Leisure Painter May 2017 FreeMags - CC

LP05 Cover_v5_Layout 1 06/03/2017 14:17 Page 1
THE UK’S BEST-SELLING LEARN-TO-PAINT MAGAZINE
Our
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MAY 2017 £4.20
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WE’RE PASSIONATE
ABOUT PAINTING! Improve your
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Experiment with
water-soluble
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TIPS AND
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3 exercises to
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Paint acrylic TONY PAUL’S TOP

landscapes TIPS on how to
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p02_lpmay17.indd 1 09/03/2017 09:51:14

May welcome ready_Layout 1 14/03/2017 10:49 Page 3
Incorporating Leisure Painter

and Craftsman
and Creative Crafts
VOLUME 51/5
ISSUE 559
www.leisurepainter.co.uk
Welcome
www.painters-online.co.uk
ISSN 0024-0710
from the editor
MAY 2017
Editor
Ingrid Lyon
I f I learned anything from watching the
BBC’s Big Painting Challenge is just
how difficult painting really is – and how
Contributing Editor
Jane Stroud
Editorial Consultants
rewarding. Many of us make learning to paint a life-long study,
Diana Armfield, RA, NEAC (Hon), RWS
David Bellamy
which has its frustrations as well as the inevitable victories. Despite
Tony Paul STP
decades of professional painting and teaching, for instance,
Advertising Sales
Anna-Marie Brown (Tel: 01778 392048) Tony Paul still attends courses to learn something new (read his
(annamarieb@warnersgroup.co.uk)
Advertising Copy reflections on a lifetime of painting on pages 40 to 44). The learning
Sue Woodgates (Tel: 01778 392062)
(suewoodgates@warnersgroup.co.uk) process has never stopped for Tony and that’s the joy of painting;
Accounts
creditcontrol@warnersgroup.co.uk
you will never know everything and there’s always more to learn.
Events Manager Despite the programme’s flaws, I had so much admiration for the
Caroline Griffiths
Subscriptions & Marketing Manager contestants, who weren’t afraid to show their weaknesses as well
Wendy Gregory
Subscriptions
as their successes to a television audience. I loved watching them
Nicci Salmon & Liza Kitney
(Tel: 01580 763315/763673)
develop as they learned new skills, thought processes and
Online Editor techniques, and came to understand the value of close observation.
Dawn Farley
Designers They all came out of the six weeks of filming knowing more and
Alison Renno
Sarah Poole demonstrating better painting skills.
Leisure Painter is published This month’s issue is packed with inspiration, practical advice,
every four weeks by:
The Artists’ Publishing Company exercises, demonstrations and help with your drawing and painting.
Limited (TAPC), Caxton House,
63-65 High Street, Tenterden, Whether you’re aiming for the big picture with landscapes, buildings
Kent TN30 6BD
(Tel: 01580 763315) and gardens or have an eye for the detail, there’s plenty for you to
Publisher tackle over the coming weeks. Try new media or techniques, loosen
Dr Sally Bulgin, Hon VPRBSA
up your style, and step out into the spring air to make a sketch.
Publication of an article or inclusion of
an advertisement does not necessarily Then follow Tony Paul’s advice – go on a course, join an art club,
imply that TAPC is in agreement with
the views expressed, or represents watch a video or read one of the many fantastic practical art books
endorsement of products, materials
or techniques. TAPC does not accept available – and, of course, there’s always Leisure Painter and
responsibility for errors, omissions
or images received in good faith PaintersOnline (www.painters-online.co.uk) to keep you inspired and
Annual subscription rates:
UK £39.99 (includes Northern Ireland); motivated. Paint anything and everything, from life, photographs,
USA $80; Canada $92; EC member
countries €67; all other countries sketches and memory – celebrate the imperfections along with the
(sterling rate) £50
inevitable triumphs, and begin your own life-long creative journey.
Foreign currency prices include
bank charges. Payments made
by credit card are taken in sterling
at the rate of £50
Printed by Warners Midlands plc,
The Maltings, Manor Lane, Bourne,
Lincolnshire PE10 9PH
Newstrade distribution by INGRID LYON Editor

Warners Group Publications plc
(Tel: 01778 391000)
JUNE 2017 issue on sale 21 April
www.painters-online.co.uk MAY 2017 3

LP05 4-5 Contents_News 1st 10/03/2017 15:47 Page 4
Contents MAY 2017

22
40 2
52 34
25 Beacon of light
Follow Alison Fennell as she demonstrates
IN EVERY ISSUE step-by-step how to paint texture, light and
shadow in watercolour
7 Diary 61 Books
Things to do this month Some of the best practical
28 Loosen up!
art books are reviewed
Part 1 Wendy Jelbert offers tips and exercises
8 Exhibitions for loosening up your style with pen & wash
Some of the best shows 66 Art clubs
around the country News, highlights and exhibition
listings
30 Product report
How to paint landscapes using the vibrant
10 Letters
colour range of Neocolor II water-soluble
Your tips, suggestions, ideas 70 Online gallery
wax pastels, with Tim Fisher
and questions Jane Stroud chooses a city scene
found on PaintersOnline
34 Pastel primer
Part 1 Follow Rebecca de Mendonça as she
demonstrates how to depict the texture and
FEATURES form of dogs’ coats – and paint an eye in detail
12 Watercolour rules! 40 Time to reflect

Part 1 From colour mixing to classic In celebration of Tony Paul’s 25 years of writing
techniques, Ev Hales offers advice and for LP, he answers questions about his painting
inspiration to help you develop your work life and how you can develop your own work
16 Beauty in form 45 Building blocks

Paint flowers, beginning with still lifes Learn to paint an urban scene from an
then moving into your favourite garden unusual perspective using a variety of classic
On the cover through the seasons, with Pamela Kay watercolour techniques, by Anthony Nield
Ev Hales Weight of the Years,
watercolour, 15x22in. (38x56cm). Follow 22 Painting project 48 A walk on the moor
Ev’s tips and techniques for developing Part 1 How to draw and paint buildings Spring Follow Tony Hogan as he paints
your watercolour skills on pages 12 to 15 using an easy-to-follow three-step the second of four images of Bodmin Moor
technique, by Tony Underhill through the seasons using acrylics
4 MAY 2017 www.painters-online.co.uk

LP05 4-5 Contents_News 1st 14/03/2017 11:38 Page 5
Coming
next month
Pick up the momentum as you learn to draw
and paint with Leisure Painter. Here are some
of the highlights to be found in the June issue
0 25
ON SALE 21 APRIL
n David Bellamy:
How to produce
watercolour montages
of wild animals
n New series:
Tony Paul’s guide to
painting with acrylics
n Pastel is the perfect
medium for painting
a colourful sunset
n Take a fresh look at
your locality with an
artist’s eye
n Follow step-by-step
2 34 line & wash exercises
and studies t
Next month, learn to make
n How to exploit the the most of watercolour’s fluidity
OFFERS, HOLIDAYS & COMPETITIONS capricious nature of and vibrancy, with Ev Hales
21 Join Lachlan Goudie as he paints in Antibes and the watercolour

Côte d’Azure in September n Sketch and paint trees
in the landscape
LEISURE PAINTER
39 Your chance to win one of six sets of Artists’ brushes ON-SALE DATES
from Melanie Cambridge, worth £35(rrp) each n Produce lively Issue On sale
44 Save money when you subscribe to Leisure Painter portraits in pastel June 21 April
July 19 May
this month n Painting projects, Summer 16 June
60 Take advantage of the latest offers on practical art step-by-step demos August 14 July
books in LP’s online bookshop at PaintersOnline and exercises to try September 11 August
October 8 September
n And much more!
69 Enter May’s 50th anniversary competition and
you could win a £50 voucher for art materials from
GreatArt. This month: draw or paint a building. PLUS
take advantage of a special offer from Search Press!
71 Join Carole Baker in a mixed media, watercolour
and pastel workshop at Patchings Art, Craft &
Photography Festival in July
52 Drawing matters
Part 4 Build your confidence and enthusiasm for drawing
by trying Anne Kerr’s three line & wash exercises: practise
making small studies; begin with ink; and draw from
a photograph
56 From photo to painting

Part 5 Elena Parashko demonstrates how you can take
elements from different aspects of one scene to produce
an original painting t
Les Darlow Sunset, pastel, 1734⁄ x2012⁄ in. (45x52cm)

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of the world’s most scenic locations? At Authentic Adventures, our goal is to help our guests flourish in their
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10 Feb – 7 May 2017
www.ashmolean.org
p06_lpmay17.indd 6 09/03/2017 10:05:07

LP May 2017 Diary p7_News 1st 13/03/2017 10:22 Page 6
Diary
THINGS TO DO THIS MONTH
Opportunities
n Not the Royal Academy n Retford Arts Festival
The Llewellyn Alexander Gallery, The beautiful market town of Retford
London SE1 is inviting entries from in Nottinghamshire will host the
artists who have submitted work to second annual Retford Arts Festival
this year’s Royal Academy Summer over the weekend of 27 to 29 May. If
Exhibition and have been shortlisted you’d like to take part, register your
or rejected. For details telephone interest at www.retfordhub.org or call
020 7620 1322. The Hub on 01777 860414. t
Jean Metzinger The Yellow Feather
(La Plume Jaune) 1912, oil on canvas,
28 ⁄4x211⁄4in. (73x54cm) from Degas to Picasso
3
at the Ashmolean Museum, Oxford

OPEN STUDIOS
Artists Around Wetherby IN THE FRAME
Twenty-three very different studios Degas to Picasso
within a six-mile radius of Wetherby in Featuring over 100 works from
west Yorkshire will open for the Open private collections, Degas to Picasso
Studios event on 20, 21, 27, 28 and 29 at the Ashmolean Museum in Oxford
May. For a downloadable brochure until 7 May, charts the rise of
giving all the details go to Modernism in France, from the
www.artistsaroundwetherby.com Romantic artists, through to the
radical experiments of the Cubists
Rachel McNaughton Sunflowers,
t
in the mid-20th century. This major

watercolour 30x22in. (76x56cm) on show as
part of Artists Around Wetherby Open Studios exhibition is accompanied by a
number of events, including a short
course – Degas, Cézanne and early
Crickhowell Open Studios Picasso (12, 26 April and 10 May;
The Torfaen Art Factory, an 12.30 to 2.30pm), which looks at the
enthusiastic group of 20 artists and working methods of Degas and
photographers, will be exhibiting Cézanne. Visit www.ashmolean.org
their work at Clarence Hall, for details. For opening times and to
Crickhowell, Powys as part of the book tickets telephone 01865 278112.
Crickhowell Open Studios event that
sees studios open in Powys and
Monmouthshire from 27 to 29 May. Days out
Visit www.visitcrickhowell.co.uk n ArtWaves
t
Steve Reardon Reminisce, acrylic on canvas board, 12x16in. (30.5x40.5cm) showing with the Torfaen ArtWaves will once again be returning
Art Factory as part of the May Crickhowell Open Studios event to The Spa in Bridlington for a third
year on 13 and 14 May. To find out
York Open Studios how you can get involved go to
The York Open Studios provide an www.thespabridlington.com
opportunity to see art in the place n En plein air
where it is made and in studios rarely Kent-based painters have an
open to the public. Over 100 artists opportunity to paint together in the
and craftspeople will take part in this beautiful surroundings of Hole Park in
year’s event held over two weekends Rolvenden on 11 and 12 May while at
in April (21 to 23 and 29 to 30). Full the same time helping to raise money
details can be found at for Pilgrims Hospice. Completed works
www.yorkopenstudios.co.uk will go on display and for sale at the
end of the event at the Hole Park
Lauren Terry Juliet, acrylic on canvas,
t
Coach House. Full details and booking

231⁄2x231⁄2in. (60x60cm). More work by Lauren
can be seen at the York Open Studios forms can be found at
www.joanneweaver-artworks.com

LP May 2017 Exhibitions p8-9_Layout 1 13/03/2017 10:30 Page 2
ExhibitionsJANE STROUD RECOMMENDS

recent oil paintings from home and abroad,
until 19 April. ‘Bruce Yardley’: one-man
show, 2 to 24 May.
n Mall Galleries
The Mall SW1. 020 7930 6844. ‘Royal Society
of British Artists’, until 1 April. ‘Royal
Institute of Painters in Water Colours’: 205th
exhibition, 6 to 22 April. ‘Royal Society of
Portrait Painters’, 4 to 19 May.
LONDON n National Gallery
n Bankside Gallery n Jonathan Cooper Park Walk Gallery Trafalgar Square WC2. 020 7747 2885.
48 Hopton Street SE1. 020 7928 7521. 20 Park Walk SW10. 020 7351 0410. ‘Michael ‘Michelangelo and Sebastiano’: The Credit
‘Water, Paper, Paint’: spring exhibition by J. Austin: New Work’, inspired by a recent Suisse exhibition featuring paintings,
the Royal Watercolour Society in celebration visit to the Gulf States of Oman, the United drawings, sculpture and letters from friends,
of watercolour painting, 24 March to 22 Arab Emirates and Bahrain as Royal Tour Michelangelo and Sebastiano, until 25 June.
April. ‘Trace’: exhibition by seven Bristol- artist, until 13 April. ‘To and Fro’: 30 new n Royal Academy of Arts
based artists, including prints, sculpture, still lifes and landscapes by Nicholas Turner, Piccadilly W1. 020 7300 8000. ‘Revolution:
painting and drawing, 25 April to 1 May. 4 to 27 May. Russian Art 1917-1932’, until 17 April.
n Dulwich Picture Gallery n Llewellyn Alexander Gallery n Tate Britain
Gallery Road SE21. 020 8693 5254. 124-126 The Cut, Waterloo SE1. 020 7620 Millbank SW1. 020 7887 8888. ‘David
‘Vanessa Bell (1879-1961)’, until 4 June. 1322. ‘Jeremy Barlow’: one-man show of Hockney’, until 29 May.
America After the Fall

Forty-three iconic works are brought O’Keeffe and Edward Hopper to Thomas the Royal Academy of Arts, The
together for this compelling exhibition, Hart Benton, Philip Guston and Grant Sackler Wing, Burlington House,
America After the Fall, at the Royal Wood, the exhibition examines the London W1, until 4 June.
Academy of Arts, reflecting the art of wake of the Wall Street Crash when
1930s America and a defining period of artists were searching for their roots. t Thomas Hart Benton Cotton Pickers, 1945,
history. From Jackson Pollock, Georgia America After the Fall can be seen at oil on canvas, 32x48in. (81.5x122cm)

LP May 2017 Exhibitions p8-9_Layout 1 13/03/2017 10:30 Page 3
REGIONAL
n Djanogly Art Gallery
Still life and
Nottingham Lakeside Arts, University Park,
landscape
Nottingham. 0115 846 7777. ‘Liberation of
Colour and texture form the
Colour’: focusing on the paintings of basis of a new exhibition at
Winifred Nicholson, until 4 June. The Jerram Gallery in
n Laing Art Gallery Sherborne featuring the work
New Bridge Street, Newcastle upon Tyne. of artists, Ann Armitage and
0191 278 1611. ‘Modern Visionaries: Van Elsa Taylor. Ann’s work focuses
Dyck and the Artists’ Eye’, presenting Van on still life – on flowers and
Dyck’s last self-portrait alongside selected fruit, with paint applied with
work by major artists of the 20th and 21st palette knives and cloth in
centuries, until 4 June. layers, which are then
n The Old Library Galleries scratched into to reveal the
Leicester Adult Education College, 54 Belvoir colours underneath. Elsa is
Street, Leicester. ‘Urban/Rural’: showcasing fascinated by colour, shape
the work of 12 local artists each exploring a and pattern which she uses to
particular theme, 23 March to 19 April.
great effect in her landscapes.
n Russell-Cotes Art Gallery New Work by Ann Armitage
East Cliff Promenade, Bournemouth, and Elsa Taylor can be seen at
Dorset. 01202 451858. ‘Meeting the Jerram Gallery, Half Moon
Modernism’: 20th century art in the Russell-
Cotes collection, until 24 April. Street, Sherborne, Dorset from
13 to 31 May. Telephone
n Victoria Art Gallery 01935 815261.
Bridge Street, Bath. 01225 477233. ‘112th
Bath Society of Artists Annual Open
Ann Armitage Two Helianthus,
t
Exhibition’: open to non-members, the

oil on board, 101⁄4x71⁄2in. (26x19cm)
exhibition attracts up to 1000 entries, 20
May to 15 July.
n Waters Edge Country Park
Maltkiln Road, Barton upon Humber, North
Lincolnshire. 01652 631500. ‘Village Art’:
recent work by local artists, Eileen Rounce
and Joanna Blackburn, 29 April to 1 May,
10am to 5pm.
In situ
“The painting of a room is like a
portrait of the person who owns it.
That’s what’s important,” says artist,
Alison Pullen, who brings us a whole
series of interiors for her new
exhibition at the Sarah Wiseman Gallery
in Oxford. Alison’s paintings feature a
variety of historic locations around
Oxford, including the Oxford University
Botanic Garden (right) and Blenheim
Palace. Each of her images incorporates
collage, sourced from pages from
magazines, which she uses as
backgrounds to her paintings.
In Situ – New Oxford Interiors can
be seen at Sarah Wiseman Gallery,
40-41 South Parade, Oxford from 6 to
29 May. Telephone 01865 515123 for
opening hours.
All information given here is correct at

the time of going to press, but you are
advised to check details and opening
times with the galleries prior to your visit
in case of unavoidable alterations to
their exhibition schedules
Alison Pullen Oxford’s Botanic Gardens, mixed media, collage and gouache, 311⁄2x311⁄2in. (80x80cm)
t

May letters_News 1st 14/03/2017 10:52 Page 11
Letters
Ron was also brilliant at marketing and,
as well as writing books and
demonstrating on video, he ran
residential painting courses at his home
in the Wye Valley. He achieved his fame
well before the arrival of social media;
YOUR TIPS, SUGGESTIONS, genuine hard work and determination
IDEAS AND QUESTIONS was needed and perhaps, of course, that
all-important element of luck.
He eventually went to live and paint in
the USA, enjoying huge success over
there with both his technique and his
charismatic personality, which made him
something of a celebrity. He will be sadly
missed by many of us.
Alan Bickley
Digital art
The issue of digital art and its increasing
popularity is setting our art group a
challenge. Should we broaden our
horizons and feature digital art alongside
more traditional media in our local
gallery? What are the issues that need to
be considered in relation to this
development?
We notice that digital art DVDs and
tutorials are emerging onto the market.
Digital image making is clearly an up-
and-coming art form and we need to
respond to it. We are unsure which way
to go on this issue and would welcome
opinion from other LP readers.
Storage for art materials Alan Bickley The White House in the Woods,
Marlene Griffin
I have a very nice conservatory, which is inspired by Ron Ranson, watercolour on Arches
300lb NOT watercolour paper, 11x15in.(28x38cm).
south facing with wonderful light. I’ve This was inspired by Ron Ranson’s wet-in-wet Printing process
been recording maximum and minimum technique using his trademark Hake brush and
painted after Ron’s visit to Stafford Art Group. I should like to thank Lisa Hooper for her
temperatures for a couple of years. It has
clear, informative and inspiring article on
never been below four degrees centigrade,
Ron Ranson: a tribute linocutting. So inspiring in fact that I
but has on several occasions been
Ron was a larger-than-life character, his obtained the necessary materials and
between 43 and 53 degrees so I am
enthusiasm and flamboyant personality had a go. The last time I’d experimented
wondering whether it is safe to keep my
was a pleasure to see and it was with great with this medium, I was in the fith form
painting materials there.
sadness that I heard of his death (LP, April). (I’m now 74!). All my former enthusiasm
I paint mainly in watercolour, but I also
As chair of my local art group back in the came flooding back. There is a moment
have acrylics, water-soluble and regular
1980s I asked Ron to demonstrate his when you lift the paper to reveal your
oils, pastels, watercolour pencils, acrylic
technique to our members. It was a print and feel you have been involved in
and Indian ink, and associated bits and
memorable evening with an almost full alchemy. It’s quite thrilling.
pieces, such as gesso.
house of more than 60 members. Thank you so much for re-awakening
I assumed that paper and canvas are safe
As with most art groups we had a mixture my enjoyment!
at high and low temperatures, but are
of both age and experience, but there was Lyn Anderson
they? What are the maximum
temperatures safe for painting media? something for everyone to take away with
Mary Hawking them. Ron kept the audience spellbound
for almost three hours demonstrating his Send your letters to
Tony Paul replies: A conservatory is not ‘big brush’ technique, which became his Leisure Painter, 63-65 High Street,
ideal for storing paints. As long as it doesn't trademark. Over the years I collected most Tenterden, Kent TN30 6BD.
drop below 0 degrees Celsius the low of his books and always found something Alternatively, email the editor at
temperature is not as important as the high new to learn from them. leisurepainterletters@tapc.co.uk.
one. If heated and particularly if exposed Ron started painting late in life and was All letters published here win art
to the direct light of the sun the paint will not afraid to show some of his early materials, courtesy of Daler-
expand within the tubes and there is a risk attempts at watercolour – pretty poor Rowney. For details of all
that they may leak or dry out. All in all it is attempts at that – which he openly Daler-Rowney products visit
best to keep anything to do with art out of admitted and showed as a way to www.daler-rowney.com
the conservatory, including paintings. encourage other beginners.

masterclass
learning tools for artists
Apply some science to your creativity with Winsor & Newton’s new video
tutorials. Created by artists for artists, our video masterclasses reveal
techniques, insights and demonstrations to help you perfect your practice.
We’ll keep it technical – the creativity is up to you.
Subscribe for free and join the community.
winsornewton.com/masterclass
Leisure painter DPS.indd

p11_lpmay17.indd 1 2 25/01/2017
09/03/2017 12:24
09:59:02
LP05 12-15 Hales_Layout 1 10/03/2017 10:47 Page 12
t
Colour Pulsates, watercolour on Hot-Pressed paper, 22x30in. (56x76cm). The complexity of the colour is created by layering pure hues
over one another, suggesting the fabulous colours found in the vibrant Pilbara landscape.
Watercolour rules!
Part 1 From how to mix colour on the paper to the importance of edges in
your work, Ev Hales demonstrates how to make your watercolours shine
experience of painting with thick paint. the colour appear translucent. In

LEARNING OBJECTIVES I discovered translucent colour from my its purest form, the medium uses
n Colour mixing on the paper exploration into the on-glaze medium transparent pigments and the only
(painted on a glazed ceramic surface), white is the clean paper surface. An oil
n Negative painting, and hard and but I hated the size restrictions and or acrylic painter adds white at the end
soft edges tedious process. By isolating the things of the process, while a watercolourist
n Practise calligraphic brushstrokes I liked about the different media I preserves the white from the
finally discovered the one that ticked beginning.
almost every box for me – watercolour. Mixing watercolour to a specific tone
I just love this portable, is not as predictable as mixing colours
A fter training as a printmaker

I realised that even though
I loved the processes required
to create master printing plates, I
hated the meticulous printing process
environmentally friendly painting
medium. Using it is like trying to
manipulate liquid colour flowing from a
tap. The paint is alive and there is little
point in trying to tame its capricious
in acrylic and oil paint. Those colours
stay the same as they appear on the
palette. When watercolour dries on the
surface it does not look the same as the
colour mixed in the palette. This is due
required to produce exact copies for character, because that is its charm. You to the amount of water either on the
an edition. I began my search for the are rewarded by new discoveries every paper, added to the pigment or – and
perfect painting medium. Pastels time you pick up a brush. I have found this is sometimes forgotten – held in
proved to be a love-hate experience. my creative home base. the brush. All these variables affect the
I loved the brilliant colour and drawing intensity of the colour. Controlling this
components, but hated the dust. Oil Vibrant colour takes practice. My golden rule is: If the
painting was not good for my lungs Some watercolour pigments allow light colour looks just right when it is wet,
and I did not enjoy the tactile to reflect the white of the paper, making it will be too light when it is dry.

Watercolour
COLOUR MIXING ON THE PAPER

I love so many things about colour when working in watercolour, but the most valuable and unique
feature is the way colour can be allowed to mix on the painting surface. This ensures a wide variety of
colour nuances and intriguing mixtures. To fully exploit this aspect of watercolour:
1 Wet 3 Watch
t
t
the paper. what happens.
Do not stir
the colour
2 Drop pigment on
t
different the paper.
colours
into the
wet
surface.
1 Wet the paper,

t
drop in the colours The
t
one by one (here purple made
you see raw sienna, from a pink
cerulean, cobalt and blue
and burnt sienna) mixture is
but don’t stir. even more
2 Pull down a little interesting.
colour at the base of Watch the
the colour pool and translucence
stir on the paper to when
make a neutral green. pigments
3 Mix the colours in blend on
the palette. You can the paper by
see the resulting themselves.
green, top right,
which lacks variety.
Know your edges

The key to creating hard and soft
edges is an awareness of both the
paper dampness and how much water
is in the brush. Soft edges occur when
the paper is wet or damp and the brush
is drier. Hard edges are established on
dry paper. Both edges can be seen in
Weight of the Years (page 14).
If I want to paint trees in the
landscape and place a building in
front of those trees, I may have a damp
paper where the top of the trees start
in order to achieve a varied edge. It
may be the only part of my paper that
is damp so as the mass of trees is
established and I reach the roof
structures, I can finish this application
of colour on a hard crisp edge that
will define part of the roof line of my
buildings. The same hard edge occurs
where those background trees meet
the prickly pear and where the pears
meet the fence. In Weight of the Years
I achieved the mass of trees in my
t
landscape and the bonus is the roof of
Detail from Gumnuts and

t
Chrysanthemums. This detail illustrates the

interesting colours obtained by mixing the
greens on the paper and by glazing colours
over dry paint. The result is just delicious!

Watercolour
Chef’s Break, Cute Chairs, watercolour
t
on bamboo paper, 1534⁄ x23in. (40x58cm).
I love painting one thing and being
rewarded with something else. Sometimes
this is referred to as negative painting, but
I prefer to think of it as bonus painting.
This can be seen in this image.
the house, the prickly pear foliage and

the fence in front of the building. The
hard edge focuses my attention more
than a soft edge. I call that real ‘value for
mark’. The work looks fresh and each
application of paint is working hard.
Calligraphic marks
Why not set yourself the challenge
of finding out how much you can tell
your viewer with as few brushstrokes
as possible? I do this often.
I love the way the artist’s use of the
brush can be such a vital part of a
watercolour painting. Because there
is no thickness to the paint, the
slightest variation in pressure can show
the sort of energy and accent you see
in skilled Chinese brush work. This
establishes a connection between the
artist and the viewer.
Why is this so relevant to watercolour
painting? Well, the surface chosen can be
quite varied. When the paper is roughly
textured, the brush simply touches the
ridges and creates a fast broken edge.
If the surface is smooth the artist can
create the finest details. These varied
surfaces dictate the kinds of marks
you can make.
I prefer to use a synthetic pointed
brush for this kind of work. My favourite
Weight of the Years, watercolour on Hot-

t
Pressed paper, 15x22in. (38x56cm). Notice the

soft edges on the trees in the sky and the crisp
hard edges on the prickly pear and fence.
t
Example of calligraphic brushwork, watercolour on cold-pressed paper. The calligraphic dark marks carry the eye through the painting
and create energy without the need for lots of detail.

Watercolour
t
Ocean Study, watercolour on cold-pressed paper, 11x15in. (28x38cm). Here is the
beginning of an ocean scene developed with the same techniques shown in the brush
technique images below and right. The challenge is to be happy with the mark you
make and not to come back into the work to try to improve it.
is the Da Vinci Spin Synthetic. The and the edge becomes varied and
size depends on the size of the less formal, because you have less
painting. The synthetic hairs allow me control than if you were using the
to push and feel the spring of the point (below). This approach is
brush as they bounce back immediately perfect for waves or foliage.
from one mark, ready for the next. I These three aspects – colour,
find sable brushes can be too soft for bonuses, such as edges, and
this purpose. By carefully loading the calligraphic marks – are the first
brush with rich, not-too-wet pigment three reasons I love painting in
and by varying the area of the brush watercolour. In the next issue, find
used as well as the pressure and speed out more about another three aspects
of the stroke, you can make many of this medium that fascinate me
interesting marks on the paper. and so many other painters. LP
Clever brush use also halves the t
What can your brush do
t
painting required and is another

reason I love this medium. The artist for you? Practise different
is rewarded when skills are combined handling techniques to find
with a strategic approach for using the a multitude of effects and
brush. It is different from the kinds textures.
of marks that are needed to spread
a juicy wash.
Ev Hales
Brush technique Find out more
Using the spin synthetic brush across about Ev Hales, her
the whole length of the hair rather than work and classes at
just the point turns this brush into a www.evhales.com
3cm brush rather than a pointed one or visit her channel
(above right). By laying it parallel to on YouTube.
the paper you can caress the surface

LP05 16-20 Kay_Layout 1 10/03/2017 11:19 Page 16
Oils
Beauty in form
Time spent studying flowers at home is never wasted if you want to
paint them in an outdoor setting, says Pamela Kay. Here she discusses
techniques and ideas she uses to paint a garden through the seasons
LEARNING OBJECTIVES
n How to make sense of flowers
en masse
I t’s no secret that I love painting in
gardens. It is the great escape for
me, although painting is a surprisingly
physical pastime, requiring great stamina
and you have to be fit and determined.
intense study holds the clue to how
to paint them en masse in a garden.
In the studio
It pays to spend time understanding the
n Practices to help you paint With the act of painting comes an construction of a single flower. I begin
garden scenes unusual concentration and it is this with a study of the single wild dog rose
n Develop composition and that makes time appear to stop in its (right). Paint the simple cup with a
colour skills tracks. Cultivating a greater concentration central ‘eye’ in its deceptively changing
comes from hours spent quietly studying pinks and cool creams and you have the
flowers in the peace of the studio. This first stages of the knowledge needed to
deal with a greater complexity. Always
begin with simple forms and build up
to complex ones. Know your flower.
From an understanding of the simple
formation of the wild rose, it is
a step on the way to understanding
and painting the greater complexity
of a centifolia.
The French rose, Pierre de Ronsard,
is one of my favourites and a small study
of this rose in a green glass (left) is a
preliminary stage towards handling a
bed full of roses.
However generalised the effect, the
flowers in a garden painting should
always be identifiable, however broadly
they are suggested. Each flower has its
own special characteristics and a bed
of lilies or a bank of daisies will be
obviously quite different in character,
en masse, when compared to a bed of
tulips or forget-me-nots. Pattern and
texture play an important part. Draw
and understand the nature of the flower
in close quarters and you are on your
way to dealing with them on a more
profuse scale. Painting the individual
is the key to understanding the mass.
Know your garden

Choose a garden – the more private
and secret, the better – then follow it
through the year. It may be your own
or one open to the public, but it helps
to have peace and quiet to paint.
I am especially interested in Monet and
his garden at Giverny. It is hardly a quiet
garden, but one teeming with most of
the world’s travelling population at any
one time. Last year, I was fortunate
enough to visit it many times. On special
evening openings, offered exclusively to
artists and photographers, it can be just
as busy and I have had one or two run-
ins with heavily accoutered enthusiasts,
crashing blindly into my easel on their
way to photograph the water lilies.
t
Rose Pierre de Ronsard in a Green Glass, oil on board, 8x7in. (20x18cm). Painting Giverny is more interesting than many
the cup of this rose with its many layers of petals is a test of observation and drawing gardens, because it is a painter’s garden
skill, and a logical progression from painting the wild rose (see right). more than a plantsman’s garden. The

t
Two Glasses of Wild Roses, oil on board, 11x9in (28x23cm). Begin painting flowers with the simple form of a wild rose, which
is anything but easy. Close observation of shape and colour is the best groundwork for more complex roses (see left).
emphasis is on the massed effect of any garden regularly throughout the like scene changers in the theatre, moving
colour and shape, whether it is tulips year is the best way to see and paint the scenery as it falls over and replacing it
among forget-me-nots in spring, roses the remarkable changes of colour, with new, different backcloths – only it is
and poppies in summer, or a carpet of light and plant formations. a dahlia going in where a tulip is coming
nasturtiums and a bank of sunflowers in Giverny is constantly being re-planted out. Giverny scores over many public
the autumn. Visiting and painting this or English gardens, because it is so wayward
t
as the year progresses. The gardeners are

Poppies
t
Irises and Poppies, oil on board,
t
and Cherries, 16x20in. (41x51cm). The colours change

oil on board, and become more unified and vibrant in
12x10in. the summer. The right angle of the roof
(30.5x25.5cm). to the rose support is an important part
Painting and of stabilising the composition.
understanding
one flower and abundant, and does not conform
enables you to conventional rules of garden planning
to generalise or layout. Whichever garden you choose,
when painting and it is a project well worth pursuing,
them en masse take a moment to ‘listen’ to the garden.
in the garden. What is at its best? What is showing
most gloriously at that time of the year?
Cool spring
So, how do we paint all this? One
way in is to see how Monet and his
contemporaries painted gardens, and
the way they paraphrased large areas
of texture, while not becoming caught
up in minute detail.
Monet’s broad sweeps of colour,
full of texture, and layers of observed
tones were clearly seen as beds of
irises, however diffuse his drawing.
Never producing a stiff photographic
representation of every leaf and petal,
Monet painted the ‘feeling’ of his
garden and the ‘spirit of place’ as
the ancient Romans knew so well.
In Giverny at any time of the year it
is almost impossible to know where to
start; there are so many choices. I have

t
Tulips and Forget-me-nots in Spring,
oil on board, 16x20in. (41x51cm). The
change in warmth of colour from the
wall of the studio in the background,
to the bed of flowers in the foreground
is particularly marked in spring.
favourite places, but the house and
outbuildings tend to be the common
denominator that everything gravitates
around. There is nothing so useful as
a straight line in a composition full
of amorphous texture.
In spring, the colours are sharp and
clean. On a bright May morning, the
light is clear and the shadows are a
deeper cool blue than later in the year.
Everything looks newly washed, crisp
and ready for the year’s display. Even
so, there is a chill in the colours. The
tepid warmth in the background colours
of the painting done in spring are pale
and tentative.
Tulips and forget-me-nots form a rich
carpet of cool colours in a foreground
area of deep cold shadow (above).
The contrast is greater against the pallid
beiges and greys of the studio walls
in the background sun.
Summer abundance
Contrast the cold spring with the t
Cat amongst the Poppies, oil on board, 7x8in. (18x20cm). What looks very like blobs
abundance of summer in the painting of colour still read as poppies. Painting layer upon layer of closely toned but varied greens
t
of irises and poppies (above left). In this builds up an impression of masses of flowers.

t
The Grand Allée, Autumn, oil on board, 16x20in. (41x51cm). The autumnal range of colours
is mellow and as lush as in summer. The light is golden and affects the colours generally. These paintings and others can
be seen at the Llewellyn Alexander
painting, great swathes of warm reds, The rich darks of the great yew trees Gallery, London, SE1. Readers might
purples and pinks appear seething in and the open door to the house in the also be interested in reading
Monet’s Garden: Through the Seasons
amongst sharp leaf greens and pale background bring all this mass of colour at Giverny by Vivian Russell
pink roses. and texture to a halt and stop it from (published by Frances Lincoln).
The neutral colour and severe shape frothing over the edges of the painting.
of the roof of the main house holds The nasturtiums are seen as clearly
this all together and connects with the identifiable nasturtiums and, although
verticals of the rose supports. There is painted broadly, are worked on intently Diana Armfield. Her observation of the
a strong architectural framework in the as a mass of nasturtium leaves and not variety of greens and soft beiges and
composition underneath all the bubble just blobs of colour randomly hitting the greys to be found in a small passage
of flowers. Yet they are identifiable as surface of the painting. The air around of paint, while keeping tones close and
poppies, roses or irises, however broadly the flowers is softer and calmer, and colours varied, gives an immensely
they have been painted, without you the garden is preparing for the end rich and lively patina.
seeing or needing to see every petal. of the year. Ultimately, it is down to a personal
In summer, the colours are noticeably ‘shorthand’, and the detail you choose
hotter and the whole aspect, sunnier. Preparation is key to omit is as important as the detail
These are paintings where there are you select to include. It is practice
Autumn colour layer upon layer of small touches of that shows the way. The more you
In autumn, the nasturtiums creep across colour, building up to the final paint, the greater your store of
the gravel and fill the Grand Allée with statement; none of this is achieved in knowledge and the faster you find
a bright green succulence, dotted with an instant. It needs hours of painting the heart of the matter. LP
oranges and yellows as mellow as the small observations, and incremental
season (above). The nasturtiums are additions of touches of paint that have
backed by dahlias and sunflowers in to be the right colour, tone and drawing
buttery chrome yellows, reminiscent to ‘read’ as a whole.
of the colours in Monet’s dining room. It is helpful to see how other painters Pamela Kay
In the borders, the contrasting purples, have approached this; not necessarily Find out more about Pamela
reds and burnt orange of smaller dahlia by painting gardens alone, but foliage and her work by visiting
varieties and michaelmas daisies bring generally. If you can, look at the close- www.pamelakay prints.com.
the whole colour spectrum alive. toned painting of trees and hedges by

LP02 Holiday Goudie_Layout 1 09/12/2016 09:15 Page 38
Reader holiday
Paint in Antibes and September

16-23,
the Côte d’Azure 2017
with Lachlan Goudie ROI
Antibes and the Côte d’Azure

The special light, warm Mediterranean
colours, interesting rocky coastline
and verdant vegetation on the Cap
d’Antibes and Cap Ferrat, elegant villas,
grand Chateaux and the beautiful
old fortified town of Antibes, with the
Alps rising in the background, have
appealed to artists over the years and
make the French Riviera one of Lachlan
Goudie’s favourite places to paint.
The painting programme Travel and hotel arrangements

Each day will be spent painting on the Cap Flights are from London Gatwick to Nice.
d’Antibes using local buses for greater freedom Accommodation is in an intimate
Lachlan Goudie’s to access the many different painting locations. 13-bedroomed Provençal Mas (former
work has evolved from the Scottish There will be one day trip to Cap Ferrat to farmhouse) with a secluded garden and
tradition of figurative painting and sketch in the gardens of the Villas Ephrussi swimming pool.
incorporates portraiture, still life and de Rothschild and Kérylos and fashionable It is conveniently located mid-way between
landscape, with drama and colour Beaulieu. Lachlan will encourage you to paint Antibes and Juan-Les-Pins. It is approximately
underpinning his work. He has won every day and will assist students with an a ten-minute walk to Antibes old town and
numerous accolades including the organic approach to techniques. He is very the beaches. Dinners are included and will
RSP prize at the Royal Glasgow happy to show individuals how to resolve be in a variety of local restaurants. An
Institute of Fine Arts, the Norman problems and where appropriate he will do accompanying travel escort will look after
MacFarlane prize at the Royal a demonstration, although there will be no you, taking care of all the arrangements
Scottish Academy and the ROI Oil group demonstrations. Lachlan will be and assisting you with local transport.
Painters Award for young artists.
l
sketching and working in gouache and
He regularly exhibits in major Price per person £2,995
l
watercolour but all media are welcome. This
exhibitions in London, Scotland and Single room supplement £350
l
painting holiday is ideal for intermediate and
New York. Lachlan is a captivating Number of painters 10 to 12
l
more experienced students. You may choose
TV presenter and art critic. to work alongside Lachlan or independently. Fully inclusive except for lunches
For full details contact 01825 714310

art@spencerscott.co.uk www.spencerscotttravel.com
Leisure Painter and The Artist magazines have been offering overseas painting holidays since 1990 led by renowned tutors. These holidays are organised by fully licensed
operator Spencer Scott Travel Services CAA ATOL 3471. Other holidays in 2017 include the Greek island of Symi with Hazel Soan, Amsterdam with Ken Howard OBE RA, Belgium
and Holland with Pamela Kay NEAC RBS RWS, southern Italy with Richard Pikesley PNEAC RWS, Vietnam with Peter Brown Hon RBA NEAC PS ROI RP, and India with Hazel Soan.
LP05 22-24 PP1b_Layout 1 10/03/2017 11:36 Page 22
Paint along with LP
t
Your reference material for this month’s project: a row of cottages
Painting project
Part 1 Ready for a new challenge? Tony Underhill demonstrates
that drawing and painting buildings isn’t such a complicated art
in this month’s painting project from a photograph
LEARNING OBJECTIVES Keep your kit (and expense) to a rectangles and triangles. I took my
minimum; a sketchbook and 2B pencil photo at a time when I knew there’d
n Change ‘real life’ for a better or a drawing pen is all you’ll need. The be a wonderful ready-made shadow
composition less you have, the sooner you’ll learn pattern.
n Identify and position the big how to use it. A5 sketchbooks are a
shapes first handy size. Composition
In this project we’re aiming for an
n Capture character rather than Your subject artist’s sketch, not an architect’s
detail When drawing and painting buildings, drawing so feel free to omit, add,
it’s important that you choose subjects emphasise or alter the real-life
I hope the following notes and ideas

will help you to draw and paint
buildings with more confidence,
whether you’re sketching indoors from
photographs or outdoors from real life.
you like and preferably ones that can
be broken down into a series of simple,
easy-to-draw shapes.
Avoid complicated perspective, at least
until you’re ready for it. I took my
buildings to create something better.
Try to identify a centre of interest
where you want to focus most
attention. It’s better if this isn’t in the
middle of the sketch so you might
You might want to use them to produce reference photo front on to minimise have to adjust the subject accordingly,
your own sketch from this month’s perspective issues. There are just the perhaps by changing the large shapes
photograph (above) of cottages and to tops of the gable roofs at each end and slightly.
help you tackle next month’s challenge a few lines on one of the chimneys to I decided to omit the adjoining
when I demonstrate the painting of tackle. The front-on view also made it buildings, overhead wires and road,
Mottisford Abbey using the same easy to break the cottages down into a and to make the front door the centre
techniques. series of big shapes, in this case of interest. With that in mind, I opened

Paint along with LP
t
Making a pencil framework is your first step. Lightly draw the big shapes. Add
guidelines for the smaller shapes.
up the gateway a little and changed

the path to lead the viewer’s eye
towards the door. As the chimneys
t
Your second step is a pen drawing; use the pen to develop the drawing.
were such an interesting feature,
I exaggerated their height and
added an extra aerial.
Drawing
Try to develop a free and loose style
from the outset; it’s more forgiving
and, for most people, more enjoyable
than worrying about accuracy and
precision. It helps to hold the pencil,
pen or brush loosely and well away
from the tip.
Don’t be tempted to use a ruler,
as wobbly and broken lines look far
better in a sketch and add interest
and character.
Make sure your composition fits
on the page by using a light, loose
pencil framework (above right) to
position the big shapes first then add a
few guidelines for the smaller shapes.
Switch to a pen to develop the
drawing, working through the shapes
from large to small (above right). Think
spontaneous and positive and don’t
worry about what you perceive might
be mistakes. Aim for just enough
information; you can always add more
at a later stage. Finally, avoid detail,
except at the centre of interest.
Making the big shapes about right
t
Desenzano, Lake Garda, sepia pen on cartridge paper, 8x6in. (20x15cm). I often use
(rather than exact) and capturing the hatching rather than colour washes to show shadows and form. Why not try this technique
t
character of the cottages rather than as another way of rendering the scene above?

t
Finished sketch Cottages, pen and watercolour, 7x12in. (18x30.5cm). This shows the sketch with colour washes added in the same loose
style as the drawing.
every detail is good enough for this finished sketch of the cottages can be of the cottages so I decided to add
project. Despite the cottages being made seen above. Using a big brush helps watercolour washes. I used four colours:
of bricks, the only ones I hinted at were to avoid any fiddling. Restricting the a weak yellow ochre for the walls and
in the garden wall to help bring it number of colours you use will also chimneys; a mix of French ultramarine
forward of the house and to attract help to give your sketch harmony; blue and quinacridone red for the slate
attention to the front door. If I’d been four or five colours are plenty. roofs; and mixes of primary yellow and
leaving my demonstration as a pen For watercolour, add the main the same blue for the grass and shrubs.
sketch, I would have added additional washes first, using as few brushstrokes They may not be the exact colours, but
line work in the form of hatching to as possible then leave well alone. Trying they suit the sketch well enough. Then
suggest shadows and form, as you can to improve drying washes usually makes I used a slightly stronger mix of the
see in Desenzano, Lake Garda (page 24). things worse rather than better. Once dry, roof colours (both transparent) for the
add the shadow washes using transparent shadows. To finish, I added a few
How to add colour colours to allow the first wash show highlights with a white gel pen, mostly
Sometimes a pen or pencil sketch is fine through. Finish by adding darks or on or near the front door.
as it is – I leave lots of mine like this. highlights, but, for best effect, use
If you decide to add colour, however, them sparingly. Self critique
keep it loose like the drawing. My The yellow brickwork is a key feature Write down on the sketch or in a
separate notebook what went well,
what went badly and why – then include
any ideas or thoughts for next time.
If the sketch doesn’t turn out as you’d
like – and lots won’t – remember it’s
all part of the journey, the more you
do the better you’ll become and, most
importantly of all, that you’re doing
it for enjoyment!
Part two of the project next month will
be to produce your own sketch from
the photograph of Mottisfont Abbey,
a beautiful National Trust property in
Hampshire (left). I hope you’ll use some
or all of this month’s notes to help you.
The abbey might look complex at first
glance, but remember – big shapes first,
character rather than precision, and
enjoyment rather than worry! Remember
to show this month’s painting on
Leisure Painter’s Painting Project site
on www.painters-online.co.uk. Email
your work to dawn@tapc.co.uk and
check the site regularly for comments
and advice from other readers. LP
t
The photograph for the second part of this month’s project: Mottisford Abbey. Tony Underhill
Permission was granted by the National Trust to reproduce the photograph used in
this project. Find Mottisfont Abbey at Mottisfont Ln, Romsey SO51 0LP (01794340757; If you have any questions about this project
www.nationaltrust.org.uk). please email tonyunderhill@me.com

LP05 25-27 Fennell_Layout 1 10/03/2017 16:19 Page 25
t
The finished painting Lighthouse, watercolour on Fabriano Artistico 200gsm watercolour paper, 11x15in. (28x38cm)
Beacon of light
Enjoy the challenge of painting a scene where a dramatic wet-in-wet
sky is the backdrop for an imposing lighthouse and foreground rocks
LEARNING OBJECTIVES
n Practise wet-in-wet and wet-on-
dry techniques
n Understand how paint works on
different surface conditions
n How to mix and apply shadows
You will need

n Surface
l Fabriano Artistico 200gsm
Hot-pressed 100% cotton rag
paper, stretched on 1⁄4in.
plyboard, 11x15in. (28x38cm)
n Artists’ watercolour
l French ultramarine
l Rose madder genuine
l Burnt umber
l Raw umber
l Raw sienna
l Cerulean blue
l Cadmium red deep
t
t
Your reference sketch for the demonstration over the page

Watercolour
Demonstration continued
t
Step 1 t
Step 2
1 Mask out the lighthouse and the tops of the rocks. 1 Drop in a wash of rose madder 3 Re-wet the sky lightly and quickly.
Allow to dry. Wet the sky area and allow the water genuine to the lower part of the sky Allow it to become faintly glistening
to soak in until a satin sheen appears. and add raw sienna to the middle then paint washes of rose madder
part. Leave the top genuine, French ultramarine and burnt
of the sky unpainted. umber at the top and at intervals
2 Tilt the paper gently throughout. Do not paint the entire
back and forth to sky, but leave some areas white.
blend the colours. 4 Tilt gently to allow the dark
Allow to dry. wash to run. Lay flat.
t
Step 3
While still moist, lift out clouds with clean tissue paper. Add a much
stronger and darker version of the mix used in Step 2 – rose madder
genuine, French ultramarine and burnt umber – to the top left-hand
corner and a few diagonal areas to add depth to the sky. Allow to dry flat.
t
Step 4
t
1 Remove the masking fluid. Re-draw the lighthouse lines if necessary.

2 Paint the lighthouse shadows wet on dry using a pale blue grey
colour mixed from French ultramarine, rose madder genuine and
burnt umber.
3 Paint the sea in the same mix, but with a little more blue added.
4 Add the top of the light in a red mix of cadmium red and a speck
of cerulean blue.
5 Use a strong mix of these colours to add the shadows on the
right-hand side of the roof.
6 Use a thirsty brush to lift out the highlights on the sunlit part
of the roof.
7 Add a darker lighthouse shadow using a mix of French
ltramarine, rose madder genuine and burnt umber.
8 Drop in raw sienna under the ‘neck’ of the lighthouse to
suggest warm light bouncing from the sunlit rocks below.

Step 5 t Step 6
t
t
1 Paint the rocks wet on If wanted, add splatter using burnt umber.
dry using a pale sandy colour THIRSTY BRUSH
mixed from raw umber and TECHNIQUE
French ultramarine. Wet your brush then
2 Using the shadow mix from firmly take off the
Step 4 – French ultramarine, excess moisture with a
rose madder genuine and rag and press or brush
burnt umber – quickly add it into an area where
the shadows into this colour you want to lift out
near the base and right-hand pigment. Rinse after
side of the rocks. every stroke. Thirsty
3 Lift highlights on the left- brush will only work
hand side using a thirsty brush. when you are working
4 Drop in raw sienna to suggest wet into wet; you
warm light bouncing from the cannot easily lift dry
sand on to the rocks. colour using this
technique.
t Step 7
Re-darken the right-hand side of the lighthouse shadow
using the French ultramarine, rose madder genuine and
burnt umber mix.
Alison
Fennell
Alison runs weekly
watercolour classes
in Ponypridd; email
eastwitching
@hotmail.com for
details. Find Alison’s
card range, Alison’s
Ark, published by
The Museums &
Galleries Collection,
in WHSmith and
shops attached to
galleries and
museums. Visit
www.eastwitching.
com for more
information.
t
The finished painting Lighthouse, watercolour on Fabriano Artistico 200gsm watercolour paper, 11x15in. (28x38cm)

LP05 28-29 Jelbert_Layout 1 10/03/2017 12:05 Page 28
Pen and wash
Loosen up
Part 1 Shake out the tightness with Wendy Jelbert as she offers a healthy dose
of pen and wash exercises, tips and techniques to try over the coming months
LEARNING OBJECTIVES
MAKE YOUR MARK! n Practise drawing techniques
using water-soluble and
permanent ink
n Become more creative with
your marks
n Simplify and refine your style
A B C D E F G H
T his month I want to equip
you with the right tools and
techniques to help you on the
road to freeing up your style. The main
lesson is to ensure that you make the
A Biros are useful. Try scribbling and most of sketching, by giving more
D The Rotring Artpen is a fountain
overlapping to gain deeper tones. thought to your subject and how to
pen containing water-soluble ink and
B Tombows (or similar pens) have two interpret it. I also want to help you
comes in different sizes and colours.
different ends – one like a brush and to inject something of yourself into
E These fine and colourful Stabilo pens
the other similar to a felt tip. These are your work, become more creative and
come in delightful sets of amazing
extremely versatile and contain water- less likely to copy slavishly what is
colours, and are semi-waterproof.
soluble ink. Try the strokes using water before you, and to lead you away
F Zig Artist Sketching pens contain
then draw over with dry ink. from a gimmicky or obsessive style.
waterproof ink – I favour the sepia colour.
C I like Winsor & Newton’s Watercolour When you begin working in this
G Sharpies are a selection of bold and
Markers. By using varied pressure way, you may feel ill at ease, but the
colourful waterproof markers.
you can achieve assorted thicknesses following exercises are structured to
H I have a set of black Staedtler pigment
of lines. help. Do not forget that one success
liners and mainly use Nos. 2 and 4.
is worth all the failures and that, if you
continue working in the same way,
some ideas will come off. Success is
TRY THIS! hard to repeat in any field of
A Horizontal lines varying the endeavour, but with practice it will
The following marks will help you to free up and express become easier to achieve. Take risks
pressure and undulations.
yourself more individually than just relying on one set of and forget at least some of the rules
B Lines drawn with more
marks. They will also help to depict some of the complex you’ve learnt in the past.
motion and vigour.
textures and language needed to express the world around us.
C Random directions, weights
Try making these marks using a variety of water-soluble and Your materials
and angles.
permanent inks to understand their differences. Make each Water-soluble and waterproof inks
D Using varying pressure,
mark count and do not fill your paper with superfluous lines. can be applied with either a dipper
draw line patterns that
feature different thicknesses. pen or are already integrated into a
A B C E Try the Zig pen with pen. Try black, sepia and brown inks,
assorted pressure using which I especially love when added
a stabbing motion. to or alongside watercolour washes.
F With a quick action, draw By experimenting with a number of
curved markings using these pens, you will soon discover
variations in pressure. which you prefer. You may find it
D E F G Make swirling movements difficult to buy water-soluble ink
with distinct differences pens so look out for Rotring Artpen,
in the pressure. Winsor & Newton Watercolour
H Using the same pressure, Markers or Zig pens online if your
leave a distinct white paper local art shop doesn’t stock them.
trail between the marks. You will also need: thick cartridge
G The crosshatching is paper; Nos. 4 to 6 brushes or the
drawn at assorted angles Swordliner all-rounder from my website
I (see right for website address), a set
and broken up throughout
the process. of watercolours; and a timer.
H
I Biro markings are used
at odd angles, trailing, Before you begin
sprawling and squiggling It is always best to plan before you
at varying degrees and begin painting so your rough sketches
density of strokes. should become valuable tools (see
opposite page for three of my working

LP05 28-29 Jelbert_Layout 1 10/03/2017 12:12 Page 29
sketches). Use them to discover the

main shapes then simplify the shapes
further. Balance this way of working
with accurate observations and a little
more detail. Think shapes, not
individual objects.
When you are ready to begin, use
pencil under your ink work, which
can be erased when the drawing is
completed. Also pay attention to
edges, contrasting hard edges with
softer ones in the same study.
Ideas for technique

1 Use the bulk of the ink marks as
scaffolding for the watercolour and
maintain the loose atmosphere by using
the lines sparingly. Break up harder
lines in places so your drawing does
not resemble a colouring-in exercise t
Greek Cats using Art Pen 1.5, 7x11in. (18x28cm)
then add the washes. It does not matter
at all if it flows and mixes with adjacent
colours or inks; this will help with
the feeling of freeing up.
2 Make the first line the most important
mark on the paper. This will be the
connecting and ‘flow’ line throughout
the work, which gives it movement and
purpose.
3 Use a loose, free wash of watercolour
or ink on all the important areas then
add expressive lines on top, either
when wet or dry. This will help to draw
the details and composition together.
Add more marks to give deeper tones,
if required. Use both types of ink for
lovely flowing effects. The key here
is to experiment.
4 To emphasise the feeling of space
and depth use heavier lines in the
foreground and sweep fewer, more
open-weaved marks into the distance.
5 Take advantage of the beauty of
paper and leave breathing spaces
in your picture.
t
Kitten drawn with a black waterproof portable pen in Staedtler 03, 312⁄ x412⁄ in.
6 If you find you are reverting to (9x11.5cm)
tightness, try several studies of the same
subject, imposing a set time limit on
each and becoming faster with each try.
7 Make sketches using your non-
dominant hand. This will slow you
down and make you think more deeply
about each mark you make. Enjoy the
moment.
Next month, I will be setting you a
painting project from a photograph and
offering more advice on how to tackle
the painting more loosely. LP
Wendy Jelbert
Wendy will be exhibiting along
with other artists at Hilliers Gardens,
Ampfield, Hampshire from 9 to 28
June. Find out about her courses,
exhibitions and work by visiting
www.wendyjelbert.co.uk or telephone
01794 518211. Buy her latest book,
From Photograph to Watercolour
Painting from LP’s bookshop at
www.painters-online.co.uk/store.
See page 60 for this month’s
special reader offers. t
Tree drawn in water-soluble sepia ink and black waterproof ink, 7x11in. (18x28cm)

LP05 30-32 Fisher_Layout 1 10/03/2017 12:31 Page 30
Product report
Caran d’Ache Neocolor II

Taking advantage of these water-soluble wax oil pastels that can also be used dry,
Tim Fisher shows how to create a wide variety of effects on different surfaces
LEARNING OBJECTIVES
n Use washes from the palette
and apply directly on the paper
n Work dry on dry, dry on wet,
and draw with the crayons
C aran d’Ache Neocolor II

water-soluble wax oil pastels are a
unique medium, offering the artist
watercolour techniques as well as the
traditional marks that can be made from
a pastel stick. They are available in
a range of 84 colours with excellent
lightfastness, which, taking into account
their mixability, offers an infinite range
Snowy Farm, Neocolor II water-soluble
t
wax oil pastel on grey Clairefontaine
Pastelmat paper, 13x18in. (33x46cm).
This was painted using the versatile
wax pastels dry, wet and applied with
a brush from a palette made from
watercolour paper.
TECHNIQUES
I enjoy working with wax pastels, but being able to apply watercolour type washes
with these high-quality pastels opens up a whole new dimension of techniques
when painting.
Sgraffito This is a useful technique

t
when using wax pastels. Layers can be

scraped back with a scalpel to reveal
other colours beneath.
Cauliflowers/backruns Caran d’Ache

t
Neocolor II lift out quite easily when dry,

making them useful when correcting
work or for creating backruns for textural
effects when portraying foliage.
Working dry onto wet Dragging the Scraping I use this technique where Spatter By using a waterbrush, which
t t t
side of a dry pastel over a very wet surface a wash without residual scribble marks gives a constant supply of water, spatter
creates a number of soft misty effects, great is required. By experimenting with the can be applied from the tip of the pastel.
for portraying distant trees and hillsides. amount of scrapings added, the strength
The pastel can also be dipped in water before of wash can be varied. When dry, excess
drawing to create a more intense mark. scrapings can be dusted off.

Product report
of colour for the artist. The pastels are

available either as individual sticks or
in sets; I was given a set of 84 to try
out ideas.
These pastels work on a wide variety
of surfaces – a real advantage for an artist
who likes to experiment. As a fan of
working oil pastel onto Clairefontaine
Pastelmat, I decided to work on this
surface first, creating an imaginary scene
on light grey paper (Snowy Farm, left).
I began with a Pitt fine black waterproof
pen drawing of buildings in the
landscape. Selecting ultramarine blue
and a pale yellow, called Sahara,
I scribbled these colours onto a scrap of
watercolour paper, which I then used as
a palette. Using a synthetic No. 8 brush
I mixed two separate washes from the
scribbled colour. I was pleasantly
surprised at how easily the pigments
lifted off the paper and went into
solution. Diluted Sahara was introduced
into the lower sky then blue added into
the areas surrounding it. I changed the
dilution of the wash in places to give the
impression of clouds.
The distant hill was added by working
a short length of a dark grey pastel onto
the wet paper, giving the impression of
a wooded hillside. I created a grey wash
and continued it right into the foreground t
The underpainting for Woodland Walk (below) on gessoed Fisher 400 paper
then left the paper overnight to dry
completely. Next day, I added the tree
structures and placed shadow onto the
buildings using the dark grey pastel.
Breaking off a short piece of burnt sienna,
I dragged this across the top of the trees,
the foreground bush and the facing wall
of the barn on the left. I then developed
the lit sides of the other building by
working dry raw sienna over the walls.
I created a wash from the added marks
on the gable end wall of the building
and was pleased to see that all the marks
lifted from the paper to create a flat wash.
Once dry, I added a few dots of canary
yellow for the lit window. Raw sienna
was added to the nearer bush and
midnight blue for the darker areas and
the cast shadow. Using the white pastel,
I added snow to the rooftops, tree
branches and snowy foreground.
To finish, I lightly added the track
and the fence posts with the dark grey.
The pastels achieved a good effect for the
posts when I pressed hard then reduced
the pressure as I drew downwards.
Creative possibilities
I experimented with a different surface,
Fisher 400, and worked with more ideas
and techniques to paint Woodland Walk
(right).
1 I applied an overall wash of diluted
gesso to whiten the surface. Once dry,
I drew the track and trees using acrylic
t
The finished painting Woodland Walk, Neocolor II water-soluble wax oil pastel on
ink and a sharpened matchstick. I added Fisher 400, 10x12in. (25.5x30.5cm)
a wash over the entire surface using the
same method as before with a stick of shadows. After allowing the surface to 2 Over this colour I worked brown and
light cobalt. Into the damp paper I added dry, I worked with dry pastels to develop ochre into the trunks with silver grey
a mixed wash of ultramarine and light the painting, starting with a dark grey, added for highlights. The grass in the
foreground was painted using short
t
cadmium red for the tree line and which helped to establish the darks.

Product report
t
Welsh Farm, Neocolor II water-soluble wax pastel on Sennelier Rough 140lb watercolour paper, 10x13in. (25.5x33cm). Scraped shavings
of colour were applied directly to the paper then solubilised with a brush to create a transitioned wash effect.
strokes from the wide range of greens down into the group of trees below.
available in the set, using the following The scraping method works well
colours from light to dark: Chinese green, as a way to prevent drawing marks
yellow green, moss green olive brown remaining from any applied dry pastel.
and dark green. I spattered into the upper It also helps to separate the colours
left branches using a brush pen and burnt when developing a background.
sienna. I finished by scraping out some of I continued to paint a wash into
the lighter fine branches with a scalpel. the foreground using moss green and
yellow green, leaving space for the
Direct results track running towards the building.
For the final painting Welsh Farm (above) I continued to paint the subject as a
I decided to work on the smoother side watercolour, adding ochre for the walls
of Sennelier Rough 140lb watercolour of the building and light grey for the
paper and drew a pencil drawing of roof. I reinforced the colour of the line
the subject. Scribbling onto a scrap of nearer trees by dragging a stick of Caran d’Ache Neocolor II
of watercolour paper, I then added a moss green over the dry surface, which Water-Soluble Wax Oil Pastels
solution of Sahara yellow followed by helped to create foliage textures. A mix luminous colours are available in tins
ultramarine blue into the sky. Neocolor of ultramarine blue and cadmium red of assorted colours: 10 (£16.99rrp),
flows like watercolour and good sky was used to add a large shadow in the 15 (£25.99rrp), 30 (£52.99rrp),
effects can be achieved on a number foreground. I applied the wash with 40 (see illustration, £78.99rrp) and
of surfaces. After allowing it to dry, a squirrel mop brush that works well 84 (£179.99rrp) and individually
I added the distant hill with a mix of with Neocolor II. Finally, I used the (£1.75rrp). They offer ultra-high
cadmium red and ultramarine blue. dry pastel to correct or reinforce edges pigment concentration, and excellent
I scraped shavings of sky blue followed lost during the watercolour process. covering power and light resistance.
by moss green and olive brown into the I added silver grey to sharpen the Visit www.jakar.co.uk for more
nearer hillside then solubilised these edge of the farmhouse rooftop and details and where to buy.
shavings with a flat brush, which malachite green to add ivy and
achieved a transition from a misty hilltop branches into the group of trees. LP

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p33_lpmay17.indd 33 09/03/2017 10:32:16

LP05 34-38 Mendonca_Layout 1 10/03/2017 14:00 Page 34
Pastel
Pastel primer
Part 2 Follow Rebecca de Mendonça step by step as she demonstrates how to
depict the texture and form of dogs’ coats – and produce a study of an eye in detail
LEARNING OBJECTIVES
n How to produce lively portraits
n Practise mark making for texture
and form
n How to paint an eye
T his month I want to focus on how

to use soft pastels to convey the
lovely textures of dogs’ coats and
features, and how to achieve a sense of
form. I will be demonstrating different
types and grades of pastels and pencils
to make a variety of marks, which are also
useful for other types of subject matter,
including portraits and landscapes.
Remember, every mark tells a story,
right from the very beginning of your
drawing or painting. The way we make
our marks can describe texture, energy
and movement. This applies to any
subject matter, from animals and people
to landscapes. So why not try some
experiments and see what happens. t
Figure 2 Initial charcoal sketches from photographs, where I have simplified the shapes
Find the form body. This makes me consider both into geometric shapes to place it on the
Before drawing, it helps to do homework; the texture and direction of the coat. paper and to establish my composition,
in this case to find out a little about the Dog breeds vary hugely. Apparently, looking for shapes and lines of flow
bone structure and anatomy of the there are 339 recognised breeds, grouped (Figure 2, above).
animals we are drawing. We can then into 10 different types – a lot of shapes
describe their form with the marks we and textures to draw! Nearly all have in Textures
use. When I draw or paint, I think of how common heads with long muzzles and As pastels are such a tactile medium,
it would feel to stroke the dog, and run faces where the eyes and nose seem to it’s easy to draw attention to the eyes and
my hand over the shape of its head and form a triangle that points in the direction nose with a contrast in textures, as they
that the dog is looking. This are smooth, wet and shiny, whereas the
triangle of the senses is often rest of the animal’s coat will be soft, silky,
the focal point of a canine coarse or curly. We can really enjoy these
portrait. The shape of the contrasts by varying our use of mark
muzzle, including the mouth making, and also by using hard and soft
and teeth, often become pastels, as well as pastel pencils. Here are
foreshortened in three main types of marks that can be
photographs, and we have adapted to most types of dogs’ coats: long
to look very closely for the hair, short hair, and shiny eyes and noses.
clues of light and shade that In Looking Up (right) you can see how
tell us where the shape of the the pastel has been applied using a
face changes. It’s therefore variety of different marks: the hair on the
important to find out about face is short; on the neck and body it is
bone structure, and make curly and wavy; and the ears are long and
sketches to familiarise silky. This dog’s hair grows in different
yourself with the subject. directions, and she is moving so I kept my
The form of the dog affects marks loose and quick to convey the way
the way you can make your her coat moves. The variety of browns,
marks. I went to my local rusty reds, creams and greys in her coat
museum to find a dog’s skull, mingle and interweave so I used quite
and sketching it from several a few colours together. I chose a neutral
different angles helped me pink-brown surface to work on and I
understand the complex added the cream background at an early
form (Figure 1, left). When stage in the process, as I needed the
t
Figure 1 Drawings of a dog’s skull and the photographs beginning my painting, I softness this gave me to work over with
taken in the museum simplified my initial drawing the twisting strokes of her coat. LP

Looking Up, pastel on Colourfix primer, 21x14in. (53x36cm)

t

Pastel
MARKS FOR SHORT HAIR

For short hair, such as on the face or for dogs that are short haired all over (see Swankey, below), we can achieve the effect of the coat with
hatched marks (and a little light blending, if needed). A coarser haired dog, such as a terrier, could be drawn with hatched marks left unblended.
t
Swankey, pastel on Colourfix primer, 1212⁄ x1612⁄ in. (32x42cm)
Hatched marks TIP Experiment with different ways

t
straight onto the of making marks and don’t always

surface, showing the expect to produce a masterpiece
variety of materials each time. See what you can do
used. Pitt Pastel with your materials.
Pencils give a much
finer mark than a
soft pastel and are
fantastic for this
technique.
When these
t
hatched marks
are applied over a
smudged base of soft
pastel they produce a
much more subtle
finish. By combining
your marks in layers
you can create many
different effects with
the same technique.

MARKS FOR LONG-HAIRED COATS

Let’s look in detail at the variety
of marks we can make by changing Twisting
t
the types of pastels we use, by marks on the
changing the way we hold them, ears using a
and the pressure we apply. Notice Unison pastel
how some of these examples have on its side.
been smudged with my fingers,
and others just left.
Twisting the mark with the Unison
t
pastel onto its end, giving a varied, lively
mark. Changing the pressure really varies
the marks as well.
The same types of marks, but Smudging

t
using Conté crayons (left) and Pitt a base layer of

pastel pencils (right). Notice how Unison pastel
to soften the Using twisting marks over this smudged
t
harder types of pastel produce

much sharper marks. surface. base produces a much softer effect.
t
It’s Been a Hard Day, pastel on Colourfix primer, 14x21in. (36x53cm). The painting illustrates even longer, flowing marks.
t

Pastel
TRY THIS!
I think of a dog’s eye as a marble within a socket. Do you remember as a child looking into
a marble and seeing how the light lit up the colours within? That is how the light glows in the
eye. This is my process for drawing an eye.
t t t
Sketch the initial darks with a dark brown. Place the warm yellows of the eyeball, using Scrape off the excess pigment so that you
a bright golden yellow, and soften it with brown can work over it with a blade or flat edge.
shadows.
t t t
Put more darks in with a black Conté Add highlights on the eyeball, the dot in the Add a blue sheen to the eyeball and start
crayon, including the pupil. corner and on the edges of the lower lid. Use a working some of the hair texture around the
sharp shard of soft pastel for this sort of detail. eye using Conté and soft pastel.
t
Develop hair texture around the eye using
darks and lights to define the structure of the
eye socket. Define the lower lid using a blue grey
to show the colour of the skin. Develop the soft
textures, and lights and darks of the face around
the eye, as this contrast of soft fur is needed to
show the shine of the eye.
t
The finished eye with the pastels and Conté

crayons used in the process.
Rebecca de Mendonça
Rebecca teaches, gives demonstrations
and workshops and with fellow pastel
artist, Nel Whatmore, has set up The New
Pastel School, running courses in the UK
and Italy. For details of her work and
courses telephone 01392 840132 or go
to www.rebecademendonca.co.uk

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p39_lpmay17.indd 39 13/03/2017 09:46:20

LP05 40-43 Paul_new_Layout 1 09/03/2017 21:40 Page 40
Inspiration
Time to reflect
To celebrate his 25th year of writing for LP, Tony Paul answers questions about his
development as a painter and gives advice on ways you can approach your own work
A fter decades of painting and

teaching, Tony Paul still strives
to develop as an artist, content
to go back to school to learn new
techniques and gain more inspiration
for his own work. From an early
career in commercial art to working
as a professional artist and tutor,
Tony has enjoyed a varied career.
With a wealth of experience behind
him, he holds no punches – if you
want to paint well, you have to go
back to the drawing board!
LP When did you first realise

that you had artistic skills?
TP The strange thing is that as a
child I was not aware that I had any
artistic ability, but I had a curious
mind and I loved making things from
wood, paper and cardboard. At
school I began to get my artwork and
t
Tony working in his studio constructions pinned up on the walls
of the classroom. I didn’t think it was
t Wren in the Brambles, etching and aquatint, 6½x5in. (16.5x12.5cm). Printed on anything special, but I was puzzled
dampened watercolour paper, this is my favourite of the etchings I have made.

as to why the other children found

difficulty in doing what I could do
without much difficulty.
I left school at 15 years of age and,
after taking a portfolio of artwork to
a Bournemouth advertising agency,
was employed as a trainee artist.
There I learned that versatility was
all. The four fully fledged artists in
the studio could work in many
different styles, from cartoons to
tightly resolved technical drawings
or complex lettering. I loved and
admired this versatility, and still do.
LP You later left the agency and went

to art college full time. How did you
find that?
TP Frankly, college was a huge shock.
I went to college with the belief that
I was good at drawing. I was soon
dissuaded of this at my first life class,
when the tutor told me to stop messing
about and try looking at the model!
During the break, I looked at the other
new students’ work; they were virtually
all better than mine.
This experience was probably the
kick in the pants that I needed and
from that day onwards I worked hard
on my drawing. I shall always be
grateful for being put on the right
road at college.
Drawing is the most important skill
to learn. It is not merely a preliminary
to a painting but, more importantly,
it is a way of understanding how the
individual components of the subject
fit together to make a whole. This is
why, when teaching, I do not allow
my students to use shortcuts, such as
tracing or drawing around the outline
of a projected image. You will learn
nothing from these practices.
Drawing can be taught, as it is
a fairly mechanical process which
involves measuring against a reference
dimension – in figure work this is often
the length of a head. Angles can also
be measured and transferred to your
drawing, which is much easier if you
are working on a vertical easel.
By learning to draw properly you will
understand better how to paint, too.
Measurement continues throughout the
t
In the Barn, egg tempera on gesso panel, 16x12in. (40.6x30.5cm). This was the
painting. What is the shape of this painting done on the course that introduced me to egg tempera painting. The course
plane? How much darker is this plane involved making the paint, egg, oil and varnish binder and the gesso panels from basic
to the one that turns into the light? ingredients. I also used sgraffito to draw lines into the paint to add detail. Nowadays
How cool in colour is the shaded plane I use a simpler egg tempera medium comprising only egg yolk and water.
compared to the sunlit side of the
subject? They are all assessed by instance – Vincent Van Gogh or Jack Trechikoff’s painting Chinese Girl
comparison. Many readers find drawing Vettriano? In terms of money, during was the most popular print of the
hard, as I did once, but please do go his lifetime poor old Vincent only sold decade. Most of us of a certain age
to a good drawing class that works one painting, The Red Vineyard. On still remember Monika Pon-su-San’s
from life and learn from the instruction the other hand, Jack Vettriano quickly blue-green face looking at us from
you find in Leisure Painter. I know it became a millionaire with his evocative many an auntie’s wall. Nowadays
is hard work, often frustrating, but as paintings of butlers and beaches, and it is condemned as the epitome of
your drawing from life improves, the prints made from them. Clearly 1950s’ kitsch.
magically, so will your painting. from the financial aspect, Vettriano I would define success as achieving
wins the success question hands down. something that formerly you couldn’t
LP What do you think makes So, what other criteria can you use do. But, even at my age, I am excited
a successful artist? to measure success? Perhaps popularity by trying something new, or by
TP That rather depends on what you or celebrity, as these two will probably resolving something that failed last
regard as success. Who would you produce money, if only until the week, and I do so with great
say is the more successful artist, for
t
popularity fades. In the 1950s Vladimir enthusiasm and joy.

Inspiration
In the Barn, egg tempera on gesso
t
panel, 16x12in. (40.6x30.5cm). This was
the painting done on the course that
introduced me to egg tempera painting.
The course involved making the paint,
egg, oil and varnish binder and the gesso
panels from basic ingredients. I also used
sgraffito to draw lines into the paint to
add detail. Nowadays I use a simpler
egg tempera medium comprising only
egg yolk and water.
Someone asked me once how long

it took me to learn to paint. I responded
that I was still learning. It’s rather like
climbing a mountain – you can see
what you believe to be the summit,
but as your head peeks above the edge
you see another vertiginous rock face,
the top of which then becomes the
object of your ambition. I don’t
suppose that I shall ever reach the
top, but I keep climbing. The climb
is exhilarating.
LP After decades of painting, do you

still go on courses?
TP Yes, I do attend courses. I have
t
Life Study, charcoal on cartridge paper, 15x22in. (38x56cm). Reclining figures are sought to expand my knowledge and
probably the most difficult of the poses to get right as they challenge our usual way of address defects in my work all through
working, being full of foreshortening and perspective issues. When the model took this my life. I made lino prints at school,
pose for a 20-minute sketch, I wondered where to start. Her head was upside down and but always wanted to do etching so a
her body arched backwards. I decided to work from the highest part of her body – the few years on I went to a class. I made
edge of her rib cage – working to the right along her body then through her head, which several etching editions that were
was effectively upside down. It is very hard to draw a head upside down so I had to use subsequently sold in exhibitions. My
a great deal of observation to get it right. I really enjoy the challenge of these subjects. daughter is an excellent etcher and we
This was drawn during one of the life class sessions I attend.
hope to buy our own press and do
more etching sessions together.
After I saw the work of Andrew Wyeth
in the RA, I went on a weekend course
on painting in egg tempera, tutored by
Nicholas St John Rosse, a student of
Annigoni.
When I took over a watercolour class
from a retiring tutor, I didn’t own a box
of watercolours so I went on a course
that I hoped would overcome my
inadequacies: A Figure in an Interior in
Watercolour. The tutor was Roy Freer.
I was a fairly tonal painter and he said
to me: ‘Your work looks so heavy.
Why don’t you let the butterflies out?’
Although challenging, the course was
also immensely enjoyable. In particular,
I learnt to lighten my palette and think
more about colour. A further benefit
was selling one of the paintings, which
reimbursed the course costs.
Recently I went on a course to learn
to paint using the techniques of 19th
Last Rays, from Maiden Castle,

t
acrylic on canvas board, 8x8in. (20x20cm).

My wife and I went on a walk at Maiden
Castle. The sun was going down and cast
its orange light on to the side of a hill.
I snapped it with a camera and worked
this painting from the photo. As is often
the case, the photo didn’t show the
colours that I saw so I worked them
from memory. Note how cool the
greens are, made from phthalo green
and Indian red oxide, in the mid-ground
rampart, creating cool shadow against
the hot orange of the lit slope.

century salon painter, Bouguereau.

I have seen his works in galleries
and admired his flawless oil painting
technique over years. While his subjects
- gambolling nudes and flying cupids –
aren’t my cup of tea, I was keen to
try to emulate his finish.
The course was put on by the
Edinburgh Atelier of Fine Art and the
tutor was the Canadian artist, Fernando
Frietas. We were firmly told to copy
a Bouguereau painting step by step
with Fernando, and to learn in detail
how Bouguereau achieved his finish.
We were instructed not to do our
own interpretation of the subject.
The one-week course was detailed and
intensive, dealing with multi-layering
in oil. This great course confirmed
much of my knowledge, but also
added another raft of understanding
for me to call on.
LP What courses do you recommend

to readers?
TP I would advise everyone to go to
a good life class. Many life classes have
short poses of a minute, five minutes
and 15 minutes, with no pose longer
than 45 minutes. These are good for
more experienced artists, but for
beginners or improvers who want to
achieve accuracy through measurement,
you don’t need the added pressure of
time limits. Life classes are even good
for the development of landscape
painters, as the characteristics of form,
angles, lines and tones are in all subject
matter, but in figure drawing errors
are more obvious. You should also
join art clubs, enter exhibitions and
enter competitions that inspire them.
It is all good training.
I still attend weekly untutored
portrait groups and a life class.
LP Are you still exhibiting?

TP Yes, last year I had an open studio
as part of Dorset Arts Weeks. It was the
first outing of the studio I created from
a derelict workshop at the bottom of
the garden at our home in Lower
Bockhampton, near Dorchester. It
exceeded all my expectations in terms
of sales, and my visitors were lovely.
The most common remark was about
t
Afternoon Tea with Nikki, watercolour on green tinted Bockingford paper, 14x11in.
the variety of work displayed. Galleries (35.5x28cm). This was one of the paintings made during Roy Freer’s course. I liked the
hate variety, but I never fancied being contre-jour of the figure and the light of her face against the darker wall and the dark
a sausage machine, churning out of the back of her head against the light wall behind her. These counter changes of
variations on a theme. tone make a subject more interesting.
This year a local organisation, ArtWey,
has organised a similar event, named LP Are you still teaching workshops second on composition. I would like
Open for Art, to run from 20 May to 4 and doing demos for clubs? to thank readers for their support over
June (10am to 4pm; open Mondays TP Yes, I enjoy teaching at workshops the years. It is great to know that you
from 2pm). The open studio is likely and do several a year, either of one or find my articles interesting and useful –
to be an annual event. Next year the two-day duration. As for demos to art and hopefully not too nerdy! LP
organisers will be Dorset Arts Weeks. clubs I do several of these each year,
I am painting like fury, Leisure Painter as I write I have one to do tomorrow.
articles permitting, of course! I have pulled out of tutoring landscape
Readers are very welcome to visit me courses because of a knee problem. Tony Paul
in my studio. Last year LP readers came To find out more about Tony’s workshops,
in for a browse. We had a chat and I LP What’s next on the agenda with email tonypaulart@ btinternet.com.
ended up doing a mini-demo on colour Leisure Painter? Next month, he begins a series of
mixing. For further information e-mail TP I will be writing two mini-series, articles on painting with acrylics.
me at tonypaulart@btinternet.com. the first on painting with acrylics, the

LP05 44 Subs_Layout 1 10/03/2017 15:55 Page 1
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LP05 45-47 Nield_Layout 1 10/03/2017 14:43 Page 45
t
The finished painting Battersea Power Station, watercolour, 1112⁄ x1612⁄ in. (30x42cm)
Building blocks
Learn to paint an urban scene from an unusual perspective using
a variety of classic watercolour techniques, with Anthony Nield
LEARNING OBJECTIVES
n Practise techniques to create
You will need
an ethereal effect n Surface n Miscellaneous n Watercolour
l Arches 300gsm l Winsor & Newton l Yellow ochre l Permanent
n Build colour-mixing confidence NOT watercolour brushes, Nos. 0 l Cobalt blue magenta
paper 111⁄2x161⁄2in. and 00 l French l Cadmium red
l Masking fluid l Yellow
I initially saw Battersea Power Station

under construction whilst visiting
the Royal Hospital Chelsea, and was
immediately taken by the way the sun and
(30x42cm) ultramarine ochre
l Burnt sienna
morning haze played across the structure t Step 1 Sketch the image with a 2B pencil.
of the development. Building sites of this
magnitude always appeal to me and I was
keen to capture this one in watercolour.
After sketching, photographing and
completing a small watercolour sketch,
I was ready to embark on the final piece.
I soaked and stretched the watercolour
paper on MDF. For this size of sheet,
I used 12mm thick MDF. Any thinner
and it can split the gum strip or bend the
board a little, which can easily ruin all
t
your efforts in stretching the paper. LP

Watercolour
Demonstration
continued
Step 2
t
1 To ensure a more precise finish,

mask areas on the building.
2 Turn the paper upside down and
at about 45 degrees wet a strip
from the top of the structure and
the base of the sky to prevent
a hard edge forming.
3 Lay a wash of yellow ochre from
the top of the building, working down 4 Turn the image the right way up and, the base with the same mixture,
to the top of the picture, strengthening whilst the top of the building and horizon beginning with a weak wash and
the wash as you go. is still damp, paint down the picture to strengthening it as you work down.
t
Step 3 t
Step 4
Once dry, wash over the sky in a similar fashion, working 1 When completely dry dampen the building in stages, working from
from the top of the building to the top of the image using left to right, keeping the leading edge as damp as you can to prevent
a wash of French ultramarine and cobalt blue. This wash hard edges forming.
needn’t be graduated. Leave streaks across the paper for 2 Paint the building with a mixture of French ultramarine, permanent
the yellow ochre to shine through in places. magenta and cadmium red. Also mix wells of yellow ochre, burnt sienna,
French ultramarine and permanent magenta in your palette. To make the
soft ethereal effect, mix some of the colours on the paper. Mixing colours
both in the palette and on the paper creates some very pleasing effects.
t
Step 5 t
Step 6
1 When completely dry, remove the shadows. This helps to establish a more Use the same colours for the cranes. Add
masking fluid. three-dimensional effect to the developing these with a small Rigger using the edge of
2 Using a variety of the mixes from Step 4, structure of the building. Some of this will a plastic ruler in a similar fashion as an oil
some stronger and some weaker, tidy up inevitably be lost when you add the bare painter would use a mahlstick. Allow the
and cover some of the masked areas. deciduous trees. brush ferrule to guide the brush along the
3 Darken the building in areas to create ruler thus creating a straight line.

t
Step 7
t
Step 8
Paint the chimney using the same colours. Lift some of the Include the grass area by mixing cadmium yellow
colour out on the right side to indicate the light source and, and cobalt blue. Add small amounts of cadmium
more importantly, to give a cylindrical effect to the chimney. yellow, cobalt blue and raw sienna to this wash,
This is the first one rebuilt after they were all dismantled. again to add more interest to the picture.
Step 9
t
1 To create further interest,

include fencing and balustrades in
the foreground. The deciduous trees
also help to break up some of the
horizontal planes.
2 Add the path using yellow ochre
and burnt sienna and the balustrades
using a mixture of cobalt blue and
burnt sienna. Add a mixture of
French ultramarine and burnt
sienna for the railings.
Step 10
t
Finally paint the trees with fine

sable Winsor & Newton brushes Nos. 0
and 00 using a diluted version of the
railings’ mix. Add more burnt sienna
on some of the fine branch work
in the tree crowns.
The finished painting Battersea

t
Power Station, watercolour,

1112⁄ x1612⁄ in. (30x42cm)
Anthony Nield
Find out more about Anthony
Nield and his work by visiting
www.anthonynield.com

LP05 48-51 Hogan_Layout 1 10/03/2017 14:54 Page 48
Acrylics
A walk on the moor

Spring Follow Tony Hogan as he paints the second of four
images of Bodmin Moor through the seasons using acrylics
LEARNING OBJECTIVES
n
n
How to paint spring greens
Begin a painting using a
T he season unfurls with the sounds
and colours of spring, and my
appetite to begin the second painting
in the Bodmin Moor series excited me.
I returned to the same location on the
Spring allows for the freshness of
a whole new palette so with easel in
position, canvas in place and brushes
and paints to hand the new challenge
begins. Do remember to have all these
dramatic blue/black ground moor, near the village of Minions and the within easy reach so when you are
n Learn traditional acrylic Hurlers standing stones. Every return to in the moment you do not have any
techniques step by step a previously painted or observed location distractions.
provides further information and Working once more with Atelier
possibilities for the painter. The bare earth Interactive Acrylics on a pre-stretched
of winter awakes with hints of ochres and cotton canvas, I began by giving the
You will need soft spring greens. Barren gorse transforms entire canvas a covering of dioxazine
n Surface into dark green bushes with early yellow purple. This established a warm, dark
l Pre-stretched and primed blooms. The grey of winter gives way base on which to develop the painting.
medium texture canvas to hazy blue skies and the trees are I ensured it was painted quite diluted
16x20in. (40.5x51cm) clothed in hues of green. to permit faster drying time. LP
n Brushes
l Rosemary & Co Step 1
t
Ivory long flat Having allowed the dioxazine

l Rosemary & Co
purple wash to dry I used a
small Rounds brush to draw the basic shapes of
n Atelier Interactive Acrylics the view loosely in toning grey.
l Blue/black (indigo) This only took a few minutes as
l Dioxazine purple I already had knowledge of the
l Cobalt blue (hue) view from my winter painting
l Cerulean blue (see LP, February 2017), which
l Toning grey allowed me to approach the
l Toning grey yellowish painting of the sky quickly.
l Raw sienna
l Yellow ochre
l Naples yellow
t Step 2
l Cadmium yellow
1 I painted the entire sky area
l Tinting (pearling) white
with a covering of tinting white
l Titanium white
then pushed cerulean blue into
l Olive green
it towards the horizon and cobalt use of a water atomiser.
l Bright green light
blue higher up the painting. 3 To achieve a more textural effect
l Sap green
2 At the same time and while still wet I added I incorporated gesso primer (not liquid) into
l Madder brown
the clouds using tinting white, raw sienna, the process. I laid out a quantity of the gesso
titanium white, permanent brown madder and at the side of my palette and loaded the
dioxazine purple. Atelier Interactive offers the brush before dipping it into the colour. With
massive advantage of the constant moving of clouds and changing
staying wet far longer than light conditions, skies painted en plein air
other acrylics and can be can be hard to capture so time was spent
reactivated at any time painting, re-painting and balancing
during the day with the to achieve the desired effect.
Step 3
t
When I felt
I had taken
the sky as far
as I could for
the time
being I made
a start on
developing
the landmass.

Acrylics
Step 4
t
1 On a vista of this scale, the distant hills appear blue, but we know
with our knowledge of life that they will be similar, if not the same,
as the foreground colour. Working, therefore, with the previous blues,
toning grey and dioxazine purple I painted the distant areas.
2 Next I concentrated on the colours of the land and added toning
grey yellowish, yellow ochre, Naples yellow and olive green to my
palette. I applied these, with other colours already on the palette,
in broad sweeping strokes, following the rough contours of the moor.
I often use a No. 10 long flat brush, loaded with two or three colours
at a time. The mixing of the colours was achieved on the canvas, not
on the palette, giving a freedom of the tonal and colour variance.
Step 5
t
With a semblance of the mid-distant landmass
established, I painted the significant feature of this
view – the delightful, abandoned tin mine head workings.
The first marks of the old mine head were established
with toning grey, indigo blue and a touch of raw sienna.
I carefully observed scale and location of these workings
to ensure perspective and depth in the painting. When
presented with such a significant focal point, it’s all too
easy to enlarge the image and completely alter the
whole perspective and depth of the work.
Step 6
t
1 Moving on I noted that the dark colours I first applied to the

moors now required lightening. For this I added bright green light
to my palette and this, with the existing paints on the palette,
provided the colours needed to repaint many areas.
2 I then developed the lighter high points while retaining the original
darker tones for the lower undulations. Dependent on the sun’s
position, it is usual for the higher points of landmasses to be lighter.
3 At this stage, further painting of the moorland closer to the
foreground was blocked in before I added distant trees and hedges.
Step 7
t
1 Standing back to draw breath and observe the work at

this stage, I was immediately struck with the imbalance of the
still untouched foreground in purple. This became the next
issue to resolve before I tackled the middle distance and
background detail.
2 I added sap green to the palette and loosely blocked in the
majority of the foreground grasses in varying shades whilst using
natural earth colours where the reeds would later be painted.
I was careful to retain the dark areas, which, when painting the
details of lighter reeds later, would make them stand forward.
t

Acrylics
Demonstration continued
t
Step 8 t
Step 9
1 Being relatively satisfied with progress so far I began to With a vista of this scale selecting how much you need to include
introduce some of the wonderful gorse bushes. Working with and what to leave out to achieve the vision you require needs a large
a No. 2 Round brush for control and again, for the most part, amount of thought. After all, this is a painting, not a photograph
working darks to lights, I painted the larger bushes on the and was created to give the atmosphere and feeling of Bodmin
left. Once the deeper tones were painted and while it was Moor in spring. Tweaking large areas of rough moorland terrain,
still wet, I introduced other greens. introducing additional distant gorse bushes and other details,
2 I allowed a short time to let the paint dry a little before including the location of the trunk of the lone tree on the right, now
adding both yellow ochre and cadmium yellow medium on took place. The foreground landmass attracted a second visit at this
top with touches of white pushed in for even more highlight. time by defining the shape of the gullies left after the drying of the
3 Careful observation brought to my attention smaller winter flooded areas. These earth trenches were painted with indigo,
gorse bushes in the distance and I swiftly established these dioxazine purple and madder brown. Between and around lay the
with the yellows already on my brush, telling myself that grass areas and it is here the shapes of the rolling indentations
I could come back later and work on these with darker of the rough moor were defined with varying shades, hues and
undercuts, which I did. tones of greens.
Step 10
t
With the fresh green

shoots of life showing on the
branches, the lone tree added
yet another important aspect
to the composition. Still mostly
bare of foliage, the darks of
the tree trunk and its size in
the middle distance made it
visually strong and forming
a line of sight through the
painting. The strength and
location of this appeared to
make the old tin mine head
recede, providing even greater
depth to the work. I avoided
the mistake of using brown for
the trunk and branches and
opted for laying touches of
dioxazine purple and indigo
to produce strong but warm
darks. Working into this with
Naples yellow on the side
where the light caught the
trunk provided a light grey-
green to that side of the tree.

Step 11
t
1 Constantly reviewing and adjusting the
whole moorland area ensured I captured
little moments of fleeting light or shadow.
2 I began painting the reeds and wild
moorland grasses using a No. 4 hog hair fan
brush. The brush’s stiffness allowed me to
create the effect of reeds being blown by the
wind by using a flicking upwards motion.
Naples yellow and raw sienna were used for
the initial stages of the blocking-in process.
t Step 12
1 Working with my No. 2 Round brush
and a Rigger I reached the final process
of flicking in long reeds and grasses of
various colours. I used the darker colour
of dioxazine purple at the lower end of
the stems, running through madder
brown, raw sienna and yellow ochre
as I worked up the stalks.
2 Standing back and looking at the work
I contemplated the overall piece. I was
looking for aspects of imagery, form or
colour that I should have included or Tony Hogan
indeed any that I needed to delete. Tony runs art holidays and courses for all abilities from his home studio in Cornwall
Some small adjustments were needed at from April to October. This year Tony will also be running courses in Scarborough
this stage, but eventually the time came in early May and late July, Venice in early October and Spain at the end of October.
to put down the brushes and accept Visit www.hoganart.co.uk; email admin@hoganart.co.uk or telephone 01208 895088.
what had been achieved.
t
The finished painting Bodmin Moor in Spring, acrylics, 16x20in .(30.5x51cm)

LP05 52-55 Kerr_Layout 1 10/03/2017 15:29 Page 52
t
Mediterranean Church, line & wash on Arches Hot Pressed watercolour paper, 814⁄ x1112⁄ in. (21x29cm). Materials used: Sakura Pigma Micron
Drawing Pens Nos. .01 & .03, a Pentel brush pen (black) and Artists’ watercolour in ultramarine blue, light red, raw sienna and permanent rose.
Drawing matters
Part 4 Build your confidence and enthusiasm for drawing
with these three line and wash exercises, by Anne Kerr
easy to use with pen and ink. We Having learnt how to draw your
LEARNING OBJECTIVES will also use just a few colours so viewer’s eye to the focal point by
n Understand line & wash that the resulting pictures take on using strong tonal values and detail,
techniques a cohesive look. you can now enhance this with a
The exercise I introduced in last little colour to bring the scene to life.
n Use a limited palette month’s article suggested you went The same rule will apply when you
n Build confidence drawing straight in with ink without first add your chosen colours. Use them
with ink making a pencil sketch. Keep trying mainly in the area where you wish
this until you feel confident. For the your viewer to look. Your
L ast month we looked at drawing

with both water-soluble and
waterproof ink. Now we move
on to using waterproof (permanent)
ink together with watercolour paint.
time being, however, keep making
pencil sketches whilst using the three-
pass method of drawing: a pencil
sketch, followed by an outline drawing
in ink, and finally adding detail marks
watercolour washes should be
added using a loose style. Don’t
try to fill in between the lines as if
colouring a graphic design. Let the
colour bleed out over the edges of
This technique is usually referred and strong values to the focal point the object being painted. If you
to as line and wash. (known as ‘power pointing’). cover every area of white paper, the
This month we will be using Line and wash techniques help you picture will appear flat and lacking
watercolour washes so it’s important to draw in a more spontaneous and in energy and movement. Leaving
to choose a paper designed for sketchy fashion, helping you when white paper showing allows the
watercolour, as ordinary drawing you’re painting on location. You can light to come in.
paper will buckle when wet. A still use texture and shading ideas, Before you begin, try your ink to
watercolour Hot-Pressed (HP) paper but not to such an extent that it make sure it really is waterproof
is best, as it is smooth, making it inhibits the freshness of the picture. once it has dried on the paper.

Drawing
t
The Ship Inn, line & wash on Saunders Waterford Hot-Pressed bright white watercolour
paper, 814⁄ x1112⁄ in. (21x29cm). Fountain pen with platinum carbon black fountain pen ink
was used with ultramarine blue, raw sienna and light red Artists’ watercolour.
Drawing in the eye to complete. It shows the well-known

Living Statue (right) is a drawing of Ship Inn in Fowey, Cornwall. When
one of those incredible street artists I came across the scene, the street was
who dress as statues. They sit for a cluttered with parked cars and a market
long time without moving and are stall. I decided to concentrate on the
therefore perfect for a subject to sketch, lovely old building, keeping my picture
especially if you offer a small donation quite simple. Drawing a subject within
first. Notice how your eye is drawn a larger vista is slightly more
to the ‘statue’ itself rather than to the challenging than focusing on a single
surrounding vista. This is where all subject (as we did last month). Don’t
the dark values, detail and most of the become too involved in producing an
colours are situated. We know that accurate rendition.
there are buildings and foliage nearby,
but they are merely suggested by the Simpilicty is key
simplest of lines. When you have completed your pencil
When drawing the side of a building, sketch, take a good look at it. Does it
for instance, draw one complete look balanced and pleasing to the eye?
window, suggest the next nearest to If not, go in and change your lines.
it then represent all the other windows It is far better to have a well-balanced
with just a line or two. Our brains will and interesting scene than one that is
interpret this as a wall of a building just a perfect reproduction, but is not
full of windows. If you have used pleasing. Move a tree, if necessary.
your texture and shading patterns Remove a building if it’s too ugly and
only on the focal point, you will lead spoils the ambiance. Add figures to the
your viewer’s eye straight to this scene if it will give the picture more
area. This sketch was completed in interest and movement.
20 minutes. You can still see some of The following three exercises t
Living Statue, line & wash on Arches
my pencil marks underneath the ink. (over the page) are designed to build Hot-Pressed watercolour paper, 814⁄ x1112⁄ in.
Mediterranean Church (above left) is your confidence and skill in using line (21x29cm). For this drawing I used Sakura
another example of a quick 20-minute and wash. As always, the key is in Pigma Micron Drawing Pens Nos. .01 & .03
sketch, completed on location, while experimenting and practice – and and Artists’ watercolour in raw sienna,
ultramarine blue and light red.
t
The Ship Inn (above) took a little longer having fun with your materials. LP

EXERCISE 1
Choose a single subject that is set within leaving the surrounding vista as suggested words, sub-divide the view, draw the
a larger scene: an ornate window within shapes with just enough detail for the largest shapes first then the next largest
a building, for instance; a single car viewer to interpret the scene. and so on until you come to the smallest
on a busy street; or an ornament on a Remember to place your drawing on details. This ensures you don’t run out of
cluttered shelf. Put all the detail and the page accurately by drawing from the space and the drawing sits comfortably
tonal values into your chosen subject, outside in (see Part 1, February). In other on the page.
EXERCISE 2
How do you feel about drawing without making an initial pencil
sketch? I hope you are still working on achieving this. I suggest you
You will need
take a sketchbook and pen out with you and leave the pencil at home. l Arches Hot-Pressed l Artists’
Draw just the simplest of subjects in ink, giving yourself just five minutes watercolour paper size, watercolour
before moving on to another subject. You will be amazed at how your 81⁄4x111⁄2in. (21x29cm). Ultramarine blue
confidence will build if the pencil and rubber are nowhere to be seen. l Sakura Micron Drawing Raw sienna
Here you will build up a picture without an initial pencil sketch. Pens Nos. 02 & .05 Light red
l Pentel brush pen (black)
t
Step 1 Looking at this,
I went straight in with ink, drawing the it’s difficult to know
largest shapes first. Any of the objects in exactly which object
this initial sketch could become the focal in the drawing is the centre of interest.
t
Step 2
point: the trees, the bridge or even the However, when looking at the finished picture, I brought in the darkest tones with the
large collection of rocks in the foreground. there is no doubt as to the main feature. ink. Notice how your eye wanders around
these areas of the
picture.
Step 3
t
I added watercolour
washes of:
Sky and water Raw
sienna and light red
Rocks Ultramarine
blue and light red
Foliage Various
mixtures of
ultramarine blue,
light red and raw
sienna
Shadows Ultramarine
and light red.
The finished
t
drawing, line &

wash on Saunders
Waterford Hot-
Pressed bright
white watercolour
paper, 814⁄ x1112⁄ in.
(21x29cm)

Drawing
EXERCISE 3
This is a sketch of the Parthenon in Athens, move some of the figures to make the picture Next month we will look at the first
Greece, which was drawn on location without more interesting. Try to use your own colour of a two-part drawing project that will
an initial pencil sketch. Try a similar view scheme. Perhaps use just one colour, maybe allow you to use many of the techniques
shown in the photograph. You could add or sepia. Keep the colours fairly simple as I have. we have covered during this series.
t
The Parthenon,
line & wash on Saunders
Waterford Hot Pressed
watercolour paper,
814⁄ x1112⁄ in. (21x29cm).
Materials used: Sakura
Micron drawing pen
sizes .01 & .03 and Artists’
quality watercolour in
ultramarine blue, raw
sienna and light red.
Your reference
t
photograph
Anne Kerr
Anne teaches on painting
holidays in the UK, Italy
and Spain. She gives
talks and painting demos
to local art groups and
runs classes at her home
studio. Full details can be
found on her website at
www.annekerrartstudio.com

LP05 56-58 Parashko_v1_Layout 1 10/03/2017 15:40 Page 56
Painting from photos
From photo to painting

Part 5 Elena Parashko demonstrates how you can take elements
from different aspects of one scene to produce an original painting
material as if this is somehow a form of and fill in the gaps in our knowledge
LEARNING OBJECTIVES cheating. The problem with relying on of a subject. Taking the time to study
n Paint successfully from photos the memory of how things look is that we the details in a photo carefully is an
tend to reproduce simplistic stereotypes effective way to train the eye to see
n Choose and mix elements from that become the basis of inaccurate and and the brain to interpret the world
different photographs unrealistic drawings and paintings. accurately.
n
To make sense of our complex world,
How to take reference photos
our brain automatically selects important Make several attempts
details for processing and filters out Due to lighting conditions or
what’s irrelevant in that moment. It obstruction to visibility, one reference
T his month we look at how

photographs support observation
by capturing a moment in time,
documenting details, refreshing our
memory and filling in gaps in
simplifies and categorises this information
and makes assumptions and
generalisations based on this limited
sample, as there is just too much going
on for us to process every detail.
photo may not be adequate enough to
capture all details of the subject. In this
case, use several photos of the same
scene, taken from different angles as
points of reference in constructing a
knowledge required to complete We go about our lives thinking we painting. This is the dilemma I faced in
a painting. know what everything looks like, but painting All Saints Chapel II (far right).
A common fallacy about good artists we really don’t observe too much. As soon as I entered the chapel,
is that they must be able to conjure Give yourself this quick test. What colour I imagined a painting featuring one
artwork from their imagination without shoes was your best friend wearing last of the beautiful stained glass windows
referring to real life or any reference time you met? When you went shopping, surrounded by rich woodgrain, looking
did you notice if the cashier was wearing through the clear glass window onto
a ring? What was the licence plate of the the view of the beach below. As
last blue car you saw? I could not paint on location, I had to
When we draw something purely from rely on taking photographs of the scene
memory, our brain calls up stereotyped then working on the painting in the
images created since childhood so if you studio. But it was not as simple as
draw a daisy purely from memory, it may taking one photo and copying it.
look something like the drawing you see When I photographed the stained glass
left. We all recognise this to be a flower, window, the view through the clear
but when we compare it to a photograph window was bleached out completely
of a daisy (below left), it’s obvious that due to the strong backlighting. I didn’t
this drawing is just a stereotyped symbol use a flash so the colours of the stained
of a daisy. glass would not be diluted, but this
The photograph draws our attention resulted in the surrounding woodwork
to so much more detail, such as the being in complete shadow.
foreshortening of petals, as the ones The first reference photo (Photograph
in front come towards the viewer and 1, above right) was used for the details
those at the back point away. It records of the stained glass, the vegetation
the number of petals and their irregular outside the clear window and the basic
spacing with some overlapping and some composition. The second reference
spaced further apart. We can study the photo (Photograph 2, below right)
width and length of petals, their vein was taken outside the chapel to capture
t
Stereotypical sketch of a daisy, made pattern and blush of purple at the base the view looking down the hillside
from memory and tip. The photo clearly shows the onto Catseye Beach. For my finished
comparative size of the central disc painting, I deleted many of the bushes
with its interesting pattern of stamens and to paint a better view into the distance.
pollen. The photograph also provides a I relied on the third reference photo
lot of information about colours, textures, of the exterior of the stained glass
patterns of light and shadow as well as window (Photograph 3, above right)
the length of stems and shape of leaves. for details of window frame structure,
Our typical memory of a daisy omits as internal shots were extremely dark.
all these intricacies, which need to be For the fourth reference photo
incorporated into artwork if it is to (Photograph 4, above right), I used
look realistic. a flash to photograph a section of
To create representational works interior wall as a great example of
of art successfully, an artist needs to colour and patterns of woodgrain.
observe subjects and break the habit of
stereotyping. Photographs are a great Plan B
support for observation, as they record Even if you begin painting from real
t
Photograph of a daisy. Look closely every detail and can be referred to again life, photographs are a great back up
and you will find a world of variety and and again even after the real life situation plan if you run out of time to complete
interest contained within the single flower. has passed. Photos refresh the memory your artwork, if there’s a sudden

Painting from photos
PHOTOGRAPHIC REFERENCE for All Saints Chapel II (right)
t
Photograph 3 The window framework
on the exterior of the chapel
t
Photograph 1 The stained glass
t
Photograph 4 The woodgrain
window and vegetation from pattern on the interior walls
inside the chapel of the chapel
t
All Saints Chapel II, oil on canvas,
90x1112⁄ in. (90x30cm). This was painted
from the four photographs you see here.
Photograph 2 The view outside the

t
chapel looking down onto Catseye Beach

t

t
Sapphires, change in the weather or if the subject
oil on canvas, moves dramatically. This is particularly
3012⁄ x3012⁄ Iin. useful when painting flowers as floral
(100x100cm) arrangements continue to open, move
to follow the light and eventually wilt.
For inspiration that changes or
disappears in an instant, a photograph
can hold that moment until it can be
painted. Next month’s demonstration
of the rising moon, called Moonshine,
would not have been possible without
The the help of photographs. The situation
t
reference did not allow me to paint on location

photograph and relying on memory would not have
for Sapphires been enough to capture the details of
(above) colour and composition accurately. LP
Elena Parashko
Elena is an award-winning artist, teacher and writer
from Sydney, Australia. Visit www.elenaparashko.com;
email info@elenaparashko.com and visit Elena’s blog
at www.survivalguideforartists.com

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LP May 2017 Books p61_News 1st 13/03/2017 10:34 Page 6
Best-sellers republished and updated
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Watercolour artists often struggle medium, covering a broad
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LP May 2017 Art clubs p62-65_News 1st 13/03/2017 14:11 Page 2
Art clubs
OVER TO YOU FOR THE LATEST NEWS ON CLUB
Community Centre, Bradwell, Great
Yarmouth, Norfolk on Saturday 7 May, 10am
to 5pm and Sunday 8 May, 10am to 4pm.
n Chandler’s Ford Art Group
Spring exhibition at West Wellow Village
Hall, Buttons Lane, West Wellow, Romsey,
Hampshire SO51 6BR on Friday 14 April,
EXHIBITIONS AND ACTIVITIES 12 noon until 5pm; Saturday and Sunday
15 and 16 April, 10am to 5pm; and Monday
17 April, 10am to 4.30pm. Enquiries to
Barry Fry 02380 262315.
CLUB EXHIBITIONS
n n Cumbria Local Arts
n Alwoodley Art Group Bearsden Art Club
Spring exhibition at the Community Hall, Exhibition at the Lillie Art Gallery, Station Annual open exhibition at Grasmere Hall,
Alwoodley LS17 2NE on 1 and 2 April, Road, Milngavie, East Dunbartonshire from Grasmere from 14 to 23 April, 10am to 5pm.
10am to 5pm daily. 29 April to 25 May. Open Tuesdays to n Denbighshire Art Society
Saturdays, 10am to 1pm and 2 to 5pm.
n Arnold Art Society Spring exhibition at Porth Eirias Exhibition
Visit www.bearsdenart.org.uk Centre, The Promenade, Colwyn Bay
Exhibition at the Pondhills Community
Centre, off Coppice Road, Arnold, n Berkhamsted Art Society LL29 8HH from 14 to 17 April. Open 10am
Nottingham NG5 8DR on 6 and 7 May, Spring exhibition at the Civic Centre, to 5pm daily.
10am to 4.30pm; www.art4arnold.com 161-163 High Street, Berkhamsted, n East Dean & Friston Art Group
Hertfordshire HP4 3HD from 14 to 20 May.
n Bathampton Art Group Annual exhibition at East Dean Village Hall,
Open Monday to Saturday, 9am to 5pm;
Spring exhibition at Bathampton Village East Dean, East Sussex BN26 0DL on 29
Sunday, 2 to 4pm.
Hall, Holcombe Lane, Bathampton April, 2 to 5pm; 30 April, 10am to 5pm, and
BA11 6UL on Saturday 22 April. Visit n Broadlanders Art Club 1 May, 10am to 4pm. Enquiries to 01323
www.bathamptonart.co.uk Spring exhibition at The Mill Lane 894975 or email mandmab@hotmail.co.uk
Highlights
Attic Art Club May. The fair will include paintings and The exhibition is open on Friday 19 May,
The Attic Art Club will be holding its sculpture as well as woodturning, 12 noon to 8pm; Saturday 20 May, 10am to
annual Original Art Fair at The glassware and jewellery. For more 5pm and Sunday 21 May, 10am to 5pm.
Village Hall, 18 Lewes Road, information email carolelynn@btinternet.com; t Susan Brook Checkmates, pastel, 161⁄2x241⁄2in.
Ditchling BN6 8TT from 19 to 21 telephone 01444 482375 or 07763 675565. (42x62cm)

News
Patchings Club Members is different and engaging and which t
Composite painting of Venice made by
Patchings Art Centre in allows new ideas and techniques to be Patchings Club members
Nottinghamshire has a thriving club explored. This term’s challenge was to
membership that meets every work individually in soft pastel on a clear at the end when all the work was
Thursday to enjoy painting together. number of small squares of black card, assembled together. Despite the
Part of the programme includes each measuring 20x20cm from complicated subject the resulting
monthly sessions by a guest artist, photographs of the same size selected painting (above) is rich in colour and
and each term a special project is set. randomly. In total, 140 individual pieces detail. Visit www.patchingsartcentre.
The idea is to introduce a subject that were painted. The result only became co.uk/club-members for more details.
n Epsom and Ewell Art Group n Kineton Art Group n The South Wales Art Society
Spring exhibition at Denbies Wine Estate, Open art exhibition at Kineton Village Hall Exhibition at The Gate Gallery, Keppock
London Road, Dorking RH5 6AA from 6 to on 6 and 7 May, 10am to 5pm daily. Visit Street, Roath, Cardiff CF24 3JW from
19 March, 9.30am to 5pm daily. www.kinetonartgroup.co.uk 12 April to 5 May. Enquiries to Tony
0920 566099.
n Farsley Art Club n Kingsbridge and South Hams
Exhibition at Westroyd Studio, New Street, Art Club n Tadworth Art Group
Farsley LS28 5AS from 6 to 14 May. Open Spring exhibition at Kingsbridge Old Market Exhibition at Peter Aubertin Hall, Elmore
weekends, 11am to 5pm; 7 to 9pm on Hall, Devon from 13 to 28 May, 10.30am Road, Chipstead, Surrey CR5 3SG on 12 May,
Wednesdays and 2 to 4pm on Thursdays. until 3pm daily. 6.30 to 10pm; 13 May, 10am to 6pm; and
14 May, 10am to 5pm.
n Hallam Art Group n Kirby Bellars Group of Artists
Exhibition at the Botanical Gardens, n Titchfield Art & Craft Show
36th annual exhibition in Kirby Bellars
Education Centre, Sheffield Botanical Village Hall and in St Peter’s Church, from 43rd annual exhibition at Titchfield
Gardens, Sheffield S10 2LN, from 29 April 29 April to 1 May. Community Centre, Mill Street, Titchfield
to 1 May, 10am to 5pm daily. Visit PO14 4AB from 5 to 7 May.
n Newark Art Club
www.hallamartgroup.wordpress.com n Tiverton Art Society
Spring exhibition at St. Mary’s Magdalene
n Haltemprice Art Group Spring exhibition at the Castle Primary
Church, Newark NG24 1JS from 28 April
70th annual exhibition at The Civic Centre, School, Barrington Street, Tiverton from 8
to 5 May.
Cottingham, East Yorkshire from 30 March to 15 April, 10.30am to 5.30pm daily;
to 1 April. Open daily, 10am to 5pm; n Poole Leisure Painters closing at 3.30pm on final day. Visit
closing at 4pm on final day. Exhibition at the Gallery Upstairs, Upton www.tivertonartsociety.co.uk
n
Country Park, Dorset BH17 7BJ from 4 to
n Harrogate and Nidderdale Art Club Wetherby Art Group
15 May, 10am to 4pm daily.
Spring exhibition at Ripley Town Hall, Exhibition at Wetherby Town Hall, on
Ripley, near Harrogate HG3 3AX from n Rayleigh Art Group Saturday 6 May, 10am to 4pm.
29 April to 1 May. Open daily, 10.30am to Annual exhibition at the WI Hall, Rayleigh,
5.30pm. Visit www.handnart.co.uk Essex on 8 and 9 April.
n Hastings Road Art Group n Ridgeway Art Group Leisure Painter & The Artist’s
(Sheffield) Spring exhibition at the Scout Hall, The Art Club of the Year
25th annual exhibition at Baslow Village Ridgeway, Tonbridge on Saturday 6 May Competition 2017
Hall, Derbyshire from 29 April to 1 May, from 11am to 3.30pm.
10.30am to 4.30pm daily. n Shelford Group of Artists
n Herne Bay Art Society Exhibition at Shelford Village Hall, Church
CALL FOR ENTRIES
Exhibition at The Horsebridge Centre, 11 Lane, Shelford NG12 1EN on 15 and 16 Make sure your entries are with us
Horsebridge Road, Whitstable, Kent CT5 1AF April, 10am to 4pm daily. Enquiries to soon! The closing date is 31 March.
from 27 April to 2 May, 10am to 4pm daily. 01949 860568. All UK art clubs are invited to
n Horsham Painting Group n The Society of Marple Artists submit five two-dimensional works
One-day exhibition at the Quaker Meeting 49th annual exhibition at the Methodist that represent their club’s history,
House, Horsham RH12 1SL on Saturday Church Hall, Church Lane, Marple SK6 7AY members and activities. To register
20 May, 10am to 4pm. Visit on Friday 28 April, 10am to 9pm and go to www.painters-online.co.uk
www.horshampaintinggroup.co.uk Saturday 29 April from 10am to 5pm.

Highlights
Association of Marine Artists
Open-air exhibitions take place on the
East Pier, Dublin Bay throughout the
summer months. The first two will be
held from 15 to 17 April, and from 29
April to 1 May. If you are interested in
exhibiting go to www.dlharbour.ie and search
‘exhibitions’ for a downloadable entry form.
Houghton Conquest Art Society
The Houghton Conquest Art Society will
be holding an exhibition with Victorian-
style tearoom at Houghton Conquest
Village Hall on Sunday 30 April from
11am until 4.30pm. Paintings,
demonstrations, tea and cakes will be
available. For more information email Mary
Rich at mimi@uwclub.net or Dave Williams at
williams.misida@tesco.net
Leicester Society of Artists
Little Selves is an exhibition at the New
Walk Museum and Art Gallery, Leicester
t
Ron Stacey painting,” says Ron. “I go straight to featuring small portraits from local
Heading Home, work with brush and watercolour,
acrylic, 14x18in. students, members of the Leicester
(36x46cm) doing a preliminary sketch only if the Society of Artists and items from the
subject calls for tight treatment. I have Museum’s own collection. The
Ron Stacey, always tried to encourage our members
t
exhibition will run from 25 March

founder of the to be free in their work, but most of all
Bardsea Art until 25 June. Visit
Group with his to enjoy it.” www.leicestersocietyofartists.co.uk
small study, Nowadays it’s not as easy for Ron to
Light on the Lake Octavia Art Group
work en plein air as he used to, so he
The annual exhibition of the Octavia Art
mainly works from photographs
Group takes place at the Cow Byre
generously supplied by the many local
Gallery, Bury Street, Ruislip HA4 7SU
and professional artists fit and young
from 7 to 13 May. The exhibition will
News enough to still walk the fells of the Lake
include work in a variety of media
Bardsea Art Group District and mountains of the world,
including encaustic wax, photography,
The Bardsea Art Group will be holding many of whom are regular tutors to the
jewellery and pottery. This year’s guest
its annual exhibition at the Old Bardsea Art Group.
is textile artist, Judith Rackley, who will
Schoolroom, Bardsea, near Ulverston Professional artist, Graham Twyford,
be showing vibrant wall-hung work.
in Cumbria from 27 to 29 May; 10am has been a visiting tutor since its early
Demonstrations will take place
to 5pm daily. Group member, Liz days. “Throughout the years,” he says,
throughout the week. Open daily, 10am
McGillivray, has written the following “Ron has provided not only boundless
to 5pm; Sunday from 2 to 5pm. For more
as a tribute to Ron Stacey, the group’s amounts of encouragement to the
information email rogerscd@talktalk.net
founder, who is still a very active Bardsea Art Group, but he is also
extremely generous in sharing his own Salisbury Group of Artists
member of the group and whose work
knowledge, equipment and materials. The Salisbury Group of Artists will be
will form the centrepiece of the
Ron is a real presence in the Furness holding its summer exhibition at
exhibition.
community of artists and an important Salisbury Library SP1 1BL from 5 to 27
It wasn’t until Ron’s retirement on
figurehead for us all.” May. The exhibition will be open during
health grounds in 1988 that he started
For more information about the group,
usual library opening hours. A ‘Meet the
the Bardsea Art Group, initially with
contact Liz on 01229 580398 or email her at
Artist’ event will take place on Saturday
just 12 members. Today, over 40
Elizabeth.mcgillivray@gmail.com
6 May. For more information visit
members attend either the Monday or
www.salisburygroupofartists.co.uk
Tuesday sessions or the life drawing Brighouse Art Circle
class on Thursday evenings. The Brighouse Art Circle is looking for Stevenage Arts Society
Happy using watercolour, oils, pastels, new members of any age and ability. The spring exhibition of the Stevenage
or acrylic, Ron is a natural colourist This friendly, informal group meets Arts Society will take place at the
and his work is revered for its loose, weekly on Thursday evenings at Denington Galleries, Springfield House,
almost abstract style, using 7.30pm at Waring Green Community High Street Old Town, Stevenage SG1
complementary colours to create Centre, Brighouse HD6 2AX. 3EH from 22 April to 6 May. In addition
atmospheric effects. “Knowing how to To find out more telephone Geoff on
mix colour to achieve effects of light 01484 712947. Mark Tanti Don’t Be Foolish For a Grime (music)
t
Artist, pen and ink, 161⁄2x113⁄4in. (42x29.5cm) on

and shade is key in starting a new Visit www.brighouseartcircle.co.uk
show at the annual exhibition by the Stevenage
Arts Society

Barry Sullivan,
t
Mophead,
watercolour,
11x153⁄4in.
(28x40cm)
on show at the
summer
exhibition of the
Tadworth Art
Group
to the broad display of members’ work art at the London School of Printing, Tadworth Art Group
in oil, acrylic, watercolour, printmaking and Greenwich University where he The summer exhibition of the Tadworth
and drawing, there will be ceramics and studied a course in Community Arts. Art Group takes place at the Peter
sculpture produced in the society’s Mark has continued his interest in Aubertin Hall, Elmore Road, Chipstead,
pottery studio. community outreach projects. “I’ve Surrey CR5 3SG on 13 May, 10am to 6pm
This year, the featured artist will be spent many years hiding my art form and 14 May, 10am to 5pm. There will be
Mark Tanti. Born in south London in from the authorities,” he says, “and now a launch evening from 6.30 to 10pm on
1982, Mark developed an interest in I’m working for them to create brighter Friday 12 May with an opportunity to
graffiti art through the skate board and communities and exhibit my works on meet the artists over wine and nibbles.
street culture, before going on to study walls I have permission for.” Visit www.tadworthartgroup.org.uk
Demonstrations & Classes

Bedford Art Society
Guy Scott, an established artist from
Buckinghamshire will demonstrate how to tackle a
portrait in acrylics to the Bedford Art Society on
Friday 7 April (7.15 for a 7.30pm start) at Putnoe
Heights Church, Bedford MK41 8EB.
And on Friday 5 May, well-known fantasy
artist, Sharon Hurst will give an insight into her
ideas and techniques to the Bedford Art Society.
Entry to each demonstration is free for
members; £5 for visitors. Contact Jean Paterson
01234 307210 or visit www.bedsartsociety.co.uk
Brighouse Art Circle
The subject for Brighouse Art Circle’s May
workshop will be Figures in a Painting. The
workshop takes place at Waring Green Community
Centre, Brighouse at 7.30pm on 11 May. For more
information visit www.brighouseartcircle@yahoo.co.uk or
telephone Geoff 01484 712947.
Halifax Art Society
On 21 April, Lynda Thomas will give a mono-print
workshop to the Halifax Art Society at All Saints
Parish Hall, Godfrey Road, Skircoat Green, Halifax
from 10.30am until 1pm. Bring with you apron,
sketches and photos. For more information visit
www.halifaxartsociety.com

LP Marketplace Join Steve Hall this summer
and learn how to loosen up your
‘Watercolours in Sussex’
To advertise your holiday, course or business Enjoy the delights of painting in the glorious Sussex countryside,
particularly the South Downs and the English coastline
call Anna-Marie now on 01778 392048
For further details contact course organiser Gwen Callaghan
on:- 07585 977 048 Email: gwencallaghan7@hotmail.com
Or visit Steve’s web site: www. Stevehallartist.co.uk
Holidays & Courses Holidays & Courses
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d wash with Tel: 01305 264568
Instruction is followed by fieldwork,
also Brusho www.catswhiskersart.co.uk
including visits to Granada and Mojacar.
mmodation.
THE SKY’S
rfu. Everything included except your flight.
7702 069300 Non-painting partners welcome. For
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Call Bill or Lois: +39 366 488 2587
THE LIMIT
visit www.watercolourspain.com
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WHEN IT COMES TO ADVERTISING
ay of the month
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ids Painting Activities in August
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attractive garden and courtyard, whilst enjoying a cuppa!
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DOUBLE-UP-DEAL - BOOK TWO CONSECUTIVE HOLIDAYS IN PINK &
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OF COURSES IN 2017
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• Free transport 18-21 Apr Let’s Look at Texture in Fantasy
nce on one of her Paint ‘N Canvas holidays studio based
• Highly professional tutors
Keiko Tanabe, Paul Weaver & many more
• Friendly house-party atmosphere
• Delicious food and wine
Framing
22-25 Apr Experimental Flowers in Mixed Media
18-22 Jun Embellish Your Fantasy Paintings
liday organiser, Linda Matthews is passionate
• All accommodation en-suite
studio based
Ashcraft Framing
11-14 Jul Sketchbooks - Where to Draw the Line?!
ing from life, en plein
• Noair, and in fact was the
he first four-day plein
single
• Stunning
supplement
air painting
locations festival –
- easy walking
15-18 Jul Rocks, Waves, Sea and Sky - Acrylics
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Itself! Frames
Somerset, Exmoor National Park,
Broads – in 2014. Her schedule
• All abilities is a busy one,
and non-painting 5-8 Aug Cliff Top Painting - Look East and West
- Save money on
12-15 Aug Sketching Buildings withframing
Pen and Wash
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partners welcome
ging from weekly morning classes to week-long
• Well equipped studio
- Complete or self-assembly studio based Cornwall, Lake District, Wye
s both in this country andnumbers
abroad. What they - Plain wood or painted
21-24 Aug Loosening up with Watercolour
• Small
mon is her dedicationindividual
to getting
to ensure
out there and
attention
6-11 Sep The Four Stages of Watercolour studio based
- Inlay frame
15-20 Sep Seascapes specialist
and Harbours
Valley, Provence, France & The
- Large,Dorset
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Skies-and bespoke
acrylics or sizes Western Algarve, Portugal
of what is around you. “Wherever you look watersoluble oils
ng to paint,” she says. “You can never be bored Exclusive - St Ives/Nicholson style
20-23 Oct Watercolour - the Basics and Beyond
Painting by David Webb
studio based
d a sketchbook.” frames available on-line
And much, much more!!
e is warm and encouraging, making her holidays Call 01427 787318 or visit
e for beginners who need a bit of courage to WINTER WARMERS
www.ashcraftframing.co.uk/store
with all-inclusive holidays
utside the comfort of a studio. On Soffer R year light lunch and delicious dinner plus bed and breakfast
UPEthis
Two full days’ tuition in our cosy studio from 10am to 5pm,
ekly classes held on a Thursday D U B

morning L E UPher all for only £155 Why not pamper yourself and add Friday
at ovely ainting oliday dventure
O VE and/or Art Shops
A
01934 733877
Sunday night dinner, bed and breakfast at the
kies Gallery in Ludham, as well as DEher S
AL weekend special painters’ rate of £55 per night? Most people do!
clude a two-day Paint in the Garden course 7 & 8 Oct
14 & 15 Oct £169
Use Colour and Shape Like Matisse
Swift Lines and Singing Colours
East Ruston Vicarage Gardens. There are also 31 Oct & 1 Nov Come Paint and Print Your  All Art Materials included on selected holidays
k plein air painting holidays, walking and Christmas Card  Non painters & All Abilities Welcome
11 & 12 Nov A Seasonal Splash of Acrylics
Broads National Park, as well as holidays 25 & 26 Nov Spring Flowers in Line and Wash  Studio & Location based courses in all media
UPER UPholidays to
r, Linda will be runningSpainting  Stunning Views and Amazing Locations
LE E
and to Polizzi Generosa DO BLSicily.
in
U
SAV and is happy to
Art Holidays in Dorset, The Studio, Boscombe Spa Hotel, 4 Glen Road,
A
us with her teaching experience
£145
Boscombe Manor, Nr Bournemouth BH5 1HR
DE
meet the needs of individuals - whether it’s one-
at’s needed or special courses for groups. Look
r full details of all66
the courses and options MAY on
2017 www.painters-online.co.uk
find some step-by-step tutorials to follow.
Suppliers of the finest
lp CLA May_NEW.indd 66 art materials 13/03/2017 09:36:38
May 17 Holiday of the Month_Layout 1 10/03/2017 15:27 Page 3
Holidays & Courses



May 22/25 June 26/30
Teaching art has been David’s Sept: 4/8 Sept: 18/21
passion for over 15 years, 
passing on his knowledge May 1/5 July 24/28
and tips from over 50 years of 
painting and helping students October 3/9

learn, improve and achieve. Oct: 29 to Nov: 4
Watercolours • oils • pastels join experienced tutor/artist

Saturday workshops and holidays full details on web site
www.watercolourartist.net www.hoganart.co.uk
Mail: admin@hoganart.co.uk
Tel: 01246 826311 Tel: 01208 895 088
M: 07888852503
LEARN AT HOME. Watercolour

SUE FORD’S PAINTING HOLIDAYS
and drawing. Beginners/advanced
Holiday of the month

Mixed Media Courses
correspondence courses. Easy, relaxed,
Cober Hill and Red Lea Hotels both in
thorough. Details: Jenny Trotman NDD.
Scarborough, various dates.
Tel: 01305 264568
Glenthorne, Grasmere, Higham Hill,
Bassenhwaite, various dates. WATERCOLOUR SPAIN www.catswhiskersart.co.uk
The Algarve, May 10-17.
The Watermill in Tuscany, July 15-22.
www.sueford.co.uk
Suefordartist@icloud.co.uk
Watershed Studio
Tel: 01642 712926 Celebrating our 16th year
• Proven reputation for quality courses
• Warm welcome & home-cooked food
www.learntopaintinfrance.co.uk • Rural studio in its own grounds
• Excellent local accommodation
With Mike Hall Des RCA. • High profile, popular tutors
Join popular artist Fraser Scarfe, Tim Fisher
and experienced Jeremy Ford, Charles Evans,
Diana Seidl and many more…
tutor Mike for
a long weekend Call Allison Bond for details:
or a week’s all 01255 820466

Email: allison@watershedstudio.co.uk
inclusive painting
www.watershedstudio.co.uk
R
holiday in France. obin and Jean Browne organise all-inclusive watercolour St Clere’s Hall Lane, St Osyth,
Small painting groups in Limousin.
painting holidays from their home, Casa Marron, in Oria – Clacton on Sea, Essex, CO16 8RX
a beautiful village on the slopes of the Sierra de las
All levels welcome.
Estancias in Andalucia, Spain. For many years the couple ran a PAINTING COURSES IN NORFOLK
See the website for details successful function catering business, but it was their dream to AND CORFU. 1-7 day and weekly art
or call Mike on organise watercolour holidays for groups and individuals, so in courses painting flowers and gardens,
01256 850167 or 07774 616361 2006 they started to turn their dream into reality. Completed in landscapes, watercolour or line and
bscshep@aol.com 2008, the house was purpose-built to provide painting holidays wash with Jan Blanch in Norfolk also
in a relaxed and informal environment – with something of a Brusho classes. Very good accommodation.
country house atmosphere. Accommodation is in two buildings Painting holidays in Corfu.
art holidays in cornwall
separated by a wooden walkway and covered seating area. The Tel: 01493 393639 or 07702 069300
guest bedrooms – one double and two twins – are all en-suite. Email: janblanchartist@gmail.com
The house is situated in lovely grounds, surrounded by almond www.janblanch.co.uk
and olive groves, so there is plenty of painting material on your
doorstep. Daily tuition is available in the studio, which is open
‘a great deal more than just a painting holiday...’ at all times, as well as on field trips to explore the area. These Art Shops
Small Groups include a full day painting in the historic city of Granada, and
Stunning Locations another in the picturesque village of Mojacar, where you can
4 Star Accommodation paint in the narrow streets or relax on the nearby beach.
All Abilities Robin and Jean have tried very hard to create holidays that are
Tel 01579 383491
www.callingtonartschool.com both stimulating and fun, so whilst you learn, there’s plenty of
time to relax and enjoy your surroundings, for both painting and
non-painting partners and friends. Being all-inclusive, everything
HOLIDAY HOME/SELF CATERING is provided and taken care of, even materials, so you can relax
LLANGOLLEN/NORTH WALES from the moment you’re collected from the airport. Robin Pegasus Art Shop
provides the ‘very patient’ tuition, while Jean takes charge of www.pegasusart.co.uk
• 3 Bedrooms- Sleeps 6 people
the sumptuous meals that have become a feature of the holidays.
• Fully equipped and parking
A full itinerary is printed on the excellent website. Shop Online
• Nice gardens with fabulous views from for Fine Art Materials
large conservatory and ideal for painting 01453 886560
• Overlooking canal basin and hills For more information contact Robin and Jean Browne, Casa
info@pegasusart.co.uk
• Only £270 per week. Marron, Frax de Abajo, Ogarite, Oria, 04810, Spain. Telephone
(0034) 637 458 679; email withane@watercolourspain.com or
Tel. 01244-332868 or 0748-322-6224 visit www.watercolourspain.com
Email: margaretwagnerrpt@gmail.com
lp CLA May_NEW.indd 67 13/03/2017 09:36:48

Holidays & Courses
Art Holidays in stunning Devon

Enjoy the wonder of painting within Devon’s
dramatic landscape. Full board for 5 days or a
weekend with expert tuition by landscape artist
Deborah Last.
En-plein air & studio painting for all levels &
abilities from £300. For more information call
Debs on 07887 87889 6
or email dlast@btinternet.com
www.deborahlast.co.uk
Award Winning Art

Sicily The Old House Studio.
In the Peak District National Park, Derbyshire
Regular contributor to ‘The Artist’
magazine and popular tutor.
painting holidays Charles Evans 3 & 4 June 2017
Painting Holidays 2017! Trevor Osborne 8 & 9 July 2017
Higham Hall, Lake District
October 2017 Robert Dutton 5 & 6 August 2017
Rydal Hall, Lake District for details see our website: Vic Bearcroft 29 & 30 July 2017
Cober Hill, Scarborough
HF Holidays – Malham, Whitby www.esplora.co.uk/painting * Experienced Artists who are
Dalvaro Art, Spain
Paint Andalucia, Spain or email: experts in their field.
Sandpiper Studio, South Wirral * Courses aimed to provide
Watershed Studio, Essex trips@esplora.co.uk an enjoyable and interactive
Norfolk Creative Arts, Norfolk For information on all courses available
experience for all abilities.
Workshops available nationally. * Small classes maximum please visit the website.
www.rdcreative.co.uk
for further details or contact Esplora 10 students.
* 2 Course lunch provided
Telephone: 01457 857527
Email: info@pennine-art.uk
0113 2252481 or email www.pennine-art.uk
* B&B accommodation available.
rdcreative@ntlworld.com
Art
r breaks
rt bre
rreaks
k in Exmoor
ks E moor
Ex
'Leisure Painter 1-16 advert.indd 1 01/12/2016 10:11 www.shorlandoldfarm.co.uk
ww
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Films WATERCOLOUR WEEKENDS

in the Peak National Park at the Farming
Visit
Life Centre Nr Buxton.
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Telephone 01433 621546
John Bailey TARN AREA, SW FRANCE. Painting

Watercolour Painting Holidays holidays. Excellent food and
Cornwall accommodation, superb landscape,
26th-28th April 2017
forestry, mediaeval villages, studio,
Brittany
12th-16th June 2017
large swimming pool. Professional
Cotswolds tuition by Ken Ray BA, WSCAD,
24th-26th July 2017 Diana Golledge, Cora Martin.
Prices from £150 tuition plus travel Details: Bob and Carla Schaap,
& accommodation Chateau de Pourpry, 81220 Damiatte,
Tel: 01285 760659
Email: jrsbailey@yahoo.co.uk
Tarn, France. Tel: 0033 563 707 176
www.johnbaileyart.com Email: bobencarla@aol.com
lp CLA May_NEW.indd 68 13/03/2017 09:36:59

LP05 28-29 Jelbert copy_Layout 1 14/03/2017 11:11 Page 69
The Complete Guide to Anatomy for

Artists & Illustrators
GOTTFRIED BAMMESS
Originally published in German in 1964, Professor Goƪried
Bammes’ ŝĞ'ĞƐƚĂůƚĚĞƐDĞŶƐĐŚĞŶ is sƟll considered the
definiƟve guide to drawing the human form. Having undergone
numerous ediƟons since it was first published, this first ever
English translaƟon of the complete work has long been awaited.
Exclusiv
e
offer!
Save £5
title an on this
free P& d enjoy
using p P in the UK
rom
ANMAYo code
RRP
£50 17
£45 Closin g date:
5th Ma
y 2017
Available from
www.painters-online.co.uk/store and follow the link to books
& PAINTERSONLINE
in association with GreatArt
ANNIVERSARY COMPETITIONS 2017
To celebrate LP’s 50th and PaintersOnline’s 10th anniversaries
we continue a year of painting competitions for Leisure Painter readers
MAY’S COMPETITION PRIZES

Using any medium and Tony Underhill’s We are delighted to announce exclusive
painting project as inspiration (pages 22 sponsorship by GreatArt throughout
to 24), draw or paint a building or this year’s anniversary competitions
buildings, either in a setting or as a
simple study. Please upload your entry Each month’s winner will receive £50
by 12 noon on Thursday 15 June. worth of art materials vouchers to spend
at www.greatart.co.uk, through the
GreatArt catalogue or at GreatArt’s new
JUDGES shop at Kingsland Road, London E2
Dr Sally Bulgin, publisher
Dawn Farley, editor, PaintersOnline
Ingrid Lyon, editor Leisure Painter
HOW TO ENTER & CONDITIONS OF ENTRY
Only online entries can be Click through the Current 4 You will be invited to send a
accepted. Only original work Painting Competition links high-resolution image of your
will be considered and paintings to Anniversary Competitions winning entry to Leisure Painter
based on reference photographs 2017. You must be registered for publication in the magazine
must have been taken by the and logged in to PaintersOnline in spring 2018.
artist or used with the permission before you can upload an image. 5 All work entered will be
of the photographer. Only one 2 Upload your May entry by featured on our website at
painting per artist each month the closing date of 15 June at www.painters-online.co.uk.
will be accepted. 12 noon. 6 The judges’ choice will be final.
1 Online digital entries must 3 Entries will be judged after 19 No correspondence will be
be sent via our website at June and the winning entrant entered into.
www.painters-online.co.uk. will be informed early in July.

LP May 2017 Online gallery p70_News 1st 13/03/2017 10:46 Page 66
Online gallery
Jane Stroud’s selection of works from the PaintersOnline gallery
WWW.PAINTERS-ONLINE.CO.UK
A ndrew Lucas is passionate about sharing his love of architecture with those
around him. I’ve chosen this bustling street in central London for this month’s
spotlight, which Andrew has handled with great sensitivity. There’s a solidity and
Growing up in the city of Salisbury,
surrounded as he was by countryside,
medieval buildings and, of course the
permanence to the building that contrasts with the transient nature of the crowds magnificent cathedral, Andrew’s love of
ebbing and flowing around it each day. Here, Andrew describes some of his key rural and urban spaces started from an
thoughts as he painted the scene. If you would like to see more of Andrew’s work, early age. “Drawing and art,” he says,
post a comment or have a go yourself and upload your own images to our free online “have always offered me a natural
gallery, visit www.painters-online.co.uk platform on which to express what I feel
about the world around me.” He began
painting in his late teens, using mainly
watercolours, the unforgiving nature of
which he says helped him to respect the
medium and its difficulties early on and
allowed him to forge a love and passion
for the medium. Now living in Torquay in
Devon, Andrew continues to create new
work of various subjects and locations
from his studio. He writes:
“Regent Street is a study of the
wonderful architecture in London,
captured in the form of pen and wash
applied loosely over the page. I find it
helps to concentrate on one initial focal
point and create the rest of the piece
around that point, as it is easy to become
overwhelmed by a complex scene. It’s
important to add clarity of scale, which
in this case I’ve done by giving due
attention to the crowds of shoppers far
below. These not only add movement,
but also a sense of rhythm to the piece.
“I used several loose washes over the
initial drawing, comprising burnt and
raw sienna, and yellow ochre. This gave a
warm glow to the stone of the buildings,
while cooler shadows and accents
balanced the palette. Some of the
windows on the building are painted a
light cobalt blue to emphasise the sense
of distance separating them from the
buildings opposite. I used stronger tones
on many of the people walking on the
pavement to draw attention to the
crowd. As with all my paintings, the final
stage was to add some birds flying above.
This creates a sense of movement in the
sky and to the composition as a whole.
“I hope that this painting conveys a real
sense of the scale and grandeur of the
architecture as well as the hustle and
bustle of the crowd below that is so
t
Andrew Lucas Regent Street, pen and wash, 814⁄ x6in. (21x15cm) typical of this great part of London.”

Carole Baker Patchings workshops ad.qxp_News 1st 14/02/2017 14:26 Page 1
Includes
& WORKSHOPS
FREE
entry to the festival-
Mixed Media, Watercolour & £10! worth
Pastel Techniques with Carole Baker

at Patchings Art, Craft & Photography Festival in Nottinghamshire, Friday, July 14, 2017
Organised by The Artist

and Leisure Painter in
association with GreatArt,
one of the UK’s largest
online art materials’
suppliers, who will
provide each student with
over £90(rrp) of materials
for each session
YOUR TUTOR
Carole Baker works
in mixed media to
create paintings full
of bold, vibrant
colour and texture.
This workshop will
focus on combining watercolour and
pastel, but treating them in a clearly
Along the Grass, watercolour and pastel by Carole Baker
t
contrasting way. You will experiment with
techniques, such as mark making, spraying, splattering, lifting out and
incorporating pastels, then follow Carole, step by step, to paint a landscape
with movement and energy. Carole will also discuss the importance of YOUR MATERIALS
compositional planning and keeping a sketchbook. The morning session GreatArt will provide you with a set of 24 Gerstaecker Studio Watercolour
will run from 10am to 1pm and the afternoon session from 2pm to 5pm. Pans and a set of 30 Jaxell Extra-Fine Artists Pastels, worth in total over
£90(rrp). Gerstaecker Studio Watercolour paints have excellent
resistance to light due to the use of high-quality pure pigments,
producing intense and bright shades with 19 colours using only a single
PATCHINGS ART, CRAFT & PHOTOGRAPHY pigment. The use of selected binders ensures even washes, and means
FESTIVAL 2017 One of the UK’s finest practical art, that colours can be reworked even when dry.
craft and design events, set in 60 acres of picturesque The range is also guaranteed to be cadmium
Nottinghamshire countryside. The event showcases some of the best professional free. Jaxell Extra-Fine Artists Pastels
artists and craft makers, including paintings, textiles, jewellery, glasswork, photography,
are characterised by high colour brilliance
ceramics, woodwork and sculpture. There will also be art and craft materials for testing
and consistently high, uniform
and purchase, guest artists, demonstration marquees and hands-on workshops. The
festival, at Patchings Art Centre in Calverton, Nottinghamshire, runs from Thursday to
softness. They are made from pure
Sunday, July 13 to 16, 10am to 5pm daily. For further information about the festival, pigments which guarantee good to
telephone 0115 965 3479 or visit the website at www.patchingsartcentre.co.uk very good lightfastness. For more
details about GreatArt products, please
visit www.greatart.co.uk. Students
will be advised of the additional
Great value – book your place today!
materials necessary when booking.
The cost of each three-hour session is just £55(inc VAT) per person
and includes instruction from Carole Baker, GreatArt materials
worth over £90(rrp) PLUS free entry to Patchings Art, Craft &
Photography Festival for the day, worth £10!
For more information and to book your place please visit

www.painters-online.co.uk/courses-holidays/reader-workshops
If you don’t have internet access please telephone Liza or Nicci on 01580 763673
COLOURS MADE IN SWITZERLAND
Neocolor II water-soluble wax pastels
For addional informaon and stockists please contact:

Jakar Internaonal Limited, 410 Centennial Park, Elsee, WD6 3TJ • Tel: 020 8381 7000 email: info@jakar.co.uk
carandache.com
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LP05 Cover_v5_Layout 1 06/03/2017 14:17 Page 1

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Incorporating Leisure Painter

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JUNE 2017 issue on sale 21 April

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Contents MAY 2017

12 Watercolour rules! 40 Time to reflect

16 Beauty in form 45 Building blocks

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21 Join Lachlan Goudie as he paints in Antibes and the watercolour

56 From photo to painting

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PAINTING WALKING SINGING SIGHTSEEING HOLIDAYS

Creating Modernism in France

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at the Ashmolean Museum, Oxford

in the mid-20th century. This major

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ExhibitionsJANE STROUD RECOMMENDS

America After the Fall

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Exhibition’: open to non-members, the

All information given here is correct at

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10 MAY 2017 www.painters-online.co.uk

Subscribe for free and join the community.

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experience of painting with thick paint. the colour appear translucent. In

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12 MAY 2017 www.painters-online.co.uk

COLOUR MIXING ON THE PAPER

1 Wet the paper,

drop in the colours The

Know your edges

landscape and the bonus is the roof of

Detail from Gumnuts and

Chrysanthemums. This detail illustrates the

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Chef’s Break, Cute Chairs, watercolour

the house, the prickly pear foliage and

Weight of the Years, watercolour on Hot-

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14 MAY 2017 www.painters-online.co.uk

painting required and is another

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Know your garden

16 MAY 2017 www.painters-online.co.uk

as the year progresses. The gardeners are

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and Cherries, 16x20in. (41x51cm). The colours change

18 MAY 2017 www.painters-online.co.uk

www.painters-online.co.uk MAY 2017 19

20 MAY 2017 www.painters-online.co.uk