the American artist, Richard Diebenkorn, at the
Royal Academy of Arts in London (see feature on page
30). For many artists, myself included, this represents
a rare opportunity to view up close the work of a highly
individual painter.
The fascinating evolution of Diebenkorns work,
alternating between phases of figurative and abstract
painting, appears seamless and it is not surprising that
painters from both camps admire him today. One
contemporary artist who will surely be a frequent
visitor to the exhibition is Daniel Preece.
Daniel first saw Diebenkorns paintings at the
Whitechapel Art Gallery in the 1990s and something
chimed with his own work. Daniels large-scale studio
paintings, similarly, take the urban landsape as their
motif and, with their use of large areas of flat saturated
colour, it seemed an opportune moment to look at his
own working process.
Working methods
Daniels large paintings are orchestrated in the studio
where different elements and forms of visual research
are brought together. Drawing underpins everything in

P R O J EC T
right Daniel Preece,

Panorama II (From Angel
Court), oil on canvas,
121x224cm
This painting offers a great
deal for the spectator
to engage with, inviting
the eye to explore small
localities while also being
led along various lines of
emphasis created by the
repetition of certain colours
especially yellow and blue. I
particularly like the long line
that sweeps down from just
below the horizon on the
left to the white roof on the
bottom right. Daniels colour
choices are brave and on
the edge of fragmentation,
but careful colour repetition
achieves a sense of balance.
the process; it is time spent relating directly to the

landscape, exploring its space and an opportunity to
left Daniel Preece, Window, respond directly to the environment. Drawing allows
oil on canvas, 76x91cm the composition to be wrought and a pictorial structure
This painting succeeds in on which to hang colour to be arrived at. On a practical
creating pictorial space level, being highly portable, it is a means of gathering
while using colour in large, visual information in spaces where painting would not
flat expanses. The window be possible.
frame angles away from In tandem with drawing, photography gives clues to
the picture plane creating a colour, provides boundaries, often alerting Daniel to
believable space, but also possible organisations within the rectangle (or square)
a contradiction, between of the planned painting. Photography can also create
the spectator and the main distortions that can be brought into use in the studio.
subject that could almost Rather than being a slave to the camera, Daniel
be a second painting within regards it as just another tool.
the rectangle. Daniels studio process often begins with the
Careful observation of application of a strongly pigmented ground on the
perspective through rigorous canvas, putting down a strong statement, rather like a
drawing, as well as hanging challenge: something to either react against or
the painting on strong embrace. He describes his relationship with colour as
diagonals and verticals, fearless, frequently setting himself the problem of
allows certain colour risks creating a painting that conveys a sense of place and
to play out before resolving space but where the heightened use of colour
into a pleasing whole. Note contradicts the local colour of the subject. This
how the diagonal shadow becomes the focus for the painting and the process of
edge on the pale foreground answering the questions posed by this challenge
building connects with the becomes a sort of conversation. He is excited by the
edge of the orange gable end. way that colour can create another dynamic layer and
This painting was made on its potential to describe within the parameters of an
a red ground, the ghost of Impressionist- or Fauvist-inspired palette. Colour can
which is revealed between help the painting come alive and hopefully stimulate
the patches of colour. the viewer by the dynamic way in which it is used. >

P R O J EC T
Daniel tries not to make any conclusions about the nature, but can be informed through experiment and above Daniel Preece,
role of colour or how it is going to work in the picture experience. Before venturing into the city, a programme From the Studio, oil on
until some pigment is placed on the paintings surface. of studies should help to develop a more intuitive canvas, 168x182cm
Subsequent colour choices are made through referring approach with colour. The challenge for Daniel
to a visual experience, a colour note or photograph, but For these studies, multiple paintings of the same here was to make a painting
will also be made by experimenting and placing one image should be made in order to gauge the where flat expanses of
colour over another or side by side until something effectiveness of particular palettes. Photographs are colour could still create a
exciting and viable is brought about. The painting ideal source images, but I recommend that you choose convincing sense of space.
process is one of constant revision and layering as the a shot you took yourself as you will have some memory The painting succeeds
painting asks questions. As these questions within the of the location. The subject should have a strong sense by virtue of the rigorous
studio painting arise, so does the need to return to of light and be easy to map out fairly quickly. The first drawing and strong sense
the source and re-acquaint himself with the subject study could exaggerate perceived colour, as a gradual of balance. A large vertical,
through drawing. It is this way of working that keeps or subtle shift will be better understood and judged. midway along the brown
the process fresh and vital and gives the work great I would recommend looking at Monets studies of wall, divides the painting in
gravity and authenticity. They make something rather Rouen Cathedral for inspiration with this first study. two. The large brown shape
beautiful and exciting from the everyday and banal. A second study could then be made in response to is balanced by a similar one
the first one. Doing this should allow you to further above that incorporates
Colour researCh exaggerate the colour. Try to avoid greys where you the sky and Yellow Ochre
Any painter setting out to approach the urban might normally use them and instead try a violet, blue building. The colour is
landscape in a similar way to either Preece or or green as a more positive equivalent. harmonious, broken only by
Diebenkorn is likely to be daunted by colour. For most Departing entirely from perceived colour for the strong orange hitting the
of us, an ability to manipulate colour is not second additional studies then allows you to experiment with side of the tower.

ABOVE Ian Rowlands, Colour Experiments, is the ability to duplicate, to undo, to save and to adjust,
iPad drawing with Artstudio app with none of the wet-on-wet struggles of painting.
Starting with a monochrome study of an alleyway, I made Rather than attempting an entire landscape, focusing on
copies in which the colour balance was adjusted towards red, a relatively simple image allows you to work and assess your
yellow, blue and green, before taking the yellow version into a results more quickly. This is especially important if you are
more saturated palette. The beauty of experimenting digitally making real studies in paint. >

altered palettes, and I have found digital methods to A Glimpse of Notre-Dame in the Late Afternoon, and ABOVE Daniel Preece,
be a superb way of doing this. Computer software such also Diebenkorns Window or Ocean Park No.129. Battersea Power Station III,
as Photoshop or smartphone and tablet apps enables With some confidence gained, working on coloured oil on board, 26x31cm
us to manipulate the colour of photographic source grounds will propel you further into colour than working Daniel made this study on
material or completed studies. Your image can be on white, and the ghost of those grounds striking location over two sessions
converted to greyscale so that only the memory of the through between areas of paint can add a further of around four hours. As
colour remains as a prompt, but you could choose to dimension to the work. well as gathering visual
ignore it in these studies. The colour balance of the As a separate activity, start to collect magazine information, time spent on
image can be altered to make the lighter areas appear clippings or fabric swatches and group them into colour location inevitably allows
to take on a particular bias, which will often suggest families. Use these to create abstract collages that time to absorb other stimuli
ways forward. If not, I would suggest using the allow you to develop a sense of how particular colours that can be important
complimentary colour of that bias for example, relate to each other when not being used to describe memory prompts when trying
violet against yellow. reality. Disregard the subject matter of any particular to create a sense of place
When the whole image has been painted it can be swatch you are using it as predetermined colour only. in the studio. As a direct
saved and then further developed. Consider making at Create a colour resource by keeping a notebook response to the subject the
least one study that is atonal in other words, one containing photos and cuttings of any colourful object, palette is fairly conventional
that lacks colour harmony, so that you are forced to fabric, book cover or packaging that appeals to you. but certain accents such
adopt a more chromatic approach to describing the Refer to it when you stumble over the problem of as the orange-red roof and
play of light. Inspiration for this could be found in the finding that elusive colour. violet line above hint at the
works of Henri Matisse, especially his 1902 painting View more of Daniels work at www.danielpreece.co.uk use of more saturated colour.

TEXT: John Duncalfe, foreword and edited by Dr Hilary Diaper,
the University of Leeds
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METHYLATED
M Y FAVO U R I T E T H I N G S
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JENKINS
Artist and winner of the
Threadneedle Prize 2014
MY FAVOURITE ART PRODUCT

Ive only just discovered methylated spirit (4) its
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around me taking paint off the canvas and so I find it
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MY GO-TO SOURCE OF INSPIRATION

If Im ever stuck, I look through a pile of old Bonhams
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MY ART SHOP OF CHOICE

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Its nice to visit the pub downstairs afterwards too.
MY FAVOURITE HISTORICAL PERIOD

Im drawn to the late Renaissance. The colours, the
shapes and the form from that time overwhelm me.
Im in awe whenever I stand in front of paintings from
MAIN PHOTO: COLIN BROWN. LION AND LAMB GALLERY; YOUTUBE; THE ROYAL ACADEMY OF FINE ARTS, SWEDEN; WICKES; ISTOCK
2
that period. The scale they work to is incredible.
1
MY DREAM PAINTING TO OWN
Hope by George Frederic Watts. My mum gave me a
print of it when I was younger and so I grew up with
it. When I went to see it at Tate Britain for the first
time, I was in awe. I got goosebumps.
MY STUDIO SOUNDTRACK
I tend to listen to artists lectures or philosophical
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4 Mommy and Me Are Animals (2), is brilliant.
3
5 MY LAST FAVOURITE EXHIBITION
Rembrandt: The Late Works at the National Gallery,
London. The Conspiracy of the Batavians under
Claudius Civilis (3) is one of the biggest paintings he
made and it was truly outstanding to see in the flesh.
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21 March to 31 May Dexter Dalwood picks from the Swindon Collection.

10 Artists & Illustrators

via 85 works that passed through his

6 March to 31 May MOMA Wales, Powys. www.momawales.org.uk

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www.arts.ac.uk Search: csm short courses

next issue: DAPHNE ToDD oN BBCS The Big PiCTure A PICASSo-INSPIRED

CLOCKWISE FROM TOP LEFT

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Painting a portrait can be daunting enough from the comfort

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admission, but also extremely passionate about his craft.

16 Artists & Illustrators

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properly, but I dont think I was ever an illustrator, he says,

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Tailor made holidays - just for you Wet your painting

UNITED KINGDOM SOUTH AFRICA

If youre serIous about sellI ng your work,

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like cooking breakfast...

failing them if I did not point out proportions to them, or an

24 Artists & Illustrators

A new collection is often a reaction

I struggle with the fatigue involved

Some works have a troubled

Life events inevitably change ones internal energies. These

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28 Artists & Illustrators

Call us on: 0203 287 7140 info@artinthealgarve.com

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148.9x136.8cm natural facility, Diebenkorns paintings became more and >

in 1951, diebenkorn Took his firsT Trip

32 Artists & Illustrators

34 Artists & Illustrators

You have two desks: one with traditional art materials

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Robert Wild, Evening

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