Leisure Painter - November 2016 AvxHome - Se

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November welcome _Layout 1 22/09/2016 16:12 Page 3
Incorporating Leisure Painter

and Craftsman
and Creative Crafts
VOLUME 50/12
ISSUE 553
www.leisurepainter.co.uk
Welcome
www.painters-online.co.uk
ISSN 0024-0710
from the editor
NOVEMBER 2016
Editor
Ingrid Lyon
W elcome to the November issue of
Leisure Painter. As I write this, the
air feels distinctly chilly, the sky has
Contributing Editor
Jane Stroud
Editorial Consultants
turned an ethereal blue grey and the trees outside my window are
Diana Armfield, RA, NEAC (Hon), RWS
Tony Paul, STP
just beginning to hint at the change. I’m looking forward to a long
Advertising Sales and gloriously colourful autumn in Kent. This issue begins our
Anna-Marie Brown (Tel: 01778 392048)
(annamarieb@warnersgroup.co.uk) celebration of painting autumn in the natural world, by capturing
Advertising Copy
Sue Woodgates (Tel: 01778 392062) the beauty of seasonal landscapes in oils and also in watercolour in
(suewoodgates@warnersgroup.co.uk)
Accounts
the first part of this month’s painting project. There are rose hips to
creditcontrol@warnersgroup.co.uk
paint in watercolour, nature’s textures in liquid acrylics and the first
Events Manager
Caroline Griffiths part of a project, demonstrating how to depict a sunset using three
Subscriptions & Marketing Manager
Wendy Gregory different photographs and soft pastels.
Subscriptions
Nicci Salmon & Liza Kitney
If you’re ready for a challenge, take up your finest brushes to paint
(Tel: 01580 763315/763673)
aging wood, flaking paint and rusty metal in one watercolour (see
Online Editor
Dawn Farley our main front cover image and Ian Pethers’ step-by-step
Designers
Alison Renno demonstration on pages 23 to 25). Sometimes fast and loose just
Sarah Poole
doesn’t cut it and if you want to settle down for a more prolonged
Leisure Painter is published
every four weeks by: period of quiet industry, I hope the detail in this painting will
The Artists’ Publishing Company
Limited (TAPC), Caxton House, appeal. By popular demand Steve Strode is covering knife painting
63-65 High Street, Tenterden,
Kent TN30 6BD in acrylics this month. Look back at the last issue for the techniques
(Tel: 01580 763315)
and materials he uses then find a knife and celebrate impasto with
Managing Editor
Dr Sally Bulgin, Hon VPRBSA us! As with all the projects and tutorials within these pages, please
Publication of an article or inclusion of don’t forget to share your finished work with other readers and our
an advertisement does not necessarily
imply that TAPC is in agreement with wider community of artists by creating your own portfolio on our
the views expressed, or represents
endorsement of products, materials website at www.painters-online.co.uk or emailing dawn@tapc.co.uk
or techniques. TAPC does not accept
responsibility for errors, omissions with finished paintings inspired by our monthly painting projects.
or images received in good faith
Annual subscription rates: We are delighted to launch this year’s charity Christmas card
UK £39.99 (includes Northern Ireland);
USA $80; Canada $92; EC member competition on page 6. I’m looking forward to seeing your seasonal
countries €67; all other countries
(sterling rate) £50 entries and showing off the winning work in our Christmas issue,
Foreign currency prices include when we will also donate £200 to the charity of our winner’s
bank charges. Payments made
by credit card are taken in sterling choosing.
at the rate of £50
Printed by Warners Midlands plc,
The Maltings, Manor Lane, Bourne,
Lincolnshire PE10 9PH
Newstrade distribution by
Warners Group Publications plc INGRID LYON Editor
(Tel: 01778 391000)
DECEMBER 2016 issue on sale 4 November
www.painters-online.co.uk NOVEMBER 2016 3

LP11 4-5 Contents_News 1st 23/09/2016 16:07 Page 4
53
Contents NOVEMBER 2016

50
30
47
23 Texture in watercolour
IN EVERY ISSUE Ian Pethers exploits the wet-in-dry
watercolour technique to paint aging
7 Diary 58 Art clubs wood, rusty metal and flaking paint from
Things to do this month News, profiles and exhibition a photograph
listings
8 Exhibitions 26 Soft sunset
Some of the best shows 65 Books Part 1 Anne Kerr discusses painting
around the country Some of the best practical art from three photographs and explains the
books are reviewed techniques and colours she uses to tackle
10 Letters the project in soft pastel
Your tips, suggestions, 66 Online gallery
ideas and questions Jane Stroud chooses two 30 Fruits of autumn
paintings from PaintersOnline Practise watercolour techniques, including
wet on wet, wet on dry and negative painting
to produce a beautiful study of rose hips,
with Julie King
FEATURES 34 Understanding colour
On the cover
Flaking Paint 12 The autumn landscape Part 12 How to use the cool greens in your
and Wood, Techniques and colours to capture palette, by Tony Paul
watercolour, the fleeting light of autumn in oils,
1112⁄ x834⁄ in.
(29x22cm). by Christine Pybus 39 Brilliant sunshine
Ian Pethers How to paint sun-filled, back-lit watercolour
depicts metal, 16 Painting project landscapes that simply ooze atmosphere,
wood and Part 1 Paint an autumnal riverbank scene using glazing and wet-in-wet techniques,
paint in detail from a photograph, with Jem Bowden by Jo Louca
on pages 23
to 25 of this
month’s issue 18 Painting project 40 Oil problem solver
Part 2 Follow Tony Underhill as he takes Elena Parashko tackles four commonly
you step by step through the simplifying experienced problems when oil painting
and painting of boats in Guernsey to help develop confidence and style

LP11 4-5 Contents_News 1st 23/09/2016 16:09 Page 5
12
Coming
next month
Celebrate another month of painting with
Leisure Painter. Here are just some of the
highlights to be found in our December issue
ON SALE 4 NOVEMBER
n Understanding colour:
how to use the yellow
earths in your palette
n Follow the painting of
a bird in watercolour
n How to draw and
paint holly (perfect
for this year’s
Christmas cards)
n Be inspired by
sgraffito, Chinese
brush & ink, felt-tip
pens and line &
wash ideas
26 56 n Paint a sunset using
soft pastel
n Drawing masterclass:
Tony Paul Music at Phillips
t
NEWS, HOLIDAYS & GIFT IDEAS House, watercolour, 22x15in.

perspective made easy (56x38cm)
6 Enter LP’s annual charity Christmas card competition
n How to create depth
11 Win a book from Search Press worth £14.99(rrp) in your watercolour
29 The latest news of November’s Art Materials Live landscapes
LEISURE PAINTER
n Develop your skills: ON-SALE DATES 2017
38 Join Pamela Kay painting in the Low Countries
paint a white-on-white Issue On sale
44 Choose from special Christmas gift packages when still life January 2 December
you subscribe to Leisure Painter this month February 30 December
n More problem solving
March 27 January
46 Take advantage of special offers on practical art books and readers’ questions April 24 February
when you buy from our bookshop at PaintersOnline answered May 24 March
67 Join Hazel Soan painting in Greece in 2017 n And much more...
47 Celebrate impasto
Part 2 Having followed the exercises set by Steve Strode
last month, it’s time to complete a painting using just
painting knives and acrylics
50 What shall I paint?

November brings days spent painting landscapes, interiors
and miniatures, using a variety of media, by Linda Birch
53 Nature’s textures
Add life to your paintings as you depict a variety of textures
using liquid acrylics, with Linda Wain
56 Guildford Art Society

View the work of Guildford Art Society, runner-up in this
year’s Art Club of the Year competition t
Paul Hopkinson Long Tailed Tit, watercolour, 814⁄ x1112⁄ in. (21x30cm)

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CHRISTMAS GREETINGS
LYNN PAINTER-
STAINERS PRIZE
CHARITY EXHIBITION 2017
Painting CALL FOR

ENTRIES
Competition A prize for representational
painting with awards
See your work published in
totalling £30,000
or in our
2016 Christmas greetings message
Deadline for entry
19 December 2016, 5pm
Enter online:
lps.artopps.co.uk
Tel: 01372 462190
Email: lps@parkerharris.co.uk
Winner of last year’s competition for Leisure Painter
M
Andrea Abraham Tweeting, water-mixable oils on linen

canvas, 8x193⁄4in. (20x50cm) Image: Benjamin Andreas, Hoxton Square Daytime
O nce again we are substituting the sending of

Christmas cards by the publication of a special
Christmas and New Year message in our January 2017 F
issues, published in December. Help us by entering S H I PR E E
our competition, from which we will select a winning on order P I N
image to feature in our special Christmas greeting, s over G
PLUS we will make a donation of £200 to the charity Mainla ^4*0 t o UK
nd
of your choice
GREAT DISCOUNTS UNBEATABLE SERVICE
H OW TO E N T E R *See our shipping policy for full details.
There are two categories:

G Leisure Painter category for the amateur painter
G The Artist category for painters with more experience
and professional artists
Please submit a jpg digital entry at www.painters-online.co.uk
and click on the link to Competitions. Your entry must reflect
the festive season, and it can be produced in any medium.
Closing date for entries is 4 November, 2016. Winners will be
notified by 11 November, 2016 and the winning artists will be
asked to supply a high-resolution digital image of the selected
work by 18 November for inclusion in the magazines.
Judges: Sally Bulgin, editor The Artist
and Ingrid Lyon, editor Leisure Painter
CONDITIONS OF ENTRY amongst the competition

1 Only one entry per artist please. entries and no correspondence
2 Log in or register on can be entered into.
www.painters-online.co.uk to 5 By entering our competition C all for our
submit your entries. Follow the link
to Competitions.
you agree to allow The Artist
and Leisure Painter to publish, latest catalogue!
3 Winning entrants will be republish and repurpose your
informed by 11 November, 2016. artwork in both print and digital
4 The judges’ decision is final.
The judges reserve the right to
use an alternative image should
no suitable image be submitted
formats, including but not
limited to magazines, websites,
databases and as part of
downloadable digital products.
artsupplies.co.uk
@KenBromleyArt facebook.com⁄KenBromleyArt
Tel: 01204 690 114 Email: sales@artsupplies.co.uk

LP Nov 2016 Diary p7_News 1st 22/09/2016 11:07 Page 6
Diary
THINGS TO DO THIS MONTH
t Paint realistic botanical paintings with
Helen Campbell at her Leisure Painter and The Artist
workshop at Art Materials Live on 4 November
Practical art n Green fingers

n Portraits Discover how to paint trees and plants 5pm), while Helen Campbell will show
The Victoria Gallery in Bath will be at this year’s Art Materials Live at the you how to Paint Realistic Botanical
holding two events in October that NEC in Birmingham from 3 to 6 Paintings in three easy stages on 4
concentrate on portraits. The first, on November. Organised by Leisure November (10am to 1pm and 2 to 5pm).
Saturday 22 October, is part of a Big Painter and The Artist magazines, For more information on these, and
Draw event. Titled We do Mean Big, the Adrienne Parker will be leading other workshops organised by Leisure
workshop, aimed at all ages, invites morning and afternoon workshops on Painter and The Artist, and to book your
you to create a larger-than-life drawing Painting Colourful and Expressive Trees place, go to www.painters-online.co.uk/
of yourself. Then, on Sunday 23 on 3 November (10am to 1pm and 2 to courses-holidays/reader-workshops
October, 11.30am to 4pm, artist,
Harriet Bouchard will give a
masterclass in portrait drawing,
working from a model. This is a free
drop-in session. For more information
visit www.victoriagal.org.uk or
telephone 01225 477232.
n Starting out
RWS member, Charles Williams, will
lead a watercolour workshop especially
for beginners on Saturday 29 October
(10am to 4pm) at the Heatherley
School of Fine Art in London. For
details telephone 020 7928 7521 or
visit www.banksidegallery.com
NEWS
Kenneth Sacki (1925-2016)
We are sad to report the recent
death of Kenneth Sacki of Jakar t
Vanessa Jayne The Face of Alzheimer’s, oil, 241⁄2x281⁄4in. (62x72cm)
International Ltd whose life’s work
was the art materials and drawing In the Frame
industry. Kenneth joined Jakar in Competition winner
1952, two years after it was founded Kent-based artist, Vanessa Jayne, has been awarded the National Open Art’s
by his mother, Lydia. The current World Art Vote 2016 for her work The Face of Alzheimer’s. The painting portrays
MD, Paul Sacki, started working for the artist’s father-in-law who died in September and touched the heart of the
the company in 1979, the third public. “Most of us know someone who is affected by Alzheimer’s,” says
generation to do so. Kenneth Vanessa, “so it really seems to have connected with people.” Vanessa’s painting
remained involved in the business will go on show at Mercers’ Hall in the City of London from 27 October until
until as recently as 2015 and will be 4 November, alongside 160 selected works from the National Open Art
missed by many in the art industry. competition. For more information visit www.nationalopenart.org

LP Nov 2016 Exhibitions p8-9_Layout 1 22/09/2016 10:26 Page 2
ExhibitionsJANE STROUD RECOMMENDS

Preston, 10 to 15 October. ‘Royal Society of
Miniature Painters, Sculptors and Gravers’:
annual exhibition featuring over 600
paintings and sculptures, 12 to 22 October.
’70 Painting Years’: the paintings of Trevor
Chamberlain and Bert Wright, 17 to 22
October. ‘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
LONDON n Jonathan Cooper November. ‘Royal Institute of Painters in
n Bankside Gallery Park Walk Gallery, 20 Park Walk SW10. Water Colours’: annual exhibition 8 to
020 7351 0410. ‘Fiona Strickland: The Vital 13 November.
48 Hopton Street SE1. 020 7928 7521. Moment’, botanical watercolours,
‘London: A Sense of Place’: members of the n National Gallery
20 October to 12 November.
Royal Watercolour Society express their Trafalgar Square WC2. 020 7747 2885.
responses to the City of London, 7 October n Llewellyn Alexander ‘George Shaw – My Back to Nature’:
to 5 November. (Fine Paintings) Ltd., 124-126 The Cut, revealing the culmination of the artist’s
Waterloo SE1. 020 7620 1322.
n Dulwich Picture Gallery two-year studio residency at the National
‘Peter Graham’: one-man show, until 26 Gallery, until 30 October.
Gallery Road SE21. 020 8693 5254. ‘Adriaen October. Oil landscapes by Mary Pym, 1 to
van de Velde: Master of the Dutch Golden n The Queen’s Gallery
16 November.
Age’, featuring 60 works by this 17th century Buckingham Palace SW1. 020 7766 7301.
Dutch landscape painter that explore his n Mall Galleries ‘Portrait of the Artist’: focusing on images
painting process from conception to Trafalgar Square SW1. 020 7930 6844. ‘Raise of artists in the Royal Collection, including
completion, 12 October to 15 January 2017. Your Game’: sporting cartoons by Oliver self-portraits by such painters as
Ray Campbell
Smith (1916-2016)
A final exhibition of work by
Leisure Painter’s editorial
consultant and friend, Ray
Campbell Smith, goes on show at
St. Julians Club in Sevenoaks this
autumn. For many years, Ray ran
weekly courses at St. Julian’s Club
so it’s a fitting venue for this
special exhibition. Born in
January 1916 in Lewisham,
London Ray’s interest in painting
started early and continued for
all of his life, resulting in a
wealth of exhibitions, books,
DVDs, art club lectures and
articles on painting. This
exhibition will include many
original illustrations from Ray’s
numerous best-selling books, as
well as previously unseen works.
Ray died in January this year,
one week short of his 100th
birthday. All profits will be
donated to Barnado’s children’s
charity in accordance with his
wishes.
Ray Campbell Smith 1916-2016:
His Final Collection goes on show
at St Julians Club, Underriver,
Sevenoaks TN15 0RX from 13
October to 24 November. Open
daily until late.
Ray Campbell Smith Riverside,

t
watercolour, 13x11in. (33x28cm)

LP Nov 2016 Exhibitions p8-9_Layout 1 22/09/2016 10:26 Page 3
Rembrandt, Rubens and Hockney and

representations 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 Royal Opera Arcade Gallery
5b Pall Mall SW1. 020 7930 8069.
‘A Brush With Speed’: exhibition of work
by members of the Royal Automobile Club
featuring work by many of Britain’s leading
motoring artists, 31 October to 5
November.
n Tate Britain
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, 26 October
to 5 March. ‘Turner Prize 2016’, until
8 January 2017.
n Tate Modern Andrew Haslen Hare and Goldfinches, linocut, 22x29in. (56x74cm)
t
Bankside SE1. 020 7887 8888. ‘Georgia

O’Keeffe’, until 30 October.
The Natural Eye
REGIONAL The annual exhibition of the Society of Wildlife Artists goes on show at the Mall
Galleries in London from 26 October to 6 November with work inspired by the
n The
Beaney House of Art &
natural world. The exhibition includes paintings by members as well as non-
Knowledge
members and promises a mix of styles, media and subject matter – from
18 High Street, Canterbury. 01227 862162.
‘Grayson Perry: The Vanity of Small traditional to more abstract. A special Out of the Frame section will show
Differences’, six large tapestries explore fieldwork and sketches from projects in which members have been involved
the British fascination with taste and class, this past year, including works from The John Busby Seabird Drawing Course
8 October to 4 December. bursary winners. Events, artist’s talks, portfolio day and a printmaking
n Gallagher & Turner workshop have been arranged to complement the exhibition. Visit
30 St Mary’s Place, Newcastle upon Tyne. www.swla.co.uk for details.
0191 261 4465. ‘The North East’s Changing The Natural Eye: The Society of Wildlife Artists’ annual exhibition can be seen
Industrial Landscape’: paintings by Richard at the Mall Galleries, The Mall, London SW1 from 26 October to 6 November.
Hobson (1945-2004), 22 October to 19 Telephone 020 7930 6844 or visit www.mallgalleries.org.uk
November.
n Hamstreet Primary Academy
Ashford Road, Hamstreet, Kent. 01233
732684. ‘Exhibition and sale of work by n The Mercer Gallery n Middlesbrough Institute
well-known local artist, Mary Want, 29 and Swan Road, Harrogate, North Yorkshire. of Modern Art
30 October; 10am to 4pm daily. 01423 556188. ‘Eileen Cooper RA: Hide and Centre Square, Middlesbrough. 01642
Seek’, featuring drawings by Eileen Cooper,
n Harbour House 931232. ‘Liberation of Colour’: paintings
made in a variety of media including by Winifred Nicholson, 22 October to
The Promenade, Kingsbridge, Devon. charcoal, pencil, pastel and ink, until
01548 854708. ‘Yellow’: open art exhibition 12 February 2017.
15 January 2017.
featuring a wide range of work by local n The Wilson
artists in response to the theme of yellow, n The Michaelhouse Centre Clarence Street, Cheltenham. 01242 237431.
22 October to 12 November. Trinity Street, Cambridge. 01223 309167. ‘The Last Word in Art’: works by key 20th
‘Cambridge Envisaged’: works by local
n The John Russell Gallery century and contemporary artists, such as
artists, Peter Corr, Paul Janssens and Tracey Emin and David Hockney, exploring
4-6 Wherry Lane, Ipswich, Suffolk. Caroline Forward, that feature aspects of the relationship between images, words
01473 212051. Recent acrylic paintings by Cambridge, 7 to 19 November. and ideas, until 8 January 2017.
Sarah Cannell, 24 October to 19 November.
n Lincoln Joyce Fine Art
40 Church Road, Great Bookham, Surrey. All information given here is correct at the time of going to press, but you are
01372 458481. Paintings by Alistair Butt advised to check details and opening times with the galleries prior to your visit
and Chris Forsey, 2 to 19 November. in case of unavoidable alterations to their exhibition schedules

november letters_News 1st 20/09/2016 09:27 Page 10
Letters
YOUR COMMENTS, IDEAS, TIPS AND QUESTIONS
Motivation ‘ready to use’, with all that

Last year, when I was 85, expertise at my disposal I would
I cleared out my loft, as I had never feel the need to alter the
many useful things up there paint by routinely mixing it with
that I thought other people a medium. I do use a lot of
could make use of. While busily paint, most tubes lasting no
working I came across a very more than a month or two,
old, small case with leather hence my paint is always fresh.
corners. On opening it I had a Many people keep tubes for
big surprise: my art from school years though and, with age, the
days in 1946, in preparation for paint will dry and thicken,
my exam at the age of 16. I requiring a small amount of
found animals, trees of all medium before use. In this case,
shapes, figure drawings and general artist’s painting medium,
pictures of the three houses we containing linseed oil and a
had lived in. Also a picture of solvent, should suffice.
my mother (right) completed in Next comes the variable that
30 minutes. Suddenly I became causes the confusion: personal
excited. I thought that the preference and technique. If you
drawing of my mother was not ‘glaze’ or layer your paint and
too bad for a 16 year old! require fine detail using finer
My life had to that point been brushes, as the letter suggests
given over to needlework in that John does, the paint will
many forms, including making then require thinning. It’s now
pictures. Why not start to paint down to a question of
again? At the bottom of the preference, trial and error. I
case, unbelievably, was my old would suggest initially trying just
school paintbox. Finding that t
Eileen King Sketch of my Mother, pencil on wartime cartridge paper, a little solvent, the quicker it
made up my mind. I am now a 11x71⁄2in. (28x19cm). Recently finding the drawing Eileen made of her mother evaporates the better, hence white
member of the local Bures Art in 1946 inspired her to pick up her art materials again. spirit wouldn’t be my first choice.
Group, which meets once a If you are then finding the paint
week, and my spare room, when I have makes the paints last longer. An expert too thin and need more body, use a small
no visitors, is my art room. I am greatly friend of mine uses white spirit and gets amount of a medium instead.
enjoying art with all the new types of better results. Those of us who like to paint ‘in one’
paints, pencils and brushes, and look For detailed work I add Artists’ painting and love the brushmarks, want our paint
forward to receiving my copy of medium. This leaves a glossier surface as thick as possible and therefore, in
Leisure Painter every month. and makes me wonder how successive general, avoid mediums. I personally only
Eileen King layers will adhere and endure. Over the use a solvent to clean my brushes
years I seem to have acquired a puzzling between colours, wiping them clean and
Oil painting mediums array of mediums and I wonder whether dry on a cloth before the next
Christine Pybus’s most interesting article I really do need so many. What is best brushstroke, hence I use the paint as
in LP August has prompted a question. for simple oil painting? manufactured straight from the tube.
In reference to Sansodor, the article John Blatchford Wooden palettes do need wearing in;
contains a gem in just four words: Not once they’re impregnated with oil and
used for mixing. Lately, I have been Christine Pybus replies: I quite paint they’re fine. Don’t over-clean them.
concentrating on oil painting at home understand the confusion caused by the New ones – even when primed with
and become suspicious of a possible array of mediums on the market and the linseed oil – I agree are awful.
technical issue from paint appearing to contradictory advice in every article or
curdle at times. I use Winsor & Newton’s book that you read, mine included. So let Acrylic tips and tutors
or Daler-Rowney’s Artists’ paints on a me throw a couple more factors into the I was very interested to read
tear-off paper palette and a Daler Board mix to confuse it perhaps even further. Elena Parashko’s tips on keeping acrylics
ground. The paper palette is a new type Firstly, assuming that the moist (Leisure Painter, October issue).
for me and was selected, because it is manufacturers with their centuries of I think I have found the perfect solution
less absorbent of oils than wood so knowledge formulate their paints as to this problem.

november letters_News 1st 20/09/2016 09:28 Page 11
First, you need to indulge in a box of exorbitant so if any tutors are on

Ferrero Rocher chocolates. Once the holiday on the island, you could earn Send your letters to
box is empty – it won’t take long – yourself a good day’s pocket money Leisure Painter, 63-65 High Street,
both the base and the lid can be used by taking a class of local students. Tenterden, Kent TN30 6BD.
for your acrylic paints. Place a square Sheila Brown Alternatively, email the editor at
of wet absorbent kitchen roll in the lid leisurepainterletters@tapc.co.uk. All
and the base then cover with a layer From the editor: If you’d like to contact letters published here win art materials,
of tracing paper. I find the paint will Sheila about demonstrating or teaching courtesy of Daler-Rowney. For details
stay useable for days when housed in on Guernsey, please email her at of all Daler-Rowney products visit
this way, and it is easy to keep the sheilam@cwgsy.net www.daler-rowney.com
paper dampened down from time to
time. The lid must be replaced after
every painting session, however, if
both halves are being used so they do Travelling companion
not drip on each other. It’s very light Here’s an idea for anyone needing a
and easy to handle as a palette. lightweight art pack when travelling.
On another subject entirely, two This summer my kit measured just
articles in Leisure Painter’s October 160×130×50cm, weighed 200g, and
issue refer to painting in the Channel contained a sketchbook, waterbrush,
Islands: Tony Underhill’s painting pen and water-soluble crayons. The
project focused on Guernsey boats, kit fits easily in my pocket or handbag
while Tony Paul painted in Sark, on and allows me to sketch and paint
the beautiful Dixcart Bay. using a wide range of colours.
I am a long-standing member and I collected the stubs of the crayons
past president of the Guernsey Sarnia and arranged them in a flat tin – the
Arts and Crafts Club and we love waterbrush picks up enough colour to
having visiting artists teach us their Teddi’s tiny sketching kit comprises a tin of
t
Caran d’Ache NeoColor II water-soluble crayons, paint or add a wash to a drawing.

skills. As you can imagine, however, a sketchbook, waterbrush and pen Teddi Coutts
the cost of transporting artists and
tutors over to the Channel Islands is
PAINTERSONLINE
and Search Press Competition
PaintersOnline, the online home
of Leisure Painter and The Artist ENTER NOW
magazines, has teamed up with
Search Press to offer you the To win one of ten copies
chance to win one of ten copies of The Art of Papercutting from
of The Art of Papercutting by Jessica Search Press please visit
Palmer, worth £14.99(rrp) each
In The Art of Papercutting, renowned
papercutter Jessica Palmer shares her art the online home of
from inspiration to conclusion. Learn how to and
separate the visual world into positive and magazines, and click on the links
negative shapes and design gorgeous images
with pattern, texture and impact. A practical
to competitions. Closing date
section shows step by step how to ‘draw with for entries is December 15, 2016.
a knife’ safely and effectively. Then Jessica provides artistic insights into an inspiring Winners will be selected at
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LP11 12-15 Pybus_Layout 1 23/09/2016 11:26 Page 12
t
Autumn near Goldsborough, oil on board, 9x11in. (23x29cm). Those gorgeous flashes of fleeting light through the now thinning hedgerows
are synonymous with autumn and so useful for defining the contours of the landscape.
The autumn landscape

Techniques and colours to capture the fleeting light of autumn, with Christine Pybus
A s artists, we are constantly learning

and I believe that if you want to
learn, it’s best to begin at the top.
So let’s begin with Turner. Look closely
at his work and you’ll find a theme:
warm (red spectrum) foreground and cool
(blue spectrum) background, which create
enormous depth and distance. Skip forward
a few decades to Monet. He and his fellow
Impressionists were masters at using blocks
of complementary colours, opposites on the
colour wheel, which create incredible
vibrancy when placed next to each other;
look for the oranges and blues in particular.
Now let’s consider autumn, with its rich
red, orange and brown foregrounds
A Fresh Breeze near Lockton, oil on board,

t
512⁄ x712⁄ in. (14x19cm). Almost inevitably in this

little autumn study complementary colours
come into play. Whilst the emphasis is on
capturing the movement, gratuitous flicks of
blue enhance and liven up the warm browns
and oranges. Just because they aren’t there
doesn’t mean that you can’t use them.

t
Autumn Near Newholm, oil on board, 11x14in. (29x37cm). There’s a lot of the burnt sienna ground in evidence in this picture, giving the
effect of autumn leaves on the foreground trees, whilst the background trees are in the main unpainted. The sheep, positioned at thirds and
contrasted against the background trees, are the subject of the painting with just a few touches of colour suggesting a figure to reinforce them.
contrasted against powerful, billowing opposites though are invaluable to painting where used. Conversely, mix
blue skies. It’s a perfect excuse to use know, essentially red and green, blue them together and they will produce a
both techniques to create depth and and orange, purple and yellow, and dead, neutral colour, which can also be
vibrancy in one picture. If you haven’t myriad shades in between. useful to contrast that vibrancy, perhaps
already discovered the paintings of Place them next to each other and they used in a loose foreground intended only
Alfred Sisley, look up The Lane from will be vibrant, lifting any part of the to lead the viewer into the picture. LP
By to Bois des Roches-Courtaut: Indian
Summer for further inspiration.
The downside of painting autumn
landscapes is the unpredictability of
the weather. Days of overcast skies
with wind and rain can strip that
majestic colour almost overnight. In
reality paintable days in autumn can
be counted on one hand during some
years so when the light’s good, forget
the dusting, e-mails and lunch invitations,
grab the oils and get out there to paint.
Complementary colours
Colour wheels are available in books,
from art shops and online. Colours
adjacent to each other on the wheel sit
well together and are harmonious. The
Late Autumn near Brockfield, York, oil on

t
board, 11x14in. (29x37cm). This was painted

rapidly as the soft, milky sun was setting.
The flash of orange on the main tree was
placed at thirds then surrounded with blues
to enhance it. No drawing was required and
only a few loose brushmarks were added
t
for the often troublesome foreground.

Oils
Demonstration
An Autumn Morning, You will need
Whitby n Surface n Daler-Rowney Artists’ oils** n Miscellaneous
When painting in autumn it’s almost l Gesso-primed MDF l Naples yellow 1 l A large, clean cloth
always about making the most of board*, primed and l Lemon yellow (hue) l Turpentine or
complementary colours; it’s just a washed with burnt sienna l Yellow ochre Sansodor***
question of how to use them in your or ground colour of your l Raw sienna
composition. This demonstration painting choice, 10x12in. l Burnt sienna *Alternatively, oil board,
is all about creating distance, by including (25x30cm) l Light red pad or canvas would
l Ultramarine blue be suitable.
n
a warm foreground and cool background, Brushes
and by the use of perspective, which will l Cerulean blue ** Student quality oils
l 3 x long flat hogs,
lead the viewer’s eye through the painting l Cobalt violet (Student quality and water-soluble oils
between No. 2 and 8
and into the distance. is more affordable) are fine to use.
l Rigger No. 2
Next come those colours – orange and l Cadmium orange *** I use Sansodor to
l Watercolour type
brown trees are placed against a blue sea l Roberson’s or Mike Harding’s keep brushes clean only;
brush No. 2
with purple and yellow combinations used titanium white it’s not for mixing
in the foreground. Put together they create
vibrancy throughout the picture.
WHY USE A BURNT SIENNA GROUND?

Quite simply, it’s like adjusting the contrast blues, suiting the seaside environment where It’s a question of trial and error to find
on your computer or TV. Using a white board, I work and also my love of skies and snow. out what suits both your style of painting
and many do to great effect, will give you It’s also the base colour used for centuries by and your subject matter. Step as close as
a softer, fresh ethereal feel, similar to using the Old Masters and, more recently, by many you can at exhibitions and galleries, noting
white paper in watercolour. The darker the of the Impressionists, with others using softer first the alarm wire in front of you.
ground, however, the stronger the contrast ochres. I know many artists who choose You’ll see touches of the grounds showing
you can achieve. different colour grounds, purples and greys through. Then step back and study the
Why use burnt sienna? First, it enhances the in particular. effect achieved.
Step 1
t
1 Trying to finish any part of the picture at

this stage is almost impossible, because as
you progress and surround that area with
different colours and tones it will need re-
working. Better then to cover the board in
thinner paint, erring on the dark side, all
of which can be modified later when the
thicker, lighter colours are applied.
2 This is also the drawing stage, although
few drawing skills are required here. Begin
by placing a few marks on the board using
a No. 2 brush and thin paint. The broader
areas of dark colour can then be blocked
in along with a little of the lightest light.
Other tones will then fall between those
extremes and you now have a good guide
on which to work.
3 Everything is still flexible at this stage
and the picture can evolve by constantly
correcting and improving as you work. The
basic shapes, however, and the relationships
between the darks and lights are already in
place. Note the large angular brushmarks;
use a No. 8 brush and sweeping brushmarks
for those broader areas.

Step 2
t
1 With the board now covered you can see
which areas need lightening or altering.
In this case and as part of the painting’s
development, I’d made the common mistake
of fitting the picture to the board and decided
that this composition could be enhanced by
re-formatting it and losing an inch from the
left-hand side. You know instinctively when
it’s not right so be ruthless.
2 Still using a larger brush and bearing in
mind the direction of light, add the cloud
highlights using white mixed with a little
yellow ochre then soften the shadow side of
the clouds using cerulean blue with a touch
of violet and yellow ochre. Next come some of
those flashes of light through the gaps in the
right-hand trees using yellow ochre and white.
t Step 3
1 Now is a process of gradual refinement.
Pick up those smaller brushes and using 3 Next lose some of those more obvious
short marks, almost printing, and in rounded foreground marks, which will lead the viewer
movements, add the highlights to the trees. gently through the picture, as opposed to Christine Pybus
These marks placed next to each other give dragging them, kicking and screaming. Find out about Christine’s work
vibrancy as opposed to blending them all 4 A few cloud reflections in the sea indicate a at www.pybusfinearts.co.uk
together and risking muddy colours. still day and a mark on the horizon suggests a
2 Soften the buildings in the middle distance, boat as a focal point on which the eye can settle.
which are in reality just blocks of pink purple 5 Finally, use your smallest brushes and touches t The finished painting An Autumn
and white. Also soften a little in the middle of yellow ochre and white at the base of the Morning, Whitby near Sneatonthorpe,
distance fields to create the illusion of trees to suggest gaps with the fields twinkling oil on primed MDF board, 10x12in.
distance. through. (25x30cm)

LP11 16-17 PP1 DONE_Layout 1 23/09/2016 11:36 Page 16
Paint along with LP
Painting project
Part 1 Paint an autumnal riverbank scene from a photograph, with Jem Bowden
W hen painting a watercolour

from a photograph it is often
advisable to consider using
some artistic licence. This is part of the
fun of being an artist; the creative process
can often start way before the paint
hits the paper.
Your starting point may be a
photograph, which is imperfect but can
be amended in various ways. For this
project I found the photo (left), which
had a good autumnal look and had other
important features: depth (foreground
to distance), light and shade, and focal
interest (swans and reflections). I wanted
an opportunity to paint some autumnal
trees with few leaves, which the photo
also has, but they are a little indistinct.
I consulted one of my sketchbooks and
found these very quick impressions of
waterside willows (right) I made years
The original photograph of this month’s
t
project: an autumn riverside scene
t
The original photograph was then cropped to make a better composition for the painting

LP11 16-17 PP1 DONE_Layout 1 23/09/2016 11:36 Page 17
Paint along with LP
ago on the Somerset levels. They are

scruffy little sketches, just a few inches
in size, but contain enough information
about the essential shape and character
of the trees in question, which is why
I made them. Having sketches such as
these are always helpful, and I’ll use
these as a basis for the trees in the
painting, whilst not aiming to copy
them entirely.
Winning composition
First and foremost you need a sound
composition. The composition underlies
everything else so is always worth
spending a good deal of time considering
it. A well-painted picture, which is badly
composed, can never be great, but a
picture that may not be brilliantly painted
in parts can still be very successful
overall, if the composition is a winner.
Although I have here the necessary
elements to make a painting, they need
putting together, and again this is where t
Time spent considering composition is essential. Here is the finished composition
the sketchbook is essential. Thinking sketch from my sketchbook after elements were moved, omitted and developed.
about the largest areas in the photo – the
sky, hillsides and water – I felt it would
make a fairly good overall composition
if I cropped it down to cut out some of
the expanse of water and right-hand
woodland. This brought the most distant
area of hillside about one-third into the
composition from the right-hand side.
Having key parts of a composition at
points of a third often work well, but
then all the other component shapes
need to be considered in relation to this
at the same time. You’re aiming for an
overall balance that’s pleasing on the
eye and draws you in and around the
painting. Always check that there isn’t
a part that seems to be squeezed in too Make it a habit to scribble impressions of
much, or which occupies more space trees in your sketchbook; they will build
than it deserves. Sky and foreground up your understanding of the subject
commonly fall victim to being squeezed
too much. Again, allowing about one
third for each of these areas can be a
useful guide to consider. Simplification is a key part of A few birds to the right of the centre,
Symmetry can also be a problem, as it interpreting a subject. In the which were indicated as simple dot
will often make a landscape composition compositional sketch I made the marks, help to draw us even further
look unnatural. Be wary of having a remaining ground foliage and distant into the picture and towards the far
horizon line (or anything else) slap bang woodland of this area more clearly distance.
in the middle of the composition. divided as two distinct sections. Also in Next month I will take you stage by
the interests of simplification I reduced stage through how I painted the scene
The composition sketch the two swans to one. I also moved the in watercolour. During the process
Having cropped the photo (left) and swan in a bit to the right to ensure its we will be considering tone, colour,
considered my new trees and other shadow is clearly visible. The shadow is brushmarks, wet and dry techniques,
aspects of composition, I created the very useful, as it gives a clear indication negative painting, order of approach,
small sketch (above right), which tells of the direction of light. The sun is lower and the methods you can use to help
you how my painting will be laid out. in autumn and shadows are therefore capture light whilst simplifying complex
I decided to move the small island of longer and often starker. If we can jumbles of foliage! Don’t forget to send
reeds off to the right and slightly forward capture such things, it should add to your finished painting to
in the picture. This helps the sense of the sense of time and place. dawn@tapc.co.uk for inclusion on the
depth, and leaves good space in the Having the left-hand tree closer means it painting project area of Leisure Painter’s
water for me to place the reflections now goes off the top of the composition. website at www.painters-online.co.uk.
of my central tree. As well as the visual interest in having I hope you enjoy the seasonal theme
Another important aspect of elements at different heights in the of this month’s challenge. LP
composition and painting is picture, a closer tree also helps in creating
interpretation. Much of the ground depth. Finally, I included a couple more
foliage in the photograph is an indistinct
jumble of dying back autumnal grasses
willow trees, which are variations of the
small sketches, and added reeds right up
Jem Bowden
Find out about Jem, his work and
and young trees. To paint this is tricky. close to break up the line of water a little. courses by visiting www.jembowden
I decided to include one of my sketched The idea is that the swan and trees carry watercolour.co.uk or email
willows up close on the left bank, which our eye into the scene and along the jembowdenwatercolour@gmail.com
provides a stronger feature in this area. curve of the bank.

LP11 20-23 PP2_Layout 1 23/09/2016 11:48 Page 18
Pen & wash
Painting project
Part 2 Follow Tony Underhill step by step as he uses his ‘easy-win’
rules to draw and paint from last month’s photograph of Guernsey boats
W hether you used my easy-win

suggestions from last month’s
tutorial or your own method,
I hope you enjoyed using my
photograph of Guernsey boats (below)
as a reference to produce your own
drawing and painting.
My two main thoughts as I prepared
to paint were first, to remember a few
simple basics and secondly, not to
overcomplicate anything. As I
suggested last month, rather than
diving straight in or, even worse, trying
to replicate the photo in its entirety,
I started by thinking and planning.
Concept
Usual composition rules favour having
inward-looking subjects, but I liked the
way the blue and red boats were
facing in opposite directions and out
of the photo. They looked as if they’d
turned their backs on each other after
an argument so I decided to use that
as my concept.
Improve, not replicate

Next I looked at the photo to see what
needed to be retained to help convey
my message, what I should or could
leave out and what, if anything,
I wanted to move or add to create
a better composition.
Obviously the blue and red boats had
to stay, but the clutter between them
was hindering their separation so that
had to go.
I decided to keep a few smaller boats
as supporting characters and to overlap
them to help create a sense of depth
without using perspective. And finally
I went for a simple sky and foreground
t
The photograph of Guernsey boats that introduced last month’s project that wouldn’t distract from the boats.
Easily identifiable shapes

The silhouette shapes of the blue and
red boats had attracted me in the first
place. They clearly said ‘boats’, which
gave me a good head start, but as they
were destined to be my main stars,
I decided to make them a little bigger
whilst still keeping the size differential
between them. I also wanted to make
their shapes more interesting by
exaggerating some of the oblique
lines and projections of the cabins
and aerials.
A few simple symbols for stone
shapes served to suggest shingle in
the foreground and a few masts in
the background hinted at more boats.
Finally, I started work using the steps
in the following demonstration. At the
end, I was happy with my painting and
with how easily I’d achieved it, all
because I’d prepared well, stuck to my
plan, used equipment and techniques
I knew I could rely on and kept things
simple. And because of that success,
using easy-win solutions, I’ll have the
t
This is the ink sketch I used to work out the composition and tonal values at the confidence and enthusiasm to take on
beginning of the process new and tougher challenges. LP

LP11 20-23 PP2_Layout 1 23/09/2016 11:49 Page 19
Pen & wash
Demonstration Guernsey Boats
You will need

n Surface n Sennelier n Miscellaneous
l NOT or HP Aquarelle l Soft pencil
300gsm watercolour l Drawing pen
watercolour See colours, below with waterproof
paper, 11x15in. black ink
Brushes
(28x38cm) l Soft eraser
l Large mop
l Round No. 12
t The colours used
French ultramarine Yellow ochre Cinerous blue t

Step 1 Composition
I roughed out postcard-size rectangles on a sheet of copy paper
and made a quick line drawing of the main shapes. After a couple
of goes I was happy I had a layout that said ‘nautical’ in a simple,
Quinacridone red Primary yellow Venetian red but interesting way.
t
Step 2 Tonal pattern
1 I copied the composition into new one each for the back, mid and foregrounds 2 I then finessed the pattern a little to
rectangles. Using the white of the paper to find a basic pattern that worked for my make it more interesting and effective.
and mid and dark tone markers, I used concept
Step 3 Pencil layout

t
1 Switching to my watercolour paper,

I sketched the main shapes in pencil
until I was happy with the layout.
2 I drew lightly and loosely, free from
the restriction of trying to replicate
the photograph, and made sure to
stop short of any detail.
t

LP11 20-23 PP2_Layout 1 23/09/2016 11:51 Page 20
Pen & wash
Demonstration continued
t Step 4 Ink drawing
1 With my pencil lines as a guide (rather
than ‘tracing’ over them) I used my pen
to draw the main shapes. I worked freely
and loosely again, aiming for energy and
enjoyment rather than precision.
2 I added the windows and aerials in the
same impressionistic style then included
stones and mooring ropes in the foreground
to help direct attention to the boats,
remembering to keep it simple and
to stop before I went too far.
t Step 5 Initial washes

1 I prepared two very diluted washes for the sky: one yellow ochre, the
other French ultramarine with a touch of Venetian red to grey it off a little.
Using my mop brush I dropped in a few areas of yellow, rinsed the brush
then went straight back with the blue wash allowing it to just touch the
yellow areas and taking care to paint around the boats.
2 When the sky was dry, I strengthened the yellow ochre mix and used
the mop for the foreground shingle, stroking in some Venetian red while
the wash was still wet.
3 Switching to a Round brush, I painted the bigger boat with a mix of
French ultramarine and cinerous blue then dried the brush a little and used
it to lift out colour on the back of the boat and cabin to suggest sunlight.
4 I used a mix of quinacridone red and a touch of primary yellow for the
red boat then the same mix for the blue boat’s roof and the top edge
of the white boat, before weakening it to paint the smallest boat.
5 I finished by painting the background boat with a mix of French
ultramarine and Venetian red for a grey that would help push the boat back.

LP11 20-23 PP2_Layout 1 23/09/2016 11:52 Page 21
Step 6 Shadow washes
t
1 I mixed a weak wash of French
ultramarine and quinacridone
red, keeping it on the blue side.
2 Using my Round brush, I added
shadow to the side of the blue
boat’s cabin and to the two smaller
boats, leaving the back of the
white one untouched.
3 Adding more French ultramarine
to strengthen the mix, I darkened
the front half of the blue boat
softening the wash with more
water towards the back end.
t Step 7 Finishing touches

1 Being careful not to overdo it,
I added random blobs of yellow
ochre, Venetian red and French
ultramarine for the stones.
2 I covered the sky and boats with
old paper, mixed a watery wash TIP Try it on some scrap paper first.
using the same three colours, 3 As the final touch, I used my pen Tony Underhill
loaded my Round brush with it and to draw birds above the red and blue If you have any questions about this project,
flicked the hairs with my finger to boats to help the feeling of separation email Tony at tonyunderhill@me.com
add some splatter to the shingle. between them.
t
The finished painting Guernsey Boats, watercolour, 11x15in. (28x38cm)

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LP11 23-25 Pethers_Layout 1 23/09/2016 12:09 Page 23
Watercolour
Texture in watercolour
Ian Pethers exploits the wet-in-dry watercolour technique
to paint aging wood, rusty metal and flaking paint in detail
H ow many times have you

wondered when you’ll get around
to repainting the shed door? Well,
the following demonstration is an excellent
excuse to put it off a little longer, as it
the sharp edges of the paint. Closer to
home, of course, your local high street or
farmyard should yield perfect examples,
but sunlight and strong shadows are
essential. The colours I suggest are also
of nature’s abstracts. You can even add
a few flakes of your own where the
composition requires it. Seeking out old
doors, shutters and window frames can
be fun and they can turn up in the most
could be the subject of your next painting. not essential so don’t spend money if you unlikely places. Try manipulating your
My photograph (below right) was taken have something similar in your paintbox. photographs on your computer to
in that arcadia of flaking paint, Venice, in Old doors come in all colours and tones. strengthen and tint.
bright sunlight with good, strong shadows Great accuracy is not required in this So, take another look at that shed
that accentuated the grain of the wood and exercise; after all, you are depicting one door with a fresh pair of eyes. LP
You will need

n Surface n Miscellaneous
l Bockingford l HB pencil
300gsm watercolour l Round
paper or similar, watercolour
111⁄2x83⁄4in. (29x22cm) brushes Nos. 1,
n Watercolour 2 and 4
l Raw sienna l Flat 1⁄2in. brush
l Burnt sienna for graining and
l Payne’s grey spattering
l Olive green
l Chromium of oxide
l Hooker’s green
t
Your reference material for this project
t
Step 1 sections with vertical lines corresponding archipelago with large and small islands.
1 As all the work here involves wet in dry, 3 Once you are happy with your drawing,
to the panels of your door or shutter then
I worked straight onto the pad for this painting carefully paint the lines using a No. 1 brush
draw features, such as locks and bolts.
and didn’t need to stretch the paper. Begin and a medium solution of raw sienna, which
2 Draw the areas of flaking paint; this is
your pencil drawing by dividing the paper into
t
something like charting a newly discovered will give you a good sharp image to work on.

Watercolour
Step 2
t
As with most watercolour, we will be working from light to dark so in
this case the bare wood should be tackled first using a weak solution
of burnt sienna and a stiff 12⁄ in. brush, lightly applied in downward
strokes, picking up the rough surface of the paper to resemble a
grain. It’s a good idea to practise this technique on a piece of scrap
paper to achieve the desired result. Let the brush miss parts of the
paper where the timber has been bleached white by the sun.
t Step 3
Using a medium strength solution of burnt sienna and your No. 2
brush, paint the darker grain of the wood as vertical curving and
rippling lines.
Step 4
t
1 Again with your No. 2 brush and a medium solution of Payne’s

grey, add the shadows of the raised edges of paint flakes, which
in this case are cast to the right and below each raised feature.
2 Paint the first layer of the dark grooves between the panels.
3 At this stage I also used the flat 12⁄ in. brush to flick in a few
dark spots, here and there, to resemble wormholes.
Step 5
t
Most doors and shutters

have several layers of
paint and this one is no
exception. There is a
lighter green peeping
through, trying to gain
our attention, so this
should be tended to
next using the No. 2
brush and a medium
solution of olive green.
Step 6
t
It is now time to paint

the major continent-
like areas. Begin
with a weak mix of
Hooker’s green and
chromium of oxide
and apply to these
areas in downward
strokes with a No. 4
brush. Don’t worry if
it looks patchy and
inconsistent; this will
help the final effect.

Watercolour
Step 7
t
1 Using a stronger mix of the same colour, add a glaze lightly over the
existing green areas. Be sure you go heavier to the left of a shape and
leave it light on the right; this will make each flake of paint curl up
towards you.
2 Make the curling effect even more apparent with a strong mix of the
two greens carefully applied with a No. 2 brush to the left-hand edges
of each ‘continent’ and island-like areas, and to the shadows of the
locks. Add a little shadow to any white spots left to turn them into
pimples of paint; this will really bring your painting to life.
t Step 8
Drawing and painting locks, bolts and screws deserve their own article,
but on this occasion I would simply say: study the feature carefully and
work with a fine brush from light to dark. The locks in my reference
photo are of dull brass so I applied successive layers of raw sienna
sharpened with Payne’s grey and the No. 1 brush.
t Step 9
With Payne’s grey and finer brushes add a
darker tone to the deep grooves between the Ian Pethers
door panels, add splits and cracks in the timber
Find out more about Ian and
and darken the shading to the edges of raised
his work by visiting his website
features. Don’t get too carried away. If in doubt,
at www.glenrockstudio.co.uk
stop, take a break and come to it afresh; it will
tell you if it needs any extra definition.
The finished painting Flaking Paint and Wood,

t
watercolour, 1112⁄ x834⁄ in. (29x22cm)

LP11 26-27 Kerr_Layout 1 23/09/2016 15:07 Page 26
Pastel
Soft sunset
Part 1 Anne Kerr introduces a painting from three photographs and explains
the techniques and colours she will use to tackle a sunset in pastel next month
W hen we go out looking for a

view that will make a good
painting, it is difficult to find
exactly what we want. Therefore, it’s a
good idea to take several photographs of
features that appeal to us and combine
them into one, exciting composition.
Nobody said we have to paint exactly
what we see; it’s more important that we
paint our feelings about a subject rather
than slavishly explicate details and
colours.
I recently spent some time in New
Zealand where I took hundreds of
photographs. From my collection of
beautiful views I have chosen two to
use in making up my own composition
for this project.
Composition
I loved this sunset photograph (Photo 1,
left) and decided on orange, yellow and
purple for my palette of colours. Apart
from the sun and its reflection in the
water, there was little else in the photo
to excite me. I decided to omit the
horizontal power lines from the painting
and possibly use one of the small boats,
but slightly larger to give the picture
more interest, but it still wasn’t enough.
Looking at the photograph with the
two large trees (Photo 2, below left), I
immediately saw these as a framework
for the painting. If I painted them in
silhouette, my main point of interest
would still be the stunning sunset. I was
not keen on the plain looking area in
front of the trees or the stubby bushes
by the big trees.
I found another photograph with
interesting foliage that I felt I could adapt
for the foreground of my painting (Photo
3, above right). As the sunset was so
t
Photo 1 The main sunset, but do you want more foreground interest? striking, but lacking in detail, I felt I
could afford to give the foreground a
little more interest. However, this did
not necessarily mean I had to introduce
too many colours into the painting;
a fairly dark silhouette can still show
detail. I also wanted the foreground to
lead into the picture rather than forming
a horizontal barrier so I decided to
vary the height of the foliage to give
this effect.
Playing around with combining the
photographs was fun, but it also
presented problems. First of all, I knew
I had to be careful to ensure the light
source was coming from the same
direction in my finished painting or
I’d have to make allowances for this.
Basic tonal sketch

I experimented with the features I had
chosen, trying both a high and a low
horizon line (Figure 1, above right)
together I was not sure about the boat,
and decided to leave it out. I shaded a
final pencil sketch to show the lightest
and darkest values (right).
A black and white sketch is always
useful before you attempt the final
Photo 2 The two trees will frame the sunset well, but another natural element is needed painting. Try not to use more than four
t

Photo 3 I used the bushes in this photograph to add another layer of interest to the composition
t
different tonal values. Painting is all

about putting dark against light, light
against dark and bright against dull.
Painting with strong tonal contrasts and
only a few colours has more impact
than one with many tones and colours.
Choosing materials
The vibrancy of the sunset against the
silhouetted trees lent itself to the rich
colours of soft pastels. This gave me
the dramatic effect I was looking for.
I wanted to capture not only the
beautiful colours but also the peaceful
mood of the scene.
I chose Clairefontaine Pastelmat paper
as I knew this would allow me to build
up many layers of pastel, something that
is not as easy on thinner pastel papers.
Pastelmat paper releases very little
pastel dust whilst you are working and
does not require fixing with pastel spray
when finished. When using Pastelmat,
remember that the first layer of pastel is
difficult to move. Push it well down
into the paper and you will find that
subsequent layers are easier to blend.
I chose the colours for my sunset then
built my palette of other colours around
my initial selection. I kept my choice to
a minimum to unify the painting and
give it a more dramatic effect.
Having chosen my colour palette,
I then put the rest of my pastels away. It
Figure 1 Three possible compositions and tonal effects from combining the three photos
t
is so tempting to add new colours as the t

Pastel
t Figure 2 Which do you prefer: fully t Figure 3 Effects of unblended and t Figure 4 Leaving some areas
blended (top) or a mix of blended and blended pastels. The pastel on the right unblended,including the foreground,
unblended (below)? sides of the two swatches (below) have is useful.
been blended. The left sides show
layered pastel without blending.
painting progresses, but you run the about two thirds of the paper. Leave colour range for your picture. I chose
risk of losing the harmonious effect. areas of paper showing through here oranges, yellows and purples, but
and there. When you blend everything you may decide to do something
Mixing pastel colours together, you should find that you completely different. You may use the
Pastels can’t be mixed together in a have just enough. You can always boat as a larger feature or change the
palette as you would mix paint. If you add more, but it is more difficult to foreground, possibly adding a little
don’t have the exact colour, you can remove it. bench or a few rocks, or possibly
achieve the shade you want by adding Finally, look at Figure 2 (above left) a figure sitting on the grassy bank.
one layer of pastel over another and where I have used exactly the same Always bear in mind your main focal
gently blending, or leaving some of colours on both examples. The top point and make everything else
the lower layer of pastel showing example has been totally blended; the secondary to this. Too many focal
through a subsequent layer example below is a mixture of partial points in a picture will make it
(Figure 3, above right). blending and rough texture. Which difficult for the viewer to rest the
Texture is also important when one do you think looks more eye on where they should look.
using pastels. If you carefully blend interesting? Next month I will show you how
everything to a smooth finish, the I painted this picture step by step and
painting can take on a rather dull matt The painting process I will discuss the problems I came
appearance. By all means do lots of The composition I finally chose meant across on the way. I would love to see
blending where you need a smooth I began with the brightest tones of the your finished work from this project
look, but leave some of the pastel in sunset first. The brightness of these so please send an image of your
its rough state to give more texture then determined the tones for the rest finished painting in any medium to
and interest to other areas of your of the painting. Remember that the sun dawn@tapc.co.uk and she will include
painting (Figure 4, above). This would is the source of light so nothing in the it in the special painting project area
be particularly useful in the picture can be as bright as the light of Leisure Painter’s website at
foreground where detail is more source. Nearest colours were stronger www.painters-online.co.uk. LP
apparent than in the far distance. and deeper in tone than those in the
When covering large areas that distance. Detail was not seen in the
you intend to blend, use chunky soft distance, but could be seen in the
pastels that lay down a fair amount foreground. Although the sun was Anne Kerr
of pastel in one go. Cover the area, warm in colour, objects in the far Anne teaches on painting holidays in
making sure you overlap the different distance retained their basic cool tones, the UK, Italy and Spain. She also runs
colours so that you avoid making hard just warming slightly the closer they watercolour, pastel and picture-framing
lines where one colour ends and were to the sun. classes at her home studio in Spain.
another begins. A good guide to the When you tackle this project, Full details can be found on
amount of pastel you need for a large don’t necessarily copy my overall www.annekerrartstudio.com
area is to lay down enough to cover composition. By all means change the

LP11 57 GuildfAS_new copy_Layout 1 26/09/2016 11:26 Page 29
Art Materials Live NEC Birmingham

Learn first-hand from the professionals, November 3 to 6, 2016; open 09.30am to 5.30pm (5pm Sunday)
stock up on fresh art supplies and view
the latest product launches from
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One of the liveliest shows of its kind, Art
Materials Live is for everyone
passionate about drawing and painting Be inspired!
Pick up new ideas and learn new
The Artist and Leisure Painter techniques from leading TV artists,
workshops Jeremy Ford, Matthew Palmer, Fraser
Learn how to paint colourful and Scarfe and Charles Evans, plus The Artist
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Adrienne Parker (November 3) or realistic Terry Harrison and Fiona Peart. Other BOOK NOW!
botanical paintings in three easy stages in leading demonstrators and organisations Your ticket to Art Materials Live includes
watercolour with Helen Campbell include pyrography artist Bob Neill, entry to Crafts for Christmas, the
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Mill) in our three-hour practical Calligraphy Arts, wildlife artists Claudia and Cake International. Cake International
workshops which include art materials, Hahn and Linda Wain and sculptor is open from Friday 4 to Sunday 6
instruction from your tutor and FREE Wendy Hunt. November. Thursday visitors will be able
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Nicci or Dawn on 01580 763673. pastels and pen and ink.
Come and see our live demonstrations at
Art Materials
LIVE BIRMINGHAM NEC
November 3rd to 6th
Up to 25% discount off RRP on all products See us on stand N03
Robin Gray, professional artist, will be

demonstrating Caran d’Ache products including
Museum, extra-fine aquarelle in a pencil form
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Jamie Boots will be demonstrating his skills as a
wild life artist using Caran d’Ache Graphite Line products.
All Caran d’Ache Sets will be on Special Offer -

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• Supracolor Soft, 120 water-soluble colour pencils in a specially
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• Neocolor II tin of 30 assorted colours RRP £48.99 Show price £38.99
For additional information please contact:

Gadsbys Market Place, Leicester, Tel: 0116 251 7792
www.gadsbys.co.uk

LP11 30-33 King_Layout 1 23/09/2016 13:10 Page 30
Watercolour
Fruits of autumn
Practise a variety of techniques, including wet on wet, wet on dry and
negative painting to produce a beautiful study of rose hips, with Julie King
A s summer fades, autumn embraces

warm colours and abundant fruits
and berries. One such fruit, the rose
hip, stands out dramatically against its
complementary green foliage. An orange
My painting focuses on these beautiful
fruit, glowing brightly in the sunlight
tucked behind foreground leaves: jewels
of autumn! This painting demonstrates a
selection of techniques, including wet on
My choice of palette is limited to just
four colours. Feel free to follow the
instructions and the colours I have given,
or use them simply as a guide to help
you interpret the painting in your
red bulb, its smooth shiny surface reflects wet, wet on dry, negative painting and own style.
the light, giving a bright little highlight. interpreting highlights. Enjoy the fruits of autumn! LP
BEFORE YOU START

I began with the background wet on wet. negative space) gave an edge to the shapes. Back runs can occur, when a lighter tone
The soft greens gave a base tone to the Remember that warmer yellow greens appear is applied to a darker shade whilst damp.
foliage and, when dry, the stronger greens to come forward whilst the stronger blue Use this, as it suggests loose leaf shapes and
surrounding the leaf and stem shapes (the greens recede; this gives depth to your picture. adds to the naturalness of the foliage.
How to blend colours on the paper How to retain a highlight

New Quinacridone Pyrrole 1 2 3
gamboge magenta red
Here I have illustrated three different techniques in retaining

The vibrant shades of the rosehips can be rendered more a white highlight. My preference is for leaving an area of white
effective by allowing the neat colours to blend together while paper, which can be left with a hard edge or softened with a damp
damp on the paper rather than premixing them. This creates brush as you’ll see in the demonstration.
a variegated wash, which gives instant shape and form when 1 Leave an area of white, which can be softened with a damp brush.
applied to the bulb shape. More depth can then be added 2 Use masking fluid, which can be applied before painting.
on top either wet on wet or wet on dry. 3 Lift out colour with a small damp brush.
Demonstration Fruits of Autumn

t Colours
You will need

n Surface n Brushes
l Fabriano Artistico l Da Vinci Maestro Phthalo turquoise
watercolour sable, Series 35,
paper 140lb NOT Rounds Nos. 6, 8
block or and 10
stretched paper l Da Vinci
on board Cosmotop Round New gamboge
81⁄4x113⁄4in. No. 16
(21x29.5cm)
n Miscellaneous
n QOR Golden l Pebeo masking
Artists’ gum
watercolour l Fine old brush
Pyrrole red
See colours, right or feather
l B pencil Step 1
t
l Paper towel Sketch the rose hips and the leaves using a B pencil. To retain a neat
edge to the rosehips before painting, apply a fine line of masking
fluid with the tip of a feather or fine brush just on the inside of the
Quinacridone magenta line and on the highlights of the leaves. Leave to dry thoroughly.

Watercolour
COLOUR MIXES 1
FOR STEP 3
Prepare four new, 2
stronger pools of
colour in readiness Backrun
to paint the negative
background spaces
surrounding the stem
foliage and hips.
1 A yellow green 3
from new gamboge
with a tiny amount 4
of phthalo turquoise. New gamboge Phthalo blue
2 Phthalo turquoise
t
Step 2 on its own. + = 1
1 Prepare two pools of dilute green: 1) a yellow green mix of 3 A stronger mix of
new gamboge yellow with phthalo turquoise and 2) a blue green equal parts of new
mix of the same two colours, but with more blue in the mix. gamboge and 2
2 Wet the entire paper surrounding the rosehips using a No. 16 phthalo turquoise.
Round or pointed mop brush. Apply varying pools of the two 4 A stronger mix of
greens. Add a little more pigment in the mixes if required to make phthalo turquoise
slightly stronger tones and apply on the left and top right of the and new gamboge + = 3
painting beneath the foliage. combined with a
3 Lift paint out of the stem by applying some pressure with the touch of pyrrole
edge of a folded paper towel and dab out a few more soft highlights red to add depth.
on the leaves on the bottom left. Leave to dry thoroughly. + = + = 4
Step 3
1 Wet the paper, working one section at a Round brush. Allow the colours to run 2 Continue until the background
t t
time, beginning with the top two segments. together to create a suggestion of distant is complete. The occasional back run,
Begin with the yellow green and work in the hazy leaves. If the surface is really wet, when a lighter watery paint is applied,
indicated sequence of colours using a No. 10 tip your board to let the paint move. can add to the naturalness of the foliage.
Step 4
1 Add a little strength and definition to the negative leaf shapes. Working wet
t
on dry, apply a wash of the yellow green mix either side of the central vein. Add
variation by applying the blue green with the point of the brush while still damp.
3 Whilst wet, diffuse the colour with a

t
2 This leaf requires more strength over the
t
highlighted areas. Apply the yellow green wet damp brush and drop in the blue green mix.
t
on dry along the centre and around the edges.

Watercolour
Demonstration continued
Step 5
t
1 Continue with the negative leaves and

apply a suggestion of the veins wet on dry.
Apply a light wash of water over the stem and
run a No. 8 brush along the lower edge loaded
with the pale yellow green mix. A touch of
quinacridone magenta plus phthalo blue
can be applied on the top of the damp stem.
2 Add the thorns using a warm mix of
quinacridone magenta and new gamboge
to make a warm brown shade. Whilst damp
a purple mix of quinacridone magenta and
phthalo turquoise can be added to give
depth. Leave to dry thoroughly.
3 Gently rub your finger over the masking
fluid surrounding the rose hips to erase.
Step 6
t 1 Prepare three pools of colour: 1) new
gamboge, 2) quinacridone magenta and 3) pyrrole
red. Wet the central rose hip leaving an area of white
paper for the shiny highlight. Apply new gamboge followed
by quinacridone magenta, allowing them to blend together.
2 Whilst still
t
damp apply pyrrole

red over the yellow
or magenta in areas,
allowing the colour
to bleed. With the
point of the brush
gently soften the
hard edge of the
highlight, drawing
the water inwards
whilst allowing for
enough white paper
to remain.
t Step 7
1 Continue painting the remaining hips with the same method, making
sure to wait for each one to dry before working on the adjacent one.
2 To add more depth in shaded areas make a purple using quinacridone
magenta and phthalo turquoise. When applied to an orange base it
produces a warm brown and on a hot red it becomes a cool purple.
Step 8
1 Continue
t
to apply wet
on dry stronger
tones of either
quincridone
magenta or
pyrrole red.
2 Quickly
t
diffuse with
clean water and
continue adding
the purple mix
of quinacridone
magenta and
phthalo
turquoise to
the shadowed
areas as before.

Step 9
1 Use the tip of the No. 6 brush to add
t
a suggestion of the base of the rose hips

with a mix of pyrrole red and new gamboge
with a dash of the purple mix to tone it
down. Leave touches of white.
t
Step 10
Complete the remaining stems
and add any final touches. Julie King
Julie runs art classes and workshops
2 Add detailing by using stronger tones t The finished painting throughout most of the year. Visit
t
of a pink purple and a blue purple made from Fruits of Autumn, watercolour, www.juliehking.co.uk for details.
quinacridone magenta and phthalo turquoise. 814⁄ x1134⁄ in. (21x29.5cm)

LP11 34-37 Paul_Layout 1 23/09/2016 13:15 Page 34
Back to basics
Understanding colour
Part 12 How to use the cool greens in your palette, by Tony Paul
V erdigris was the

earliest of the
artificial green
pigments, being derived
from copper in Roman
Tinting strength Low.
Watercolour Its light tone and low tinting
power make it most suited to creating pale
washes, but unmodified terre verte can be
very streaky if applied more solidly. Any
Prussian blue and gamboge. Unfortunately
the gamboge would fade out in time,
leaving the green, blue.
Right into the 1980s Hooker’s green,
particularly in Student ranges, continued to
times. It was still in use in ‘hue’ versions will have more punch, but be a mixed colour of dubious lightfastness.
the 19th century, but was will have the characteristics of the Modern versions from quality brands will
unreliable, tending to blacken. Through component pigments. be made from component pigments of
the centuries it was mixed with other Oil Again, its strange pastiness will create adequate lightfastness. No characteristics
pigments to make a wider range of streaky textures, which can be used to are given, because the pigments used vary
greens, but none were stable. effect. It is best used in the upper layers widely.
of a painting because of its high oil
TERRE VERTE PG23 content, which will cause it to darken COBALT GREENS
Another ancient dull, green with age. It is slow drying to give a PG50, PG26
pigment, terre verte, literally very soft paint film. Made by blending cobalt
‘green earth’, was originally Other media It can be used in all media, oxide with titanium oxide or
mined near Verona, Italy but can be difficult to work with acrylic hydrated chromium oxide,
but other shades were resin so may be produced as a ‘hue’ these blue greens were brought into use
obtained from Cyprus and Bohemia. This colour. in the 1830s in both watercolour and oil.
reliably lightfast pigment is made from a The PG50 and PG26 pigments may be used
greyish green clay coloured by iron HOOKER’S GREEN PG8 separately or blended together to produce
silicate and other minerals. The pigment A cool, dark green a dark subdued bottle green. As the
has a strange texture and is not easy to introduced by the Hooker pigment is opaque and expensive it is seen
brush out into an even layer so some chemical company as less in watercolour and acrylic, but to my
manufacturers add other pigments to it a watercolour pigment, mind has great value in oil, as its fast-drying
to improve its handling properties, or was a synthetic, iron speed makes it ideal for a holiday palette.
replace it entirely with a ‘hue’ colour. chelate pigment. Often Both pigments have similar characteristics.
Lightfastness ASTM D4302, Class I, included in dark (top Lightfastness ASTM D4302, Class I,
excellent lightfastness. right) and light (bottom excellent lightfastness.
Colour bias Bluish grey. right) variants, it was not Colour bias To blue.
Transparent/opaque Transparent. lightfast and in time was Transparent/opaque Opaque.
Staining No. replaced by a blend of Staining No.
MEDIEVAL TERRE VERTE

Its traditional use in medieval art was for underpainting
flesh (below), usually using egg tempera, over which
flesh-coloured oil glazes would be laid (right). Many
Madonnas were painted like this. The propensity for
the applied skin pinks to fade over time is the reason
for so many seasick-looking Marys in art galleries.

Back to basics
t
Maiden Castle, Dorset, egg tempera, 18x28in. (45.5x71cm). Viridian green was used throughout this tempera painting. Where mixed,
cadmium yellow, yellow ochre or burnt umber were added, but otherwise pinks, oranges, blues and violets were added around and
among the greens to provide optical mixing in the eyes.
Tinting strength Low. Colour bias To blue. media, where it will be substituted by
Watercolour Granulates in washes, but its Transparent/opaque Transparent. phthalo green.
opacity and subdued colour makes it less Staining No.
useful than viridian or phthalo green. Tinting strength Medium, but may be OXIDE OF CHROMIUM
Oil Its low oil absorption and fast-drying weakened by padding with filler to PG17
speed makes it ideal for use in reduce costs in certain ranges. Roasting the lovely,
underpainting. Blended with Venetian or Watercolour More subtle than transparent viridian
Indian red (see colour mixing chart on phthalocyanine green, which it pigment creates the
page 36), it makes a great grisaille colour resembles, it is almost the perfect pleasant, but rather
for underpainting a portrait, nearly black transparent green pigment, capable of bland, oxide of
in dense mixes and good greys when making a variety of further greens from chromium. Roasting makes the colour
reduced with white. The grisaille can sharp yellow greens with lemon yellow, densely opaque and a more natural
then be overpainted in flesh colours. to deep warm greens, with burnt sienna green. It came into use in the 1860s
Other media It is not widely used in (see colour mixing chart, page 36). Its and, although it never achieved a ‘must-
other media, because of its expense and low tinting character means that darks have’ status, it can be found in most
if named in pastels will be a ‘hue’ colour. may be harder to achieve. However, in Artists’ quality ranges.
watercolour I prefer the power of Lightfastness ASTM D4302, Class I,
VIRIDIAN GREEN PG18 phthalo green to viridian, which I find excellent lightfastness.
This rather unnatural cold too weak. In Student ranges phthalo Colour bias Blue grey.
green has proved to be green will be substituted, often labelled Transparent/opaque Densely opaque.
almost essential in any as viridian hue. Staining Slightly.
palette or medium. Brought Oil Viridian works beautifully in oil. Best Tinting strength High.
into use in 1862, it can be used in glazes or mixes, if applied Watercolour Its limited effects and
used in all media except thickly it will appear blackish, and opacity make it a less popular choice
acrylic, with which it is incompatible, because of its high oil content can than other greens. In mixes it can be
and pastel and other dry media because, wrinkle, particularly if too much oil is useful and it is good in small opaque
in company with other heavy metals, its added to the colour. If used in touches over darker areas. Oxide of
chromium composition is not permitted underlayers it should be mixed with chromium in washes is finely granular
by The Pencils and Graphic Instruments pigments of lower oil absorption. and will be translucent rather than
(Safety) Regulations 1998. Viridian is a medium drier creating a transparent. A heavy pigment, it can
Lightfstness ASTM D4302, Class I, hard, flexible paint film. separate out in mixes with lighter
excellent lightfastness. Other media Not used in acrylic or dry
t
weight pigments.

Back to basics
t
Moroccan Goatherd, watercolour, 11x15in. (28x38cm). All the green mixes were based on oxide of chromium. The light tops of the
trees had gamboge hue added, whereas in the undersides of the trees burnt sienna was blended with the green. For the goatherd’s
tunic I mixed ultramarine blue with the green. The background trees were mainly of the natural colour from the tube; the darkened
areas were created by adding dilute burnt umber.
Oil Its low oil absorption and medium to PHTHALOCYANINE throughout the colour ranges. Very
fast drying speed make it ideal for use in GREEN (blue shade) powerful and a tad brighter than viridian,
the underlayers of a painting. It dries to Introduced to the artists’ it has to be worked with carefully and,
give a hard and fairly flexible paint film. palette in 1938, ‘phthalo’ in oil, I find it just too garish, preferring
Other media It can be used in all media green has proved a very the quieter viridian. Unlike viridian, it is
other than pastel, where it will be important colour, used not capable of producing a strong black with
replaced by a hue colour. only on its own, but also in mixes permanent rose, alizarin crimson hue or
COLOUR MIXING WITH COOL GREENS

Cobalt green and Venetian red, being complementary Viridian and burnt sienna combine to create a soft
colours, combine to create a useful grey. natural green.
+ = + =
Cobalt Venetian Viridian Burnt

green red sienna
Viridian and lemon yellow, both biases towards green, Oxide of chromium and burnt sienna combine
make a vibrant natural green. to make a ‘leaves on the turn’ green.
+ = + =
Viridian Lemon Oxide of Burnt

yellow chromium sienna

Back to basics
permanent magenta.
Lightfastness ASTM D4302, Class I,
excellent lightfastness.
Colour bias To blue.
Transparent/opaque Very transparent.
Staining Very staining. Hello green brushes!
Tinting strength Very high – always add
phthalo green by degrees to weaker
colours in mixes.
Watercolour Vibrant and clear, but
unnatural. I always tell students that it
shouldn’t be allowed out on its own, and
that isn’t a bad maxim, because its power
can take over a painting. Like viridian,
mixes with earth colours from ochres to
umbers will produce a wonderful range
of subtle greens, while blends with cool
yellows will give the sharpest of lime
greens possible.
Oil Phthalo green has high oil absorption
and a medium to slow drying speed,
making it more appropriate to the upper
layers of a painting in the form of thinly
applied glazes. Thus applied it is streaky
and, if applied thickly, appears black.
In acrylic, you can reduce the streaky
effect by admixing a little white.
Other media Phthalo green is widely
used in all media. LP
In the Rose Garden, acrylic on board,

t
24x16in. (61x40cm). All of the greens in this

painting were made on a base of phthalo
green. See just how wide a range I achieved
by changing the added colour. The lightest,
yellowish greens were made by adding lemon
yellow to a little phthalo green while with
the adjacent more solid greens the added
yellow was cadmium yellow deep. The cooler,
greens in shadow contained ultramarine
blue, a little lemon yellow and white to give
good contrast to the warmer hues.
Tony Paul
Tony is the author of four popular
practical art books, still available on
Amazon. Find out about Tony and his
work at www.courtenaysfineart.com
Adding alizarin crimson hue to oxide of chromium creates Burnt umber and phthalo green give a natural deep
an interesting, almost purplish neutral colour. green, full of character.
+ = + =
Oxide of Alizarin Phthalo Burnt

chromium crimson green umber
Phthalo green and permanent rose make a dense black, which when reduced With cadmium yellow pale we obtain an extremely
to a grey are great for distant landscape (A) and even a muted purple (B). vivid green, ideal for sunlight through leaves.
+ = + =
A B
Phthalo Permanent Phthalo Cadmium

green rose green yellow

LP11_HolidayKay_Layout 1 26/09/2016 08:53 Page 38
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
B
elgium’s Open Garden’s 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 Secrétaire Générale 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 Spring Flowers in the Studio,
t
century Chateau Hex will be most impressive as
June when they are at their best and the roses will the stunning gardens at De Heerenhof in oil by Pamela Kay
are in full bloom. The wonderful gardens of 18th Holland. You’ll also visit Rubens’ house and
garden in Antwerp and the cathedral where four
P
amela Kay NEAC, RBA, RWS
of his canvases can be seen. is an accomplished and
This is a unique painting tour of the best-kept versatile artist. She is an
secret places in the Low Countries. There’ll be a extremely conscientious teacher
tremendous amount of variety to paint and the and will help you get started and
programme will be carefully paced so your understand how to work with the
painting time is not rushed. In addition to subject matter. There will be
fabulous gardens, there’ll be picturesque tutorial sessions, talks and
villages, canals, old windmills, polder demonstrations back at the hotels,
landscapes and seascapes to paint. which will help you develop your
Travel is by luxury coach throughout (from London style and complete some of your
Gatwick) enabling you to take as much painting paintings. Pamela will be working
equipment as you like. Special and unusual hotels in watercolour and gouache.
will enhance the holiday. You’ll stay four nights in
old almshouses, six nights in a hotel built around
an historical windmill and three nights on a l Number of students 8 to 12
traditional polders farm. Breakfast and dinners l Price £3,995 per person
are included. All the arrangements are taken care l Single supplement £550
of for you by an accompanying travel escort.
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.z Other holidays in 2017 include the Greek island of Symi with Hazel Soan, South of
France with Lachlan Goudie, Southern Italy with Richard Pikesley, Amsterdam with Ken Howard RA, Vietnam with Peter Brown and India with Hazel Soan.
LP11 39-41 Louca_Layout 1 26/09/2016 15:20 Page 39
t
Woodland Light, watercolour, 12x19in. (30.5x48cm). In this painting I wanted to create a strong sense of sunlight and so used contrast
with the dappled shadows. It also has a more open and airy feel, which is produced by keeping the distant area very light and giving the
eye an escape, helping to stop the painting feeling a little claustrophobic.
Brilliant sunshine
How to paint sun-filled, back-lit landscapes that simply ooze
atmosphere using glazing and wet-in-wet techniques, by Jo Louca
L ight and the effect it has on our

surroundings have been my
inspiration, if not absolute obsession,
for many years. I particularly love the
magical play of light we see in woodlands;
Dark areas will make light areas look
lighter by comparison, and help to impart
a vibrant and lively quality to the work.
Remember also to make the most of the
transparent qualities of paint and use only
of it before? The masters had used thin
glazed paint for centuries. If the pigments
used are limited to the more translucent
ones then the glazes built up layer on
layer can glow deep and rich; it becomes
the way strong rays of sunlight break those pigments, which are most a magical light show. This is a lengthy
through a swaying canopy as a gentle transparent. Sounds obvious, I know. Paint process. An oil painting usually takes
breeze moves the leaves, causing a manufacturers indicate on their colour three to six months to complete, as
fabulous display of dappled shadows and charts which pigments are transparent, opposed to a day for a watercolour,
glinting patches of sunlight on the ground. semi transparent or semi opaque. You but worth the time spent on it.
The leaves turn from green to bright would imagine that with watercolour that Apart from the use of glazing, very
yellow as the light filters through them. is a given, they are all transparent surely, carefully juxtaposed subtle changes of
Frequently my initial inspiration comes but some colours are more opaque and tone can also bring out the depth of
simply from gazing up at a light-filled naturally the better Artists’ quality paints colour and glow, giving an illusion of
canopy with its glinting, flickering foliage are far clearer and responsive. luminosity and radiance. These changes
and wonderful complex play of dappled of tone are not the lightest light on the
light. To capture such a transient moment Oils or watercolour? darkest dark, in other words, contrast,
of ever-changing light, however, is quite When I was first bitten by the light bug but a very careful and gradual
a tall order, but utilising basic tools and and started to experiment with creating the modification of tone from the lightest area
techniques goes some way to making the illusion of light itself, I found watercolour (white) through consecutive changes of
task easier. the obvious choice of medium. Eventually tone and colour, increasingly shifting to
though, after years of keeping my oil and darker tones, but all within a small space.
Exploit your paints watercolour styles, and subjects separate, Whichever medium you favour, light is
Contrast of tone is always of great only using thick textured opaque mark always a fabulous subject for a painting,
importance in any painting, but when making in oil, it dawned on me to use something that will truly realise that
attempting to paint light it is essential.
t
glazes. How could I have not thought ‘wow’ factor. LP

Watercolour
Demonstration Light on the Land t Colours

Using strong backlight can be tricky, but it is against radiating light. You may have noticed
worth it. The drama produced by strong light in bright sunlight, and especially backlight,
glinting on, and shining through a canopy, how the light appears to creep round an object,
giving the appearance almost of melting objects giving a halo effect, which is a distinctive
can be quite arresting. Leaves that you know to quality of backlight. To make backlight work,
be green can look bright iridescent yellow when you must plan out a little more, making sure Cadmium yellow Lemon yellow
light shines through them, and a branch likewise you retain your white areas so this halo effect
can appear orange or pale green when seen can be achieved
A note on brushes
I use a mix of both synthetic and sable. Winsor blue Brown madder
A No. 20 Pro Arte synthetic is my You will need
favourite, but I also use a No. 16 and n
W
Surface
M or b
in
l
or lu
a No. 8 Rigger both in sable. These
s
Bockingford Rough 200lb watercolour
e e
three brushes do me for most paintings paper 11x15in. (28x38cm)
but, of course, I have a huge array of
n Artists’ watercolour Winsor
M si e
brushes, particularly large ones to
or n
See colours, right blue +
e b na
dip into. burnt sienna Burnt sienna
ur
nt
t
Step 1 t
Step 2
1 After making a sketch, paint wet into wet with lemon yellow 1 Once the first stage is dry, define the middle distance trees on
for the distant trees and a green mix (Winsor blue and burnt the left by rewetting the top yellow area of foliage, immediately
sienna) for the base of the distant trees, leaving the foreground running in dark green at the base of that foliage and letting it
tree and the figures white paper, or use masking fluid. spread upwards so that it is soft edged, keeping the bottom of
2 Paint wet into wet across the ground area with lemon yellow, the tree foliage crisp (wet onto dry) and irregular in shape.
blending into cadmium yellow for the foreground. Colours 2 Create the bushes at the base of the trees by rewetting the
become warmer the closer they are, and cooler the further away. yellow at the top of them, running in darker green at the base
While the paint is still wet, dabble in darker green to create and leaving an irregular shape, which will become the top
backruns in the front. Remember, it is essential for the paint to leafy edge of the next bushes in front.
have reached the matt damp stage on the paper for this to work. 3 Paint the trunks in the same dark green.
4 For the trees on the right, re-dampen with water and paint
them, only damp not wet so they spread a little, becoming
fuzzy edged, this will help to push them back a little.
Step 3
t
1 Now comes a fiddly bit; painting around a few sun-drenched

leaves in the foreground tree. If it looks too difficult then mask
out a few leaves and paint around them.
2 Strong bright light shining through leaves can turn the leaves
bright luminous yellow. In conjunction with the contrast of tone
between the leaves bathed in light and the darker ones behind,
this helps to bring forward the sunlit foliage.
3 To avoid hard edges when negative painting, I wet the distant
trees to the right with clean water, avoiding what will become
the foliage of the foreground tree then carefully, very carefully,
paint negative around the foreground tree foliage with dark
green. As this paint touches the clean water it spreads so
avoiding any hard edges and palling the tone.
4 Then to establish some drama and contrast in the foliage
of the main tree I add dabs of dark green leaves.

Step 4
t
Similarly begin to define bushes in the foreground by

painting around their shape in green then softening the
top edge with water, blending it out into the open grassy
area quickly before it dries. It should look rather like
shadows on the grass, perhaps from tufty, uneven ground.
t Step 5
1 Continue with the negative painting 4 Next start on the trunk of the main tree. works well. Alternatively use the same
around the foreground bushes and leaves, Having first painted the dark green along the blue and brown from elsewhere in the
remembering to soften with water along middle of the trunk, immediately drop in painting or two opposite colours (if you
the edge. cadmium yellow along the side edges of the are using appropriate pigments) can
2 Then rewet the rest of the foreground at trunk, wet in wet, allowing the yellow to help to retain a sense of unity.
the very front and drop in strong pigment, creep into the dark green like tiny fingers. 6 Finally, add the shadows from each
the dark green mix, cadmium yellow and Remember the light, being backlight, will figure in the same blue grey. This is
brown madder. Allow the colours to blend creep around objects, hence I placed important, as figures – or any object for
and move around, helping them to spread yellow both sides of the tree trunk. that matter – can look as though they
by tipping the paper. 5 Finally, the two figures can be finished. are floating without a shadow to hold
3 Once the paint has become matt damp, Remember to leave a halo of white paper them down.
use a small Rigger loaded with clean water around their heads, shoulders and a little
and run the brush up through the darkest along the sides of their bodies. Otherwise
part of the undergrowth to create grassy they can appear pretty well monotone, just
shapes. This is a useful technique, in which silhouettes of blue grey with only a little
Jo Louca
the water deposited by the Rigger simply darker tone in the full shadow areas to help To contact Jo and see more of her
pushes the dark paint aside, leaving give a sense of form. For the blue grey mix, paintings visit www.jolouca.com
a fuzzy edge to the mark. ultramarine and a cool brown such as sepia
t
The finished painting Light on the Land, watercolour, 11x15in. (28x38cm)

LP11 42-43 Parashko use_Layout 1 23/09/2016 14:51 Page 42
Oils
Oil problem solver

Elena Parashko tackles four commonly experienced problems
when oil painting to help develop confidence and style
T his month I want to tackle four

routine problems associated with
oil painting, which with a little
know-how are quite easy to overcome:
slow drying time, not wasting your
its advantages and disadvantages
depending on the painting technique
you use. For large areas of canvas
where a lot of blending is required, it
is useful for paint to stay workable for
paints, the use of turpentine and the a long time. However, in layering
power of directional brushstrokes. techniques where the underpainting
As with all painting, the more you needs to be dry before the next layer
practise and experiment, the more can be applied, patience is needed in
fluent and confident you will become. the completion of an oil painting.
The good news is, there are several
PROBLEM 1 Drying time methods you can use to manipulate the
Of all the types of paint available, oil drying time of oils.
paints have the longest drying time.
They can take anywhere from a day Solutions
to several weeks to dry depending on 1 There are mediums on the market
t
The underpainting for Herculean Prince
a number of variables. The thicker the that can be added to oil paints to speed (right) involved first covering the whole
paint application, the longer it takes up or slow down their natural drying canvas with light red oxide acrylic paint
to dry all the way through. Weather time. After mixing a required colour on
conditions play a part, with humid the palette, just add a few drops of the an amount of paint in the tube that
weather lengthening the drying time. desired medium to the paint and mix simply goes to waste.
Different colours also dry at different thoroughly with a palette knife.
rates with titanium white and alizarin 2 Alkyd oil paints are a special fast- Solution
crimson being the slowest. drying variety of oils. They are more A paint saving key can be attached
This extended period of drying has expensive than regular oils, but useful to the tube to squeeze out the last
if you are painting to a deadline. Rather remnants of paint with ease (bottom
than investing in the complete range of left). They are made of plastic and slip
alkyd colours, I find it sufficient just to onto the base of the tube then are
buy a tube of alkyd white. As applying turned like a key to roll the tube up
highlights is usually the final stage of a and squeeze the paint out. Paint saver
painting and most highlights are made keys are inexpensive and available
with white, which is the slowest drying from art supply stores in packs of 12.
oil paint colour, I just mix the alkyd
white with my regular oils. The paint PROBLEM 3 Turpentine
is touch-dry in a few hours rather Artists are becoming increasingly aware
than a few days. of the health risks involved in using
3 To keep oil paint fresh between turpentine as a solvent for oil paints.
painting sessions, cover the palette Inhaling turps fumes and direct contact
with Clingfilm and store in the with the skin have been linked to a
refrigerator (left). If you use a pad of host of physical conditions, ranging
disposable palette sheets you can also from headaches to cancer.
t
A disposable palette covered with label paint colours on the palette with
Clingfilm that can be stored in the a ballpoint pen. Solutions
refrigerator between painting sessions 4 Sections of a painting can be 1 Don’t work over an open container
underpainted with different acrylic of turps. Keep the lid closed until you
colours or the whole canvas can be need to wash out your brushes and
covered with a uniform acrylic colour make sure there is good ventilation
to avoid working on a white surface in your workspace.
(see the underpainting of Herculean 2 If you need to thin oil paint for fine
Prince, above right). This acrylic work, do not add turps, as this is the
underpainting dries in a matter of solvent that will break the pigment
minutes so you can immediately begin down as well as expose you to toxic
the rest of the painting in oils. The basic fumes. To maintain archival quality
‘fat over lean’ rule means that oils can of your paint as it is diluted, use an
be applied over acrylics, but acrylics oil medium such as linseed oil or
cannot be applied over oils. walnut oil.
3 Use odourless turps to minimise the
PROBLEM 2 Paint tubes strong unpleasant odour of standard
The metal tubes of oil paints can turps. However, remember that just
be very hard to squeeze, especially because you cannot smell the fumes
t
Paint saver keys on tubes of oil towards the end of their use. If you does not make them less toxic.
paint will save you money are not careful, you can leave quite 4 Water-soluble oil paints are a great

LP11 42-43 Parashko use_Layout 1 23/09/2016 14:52 Page 43
Oils
Elena
Parashko
Visit Elena’s website at
www.elenaparashko.com
for details on her work,
classes, demonstrations
and critiques. Elena has
also developed interactive
painting demonstrations
that include personal
consultations on painting
progress via email or
telephone. Read her blog at
www.survivalguideforartists.
com for inspiration and
ideas on developing your
own work.
t The direction of brushstrokes

is visible in the underpainting
of Bora Bora’s rock face and
vegetation (below)
t
The finished painting Herculean Prince,
oil, 2834⁄ x3534⁄ in. (73x91cm). Follow Elena
next month as she demonstrates how she
painted this portrait.
alternative medium if you like the feel

of working with oils, but want to avoid
the use of turps completely. These oils
wash out in water.
PROBLEM 4 Direction
of brushstrokes
One of the most common mistakes
with beginners in oil painting is
underestimating the power of directional
brushstrokes. Students tend to paint
everything with sweeping horizontal
brushstrokes.
Solutions
The subtle texture of brushstrokes
is visible so change their direction to
describe the form you are painting.
Even in an underpainting where you
are simply blocking in a solid colour
that will later be painted over, thinking
about the direction of brushstrokes to
apply this underpainting can work to
your advantage.
When you apply paint, the brush lands
more firmly in some areas, which creates
a slightly thinner coverage of paint and
therefore a lighter effect, whereas in
other areas it glides more gently, which
results in a slightly thicker coverage of
paint which has a darker appearance.
If you have applied brushstrokes
deliberately to indicate the form of your
subject, the illusion of texture will appear
even in the blocking in of a single colour
as an underpainting. In this painting of
Bora Bora (right), even though the same
dark purple was used to underpaint the
whole island, the changing direction of
brushstrokes already begins to indicate
the vertical rock face and diagonal rise
and fall of vegetation covered ridges
and valleys. LP t
The finished painting Bora Bora, oil, 16x2212⁄ in. (41x57cm)

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LP11 47-49 Strode_Layout 1 23/09/2016 14:57 Page 47
t
The finished painting Beach Scene, System 3 acrylics, 8x8in. (20.5x20.5cm). Follow Steve as he paints this scene over the page.
Celebrate impasto
Part 2 Having followed the exercises set by Steve Strode last month,
it’s time to complete a painting using just painting knives
U sing a knife can loosen up your

work and add new techniques to
your painting skillset. Knife painting
needn’t be reserved for oils; the quick-
drying qualities of acrylics can really come
without my fingers touching the canvas.
I used kitchen roll, a jar of water and a
demister spray throughout to keep the
paint and palette damp. You can also
try a medium to slow down the drying
The shape of the knife, the size, the angle
to the surface, the pressure you apply and
the amount of paint on the blade will all
create a range of different effects. Try them
all. If you’re stuck for a picture to inspire
into their own using these techniques. Not process, but I find these a bit gluey. you, take an illustration from a book or a
only are you able to work wet on wet, you Experiment and see what you think. famous painting and reinterpret it, but don’t
also paint over a quicker drying surface. Be prepared to use plenty of paint, and attempt to make a copy. Most important of
The following demonstration was choose a flat palette with lots of room to all, have a go. Happy accidents will happen
painted on an 8x8in. canvas board using mix. I used a piece of toughened glass I promise, but as you practise more you’ll
two knives, a large and small blade with painted mid-grey on the back, as too become more proficient with a knife, and
cranked handles. The trowel shape light or dark a surface can influence the those happy accidents will soon become
allowed me to work closer to the surface
t
reflective quality of your colours. more intentional. LP

Acrylics
Demonstration Beach scene

I used a holiday photo and changed the format and t Your You will need
composition (below). The photograph was cluttered reference n Surface n Painting knives n System 3 acrylics
with people so I included only what I wanted. What material l Canvas board l Cranked l Crimson red l Yellow
you leave out is just as important as what you leave in. 8x8in. handles, l Cobalt blue ochre
(20.5x20.5cm) small and l Ultramarine l Burnt
large blades blue umber
l White
t Step 1
Squinting at the picture reduces it to simple shapes,
which will help you to map out your design.
Step 2
t
1 Looking into
the sun makes
colours appear
more tonal so
keep your
colours greyed
down. Mix ultramarine blue
with a touch of burnt umber
and white for the sky then use TIP Mix the colours on a palette,
the same blue with ochre for but finish them off on the canvas.
the green hill. It’s important not 2 Mix burnt umber, ultramarine
to lose sight of the main colour; and white for the mid-grey seawall;
don’t add so much umber to the lighten with more white to place
sky, for instance, that you lose where the buildings will go. I
the blue. Use a well-loaded softened some edges with my finger.
knife to block in the larger
areas, laying the
blade flat as if you
were buttering
bread.
Step 3
t
TIP Wipe the 1 Add a little of the mix you used for the wall
knife between and houses to yellow ochre and white to lay in
colour and tonal the beach. So long as you keep this mix biased
changes with to ochre, the greyed down paint keeps vibrant
kitchen towel. colour at bay. Do the same for the sea, pulling
There’s no need a little of this mix into cobalt blue and lots of
for water as a white; again don’t lose sight of the blue.
solvent, but keep 2 Using the knife, pull paint away from the figures.
a jar nearby. I like If you’re worried about losing the underdrawing,
to dip the blade quickly soften the edges of the figures with a wet
in now and then finger. If like me you have fingers like Cumberland
to ease the flow sausages, use a damp cotton bud to shape the
of the knife over negative space around them. Remember, we’re not
the surface, or going for a photographic reproduction so all you
wet my finger to want is an estimation of their size and placement.
soften the edges. Don’t worry, enjoy the process and let go. If all
else fails, let it dry and draw them in again.

Acrylics
Step 4
t
1 Use mixes of crimson red, yellow ochre and TIP Use a small knife
ultramarine blue as your primaries on all the loaded at the tip to draw
figures. So long as these mixes lean to the the figures. If you’re aware
colour you want, they’ll remain subdued. of how much paint is on
For instance, this figure’s top leans to purple there and where it is, you’ll
made by 45 per cent red, 45 per cent blue have more control over the
and 10 per cent ochre. Soften the edges techniques and gradually
with a cotton bud to make it lighter. build your confidence.
2 Then lean the mix to a brown colour
for the
flesh, and
darken
this for the
trousers.
Step 5
t
1 Integrate the figures into the negative space around them by

using a wet-on-wet technique in both areas; this avoids your figures
looking like cut-outs on top of the surface. Again, use a small knife
and paint using the tip of the blade.
2 With the block-in done, step back from the painting and focus
more on the colours you really see. I noticed the sand leaned to
violet so I biased my three-colour mix to purple with a little white.
Pulling a loaded wet blade flat across the surface allows some of
the colour underneath to show through.
3 Dipping the loaded knife into your water again, work on the
sandcastle, the sand and the reflection of the figure in the sea. When
you’re happy with the figures, concentrate on the background whilst
these areas are drying and begin bringing the study together.
Step 6
t
1 Using ultramarine and burnt umber, touch in the rocks with

the end of the knife, dabbing and reloading, varying the tones
and adding ochre and white for the lighter passages.
2 For the seawall use the same dark colour lightened to mid grey
with white. Loading the large knife and laying it at an angle creates
a straight edge with the blade edge then pull down towards the sea.
3 Use the same technique on the wall to create the end of the
building with crimson red.
Step 7
t
1 Straight edges and shapes that suggest manmade structures are all
you’ll need to keep the painting loose. Holding the knife at an angle
and pulling away lightly gives a clean straight edge where the blade
makes initial contact with the surface; this is ideal for crisp finishes.
2 Working on the water, integrate the rocks in the sea by allowing
wet greyed cobalt and white paint to cover part of them. Use the
tip of the blade to speckle white highlights on the water.
Steve Strode
Steve tutors on a painting degree and delivers his own courses,
workshops and demonstrations in painting and drawing. His
work can be found on stevestrode.blogspot.co.uk on LP’s website
at www.painters-online.co.uk. While Steve is working on his t
The finished painting Beach Scene, System 3 acrylics,
website, follow him on twitter.com/stevestrodeart 8x8in. (20.5x20.5cm)

LP11 50-51 Birch_new_Layout 1 23/09/2016 15:12 Page 50
Inspiration
What shall I paint?

November brings days spent painting landscapes, interiors and
miniatures, using a variety of materials and media, by Linda Birch
t
Birch Trees, acrylic, 1134⁄ x1534⁄ in. (30x40cm). The acrylic was applied using a painting knife and pieces of card.
T he days slip past and shorten even

further, while weather veers from
rain to fog to frost. The chickens
appreciate their warm bran mash each
morning and with the shorter daylight
branches against the sombre fellside
behind. I have painted them before, but
as with any subject it is always worth
exploring more than once. To paint
Birch Trees (above) I decided to work
object, and drawing these seemingly
abstract spaces helps you to become
more aware of the beauty of the shapes
within a composition.
now lay fewer eggs. My cat, Alice, prefers with acrylics, a palette knife and pieces Home and interiors
the stay indoors. The landscape reduces of card, which were used in the same It is warmer to work in the kitchen near
in colour to soft browns, olive and grey. way as a painting knife. These pieces of the range on some days, and looking
Some mornings though, the sky is duck card are a useful alternative if you do not around for something to draw I realised
egg blue and the frost softens the winter have a knife, as you can use them on the how interesting the textures were around
grass to the colour of green Chinese side to pick up paint, angle them to apply the room. I live in an old house and the
porcelain. lines and drag paint across the surface. ceiling of the kitchen is beamed and
In the forest they are logging; bringing Mountboard can also be used. wooden throughout. Hanging from the
out the coniferous firs and replacing Negative spaces are a prevalent part beams is a collection of baskets in which
with a planting of deciduous trees; this of this composition with the trunks and are stored receipts, guarantees,
means vast empty areas of windy land branches intersecting the sky. The term appointment cards, pens, spare reading
punctuated with the few remaining ‘negative spaces’ is really misnamed, for glasses and a handmade nativity set.
deciduous birches. These trees stand they are crucial to the making of pictures. There is also an old cupboard rescued
gleaming on sunny days and waving fine If you draw the spaces, you have the from the Baptist Chapel which now stores

china, and in front a large, old kitchen

table so battered and incised with knife
marks that I am sure in its previous life
there must have been violent quarrels
and even perhaps that bodies were once
laid out on this table as was the tradition
in old communities.
To render the textures and character
of the room for Kitchen Interior (right)
I used a combination of pencil, carré
crayon (hard pastel), a twig dipped in
ink, a fine end technical pen and a soft
grey marker pen. The paper is an
interesting new addition to drawing
papers, being a soft buff and described
as ‘natural’ by its manufacturer,
Clairefontaine. The choice of paper
enhanced the atmosphere of the drawing,
but I noticed how useful it was during
summer school when we were able to
sit out in full sun drawing and not be t
Kitchen Interior, mixed media, 1112⁄ x1612⁄ in. (29x42cm). Here I used mixed drawing
dazzled by the whiteness of the paper, implements on toned drawing paper.
a common problem when working
in strong light.
I used a 2B pencil to mark out the
drawing followed by the carré crayon,
which was used to create shadow then
smudged a little with my finger. Next I
used a sharpened twig dipped in Indian
ink for the baskets and table, followed
by the technical pen for small details,
such as the mug and wood patterns.
Finally I used a cool grey marker pen for
the tone on the chairs, ceiling and clock.
Firework night
Fireworks are let off in the early part of
November and I wanted to see how this
could be explored pictorially using salt
with watercolour (see page 52). Most
painters in watercolour are familiar with
using salt and exploit its fantastic pattern-
making abilities. Salt sprinkled onto wet
areas of colour draws the pigment to
itself, creating spectacular results. This is
often included in watercolour courses as
a way of adding interesting texture to
landscapes. Here I wanted to recreate the
memory of the sky lit momentarily not so
much by the fireworks themselves as the
lingering smoky light and the land after
the initial flares of the rockets have died.
I used three colour washes of
watercolour: Indian yellow, burnt sienna
and French ultramarine. Sea salt, which
is a little coarser than table salt, was
used, and the paper was NOT surface
watercolour paper. Indigo was also used
to paint the buildings and trees. Why not
try the simple exericse I set out for you
on page 52?
Historical methods
Recently I spent a day with students
exploring Indian miniatures at the Bowes
Museum. These small portable pictures
evolved around the 10th century as
devotional or literary works rather like the
Books of Hours used about the same time
in England. The pictures were painted in
watercolour originally on palm leaves, but
later cartridge paper was used and the
works were mounted on wood and richly
gilded. The art form achieved its highest t
Autumn Trees, watercolour and coloured pencil, 12x9in. (30.5x23cm).
form during the British Raj, which may Late autumn weather softens the colours of the landscape.

Inspiration
TRY THIS!
t
November Village Scene, watercolour, 812⁄ x15in. (21.5x38cm). Salt was used on watercolour to create a dazzling explosion of fireworks.
If you have never tried salt and watercolour l Watercolour paper NOT (cold-pressed) 2 Whilst still wet, scatter plenty of salt
you will need the following: or Rough surface. across the surface and allow to dry.
l Watercolour to include either Indian 3 Add the land – yellow and blue to
yellow, gamboge, aureolin or azo yellow Method create a pale green – and the buildings
(these are transparent), plus French 1 Mix three strong washes of yellow, and trees, using indigo for the buildings
ultramarine, alizarin crimson and indigo. red and blue across the sky. Apply in in the foreground.
l Salt, table or coarse sea salt. that order and quickly.
account for the paper; it was originally

used by the army to protect the powder
from damp before firing a gun.
The group I worked with used the
same materials, watercolour, stretched
cartridge paper and talcum powder
mixed with acrylic gold paint to create
the gilding around the image (see my
painting, left). The finished work was
then mounted on a piece of thin wood
or thick mountcard. We worked from
an existing reproduction, and I began
to appreciate how skilled the original
artists were and how rich the results.
This method can be adapted to any
small, richly decorated image from an
Indian miniature, a western icon or a
unicorn or dragon from fantasy folklore;
something rich to work on during
dark winter weather. LP
Gilded Elephant, watercolour, gold ink
t
and impasto acrylic, 5x612⁄ in. (12.5x16.5cm)
Linda Birch
Find out about Linda’s courses,
workshops and events by emailing
lindajoycepitt@aol.com.

LP11 26-28 Wain_Layout 1 23/09/2016 15:18 Page 53
Liquid acrylics
Nature’s texture
Develop your skillset and add life to your paintings as you depict
a variety of textures using liquid acrylics, with Linda Wain
Demonstration 1 Ground Debris
Step 1
You will need t
1 Wet the paper with clean water
n
and apply the palest colours
Surface
here and there (cadmium yellow
l Hahnemühle Cornwall Matt
deep and burnt orange). Add
paper, 71⁄4x43⁄4in. (18.5x12cm)
these colours individually and
n Brushes sometimes as a mix using different
l Large stippler brushes to make a variation of
l Large mop shapes and marks. Let this dry.
l Round sable No. 8 2 Re-wet and apply two or
l Round Prolene No. 4 three similar layers, but each
n Procolour Liquid Acrylic time darken the colour with
l Cadmium yellow deep burnt sienna and burnt umber.
l Burnt orange 3 Finally place a few punchy darks
l Payne’s grey by adding a touch of Payne’s grey.
l Burnt sienna 4 When dry, apply a darkish
l Burnt umber wash overall of burnt umber
l Pro White mixed with a touch of
Payne’s grey.
t Step 2
1 Begin looking for shapes in the random grass to brighten local areas. Just keep or branch. Such little touches add more
colours, which could be worked up into darkening and building up the shapes impact to the finished piece.
twigs, dead leaves, weeds or moss. to make them stand out even more.
2 Mix Payne’s grey and cadmium yellow 3 Add pro white to the yellow to make areas t The finished painting Ground Debris,
to make green and use this in various places of leaves stand out from the darks. Add Procolour Liquid Acrylic on Hahnemühle
such as on the odd leaf or add blades of shadows here and there under the odd leaf Cornwall Matt paper, 434⁄ x714⁄ in. (12x18.5cm)

Liquid acrylics
Demonstration 2 Diffused Snow
You will need

n Surface n Procolour n Brushes n Miscellaneous
l Hahnemühle Liquid Acrylic l Large stippler l White tile
Cornwall l Payne’s grey or toothbrush l Palette knife
Matt paper, l Pro white l Large mop
11x81⁄2in. l Midnight blue l Large Flat
(28cmx21.5cm) l Vandyke brown l Sable Round
l Cadmium No. 8
yellow medium l Prolene Round Nos. 2 & 6
Step 1
t
1 Draw a tree shape, a couple of boulders this colour to represent a frosty

and a little foreground; nothing too look. Add a little into the top-most
complicated, as the object of this exercise branches of the tree.
is to paint snow.
2 Roughly block in the tree and the boulders, t Step 2
using a mix of Vandyke brown and Payne’s 1 To make the snow stand out
grey. Use less brown and more grey in the better, darken the background by
mix for the boulders while the tree’s mix adding another wash of the midnight blue 3 Apply the snow in two layers. Begin by
has more brown than grey. across the entire picture. Brighten the snowy dampening the paper and applying a splatter
3 Mix a little cadmium yellow with a touch areas of the tree and boulders and sharpen pattern of the mix. To do this, press the
of Payne’s grey and wash in below the rocks up the tree trunk. Darken it on one side only. stippler or toothbrush into the paint on the
to make a mute green. 2 The first layer of snow is pro white mixed tile, gently working it down the bristles. With
4 When dry wet the entire surface with with midnight blue to make an off white. Mix the help of a small trowel-shaped knife,
clean water and apply a wash of midnight this on a white tile with your palette knife. gently flick the knife across the surface of
blue across the entire picture. When dry, Your paint needs to be slightly looser than the bristles, splattering tiny marks onto the
apply a second wash of the same colour. single cream. Before you apply, practise the picture. Because the surface of the paper is
5 Add pro white into a little midnight blue. method on scrap paper to ensure you have slightly wet the tiny marks will gently blur
Dampen the side of the tree and boulders the correct consistency, as without it this and diffuse. Allow to dry thoroughly and you
with clean water and smooth on a little of technique doesn’t work. have completed the distant snow.
Step 3
t
This stage shows the foreground snow. Soften down pro white
to a near single cream consistency and flick this on in a similar
way to that previously described. As the paint hits the dry
surface, it produces a sharper effect. This makes the foreground
snow stand out far more from the diffused background snow, t
The finished painting Diffused Snow, Procolour Liquid Acrylic
which helps to produce a very lifelike three-dimensional effect. on Hahnemühle Cornwall Matt paper, 11x812⁄ in. (28cmx21.5cm)

Liquid acrylics
Demonstration 3 Pebbles
You will need
n Surface n Brushes
l Hahnemuühle l Large stippler
Cornwall Matt or toothbrush
paper, 5x7in. l Large mop
(12.5x18cm) l Large flat
l Round sable
n Procolour
Liquid Acrylic No. 6
l Prolene Round
l Payne’s grey
l Pro white
Nos. 2 & 6
l Sepia n Miscellaneous
l Burnt sienna l White tile
l Raw sienna l Palette knife
Step 1
t
1 Apply a background wash of a little

Payne’s grey mixed with sepia. Allow to dry
then apply a second wash of Payne’s grey. mend some of their shapes. Alternatively, just keep the spattered background lighter.
2 Apply the fine spattering with pro white paint all the pebbles by hand, but remember The process works just as well either way
in the same way you did for the snow. to make the selection a random pattern. around.
3 Add a wash of sepia mixed with burnt
sienna over the entire picture to give t Step 2
some degree of colour to the spattering. 1 Colour each pebble with variations of
4 The next stage is worth practising first. Payne’s grey, sepia and raw sienna mixes, Linda Wain
It can be quite tricky, as you need to knock making the colour deeper towards the Meet Linda at Art Materials Live, in
much larger blobs of white paint off the bottom of each pebble. Birmingham in November (see page 6
stippler to create the larger pebbles. If this 2 Apply the finishing touch, which is the for details). For more about Linda and
is unsuccessful or you are unhappy with shadow mixed from Payne’s grey with a Procolour visit www.procolour.net and
the shapes, use white and the No. 6 touch of sepia. email her at linda@lindawain.com
Prolene to paint some of the pebbles and 3 If you wish to paint the pebbles darker,
t
The finished painting Pebbles, Procolour Liquid Acrylic on Hahnemühle Cornwall Matt paper, 5x7in. (12.5x18cm)

LP11 57 GuildfAS_new_Layout 1 26/09/2016 15:22 Page 56
&
Art Club of the Year 2016
LP presents the award-winning paintings and a short history of Guildford Art
Society, runner-up in this summer’s inaugural Art Club of the Year competition
G uildford Art Society was one of

two runners-up in this year’s
competition, which celebrated the
work achieved by art societies in
promoting amateur painting in the UK.
Members received £250 worth of
vouchers, sponsored by Jackson’s.
Look out for the launch of next year’s
competition in our January 2017 issue.
t
Juliet Renny Busty, pastel, 19x17in. (48x43cm) t
Nathaniel Fowles Past Masters, egg tempera, 2312⁄ x36in. (60x91cm)
GUILDFORD ART SOCIETY General Lord Baden Powell. From then until old and our eldest is 100 years old and still
Guildford Art Society must be one of the 1937 the Society was active and apart from the painting. Talent abounds and many of our
oldest creative societies in the country war years continued with annual exhibitions. members exhibit at national exhibitions,
with its early beginnings in 1923. The first For 1960 the annual exhibition arrived at its including Roger Dellar ROI RIPS, John Bryce
exhibition was held in November 1925. The present home at Guildford House Gallery, 155 SWE RE, Christine Charlesworth RBS SWA,
annual subscription was five shillings. The High Street, a fascinating 17th century Grade 1 Jo Quigley MA, Sera Knight SWA and
exhibition was opened by Mrs Watts from Listed town house, where it has remained until Rosemary Miller SWA, to name but a few.
Compton and two paintings by her late today. The new chairman was Edward Wesson, We have a busy programme of talks,
husband, Mr G.F. Watts, were exhibited for one of the greatest watercolourists of the demonstrations and workshops during the
the first time. The most expensive painting 20th century. winter months and outdoor painting days
at £30 was by Mr S.H. Sime. It is interesting Ted Wesson remained as chairman for in the summer. Two meetings are held
to note that there is an exhibition of works many years. Several of his paintings are now weekly for members to paint together and
by Mr S.H. Sime permanently on display in the Guildford Borough Collection. Other many are active on our Facebook page.
at the Sime Memorial Gallery in members of the society also have work in the We hang two exhibitions annually for
Worplesdon, a Guildford parish. Borough Collection, including Pauline Dean, artwork in all media.
Other exhibitors in 1925 included botanical artist and holder of seven gold The spring exhibition is open to all our
Mr E.H. Shepard and his wife. Mr Shepard medals from the RHS; Margaret Howarth and members and an opportunity for them to
is famous, of course, for his illustrations her superb drawings of old Guildford; Margaret exhibit their work at Guildford House. A
in Winnie the Pooh and Punch magazine. Palmer, portraitist; Juliet Renny, local artist, panel of external professional artists selects
Another exhibitor was Margaret Tarrant, book designer and illustrator; and our the autumn exhibition. Both exhibitions are
a talented illustrator, well recognised for president, Jane Allison, a national portraitist, acknowledged by selectors, visitors and press
her fairy-like images in children’s books having recently completed works of Camilla, to be of a very high standard and are both
and postcard designs for Medici Cards. Duchess of Cornwall and Archbishop Sentamu. eagerly anticipated and well attended. The
In 1928, it was agreed that as the annual five selected paintings for the Art Club of the
exhibition was now so popular that nothing The society today Year 2016 are the work of artists who exhibit
smaller than the Borough Hall would do. Today the society has approximately with us regularly and show the level of
It is worth noting that six entries were by 300 members, including painters, sculptors, members’ skills in a variety of media and
Sir Edwin Lutyens, but were not for sale! ceramicists and craftsmen, both professional subjects. Suffice to say the subscription
In 1930 the exhibition was opened by and amateur. Our youngest member is 15 years has now increased!

LP11 57 GuildfAS_new_Layout 1 26/09/2016 09:32 Page 57
t
Judy
Coleman Field
Edge, acrylic,
16x20in.
(41x51cm)
t
Jean Ellis Cow Parsley, watercolour, 1812⁄ x15in. (47x38cm)
Fiona
t
Guildford Art Society’s autumn exhibition will be Champion

held in Guildford House Gallery from 11 November Painted Dog,
to 3 December. For more information, examples of mixed media,
members’ work and the programme, visit 25x29in.
www.guildfordartsociety.co.uk (63x74cm)
Did you miss our

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LP Nov 2016 Art clubs p58-9_News 1st 22/09/2016 10:29 Page 2
CLUB EXHIBITIONS
Art clubs
OVER TO YOU FOR THE LATEST NEWS ON CLUB
n Alsager Arts Association
Exhibition at Alsager Community Church on
4 and 5 November, 10am to 4pm daily. Visit
www.alsagerartassociation.co.uk
n Bedford Art Society
Autumn exhibition at Bedford Borough
EXHIBITIONS AND ACTIVITIES Hall, Cauldwell Street, Bedford MK42 9AP
from 10 to 21 October.
n Breaston Art Group
21st exhibition at the Methodist Church
Hall, Blind Lane, Breaston, Derbyshire DE72
but new members are welcome, 3DX on Thursday 10 November, 2 to 5pm;
provided they live within a ten-mile Friday 11 November, 10am to 5pm and
radius of Ambleside. For more Saturday 12 November, 10am to 4pm.
information contact Patsy Derry 01539 n Caston Art Club
436180 or email her at Exhibition at Caston Village Hall, Norfolk on
patsyderry@hotmail.co.uk 8 and 9 October, 10am to 4pm daily.
Bathampton Art Group n Ham Art Group
The Bathampton Art Group will be Autumn exhibition at St. Thomas Aquinas
holding an exhibition and sale of Church Hall, Ham Street, Ham, Richmond
paintings at Bathampton Village TW10 7HT on 5 and 6 November, 10am to
Hall, Holcombe Lane, Bathampton 4pm daily. Enquiries to 020 8940 5725.
BA2 6UL on Saturday 19 November n Horsforth Arts Society
Sally Kindness Anemones, watercolour,
t
9x91⁄2in. (23x24cm) on show at the Ambleside from 10am until 5pm. Members will Autumn exhibition at The Studio, 15 Back
and District Art Society’s 40th annual be demonstrating throughout the Lane, Horsforth, Leeds LS18 4RF from 22 to
exhibition 30 October. Open weekdays from 1 to 3pm;
day and the public are invited to
vote for their favourite painting. weekends 10am to 5pm. Visit
Highlights Refreshments will be available. For
www.horsforthartsociety.workpress.com
Ambleside and District Art n Kineton Art Group
more information visit
Society www.bathamptonart.co.uk Members’ art exhibition at Kineton Village
The Ambleside and District Art Hall on 8 and 9 October, 10am to 5pm
daily. Visit www.kinetonartgroup.co.uk
Society will be holding its 40th
annual exhibition at Ambleside n Market Harborough Art Club
Parish Centre between 19 and 30 Annual exhibition at the Harborough
October, featuring the diverse Theatre on 8 October, from 10am until 5pm
and 9 October, 10am until 4pm. Visit
talent of Cumbrian artists, www.marketharboroughartclub.co.uk
including the work of popular
n Muskham Art Group
artists, Sally Kindness, Don Bastow,
Annual exhibition at South Muskham
Jackie Hadwin and Ron Ward. The
Village Hall, Newark NG23 6EE on 5 and 6
exhibition will be open daily from November, 10am to 4pm daily. Enquiries to
10am to 5pm, excluding both 01636 605875 or visit
Sundays, when it will open at www.muskhamartgroup.co.uk
10.30am and on the final day, n Nettleham Art Group
Jackie Hadwin First Snow, watercolour,
t
when it closes at 2.30pm. The Annual exhibition at the Old School (near
231⁄2x271⁄2in. (60x70cm) on show at the
society, which began in 1974, Ambleside and District Art Society’s 40th the church), Nettleham, near Lincoln LN2
currently has over 100 members annual exhibition 2PE on Saturday 12 November, 10am to
3pm. Enquiries to Ian Straw 01522 753558.
n Rosemary Hale’s Art Group
Exhibition at Derrington Village Hall,
Staffordshire ST18 9LR on 29 and 30
Demonstrations & classes October, 10am to 4pm daily.
Bedford Art Society n Weald of Sussex Art Club
On Friday 4 November, Paul Nicholson will give a talk to the Bedford Art Society Annual exhibition at The Martlets Hall, Civic
on The Statues of Bedford at Putnoe Heights Church, Bedford MK41 8EB, meeting Way, Burgell Hill RH15 9NNfrom 19 to 22
at 7.15pm for a 7.30 start. Entry is free for members; £5 for visitors. Contact Jean October. Open daily, 10am to 5pm; closing
Paterson 01234 307210 or visit www.bedsartsociety.co.uk at 3.45pm on final day.
Brighouse Art Circle n Woking Society of Arts
Artist, John Harrison, will lead a line & wash demonstration workshop for the Autumn exhibition at The Lightbox Gallery,
Brighouse Art Circle on Saturday 22 October from 12noon until 4pm at Waring Victoria Way, Woking from 18 to 23 October.
Green Community Centre, Brighouse. Tickets are priced at £12 to include drinks. Open daily, 10.30am to 5pm; from 11am to
4pm on Sunday 23 October. Visit
To book, or for more information visit www.brighouseartcircle.co.uk
www.wokingartsociety.org.uk

LP Nov 2016 Art clubs p58-9_News 1st 22/09/2016 10:29 Page 3
Poynton Community Art Group

Poynton Community Art Group is holding a
one-day exhibition at St. George’s Church
Hall, London Road South, Poynton,
Cheshire SK12 1NH on Saturday 22
October, 10am to 4pm. The exhibition will
include framed and unframed artwork,
original handmade and painted cards,
textile art and pottery. There will also be
an artist in residence working all day.
Refreshments available. Free parking and
free entry.
Uckfield Art Group
The Uckfield Art Group will be holding an
exhibition of paintings, drawings, greetings
cards and other handcrafted items at the
Luxford Centre, Library Way, Uckfield, East
Sussex TN22 1AR on 5 November, 10am to
4pm. There will be a craft area to entertain
children whilst adults enjoy the displays.
Francesca Gagni Pinocchio, pastel, 173⁄4x241⁄2in. (45x6cm) on show at the Cambridge
t
Homemade refreshments will be served
Drawing Society’s autumn exhibition
throughout the event. Free entry and
plenty of parking. For more information
Highlights contact Annie 01825 765021 or visit
Cambridge Drawing Society 10am to 6pm daily. The society www.uckfieldartgroup.co.uk
The Cambridge Drawing Society’s holds monthly evening meetings Wareham Art Club
autumn exhibition will be showing with demonstrations and lectures in This year the Wareham Art Club celebrated
at The Leys Old Gym (entrance on a variety of media. Visitors are its 25th anniversary with a special summer
Trumpington Street), Cambridge always welcome. For more information exhibition at which the group displayed 50
from 22 to 29 October. The private telephone Robyn Cormack 01483 224063 small square paintings in identical frames
view will be held on Saturday 22 or David King 01372 454003. (below) to show the diversity of work being
October between 10am and 4pm, MAD Art Exhibition produced by its members.
when wine and canapés will be The Maxey Art Group and Deepings The group meets in Wareham Parish Hall
served. The exhibition is then open Art Club will be holding a joint on Monday evenings and Tuesday
daily until Saturday 29 October. For exhibition of paintings by members mornings. At the first meeting of the club
more information visit at Maxey Village Hall, Maxey, in September 1991, the founder, the late
www.cambridgedrawingsociety.org Cambridgeshire PE6 9EJ on Friday Pam Hayes, said that “the accent is on
Guiseley Art Club 28 October, 10am to 8pm; Saturday people getting together and enjoying art
The Guiseley Art Club will be 29 October from 10am to 5pm; and and painting”. This remains true of the
staging an exhibition in aid of Sunday 30 October from 10am until club today. Visiting artists give
Forget-Me-Not Café – a local group 2pm. Entry is free and refreshments demonstrations once a month and the club
who provide support and are available as well as disabled holds several exhibitions a year. The next
recreation for Alzheimer’s sufferers parking, access and facilities. exhibition, the autumn art and craft sale
and their carers. The exhibition will will take place at Wareham Town Hall on
be held at The Methodist Church Saturday 12 November between 10am and
t Fifty small paintings by members of the
Hall in Oxford Road, Guiseley, Leeds Wareham Art Club produced in celebration of 4.30pm. If you are interested in finding out
LS20 9EP on Saturday 5 November, its 25th anniversary more, visit www.warehamartclub.org.uk
10.30am until 4.30pm and Sunday
6 November from 12 noon until
4pm. As well as paintings to view,
there will be homemade
refreshments, tombola, crafts, and
cards. Visit www.guiseleyartclub.co.uk
Horsley and Clandon
Society of Arts
The Horsley and Clandon Society of
Arts will be celebrating its 50th
anniversary with a special two-day
exhibition at East Horsley Village
Hall, Surrey on 7 and 8 October,

LP Nov 2016 Gallery p60-61_Layout 1 22/09/2016 10:24 Page 2
Art club gallery BEST IN SHOW PAINTINGS ...
There is an unusual mix of best in show

paintings this month – from traditional
landscapes to paintings of sculpture. It’s this sort
of variety that makes club exhibitions so
refreshing. If you would like to see your best in
show 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 North Lincs Art Society Mick Craven Antoninus Pius, oil on
board, 231⁄2x193⁄4in. (60x50cm). Mick Craven’s oil painting was

made from a photograph of a bust of Antoninus Pius, taken
during a visit to Castle Howard a couple of year’s ago. The society,
which was formed in 1941, is still flourishing but always
welcomes new members of all abilities. For more information t
Arnold Art Society Robin Charman Cotswold Scenes, pen and
visit www.nlasart.co.uk ink, 113⁄4x153⁄4in. (30x40cm). Robin Charman, at 86, is the oldest
member of the Arnold Art Society. The group, which was formed
in 1967, continues to flourish with membership currently
standing at 100. A full programme of events, including regular
practical sessions, is arranged throughout the year. For more
information visit www.art4arnold.com
t
Caterham Art Group Yvonne Allen River Clough, Sedburgh,
oil on box canvas, 24x18in. (60x45cm). The Caterham Art Group
meets on the third Wednesday evening of the month at the
Douglas Brunton Centre, Caterham on the Hill, but will move
to a new day and venue in January as it has outgrown the
current one. From January, meetings will take place at the
United Reformed Church, Caterham CR3 6SX on the fourth
Wednesday of the month. For more information visit
www.caterhamartgroup.org.uk

LP Nov 2016 Gallery p60-61_Layout 1 22/09/2016 10:24 Page 3
Salisbury Group of Artists
t
Allen Samuels List to Starboard,
oil on canvas, 271⁄2x213⁄4in.
(70x55cm). The Salisbury
Group of Artists was established
40 years ago and is made up of
a mix of professional and
amateur artists who meet on
a regular basis. The next
exhibition will be at Salisbury
District Hospital in Salisbury
from 25 November until
6 January 2017. For more
information visit
www.salisburygroupofartists.co.uk
Dartmouth Art Society

t
Rob Childs Reflections at Dawn,

watercolour, 21x171⁄2in.
(53x44cm). Dartmouth Art
Society has been running for
32 years. Members meet every
t
Broughty Ferry Art Society Gina Stewart Winter Thursday afternoon from mid
Morning, pastel on paper, 271⁄2x20in. (70x51cm). September to June, when they
The Broughty Ferry Art Society meets on the first work on their own projects,
Tuesday of every month at the Royal Tay Yacht with occasional demonstrations
Club in Broughty Ferry, and runs classes and workshop from local artists.
throughout the autumn and winter on Thursdays New members are always
and Fridays. The society includes a wide range of welcome. Further information
abilities, from professionals to enthusiastic can be found on the website
amateurs. To find out more visit www.darartsociety.wix.com/
www.broughtyferryartsociety.co.uk townstal
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, high-resolution
(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,
t
Meirionnydd Artists Society Susan Arney Cnicht, acrylic, 193⁄4x271⁄2in. (50x70cm). Tenterden, Kent TN30 6BD; or
Established in 1958, the Meirionnydd Artists Society welcomes all artists, from beginners email jane@tapc.co.uk
to more experienced painters. New members are always welcome. For more information
go to www.meirionnyddartistssociety.org

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

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Robert Dutton and many more…
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WHEN IT COMES TO ADVERTISING EXCITING NEW 2017 BROCHURE NOW AVAILABLE!
ay of the month
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Art Holidays in Dorset

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Sidewinder Studio • All accommodation en-suite and add Friday and/or Sunday night dinner, bed and
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Sat 21 & Sun 22 Jan Dip Your Toes in the
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Valley, Provence, France & The
We have an extensive range of high quality,
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Sat 18 & Sun 19 Feb Drawing for Beginners
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beautiful accessories and specialist books.
SPRING AND SUMMER HOLIDAYS
Painting by David Webb
10-13 Mar Getting to Know Watercolour

• Over 300 titles in stock 27-30 Mar Spring Gardens with Watercolour Pencil
• Starter packs for beginners 4 - 7 April From Light to Dark in Watercolour
with all-inclusive holidays
ews demonstrates in the port at Mèze, 8-11 April Landscape With Pen and Wash
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nce on one of her Paint ‘N Canvas holidays SUPER P
ovely ainting oliday dventure
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18-22 June Embellish Your Fanasty Paintings
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he first four-day plein airArt Materials
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U B L
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ng to paint,” she says. “You can never be bored Exclusive - St Ives/Nicholson style
d a sketchbook.” frames available on-line
62
e is warm and encouraging, making her NOVEMBER
holidays2016 Call 01427 787318 or visit
e for beginners who need a bit of courage to www.ashcraftframing.co.uk/store
utside the comfort of a studio. On offer this year
ekly classeslp held onNEW.indd
CLA Nov a Thursday
62 morning at her 27/09/2016 09:45:57
Nov 16 Holiday of Month_Layout 1 26/09/2016 10:10 Page 3
Holidays & Courses

Join
FIONA PEART
Tony Hogan
Informative and lively in
demonstrator for art societies Cornwall
and clubs. Ring 01451 820014 Scarborough
or email fiona@fionapeart.com Venice or Spain
www.fionapeart.com for your 2017
Fun Art Holiday
a choice of great locations
www.hoganart.co.uk
Visit www.painters-online.co.uk/Marketplace E Mail: admin@hoganart.co.uk
Tel; 01208 895088
for further details of goods and services Mobile: 07888852503
Art
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CHINESE BRUSH PAINTING SUPPLIES
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In addition to the workshop programme, Val and local tutor, • Starter packs for beginners
Lesley Rumble, run ‘Drop-in & Paint Days’ on Thursdays and
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art materials
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lp CLA Nov NEW.indd 63 26/09/2016 10:29:32

Holidays & Courses
TARN AREA, SW FRANCE. Painting
TheOld
The OldSchool
SchoolStudio
Studio
Old School Lane, Whittlesford, holidays. Excellent food and
Old School Lane, Whittlesford,
Cambridge CB22 4YS accommodation, superb landscape,
Cambridge CB22 4YS
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set in an attractive Victorian School House.
Affordable one & two day fully Working
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CAMBRIDGE based Art Studio
set inMarilyn
Tutors for 2016: Hashim Akib, Paul Alcock, an attractive Victorian
Allis, Jamel Akib, School
Vic Bearcroft, Melanie House.
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Affordable one & two day fully
Val Pettifer, Lesley Rumble, John Shave, Simon Williams SBA, Thomas Plunkett PRWS, Sue Williams
Diana Golledge, Cora Martin.
tutored workshops.
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CAMBRIDGE OPEN STUDIOS IN JULY Chateau de Pourpry, 81220 Damiatte,
Three day Summer SchoolTutors
& Kids for 2016-2017:
Painting Hashim
Activities in August Akib,
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Paul Alcock, Marilyn Allis, Jamel Akib,
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!
Vic Bearcroft, Melanie Cambridge,
Email: bobencarla@aol.com
For full details of all workshops or to request theClare Crossman,
2016 brochure Email:Soraya French,
info@theoldschoolstudio.co.uk
Or call Val Pettifer: 01223 833064Johnwww.theoldschoolstudio.co.uk
Glover, Rachel Haynes,
Jill Tisbury
01933 358 125 www.jilltisbury.co.uk
Prue van der Hoorn, Chris Lockwood, info@jilltisbury.co.uk
John Shave, Simon Williams SBA, 07970 665 331
Thomas Plunkett PRWS, Sue Williams Wildlife art workshops
Drop-in-and-Paint Club l Pastels on velour
every Thursday & Friday l Airbrushing, 1 & 2 day courses
Three day Summer School & l Small groups, qualified tutor
Kids Painting Activities in August
l All abilities welcome
For full details of all workshops or to request a brochure
All materials and a great lunch included
Email: info@theoldschoolstudio.co.uk
painting holidays Or call Val Pettifer: 01223 833064
Call me to chat about your
needs or visit my website
www.theoldschoolstudio.co.uk to book your place
Where better to develop your painting skills than in beautiful Pembrokeshire
Professional tuition for all levels PAINTING COURSES. 1-7 day and
3 and 5-day full board residential courses weekly art courses painting flowers
Superb home cooked cuisine and gardens, landscapes, watercolour Rushden, Northamptonshire

or line and wash with Jan Blanch in
4 Star en-suite accommodation Norfolk also Brusho classes. Very good WATERCOLOUR WEEKENDS in the Peak
LP09 SubsDigital_Layout 1 19/09/2016 16:20 Page 1
S mall groups, large studio space accommodation. District National Park. This is a taught
...be inspired painting partners welcome
non Painting holidays in Corfu. course with lots of support, making life
Tel: 01493 393639 or 07702 069300 better. Tel: 01433 621546.
t: 01348 840 177 Andrew and Maggie Brown Email: janblanchartist@gmail.com email: alanhearsum@btinternet.com
e: info@indigobrown.co.uk w: www.indigobrown.co.uk www.janblanch.co.uk web: hearsuma@freeuk.com
magazine
is available Watercolour
Inspired by nature
digitally
Here’s an easy-to-follow watercolour demonstration to practise applying light,
fluid washes while reserving the white, by Rachel McNaughton
You will need Colours used
Surface
Saunders Waterford High
White 200lb Rough paper Cobalt Neutral Quinacridone Burnt Burnt Payne’s Aureolin Daniel
15x22in. (38x56cm) turquoise tint gold umber sienna grey Smith
light (or light red) moonglow
Winsor & Newton
Professinal Water Colour
See colours, right
Miscellaneous
Daniel Smith moonglow
White gouache
White gel pen
White pastel (not oil pastel)
Old toothbrush
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
l Instant acccess to your

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. Step 2
3 Carry on around the painting, dropping 1 Wet the dandelion clocks. Make dilute washes
in a little cobalt turquoise occasionally and of cobalt turquoise and neutral tint. Paint
neutral tint at the base of each clock and turquoise on the left-hand side of each clock.
a little between them at the top. Splatter 2 With neutral tint and a fine brush, paint fine
quinacridone gold. Allow to dry. lines to suggest the stems of the dandelion’s
seed ‘parachutes’ radiating from the centres.
Allow to dry.
magazine
Step 3

1 Now to paint the centres. Mix green

from quinacridone gold and Payne’s
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 4 Mix a little aureolin and add green
the rest with clean water. mixture. Use this to paint the stems.
l View any time, anywhere

3 With dark green paint the sepals Quickly blot some colour off with
under the cushion. Vary the colour, tissue or kitchen roll.
adding more quinacridone gold 5 Use the browns to paint the individual
or Payne’s grey as necessary. seeds that are still attached to the centre.
32 OCTOBER 2016 www.painters-online.co.uk
l Easy access to paid-for past

and present issues Go to www.painters-online.co.uk and
l All issues stored in one place click on the ‘Subscribe’ tab, search for
l Subscriptions and single Leisure Painter magazine at these
copies from just £2.49 stores or scan the QR code
l Try it FREE. Sample issue
is available to download
lp CLA Nov NEW.indd 64 23/09/2016 14:30:39

LP Nov 2016 Books p65_News 1st 22/09/2016 10:32 Page 6
Books
WHAT TO READ THIS MONTH
Water in
watercolour
Well-known artist,
Joe Francis Dowden
turns his attention
to painting water in
watercolour for this
Visit www.painters-online.co.uk/store and click on the sparkling new
link to books to buy the latest practical art books addition to Search
available from LP’s online bookshop Press’s How to Paint
series. Aimed at the
more established painter, Joe has put together a
collection of in-depth exercises and practical projects
From cave that explore ways of effectively painting water. The
book features work included in two of Joe’s previously
to computer published titles.
Based on the premise
How to Paint Water in Watercolour by Joe Francis Dowden.
that all representations
Search Press, (s/b), £12.99.
of life are pictures,
whether they are
paintings, photographs
or films, David
Hockney and Martin
Capturing a likeness
Recently elected as a member of
Gayford have put
the New English Art Club, Daniel
together a global
Shadbolt teaches painting and
history of pictures –
drawing at The Heatherley School
from the cave to the
of Fine Art, so is well aware of the
computer screen.
challenges faced by the portrait
Divided into 18
painter. Painting and Drawing the
chapters, starting with pictures and reality and finishing
Head gives a refreshing take on
with movies and stills, each includes a broad and
portraiture, following the process
carefully selected group of paintings and comments made
of painting a head in five sittings,
by the authors. These form a dialogue of the subject
with plenty of practical
being explored, with the authors crossing the usual
commentary along the way.
boundaries that have traditionally constrained the way
From choosing the ground for your picture, through lighting and
we look at pictures.
background decisions, colour, tone and perspective, there’s
A History of Pictures by David Hockney and Martin Gayford.
something of interest for all painters, not just portraitists.
Thames and Hudson, (h/b), £29.95.
Painting and Drawing the Head by Daniel Shadbolt. Crowood Press, (s/b),
£16.99.
Essential poses
This beginner’s guide to
figure drawing by Botanical
Christopher Hart will help drawing
to make your figures more Using the very precise
lifelike, capturing them in nature of graphite and
everyday poses. With easy- coloured pencils, award-
to-follow techniques, winning author, Sue Vize,
Christopher shows you shows you how to
how to identify the capture the details of
mechanics of the moving plants in minute detail.
figure so that you are able Each chapter
to draw them in a concentrates on a
convincing way. Starting different aspect of the
with a chapter on drawing plant, with instruction on
the male and female composition, colour charts and mixing. There’s plenty of
body, the book moves on to drawing the body at different tips and advice and step-by-step projects to work
angles, including foreshortening, sitting and standing and alongside, building confidence and skill.
dramatic poses. Botanical Drawing using Graphite and Coloured Pencils by Sue Vize.
Figure it Out! Drawing Essential Poses by Christopher Hart. Sterling (s/b), Crowood Press, (s/b), £16.99
£14.99.

LP Nov 2016 OG p66_News 1st 22/09/2016 10:38 Page 66
Online gallery
Jane Stroud’s selection of works from our PaintersOnline gallery
WWW.PAINTERS-ONLINE.CO.UK
I sn’t it amazing how the sense of place and atmosphere can

be captured so successfully in such very different ways? The
sharp, clear light of Raja Najam Ul Hassan’s landscape,
below, is meticulously rendered back in his studio, while
Fran Russell captures the moment of fleeting clouds alla
prima on her pre-prepared surface, right. Here the artists talk
about their work. If you would like to see more work by these
artists, post a comment or upload your own images on our
free online gallery visit www.painters-online.co.uk
Different eyes
Self-taught artist, Fran Russell, works in oils en plein air.
Although she always had an interest in art, it wasn’t until she
took early retirement in 2005 that she started painting in
earnest. She now runs oil painting and en plein air workshops
from Weavers Studio in Sutton Valence, Kent. “Smallhythe Sky
was painted alla prima from a friend’s garden. I was there with t
Fran Russell Smallhythe Sky, oil on board, 5x7in. (12.5x18cm)
a group of artists called Different Eyes. We meet up once a
month to exchange ideas and do something creative. The big sky and made colour notes to include them later. I paint using the
and cloud formations attracted me to the subject. With limited fat-over-lean method with thinned darks followed by mid-tones
time, I decided to use a small canvas-wrapped board, which had then lights, building up to the part I love doing most – making
been primed at home with a tinted acrylic gesso. This allowed expressive impasto marks on the clouds with a palette knife.”
me to work quickly and avoid too much fiddly detail. I sketched This painting and works by other local artists, including
out the composition in my sketchpad then made my first brush Different Eyes, will be on show in Small is Still Beautiful at
marks on the board with thinned paint to ‘draw’ out the Smallhythe Studio, Tenterden, Kent from 29 October to 16
composition. I noticed the cloud shadows on the fields early on December. Visit www.franrussellart.co.uk
A passion for nature

Raja Najam Ul Hassan is a full-time professional
painter, living and working in Pakistan as a
visiting lecturer in the Fine Art department of
the Government College of Women in Chakwal.
“For me, painting is a passion,” he writes, “a
never-ending learning process. My landscape
paintings are inspired by my profound love of
nature.” The landscape in Crisp Morning is set in
the suburbs of his native village. “I have been
looking at it, walking through it and feeling it
over the years at different times of the day and in
various seasons, so I felt compelled to paint it. I
finally did it on a winter’s morning when I could
feel the crisp sunshine. I went to the spot, took
some reference photographs, made a drawing in
my sketch pad and took notes of the atmosphere
– the light, shadows, colour of the foliage and
the warmth of the light. I then completed the
painting back in my studio.”
Raja Najam Ul Hassan Crisp Morning, oil on canvas,
t
33x36in. (84x91.5cm)

LP11_HolidaySoan_Layout 1 26/09/2016 10:39 Page 38
Reader holiday
Paint on the
Greek Island
of Symi with
Hazel Soan
May
3 to 13,
2017
Join talented artist, Hazel Soan, on a tutorial

painting holiday on a sun-drenched Greek island
Symi is the quintessential Greek island. It can In contrast, the maze of tiny alleyways and
Hazel Soan is a versatile and
only be reached by boat and your first glimpse steep steps leading up through the old town,
talented artist. She is an excellent
of it, as the ferry turns around the headland, is Horio, are sleepy, quiet and timeless. Ladies
teacher with a natural gift of drawing
jaw dropping - a natural harbour lined with dressed in black sit in doorways, old men play
out the best in students. She will
sun-bleached pastel-coloured neo-classical villas. back gammon, children dart around corners,
illustrate a wide range of the topics
The harbour and its old town are more or less and cats doze in the sunshine. There are
with talks and demonstrations, and
all there is on this barren island surrounded by orthodox domed churches, flaking wooden
help you return with an impressive
deep blue waters, but there is plenty to paint doors, crumbling ruins and shaded squares.
portfolio of work. Hazel will be
here. The harbour jostles with fishing boats, No motorised vehicles in the old town adds to
working in watercolour.
ferries, yachts, tavernas, people and shops. its appeal. Past the clock tower is a quieter part
of the harbour, where you’ll still find former Flights are to Rhodes and the
merchants’ houses and fishermen’s cottages, first night will be spent in a hotel
and around the headland is a pretty little cove. overlooking the old town of the
Your accommodation is a small hotel on the Knights of St John. There will be an
water’s edge in the quieter part of the harbour. opportunity to paint here before taking
It was a former sea captain’s house and is full the ferry to Symi the following day.
of old-world charm, with original features and Breakfast and dinners are included
traditional furniture. There are just 15 rooms so and you will be well looked after by
we hope to have exclusive use of the hotel, which an accompanying travel escort.
will make for a house-party atmosphere. It has
a roof terrace that is perfect for painting the l Number of students 8 to 12
sunsets and the views across the harbour towards l Prices per person from £3,295
the old town. The hotel’s restaurant is where Rick (sea view supplements apply)
Stein chose to base himself in his last TV series. l No single supplement
Taverna, watercolour by Hazel Soan
t
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 Low Countries with Pamela Kay, South of France
with Lachlan Goudie, Southern Italy with Richard Pikesley, Amsterdam with Ken Howard RA, Vietnam with Peter Brown, and India with Hazel Soan.

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LP11 1 Cover_v6_Layout 1 23/09/2016 11:17 Page 1

THE UK’S BEST-SELLING ART MAGAZINE

CAPTURE Oil painting

190x130mm UK Ads cmyk.indd 1 18.04.16 21:20

2 NOVEMBER 2016 www.painters-online.co.uk

p02_LPNov16.indd 2 23/09/2016 11:40:35

Incorporating Leisure Painter

DECEMBER 2016 issue on sale 4 November

www.painters-online.co.uk NOVEMBER 2016 3

Contents NOVEMBER 2016

4 NOVEMBER 2016 www.painters-online.co.uk

NEWS, HOLIDAYS & GIFT IDEAS House, watercolour, 22x15in.

50 What shall I paint?

56 Guildford Art Society

www.painters-online.co.uk NOVEMBER 2016 5

Painting CALL FOR

Andrea Abraham Tweeting, water-mixable oils on linen

O nce again we are substituting the sending of

There are two categories:

CONDITIONS OF ENTRY amongst the competition

6 NOVEMBER 2016 www.painters-online.co.uk

Practical art n Green fingers

www.painters-online.co.uk NOVEMBER 2016 7

ExhibitionsJANE STROUD RECOMMENDS

Ray Campbell Smith Riverside,

watercolour, 13x11in. (33x28cm)

8 NOVEMBER 2016 www.painters-online.co.uk

Rembrandt, Rubens and Hockney and

Bankside SE1. 020 7887 8888. ‘Georgia

www.painters-online.co.uk NOVEMBER 2016 9

Motivation ‘ready to use’, with all that

10 NOVEMBER 2016 www.painters-online.co.uk

First, you need to indulge in a box of exorbitant so if any tutors are on

Caran d’Ache NeoColor II water-soluble crayons, paint or add a wash to a drawing.

www.painters-online.co.uk NOVEMBER 2016 11

The autumn landscape

A s artists, we are constantly learning

A Fresh Breeze near Lockton, oil on board,

512⁄ x712⁄ in. (14x19cm). Almost inevitably in this

12 NOVEMBER 2016 www.painters-online.co.uk

Late Autumn near Brockfield, York, oil on

board, 11x14in. (29x37cm). This was painted

for the often troublesome foreground.

www.painters-online.co.uk NOVEMBER 2016 13

WHY USE A BURNT SIENNA GROUND?

1 Trying to finish any part of the picture at

14 NOVEMBER 2016 www.painters-online.co.uk

www.painters-online.co.uk NOVEMBER 2016 15

Paint along with LP

W hen painting a watercolour

16 NOVEMBER 2016 www.painters-online.co.uk

Paint along with LP

ago on the Somerset levels. They are

www.painters-online.co.uk NOVEMBER 2016 17

Pen & wash

W hether you used my easy-win

Improve, not replicate

Easily identifiable shapes

18 NOVEMBER 2016 www.painters-online.co.uk

Pen & wash

Demonstration Guernsey Boats

You will need