Leisure Painter - December 2016

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SPECIAL
76-PAGE
ISSUE
THIS
MONTH
UKs
No.1
CHRISTMAS
CARD ideas
DECEMBER 2016 4.20
Develop your
skills with
watercolour
BE INSPIRED BY
AUTUMN COLOURS
HOW DO I...
Use the warm
earth tones?
Top tips and
techniques for
a pastel sunset
EXPLORE curved
perspective
OILS MADE EASY
Try a step-by-step
horse portrait
YOUR CHALLENGE!
Paint a white
on white still life
Simple ideas and
exercises to fire
your creativity
WATERCOLOUR
flowers, skies
and landscapes
!

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Incorporating Leisure Painter

and Craftsman
and Creative Crafts
VOLUME 50/13
ISSUE 554
www.leisurepainter.co.uk
ISSN 0024-0710
DECEMBER 2016
Editor
Ingrid Lyon
Contributing Editor
Jane Stroud
Editorial Consultants
Diana Armfield, RA, NEAC (Hon), RWS
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Leisure Painter is published
every four weeks by:
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(Tel: 01580 763315)
Publisher
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Publication of an article or inclusion of
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imply that TAPC is in agreement with
the views expressed, or represents
endorsement of products, materials
or techniques. TAPC does not accept
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Welcome
from the editor
ith winter and Christmas fast

approaching, we have an end-ofyear issue packed with inspiration and
practical advice, whether youre working in the warmth of your
home or outside, enjoying the stunning autumn colours. For those
who prefer comfort while painting, theres a variety of subjects and
studies that will keep you motivated throughout the month. If
youre ready for a seasonal challenge, you wont do better than
practise the techniques found in Jem Bowdens demonstration
(pages 16 to 19), until you feel confident to tackle your own autumn
landscape in your favourite medium.
Above all, loosen up and have fun while you paint your
enthusiasm and pleasure will always show in your finished work.
Look out for two new in-depth series beginning next month.
Tim Fishers watercolour series was inspired by a readers request for
help in handling specialist brushes and colour mixing for landscape
and, in particular, foliage painting. If you also need help, dont
hesitate to contact me. There is a wealth of knowledge and expertise
within our team of experienced tutors, and were here to help you
in as straightfoward a way as possible.
Our second series looks at a subject thats close to many of our
painting practices: how to work successfully from photographs.
Elena Parashko discusses everything from copyright issues and
artistic licence to composition, colour and tone, changing elements,
such as shadows and light, and how to achieve that all-important
depth in our paintings. Shell offer a mix of advice, practical
exercises and demonstrations to help you understand the theory
then put it all into practice.
Finally, Leisure Painter celebrates its 50th anniversary in 2017,
while our website, PaintersOnline, enters its tenth year. Look out
for painting competitions, special offers and Leisure Painter/
PaintersOnline collaborations throughout 2017. Heres to the next
50 years of inspiration!
Printed by Warners Midlands plc,

The Maltings, Manor Lane, Bourne,
Lincolnshire PE10 9PH
Newstrade distribution by
Warners Group Publications plc
(Tel: 01778 391000)
INGRID LYON Editor
JANUARY 2016 issue on sale 2 December

DECEMBER 2016
LP12 4-5 Contents use_News 1st 24/10/2016 13:07 Page 4
Contents
27
DECEMBER 2016
42
12
20 Evergreen
IN EVERY ISSUE
7
63 Books
Diary
News and things to do
this month
Exhibitions
Some of the best shows
around the country
Some of the best practical

art books are reviewed
64 Art clubs
News, profiles, exhibition listings
and best in show gallery
74 Online gallery
11 Letters
Your tips, suggestions,
ideas and questions
Jane Stroud chooses a painting

from PaintersOnline
Produce your own Christmas cards

by drawing and painting holly this year,
with Judith Milne
24 Understanding colour
Part 13 How to use the yellow earths
in your palette, by Tony Paul
27 Herculean Prince
Elena Parashko demonstrates the
painting of a racehorse using oils
32 Curved perspective
Tim Fisher discusses circles, ellipses,
spheres and curvilinear perspective
FEATURES
12 Loose and lively flowers
How to simplify ray and pompomshaped flowers to paint easy and
effective studies in watercolour,
with Claire Waite Brown
16 Painting project
On the cover
Paul Hopkinson The Long Tailed Tit,
watercolour, 812 x1112 in. (21.5x29cm).

Develop your watercolour skills this
month as you follow Paul step by step
DECEMBER 2016
Part 2 Follow Jem Bowden as

he paints an autumn landscape
of water, trees and a swan from a
photograph using loose watercolour
techniques
37 Index 2016
Your pull out and keep reference guide
to the features and information within
this years issues of Leisure Painter
42 Soft sunset
Part 2 Learn when to blend and when
to keep texture with Anne Kerrs stepby-step sunset in soft pastel
46 Oil painting troubleshooter

Part 1 Martin Kinnear answers a
question on the use of solvents and
mediums
LP12 4-5 Contents use_News 1st 24/10/2016 13:07 Page 5
Coming
54
next month
Continue your passion for painting in 2017
with Leisure Painter. Here are some of the
highlights to be found in the January issue
NEWS, HOLIDAYS & SPECIAL OFFERS

41 Join Pamela Kay painting in the Low Countries
52 Choose from special Christmas gift packs when you
subscribe to Leisure Painter this month
62 Take advantage of special offers on practical art books

when you buy from our bookshop at PaintersOnline
73 Win a Rembrandt Artists pastel set from Royal Talens

worth 375 and paper from Exaclair worth 25
75 Join Peter Brown painting in Vietnam
Becky Samuelson Gull, soft

pastel, 514 x7in. (13x18cm). Becky
tests Rembrandt Artists soft pastels
next month
t
20
ON SALE 2 DECEMBER
n NEW SERIES How to
paint successfully
from photographs
n NEW SERIES We
answer a readers
question on painting
watercolour foliage
n Easy ideas for using
mixed media
n Try working with a
limited palette
n How to tackle the
complexity of a
coastal scene
n Quick and lively
figure sketching
n Step-by-step winter
wonderland scenes
n How to use and mix
warm red earth
colours
n Look out for the entry
details for LPs Open
competition and the
Art Club of the Year
competition 2017
n and lots more....
LEISURE PAINTER
ON-SALE DATES
Issue
February
March
April
May
June
July
On sale
30 December
27 January
24 February
24 March
21 April
19 May
48 Welcome visitor
Try this step-by-step watercolour portrait of a long
tailed tit, by Paul Hopkinson
54 Confident clouds
Develop your watercolour skills and experiment
with colour as you paint wet-on-dry clouds, with
Becky Samuelson
56 White on white
Explore tonal nuances in your paintings as you
set up and paint a still life, with Paul Alcock
60 What shall I paint?

Part 12 To conclude her 2016 series, Linda Birch
discusses sgraffito, Chinese brush painting and
Artists felt-tip pen techniques
Julie King A Winters Walk, watercolour, 11x15in. (28x38cm). Follow
Julie step by step as she uses a variety of watercolour techniques
t
DECEMBER 2016
F
S H I PR E E
on order P I N
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Mainla 4*0 t o UK
nd
OPEN ART
COMPETITION
GREAT DISCOUNTS UNBEATABLE SERVICE

*See our shipping policy for full details.
in partnership with
Patchings Art Centre
CALL FOR
ENTRIES
We are looking for the best work from amateurs in
the Leisure Painter category and from experienced and
professional artists in The Artist category. Selected works
from each category will be exhibited at Patchings Art Centre
in two separate galleries, opening on the first day of the
2017 Patchings Festival of Art, Craft & Photography
on July 13 until August 20, 2017
C all for our

latest catalogue!
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@KenBromleyArt
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Image courtesy of 2016 prizewinner Regina Pac
OVER 16,500 WORTH OF PRIZES

Over 40 individual prizes will be awarded to selected artists
in both exhibitions comprising:
n
5,000 The Artist Purchase

Prize Award selected by guest
judge Ken Howard OBE, RA
n 1,700 The Artists
Exhibition Awards
n 100 The Artist Highly
Commended Award
n 450 Batsford Awards
n 600 Canson Awards
n 500 Caran dAche/
Jakar Awards
n 500 Clairefontaine Awards
n 900 Derwent Awards
500 Great Art Awards

2,600 Leisure Painter Award
n 100 Leisure Painter Highly
Commended Award
n 450 Patchings Award
n 600 Premium Art Brands
Awards
n 300 Pro Arte Awards
n 1,000 Royal Talens Awards
n 500 Sennelier Awards
n 600 St Cuthberts Mill Awards
n 400 Winston Oh Award
n
SEE NEXT MONTHS ISSUE FOR

FULL DETAILS AND HOW TO ENTER
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DECEMBER 2016
21/10/2016 14:08:44
LP December 2016 Diary p7_News 1st 20/10/2016 09:42 Page 6
Diary
THINGS TO DO THIS MONTH
Prize winners
Sunday Times
London-based artist, Kathryn Maple, has been awarded the first prize of
10,000 at this years Sunday Times Watercolour Competition for her
work Sandy Shoes an exuberant painting of the shapes and colours of
the Vypin Islands in Southwest India. An exhibition of winning works can
be seen at the Guildford House Gallery, 155 High Street, Guildford from
10 December until 28 January 2017. For details of all the prize winners
go to www.sundaytimeswatercolour.org
Agim Sulaj with his prize-winning work, Refugees,
graphite, 67x59in. (170x150cm), at the Derwent Art Prize
award ceremony, Mall Galleries, London
t
Derwent Art Prize

The Derwent Art Prize is an open competition
for international artists that rewards
excellence by showcasing the best work
created in pencil. Rome-based artist, Agim
Sulaj has been awarded this years first prize
for his painting Refugees (above). Second prize
goes to Essex-based artist, Lee Wagstaff for Evil
and third prize to Tim Wright from London for
Helen Schone 14. View all the selected works
online at www.derwent-artprize.com
In the frame
Julie Maguire Master of Disguise, coloured pencil,
1414x1734in. (36x45cm) winner of the Leisure Painter
Peoples Choice Award at this years Leisure Painter
Open Competition at Patchings Art Centre
t
Leisure Painter
Peoples choice
Mick Manning Lurcher Pup, stencil print,

1212x21in. (32x53cm)
t
Julie Maguire has been awarded the Leisure Painter Peoples Choice
Award at this years Leisure Painter Open Competition for her work,
Master of Disguise (above). Largely self-taught, Julies favourite medium
is coloured pencils, which she says are easy to work with, create no
mess and are quick to put away three important points for a full-time
housewife and hardworking mum with three children and a husband.
Julie explained how she took photographs of the greyling in the
butterfly forest at Twycross Zoo. I was keen to use black Stonehenge as
the support, but maintain the Derwent Inktense coloured pencils in
their dry form. Julie has won several awards and has exhibited at
venues in Birmingham, London, Frodsham, Nottingham and Somerset.
To see more of Julies work go to www.suburbanartjam.com
Julie wins a selection of Search Press books to the value of 150. Visit
www.searchpress.com
St Judes in the City

Explore the craft of printmaking with
limited-edition prints, collages, wooden
cut-outs and box constructions at the
Bankside Gallery, London from 23
November until 4 December. The
exhibition brings together work by a
variety of distinguished printmakers,
including Angie Lewis and Peter Green.
Visit www.stjudesprints.co.uk
DECEMBER 2016
LP December 2016 Exhibitions p8-9_Layout 1 20/10/2016 09:48 Page 2
Exhibitions
JANE STROUD RECOMMENDS
n Messums
28 Cork Street W1. 020 7437 5545.

Rose Hilton 2016: featuring nudes, interior
studies and marine landscapes that reveal
the artists quest for new ways to express
tone, colour and geometry, until 11
November.
n National
Gallery
Trafalgar Square WC2. 020 7747 2885.

Beyond Caravaggio, continues until 15
January 2017.
n The
Queens Gallery
Buckingham Palace SW1. 020 7766 7301.

Portrait of the Artist: focusing on images of
artists in the Royal Collection, including selfportraits by such painters as Rembrandt,
Rubens and Hockney as well as portraits of
artists by their friends, relatives and pupils,
4 November to 23 April 2017.
n Royal
Academy of Arts
Piccadilly W1. 020 7300 8000. Abstract

Expressionism: exploring the movement
through the art of some of the most
celebrated artists of the past century
including Pollock, Rothko, de Kooning and
Kline, as well as lesser-known figures who
contributed to the movement, until 2
January 2017.
n Tate
Britain
Tom Roberts Allegro Con Brio, Bourke Street West c.1885-6; reworked 1890, oil on canvas, 20x3014in.
(51x77cm)
Millbank SW1. 020 7887 8888. Paul Nash:

featuring work from all stages of his artistic
career, from early symbolist paintings
through the iconic works of the First World
War to post-war landscapes, until 5 March.
Turner Prize 2016, until 8 January 2017.
Australias Impressionists
REGIONAL
Discover Australias Impressionist painters at this major exhibition at the National

Gallery, London. Showcasing the work of Australias four major exponents of
Impressionism Tom Roberts, Arthur Streeton, Charles Conder and John Russell,
the exhibition shows the unique quality of the work, which is quite distinct from
its French and British counterparts. A programme of talks has been organised to
coincide with the exhibition.
Australias Impressionists at the National Gallery, Trafalgar Square, London from
7 December until 26 March 2017. Visit www.nationalgallery.org.uk
Picture Gallery
Gallery Road SE21. 020 8693 5254.

Adriaen van de Velde: Master of the Dutch
Golden Age, featuring 60 works by this
17th century Dutch landscape painter, the
exhibition explores his painting process
from conception to completion, until
15 January 2017.
n Llewellyn
Alexander
(Fine Paintings) Ltd., 124-126 The Cut,

Waterloo SE1. 020 7620 1322. Landscapes
in oil by Mary Pym, until 16 November.
Christmas Exhibition 2016: including oil
paintings by Pamela Kay and watercolours
by Lisa Graa Jensen, Geoffrey Wynne and
John Yardley, 22 November to 7 January.
Beaney House of Art

& Knowledge
18 High Street, Canterbury. 01227 862162.

Grayson Perry: The Vanity of Small
Differences, six large tapestries explore
the British fascination with taste and class,
until 4 December.
n Fitzwilliam
Museum
Trumpington Street, Cambridge. 01223

332900. Colour: The Art and Science of
Illuminated Manuscripts, continues until
30 December.
LONDON
n Dulwich
n The
DECEMBER 2016
n Mall
Galleries
Trafalgar Square SW1. 020 7930 6844. Faces

of Ebola: portraits of Ebola survivors and
those who cared for them by Tim Benson,
following his on-going residency in Sierra
Leone, 7 to 13 November. Splash! RI
Watercolour Auction: a special fundraising
exhibition and silent auction by members
of the Royal Institute of Painters in Water
Colours (RI), 8 to 13 November. ING
Discerning Eye Exhibition 2016: featuring
small works independently selected by six
prominent figures in the art world, resulting
in six smaller exhibitions within one,
16 to 27 November. Royal Institute of Oil
Painters: annual exhibition, 30 November
to 11 December.
n Gallagher
& Turner
30 St Marys Place, Newcastle upon Tyne.

0191 261 4465. The North Easts Changing
Industrial Landscape: paintings by Richard
Hobson (1945-2004), continues until 19
November.
n Harbour
House
The Promenade, Kingsbridge, Devon.

01548 854708. Yellow: open art exhibition
featuring a wide range of work by local
artists in response to the theme of yellow,
until 12 November. Make Space: Rosie
Burns is artist in residence, 17 to 26
November. Present Maker: annual
Christmas exhibition of arts and crafts by
members of the South Hams Arts Forum,
29 November to 11 December.
LP December 2016 Exhibitions p8-9_Layout 1 20/10/2016 09:48 Page 3
Over 100 new oil paintings and

drawings by popular artist, Peter
Brown, will go on show at the
Victoria Art Gallery in Bath this
winter. The exhibition will feature
works from Peters travels to Arles,
Dublin, Granada, London and
Seville, but will concentrate mainly
on views from his home town of
Bath. Peter paints en plein air in
all seasons and in all weathers a
practice that has led to his nickname
n The
John Russell Gallery
4-6 Wherry Lane, Ipswich, Suffolk.

01473 212051. Recent acrylic paintings by
Sarah Cannell, until 19 November.
n Lincoln
Joyce Fine Art
40 Church Road, Great Bookham, Surrey.

01372 458481. Paintings by Alistair Butt and
Chris Forsey, until 19 November.
n Mariana-Art
Gallery
East Street, St. Briavels, Gloucestershire.

01594 530484. Art-Art: animal paintings by
Mariana Robinson, Mark Jenkins and Alison
Lingley, 27 November to 12 December.
n The
A painters travels
Peter Brown Over Pulteney Bridge, The Day Grayson Perry Came to Town, oil, 12x16in. (30.5x40.5cm)
Pete the Street. The thread in all my

painting, he says, is an interest in
light. I relish the variety of our British
climate and dramatic changes in the
weather. When it rains the whole
compositions transformed and when
you get a really good heavy rain I have
very limited time to actually get the
paint on. I stop when Im absolutely
soaked through. Its this commitment
to his art that makes his paintings
positively glisten with life.

Peter Brown: A Bath Painters Travels
at the Victoria Art Gallery, Bridge
Street, Bath from 3 December to 19
February 2017. Peter will give a talk
and book signing at the gallery on
Saturday 3 December between
11.30am and 12.30pm. Entry is free
with an exhibition ticket. For more
information telephone 01225 477233
or visit www.victoriagal.org.uk
n The
n Royal
Michaelhouse Centre
Trinity Street, Cambridge. 01223 309167.

Cambridge Envisaged: works by local
artists, Peter Corr, Paul Janssens and
Caroline Forward, that feature aspects of
Cambridge, 7 to 19 November.
n Middlesbrough
Institute of
Modern Art
Centre Square, Middlesbrough. 01642
931232. Liberation of Colour: paintings
by Winifred Nicholson, 22 October to
12 February 2017.
West of England Academy
Queens Road, Bristol. 0117 973 5129.

164th Annual Open Exhibition, including
selected work by local, national and
international artists, until 27 November.
n The
Wilson
Clarence Street, Cheltenham. 01242 237431.

The Last Word in Art: works by key 20th
century and contemporary artists, such as
Tracey Emin and David Hockney, exploring
the relationship between images, words
and ideas, until 8 January 2017.
Mercer Gallery
Swan Road, Harrogate, North Yorkshire.

01423 556188. Eileen Cooper RA: Hide and
Seek, featuring drawings by Eileen Cooper,
until 15 January 2017.
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
DECEMBER 2016
LP12 ArtClubCall_new2017_Layout 1 19/10/2016 15:58 Page 1
in association with
Patchings Art Centre &
Jacksons Art Supplies
ART CLUB
of the Year
COMPETITION 2017
CALL FOR
ENTRIES
ll UK art clubs are invited to submit a total of five twodimensional works that you feel represent your club
along with a written profile, including details of your clubs
history, members and activities. We will select ten clubs to
exhibit their five entries at the Patchings Art, Craft &
Photography Festival (July 13 to 16, 2017) and throughout
the rest of July at Patchings Art Centre.
An overall winner and two runners up will be selected by
well-known artist and tutor, Hazel Soan, and visitors will be
asked to vote for their favourite club for the Peoples
Choice Award. All work entered will also be featured on
our website at www.painters-online.co.uk
Pro Arte's
all round
best seller
Stocked by
all good
art shops!
Everywhere
CM
MY
CY
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Pro Arte, Park Mill, Brougham Street, Skipton, BD23 2JN

Tel 01756 792929 Fax 01756 790909
admin@proarte.co.uk www.proarte.co.uk
PRIZES
We are delighted to announce exclusive sponsorship
by Jacksons Art Supplies
l FIRST PRIZE 500 worth
l TWO RUNNERS UP
of Jacksons art materials
250 worth of Jacksons
vouchers, a sponsored
art materials vouchers
demonstration at the
for each club
selected club venue by
a professional art tutor
l PEOPLES CHOICE
and a profile about the
AWARD 100 worth
club published in our
of Jacksons art
magazines, online at
materials vouchers
PaintersOnline and
for the club with the
through our social media
most public votes
PETER BROWN
A Bath Painters Travels
JUDGES
Hazel Soan, artist and tutor
Liz Wood, artist, tutor and
co-owner of Patchings
Art Centre
Sally Bulgin, editor

The Artist
Ingrid Lyon, editor
Leisure Painter
See next months issue for

full details and how to enter
10
p10_lp_dec16.indd 10
DECEMBER 2016
3 December 2016 19 February 2017

VICTORIA ART GALLERY
By Pulteney Bridge Bath BA2 4AT
01225 477233 www.victoriagal.org.uk Daily 10.30-5.00
128-page catalogue 15 + 3 p&p All works for sale
Peter Brown Viridian parasol ice cream
seller Milsom Street 2016 (detail)
21/10/2016 11:22:25
december letters_News 1st 24/10/2016 13:26 Page 11
Letters
YOUR COMMENTS, IDEAS,
TIPS AND QUESTIONS
late 1970s, the late Nancy Kominsky

made programmes for ITV on painting
with oil pastels. There was also a book,
Painting with Pastels, which is still
available on Amazon.
Amy Fisher
Use your talents

I agree with William Mather in his article
about making sketches of people (LP,
October). In the early days of practising
my skills in portrait work I found
painting people with special needs
particularly rewarding. They are so
delighted that someone is interested
enough in them to want to paint them
and they are not critical of your efforts.
They are also quite happy to pose for
long stretches at a time.
At the next fte I must remember to
don my artists smock and straw hat!
Didi Jepson
Learn from others
Acrylic over water-soluble oil

I attended a workshop where I did an
underpainting using water-soluble oils.
I do not wish to continue with this
picture. Will it be possible to recycle
the canvas board by painting over with
gesso then using acrylics, which are my
preferred medium?
Kate Rook
Tony Paul replies: You have two options.
If the colour has not dried, wipe it off
with warm water with a little washingup liquid in it. Dont saturate it. You
may end up with the ghost of the image,
but the gesso will cover that.
If the paint is dry, it is not advisable to
gesso over until a good few months have
passed, longer if youve used impasto.
Even then, after gessoing I would keep it
as a practice panel and not for serious
painting, as the overlaid gesso may not
adhere properly to the oil paint
underneath, resulting in flaking.
Less is more
I am a keen amateur artist and have
been fortunate enough to be able to
use our smallest bedroom as an art
room. I have collected so much
material over the past few years and
filled the room to overflowing. Now
I am moving house and in order to sell
it, I have had to clear out this small
Pat Ryder Needham Lake, pen and wash, 512x8in.

(14x20cm). It was a very hot day when I made this
sketch so it was completed in 20 minutes using a
black rollerball pen, an Artists watercolour halfpan set and a No. 16 watercolour wash brush. I
painted on a spiral pad of cold-pressed watercolour
paper. Its not a masterpiece, but it was good
practice.
space and make it back into a bedroom.

This has been a painful and exhausting
process, but I have learnt from it. First,
sometimes less is more, as I had
forgotten just what treasures I had,
which were buried away.
More importantly, however, only
keeping out the minimum of equipment
has encouraged me to focus on simpler
activities and I have been sketching
outdoors with a pen and a few
watercolours (see Needham Lake, above).
I have discovered that using a pen, not
pencil and eraser, has freed me up and
I have been really pleased with some of
the sketches I have produced. I still cant
wait to move, unpack and rediscover all
my treasures, but have learnt that
drawing outdoors can be really enjoyable
when you arent carrying enough
materials to stock a small art shop!
Pat Ryder
Inspiration from the past

I read Carole Woods letter about help
with using oil pastels (Leisure Painter,
August issue) and remember that in the
In recent months I have helped to

organise two local events where art
works completed by various disability
groups have been exhibited. The artists
were all adults with some kind of
disability, including Downs Syndrome,
Cerebral Palsy, Alzheimers and many
other conditions.
These artists have little technical
knowledge of painting, but the work
they produced has been sensitive,
expressive, free, and often very vibrant.
They paint without inhibition and
enjoy the process. I think this is what
Monet advised us to do when he said:
Dont worry about the outcome enjoy
the process.
At an opening of the latest exhibition
by a disability group called Open Arms,
we sold ten paintings, which amazed us
all. I am wondering if we should take a
leaf out of their book and put aside the
analysis sometimes just take up the
brushes and let go.
Marlene Griffin
Send your letters to

Leisure Painter, 63-65 High Street,
Tenterden, Kent TN30 6BD.
Alternatively, email the editor at
leisurepainterletters@tapc.co.uk.
All letters published here win art
materials, courtesy of DalerRowney. For details of all
Daler-Rowney products visit
www.daler-rowney.com
DECEMBER 2016
11
LP12 12-15 Extract_Layout 1 21/10/2016 11:20 Page 12
Watercolour
Loose and lively flowers

How to simplify ray and pompom-shaped flowers to paint easy
and effective studies that burst with life, by Claire Waite Brown
nyone who has drawn or painted

flowers will have discovered how
challenging it is to capture their
colour and beauty. A successful flower
painting should depict the essence of
the flower its shape, texture and
colour as well as intangible qualities
such as freshness and scent. Some try to
pin down the spirit of a flower in formal
botanical paintings, while others aim to
express ephemeral spirit through more
expressionistic line and colour.

Watercolour is the perfect choice of
medium for rendering the beauty and
fragility of flowers and their vivid or
delicate colours, and the aim here is
to show you how to paint ray and
pompom-shaped flowers, using a range
of different watercolour techniques and
paint mixes. These flower shapes are
based on a circle, with petals radiating
outward like spokes on a wheel.
The ray shape is a simple disc seen as

an ellipse when viewed at an angle, but
pompoms are more varied, with a mass
of small petals that spiral from a tight
centre to form a dome or even in some
cases a globe shape.
In each case, treat the flower as a
whole rather than a cluster of individual
petals.
Having formed the basic shape, pick
out a few petals to paint in detail.
Painting ray-shaped flowers

t
Drawing the shape The back view

of an English daisy reveals how the
stem, calyx, and flower head fit
together, with the base of the petals
springing from a central point.
Side view
Viewed from
the side, you
can see that
the petals
are more
elongated at
the top and
bottom
than in the
middle.
Front view From almost

face-on, the flower head presents
a flattened dome with a small
sphere of tight petals in the centre
following the line of the stem
t
12
DECEMBER 2016
Watercolour
Ray structure
Pompom structure
The full face-on view of the sunflower

(below) illustrates the ray principle
perfectly and demonstrates how shadows
give it form. Each petal is firmly anchored
to the centre. When turned, the circle
becomes elliptic. The stem and calyx
need to be joined to the flower centre
back, and the centre becomes domed.
Some pompom-shaped flowers, such

as this allium (bottom), feature many
tiny flowers to one head. Think of
pompoms as geometrical globes and
add details in the later stages.
Perfect sphere
The long, thin petals of this dahlia
(below) are rolled lengthwise into

quills. In spite of the seeming disarray
of the petals, which point in different
directions, the form of the flower is a
faultless sphere. The overall shape of
pompom flowers must always be kept
in mind, with the feeling of roundness
apparent even when many of the petals
create their own light and shade. LP
DECEMBER 2016
13
Watercolour
Demonstration 1 Carnation (ray)

t
Demonstration 2 Sunflower (ray)

t
Colours used
Lemon yellow
Alizarin crimson
Lemon yellow
Indian yellow
Raw sienna
Burnt sienna
Burnt umber
Dioxazine violet
French ultramarine
Bright red
Permanent rose
Colours used
1 Paint a faint
lemon yellow tinge
on the upturned
petals. Add a mix of
permanent rose and
bright red as the first
wash. Allow the
paint to pool on
the lower edges.
2 Add a mixture
of alizarin
crimson and
bright red to the
deeper petals. Tip
the paper to allow
the paint to settle
around the spiky
edges of
the light petals.
3 Continue
adding darker
paint to areas away
from the light, tipping
the paper to form
crinkly edges. The
deepest colours are
an alizarin crimson
and bright red
mix, and alizarin
crimson with
a touch of
ultramarine.
14
DECEMBER 2016
1 Wash a mix of lemon

yellow and Indian yellow into
each petal. Add water to push
the paint to the edges.
2 Mask out the highlights on
the flower centre. Use Indian
yellow and raw sienna to
darken parts of the petals.
3 Dampen the flower

centre and apply a wash
of Indian yellow and
burnt sienna. Remove the
masking fluid and, as the
paint dries, add burnt
umber to the darker parts
and a burnt umber and
dioxazine violet mix to
the darkest areas. As this
dries, wash dark paint
into the shadow areas
of the petals.
Watercolour
Demonstration 3 Allium (pompom)

t
Demonstration 4 Scabious (ray)

t
Colours used
Permanent mauve
Cobalt blue
Olive green
Permanent rose
Cobalt green
Cobalt green
Burnt sienna
Cobalt violet
Colours used
Dioxazine violet
Sap green
Cadmium yellow
1 Begin by masking the

stamens with masking fluid.
Paint a delicate wash of cobalt
blue mixed with permanent
rose onto the petals. Drop in
water to push the paint to the
petal edges.
1 Mask off some of

the nearest spidery star
shapes, then use a fine
brush and a fairly dry
permanent mauve and
cobalt violet mix to
paint a network of fine
lines radiating out from
the floret centres.
2 Add a darker wash of the

same colours to the deepertoned areas and shadows. Dot
a pinker mix into the central
dome and surround
this with cobalt green.
2 Using a darker mix

of the same colours, plus
small touches of burnt
sienna, build up more
star shapes, concentrating
colour in the centre of
the sphere shape.
3 Weave olive green

into the centre. Add
strong permanent mauve
to build depth. Remove the
masking fluid and paint the
star centres in cadmium yellow,
emphasising with dioxazine violet.
4 Paint the stem in sap green,
with olive green for the shadow.
3 Remove the masking

fluid, then use various
mixes of cobalt green,
and phthalo blue for
the leaves and buds.
These demonstrations were adapted

from The Watercolour Flower Artists
Bible, edited by Claire Waite Brown
(2016, Search Press, 12.99). Save 2
when you buy from Leisure Painters
bookshop at www.paintersonline.co.uk/store and follow the
links to books. Quote code DEC16
to claim your 2 discount.
DECEMBER 2016
15
LP12 15-17 PP2_v2_Layout 1 21/10/2016 11:28 Page 16
Watercolour
Painting project
Part 2 Follow Jem Bowden as he paints an autumnal scene comprising water,
trees and a swan from a photograph to create a fresh, loose watercolour
n the first part of this painting project

last month I discussed how to
combine a photograph with sketches.
Using artistic licence I took the best
aspects of both to create an improved
composition, which gave me a sound
foundation on which to base a painting.
Before you put paint on the paper, you
always need to consider the best way to

break down the painting into stages. This
involves working from light to dark,
considering the highlights and judging the
best colours and tones to represent the
light effect you want to convey. You can
see from the photograph (below) that the
shadowed areas contain strong darks, and
the lightest areas the swan and clouds

contain pure white. All else falls between
the two extremes.
Planning and painting one stage at a
time will help you to paint confidently
and not mess about too much. This
is the way to produce fresh, cleanlooking watercolours. LP
Demonstration
The Pond in Autumn
You will need
n
l
Surface
Bockingford 200lb
NOT watercolour
paper, taped down on a
board with masking tape
1212x2012in. (32x52cm)
Artists watercolour
French ultramarine
l Winsor blue
(red shade)
l Burnt umber
l Raw umber
l Light red
l Indian red
l
Brushes
Large wash
brush squirrel
hair mop or
equivalent
l Medium synthetic
Round brush
with a good
point Nos. 12 to 14
l
Your reference material: the cropped photograph that introduced last months project
Miscellaneous
Palette with large
mixing areas
l Scrap paper
for testing
l Soft pencil (8B)
l Soft putty rubber
l
The finished sketch, laying out

composition and tonal values
16
DECEMBER 2016
Step 1
Step 2
1 When the first wash is completely dry, add a second one to

the background. To keep the watercolour transparent, aim not
to reapply colour to this area, except on the main trees. This
means you need to judge the right tones and colours first time.
Mix up a few different washes before you start, including blue
for the distant hill and grey browns. Autumn can contain pink
colours, too, for which I added Indian red. Work from left to
right, changing through the colours as you go and allowing
them to blend together. Try not to fuss them too much.
2 Finally, add the far bank of reeds, using a mix of Winsor blue
and burnt umber; apply quite strong in places. Again, if you make
this dark enough first time, you wont need to paint over it.
1 Having first drawn out the composition from the small sketch,
begin by laying down a pale, watery wash for the sky of Winsor
blue, mixed with a little light red in places. Use a large wash
brush so you can cover the area quickly.
2 Continue the wash down over the background land with a little
raw umber and a slightly greener mix of raw umber and Winsor
blue for the foreground grass. Be careful to preserve the whites
of the cloud and swan.
3 Before the sky is dry, add a few brushstrokes for tree foliage.
Use a fairly dry mix so the marks are soft edged, but dont
disperse completely as you would with a wetter mix. I think
of this as dry into wet.
DECEMBER 2016
17
Watercolour
Demonstration continued
Step 3
18
DECEMBER 2016
surface. Try this

technique on scrap
paper first, with
some marks wetter
and some using
dry brush. This
simplifies the
This detail shows the quick sideways dragged brushmarks
painting of foliage
I used for the tree foliage. Branches were painted with the
so youre not
pointed tip of the brush.
attempting to
paint every leaf
individually (see
detail photograph, above right).
background grasses between the trees;
4 Use negative painting in the ground
their top edges are described by painting
foliage. This is where you paint a darker tone
the darker trees above them, while the
around a shape to define it. Look at the
underlying wash provides the colour.
t
1 Now define the trees, using a mix of

browns; some parts have more pink,
some maroon. The shaded woodland and
tree trunks are purple blue. These colours
are all mixed from differing amounts of
French ultramarine, Indian red and burnt
umber.
2 The light is coming from the right so
use the cooler colour particularly on the
shaded left-hand side. Note from the
photo and sketch that some of our darkest
tones are here so your mix needs to be
quite thick.
3 To suggest the sparse autumnal leaves
drag the side of the synthetic brush
quickly over the paper, just catching the
Step 4
1 Reflections in water often take on the

colour of the water itself to some extent,
and Ive enhanced this by choosing quite
a strong brown of burnt umber, with
ultramarine and raw umber to vary it.
Starting at the top, work downwards using
horizontal marks to suggest ripples on the
surface as well as the reflected shapes of
the trees. The less is more rule is evident
here and dont worry too much about
achieving a mirror image; water does
the strangest things.
2 For the nearer reeds and their reflections
try using vertical swipes of the brush,
wiggling a few just a little in the water.
Lets say the water here is a bit stiller.
Aim to preserve some white paper where
the reeds are catching the light.
3 The swan is also painted at this stage, and
the strong dark shadow on the grass to the
left of it. Use ultramarine for the swan itself,
quite strong to give a good sense of the shade
and light, adding burnt umber for the darkest
accents around its belly, neck and head.
t
Step 5
1 Mix a large blue wash using ultramarine

with a little light red.
2 Once the reflections are completely dry,
quickly paint over the entire area
of water with this wash, using your large
wash brush. Start with a pale mix at the
top of the water and add more colour
towards the bottom. Stroke the brush over
the area gently and once only so the paint
underneath isnt raised from the paper.
3 Leave the painting for a while. On

returning with fresh eyes youll be able
to see where it needs final attention.
At this stage I added the reeds poking
up in the foreground and more detail
on the grasses left of them. I also tidied
up the shapes of the trees, and added
the distant birds, which are really just
tiny marks.
4 You may find that your painting at
this stage will need something a bit
different, or it may not need anything.
Always resist the temptation to fiddle
if the job is done!
Jem Bowden
Jem is an award-winning watercolour
artist and tutor. He provides demonstrations
and workshops for art groups, gives one-toone tuition, runs weekly classes and tutors
on painting holidays. His next painting
holiday is in the Wye Valley in watercolour, 9
to 14 July 2017 with Alpha Painting Holidays
(www.alphapaintingholidays.co.uk). Email
jembowdenwatercolour@gmail.com or visit
www.jembowdenwatercolour.co.uk and
www.facebook.com/jembowdenwatercolour
The finished painting The Pond in Autumn, watercolour on Bockingford 200lb NOT watercolour paper, 1212 x2012 in. (32x52cm)
DECEMBER 2016
19
LP12 00-00 Milne_Layout 1 21/10/2016 11:40 Page 20
Botanical
Evergreen
Produce your own Christmas cards this year by working with
Judith Milne and these studies of a popular seasonal theme, holly
Holly Studies, pencil on smooth cartridge paper, 6x814 in. (15x21cm)
s Christmas draws closer,

our thoughts turn to all things
associated with the season and
its traditions. Evergreens featured as
decorations in homes and shrines of
pagan people at this time of year, as
their continuing greenness was a sign
of life in the winter, when other plants
were dead. Holly, ivy and mistletoe
also bore fruit at this time. Evergreens
were used as Christianity developed
and people looked for Christian
meanings in these plants. It is thought
that the English word holly derived
from the word holy.
As painters we often look towards
designing our own greetings cards for
family and special friends, especially
at this season when they are welcomed
with delight as a personal greeting.
For this article, therefore, I have chosen
holly as my subject, and will show you
different methods of working, which I
20
DECEMBER 2016
hope will inspire you to take the first

steps in producing your own cards.
Your subject
Holly (ilex) is universally symbolic of
Christmas with its characteristic dark,
shiny, spikey leaves. The flowers are
insignificant, but the bright red berries
of winter create contrast against the
rich green foliage. It is at this time
that we need to capture them in paint,
especially before the birds eat them.
The leaves are noted for their dark
green, glossy, oval shape and sharp
needle-like protuberances, with
undulating surfaces, thick and leathery
with a slightly pitted surface. There are
many varieties of holly, some of which
are variegated with different colour and
pattern combinations.
Some species have smooth edges and
can be found at the top of the tree,
whereas more spikey ones are found
nearer ground level, produced

to protect the tree from animals.
Green and shiny surfaces are always
a challenge to produce so why not
follow my tutorial and work up your
own Christmas card, giving a lovely
surprise to friends and family.
Drawing your subject

Lets begin by looking at the leaves
and their habits. Holly Studies (above)
were worked on smooth cartridge
paper, using an F pencil, which gave
a fine line. Working from the central
vein in each case, I drew the twisted
shapes, showing the surface
undulations and needle-like points.
A The shading was gradually built up
following the contours. The leathery,
shiny surface is slightly dimpled so
highlights were strongly contrasted
and showed the pitted pattern.
B Here is a foreshortened view,
Botanical
PEN & INK STUDIES
Holly Study, pen and ink

drawing, 9x814 in. (23x21cm)
t
For all my botanical studies I work to

the actual size of the plant and in so
doing can make an accurate comparison
of shape and perspective. Although a
watercolourist, I also favour pen and
ink, as I love to draw. If you use ink,
you do need to be confident, unless you
place pencil guidelines before adding
pen marks.
Normally I use smooth paper, such
as Bristol board or a good quality
cartridge. If I intend to add a wash,
I work on NOT or HP surface watercolour
paper. It is worth noting, however, that
this surface does alter the pen marks,
as the pen does not travel as
smoothly over the textured surface.
The grouping of leaves and berries
on this sprig (right) made a good
composition, and I placed it off centre
and at a slight angle. Using a 0.1
waterproof drawing pen, I outlined the
shapes, depicting the double edge to the
leaves, central and lateral veins. The
marks you make in pen and ink should
be dictated to you by your subject
matter and due to the delicacy of the
plants, it is advisable to use stipple to
build up tonal values. Stipple is timeconsuming, but sympathetic to plant
forms; varying the amount of stipple
conveys the depth of tone and form.
Note that the highlights on the berries
do not appear in the same place on each
berry. Close observation on all details is
important to create a convincing image.
I added the wash over my pen drawing

(above) to produce this Christmas card in
pen & wash. I only made a suggestion of
colour and not a detailed colour rendition,
as you see in my other examples. The card
was printed at 5x5in. (12.5x12.5cm),
showing the twig in its natural size.
showing the character of the leaf.

C This linear drawing takes another view
of the irregular shape. The light green

edge of this variety has been depicted.
D The under surface of the leaf displays
the proud central vein and hollowing
along the lateral veins. In a strong
contrast to the upper surface the
colour is matt and olive or sap green.
Above and over the page are exercises
using ink and watercolour for you to try,
and a photograph of holly, which I hope
will inspire you to paint your own version
for this seasons greetings cards. LP
Judith Milne
t
To find out more about Judiths work,

please visit www.miart.org.uk or
email judith.milne1971@gmail.com
DECEMBER 2016
21
Botanical
t Holly, Golden King (F), watercolour
on Saunders Waterford Rough paper,
6x4in. (15x10cm)
EXERCISE 1 Holly, Golden King

Holly, Golden King was worked in watercolour on Saunders Waterford Rough
paper. I laid a wash of sap green on the central vein and lateral veins. In this
variety the leaf edges are a golden green so I mixed sap green with green gold
for this area then added warm sepia to the mix for the slightly shaded area
on the right. Perylene green was a good match for the dark, shiny patches.
Initially I laid a dilute wash of perylene green, but while still damp,
dropped in stronger pigment to give the shape and tone of the leaf. With
a stipple action I added deeper colour to define the hollows and the veins
to the slightly irregular surface. This paper responds well to the wet-in-wet
technique, which gives the gradation of tone on the curved surface between
the lateral veins. Initially I used a No. 6 brush for the washes then reduced
the size down to a No. 3 for the remainder of the life-size painting.
Green
gold
+
Sap
green
Green
gold +
sap green
Warm
sepia
Perylene
green
EXERCISE 2 Holly, Silver Queen

Holly, Silver Queen shows a much lighter edging
to the variegated type. To achieve the right hue
I mixed lemon yellow and Naples yellow and laid
a wash around the leaf edges. As with all holly
leaves, they are thick and leathery so you will
see the thickness which shows where shadows
fall. The shiny surface catches the light so there
is strong contrast between light and shade with
the convoluted surface.
Some areas showed white so I dropped clear
water on these places, before feeding in dilute
perylene green then adding more pigment until
I achieved the depth of tone I required. I allowed
my brushstrokes to follow the contours to
emphasise shape and form.
For the hollows and shadow areas on the
yellow edging, I added Davys grey to the yellow
mix. The lateral veins were hardly visible, but
I suggested them by negative painting in the
final layer of paint. This leaf was worked on
Saunders Waterford NOT paper. The paper is
very responsive to wet in wet, but obviously in
a controlled manner, as the painting is small.
t Holly, Silver Queen (M), watercolour

on Saunders Waterford NOT paper,
4x4in. (10x10cm)
Lemon
yellow
+
Naples
yellow
22
=
Sap green
DECEMBER 2016
Perylene Green
Davys grey
Botanical
EXERCISE 3 Ilex Aquifolium
Ilex Aquifolium is dark green in colour with
a sap green edging. It is very shiny so there
is strong contrast where the light catches the
uneven surface. As I chose a more detailed
approach, I used a HP Canson Moulin du
Roy paper, which is recommended for
detailed studies. There is no tooth so the
paint sits on the surface and can easily
be lifted off, which is ideal for creating
highlights. The light outline was drawn
with a F pencil, before laying sap green
along the edges and central vein.
For the base colour I used a light mix
of olive green and French ultramarine,
deepening with more pigment for the darker
tones. I added indigo to the mix for the
darkest areas, sometimes using a stipple
action to capture the irregular surface.
Finally, using a small nylon brush, I lifted
off some of the paint in the centre of the
highlights. Except for the initial wash, I used
a No. 1 sable brush, gradually building up
the required layers with an almost dry brush
until I achieved the desired colour balance.
t Ilex Aquifolium, watercolour

on Canson Moulin du Roy HP
paper, 4x5in. (10x12.5cm)
Olive
green
Indian
yellow
+
French
ultramarine
Indigo
The painting for this Christmas card measured 912 x7in. (24x18cm).
This image in watercolour was designed specifically as a card and
was painted on Arches 140lb NOT paper to the actual plant size, but
was reduced in reproduction to 7x5in. (18x12.5cm). I used the same
painting techniques as in the other examples you see here. Note the
variety of greens on the leaves, varying as they twist and turn in the
light. The highlights on the shiny berries catch the light as their
position on the stalk changes.
Reference photograph of a further variety of holly.

Notice the different markings.
t
DECEMBER 2016
23
LP12 24-26 Paul colour v3_Layout 1 21/10/2016 11:58 Page 24
Back to basics
Understanding colour
Part 13 How to use the yellow earths in your palette, by Tony Paul
he yellow earths were the first

yellows known and used by man.
They are still used today, millennia
later. There are thousands of variants
available, broadly grouped into two types:
ochres and siennas. The ochres are
composed by the reaction of water on
iron rich clay and/or chalk, creating
a more opaque pigment. The siennas,
again clays, bear a greater amount
of silica, which renders them more
transparent. The raw and burnt siennas
were named after a primary source of the
earth pigment found near Siena in Italy.
The natural ochres and siennas are
literally dug up, washed and filtered to
remove impurities and any vegetation
matter then ground to give an acceptable
particle size. Their varying natural sources
and the influences of traces of other
metallic elements, such as manganese,

copper and aluminium, mean the
resulting pigments offer a wide range of
subtle and utterly beautiful earth colours.
The natural yellow ochres are classified
with the name pigment yellow PY43,
while the natural siennas are labelled
pigment brown PBr7. The downside of
these natural pigments is that their colour
can be inconsistent. This makes it difficult
for a large manufacturer to maintain their
specimen colour from batch to batch, and
often if you look on the tube at the notes
of pigment used, there may be more than
the PY43 or PBr7, because they have to
add small amounts of other colours to
achieve the text book hue.
Increasingly, the earth colours are being
synthesised, assuring consistency and
increased tinting power. The synthetic
earth yellows, often named Mars yellow,

are labelled as PY42. The Mars earth
colours are sometimes accused of being
bland, lacking the attractive idiosyncrasies
of those taken from the ground. To create
the darker tone of raw sienna, a Mars red
pigment PR101 is often added to Mars
yellow. Commercial production of
synthetic earth yellows began in the
mid 1800s.
To these two types of earth colours
I will add one whose origins came from
the mouth of a volcano. This dull yellow
was found on the slopes of Vesuvius and
used in oil painting, particularly for
portraiture and for warming blue skies
without turning them green. The original
Naples yellow pigment PY41 is rarely
used nowadays, replaced by hue colours
because it is a very heavy pigment
Seashore, Winter: a Ghost Haunted, oil on canvas, 8x10in. (20x25.5cm). Yellow ochre was used, darkened slightly with burnt umber for
the beach and, lightened for the walls of the buildings on the right. The promenade was scrubbed in thinly then the sky colour scumbled
over the top to create a translucent effect.
t
24
DECEMBER 2016
THE YELLOW OCHRES

Daler-Rowney Artists
watercolour yellow
ochre PY42
Winsor & Newton

yellow ochre PY43
Winsor & Newton

golden ochre PY42
Atelier Interactive
acrylic yellow ochre
PY42
comprising lead antimoniate, which tends

to separate out from its binder in the tube.
YELLOW OCHRE PY43

(Mars yellow PY42)
Music at Phillips House, watercolour, 22x15in. (56x38cm). Raw sienna was the yellow
earth used throughout this watercolour. The unmixed colour can be seen on the upper
extreme right wall. It was mixed with burnt sienna for the piano lid and on the floor with
Indian red. Burnt umber and ultramarine were mixed with the yellow to model the
curtains and add strength to the darks.
Other media Yellow ochre is suitable for
use in any medium.
RAW SIENNA PBr7

Raw sienna appears dull and brownish in
mass tone, but when reduced into a wash
becomes a pale slightly subdued warm
yellow. It is considered by many to be
THE RAW SIENNAS
Daler-Rowney
Aquafine
watercolour
raw sienna PBr7
Daler-Rowney Artists
watercolour raw
sienna doesnt use
the natural earth,
instead using a blend
of Mars yellow PY42
and Mars red PR101
Using the same pigments

as before, Winsor &
Newton Professional
Water Colour adds a little
more of the earth red to
create a slightly deeper
toned yellow earth
Again, PY42
and PR101 are
combined to
make Winsor &
Newtons Cotman
watercolour,
raw sienna
the better yellow earth for watercolour.

Definitely more useful in dilute washes
or in mixes, it has a deadening quality
when used in impasto.
Lightfastness ASTM D4302, Class I,
excellent lightfastness.
Colour bias Towards tan.
Transparent/opaque Transparent due
to its high silica content.
Tinting strength High.
Staining No.
Watercolour An ideal watercolour, giving
flat, even washes. Its a good mixer, useful
in making soft greens and dusty oranges.
When used densely, it becomes dull.
Oil A medium to fast drier, it has a high
oil absorption, which can cause it to
darken in time. Best used alone in glazes,
or in mixes, but impasto will look mucky
and dead. Its a good mixer, particularly
with leaner colours.
Other media Raw sienna can be used
in any medium.
DECEMBER 2016
25
This is a subdued yellow that has a

greenish or tan bias depending on its
source. One of the bread-and-butter
colours in the palette, it is good for
subduing greens and oranges. It is
probably of more use in oil, pastel and
acrylic than in watercolour, where it tends
to be difficult to work in washes and can
be streaky. Its colour is similar both in
mass and in dilution.
Lightfastness ASTM D45302, Class I,
excellent lightfastness.
Colour bias Towards green or tan.
Transparent/opaque Semi-opaque.
Tinting strength Low.
Staining No.
Watercolour It is useful more for mixing
rather than in solo use. Its opacity can
create veiling effects when used in washes.
Its good for desaturating bright colours.
Oil Here it is a good solid colour. Reduced
with white, it becomes an excellent flesh
colour in portraiture, especially if touches
of cadmium red or crimson are added.
It can be used in thick or thin applications.
Its high oil absorption and medium to
slow drying make it best for use in mixes
with faster drying and leaner colours,
or in the upper layers of a painting.
Back to basics
NAPLES YELLOW
(Originally PY41)
Tony Paul
A densely opaque and heavy

colour, Naples yellow was originally
used in oil painting. It was fast
drying and low in oil absorption.
Nowadays it is made as a hue
colour, although rarely indicated as
such; it is often made from titanium
white, yellow and earth red. Being
a useful colour, the hue version
is available in all media. It is not
possible to give the properties
of the hue versions, because the
component colours will vary from
manufacturer to manufacturer. LP
Tony is the author

of four popular
practical art books,
still available on
Amazon. Find out
more about Tony
and his work at
www.courtenaysfine
art.com
THE NAPLES YELLOWS

t
Daler-Rowney Artists watercolour

Naples yellow is a blend of cadmium
red, cadmium yellow and titanium white
to give a pale and warm soft yellow,
which is fairly opaque.
Lesley, oil on board, 10x8in. (25.5x20cm). The lights on the

face were painted with Naples yellow lightened with titanium
white. The yellow was also used in mixes with reds cadmium
light and permanent alizarin crimson. These are particularly
visible at her throat and on her cheek. The three paintings
illustrated this month were all painted from life.
Winsor & Newton

Artisan Water
Mixable oil Naples
yellow is paler and
slightly more pink,
made by combining
titanium white,
Mars yellow and
an earth red. Again,
this pale, clean
colour is just right
as a base for flesh.
Winsor & Newton

Artists oil Naples
yellow is a deeper
toned and slightly
brownish colour,
made from lithopone
white, an earth brown
and Mars yellow. This
is a solid and heavy
colour, which mimics
the genuine colours
character well.
t
Atelier
Interactive Acrylic
Naples yellow is
made from
titanium white with
a little Mars yellow
and arylamide
yellow. This is quite
a delicate colour,
which is ideal as
a base colour for
flesh tones.
HOW TO MIX EARTH YELLOWS

t The opaque yellow ochre gives a dusty, sharp green
when mixed with phthalo blue
+
Yellow ochre
Phthalo blue
Raw sienna
French ultramarine
26
DECEMBER 2016
French ultramarine
+
Naples yellow
Alizarin crimson hue
t The same yellow mixed with viridian results in a delicate

pastel, eau de nil green; the slightly orange yellow warms
the coolness of the green
=
Phthalo blue
t Mixing Daler-Rowney Artists watercolour Naples yellow with

a touch of alizarin crimson hue gives a pure pale flesh colour
t With phthalo blue, Aquafine raw sienna makes a subtle

greenish grey, ideal for distant trees in landscape
Raw sienna
t When the ochre is mixed with ultramarine, the blues purplish

bias argues with the yellow to create a neutralised khaki
Yellow ochre
t When Aquafine raw sienna is mixed with ultramarine,

the mixed colour becomes a more neutral grey
+
Naples yellow
=
Viridian
LP12 27-31 Parashko_Layout 1 21/10/2016 12:14 Page 27
Oils
Herculean prince
Elena Parashko demonstrates colour mixing and techniques
used to paint a strong and dramatic portrait of a racehorse
portrait almost life sized, and gives it a

big, bold appeal. Work on whatever sized
canvas feels most comfortable for you.
As always, its important that you enjoy
the painting. I also chose oils for this
painting, but you can easily transfer the
techniques to acrylics. LP
Reference Photo 2 Randwick Racetrack in Sydney, Australia
Reference Photo 1 (above right) is

of the beautiful thoroughbred gelding,
Herculean Prince, as he was just
about to swim in the equine pool.
I selected this photo as his head was
in a graceful pose and I loved how
he looked straight into the camera
and made eye contact with me.
I thought this would give a personal
feel to the painting.
However, two problems in this
photograph detracted from the beauty
of this horse: the overly complicated
training bridle and the unappealing
background. I therefore decided to
superimpose Herculean Prince onto
a racetrack, wearing a simple racing
bridle. To make this adjustment
I needed more reference photographs.
I was fortunate to have taken photos
of the surrounding areas of the
racetrack and equine pool, but
I didnt have a photo of a racing
bridle so I made an internet search of
recent local horse races and found a
newspaper photo of Herculean Prince
racing in the bridle favoured by his
trainer. I used this as a guide in
changing his tack.
Reference Photo 1 The subject of this painting: the thoroughbred gelding, Herculean Prince
Reference Photo 2 (below) is a view

of Randwick Racetrack from near the stables
and equine training pool. I liked the curve
of the rails from this angle and the Sydney
skyline in the distance. It gives a nice sense
of context and depth to the painting.
The original large canvas size makes this
Your reference material
he following demonstration
painting was created with the
intention of entering it into an
equine art competition with the theme
at the track. To gather inspiration
and reference material for my
painting, I visited the stables of highly
successful Australian racehorse trainer,
Gai Waterhouse. I spent a wonderful
afternoon photographing her horses
training on the track and exercising
in the equine pool.
I did not have a preconceived idea
of the composition so took hundreds
of photos of many horses in a variety
of positions and the racetrack setting
adjacent to the stables. It wasnt until
I returned home and carefully sorted
through the images that I came up
with an idea for the composition
of this painting. It was easy to delete
most of the photos, as often the horses
were captured in awkward poses,
shadows were so strong that details
of their anatomy were not clearly
visible, or the horses were moving
so fast that they were not completely
captured in the frame. I did not take
one perfect photo from which to work
so I selected two photos as the basis
for my painting.
DECEMBER 2016
27
Oils
Demonstration Herculean Prince

t
Step 1
You will need
n
l
Surface
Canvas panel
29x36in.
(73x91cm)
Artists oils
Titanium white
l Ultramarine blue
l Cobalt blue
l Burnt sienna
l Burnt umber
l Cadmium yellow
medium
l Lemon yellow
l Yellow ochre or
yellow oxide
l Cadmium red
l
Brushes
Flats Nos. 8, 4 & 2
l Filbert No. 2
l Liner No. 1
l
Miscellaneous
Light red oxide
acrylic painting
l Paper 29x36in.
(73x91cm)
l Graphite pencil
l Eraser
l Ruler
l White transfer paper
l Masking tape
l Ballpoint pen
l Gloss varnish
l
To ensure accuracy
in drawing and to help
superimpose the horse
in a pleasing position
onto the racetrack,
first draw the whole
composition with
graphite pencil onto
paper the actual size
of the canvas.
I replaced the large
training bridle you
see in the photograph
with a smaller racing
bridle and used my
imagination to fill in
the missing pieces of
anatomy underneath.
t
Step 2
1 Cover the canvas with light red oxide

acrylic paint to give a lovely warm glow to
the painting. Once dry, place white transfer
paper face down over the canvas, position
the drawing on top of the transfer paper
and secure it in place with masking tape.
Using a ballpoint pen, trace the horse,
background trees and buildings. I did not
trace the fences on the track at this stage,
as they would be added later.
2 Remove the drawing and transfer paper,
and paint the sky with a mixture of cobalt
blue, ultramarine blue and titanium white.
Lighten the sky towards the horizon with
more titanium white.
3 Using a small filbert brush, block in the
background trees with dark green made
from ultramarine blue and cadmium yellow
Step 3
1 To complete the trees, make three different

mid tone greens from the same dark green
28
DECEMBER 2016
underpainting colour: a cool lime green

by adding lemon yellow, a warm olive
green by adding cadmium yellow medium,
and a reddish green by
adding burnt sienna.
Use a filbert brush to
shape horizontal arcs
in some of the trees;
for other trees use
the side of a small
flat brush to imply
vertical foliage.
2 Add highlights
by lightening these
mid tones with
titanium white. As the
light source is coming
from the right, the
highlights should be
medium, lightened with a touch of sky colour.

4 Use a small flat brush to block in the
buildings with a variety of dark browns made
from burnt umber, burnt sienna, ultramarine
blue and titanium white. Then block in the
tall buildings of the skyline in the far distance
with grey made from ultramarine blue, burnt
umber and titanium white.
TIP I used acrylic paint to colour
the canvas, as it has a very quick
drying time so I was able to start the
painting process in about 15 minutes.
Allow specks of the red canvas colour
to show through in places throughout
the painting process to create
a unified warm glow.
on the top and right side of the trees in

the main, allowing the shadows on the
left and underside to remain visible. Tree
trunks were painted with burnt umber.
3 Mix mid tones and highlights for the
buildings by adding titanium white to
all the brown and grey shadow colours.
Remembering that the light is coming
from the right, the faces of the buildings
in sunlight are lighter than the faces
in shadow.
4 Add final details with a small liner brush.
When dry, place the transfer paper and
drawing back on top of the canvas and trace
the perimeter fence over the background
then paint it with a grey building colour.
While I had the drawing on the canvas,
I also traced the curves of the grass on the
track in preparation for the next step.
Oils
3 Paint the turf with short vertical

brushstrokes. Notice how much of
the red canvas colour is still showing
through between the grass blades
in the foreground.
Step 4
1 For the turf on the racetrack, make

light shades of green using cadmium
yellow medium, ultramarine blue, yellow
oxide and titanium white. Mix slightly
darker shades of green by adding burnt
sienna and more ultramarine blue.
2 Add a dark cast shadow for the
still-to-be painted inside rail with burnt
umber softened with some of the green
grass colour.
Step 5
Once the turf is dry, place the transfer

paper and drawing on top of the painting
once again and trace the fences on the
racetrack. Paint these with the same
greys used for the background buildings.
TIP According to the rules of perspective, brushstrokes for the grass in the distance
should be small and close together while brushstrokes for the grass in the foreground
should be larger, thicker and spaced further apart.
Step 6
1 The first stage of

painting the horse
involves roughly
blocking in the shadow
colours. Study the
photograph closely
for accuracy in the
shape of the underlying
muscle and bone.
2 His mane, muzzle
and area around the
eye are grey. Make a
few shades of dark
grey by adding a small
amount of burnt sienna
to ultramarine blue
and varying small
amounts of titanium
white.
3 For the coat, mix a
range of browns using
more burnt sienna with
less ultramarine blue
and titanium white.
DECEMBER 2016
29
Oils
t
Step 7
Painting the muzzle is a process of refining the shape of all its interesting
contours with medium then light shades of grey. Some smooth blending
allows the merging of the grey muzzle with the brown coat so there is
a seamless transition between these areas. Add details of whiskers
and bumps last.
t
Step 8
Make the darks of

the eye and eyelid
from a mixture of
ultramarine blue
and burnt sienna.
Note that horses
pupils are elongated
rather than circular.
Paint the brown iris
with burnt sienna
brightened with
orange, made from
cadmium yellow
medium and
cadmium red. The
iris is at its lightest
and brightest on the
lower right side,
where sunlight is
streaming into the eyeball. Use medium and light grey for the rim of the
eye and folds of the eyelid. White sparkles applied with a fine liner brush
indicate moisture glistening in the sunlight. Indicate the reflection in the
eye: the sky of the racetrack landscape behind the viewer.
t
Step 9
The ears contain quite a dense pattern of hairs. Add yellow oxide to the
dark brown coat colour to paint the hairs in sunlight. No hair detail is
visible in the shadow areas. The most important part of painting the
ears is ensuring the direction of the hair growth is correct.
Step 10
To complete the coat, mix

a range of mid-tone colours
by adding burnt sienna and
yellow oxide to the dark
underpainting coat colours.
Add titanium white to these
mid tones to make highlights,
which are then blended into
the areas of strongest
sunlight. Add veins for
realistic detail. Use a small
liner brush to paint the hairs
of the mane in a mid-tone
grey then light grey.
TIP The highlights

on the coat give the
appearance of a glossy
sheen and bring a
horse portrait to life.
It is therefore
important to make
them light enough
and position them
on pronounced
contours that attract
the most light.
30
DECEMBER 2016
Oils
t
Step 11
Underpaint the leather of the bridle with

the dark brown coat colour and the metal
of the bit and buckles with the dark grey
of the muzzle. Make the mid tones and
highlights by adding titanium white
to these underpainting colours. Add
details with a fine liner brush.
Step 12
1 Paint the fringe on top of the

completed coat and bridle with a small
liner brush using the same mid-tone
grey and light grey as in
the mane. Begin your
brushstrokes at the base
of the hair and flick
Elena is an award-winning artist, teacher and writer from
down towards a fine
Sydney, Australia. She leads plein-air painting holidays
tapered point.
in Tuscany, Italy (14 to 21 October 2017) and Fiji Islands
2 When the painting is
(10 to 17 June 2017). She is the author of Survival Guide
totally dry, apply two
for Artists: How to Thrive in the Creative Arts available
coats of gloss varnish to
via her website and Amazon. Visit www.elenaparashko.com
bring out the colours
or email info@elenaparashko.com
and unify the finish.
Elena Parashko
The finished painting Herculean Prince, oil on canvas panel, 29x36in. (73x91cm)
DECEMBER 2016
31
LP12 32-36 Fisher_v3_Layout 1 21/10/2016 12:29 Page 32
Drawing
Curved perspective
Follow Tim Fisher as he discusses circles, ellipses, spheres and
curvilinear perspective to help you draw and paint more accurately
any artists see perspective as a

perplexing and puzzling subject.
Our ability to grasp the threedimensional world and form an
understanding of it is essential to our
ability to draw an image correctly.
Anything we see is subject to perspective,
some obviously, some not.
Our view of the world is greatly
influenced by a perception of objects
that we learn at an early age. We quickly
build a representation of the universe in
our heads and this model will continue to
manipulate and interfere with our ability
to draw what we see for years to come.
There is an old saying, you havent seen
anything until youve drawn it. Being
able to draw what you see is like seeing
Figure 1 Using the hand like compasses
a new world for the first time. It is

a wonderful thing to appreciate a
landscape or even how a shadow falls
onto steps.
My early attempts at drawing were not
always successful, and I see now that
I had no knowledge of perspective and
was unaware that it was having a big
influence on my work. Things just didnt
look right and I didnt know why. The
following is designed to help you see
and understand the world and how
perspective in its many forms has an
influence on it. I encourage you to
observe and practise freehand drawing
regularly and try out the exercises as it
is only by doing this that you will come
to understand how things work.
Figure 3a
Figure 2a
VP1
Figure 3b
32
Figure 2b
DECEMBER 2016
Drawing
When you are freehand drawing,
avoid too much use of an eraser or even
a ruler. Live with your mistakes, as it is
a great teacher for future work. Rub
them out and they are lost forever. Take
yourself right out of your comfort zone
and use an indelible drawing pen. Ruled
lines can look very unnatural when
rendering subjects in a freehand
manner.
Try not to become too dependent
on photographs but draw from life
whenever possible. Camera lenses
distort and curve the edges of a scene
and we unknowingly transfer these
distortions into our drawings.
Figure 4
CIRCLES, ELLIPSES AND SPHERES
Figure 5 St Pauls Cathedral, London, showing the various sized ellipses that make up the dome
It is worth practising drawing circles.

Start with small ones, gradually
enlarging them until it gets to the point
where construction lines are needed.
This will give you an idea of how
large you can draw a circle freehand.
A useful technique to use where an
accurate circle is required is to make
the hand behave like a set of
compasses, keeping the pencil
stationary and rotating the paper
(Figure 1, far left). Hold the paper
down firmly with the middle finger
and grip the pencil between the thumb
and forefinger. Use the other hand to
rotate the paper, making sure it can
move freely, without obstruction, and
then touch the pencil on the surface.
With practice, some quite good circles
can be produced. Try using different
parts of the hand for a pivot, say the
little finger joint or the base of the
palm for larger circles.
From circle to ellipse
freehand drawing the circle, draw the

front half first. Where the half-circle
touches the diagonals, take a line
through this point and back to VP1
to mark the position on the diagonal
at the rear of the square. The rear half
can then be drawn in. It takes some
practice to get the ellipse shape right.
Early attempts can make the curve on
the near and far edges look flat and
the curve on the left and right side
look pointed.
Spheres
Drawing a sphere is a progression from
drawing a single ellipse. Construct a
cube in two-point perspective (Figure
3a, above left). I have divided the cube
into eight smaller sections by dividing
each square in half, and created a
freehand circle in the flat plane.

A second circle is then drawn in the
vertical plane, crossing the first drawing.
These two shapes are then encompassed
with a third circle to complete the
drawing and shading is added (Figure
3b, bottom left).
DOMES, WINDMILLS AND TOWERS

A lot of domes that we see are basically
a sphere cut in half (Figure 4a, top left).
We could take a sphere and erase the
bottom half and be left with quite
a convincing dome. In some cultures
the domes are a different shape, more
like an onion (Figure 4b, top right).
Observation will tell us what shape
the subject is.
When we look upwards to draw a
subject, it is useful to imagine where
DECEMBER 2016
33
A circle will fit into any square we

draw. It is the shape of this square
when under the laws of perspective
that influences the shape of the circle,
which then becomes an ellipse. In most
instances, it is useful to create a square
under the correct perspective conditions
and then draw the circle freehand into
it. The axes of the square control the
shape of the circle and the line drawn
is not as free as one drawn without
any guidelines.
Figure 2a (far left) shows a concentric
circle in a flat plane or a plan view.
I have divided it into eight parts, by
adding diagonals first and then dividing
the centre where they meet. Drawing
a circle in this space with compasses,
I can see where the circle intersects
the dividing lines. I have shaded in the
spaces outside the circle, as seeing these
shapes makes it easier to freehand
draw a circle.
Figure 2b (far left) shows the square in
perspective with the left and right edges
going to VP1. The other two edges are
parallel to the base of the paper. As the
circle drawn in this space is no longer
accurate, it becomes an ellipse. The
perspective of a square makes the front
half look larger than the back and this
is also true for the ellipse. So when
Drawing
Figure 6
t
t
Figure 7 Wymondham Windmill.

This disused windmill in Leicestershire has
an onion-shaped top with the sides bulging
out slightly. When constructing such a
subject, an indicator in pencil of where the
ellipse goes is useful to get the true shape
before inking in. Here I added a series of
ellipses descending down the tapering
cylinder towards the eyeline. Note how
they become more squashed as they get
lower. An ellipse on the eyeline would
appear to the viewer as a straight line.
the ellipse at the base of the dome

lies. At this point we see a large ellipse
(Figure 5, page 33). As we look higher
up the dome, we can detect more
ellipses that become gradually
narrower.
Figure 6 (above) shows a lighthouse.
I started this drawing by placing a
figure next to the building to establish
an eyeline at the right scale and then
a vanishing point in the lower centre
of the tower. The base ellipse was
constructed in the same way as
Figure 2b (page 32). At the top of
the tower is another smaller ellipse,
which goes back to the same vanishing
point as all the other ellipses higher
up. Once drawn, the edges can be
connected to create the lighthouse.
Once you have mastered drawing
ellipses, it opens up the opportunity
to draw all sorts of round and curved
items, such as pots, bottles, jugs and
bicycles, as well as buildings, such
as shown in Figure 9 (opposite above).
VP (North)
VP
(West)
VP
(East)
CURVILINEAR PERSPECTIVE
34
DECEMBER 2016
VP (South)
This way of working uses curved

perspective lines instead of straight
ones back to a vanishing point.
The method approximates the image
which appears on the retina of the
eye, which is spherical. It uses
four, five or more vanishing points.
Working this way offers a much wider
field of vision and in my view is more
interesting, fun and quirky than
Figure 8
Figure 9 The Circus, Bath. This curved structure is one of the many fine architectural examples to be found in this city. The drawing
is done on Bristol vellum board in 0.3 black fibre-tipped drawing pen over an initial rough layout in 3B pencil.
t
t Figure 10 Line Styles I have devised several underlying line styles that I try to adhere to when working, usually starting with a very
loose pencil drawing that emulates the underlying pattern. As long as most of the lines in the image echo the underlying structure,
some cohesion can be achieved.
Winding river or road
Fish eye or bulls eye
t
t
Rapidly converging or expanding lines
Waves
Circular motion
Vase or grasses
DECEMBER 2016
35
Drawing
Figure 11 A helicopter view of Melton market. This time

I have used the fish eye as an underlying shape.
t
Figure 12 This pen sketch of Burton Street, Melton Mowbray,

Leicestershire uses the underlying idea of the winding road. There
are no fixed vanishing points, though I have placed the horizon
quite high up the paper, taking a helicopter view of the scene.
straight-line perspective systems.

Setting up a surface for multiple
vanishing points is quite timeconsuming. The finished work can
look tight and it is sometimes difficult
to fit the composition within the
construction lines.
The drawing (Figure 8, page 34)
is a scene along the canal in Venice.
Within this circular composition are
five vanishing points. I have built up

a series of curved construction lines to
act as a guide. All the lines going from
north to south and east to west are
curved. Lines converging on the CVP
(central vanishing point) are straight.
Setting up a background of guidelines
for the drawing is quite involved but
once this is complete, it can be used for
several drawings with the aid of a light
Figure 13 This view down the abbey steps at Whitby in Yorkshire has the underlying
pattern of a wave as the steps dip and curve down the slope and the distant harbour
moves up and down across the page. Some of the buildings behave like a vase or grasses.
Perspective is still acknowledged in these scenes things still get smaller as they get
further away but it is fun to bend the rules a little to produce interesting subjects.
t
36
DECEMBER 2016
box. The systems can become even

more complicated when working with
more vanishing points.
I prefer to use a more intuitive
method which moves outside the
constraints of fixed vanishing points.
This opens up the scene and provides
flexibility and ways of viewing the
world that straight-line perspective
does not offer. LP
This tutorial was adapted

from Drawing Masterclass:
Perspective by Tim Fisher
(Search Press, 2016, 12.99).
Save 2 this month and buy
from Leisure Painters
bookshop at www.paintersonline.co.uk/store, follow the
links to books and quote code
DEC16. See page 62 for more
special offers on books by
Search Press.
LP12 37-40 Index_Layout 1 24/10/2016 11:13 Page 1
index 2016
Pull out and keep reference guide to the features

and information within this years issues
acrylics Jan 26, 51, 52; Feb 19, 51;
Apr 3941; Aug 3641; Nov 37, 50,
53, 54, 55
Amsterdam Acrylics Sep 224
animals Apr 457; Oct 13
beach scenes Summ 19; Aug 2931;
Nov 479
brushes Feb 19
colour palette Feb 4950
flowers Feb 39; Sep 224; Oct 35
glazing May 258; Aug 367
harbour scenes Summ 18, 19; Aug 66
knife painting Nov 479, 50
landscapes Feb 1819; Mar 1517,
379; Apr 289; May 258;
Summ 1821; Oct 52
liquid acrylics Nov 535
and oils Jan 402; Feb 42
portraits Summ 8
seascapes Jan 25; Jun 513;
Oct 46, 48
Sennelier Abstract Acrylics Feb 379
spray paints Apr 457
still life Aug 3641
techniques Jan 246; Feb 38;
Mar 379; Apr 3841; Jun 513;
Aug 2931, 3641; Oct 35;
Nov 479, 52
top tips Oct 468; Nov 1011
Venice Jan 24; Apr 25
and watercolour Summ 4850
Alcock, Paul Aug 2931; Dec 569
animals
birds Feb 53, Apr 347; May 42;
Jul 27; Summ 389; Aug 425;
Oct 13, 66; Dec 1719, 4851
cats Jan 54; Jul 34; Summ 54; Oct 53
deer Jul 33; Sep 1617; Oct 1921
dogs Mar 224; May 66; Jul 28, 345;
Oct 4951
dolphins Sep 489
donkeys Summ 56
elephants Apr 457; Nov 52
fish Jul 31
horses Feb 11; Dec 2731, 601
otters Summ 10, 66
sheep Apr 55; Summ 55
tigers Jun 201; Jul 503
apps May 10
ART CLUB NEWS/GALLERY Jan 5961;
Feb 5961; Mar 579; Apr 5860;
May 5861; Jun 569; Jul 5860;
Summ 5860; Aug 589; Sep 669;
Oct 569; Nov 5861; Dec 647
art groups/societies
Exmouth Art Group Oct 57
Gateshead Art Society Oct 54
Guildford Art Society Nov 567
Hipperholme & Lightcliffe Art Society
Jun 57
Jamaica Street Artists Apr 8
Leicester Sketch Club Mar 57;
Aug 567
Menston Art Club May 58
Saddleworth Group of Artists Sep 67
Stafford Art Group Feb 59
Wareham Art Club Aug 59
Barker, Duncan Apr 3841

Begg, Arthur Sep 1215
Bellamy, David Mar 1013; Jul 1519
Birch, Linda Jan 545; Feb 523;
Mar 501; Apr 545; May 4850;
Jun 545; Jul 567; Summ 546;
Aug 545; Sep 568; Oct 523;
Nov 502; Dec 601
birds Apr 347; May 42; Jul 27;
Summ 389; Aug 425; Oct 13, 66;
Dec 1719, 4851
boats Feb 14; Mar 21; Jul 479;
Summ 32; Aug 513; Oct 1617;
Nov 1821
book reviews
Andrews, Jorella, This is Rembrandt
Jul 61
Barringer, Tim & Devaney, Edith,
David Hockney: 82 Portraits and 1
Still-life Oct 55
Bearcroft, Vic, Drawing and Painting
Cats Jan 57
Bernard, Mike & Capon, Robin,
Collage, Colour and Texture in
Painting Mar 56
Blacklock, George, Colour and
Abstraction Mar 56
Bhler, Thomas, Pop Art Aug 61
Brehm, Matthew, How to See It, How
to Draw It: The Perspective Workbook
May 57
Brown, Claire Waite
The Pastel Artists Bible Jun 65
The Watercolour Flower Artists Bible
Dec 63
Byfield, Graham & Binney, Marcus,
Cambridge Sketchbook Jun 65
Castagnet, Alvaro, Watercolour
Masterclass Jul 61
Chapman, Lynne, Sketching People
Apr 61
Collins, Julie
Colour Mixing Guide: Acrylics Jan 57
Colour Mixing Guide: Oils Summ 57
Crossley, Barbara, The Canals of Harley
Crossley Aug 61
Dowden, Joe Francis, How to Paint
Water in Watercolour Nov 65
Elliott, Helen, Creative Me Aug 61
Finmark, Sharon, Learn Drawing
Quickly Jul 61
Fisher, Tim, The Drawing Masterclass:
Perspective Dec 63
Ford, Jeremy C., Painting Pastel
Landscapes Mar 56
Gayford, Martin, A Bigger Message:
Conversations with David Hockney
Jul 61
Getlein, Mark & Howard, Annabel,
Art Visionaries Feb 57
Haines, Jean, Paint Yourself Calm
Jul 61
Harrison, Terry, Terry Harrisons
Watercolour Secrets Dec 63
Hart, Christopher, Figure it Out!
Drawing Essential Poses Nov 65
Hockney, David & Gayford, Martin,
A History of Pictures Nov 65
Hodge, Susie, How to Draw: Babies and
Children in Simple Steps Oct 55
Howard, Annabel, This is Caravaggio
Jul 61
James, Andrew & Paul, Painting
Self-Portraits Feb 57
John-Naylor, Denis, Drawing Masterclass:
Trees Summ 57
Keizer, Joost, This is Leonardo da Vinci
Jul 61
Kersey, Geoff, Take Three Colours:
Watercolour Landscapes Oct 55
Lang, Roy, Sea & Sky in Oils Feb 57
Lowrey, Arnold, Start to Paint with
Acrylics Mar 56
Macey, Glyn, Glyn Maceys World of
Acrylics Summ 57
Martin, Judy, The Encyclopedia of
Coloured Pencil Techniques Dec 63
Nawratil, Waltraud, Abstract Nature
Dec 63
Palmer, Matthew, Painting without Paint
May 57
Parashko, Elena, Survival Guide for
Artists Jun 65
Pereznieto, Leonardo, You Can Draw!
Simple Techniques for Realistic
Drawings Mar 56
INDEX 2016
Pitamic, Maja & Laidlaw, Jill, Modern

Art Adventures Jan 57
Scott, Marylin, The Acrylic Artists Bible
Jun 65
Scouller, Glen, Colour and Line in
Watercolour Summ 57
Scully, Pete, Creative Sketching
Workshop Jan 57
Seidl, Diana, Drawing and Painting on
the iPad Jan 57
Shadbolt, Daniel, Painting and
Drawing the Head Nov 65
Soan, Hazel, Learn Oils Quickly
May 57
Southan, Mandy, Beginners Guide to
Silk Painting Oct 55
Strother, Jane, The Coloured Pencil
Artists Drawing Bible Dec 63
Thomas, David, Drawing & Painting
Portraits in Watercolour Apr 61
Vize, Sue, Botanical Drawing using
Graphite and Coloured Pencils
Nov 65
Williams, Simon, Botanical Painting
with Gouache May 57
Williamson, Steve, The Bridges of Dee
Summ 57
botanical illustration Jun 279;
Sep 503
see also flower painting
Bowden, Jem Aug 201; Sep 1921;
Nov 1617; Dec 1719
Bramble, Paul Mar 523
Brett, Amanda Jan 369
Brown, Claire Waite Jun 65; Dec 1215,
63
brushes Jan 345; Feb 19; Jun 401;
Summ 234; Aug 11; Sep 41
cadmium pigments Jan 12

cameras Feb 10; Mar 6; May 10; Jun 10
Campbell, Helen Jan 303; Apr 1821
cards Aug 1011; Dec 203
Chapman, Lynne Sep 447
charcoal Mar 401; Oct 601
Chinese brush painting Dec 601
Coates, Stephen Jul 368
Colbert, Emma Jul 335; Sep 1617;
Oct 1921
collage Jan 51, 52; Feb 13, 42; Oct 53
colour mixing Jan 1921; Feb 201;
Mar 325; Apr 247; May 1618;
Jul 368, 446; Summ 303;
Aug 257; Sep 10, 346;
Oct 1215; Nov 347; Dec 246
competitions
LP/Patchings 2016 Sep 5963
self-portrait competition winners
May 55
composition Jan 279, 54; Feb 323;
Mar 1013; Summ 36; Sep 42;
Nov 17, 26
INDEX 2016
courses see holidays and courses

Cox, Graham Jun 313
creativity tips Feb 1113
Curtis, David Mar 523
Darlow, Les Jan 279

diary Jan 7; Feb 7; Mar 7; Apr 7; May 7;
Jun 7; Jul 7; Summ 7; Aug 7; Sep 7;
Oct 7; Nov 7; Dec 7
disability Feb 10
drawing and sketching Feb 1113,
224; Apr 1114, 357
animals Apr 545; Jul 503
buildings Mar 1820; Apr 223
charcoal Mar 401
fashion illustration Jul 545
felt-tip pens Dec 601
Fibralo brush pens Jan 345
figures Jan 369; Feb 19; Mar 256,
479, 523; Jun 1619; Summ 523;
Sep 447
graphite drawing Jul 28, 66; Aug 469
liquid pencil Oct 4951
pastels Jul 301, 503; Sep 1617, 37
pen and wash Mar 1821; Apr 223;
Jun 1619; Aug 335, 545;
Nov 1821; Dec 203
perspective Dec 326
portraits Oct 601
readers tips Oct 10
sketchbooks Apr 1214
techniques Mar 257; May 50;
Jun 545; Sep 58
trees Jan 35, 435; Apr 424; May 50;
Aug 469
and watercolours Jan 369;
May 1215; Summ 347; Aug 201;
Sep 447; Oct 1617; Nov 1617
Winsor & Newton BrushMarkers
Jul 545
see also pencils and crayons
DVDs
Lowrey, Arnold, Flowers in Watercolour
Apr 61
Sluga, Charles, Mixing It Up in
Watercolour Feb 57
Summers, Haidee-Jo, Vibrant Oils
Aug 61
egg tempera Apr 27; Nov 345

Elcock, Bob Jun 201; Jul 503
equipment
easels Summ 22, 24
mobile studios Apr 11
palettes Jun 10; Nov 10
sketching kits Nov 11
Evans, Charles Jul 479
exhibiting your work May 10
exhibitions Jan 89; Feb 89; Mar 89;
Apr 89; May 89; Jun 89; Jul 89;
Summ 89; Aug 89; Sep 89;
Oct 89; Nov 89; Dec 89
Fennell, Alison Summ 389; Sep 489

figure drawing/painting Jan 369;
Feb 19; Mar 256, 479, 523;
Jun 1619; Summ 523; Sep 447
Fisher, Tim Sep 224; Dec 326
Fitzpatrick, Emma Aug 567
flower painting
acrylics Feb 39; Sep 224; Oct 35
alliums Summ 13
apple blossom Apr 1821
bluebells Jun 435
botanical illustration Jun 279;
Sep 503
camellias Feb 32; Summ 447
coloured pencils Aug 1619
daffodils Feb 32; May 323
daisies Sep 22
geraniums Feb 39
gouache Summ 268; Sep 503
hellebores Mar 50
Hydrangea Jun 279
irises Feb 445
Japanese ink painting Summ 447
oils Feb 323; Mar 50; May 323;
Summ 1215
orchids Sep 503
pansies Summ 1617; Aug 1619
poppies Jul 22; Sep 24
roses Jan 301
rudbeckia Sep 2833
sunflowers Oct 35
sweet pea Jan 323
techniques Jul 203
trompe loeil effect Summ 1617;
Aug 1619
tulips Feb 52; Jul 403
watercolours Jan 223, 303;
Feb 201, 445, 52; Apr 1821;
Jun 435; Jul 203, 403;
Sep 2833; Dec 1215
Ford, Jeremy Feb 2831
Friend, Trudy Jan 435; Oct 4951
Gasperi, Lorna Feb 323; Summ 268

gouache Feb 51; Apr 55; Jun 66;
Summ 9, 268; Aug 55; Sep 503
Hampson, Linda Summ 1617;

Aug 1619
Harman, Heather Gail Mar 224;
Sep 3740
Harrison, Terry Jan 468; Feb 346;
Oct 226
Heywood, Denise Oct 435
Hogan, Tony Jun 513
holidays and courses
2016 guide Feb [supp. 223]
Adrienne Parker Apr 48; Sep 54
Christopher Corr May 37
Fiona Peart Jan 49
Glyn Macey Jul 67
ink
acrylic inks May 2931
Chinese brush painting Dec 601
Japanese ink painting Summ 447
Jun 1619; Aug 335, 545; Sep 56,
58; Nov 1821; Dec 203
water-soluble ink May 50
Jelbert, Wendy Jan 513; Feb 379

Jelbert-Ingram, Rosalind Oct 402
John-Naylor, Denis Aug 469
Kay, Pamela Jan 1417, 18; Apr 1214;

May 1215; Summ 1215
Kerr, Anne Apr 513; May 435;
Jun 467; Nov 268; Dec 425
King, Julie Aug 335; Sep 2833;
Nov 303
Kinnear, Martin Jan 402; Feb 402;
Mar 479; Dec 467
landscapes
acrylics Feb 1819; Mar 1517, 379;
Apr 289; May 258; Oct 52
mixed media Feb 40; Summ 4850;
Oct 53
oils Jan 42; Feb 52; Apr 1617;
May 1921; Jun 1215; Aug 1215,
66; Sep 1215; Nov 1215
pastels Jan 279; Feb 301; Jul 31;
Summ 18; Dec 601
textiles May 467
watercolours Jan 12; Mar 1213,
424; May 435; Jul 1519, 37,
567; Summ 347; Aug 201;
Sep 1921; Oct 9; Nov 3941
river scenes Apr 66; Jul 479;
Summ 20; Nov 1617; Dec 1719
snow scenes Jan 513; Apr 523
woodlands Apr 44; May 445;
Jun 435
letters Jan 12; Feb 10; Mar 6; Apr 11;
May 10; Jun 10; Jul 10; Summ 10;
Aug 1011; Sep 10; Oct 10;
Nov 1011; Dec 11
Louca, Jo Nov 3941
Lowrey, Arnold Jan 246; Jul 203
McCannell, Ursula May 9

McNaughton, Rachel Feb 445; Oct 323
masking fluid/tape Mar 6; May 4850
Massey, Carole May 346; Jun 345;
Jul 301; Summ 1821
Mather, William Oct 601
Matthews, Linda Aug 513
Millet, Jean Franois Mar 479
Milne, Judith Jan 223, 345; Feb 201;
Apr 424; Summ 347; Dec 203
mixed media Feb 11, 13; May 2931,
467; Jun 279; Oct 53; Nov 51
acrylics May 2931; Summ 4850
collage Feb 42
oils Feb 402
watercolours Jun 54, 66; Jul 56;
Summ 4850; Sep 447
Morrish, Sarah Apr 347
Newcombe, Robert Sep 413

Nield, Anthony Mar 1821; Apr 223
oils Jan 1417; Feb 224, 402, 467,

501; Jun 66; Summ 523; Aug 513;
Oct 379
animals May 66; Dec 2731
boats Summ 32; Aug 513
colour mixing/palette Jan 1921;
Feb 4851; Mar 325; Apr 247;
May 1618; Jun 369; Jul 446;
Summ 303; Aug 257;
Sep 1215, 346; Oct 1215;
Nov 347; Dec 2431
figure painting Mar 479; Summ 523
flowers Feb 323; Mar 50; May 323;
Summ 1215
garden scenes Summ 1215; Oct 301
Jacksons Artist Oil Colours Oct 2931
knife painting May 4850; Oct 346
landscapes Jan 42; Feb 52; Jun 1215;
Aug 1215; Sep 1215; Nov 1215
Australia Apr 1617; May 1921
California Aug 66
mediums Nov 10, 423; Dec 467
perspective May 1921
portraits Jun 39; Jul 44; Sep 74; Nov 7
problem-solving Nov 423
seascapes Jan 41; Feb 22, 24, 42;
Oct 29, 34
still life Jan 1417; Mar 66; Dec 569
techniques Jan 402; May 323;
Oct 346; Nov 1215; Dec 2731
texture paste Feb 467
trees Sep 1213, 15
online gallery Jan 66; Feb 66; Mar 66;
Apr 66; May 66; Jun 66; Jul 66;
Summ 66; Aug 66; Sep 74; Oct 66;
Nov 66; Dec 74
outdoor drawing/painting Feb 224;
Apr 11; May 10; Summ 224, 523;
Aug 10, 224
painting projects Jan 223; Feb 1821;

Mar 1517; Apr 1617; May 1923;
Jun 1619; Summ 1617;
Aug 1619
deer study Sep 1617; Oct 1921
Guernsey boats Oct 1617;
Nov 1821
riverbank scene Nov 1617;
Dec 1719
tiger portrait Jun 201; Jul 503
Welsh landscape Aug 201; Sep 1921
paper see supports
Parashko, Elena Apr 1617; May 1921;
Oct 379, 468; Nov 423; Dec
2731
Parker, Adrienne Feb 1113; Apr 457;
May 2931
Parsons, Tony Feb 224; Summ 523
pastels Jan 279; Feb 50; Mar 224;
Jun 313; Nov 26
animals Mar 224; May 66; Jun 201;
Jul 335; Summ 10; Sep 1617;
Oct 1921
colour palette Feb 50
landscapes Jan 279; Feb 301;
Jul 31; Summ 18; Dec 601
lightfastness Feb 51
oil pastels Mar 50; Jun 54; Jul 10;
Summ 10; Aug 10; Dec 601
pencils Jul 301, 503
portraits Sep 3740
soft pastels Jan 279, 55; Mar 224;
Jun 313; Jul 335; Summ 18;
Sep 1617, 3740; Oct 1921;
Dec 425
sunsets Nov 268; Dec 425
supports Nov 27
techniques Feb 2831; Summ 10;
Nov 268; Dec 425, 601
Paul, Tony Jan 1921; Feb 4851;
Mar 325, 401; Apr 247; May 10,
1618, 3942; Jun 236, 369;
Jul 258, 446; Summ 303;
Aug 257; Sep 10, 346;
Oct 1215; Nov 347;
Dec 246
Peart, Fiona Mar 257; Apr 302
pencils and crayons
coloured pencils Jan 54; Feb 503;
Apr 34; Summ 1617, 546;
Aug 1619; Oct 402
liquid pencils Oct 4951
pastels Jul 301, 503
water-soluble pencils Jul 31
see also drawing and sketching
perspective Feb 1417; Mar 424;
Apr 1617; May 1215, 1921;
Dec 326
Pethers, Ian Jun 435; Nov 235
photographing artwork Feb 10
see also cameras
INDEX 2016
Hazel Soan May 24, 56; Jul 62;

Oct 11
Helen Campbell Aug 28
Judi Whitton Apr 49; Summ 67
Les Darlow Jun 67
Pamela Kay Jan 18; Mar 67; Oct 11
Paul Talbot-Greaves Summ 25
Soraya French Sep 55
Terry Harrison Jan 49
Holland, Richard Feb 467
Hopkinson, Paul Aug 425; Dec 4851
Humphrey, Sarah Jane Jun 279
LP12 37-40 Indexv2 use_Layout 1 24/10/2016 11:10 Page 4
photographs, painting from Jan 223;

Feb 1819, 346; Mar 1113, 1517,
27; Apr 1617, 301, 347, 457;
May 223; Jun 279; Jul 403;
Summ 1617, 347; Aug 201;
Oct 1617, 3742; Nov 1621,
268
portraits
acrylics Summ 8
animals Mar 224; Jun 201; Jul 335;
Dec 2731
backgrounds Sep 379
children Oct 402
coloured pencils Oct 402
graphite pencil Jul 66
oils Jun 39; Jul 44; Sep 74; Nov 7
pastels Sep 3740
quick sketches Oct 601
readers questions Sep 40
self-portraits May 55; Sep 8
watercolours Jul 25
posters Jan 545
printmaking Oct 523
Pybus, Christine Jun 1215; Aug 1215;
Nov 1215
Samuelson, Becky Feb 257; Jun 401;

Oct 2931; Dec 545
Scott, Gwen Mar 2931; Jul 403
Scott, Marylin Aug 3641
seascapes Jan 25, 41; Feb 22, 24, 42;
Mar 43; May 36; Jun 513; Oct 29,
34, 46, 48
selling your artwork May 10; Aug 11;
Sep 10
Shaw, Barbara May 467
Soan, Hazel May 323
Steed, Colin Feb 1819; Mar 1517;
May 523; Summ 4850
still life
acrylics Aug 3641
oils Jan 1417; Mar 66; Dec 569
water-mixable oils Sep 257
watercolours Jan 54; Jul 20, 22;
Oct 435
Strode, Steve Summ 402; Sep 257;
Oct 346; Nov 479
supports
pastels Nov 27
watercolours Apr 55; May 10, 3942;
Jun 236; Jul 1519, 258;
Summ 223
textiles May 467

texture Feb 467; Jul 1519; Nov 235,
535
townscapes Apr 3941; Summ 42
trees Jan 35, 435; Feb 1819, 66;
Mar 11, 1213; Apr 424; May 50;
Jun 313; Aug 469; Sep 1213,
15, 1921; Nov 501
Turner, J.M.W. May 13; Sep 41, 568
Underhill, Tony May 223; Jun 1619;

Oct 1617; Nov 1821
Wain, Linda Nov 535

water-mixable oils Summ 402;
Sep 257
watercolours Jan 309, 438, 545;
Feb 345, 51; Mar 1013, 2931,
523; Apr 32, 66; May 1215, 23,
34; Jul 66; Summ 224;
Aug 224, 54; Sep 413; Oct 14,
15, 435; Nov 303, 52
with acrylics Summ 4850
animals Feb 11, 53; Apr 55; Jul 46;
Summ 66; Sep 489
Aquafine mini travel set May 523
birds May 42; Jul 27; Summ 389;
Aug 425; Dec 4851
blue mixes Jul 446; Summ 303;
Sep 10
boats Jan 48; Feb 14; Jul 479;
Oct 1617; Nov 1821
bridges Summ 23; Aug 267
brushes Jun 401; Summ 234;
Aug 11; Sep 41
buildings Feb 1517; May 223;
Sep 413
clouds Mar 51; May 15; Dec 545
colour mixing Jan 1921; Feb 201;
Mar 29, 325; Apr 247;
May 1618; Jun 369; Jul 368,
446; Summ 303; Aug 257;
Sep 10, 346; Oct 1215;
Nov 347; Dec 246
colour palette Feb 489; Jun 467;
Jul 368
composition Mar 1013; Summ 36;
Sep 42; Nov 17
drawings Jan 369, 55; Summ 347;
Aug 201; Sep 447; Oct 1617;
Nov 1617
flowers Jan 303; Feb 201, 445, 52;
Apr 1821; Jul 203, 403;
Sep 2833; Dec 1215
fruit Apr 27; Oct 435
garden scenes Jan 223; Feb 201;
Jul 403; Aug 223, 335;
Sep 2833
glazing Nov 3941
granulating colour Jul 368
green mixes Feb 21; Oct 1215;
Nov 347
harbour scenes Feb 25, 345; Mar 27;
Apr 32; Jul 37, 45
Jacksons Artist Watercolour Feb 257
landscapes Jan 12; Mar 11, 1213,
424; Apr 44; May 435;
Jul 1519, 37, 56; Summ 347;
Nov 3941
river scenes Apr 66; Jul 479;

Summ 20; Nov 1617; Dec 1719
snow scenes Jan 513; Apr 523
Wales Jul 15, 1819; Aug 201;
Sep 1921; Oct 9
woodlands Mar 44; Apr 44;
May 445; Jun 435
leaves Mar 33; Apr 42
light depiction May 435; Nov 3941
masking fluid/tape Mar 6; May 4850
and oils Feb 401
Jun 1619; Aug 335, 545;
Sep 56, 58; Nov 1821; Dec 203
perspective Feb 1417; Mar 424;
May 1215
photographs, painting from Feb 346;
Mar 1113; Apr 301; May 223;
Jul 403; Summ 347
portraits Jul 25
purple mixes Aug 257; Sep 346
red mixes May 1618; Jun 369
reflections Jun 345; Jul 301
seascapes Mar 43; May 36
skies May 1215; Jul 56; Oct 226
still life Jan 54; Jul 20, 22; Oct 435
street scenes Apr 301; Jun 37
sunrise/sunset Mar 2931; May 13;
Oct 26
supports Apr 55; May 10, 3942;
Jun 236; Jul 1519, 258;
Summ 223
techniques Jan 12, 303, 435;
Mar 2931, 523; Apr 513;
May 1215; Jun 437; Jul 31;
Summ 389; Aug 224, 425;
Sep 489, 568; Nov 235,
303, 3941; Dec 545
texture Jul 1519; Nov 235
tonal value Apr 434, 513; May 12
trees Jan 435; Feb 66; Mar 11, 1213;
Apr 424; Sep 1921
Venice Jun 41; Sep 41
washes Aug 224; Sep 489; Oct 323
water depiction May 346; Jun 345;
Sep 489
wet-in-dry Mar 2931; Summ 389;
Nov 235, 303; Dec 545
wet-in-wet Mar 2931; May 42;
Summ 389; Oct 26; Nov 303,
3941
yellow mixes Mar 325; Apr 247;
Dec 246
Webb, David Feb 1417; Mar 424;
Summ 224; Aug 224
White, Dave Mar 379; Apr 289;
May 258
Williams, Hayden Jul 545
Williams, Simon Sep 503
Yaura, Yukki Summ 447
Compiled by: James Helling Email: jameshellingindexer@gmail.com
LP11_HolidayKayv2_Layout 1 19/10/2016 15:48 Page 38
Reader holiday
June
11 to 24,
2017
Secret gardens and villages

in Belgium and Holland
with Pamela Kay NEAC RBS RWS
Join leading botanical artist, Pamela Kay, on a very
special tutorial painting tour in the Low Countries
century Chateau Hex will be most impressive as

will the stunning gardens at De Heerenhof in
Holland. Youll also visit Rubens house and
garden in Antwerp and the cathedral where four
of his canvases can be seen.
This is a unique painting tour of the best-kept
secret places in the Low Countries. Therell be a
tremendous amount of variety to paint and the
programme will be carefully paced so your
painting time is not rushed. In addition to
fabulous gardens, therell be picturesque
villages, canals, old windmills, polder
landscapes and seascapes to paint.
Travel is by luxury coach throughout (from London
Gatwick) enabling you to take as much painting
equipment as you like. Special and unusual hotels
will enhance the holiday. Youll stay four nights in
old almshouses, six nights in a hotel built around
an historical windmill and three nights on a
traditional polders farm. Breakfast and dinners
are included. All the arrangements are taken care
of for you by an accompanying travel escort.
Spring Flowers in the Studio,

oil by Pamela Kay
t
elgiums Open Gardens scheme is similar

to our own except that the collection of
private gardens is only open to
members. We have joined the scheme, making
this trip possible and very special. Being able to
paint in these rarely seen and personal
gardens is an exceptional opportunity and many
will be open exclusively for us, enabling you to
paint without any distractions.
We have handpicked a selection of the most
aesthetic and colourful gardens with the help of
the Secrtaire Gnrale of Jardins Ouverts de
Belgique. They will include chateau, cottage,
potager, rose, romantic, architectural and polder
gardens. These gardens open for a few days in
June when they are at their best and the roses
are in full bloom. The wonderful gardens of 18th
amela Kay NEAC, RBA, RWS

is an accomplished and
versatile artist. She is an
extremely conscientious teacher
and will help you get started and
understand how to work with the
subject matter. There will be
tutorial sessions, talks and
demonstrations back at the hotels,
which will help you develop your
style and complete some of your
paintings. Pamela will be working
in watercolour and gouache.
l
Number of students 8 to 12
Price 3,995 per person
l Single supplement 550
l
01825 714310 art@spencerscott.co.uk www.spencerscotttravel.com

Leisure Painter and The Artist magazines have been offering overseas painting holidays since 1990 with renowned tutors. These holidays are organised by fully licensed
operator Spencer Scott Travel Services Ltd CAA ATOL 3471. Other holidays in 2017 include the Greek island of Symi with Hazel Soan, South of France with Lachlan Goudie ROI,
southern Italy with Richard Pikesley PNEAC RWS, Amsterdam with Ken Howard OBE RA, Vietnam with Peter Brown Hon RBA NEAC PS ROI RP, and India with Hazel Soan.
LP12 41-43 Kerr_Layout 1 21/10/2016 13:18 Page 42
Soft pastel
Soft sunset
Part 2 Learn when to blend and when to keep the texture
as you follow Anne Kerrs step-by-step sunset in soft pastel
Your reference material: the photographs

that introduced last months project
t
ast month we looked at the reference

photographs (above and left) and
thought about the various ways that
we could combine elements in the photos
to make an interesting painting. I made
rough tonal sketches of the possible
design for the picture before making
my final choice (below left). I then chose
my colours and the type of paper that
I thought best suited the project.
The trees in the photograph were
a rather dull grey colour so I decided
to give them more impact by making
them dark brown. This links well with
the orange and yellows in the
background. Once I had chosen my
colours, I put the rest of the pastels
away so I was not tempted to add extra
shades and complicate the painting. The
following demonstration shows you how
I tackled the project and the problems
I came across on the way. LP
The finished tonal sketch from last month
You will need
n
l
42
DECEMBER 2016
Surface
Clairefontaine
Pastelmat paper
in colour
anthracite,
1312x1934in.
(35x50cm)
Miscellaneous
Charcoal pencil
l Dark brown and
light grey pastel
pencils
l Craft knife and
sandpaper to
sharpen pencils
l
Unison pastels
l Brown
Dark 14
earth 24
l Grey 7
l Green 15
l Red 16
l Dark 5
l Orange 07
l Dark 6
l Yellow 15
l Grey 28
l Additonal 10
l Brown earth 9 l Dark 05
l
Soft pastel
Demonstration
Soft Sunset
Step 1
Draw the picture onto Pastelmat using

your tonal sketch as a guide. Use a light
grey pastel pencil as graphite pencil is
slightly oily and pastel wont stick to it.
You could also use a felt-tip pen in a light
colour. I made as little drawing as possible
so my painting would not become too
tight and fussy.
Step 2
Beginning at the top of the paper, lay

down dark 14, followed by grey 7, red
16, orange 07, yellow 15, additional 10
and grey 28. Make sure the colours all
overlap each other in a fairly random
way. Although I wanted the sky area
to begin dark at the top and gradually
become lighter, I did not want hard
divisional lines between the colours.
I did not want to lay down too much
colour at this stage and ensured that
about one third of the paper was
still showing.
Step 3
1 Begin at the horizon and work your way

up so the dark colours dont contaminate
the light ones. Using the heel of your hand
and circular movements, push the pastel
down into the paper. Always put down less
dark than you think you need, as it goes
a long way. I made the mistake of adding
too much dark and finished up with a
thunderstorm sky. You can always add
pastel, but its difficult to take it away.
2 To produce a sharp line between the
sky and the top of the mountain range
take the sky colours slightly over the top
of the mountains. Check that the sky is
complete, as once the mountains are
added there is no going back to freshen
up the light colours around the sun.
3 I decided to keep the sky blended to
a fairly fine finish and keep the more
textured look for areas of the painting
nearer the front.
DECEMBER 2016
43
Soft pastel
Demonstration
continued
t
Step 4
Use dark 14 to add the mountain range.

Add a little grey 7 to indicate light
hitting the rocks. Dont include too
much detail, as you want to keep the
mountains away in the distance. By
using the two purple colours you are
ensuring a unified look to your painting.
Adding too many colours dilutes the
impact of the picture.
Step 5
1 Now that you have completed the

background, it is important to keep
in mind the tonal content of the
painting. To ensure the trees form
a strong frame and the foreground
is less intense, add the dark tones of
the trees using dark 05, brown earth
24 and a little brown earth 9.
2 On the edges of the trunks add the
oranges and yellows used in the sky.
I wanted the trees to catch the light
from the sun. I intended to brighten
these areas again later.
3 Blend all the colours very roughly
to give the trees a rugged look.
Step 6
1 Now that you can see the dark tones

of the trees, you know how dark or light to
make the water. Using all the colours from
the sky and horizontal strokes, lay the
water. Only adding a base coat on the trees
in Step 5 means you dont have to worry
about smudging the edges whilst painting
the water.
2 In this painting you want the viewer to
look directly at the main feature the sun
so keep the edges of your painting
blurred and uninteresting, and add detail
to the main focal point. Play around with
the colours of the water until you are
happy with the overall effect. Blend some
of the colours and leave others as
highlights on the surface. Keep all your
strokes horizontal or the water will appear
to be running down hill. Directional
strokes in paintings are very important to
portray the texture or angle of an object.
44
DECEMBER 2016
Soft pastel
Step 7
1 Use the brown pastel pencil and

charcoal pencil to complete the smaller
branches and tidy up the edges of the
trunks. The foliage on the trees is not the
main feature so keep it dark and with very
little detail. Stipple dark purple, dark
green and a touch of orange onto the
paper and blend them slightly.
2 Complete the tree trunks by adding
texture with the pencils, dark brown
pastel, and the orange and yellow from
the sky. Do not blend any of this work as
you want the texture to show.
Step 8
1 Look back at your reference sketch to

help you work out the rough grass and
bushes to use for the foreground. I used the
pencils to indicate just a few sticks and
twigs, as I didnt want to create a barrier
across the front of the painting. I sloped
the edges of the land inwards to lead the
viewers eye into the picture. You may also
have noticed that I made the left-hand tree
slope slightly inwards so that it did the
same thing.
2 This was an exciting picture to paint and
I think I have achieved the drama of

the sunset within the quiet and calm
surroundings of the New Zealand coastline.
How did you get on with the project?
Dont forget to email your finished painting
to dawn@tapc.co.uk who will place it in
the project area of Leisure Painters website
at www.painters-online.co.uk. I hope
you had fun with the project.
Anne Kerr
Anne teaches on painting holidays in
the UK, Italy and Spain. She also runs
watercolour, pastel and picture-framing
classes at her home studio in Spain.
Visit www.annekerrartstudio.com
The finished painting Soft Sunset, Unison pastels on Clairefontaine Pastelmat paper, 1312 x1934 in. (35x50cm)
DECEMBER 2016
45
LP12 46-47 Kinnear_Layout 1 21/10/2016 15:12 Page 46
Oils
Oil painting troubleshooter

Part 1 Martin Kinnear answers an important question
on the use of solvents and mediums in oil painting
elcome to my new and

occasional series in
Leisure Painter on problem
solving for oil painters. To find your
problems Ive been surfing the forums
on LPs website in search of a few
knots to unravel or myths I can bust.
This issue is all about solvents and issues

of paint sinking in to the canvas.
Forum user, Caroline Greene, wrote:
Ive always used odourless mineral spirits
(OMS), but as Ive only been painting in
oils for a year Im still learning about and
trying out different things. I love the look
of juicy paint on the canvas or board,

but am struggling to create it. I use only
the tiniest touch of OMS when plein-air
painting, but the paintings can still look
thin and they sometimes sink. My
question is: when you use turps instead
of odourless mineral spirits in a painting,
does it have an effect on the final result,
in other words, does it help maintain
that lovely juicy look of oils?
To answer this you need two pieces
of information: the role of solvents in
oil painting, and the reason oils can
appear glossy or dull as they dry.
What is a solvent?
All oil colours dry with a variable

sheen. Titanium white is fat and dries
with a gloss; raw umber is lean and
will dry matte.
t
Solvents are not dilutants nor binders

and will only weaken oil films and create a
matte finish. If you must use them, choose
an OMS such as Gamsol or Sansodor, as
they are less aggressive than turpentine.
Oils are not soluble in water and

therefore to dilute them you have to
use a solvent. Solvents vary in strength,
and oil painters call that the solvents
volatility. The most volatile solvent is
turpentine; the least volatile is OMS
or odour-free mineral spirit.
OK so far? So now you have to choose
the best solvent for the job. Traditionally
solvents had a dual role in oil painting.
Primarily they were dilutants or thinners,
used to make oils more fluid. Their
second role was as a base ingredient for
many traditional oil mediums, which are
commonly based on mixtures of resin
and turpentine, in effect, a varnish.
Solvents and mediums

Because traditional solvents are volatile
(strong), they are just the thing for
dissolving natural resins such as copal
or dammar, and it is in this role that you
normally see turpentine on the musthave list in traditional painting manuals.
A dab here or a touch there is essential
for thinning out sticky resinous
mediums.
Modern solvents, such as OMS, on
the other hand, are simply not strong
enough to use with traditional mediums,
but have been developed to work with
modern resins such as alkyd, most
commonly sold in the UK as Galkyd
(Gamblin) or Liquin (Winsor & Newton).
If you pour OMS onto a traditional resin,
it will simply cloud it, rather than make
a varnish. Pour turpentine into alkyd and
youll compromise the medium. So a
Martin Kinnear Blakeney Point, oil

on canvas, 30x40in. (76x102cm). In raking
light the natural gloss of various colours
is revealed, with the earthier ones setting
to a dull or matte finish. The extra white
around the moon creates a more lustrous
finish; this variance would usually be
corrected with a varnish.
46
DECEMBER 2016
LP12 46-47 Kinnear_Layout 1 21/10/2016 15:12 Page 47
golden rule with solvents is modern with

modern, and traditional with traditional.
Solvents as thinners
Thinning oils with solvents sounds like
a great idea, but is it? Oil paint is made
of two things: coloured dust (pigment)
and an oil (such as linseed), which acts
as an emulsifier, binds it and makes
it appear glossy when dry. This is the
reason that a common pigment, such
as PB29 (ultramarine blue), can appear
matte in watercolour, gouache or acrylic,
yet glossy if used as an oil.
The ratio of pigment to oil in any given
tube colour is primarily determined by
the specific pigment used; slow-drying
colours, such as titanium white, are
relatively oil rich and will dry both
slowly and with a fair gloss. Conversely,
pigments that require or will absorb
less oil, such as raw umber, tend to dry
both rapidly and be a little duller when
they do.
The variety in surface sheen between
oil-rich (fat) and oil-poor (lean)
colours creates a variance between
relatively glossy and relatively dull
patches on a dry oil painting. All of this
means that even if the artist had used
no solvent, the painting would still dry
with glossier and duller patches.
However, whacking solvent into oils
simply weakens the carefully controlled
ratio of binder to pigment present in
the tube. While this isnt a huge problem
if done in moderation, it can cause the
paints to be underbound or chalk if
used to excess.
On the positive side, it is the oil in oil
paints that retards drying time so a bit
of solvent will generally make oils dry
more quickly at the expense of making
them dry with a reduced gloss.
So how do oil painters traditionally
manage this balancing act between
gloss, matte and drying rate?
Your problem solved
A dull sinked in student still life (top) compared to a glossy still life by Martin Kinnear
(above). All oils dull a little as they dry, says Martin. The study on the top is typical, while
subsequent working improves the gloss as the study above reveals.
t
Caroline, you are currently compromising

the binders in your oils by adding solvent,
and this is having the effect of increasing
their tendency to dry with a matte finish
(sinking in). The easiest way to manage
this is to replace your solvent-only
method with a simple medium. I suggest
the following courses of action:
1 Replace your OMS-only solution with
a simple medium made of half alkyd,
half OMS. The alkyd in this mixture
will provide a little more gloss to your
finished oils, whilst the solvent content
will help you with the drying rate.
2 If you find this too slow OMS is a
very slow evaporating and weak solvent
try a more volatile traditional medium,
such as a damar or copal medium. Youll
typically find this labelled as oil painting
medium, and if it smells of turpentine
then its a natural resin. This will also dry
to a gloss, but a little faster, which will
reduce your working time. I would not
normally recommend turpentine, as it is
toxic to use indoors, but as you paint en
plein air that shouldnt be an issue.
3 Consider using more white in your
mixes, or reducing the amount of lean

colours (natural earths mostly) you use.
This will make your paintings look
glossier when they dry.
4 When your work is dry, correct any
sinking in with a quick coat of varnish.
This will revive the duller areas of paint,
and optically unify the surface.
5 Finally, if you give your boards or
canvases a quick thin coat of either of
the mediums Ive recommended above
before you use them and allow them
to dry, youll reduce their absorbency,
which in turn will keep your oils
glossier. In a nutshell: replace your
solvents with a simple medium to
help prevent sinking in.
Glossary
Resin A natural substance such as copal
or damar used with turpentine in
traditional oil mediums. Resins impart

gloss and speed drying.
OMS Odour-free mineral spirit, a very
refined and low-volatility solvent made
from a petroleum distillate, as opposed
to the natural, more toxic and highly
volatile solvent, turpentine.
Sinking in Dull surface quality in dry
oils is the natural result of the variable
oil to pigment ratio in tube paints; it
is exacerbated by use of solvents. LP
Martin Kinnear
Martin is a professional oil painter
and course director of The Norfolk
Painting School, where he offers courses
in oils for painters of all abilities.
Telephone 01485 528588 or email
jane@norfolkpaintingschool.com
DECEMBER 2016
47
LP12 48-51 Hopkinsonv3_Layout 1 21/10/2016 15:18 Page 48
Watercolour
Welcome visitor
Follow Paul Hopkinson step by step as he paints this iconic
and welcome visitor to our gardens, the long tailed tit
You will need

n
l
Surface
Bockingford 300gsm NOT
812x1112in. (21.5x29cm)
Artists watercolour
See colours, below
Brushes
Detail No. 1
l Round No. 6
l Large wash brush
l
Miscellaneous
Paper towel
l Two water pots
l Ceramic mixing palette
l Masking tape
l Masking fluid
l Mechanical pencil
l Putty rubber
l
Colours
This lovely photograph of a long tailed tit was taken by photographer, Roger Wasley
(www.flickr.com/photos/rogerwasley)
t
48
Lamp
black
Burnt
umber
French
ultramarine
Yellow
ochre
Winsor
orange
Burnt
sienna
Opera
rose
Sap
green
Scarlet
lake
Gouache
white
Gamboge
(hue)
Vandyke
brown
DECEMBER 2016
Step 1
Using your preferred drawing method, copy the

long tailed tit drawing onto your watercolour
paper. Keep the lines very light to avoid the
pencil marks showing when the painting is

completed. The drawing shown here has been
darkened solely for teaching purposes.
Watercolour
Step 2
Give your masking fluid a swirl before you start to ensure it

is mixed well. Masking fluid will ruin a good brush so dig out
an old brush, perhaps a No. 4, and apply the masking fluid.
Do this about an inch inside the drawing. A cocktail stick is
a good way to pull out those little details whilst the masking
fluid is still wet, but be quick as it will be dry before you
know it. Allow to dry completely; the fluid will be tacky to
touch, but not wet.
Step 3
1 Make four separate weak washes in your palette:

gamboge (hue), burnt umber, sap green and Vandyke
brown. Always make more than you think you will need.
2 Begin with a large wash brush to wet the background;
do this two or three times to ensure the paper is wet,
but not running like a waterfall.
3 Drop in the lightest colour first,
gamboge (hue), and move this around
the background, leaving gaps; a shaky
hand helps. Do the same with the other
colours in the order of sap green, burnt
umber then Vandyke brown. Remember
to avoid covering the entire background
with the same colour.
4 Allow this to dry for a few hours
before removing the masking fluid.
Step 4
1 When completely dry, remove the

masking fluid with a clean, dry finger,
working from the outside to the inside
of the bird. This avoids any potential
tears with the masking fluid damaging
the background. Any imperfections
within the bird can be covered up
with the detail work later.
Step 5
1 As usual I begin with the eye to bring the bird to life. Make
three separate washes of lamp black, French ultramarine, and
a mix of Winsor orange with a touch of scarlet lake.
2 Using a No. 1 detail brush, wet the eye. Drop French ultramarine
into the top half of the eye, avoiding the highlight area. Whilst
wet, add lamp black to the lower half and let it dry.
3 When dry, reinforce the black of the eye and the blue tint then
carefully paint the eye outline using a weaker wash of lamp black.
4 Let it dry then wet the small orange area to the top of the eye
and drop in orange; this may need a second layer once dry.
5 If you cover up the highlight accidentally, add a touch of
white gouache then carefully blend the left-hand edge out
with a damp, clean brush.
DECEMBER 2016
49
Watercolour
t
Step 6
1 Make up a weak wash of opera rose and ivory black.

Using a No. 1 brush paint the lighter details on the top
of the head and under the eye. Keep a constant check
on the direction of the feathers.
2 With a thick mix of the same colour, add the darker lines
on the top of the head and back of the neck. Keep the lines
tight together, but leave the occasional gaps for the lighter
areas. I find the best method is to dab the brush just once
onto kitchen roll to take off surplus paint; this avoids
blobs of paint being deposited on the painting.
3 Wet the beak and drop in a thin wash of French
ultramarine and lamp black, pulling out the centre
beak line with a damp clean brush.
4 Wet the back, wings and tail of the bird and using
a weak mix of opera rose and scarlet lake, add the
background colour then leave it to dry thoroughly.
t
Step 7
1 The next step is to paint the lighter details using a No. 1 brush.
With a thicker mix of the pink and a touch of burnt umber, paint
the back feathers, keeping an eye on the length and shape as you
go. Work on one feather at a time, leaving the white areas clear.
2 Use a mix of lamp black and scarlet lake to paint the wings and
tail feathers carefully. Barely touching the painting, lightly blend
the wings with a clean damp brush to soften the feathers a little.
3 Paint the tail feathers using the same black and scarlet colour.
4 Lift out small highlights within each tail feather using a clean,
damp No. 1 brush by working over the same single line a few
times, keeping it wet. Whilst still wet, dab the area with a piece
of kitchen roll to pull off the paint.
5 Wet the belly area and add a stronger wash of the pink and
brown colour for the background, lightening as you reach
the top of the chest.
Step 8
1 Strengthen the pink and brown mix of opera rose,

scarlet red and burnt umber and using the No. 1 brush
add the details for the chest. Remember to make these
areas darker towards the left-hand side and the lower
area of the belly. Dont be too precise with the direction;
your lines need to overlap and criss-cross a little.
2 Add a little lamp black to the same mix to paint the
darker areas on the belly; make this darker on the
lower areas. This will give the area more form and
create a base for the detail.
50
DECEMBER 2016
Step 9
1 The next stage brings a feeling of

realism to the chest area. Use white
gouache of a creamy consistency and
a No. 1 brush to add the fine white
lines from below the beak and down
the chest to the underside of the bird.
Be careful not to cover all the darks
underneath and use less gouache the
lower down the bird you go. This will
ensure the dark areas show through.
2 Whilst you have the white gouache
at hand, add wing highlights to the
back feathers and underneath
the tail.
3 Then add the fine white feathers

underneath the body and between
the legs with the white gouache.
4 To begin the legs, mix a thin wash
of scarlet lake and burnt umber, wet
the legs with clean water and drop
in this colour. Leave to dry.
5 Strengthen the mix, add a touch
of lamp black and carefully paint
the fine details for the legs and feet.
6 Once you have done this, areas
can be highlighted using the lift-out
technique, or you can add a little
white gouache for the light marks.
Step 10
1 For the wood, prepare your colours

first by making up separate wells of
yellow ochre, burnt umber, burnt sienna,
sap green and an ivory black and burnt
umber mix.
2 Wet the entire area of wood with clean
water then drop in the colours using a
No. 6 brush and the lightest colour first.
Do this in the direction of the wood grain.
Leave it to dry before you add detail.
3 Paint the wood detail using the No.1
brush and strengthened mixes of the same
colours already mixed in Step 10. Again
use the lightest colour first.
Keep the lines in the direction of the
wood grain, but here its useful to have
a shaky hand so none of the lines are
exactly the same.
4 Do this many times, working again from
the lightest colour to the darkest. Leave
the section for the feather unpainted.
5 Paint the feather details with a watery
mix of French ultramarine and burnt
umber so you can barely see the lines.
This has to remain soft so you want to
keep your lines light, applied in the
direction of the feather marks. Add a little
white gouache to complete the feather.
Step 11
1 Continue to paint down the tree stump using

the same method you used for the top section
of the wood, but at the later stages add a little
lamp black to your darker mixes for the
contrasting colours. Remember that many
tiny marks are needed for this final stage.
2 Finally, head back to your white gouache and
thin it down a little. Use the white to add a few
highlights to the wood but dont overdo it.
Paul Hopkinson
Paul has been painting for 35 years. His
medium is primarily watercolour with acrylic
paint or gouache. For details of his classes
and new DVD on painting a harvest mouse,
please visit www.devonartist.co.uk;
www.facebook.com/thedevonartistpaul
or twitter.com/thedevonartist
The finished painting The Long Tailed Tit, watercolour, 812 x1112 in. (21.5x29cm)
DECEMBER 2016
51
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LP12 44-45 Samuelson_Layout 1 21/10/2016 15:28 Page 54
Watercolour
Confident clouds
How to develop your watercolour skills using the wet-on-dry
technique and experimenting with colour, by Becky Samuelson
ith this short article I would

like to develop the theme of
watercolour skies and give
you some practice at painting them
wet on dry. This approach will give
you hard-edged clouds. This I know
can be tricky for some of us, but
sometimes we need to take a deep
breath and just go for it!
Painting is all about mastering the
techniques and developing the
confidence to put them into practice.
Dont worry about making the perfect
painting; just throw caution to the wind
and practise these techniques without
putting yourselves under pressure.
In this way you can even do it several

times and each time it becomes easier
as you gain knowledge of what to
expect and what might happen!
ready, wet and waiting, it will help

you control the edges.
Try dividing an A3 sheet of paper
into four, you can paint four of the
following studies. Youll be surprised
at how your confidence will increase
with each one. LP
The painting process

In order to paint, you need to prepare
yourselves. First, select your colours
then produce enough paint so that
you can keep going without running
out. I often refer to this as making
puddles of paint.
Next choose a good-sized brush
or two; squirrel brushes are great for
holding lots of paint, and remember
if you have a second brush that is
You will need
Artists watercolour
Winsor blue (green shade)
l Cobalt blue
l Cadmium red
l New gamboge
l
Demonstration Watercolour sky

t
Step 1
1 Lightly draw the cloud outlines and mask out

the small boats.
2 Mix separate wells of Winsor blue and cobalt blue,
but in the same palette area so you can mix them
together when required. Do not wet the paper.
3 Using a big brush, fill it with colour and beginning at
the top, paint quickly around the cloud shapes. Use the
cobalt blue nearer the top and gradually add Winsor
blue lower down. Above the horizon, the Winsor blue
is weaker in tone. If you use a big brush you should
be able to do this without re-filling the brush, but
this does take practice!
4 Keep your spare brush handy for softening and
blending, and for lightening the wash nearer the horizon.
5 Whilst still wet, add a small amount of cadmium
red to the mix in the palette to add clouds that
create a darker sky then let it dry.
Step 2
1 Once this is dry, add shadows underneath

the white clouds by using Winsor blue
(green shade) with a touch of cadmium red,
wet on dry. Keep your softening brush
handy to manage the edges subtly.
2 For the distant hills make a wash of
Winsor blue, and mix a little cadmium red
and new gamboge. Practise these mixes first
to ensure the correct proportions. Keep the
wash simple and clean as you paint it.
TIP You might find this hard and

can be critical of your attempts.
My experience tells me that you are
doing much better than you think
you are. Keep faith in yourself!
54
DECEMBER 2016
LP12 44-45 Samuelson_Layout 1 21/10/2016 15:29 Page 55
The finished sky, watercolour, 6x814 in. (15x21cm)
Step 3
1 Now to paint the water, which is also

painted wet on dry. Pre-mix Winsor blue
and cobalt blue with a tiny amount of new
gamboge. I try to keep the yellow separate
and add it gradually. Charge your brush
with a good amount of paint and apply
with confident strokes.
2 Repeat immediately in the foreground to

strengthen the paint. Remember always to load
the brush with enough paint. Its better to
have some left over on the brush than to run
out. This will ensure a clean wash.
3 I then ran a little paint under the nearby boat
to darken its base and help it sit in the water.
Becky Samuelson
Find out more about Becky at
www.beckysamuelsonfinearts.co.uk.
Becky also sells canvas bags
for art and craft supplies at
www.originalcanvasbucketbags.co.uk
TRY THIS!
Here are two further sky examples for you to try. I was
taught to paint a sky a day. Even if you use a colour theme
that you think you might not like, it will increase your
experience. Practise also with your own colour choices;
sometimes something unexpected will come from this.
Keep your sky examples in a folder to look back on when
you need inspiration.
This sky has an

underlying wash of raw
sienna. The second wash is
a mix of Winsor blue (red
shade) and neutral tint.
t
This has an underlying wash

of raw umber. Once it is dry,
play with adding hard-edged
washes using burnt sienna,
Winsor blue and neutral tint.
DECEMBER 2016
55
LP12 56-59 Alcock_Layout 1 21/10/2016 15:33 Page 56
Oils
White on white
Explore the importance of tonal nuances in your paintings as you
set up and paint a still life, white on white, with Paul Alcock
he focus of this exercise is on

seeing and painting tonal values.
As all the objects and the
background are white, the effects of light
and shadow are therefore highlighted
without the distractions of colour. For my
example Ive used traditional oil paints
but you could equally substitute these for
acrylics, pastels or water-mixable oils.
If you can develop your skills when it

comes to seeing and depicting the effects
of light, it will make an enormous
difference to the quality of your paintings.
I hope you will follow my suggestions
and set up your own still life, and youll
be able to make your own discoveries
about the way in which light behaves.
Youll also gain valuable experience in
working from direct observation and

in creating your own compositions.
In our day-to-day life we spend very
little time looking at the shapes of
shadows or pondering the qualities of
reflected light, but if you can tune into
observing these qualities, your artwork
and your life will be enriched. Enjoy
working through this demonstration. LP
Demonstration White on White

You will need
n
l
Surface
MDF board, 6mm thick,
primed with three coats
of Jacksons Acrylic Gesso
16x16in. (40.5x40.5cm)
Jacksons Artists oils

Titanium white
l Burnt umber
l Ultramarine blue
l
Bristle oil painting

brushes
l Rosemary & Co No. 2
short flat
l Seawhite No. 8 filbert
l Seawhite No. 14 filbert
l Pro Arte Series A
No. 12 hog
n
Miscellaneous
Faber-Castell Pitt pencil
1121-273 (mid-grey
pastel pencil)
l Zest-it low-odour solvent
l Wooden or disposable
palette
l Rags
l An easel (I use a Loxley
radial easel with a homemade tray attachment)
l
Step 1 Setting up the still life
Any interesting shapes will do, but ideally

they should have a matte surface. Some
objects I painted with matte white paint;
others, such as the boxes, I wrapped in
white cartridge paper.
Once youve created your own collection
of objects, its worth spending some time
experimenting with different arrangements.
Try recording these with quick thumbnail
sketches or use a digital camera until youve
56
DECEMBER 2016
decided on the most pleasing arrangement.

In my example I wanted to contrast the
shapes of the sphere and the cylindrical box
with the cubes. Atmosphere was created
by controlling the lighting. Notice how the
shapes of the shadows contribute to the
overall composition as well as the objects
themselves.
You can see in my photo (above) how Ive
created a shadow box by covering a picnic
table with a blanket so that I could control

the lighting. I then placed the still life inside
this area and clipped a small spotlight to one
of the table legs. I used a light with a L.E.D.
bulb so that it didnt become too hot and
create a fire hazard.
Once youve created your own set up,
its time to choose an appropriate shape in
which to work. I used a viewfinder to help
me decide on the square format.
Step 2 Drawing t
Begin by lightly sketching out where you

think the main shapes will go with a pastel
pencil. Once you feel that everything is
roughly in the right place, its now time
to define the different shapes with a little
more care.
1 The bottle I began with the bottle, first
measuring its width by holding out a pencil
at arms length and closing one eye. I then
lined up my thumb and the end of the

pencil with the width of the bottle. I
compared the bottles width to all the other
objects in the still life. If you find you have
too much or too little space, now is the time
to move things around or change their scale.
Its well worth spending time getting it right
at this stage, as you wont be able to rectify
a cramped or awkward looking composition
later on. You can
see in this
illustration how
Ive used a vertical
centre line and a
series of horizontal
lines and dots to
make sure that
both sides of the
bottle appear
symmetrical.
2 The cubes
Moving on to the
cubes, I again
closed one eye and
this time used my
pencil to help me
to judge the angles
of the cube. In this
case all the angles
became a tiny bit
steeper the further
down they were.
3 The box To draw
the ellipse at the
top of the box I
used a vertical and
horizontal centre line on which I marked

the widest and narrowest points of the
ellipse. When it comes to drawing ellipses,
I find I achieve a more accurate shape if
I begin with the tightest radius in the
corners then work out to the bigger arcs.
4 The sphere The drawing was completed by
drawing the sphere. This was simply a case
of drawing a nice even circle and making
sure it was the right size and in the right
position in relation to the other objects.
Step 3
Once youve set out the main shapes, move on to the painting. Using
your largest brush, mix a quantity of dark grey using ultramarine blue
and burnt umber. You can then add this to titanium white to create
the lighter tones. Paint from the background to the foreground,
beginning with the dark then the lighter areas.
At first it can be hard to judge tonal values.

1 Try half-closing your eyes when you look at the subject,
which has the effect of cutting down the details. Its then
easier to judge the relative tonal values of each item.
2 Another useful aid to judging tonal values is to create a tonal
scale as Ive done here using the mixes of grey painted on to a
strip of board. Try to achieve a good range of five or six gradually
darkening tones. To use the scale, close one eye and hold it up
to the part of the still life youre observing and compare tones
on the scale with the tones in the still life. At first, its hard to
believe that a white still life can appear quite so dark in places,
but in painting it really is the darks that create the light.
DECEMBER 2016
57
HOW TO JUDGE TONAL VALUES
Oils
t
Step 4
With the background in place, move to the

objects, which I painted using three No. 8
filberts. Each brush held a different tonal
mix: one for dark, one for mid tone and one
for white or near white. This meant I could
work quickly as I didnt need to keep stopping
to clean the brushes; just a quick wipe on

a rag if a particular mix got too light or dark
before dipping it back in the paint.
1 With each object take note which is the lightest and which is
the darkest part. Begin with the boxes, noting which is the lightest
side, which the darkest side and which sides are in between
t
2 The top surface of the round box graduated from light to darker
across its surface and the very lightest part was its front edge.
3 Move on to the bottle, completing each shape before

moving on to the next, but sometimes it may be appropriate
to carry a shadow from one object on to another.
4 Some of the edges of one object appear to dissolve into

another. These effects can be suggested by softening some of the
edges, which will also help to keep the surfaces varied and the
painting lively.
t
DECEMBER 2016
58
The finished still life White on White, oil on board, 16x16in. (40.5x40.5cm)
Step 5
After you have painted all the other

objects it is now time to paint the
sphere, which Ive used to show the
different types of light to look out for
when youre painting tonal values.
1 The highlights The very brightest
spots or edges where the light is
shining most directly on the forms.
2 Crescent shadow When the object
gradually starts to receive less light
it moves from light into shadow.
3 Cast shadows Here the object blocks
out the light and casts a shadow across
another surface or object.
4 Reflected light You would expect this
area to appear darker as it receives less
direct light but instead it suddenly
starts to get lighter! This is because
light is reflected back from another
surface. Look carefully in all areas for
reflected light as it can create some
unusual and interesting visual effects.
Paul
Alcock
Highlight
Crescent shadow
Reflected light
Cast shadow
Paul is an artist
and tutor based in
Southend-on-Sea, Essex.
He will be running
a painting holiday to
Barcelona for Arte
Umbrias Painting
in Europe next year
and will also be
running workshops
for Watershed Studio,
Old Bank Studios,
Old School Studio,
plus art and craft days
and demonstrations
throughout the
south east. Visit
www.paulalcock.co.uk
for more details about
his work.
DECEMBER 2016
59
LP12 60-61 Birch_Layout 1 21/10/2016 15:41 Page 60
Inspiration
What shall I paint?

December In the final instalment of this years diary, Linda Birch shows
how to use sgraffito, Chinese brush painting and Artists felt-tip pens
ecember is a month of contrasts:

short days and long nights,
and Christmas lies like a jewel,
throwing off lights into the dark of a
too-long winter. Despite the commercial
razzmatazz of shopping and all that
stresses us, there is something about
humankind celebrating something
special that still catches me, however
hard I try to resist.
The village celebrates the coming
of Christmas with carol singing around
a large Christmas tree in advent. Last
Christmas eve the snow came and
a childrens service in church ended
in a prearranged trek of children, parents
and grandparents up the street on a hunt
for a lost star, which ended at the local
pub. The surprise was a nativity in a
stable in the yard behind the inn where,
to the astonishment of the adults and
children alike, there was a real Mary
and Joseph and a real baby together
with sheep and a donkey. Looking up
the street with the pub lights shining
on the snow was a memory I wanted
to remember and capture.
Scrape the surface

I decided to try to recreate the pub in the
snow (right) by using a technique called
sgraffito, taken from the Italian, meaning
to scrape through a surface to reveal a
colour beneath. This term was originally
connected with fresco painting and is
also used by potters when a glaze is
scraped away to reveal a colour
underneath before firing.
The technique I used comprised a
coloured base of oil pastel applied thickly
over a lightly drawn image. A mix of
one-third washing-up liquid was added
to black Indian ink and painted over
the entire surface. The image was then
scraped away with a knife to reveal the
colours beneath. If you would like to
try this, you will need:
l A piece of white card; framers
mountcard is ideal.
l Oil pastels (preferable as the colours
are stronger) or coloured wax crayons.
l An image you want to use. Keep it
simple until you gain in confidence.
l Tracing paper and 2B pencil.
l Black Indian ink.
l Washing-up liquid and a saucer for

mixing.
l A large watercolour brush.
l A small penknife a craft knife is too
sharp for this procedure or scraping
tool from scraperboard supplies.
The method
1 Draw the image lightly on the card.
Trace over the drawing as you will need

this for reference when all is black!
2 Crayon over with colour, making sure
the entire surface is covered and the
colour is thick and bright.
3 In a saucer mix one-third washing-up
liquid to two-thirds ink and apply over
the entire surface of the card. Allow to
dry thoroughly.
4 When dry, use the tracing paper to
help you find the main lines of the image
and start scraping back the ink layer,
laying the knife at a shallow angle for
maximum effect.
Its important to note that this is not a
technique that is suited to fine detail. You
have to accept the character of sgraffito,
but you never know what will emerge
and the contrast of black
and colour is always
exciting.
Chinese brush & ink
Three Camels, Letraset Promarkers, 812 x1134 in. (21.5x30cm). Artists felt-tip pens on cartridge paper
were used to accentuate the pattern values of this scene.
t
60
DECEMBER 2016
Whilst hunting for my oil

pastels, I came across my
Chinese ink stone and
a stick of ink. I also have
a set of Chinese brushes
and decided to use them
on a new cartridge pad
by Seawhite, a company
whose sketchbooks I like
very much.
I am not trained in the
art of Chinese painting,
but love to use Chinese
brushes as drawing tools
for their character and
fluidity of line. These
brushes for watercolour are
reasonably priced and are
made of real hair.
I ground the ink stick on
the stone using a little hot
water until the right degree
of blackness was achieved.
I then stood up to paint the
horse (right) with the paper
flat on a table, as this gives
greater freedom of
movement to the arm and
wrist, which results in
better lines.
LP12 60-61 Birch_Layout 1 21/10/2016 15:42 Page 61
Christmas Eve, oil pastel and ink on card, 912 x1112 in. (24x29cm). The lights from the village pub shine out onto the snow using the
sgraffito technique black ink and soap was scraped away to reveal an oil pastel ground on white mountcard.
t
New ideas
Bearing in mind that you might receive
or want to request art materials for
Christmas presents, I wanted to show
you a variety of different media to try
this month. I have also included an
image worked using Letraset Promarkers,
which are Artists felt-tip pens. These
pens were originally developed for
graphic designers when working on
client visuals and now that computergenerated artwork has replaced them,
they are available on the art materials
market. These are not the same materials
as childrens felt-tip pens, which may not
be colourfast.
The three camels (left) were worked
on heavyweight cartridge paper. I mixed
the colours by overlaying them, for
example the camels were orange with
pale grey laid over the top. I worked the
sky in pale and sky blues with the moon
a mix of skin white and yellow. The
mountains were added with skin white
and pale and cool greys, overlaid to
create shadows and vegetation; these
colours were also worked into the stones

in the foreground. As these pens are
double ended with a point and a wedge
shape, I made the drawing formal with
an emphasis on outlines, which created
a pattern of shapes.
When working with any medium you
have to respect its integrity and a felt-tip
pen drawing will not look like a
watercolour or crayon; it is what it is
a refreshing change from the struggles
we all have with our favoured medium.
Strangely, I always go back feeling
rejuvenated by the experience of trying
new materials and new techniques.
Happy Christmas and a creative New
Year to all of you. LP
Moving Horse, Chinese ink, 1612 x1112 in.
(42x29cm). Chinese ink was applied with
a Chinese brush on cartridge paper. Note
how simplifying the subject and the use
of brushstrokes help create the effect of
movement in the drawing.
To capture the movement of the horse

I disconnected a number of the limbs
and the hooves. As with all rapid
movement, we do not see the whole
of the image and leaving parts empty
increases the feeling of rapid action.
Linda Birch
Linda regularly teaches at the Bowes
Museum, Co. Durham. Email lindajoyce
pitt@aol.com for details of her courses,
workshops and other events.
DECEMBER 2016
61
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LP December 2016 Books p63_News 1st 20/10/2016 09:55 Page 6
Books
WHAT TO READ THIS MONTH

Visit www.painters-online.co.uk/store and click
on the link to books to buy the latest practical
art books available from LPs online bookshop
The natural world

Abstract Nature by Austrian artist,
Waltraud Nawratil looks at how to
paint the natural world with
acrylics, watercolour and mixed
media. But rather than simply
painting what she sees, Waltraud
shows us how to capture the
emotion you feel when looking at a
particular scene and translate that into paint. Painting techniques
and media are clearly explained before moving on to finding
inspiration in the natural world throughout the year, and through
the seasons with flowers and trees. The book includes step-by-step
demonstrations and plenty of practical advice on abstracting the
essence of what you see in the world around you.
Abstract Nature by Waltraud Nawratil. Search Press, (s/b), 12.99.
In Brief
Watercolour secrets
With a lifetime of painting
experience behind him, Terry
Harrison is the perfect teacher
for those new to watercolour. In
his new book, Terry Harrisons
Watercolour Secrets, he shares
all this experience with us,
explaining: My aim in teaching
art has always been to make
painting more accessible by
helping to make the techniques
easier. He certainly does that
here covering what to buy,
how to master the main
techniques, how to use
photographs, mix colours,
achieve special effects and
troubleshooting, before moving
on to looking at particular
subjects, such as skies,
mountains, figures, animals
and boats. In all, Terry includes
170 tips to make your artistic
journey easier and more
enjoyable.
Terry Harrisons Watercolour Secrets
by Terry Harrison. Search Press,
(s/b), 12.99.
Search Press has published three new editions of popular titles: The Watercolour
Flower Artists Bible by Claire Waite Brown, in a new portable size to keep handy
in the studio for reference; and The Coloured Pencil Artists Drawing Bible by
Jane Strother, giving step-by-step instruction on essential techniques. The third
new edition is The Encyclopedia of Coloured Pencil Techniques by Judy Martin,
which has become an indispensable guide to anyone beginning or developing
their exploration of coloured pencils.
The Watercolour Flower Artists Bible by Claire Waite Brown. Search Press, (s/b), 12.99.
The Coloured Pencil Artists Drawing Bible by Jane Strother. Search Press, (s/b), 12.99.
The Encyclopedia of Coloured Pencil Techniques by Judy Martin. Search Press, (s/b), 12.99.
Perspective masterclass
Tim Fisher needs no introduction to Leisure
Painter readers, being a regular contributor
and demonstrator. His new book, Drawing
Masterclass: Perspective focuses on the
difficult subject of perspective, starting from
the basics and moving on to complex scenes.
And its not just buildings that are included.
Tim shows us how to master the perspective
of landscapes, people, animals, boats and
reflections. Taking the subject further, Tim
then shows us how to move beyond
mathematical accuracy of perspective to have
the confidence to draw freely and
instinctively within this framework. The
presentation is excellent and there are plenty
of exercises to work through in your quest to
achieve accurate drawings.
Drawing Masterclass: Perspective by Tim Fisher. Search Press, (s/b), 12.99.
DECEMBER 2016
63
LP December 2016 Art Clubs p64-5_News 1st 20/10/2016 09:59 Page 2
Art clubs
OVER TO YOU FOR THE LATEST NEWS ON CLUB

EXHIBITIONS AND ACTIVITIES
Cirencester Art Society
Winter exhibition at The Parish Church,

Cirencester from 30 November to 10
December, 10am to 4pm daily. Visit
www.cirencesterartsociety.com
n
Desford and Peckleton Art Club
Annual winter exhibition at Peckleton

Village Hall, Main Street, Peckleton,
Leicestershire LE9 7RE on Saturday 19 and
Sunday 20 November. Open daily from
10am to 4pm. Enquiries to Jude Markillie
07850 596318 or visit
www.dandpartclub.co.uk
n
Guildford Art Society
Autumn exhibition at Guildford House

Gallery, 155 High Street, Guildford GU1 3AJ
from 12 November to 3 December. Open
Monday to Saturday, 10am to 4.45pm. Visit
www.guildfordartsociety.co.uk
Demonstrations
& classes
Bedford Art Society
On Friday 2 December, Rebecca
Merry will give a demonstration
to the Bedford Art Society at
Putnoe Heights Church, Bedford
MK41 8EB. Rebecca is an
English painter and illustrator
living in the Dordogne, France.
She works in watercolour and
egg tempera, and is inspired by
folktales and myths from
around the world. Entry is free
for members; 5 for visitors.
Contact Jean Paterson on 01234
307210 for more details or visit
www.bedsartsociety.co.uk
Halifax Art Society
Kathy Grevaux Tulips, water-based inks, 1134x1134in. (30x30cm) on show at the winter exhibition by
the Salisbury Group of Artists at Salisbury District Hospital, from 25 November until 6 January. This lively
group of artists meets once a week to paint and draw together, and also participates in more challenging
workshops each month. The society was established 40 years ago and continues to flourish. For more
information visit www.salisburygroupofartists.co.uk
t
CLUB EXHIBITIONS
n
The Attic Club
Original Art Fair at The Queens Hall, High

Street, Cuckfield RH17 5EL from Friday 25
November, 12 noon to 8pm; and Saturday
and Sunday 26 and 27 November, from
10am to 5pm.
n
Bathampton Art Group
Exhibition at Bathampton Village Hall,

Holcombe Lane, Bathampton BA2 6UL on
Saturday 19 November, from 10 am until
5pm. Demonstrations will take place
throughout the day. For more information
visit www.bathamptonart.co.uk
64
DECEMBER 2016
visit www.halifaxartsociety.com
Berkhamsted Art Society
Winter exhibition at the Civic Centre, 161163 High Street, Berkhamsted,

Hertfordshire HP4 3HD from 20 to 26
November. Open Monday to Saturday,
9am to 5pm; from 2 to 4pm on Sunday.
Visit www.berkhamstedartsociety.co.uk
n
Artist, Stephen Coates, will give

a demonstration to the Halifax
Art Society on painting skies in
watercolour on Thursday 17
December at the Oddfellows
Hall, Unity House, 3 Coleridge
Street, Halifax HX1 2JF, 7.30 to
9.30pm. Non-members
welcome. For more information
Breaston Art Group
21st exhibition at the Methodist Church

Hall, Blind Lane, Breaston, Derbyshire
DE72 3DX on 10 November, 2 to 5pm; 11
November, 10am to 5pm and 12
November, 10am to 4pm.
Hipperholme and
Lightcliffe Art Society
Jake Attree will demonstrate an
oil pastel of Haworth to the
Hipperholme and Lightcliffe
Art Society on Tuesday 13
December at the Brighouse Rest
Centre, Park Row, Brighouse, at
7.30pm. For more information visit
www.handlas.co.uk
LP December 2016 Art Clubs p64-5_News 1st 20/10/2016 09:59 Page 3
Highlights
Chailey & Newick Painting Group
The annual exhibition by the Chailey & Newick Painting Group will
be on show at Chailey Village Hall, East Sussex (A275) on 19 and 20
November, 10am to 5pm daily. As well as paintings, cards and
refreshments, there will also be demonstrations taking place during
the exhibition. Free admission, easy parking and disabled access. Visit
www.chaileyandnewickpaintinggroup.org.uk
Guildford Art Society

The autumn exhibition by the Guildford Art Society takes place at
Guildford House Gallery, 155 High Street, Guildford GU1 3AJ from
12 November until 3 December. The gallery is open Monday to
Saturday from 10am until 4.345pm. On Friday 25 November to
coincide with the exhibition, artist, Liz Seward, will give a
demonstration on painting a still life in mixed media between 11am
and 1pm at the Brew House. Entry is free, but booking is essential for
the demonstration. To book telephone 01483 444751 or email
heritageservices@guildford.gov.uk For more information about the
Guildford Art Society, visit www.guildfordartsociety.co.uk
Maghull Art Group
Visit www.maghullartgroup.webs.com
Hagley Art Club
27th annual exhibition at Hagley

Community Centre, Worcester Road, Hagley,
near Stourbridge, West Midlands DY9 0NW
on Friday 25 November, 7 to 9pm; Saturday
and Sunday 26 and 27 November, 10am to
6pm daily.
n
Hallam Art Group
Christmas exhibition at Hallam Community

Hall, Hallam Grange Crescent, Sheffield
S10 4BD on 19 and 20 November,
11am to 5pm daily. Visit
www.hallamartgroup.wordpress.com
n
Ham Art Group
Autumn exhibition at St. Thomas Aquinas

Church Hall, Ham Street, Ham, Richmond
TW10 7HT on 5 and 6 Nobember, 10am to
4pm daily. Enquiries to 020 8940 5725.
n
Harrogate and Nidderdale Art Club
80th anniversary autumn exhibition at

Ripley Town Hall, near Harrogate HG3 3AX
on 26 and 27 November, 10am to 5pm
daily. Visit www.handnart.co.uk
n
Highgate Watercolour Group
Annual exhibition at Lauderdale House,

Highgate, London N6 5HG from 8 to 27
November. Enquiries to 020 8348 8716.
n
Horsham Painting Group
One-day exhibition at the Quaker Meeting

House, Horsham, West Sussex RH12 1SL on
Saturday 19 November, 10am to 4pm. Visit
www.horshampaintinggroup.co.uk
n
Keswick Society of Art
Exhibition at the Theatre By the Lake,

Ruth Netherton Judys Jug, watercolour and ink, 2514x2114in.

(64x54cm) on show at the Guildford Art Societys autumn
exhibition
t
The winter exhibition of work by the Maghull Art Group will take
place at Deyes Lane High School, Maghull L31 6DE on 19 and 20
November, 10.30am to 4.30pm daily. The exhibition will also include
a photographic display by the Maghull Photography Club. Free on-site
parking, raffle, jewellery, cards and refreshments will be available.
Lakeside, Keswick CA12 5DJ from 25

November until 20 January. Enquiries to
Ted McCardle 01768 744855.
n
Kilmood Art Club
28th annual exhibition at the Castle Espie

Gallery, Castle Espie Wildfowl & Wetlands
Trust, Ballydrain Road, Comber, Co Down
until 20 November. Visit
www.kilmoodartclub.org
n
Muskham Art Group
Annual exhibition at South Muskham

Village Hall, Newark NG23 6EE on 5 and 6
November, 10am to 4pm daily. Enquiries to
01636 605875.5.
n
Nettleham Art Group
Exhibition at the Old School (near the

church), Nettleham, near Lincoln LN2 2PE
on Saturday 12 November, from 10am to
3pm. Enquiries to Ian Straw 01522 753558.
n
Putnoe Art Group
One-day exhibition at Sharnbrook Village

Hall, Lodge Road, Sharnbrook, Bedford on
Saturday 26 November, 10am to 4pm.
Enquiries to Bob Wardale at
bob.wardale@gmail.com
n
Royal Tunbridge Wells Art Society
Exhibition at 61 The Pantiles, Tunbridge

Wells, Kent from 12 to 27 November. Open
daily, 10am to 5pm; closing at 4pm on final
day. Visit www.rtwas.org
n
Salisbury Group of Artists
Exhibition at Salisbury District Hospital,

Odstock Road, Salisbury from 25 November
to 6 January 2017.
Society of Fulham Artists and

Potters (SOFAP)
Autumn exhibition at Fulham Library, 598

Fulham Road, London SW6 5NX from 15 to
20 November. Open Tuesday to Thursday,
10am to 8pm; Friday and Saturday 10am to
5pm and Sunday 11am to 3pm. Visit
www.sofap.co.uk
n
Tondu & District Art Society
Winter exhibition at the Len Evans Centre,

Aberkenfig, Bridgend, South Wales CF32
9RF from 11 to 14 November, 10am to 6pm
daily. This year, the competition will be on
a Welsh theme. Enquiries to Lorna Chilcott
01656 863924 or email her at
lorna09@talktalk.net
n
Trysull Art Club
Biennial exhibition at Trysull Village Hall,

School Road, Trysull WV5 7HW on 19 and
20 November, 10.30am to 4pm daily.
Enquiries to Thelma 01902 894879 or visit
www.trysullartclub.weebly.com
n
Walton Group of Artists
Exhibition at Walton Village Hall, School

Lane, Wetherby, West Yorkshire LS23 7DW
on 19 and 20 November. Open daily
from 10am to 4pm. For more information
visit www.waltongroupofartists.co.uk or
telephone 01937 583399.
n
Wareham Art Club
Autumn exhibition and craft sale at

Wareham Town Hall, East Street, Wareham,
Dorset BH20 4NS on Saturday 12
November, 10am to 4.30pm.
DECEMBER 2016
65
LP Dec 2016 Gallery p66-67_Layout 1 20/10/2016 10:06 Page 2
Art club gallery

BEST IN SHOW PAINTINGS ...
As the year draws to a close, we are looking
for new best in show paintings to feature in
our art club gallery pages for 2017. If you
would like to see your groups wnning
paintings reproduced here, encourage
visitors to your next exhibition to vote for
their favourite painting. Then simply send
us the details. Full information is given
below right.
t Royal Tunbridge Wells Art Society Tamara Lawson
Ozzy, pastel, 1812x2134in. (47x55cm). The Royal Tunbridge
Wells Art Society has its own premises at Sussex House,
61 The Pantiles, Tunbridge Wells, Kent, where members
can meet daily for a variety of talks, demonstrations and
social events, as well as classes and painting from the
model sessions. For more information and full details
of the weekly programme of events on offer, visit
www.rtwas.org
Sherburn in Elmet Art Club

Brenda Finnigan Onions,
coloured pencil, 12x12in.
(30.5x30.5cm). The Sherburn in
Elmet Art Club was founded in
1975 and now meets on Tuesday
evenings at Church Fenton
Village Hall. New members are
warmly welcome and there is a
special membership rate for
junior members from the age of
eight to 16. For more
information visit
www.sherburnartclub.co.uk
t
Hornsea Art Society

David Dawson Capriccio of
Kingston upon Hull, oil on
canvas, 30x40in. 78x102cm). The
Hornsea Art Society was founded
in 1969 by Harry Hudson
Rodmell RSMA and meets on the
second Friday of the month for
demonstrations or illustrated
talks by artists from all over the
north of England. For more
information visit
www.hornseaartsociety.co.uk
66
DECEMBER 2016
LP Dec 2016 Gallery p66-67_Layout 1 20/10/2016 10:06 Page 3
t Llandrindod Wells Art Club

Marjorie Pascoe Monty the Spaniel,
pastel, 1512x1512in. (39.5x39.5cm).
The Llandrindod Wells Art Club has
been in existence for over 60 years.
Despite being 101, the founder and
president, Masie Powell, is still a keen
painter and exhibitor and attends club
meetings almost every week. The
winner of the public vote, Marjorie
Pascoe, is new to the club, and won
the majority vote from over 500
visitors to the annual exhibition,
which took place at the Metropole
Hotel in Llandrindod Wells in August.
For more information email
Jean Woods at
jeanwoods1943@btinternet.com
Boughton Art Group Patricia Stone Abbey House Gardens, Wiltshire,

pen and ink, 13x16in. (33x40.5cm). The Boughton Art Group meets every
Friday afternoon from 1 to 4pm at Boughton Village Hall. Telephone
Sandra Brown on 01623 870598 or Hilary Riddin on 01623 862643 to find
out more about the club.
t
Horncastle Art Group

Peter Smith Path Near
Bakewell, pastel, 9x12in.
(23x30.5cm). The
Horncastle Art Group
currently has over 40
members who meet
monthly on the first
Friday evening of the
month at Queen Street
Methodist Church Hall
in Horncastle for
demonstrations by professional artists. For more information contact
the secretary, Peter Smith, 01507 526185 or email him at
peter.smith123@mypostoffice.co.uk
How you can join in

To participate in our best in show feature,
arrange for the voting to take place at your next
club exhibition, then send Leisure Painter a
photograph, transparency or jpeg of the chosen
painting. We can only accept sharp, highresolution (300dpi) images for reproduction
purposes. Attach details of the artist, title,
medium and dimensions, along with details of
the club itself. LP also welcomes art exhibition
listings, profiles, events, letters and news. Send
to Jane Stroud, 63/65 High Street, Tenterden,
Kent TN30 6BD; or email jane@tapc.co.uk
DECEMBER 2016
67
UK ART SHOPS
NORTH
GLOUCESTERSHIRE
NORTHYORKSHIRE
YORKSHIRE
The Art Shop
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Cotswold
ArtStreet,
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Street, Skipton,
Church
NorthStreet,
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Tel:
01756
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Gloucestershire
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Friday
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83 Westgate,
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6LE
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theShop
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NORTH YORKSHIRE
83 Westgate, Grantham NG31 6LE

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Tel 01476 578800
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Loxley,
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and
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Street,
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Tel: 01756 70177
Art729672
Shop - Ilkley
Tel:The
01452
Stockist of: Derwent, Pebeo, Loxley Reeves,
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Street,
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Monday
to Friday
9am
5pm
& Newton, ConteArt
Saunders
Waterford,
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Supplies
Tel & Fax:
+44(0)1943
432016
Hahnemuhle, Fabriano, Art Master
www.theartshops.co.uk
www.jacksonsart.com
1 Farleigh Place,
Jacksons warehouse holds painting,
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Canson, Liquitex, Derwent, Unison, Caran
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DAche,printmaking
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Tel: 020 7254 0077
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materials from Golden, Sennelier,
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The Art Trading Company
Tel: 01252
715390
10am
6pm
www.pullingers.com
www.jacksonsart.com
01986 897939
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and Derwent,
Clairfontaine,
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Daler-Rowney,
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Stocking:Art
Golden,
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Suppliers
Ltd
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109 East Street, Southampton
Pip Seymour, Canson, Derwent, Roberson,
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SO14 3HD
WEST YORKSHIRE
LONDON
SURREY
SUFFOLK
HAMPSHIRE
NORTH YORKSHIRE
Tel: 0238 0339444
The Art Shop
Saturday 9.30am 5.30pm

2 Newmarket Street, Skipton,
Email:
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North
Yorks BD23 2JB
Tel: 01756
High-quality
art70177
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Stockist of: Derwent, Pebeo, Loxley
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spray paints,
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W F Gadsby
347 High Street, Lincoln,

Jackson's
Art
Lincolnshire LN5
7DQSupplies
Tel: 66,
01522
527 487Approach,
Arch
Station
www.gadsbys.co.uk
London
SW6
3UH
Stockist of:
Winsor
& Newton,
Daler
Rowney,
DAche etc
Tel:
020
7384Caran
3055
Westgate Gallery
Thursday 9am 6pm, Friday,

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578800
Stocking: Royal
Saturday
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5pmDa Vinci, Schmincke
Support your specialist art retailer by purchasing

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NOTTINGHAMSHIRE
SUFFOLK
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Saturday 12.30pm - 5pm

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LINCOLNSHIRE
NORTH YORKSHIRE
Stockists
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& Langnickel,
2 Newmarket
Street,
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BD23Loxley,
2JB Golden,
Sennelier,
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Tel: 01756 70177
House
of Crafts, Cretacolor, Jakar,
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dAche.
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Calverton,
Nottingham NG14 6NU
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Tel: 0115 965 3479
Pullingers
Opening
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109 West Street,
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W F Gadsby

SUFFOLK
Tel: 01522 527 487
The
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Company
Daler
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55
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Street,
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Suffolk NR35 1AF
Westgate Gallery
Tel: 01986 897939

Opening
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Tel 01476 578800
Stocking: Royal
Talens,
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Saturday
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WEST YORKSHIRE
www.TheArtTradingCompany.co.uk
The Art
- Ilkley
Stockists
of: Shop
Old Holland,
Michael
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Street, Golden,
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Smith,
Rohrer & 432016
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Tel & Fax:
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01986 897939
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Friday
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Saturday 9am 5pm.
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Pullingers
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Stockists of: essential high-quality
109Van
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Go Farnham,
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TheTel:
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Knebworth,
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of: 814946
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01438
C
painting and drawing materials from

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Holland and more.
W
Stockists
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BD23
Unison,
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& 2JB
Newton,
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AMTLoxley
Products,
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Unison,
Daler-Rowney,
and
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S
68
The Art Shop - Ilkley
Pullingers
Tel: 01845 574457

Surrey
GU9 7HH
Saturday
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Tel:
01252 715390
www.pullingers.com
Stockists of: Winsor & Newton,
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many
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01986 897939
Nottingham
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0115Golden,
9401721
Opening
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Tuesday
Friday
Pip Seymour, Canson,
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WEST YORKSHIRE
Artist's Palette
SURREY
1 Millgate, Thirsk YO7 1AA
to offer expert advice.

Whappy
F Gadsby

The ArtLN5
Shop
Lincolnshire
7DQ
Tel:
01522
527
487 Northallerton,
230
High
Street,
www.gadsbys.co.uk
Northof:Yorkshire
DL7 8LU
Stockist
Winsor & Newton,
Daler
DAche etc
Tel: Rowney,
01609 Caran
761775
Westgate
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Saturday 9.30am 5pm

Tel
01476 578800
Stocking:
Talens,&DaNewton,
Vinci, Schmincke
StockistsRoyal
of: Winsor
Daler-Rowney, Loxley, Pip Seymour,
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YORKSHIRE
Pan Pastel, Unison, Pro Arte, Artmaster,
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Hahnemhle, Pebeo.
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DAche, Loxley, Sennelier Mapac
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SUFFOLK
Tel: 01943
432016Company
The
Art Trading
Opening
Monday
36a
Earshamtimes:
Street,Bungay
N35to1AQ
01986
8979399am 5.30pm
Saturday
Stocking:
Golden, Lascaux, Unison,
Sennelier,
Smith,&Pro
Arte, Da Vinci,
Stockists Daniel
of: Winsor
Newton,
Pip Seymour, Canson, Derwent, Roberson,
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Pan Pastel, Unison, Pro Arte, Artmaster,
NORTH
YORKSHIRE
Hahnemhle, Pebeo.
The Art Shop

Tel: 01756 70177
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of: Derwent,
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Emrys
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Ltd
Unison, Daler-Rowney, Sennelier, Winsor
22
Market
Street,
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& Newton, Conte Saunders Waterford,
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Art Master
Pembrokeshire,
Wales
SA61 1NH
WALES
Tel: 01437 779646
SURREY
Opening times: Tuesday to
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Saturday 9am 5pm
109
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Surrey GU9 7HH
Stockists
Winsor & Newton, plus many
Tel:
01252of:
715390
www.pullingers.com
more including Daler-Rowney, Sennelier,
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LINCOLNSHIRE
discuss a listing
WTo
F Gadsby
in ourLN5
UK
Lincolnshire
7DQArt Shops
Tel: 01522 527 487
directory contact
www.gadsbys.co.uk
Daler
Rowney, Caran DAcheon
etc
Anna-Marie
Westgate
Gallery
01778
392048
DECEMBER 2016
6
p68_69_lp_dec16.indd 68
21/10/2016 11:27:33
WATERCOLOUR EASEL
This practical, lightweight Jakar aluminium
easel comes in a quality black carrying bag
and weighs 1.62 kilos including bag.
Folded size 66cm, maximum canvas
height 120cm. It has a lever so that it
can be adapted for both vertical and
horizontal use. This makes it suitable
for all kinds of painting and an ideal
Christmas gift for watercolourists.
44.99rrp.
Jakar International Limited
info@jakar.co.uk
www.jakar.co.uk
DERWENT GRAPHIC PENCILS

Using only the finest graphite, the Derwent Graphic range boasts
improved core strength, perfect for expressive sketches or detailed
illustrations. Available in 20 consistent degrees from 9B to 9H.
A pack of 12 Graphic pencils are 13.60rrp and 24 Graphic
pencils are 27.10rrp. Telephone: 01900 609585
or visit the Derwent website at www.pencils.co.uk
Christmas Gift Ideas...

Choose the ideal gift for yourself or an artistic loved
one this Christmas with our selection of ideas
ART & CRAFT

STORAGE BAG
This traditional natural canvas
bosuns-style bucket with six outside
FLOWER PAINTING BIBLE
pockets is perfect for keeping all your
An extensive and essential guide to
artists materials together; especially
painting flowers in watercolour, with
useful when painting on location.
step-by-step illustrated instructions
Dimensions 25x22cm with knotted
and tips for the more advanced
cotton rope handle approximately
painter. Save 2 when you buy from
80cm. Art materials not included.
PaintersOnline bookshop at www.painters-online.co.uk/store
19.50 including p&p from
and follow the links to books. Quote code DEC16.
www.originalcanvasbucketbags.co.uk
LEISURE PAINTER SUBSCRIPTION

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Also available are metallic fibre-tipped pens in gold, silver and
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DECEMBER 2016
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LP Marketplace
To advertise your holiday, course or business call Anna-Marie now on 01778 392048
Holidays & Courses

WATERCOLOUR WEEKENDS in the Peak
District National Park. This is a taught
course with lots of support, making life
better. Tel: 01433 621546.
email: alanhearsum@btinternet.com
web: hearsuma@freeuk.com
FIONA PEART
Informative and lively
demonstrations and workshops
for art societies and clubs.
Ring 01451 820014
or email fiona@fionapeart.com
www.fionapeart.com
Watershed Studio
Celebrating our 15th year
Proven reputation for quality courses

Warm welcome & home-cooked food
Rural studio in its own grounds
Excellent local accommodation
High profile, popular tutors
Fraser Scarfe, Roger Dellar,
Carole Baker, Sylvia Paul,
Robert Dutton and many more
Call Allison Bond for details:
01255 820466
Email: allison@watershedstudio.co.uk
www.watershedstudio.co.uk
St Cleres Hall Lane, St Osyth,
Clacton on Sea, Essex, CO16 8RX
DAVID COUPE situated in Bolsover

Derbyshire does Saturday workshops once
a month throughout the year. Starts at
10.00am and finishes at 5.00pm. Cost
45 including lunch and refreshments.
Media are watercolour, oils, and pastels.
Beginners and intermediate welcome.
Website www.watercolourartist.net
email david@watercolourartist.net
Tel: 01246 826311
PAINTING COURSES. 1-7 day and
weekly art courses painting flowers
and gardens, landscapes, watercolour
or line and wash with Jan Blanch in
Norfolk also Brusho classes. Very good
accommodation.
Painting holidays in Corfu.
Tel: 01493 393639 or 07702 069300
Email: janblanchartist@gmail.com
www.janblanch.co.uk
TARN AREA, SW FRANCE. Painting
holidays. Excellent food and
accommodation, superb landscape,
forestry, mediaeval villages, studio, large
swimming pool. Professional tuition by
Ken Ray BA, WSCAD, Diana Golledge,
Cora Martin.
Details: Bob and Carla Schaap,
Chateau de Pourpry, 81220 Damiatte,
Tarn, France. Tel: 0033 563 707 176
Email: bobencarla@aol.com
EXCITING NEW 2017 BROCHURE NOW AVAILABLE!
Your First & Best Choice for a

Painting Holiday
PLUS
Organ
iser
David Bellamy, Joe Francis Dowden,
always s
Roger Dellar, Soraya French, Jeremy
locatio on
n with
Ford, Steve Hall, Terry Harrison, Barry
g
r
o
u
p
Herniman, Thomas Schaller, Haidee-Jo
Summers, Keiko Tanabe, Paul Weaver & many more
Somerset, Exmoor National Park,

North Devon Coast, North
Cornwall, Lake District, Wye
Valley, Provence, France & The
Western Algarve, Portugal
ovely ainting
oliday
dventure
01934 733877
All Art Materials included on selected holidays

Non painters & All Abilities Welcome
Studio & Location based courses in all media
Stunning Views and Amazing Locations
70
lp CLA Dec NEW.indd 70
DECEMBER 2016
For brochure and other information contact John or Christine on
01202 393234
2014 BROCHURE
NOWinfo@boscombespahotel.co.uk
AVAILABLE!
www.boscombespahotel.co.uk
Art Holidays in Dorset
DOUBLE-UP-DEAL - BOOK TWO CONSECUTIVE HOLIDAYS IN PINK &

SAVE 169 PLUS A FREE NIGHT DINNER, BED & BREAKFAST
Prices from 155
500 m from the sea
Free transport
Highly professional tutors
Friendly house-party atmosphere
Delicious food and wine
All accommodation en-suite
No single supplement
Stunning locations - easy walking
All abilities and non-painting
partners welcome
Well equipped studio
Maximum 10 students each group
Painting by David Webb
with all-inclusive holidays
TAKE ADVANTAGE OF OUR EARLY-BIRD SPECIAL 10% DISCOUNT ON BOOKINGS

PAID FOR BEFORE 31 DEC 2016 AS WELL AS THE OLD FAITHFUL DOUBLE UP DEAL
SUPER P
EU
DOUBL AVE
S
L
A
DE
169
R
SUPEE UP
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U
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DEA
145
SNEAK PREVIEW OF SOME OF THE DOZENS

OF COURSES IN 2017 WINTER WARMERS
Two full days tuition in our cosy studio from 10am to 5pm,
light lunch and delicious dinner plus bed and breakfast all
for only 155 Why not pamper yourself and add Friday and/
or Sunday night dinner, bed and breakfast at the special
painters rate of 55 per night? Most people do!
Sat 21 & Sun 22 Jan
Dip Your Toes in the
World of Fantasy
Sat 18 & Sun 19 Feb
Drawing for Beginners
Sat 18 & Sun 19 Mar Animal Portraits in Pastel
SPRING AND SUMMER HOLIDAYS
10-13 Mar Getting to Know Watercolour
27-30 Mar Spring Gardens with Watercolour Pencil
4 - 7 April From Light to Dark in Watercolour
8-11 April Landscape With Pen and Wash
18-21 Apr Lets Look at Texture in Fantasy studio based
6-9 May
Mixed Media Landscape
10-13 May Express Yourself in Watercolour
17-20 May South Coast Scenes with Acrylics and
Palette Knife
10-13 Jun Seascapes and Coastlines with Watercolour
14-17 Jun Lightfilled Landscape in Watercolour
18-22 Jun Embellish Your Fanasty Paintings
11-14 Jul
Sketchbooks - Where to Draw the Line?!
15-18 Jul Rocks, Waves, Sea and Sky - Acrylics
19-22 Jul Riverside Views and Bridges
23-26 Jul South Cost Scenes with Acrylics and
Palette Knife
27-30 Jul Come and Paint Experiments Flowers in
Mixed Media studio based
1-4 Aug
Sketching is an Art in Itself!
5-8 Aug
Cliff Top Painting - Look East and West
15 - 20 Sep Seascapes and Harbours
And much, much more!!
Art Holidays in Dorset, The Studio, Boscombe Spa Hotel, 4 Glen Road,
Boscombe Manor, Nr Bournemouth BH5 1HR
21/10/2016 12:28:52
Dec 16 Holiday of the Month_Layout 1 20/10/2016 10:54 Page 3
Holidays & Courses
Holidays & Courses

LEARN AT HOME. Watercolour
David Webb, professional artist, author
and drawing. Beginners/advanced
and contributor to Leisure Painter.
correspondence
courses.workshops
Easy, relaxed,
2-Day watercolour
in
thorough. Details:
JennyinTrotman
South Devon
2017. NDD.
Tel: 01305 264568
www.catswhiskersart.co.uk
day
ainting
dscapes,
wash with
o Brusho
mmodation.
u.
702 069300
gmail.com
Email: info@watermill.net
Call Bill or Lois: +39 366 488 2587
SUE FORD'S PAINTING HOLIDAYS

Mixed Media Courses
Cober Hill and Red Lea Hotels both in
Scarborough, various dates
Glenthorne, Grasmere, various dates
The Algarve, May 10-17
The Watermill in Tuscany, July 15-22
Email suefordartist@icloud.com
Mobile 07718076942
01642 712926
ay of the month
N CANVAS HOLIDAYS
Call Anna-Marie
to discover
the opportunities
available to you.
T: 01778 392048
E: annamarieb@
warnersgroup.co.uk
LEARN AT HOME. Watercolour

and drawing. Beginners/advanced
correspondence
Easy, relaxed,
ws demonstrates
in the port courses.
at Mze,
thorough.
Details:
Jenny
Trotman
ce on one of her Paint N Canvas holidays NDD.
Tel: 01305 264568
www.catswhiskersart.co.uk
day organiser, Linda Matthews is passionate

ng from life, en plein air, and in fact was the
e first four-day plein air paintingJoin
festival
roads in 2014. Her schedule is a busy one,
ng from weekly morning classes to week-long
in they
both in this country and abroad. What
n is her dedication to getting
out
there and
Cornwall
f what is around you. Wherever you look
to paint, she says. YouScarborough
can never be bored
a sketchbook.
Venice or Spain
is warm and encouraging, making her holidays
for your 2017
for beginners who need a bit of courage to
Fun
Artoffer
Holiday
side the comfort of a studio. On
this year
a
choice
of
great
kly classes held on a Thursday morning locations
at her
es Gallery in Ludham,www.hoganart.co.uk
as well as her weekend
ude a two-day Paint
in theadmin@hoganart.co.uk
Garden course
E Mail:
ast Ruston Vicarage Gardens.
also
Tel; There
01208are
895088
plein air painting holidays,
walking
and
Mobile:
07888852503
oads National Park, as well as holidays
Linda will be running painting holidays to
Framing
nd to Polizzi Generosa in Sicily.
s with her teaching experience and is happy to
eet the needs of individuals - whether its oneArtists Frames
s needed or special courses for groups.
Look
Save
moneyand
on framing
full details of all-the
courses
options on
- Complete or self-assembly
nd some step-by-step
tutorials to follow.
- Plain wood or painted
Tony Hogan
Ashcraft Framing
- Inlay frame specialist

- Large, standard and bespoke sizes
thews, Broad Skies Gallery, Ludham Bridge,

Exclusive
- St Ives/Nicholson
style
Norfolk NR29 5NX.
Telephone
01692 630485;
frames
available on-line
tncanvasholidays.co.uk
or visit
sholidays.co.uk.
Call 01427 787318 or visit
www.ashcraftframing.co.uk/store
THE SKYS
THE LIMIT
Demonstrations/one-to-one tuition
All materials included
Lunch included, plus tea & coffee
Maximum 12 students
IT COMES
ADVERTISING
WHEN
Studio based
in large, TO
well-lit
room
LEISURE PAINTER
DetailsWITH
at: www.davidwebbart.co.uk
Email: mail@davidwebbart.co.uk
01803 846321
TheOld
OldSchool
SchoolStudio
Studio
The
Old
School
Lane,
Whittlesford,
Old
School
Lane,
Whittlesford,
Cambridge CB22 4YS
Cambridge CB22 4YS
CAMBRIDGE based Working Art Studio

set in an attractive Victorian School House.
Affordable
one & two day
fully Working
tutored workshops.
CAMBRIDGE
based
Art Studio
Tutors for 2016: Hashim Akib, Paul Alcock,

Allis, Jamel Akib,
Vic Bearcroft,
Melanie House.
Cambridge,
set inMarilyn
an attractive
Victorian
School
Clare Crossman, Soraya French, John Glover, Rachel Haynes, Prue van der Hoorn,Chris Lockwood,
Val Pettifer, Lesley Rumble, John Shave, Simon Williams SBA, Thomas Plunkett PRWS, Sue Williams
Affordable one & two day fully

tutored workshops.
Drop-in-and-Paint Club every Thursday & Friday

CAMBRIDGE OPEN STUDIOS IN JULY
Tutors
2016-2017:
Hashim
Three day Summer School
& Kids for
Painting
Activities in
August Akib,
Paul Alcock, Marilyn Allis, Jamel Akib,

Vic Bearcroft, Melanie Cambridge,
For full details of all workshops or to request theClare
2016 brochure
Email:Soraya
info@theoldschoolstudio.co.uk
Crossman,
French,
Or call Val Pettifer: 01223 833064Johnwww.theoldschoolstudio.co.uk
Glover, Rachel Haynes,
Prue van der Hoorn, Chris Lockwood,
John Shave, Simon Williams SBA,
Thomas Plunkett PRWS, Sue Williams
The School House is well stocked with easels, drawing boards etc, and benefits from a large mezzanine floor with a
comfortable reading area. Students can also relax in the attractive garden and courtyard, whilst enjoying a cuppa!
Call Anna Marie to discover the

opportunities available to you.
Holiday of the month
Drop-in-and-Paint Club
every Thursday & Friday
Three day Summer School &
Kids Painting Activities in August
T: 01778 392048
E: annamarieb@
warnersgroup.co.uk
Email: info@theoldschoolstudio.co.uk
Or call Val Pettifer: 01223 833064
www.theoldschoolstudio.co.uk
Art Materials
Art
rt
bre
ks
Ex
r breaks
rreaks
k in Exmoor
E moor
DALVARO ART
Sidewinder Studio
01243 552186
Shop online
www.sidewinderstudio.co.uk
CHINESE BRUSH PAINTING SUPPLIES
We have an extensive range of high quality,
authentic Chinese Brush Painting supplies,
beautiful accessories and specialist books.
Over 300 titles in stock
Starter packs for beginners
Framing
panish artist, Dolores Alvaro and her English husband,

Harold, have been running Dalvaro Art painting holidays
from their home, Las Orquideas (The Orchids) in Valencia,
Frames
Spain since Artists
2009. During
that time they have experienced all
- Save money on framing
types of people with very different prerequisites for their
- Complete or self-assembly
holidays,
have listened and adapted along the way to please as
- Plain
wood orsopainted
many
artspecialist
students as possible. Loly organises the painting, while
- Inlay
frame
Harold
handles
holiday.
Its all about giving our guests a
- Large,
standard
andthe
bespoke
sizes
relaxing and enjoyable opportunity to improve their art, says
Exclusive - St Ives/Nicholson style
Loly, no matter what level they are, in a rejuvenating and
frames available on-line
refreshing, as well as an inspirationally relaxing environment.
01427
visit
Call
There
are787318
some 22orinternational
tutors, covering all media from
www.ashcraftframing.co.uk/store
acrylics and pastels to oils and watercolour, many of who will be
known to Leisure Painter and The Artist readers, including Les
Darlow,
Arnold
Lowrey, Robert Dutton, Sue Ford, Paul Weaver and
Art
Shops
Roger Dellar. Courses to look out for in 2017 include Painting
Water and Marine Subjects with Joe Dowden in May, and later in
the year, Painting Watercolour Landscapes with Pablo Ruben and
Spanish Landscapes in Watercolour with Eugen Chisnicean.
Guests stay in the beautiful hillside villa overlooking the town of
Benignim. The villa has been completely renovated to provide
exceptionally comfortable accommodation. All the rooms are airconditioned with en-suite bathrooms. The landscaped gardens are
a feature of the villa, with tennis court, swimming pool,
vegetable garden, fruit trees, chickens and ducks, creating the
perfect atmosphere for relaxation as well as providing ample
painting subjects without ever leaving the villa.
Ashcraft Framing
Suppliers of the finest

art materials
VISIT
OUR
ONLINE
SHOPon the landline at 0034 96221 7226;
Contact
Loly
and Harold
FREE
CATALOGUE
mobile
0034
61085 7136; email lolialvaro@dalvaro.es;
Tel: 01453 886560
www.dalvaro.co.uk
email: info@pegasusart.co.uk
Griffin Mill, Stroud, GL5 2AZ
SUMMER 2016
65
02/06/2016 12:25:43
For full details of all workshops or to request a brochure
www.shorlandoldfarm.co.uk
ww
ww
w..shorlandoldfa
w
w
w
ffarm.co.uk
f l locat
a ion
Beautiful
Beautifu
fu
location
at
ffood
Good fo
od
aatmosphere
Friendly at
mosphere
Courses fo
fforr all abilities
r ners welcome
Non-painting part
partners
rt
Ready-made groups also welcome
Call Sandy or Mark 01598 763505

Email: enquiries@shorlandoldfa
enquiries@shorlandoldfarm.co.uk
f rm.co.uk
fa
ALL-INCLUSIVE SPANISH WATERCOLOUR

HOLIDAYS in the mountains of Southern
Spain. Superb food and delightful
en-suite air-conditioned rooms.
Instruction is followed by fieldwork,
including visits to Granada and Mojacar.
Everything included except your flight.
Non-painting partners welcome. For
special offers and customers' comments
visit www.watercolourspain.com
Tel: 020 3239 6786 or 0034 637 458679
Art Shops
Suppliers of the finest

art materials
VISIT OUR ONLINE SHOP
FREE CATALOGUE
Tel: 01453 886560
email: info@pegasusart.co.uk
Griffin Mill, Stroud, GL5 2AZ
DECEMBER 2016
71
21/10/2016 14:04:16
Holidays & Courses
Art Materials
The colour of the light en Plein Air

Explore an unspoilt world of mountains, sea, dark skies, wildlife, light
and reflections, with endless inspiration on a remote Scottish island.
Small groups with professional wildlife and landscape tutors
and demonstrators.

April 22nd-29th 2017. Fully catered using local produce.

975pp, second person sharing 550pp.
Non-resident 70 per day, inc. transfers.
LP09 SubsDigital_Layout 1 19/09/2016 16:20 Page 1
Pick up available from Fort William bus/train station

Contact Allison or Andy Jackson Tel. 01972 500208
email allison@selfcatering-ardnamurchan.co.uk
www.selfcatering-ardnamurchan.co.uk
magazine
is available
digitally
Watercolour
Inspired by nature
Heres an easy-to-follow watercolour demonstration to practise applying light,

fluid washes while reserving the white, by Rachel McNaughton
You will need

Surface
Saunders Waterford High
White 200lb Rough paper
15x22in. (38x56cm)
Colours used
Cobalt Neutral Quinacridone Burnt

Burnt
Paynes
turquoise tint
gold
umber
sienna
grey
light
(or light red)
Winsor & Newton

Professinal Water Colour
See colours, right
Aureolin
Daniel
Smith
moonglow
Miscellaneous
Daniel Smith moonglow
White gouache
White gel pen
White pastel (not oil pastel)
Old toothbrush
l Easy access to paid-for past

and present issues
l All issues stored in one place
l Subscriptions and single
copies from just 2.49
l Try it FREE. Sample issue
is available to download
72
DECEMBER 2016
Step 2
1 Wet the dandelion clocks. Make dilute washes

of cobalt turquoise and neutral tint. Paint
turquoise on the left-hand side of each clock.
2 With neutral tint and a fine brush, paint fine
lines to suggest the stems of the dandelions
seed parachutes radiating from the centres.
Allow to dry.

l Instant acccess to your

magazine
l View any time, anywhere
Step 1
1 Use a plate or saucer to draw around for

the dandelion clocks. I used a 6in. plate.
Use a ruler to find the centres of each then
place the stem and centre of both heads.
Try to avoid ramrod straight stems; give
them a bit of movement.
2 Mix up three separate washes of moonglow,
cobalt turquoise light and neutral tint; make
sure you have plenty of moonglow. Working
on dry paper and beginning at the edge of
one of the stems, paint a broken wash of
moonglow. Allow the colour to break up
on the rough texture of the paper, leaving
ragged glimpses of dry white paper. Use a
large brush and, when near the dandelion
head, use the side of the brush to create
a rough edge.
3 Carry on around the painting, dropping
in a little cobalt turquoise occasionally and
neutral tint at the base of each clock and
a little between them at the top. Splatter
quinacridone gold. Allow to dry.
Step 3
1 Now to paint the centres. Mix green

from quinacridone gold and Paynes
grey and a couple of browns using
burnt umber with a little neutral tint
and either burnt sienna or light red.
2 First, with a very dilute mix of
moonglow, add a little shadow to
model the cushion in the centre
of the dandelion clock. Paint a little
on the dark side and fade across
the rest with clean water.
3 With dark green paint the sepals
under the cushion. Vary the colour,
adding more quinacridone gold
or Paynes grey as necessary.
32
OCTOBER 2016
4 Mix a little aureolin and add green

mixture. Use this to paint the stems.
Quickly blot some colour off with
tissue or kitchen roll.
5 Use the browns to paint the individual
seeds that are still attached to the centre.
Go to www.painters-online.co.uk and
click on the Subscribe tab, search for
Leisure Painter magazine at these
stores or scan the QR code
25/10/2016 14:31
p073_LPDec16_Layout 1 24/10/2016 10:50 Page 73
PAINTERSONLINE
and ExaClair Competition

PaintersOnline, the online
home of Leisure Painter
and The Artist, has teamed
up with ExaClair, the UK
supplier of Clairefontaine,
to offer you the chance to
win one of ten sets of three
Fine Art Pads from its new
PaintON Multi-technique
collection an A3 and an A4
in white, and an A4 in natural
tan, worth 25(rrp) per set.
The thick and luxurious 250gsm
paper in this range is suitable for
acrylic painting, gouache, ink, dry
or oil pastels, collage and other dry
techniques. The pads are a clever
way for established or budding
artists to delve into a wide range
of media without requiring a
different pad for every type.
ENTER NOW
To win one of ten sets of three
PaintON Fine Art Pads worth
25(rrp) from ExaClair please visit:
Clairefontaine started production in

1858, in the town of Etival-Clairefontaine,
situated next to the Meurthe river, 90km
from Strasbourg. It now produces an
extensive range of premium fine art
papers for numerous disciplines,
including watercolour, sketching, pastels
and acrylics. For more information visit
www.clairefontaine.com
the online home of

and
magazines, and click on the links
to competitions. Closing date
for entries is January 20, 2017.
Winners will be selected at
random from all online entries.
When completing your details please
make sure you opt in to receive our
great regular email newsletters so that
we can keep you up to date with whats
new at PaintersOnline, including the
latest features, images in the galleries,
new competitions and other great offers.
PAINTERSONLINE
and Royal Talens Competition

PaintersOnline, the online home
of Leisure Painter and The Artist,
has teamed up with Royal Talens
to offer you the chance to win
a set of 150 Rembrandt Soft Pastels
in a display box worth 375(rrp)
The Rembrandt Soft Pastels
General Selection Master Box
consists of 144 coloured
Rembrandt soft pastels, with extra
whites and blacks, to make this
pastel box a complete and
wonderful collection of 150
pastels from which every pastellist
can find the right colours for any subject.
Rembrandt Soft Pastels are known
for their:
Excellent colour release
Intense and pure colours
Good to highest degree of lightfastness
Very high colouring power due to
a high concentration of pigment
They are also free of pigments based on
ENTER NOW
To win a Rembrandt Soft Pastels
General Selection Master Box from
Royal Talens please visit
the metals lead, cadmium and cobalt.

For more than 100 years
Royal Talens have been stimulating
creative expression worldwide by
developing high-quality brands and
products that inspire people to paint
and draw. For more information visit
www.royaltalens.com
the online home of

and
magazines, and click on the links
to competitions. Closing date
for entries is January 20, 2017.
Winners will be selected at
random from all online entries.
When completing your details please
make sure you opt in to receive our
great regular email newsletters so that
we can keep you up to date with whats
new at PaintersOnline, including the
latest features, images in the galleries,
new competitions and other great offers.
DECEMBER 2016
73
LP December 2016 Online gallery p66_News 1st 20/10/2016 10:11 Page 66
Online gallery
Jane Strouds selection of works from our PaintersOnline gallery
WWW.PAINTERS-ONLINE.CO.UK
his month I have chosen a commissioned family portrait by

artist, Paul Porter. Here Paul describes how he was able to
capture the spirit of the family using only a photograph as
reference. Next month we will be showing you another
painting made from an old photograph, with an interesting

story behind it. If you would like to see more of Pauls work,
post a comment or upload your own images on our free online
gallery visit www.painters-online.co.uk
Family group
t
t
74
Paul Porter The Houstons, oil, 26x34in. (66x86.5cm)
Photograph of the Houstons taken on holiday in Svalbard

DECEMBER 2016
Born in Derry, Northern Ireland, Paul

Porter has always had a strong interest in
drawing and painting. He graduated with
a BA Hons in Graphic Design in 1984 and
started working in the design business,
before setting up his own business with a
colleague in 2005. Painting was
something he continued to do in his
spare time. As a change from pushing a
mouse around all day at work, he says,
I usually take to the back room at home
where I can enjoy my oil painting. Its
amazing how time flies once you are in
the zone and, as a stress buster, I could
not recommend it more highly. Although
I have to admit to feeling sad when I
have to hand over a commission that Ive
spent countless hours working on.
The Houstons was the result of a
commission Paul received from a
business acquaintance who wanted a
portrait of her family as a present to her
husband in celebration of his 60th
birthday. Paul explains: The painting
was to include portraits of the seven
members of the family and was to be a
surprise for the husband. Ideally I would
have liked to plan and photograph the
family group myself, but as this was to be
a surprise, this wasnt possible. Instead, I
was given this photograph of the family
(left) taken when they were on holiday in
Svalbard a group of islands between
Norway and the North Pole. The
photograph showed the family in one
long line, with the hut looming large in
the background, which I thought
constricted the space I was able to give
the portraits on the canvas. Instead I
moved Peter, the father, and his son on
the left to just behind his wife and eldest
daughter to break up the line and make
it more interesting. I also reduced the
size of the hut slightly and moved it to
the left, allowing room for the sign.
LP11_HolidayBrownv2 2_Layout 1 21/10/2016 09:08 Page 38
READER HOLIDAY
May
9 to 21,
2017
PAINT IN VIETNAM
with Peter Brown NEAC, ROI

a wonderful adventure capturing every corner
of these towns, producing lots of work and
learning much from him. Peter is a humorous,
enthusiastic and inspirational guest artist.
Hoi An is a busy riverside town with
oin the well-known and highly respected

artist Peter Brown, aka Pete the Street,
in one of Vietnams most exotic, atmospheric
and compelling locations. The Unesco World
Heritage town of Hoi An in central Vietnam
is a kaleidoscope of vivid colours, street life
and architectural styles.
This painting holiday is ideal for experienced
and intermediate students who aspire to
achieve a very exciting and different portfolio
of work. Peter will encourage you to learn by
example and provide guidance when needed.
Tuition, demonstrations and critiques will
not be provided. Peter will be working in oils
but all media are welcome. This is a rare
opportunity to share time with, and experience
the life of a hard-working artist. Students who
travelled to Arles and Florence with Peter had
a huge variety of painting material to suit

everyone. Emerald green rice paddies, girls
in traditional dress and wearing palm leaf
conical hats, fishermen in small wooden rafts,
children riding buffalos, markets full of exotic
fruits and vegetables, ramshackle tailor shops,
Chinese temples with brightly coloured
demonic-looking deities and dragons, a
Japanese-covered bridge, former merchants
houses and old tea warehouses, alleyways
decorated with lanterns, scooters, bicycles, a full
moon festival and so much more. If this isnt
enough to satisfy your palette then there are the
nearby idyllic Cham Islands, the ancient temple
ruins of My Son and a pristine coastline lined
with casuarina and pandan trees.
Accommodation is in a charming colonial
hotel in the old town with 24 en-suite
bedrooms, a restaurant and a tranquil garden.
Scheduled flights are direct to Hanoi with
a good connection to Danang, which is 30km
north of Hoi An. Breakfasts and dinners are
included and a travel escort from the UK
will accompany you to take care of all
the arrangements.
Udaipur, Midday, oil by Peter Brown
l
l
l
8 to 12 intermediate and
experienced students
Price per person from 3,875
Single supplement 250
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 with renowned tutors. These holidays are organised by fully licensed
operator Spencer Scott Travel Services Ltd CAA ATOL 3471. Other holidays in 2017 include the Greek island of Symi with Hazel Soan, South of France with Lachlan Goudie ROI,
southern Italy with Richard Pikesley PNEAC RWS, Amsterdam with Ken Howard OBE RA, Holland and Belgium with Pamela Kay NEAC RBS RWS, and India with Hazel Soan.
CREATE
COLOURS MADE IN SWITZERLAND
For addional informaon and stockists please contact: JAKAR INTERNATIONAL LIMITED
Jakar Internaonal Limited, 410 Centennial Park, Elsee, WD6 3TJ Tel: 020 8381 7000 email: info@jakar.co.uk
carandache.com
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LP12 1 Cover_v5_Layout 1 21/10/2016 11:11 Page 1

DECEMBER 2016 4.20

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JANUARY 2016 issue on sale 2 December

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Some of the best practical

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Produce your own Christmas cards

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NEWS, HOLIDAYS & SPECIAL OFFERS

62 Take advantage of special offers on practical art books

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28 Cork Street W1. 020 7437 5545.

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Buckingham Palace SW1. 020 7766 7301.

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Millbank SW1. 020 7887 8888. Paul Nash:

Discover Australias Impressionist painters at this major exhibition at the National

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Over 100 new oil paintings and

John Russell Gallery

4-6 Wherry Lane, Ipswich, Suffolk.

Joyce Fine Art

40 Church Road, Great Bookham, Surrey.

East Street, St. Briavels, Gloucestershire.

Pete the Street. The thread in all my

positively glisten with life.

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West of England Academy

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