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Incorporating Leisure Painter

and Craftsman
and Creative Crafts
VOLUME 50/13
ISSN 0024-0710
from the editor

Ingrid Lyon
W ith winter – and Christmas – fast
approaching, we have an end-of-
year issue packed with inspiration and
Contributing Editor
Jane Stroud
practical advice, whether you’re working in the warmth of your
Editorial Consultants
Diana Armfield, RA, NEAC (Hon), RWS home or outside, enjoying the stunning autumn colours. For those
David Bellamy
Tony Paul STP who prefer comfort while painting, there’s a variety of subjects and
Advertising Sales studies that will keep you motivated throughout the month. If
Anna-Marie Brown (Tel: 01778 392048)
( you’re ready for a seasonal challenge, you won’t do better than
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Sue Woodgates (Tel: 01778 392062) practise the techniques found in Jem Bowden’s demonstration
(pages 16 to 19), until you feel confident to tackle your own autumn
Accounts landscape in your favourite medium.
Events Manager
Caroline Griffiths
Above all, loosen up and have fun while you paint – your
Subscriptions & Marketing Manager enthusiasm and pleasure will always show in your finished work.
Wendy Gregory
Look out for two new in-depth series beginning next month.
Nicci Salmon & Liza Kitney Tim Fisher’s watercolour series was inspired by a reader’s request for
(Tel: 01580 763315/763673)
Online Editor
help in handling specialist brushes and colour mixing for landscape
Dawn Farley and, in particular, foliage painting. If you also need help, don’t
Alison Renno hesitate to contact me. There is a wealth of knowledge and expertise
Sarah Poole
within our team of experienced tutors, and we’re here to help you
Leisure Painter is published
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in as straightfoward a way as possible.
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Our second series looks at a subject that’s close to many of our
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artistic licence to composition, colour and tone, changing elements,
such as shadows and light, and how to achieve that all-important
Publication of an article or inclusion of
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imply that TAPC is in agreement with
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endorsement of products, materials
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Finally, Leisure Painter celebrates its 50th anniversary in 2017,
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LP12 4-5 Contents use_News 1st 24/10/2016 13:07 Page 4

Contents DECEMBER 2016




20 Evergreen
IN EVERY ISSUE Produce your own Christmas cards
by drawing and painting holly this year,
7 Diary 63 Books with Judith Milne
News and things to do Some of the best practical
this month art books are reviewed
24 Understanding colour
64 Art clubs Part 13 How to use the yellow earths
8 Exhibitions
News, profiles, exhibition listings in your palette, by Tony Paul
Some of the best shows
around the country and ‘best in show’ gallery
27 Herculean Prince
Elena Parashko demonstrates the
11 Letters 74 Online gallery
painting of a racehorse using oils
Your tips, suggestions, Jane Stroud chooses a painting
ideas and questions from PaintersOnline
32 Curved perspective
Tim Fisher discusses circles, ellipses,
spheres and curvilinear perspective

FEATURES 37 Index 2016

Your pull out and keep reference guide
12 Loose and lively flowers to the features and information within
How to simplify ray and pompom- this year’s issues of Leisure Painter
shaped flowers to paint easy and
effective studies in watercolour, 42 Soft sunset
with Claire Waite Brown Part 2 Learn when to blend and when
to keep texture with Anne Kerr’s step-
16 Painting project by-step sunset in soft pastel
Part 2 Follow Jem Bowden as
On the cover he paints an autumn landscape 46 Oil painting troubleshooter
Paul Hopkinson The Long Tailed Tit, of water, trees and a swan from a Part 1 Martin Kinnear answers a
watercolour, 812⁄ x1112⁄ in. (21.5x29cm).
Develop your watercolour skills this
photograph using loose watercolour question on the use of solvents and
month as you follow Paul step by step techniques mediums


LP12 4-5 Contents use_News 1st 24/10/2016 13:07 Page 5


next month
Continue your passion for painting in 2017
with Leisure Painter. Here are some of the
highlights to be found in the January issue

paint successfully
from photographs
answer a reader’s
question on painting
watercolour foliage
n Easy ideas for using
mixed media
n Try working with a
limited palette
n How to tackle the
complexity of a
coastal scene
n Quick and lively
figure sketching
Becky Samuelson Gull, soft
pastel, 514⁄ x7in. (13x18cm). Becky
NEWS, HOLIDAYS & SPECIAL OFFERS n Step-by-step winter tests Rembrandt Artists’ soft pastels
wonderland scenes next month
41 Join Pamela Kay painting in the Low Countries
n How to use and mix
52 Choose from special Christmas gift packs when you LEISURE PAINTER
subscribe to Leisure Painter this month
warm red earth
62 Take advantage of special offers on practical art books Issue On sale
n Look out for the entry February 30 December
when you buy from our bookshop at PaintersOnline
details for LP’s Open March 27 January
73 Win a Rembrandt Artists’ pastel set from Royal Talens competition and the April 24 February
worth £375 and paper from Exaclair worth £25 Art Club of the Year May 24 March
competition 2017 June 21 April
75 Join Peter Brown painting in Vietnam July 19 May
n and lots more....

48 Welcome visitor
Try this step-by-step watercolour portrait of a long
tailed tit, by Paul Hopkinson

54 Confident clouds
Develop your watercolour skills and experiment
with colour as you paint wet-on-dry clouds, with
Becky Samuelson

56 White on white
Explore tonal nuances in your paintings as you
set up and paint a still life, with Paul Alcock

60 What shall I paint?

Part 12 To conclude her 2016 series, Linda Birch
discusses sgraffito, Chinese brush painting and
Artists’ felt-tip pen techniques
Julie King A Winter’s Walk, watercolour, 11x15in. (28x38cm). Follow
Julie step by step as she uses a variety of watercolour techniques DECEMBER 2016 5

on order P I N
s over G
Mainla £4*0 t o UK


*See our shipping policy for full details.

in partnership with
Patchings Art Centre

ENTRIES We are looking for the best work from amateurs in
the Leisure Painter category and from experienced and
professional artists in The Artist category. Selected works
from each category will be exhibited at Patchings Art Centre C all for our
in two separate galleries, opening on the first day of the
2017 Patchings Festival of Art, Craft & Photography
latest catalogue!
on July 13 until August 20, 2017
Tel: 01204 690 114 Email:

tapc-advert-0816.indd 1 12/09/2016 16:11:11

Image courtesy of 2016 prizewinner Regina Pac


Over 40 individual prizes will be awarded to selected artists
in both exhibitions comprising:
n £5,000 The Artist Purchase n £500 Great Art Awards
Prize Award selected by guest n £2,600 Leisure Painter Award
judge Ken Howard OBE, RA
n £100 Leisure Painter Highly
n £1,700 The Artist’s
Commended Award
Exhibition Awards
n £450 Patchings Award
n £100 The Artist Highly
Commended Award n £600 Premium Art Brands

n £450 Batsford Awards

n £300 Pro Arte Awards
n £600 Canson Awards
n £1,000 Royal Talens Awards
n £500 Caran d’Ache/
Jakar Awards n £500 Sennelier Awards

n £500 Clairefontaine Awards n £600 St Cuthberts Mill Awards

n £900 Derwent Awards n £400 Winston Oh Award




p06_lp_dec16.indd 6 21/10/2016 14:08:44

LP December 2016 Diary p7_News 1st 20/10/2016 09:42 Page 6


Prize winners
Sunday Times
London-based artist, Kathryn Maple, has been awarded the first prize of
£10,000 at this year’s Sunday Times Watercolour Competition for her
work Sandy Shoes – an exuberant painting of the shapes and colours of
the Vypin Islands in Southwest India. An exhibition of winning works can
be seen at the Guildford House Gallery, 155 High Street, Guildford from
10 December until 28 January 2017. For details of all the prize winners
go to

Agim Sulaj with his prize-winning work, Refugees,


graphite, 67x59in. (170x150cm), at the Derwent Art Prize

award ceremony, Mall Galleries, London

Derwent Art Prize

The Derwent Art Prize is an open competition
for international artists that rewards
excellence by showcasing the best work
created in pencil. Rome-based artist, Agim
Sulaj has been awarded this year’s first prize
for his painting Refugees (above). Second prize
goes to Essex-based artist, Lee Wagstaff for Evil
and third prize to Tim Wright from London for
Helen Schone 14. View all the selected works
online at

In the frame

Julie Maguire Master of Disguise, coloured pencil,


141⁄4x173⁄4in. (36x45cm) – winner of the Leisure Painter

People’s Choice Award at this year’s Leisure Painter
Open Competition at Patchings Art Centre

Leisure Painter
People’s choice
Julie Maguire has been awarded the Leisure Painter People’s Choice
Award at this year’s Leisure Painter Open Competition for her work,
Mick Manning Lurcher Pup, stencil print,
Master of Disguise (above). Largely self-taught, Julie’s favourite medium
121⁄2x21in. (32x53cm)
is coloured pencils, which she says “are easy to work with, create no
mess and are quick to put away – three important points for a full-time St Jude’s in the City
housewife and hardworking mum with three children and a husband.” Explore the craft of printmaking with
Julie explained how she took photographs of the greyling in the limited-edition prints, collages, wooden
butterfly forest at Twycross Zoo. “I was keen to use black Stonehenge as cut-outs and box constructions at the
the support, but maintain the Derwent Inktense coloured pencils in Bankside Gallery, London from 23
their dry form.” Julie has won several awards and has exhibited at November until 4 December. The
venues in Birmingham, London, Frodsham, Nottingham and Somerset. exhibition brings together work by a
To see more of Julie’s work go to variety of distinguished printmakers,
Julie wins a selection of Search Press books to the value of £150. Visit including Angie Lewis and Peter Green. Visit DECEMBER 2016 7

LP December 2016 Exhibitions p8-9_Layout 1 20/10/2016 09:48 Page 2


n Messum’s
28 Cork Street W1. 020 7437 5545.
‘Rose Hilton 2016’: featuring nudes, interior
studies and marine landscapes that reveal
the artist’s quest for new ways to express
tone, colour and geometry, until 11
n National Gallery
Trafalgar Square WC2. 020 7747 2885.
‘Beyond Caravaggio’, continues until 15
January 2017.
n The Queen’s Gallery
Buckingham Palace SW1. 020 7766 7301.
‘Portrait of the Artist’: focusing on images of
artists in the Royal Collection, including self-
portraits by such painters as Rembrandt,
Rubens and Hockney as well as portraits of
artists by their friends, relatives and pupils,
4 November to 23 April 2017.
n Royal Academy of Arts
Piccadilly W1. 020 7300 8000. ‘Abstract
Expressionism’: exploring the movement
through the art of some of the most
celebrated artists of the past century
including Pollock, Rothko, de Kooning and
Kline, as well as lesser-known figures who
contributed to the movement, until 2
January 2017.
n Tate Britain
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
Tom Roberts Allegro Con Brio, Bourke Street West c.1885-6; reworked 1890, oil on canvas, 20x301⁄4in. War to post-war landscapes, until 5 March.
(51x77cm) ‘Turner Prize 2016’, until 8 January 2017.

Australia’s Impressionists REGIONAL

Discover Australia’s Impressionist painters at this major exhibition at the National n TheBeaney House of Art
Gallery, London. Showcasing the work of Australia’s four major exponents of & Knowledge
Impressionism – Tom Roberts, Arthur Streeton, Charles Conder and John Russell, 18 High Street, Canterbury. 01227 862162.
the exhibition shows the unique quality of the work, which is quite distinct from ‘Grayson Perry: The Vanity of Small
its French and British counterparts. A programme of talks has been organised to Differences’, six large tapestries explore
coincide with the exhibition. the British fascination with taste and class,
Australia’s Impressionists at the National Gallery, Trafalgar Square, London from until 4 December.
7 December until 26 March 2017. Visit n Fitzwilliam Museum
Trumpington Street, Cambridge. 01223
332900. ‘Colour: The Art and Science of
Illuminated Manuscripts’, continues until
30 December.
LONDON n Gallagher & Turner
n Dulwich Picture Gallery n Mall Galleries 30 St Mary’s Place, Newcastle upon Tyne.
Gallery Road SE21. 020 8693 5254. Trafalgar Square SW1. 020 7930 6844. ‘Faces 0191 261 4465. ‘The North East’s Changing
‘Adriaen van de Velde: Master of the Dutch of Ebola’: portraits of Ebola survivors and Industrial Landscape’: paintings by Richard
Golden Age’, featuring 60 works by this those who cared for them by Tim Benson, Hobson (1945-2004), continues until 19
17th century Dutch landscape painter, the following his on-going residency in Sierra November.
Leone, 7 to 13 November. ‘Splash! RI
n Harbour
exhibition explores his painting process House
from conception to completion, until Watercolour Auction’: a special fundraising
exhibition and silent auction by members The Promenade, Kingsbridge, Devon.
15 January 2017.
of the Royal Institute of Painters in Water 01548 854708. ‘Yellow’: open art exhibition
n Llewellyn Alexander Colours (RI), 8 to 13 November. ‘ING featuring a wide range of work by local
(Fine Paintings) Ltd., 124-126 The Cut, Discerning Eye Exhibition 2016’: featuring artists in response to the theme of yellow,
Waterloo SE1. 020 7620 1322. Landscapes small works independently selected by six until 12 November. ‘Make Space’: Rosie
in oil by Mary Pym, until 16 November. prominent figures in the art world, resulting Burns is artist in residence, 17 to 26
‘Christmas Exhibition 2016’: including oil in six smaller exhibitions within one, November. ‘Present Maker’: annual
paintings by Pamela Kay and watercolours 16 to 27 November. ‘Royal Institute of Oil Christmas exhibition of arts and crafts by
by Lisa Graa Jensen, Geoffrey Wynne and Painters’: annual exhibition, 30 November members of the South Hams Arts Forum,
John Yardley, 22 November to 7 January. to 11 December. 29 November to 11 December.


LP December 2016 Exhibitions p8-9_Layout 1 20/10/2016 09:48 Page 3

A painter’s travels t
Peter Brown Over Pulteney Bridge, The Day Grayson Perry Came to Town, oil, 12x16in. (30.5x40.5cm)
Over 100 new oil paintings and
drawings by popular artist, Peter – Pete the Street. “The thread in all my positively glisten with life.
Brown, will go on show at the painting,” he says, “is an interest in Peter Brown: A Bath Painter’s Travels
Victoria Art Gallery in Bath this light. I relish the variety of our British at the Victoria Art Gallery, Bridge
winter. The exhibition will feature climate and dramatic changes in the Street, Bath from 3 December to 19
works from Peter’s travels to Arles, weather. When it rains the whole February 2017. Peter will give a talk
Dublin, Granada, London and composition’s transformed and when and book signing at the gallery on
Seville, but will concentrate mainly you get a really good heavy rain I have Saturday 3 December between
on views from his home town of very limited time to actually get the 11.30am and 12.30pm. Entry is free
Bath. Peter paints en plein air – in paint on. I stop when I’m absolutely with an exhibition ticket. For more
all seasons and in all weathers – a soaked through.” It’s this commitment information telephone 01225 477233
practice that has led to his nickname to his art that makes his paintings or visit

n The John Russell Gallery n The Michaelhouse Centre n Royal West of England Academy
4-6 Wherry Lane, Ipswich, Suffolk. Trinity Street, Cambridge. 01223 309167. Queens Road, Bristol. 0117 973 5129.
01473 212051. Recent acrylic paintings by ‘Cambridge Envisaged’: works by local ‘164th Annual Open Exhibition’, including
Sarah Cannell, until 19 November. artists, Peter Corr, Paul Janssens and selected work by local, national and
n Lincoln Joyce Fine Art Caroline Forward, that feature aspects of international artists, until 27 November.
40 Church Road, Great Bookham, Surrey. Cambridge, 7 to 19 November.
n The Wilson
01372 458481. Paintings by Alistair Butt and n Middlesbrough Institute of
Chris Forsey, until 19 November. Clarence Street, Cheltenham. 01242 237431.
Modern Art ‘The Last Word in Art’: works by key 20th
n Mariana-Art Gallery Centre Square, Middlesbrough. 01642 century and contemporary artists, such as
East Street, St. Briavels, Gloucestershire. 931232. ‘Liberation of Colour’: paintings Tracey Emin and David Hockney, exploring
01594 530484. ‘Art-Art’: animal paintings by by Winifred Nicholson, 22 October to the relationship between images, words
Mariana Robinson, Mark Jenkins and Alison 12 February 2017. and ideas, until 8 January 2017.
Lingley, 27 November to 12 December.
n The Mercer Gallery
Swan Road, Harrogate, North Yorkshire. All information given here is correct at the time of going to press, but you are
01423 556188. ‘Eileen Cooper RA: Hide and advised to check details and opening times with the galleries prior to your visit
Seek’, featuring drawings by Eileen Cooper, in case of unavoidable alterations to their exhibition schedules
until 15 January 2017. DECEMBER 2016 9

LP12 ArtClubCall_new2017_Layout 1 19/10/2016 15:58 Page 1

in association with
Patchings Art Centre &
Jackson’s Art Supplies Pro Arte's
all round

ART CLUB best seller

Stocked by

of the Year

all good
art shops!

CM Everywhere



A ll UK art clubs are invited to submit a total of five two-
dimensional works that you feel represent your club
along with a written profile, including details of your club’s
history, members and activities. We will select ten clubs to
exhibit their five entries at the Patchings Art, Craft & Pro Arte, Park Mill, Brougham Street, Skipton, BD23 2JN
Photography Festival (July 13 to 16, 2017) and throughout Tel 01756 792929 • Fax 01756 790909
the rest of July at Patchings Art Centre. •
An overall winner and two runners up will be selected by
well-known artist and tutor, Hazel Soan, and visitors will be
asked to vote for their favourite club for the People’s
Choice Award. All work entered will also be featured on
our website at

We are delighted to announce exclusive sponsorship
by Jackson’s Art Supplies
of Jackson’s art materials £250 worth of Jackson’s
vouchers, a sponsored art materials vouchers
demonstration at the for each club
selected club venue by
a professional art tutor l PEOPLE’S CHOICE
and a profile about the AWARD £100 worth
club published in our of Jackson’s art
magazines, online at materials vouchers
PaintersOnline and for the club with the
through our social media most public votes

A Bath Painter’s Travels
JUDGES 3 December 2016 – 19 February 2017
Hazel Soan, artist and tutor Sally Bulgin, editor VICTORIA ART GALLERY
Liz Wood, artist, tutor and The Artist By Pulteney Bridge Bath BA2 4AT
co-owner of Patchings 01225 477233 • • Daily 10.30-5.00
Ingrid Lyon, editor
128-page catalogue £15 + £3 p&p • All works for sale
Art Centre Leisure Painter

See next month’s issue for Peter Brown Viridian parasol ice cream
seller Milsom Street 2016 (detail)
full details and how to enter

10 DECEMBER 2016

p10_lp_dec16.indd 10 21/10/2016 11:22:25

december letters_News 1st 24/10/2016 13:26 Page 11

Letters late 1970s, the late Nancy Kominsky

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

TIPS AND QUESTIONS Use your talents

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

Learn from others

In recent months I have helped to
organise two local events where art
works completed by various disability
groups have been exhibited. The artists
Acrylic over water-soluble oil Pat Ryder Needham Lake, pen and wash, 51⁄2x8in. were all adults with some kind of
(14x20cm). It was a very hot day when I made this disability, including Down’s Syndrome,
I attended a workshop where I did an sketch so it was completed in 20 minutes using a
underpainting using water-soluble oils. black rollerball pen, an Artists’ watercolour half- Cerebral Palsy, Alzheimer’s and many
I do not wish to continue with this pan set and a No. 16 watercolour wash brush. I other conditions.
painted on a spiral pad of cold-pressed watercolour These artists have little technical
picture. Will it be possible to recycle paper. It’s not a masterpiece, but it was good
the canvas board by painting over with practice. knowledge of painting, but the work
gesso then using acrylics, which are my they produced has been sensitive,
preferred medium? space and make it back into a bedroom. expressive, free, and often very vibrant.
Kate Rook This has been a painful and exhausting They paint without inhibition and
process, but I have learnt from it. First, enjoy the process. I think this is what
Tony Paul replies: You have two options. sometimes less is more, as I had Monet advised us to do when he said:
If the colour has not dried, wipe it off forgotten just what treasures I had, Don’t worry about the outcome – enjoy
with warm water with a little washing- which were buried away. the process.
up liquid in it. Don’t saturate it. You More importantly, however, only At an opening of the latest exhibition
may end up with the ghost of the image, keeping out the minimum of equipment by a disability group called Open Arms,
but the gesso will cover that. has encouraged me to focus on simpler we sold ten paintings, which amazed us
If the paint is dry, it is not advisable to activities and I have been sketching all. I am wondering if we should take a
gesso over until a good few months have outdoors with a pen and a few leaf out of their book and put aside the
passed, longer if you’ve used impasto. watercolours (see Needham Lake, above). analysis sometimes – just take up the
Even then, after gessoing I would keep it I have discovered that using a pen, not brushes and let go.
as a practice panel and not for serious pencil and eraser, has freed me up and Marlene Griffin
painting, as the overlaid gesso may not I have been really pleased with some of
adhere properly to the oil paint the sketches I have produced. I still can’t
underneath, resulting in flaking. wait to move, unpack and rediscover all
Send your letters to
my treasures, but have learnt that
Leisure Painter, 63-65 High Street,
Less is more drawing outdoors can be really enjoyable
Tenterden, Kent TN30 6BD.
I am a keen amateur artist and have when you aren’t carrying enough
Alternatively, email the editor at
been fortunate enough to be able to materials to stock a small art shop!
use our smallest bedroom as an art Pat Ryder
All letters published here win art
room. I have collected so much
materials, courtesy of Daler-
material over the past few years and Inspiration from the past
Rowney. For details of all
filled the room to overflowing. Now I read Carole Wood’s letter about help
Daler-Rowney products visit
I am moving house and in order to sell with using oil pastels (Leisure Painter,
it, I have had to clear out this small August issue) and remember that in the DECEMBER 2016 11

LP12 12-15 Extract_Layout 1 21/10/2016 11:20 Page 12


Loose and lively flowers

How to simplify ray and pompom-shaped flowers to paint easy
and effective studies that burst with life, by Claire Waite Brown

A nyone who has drawn or painted

flowers will have discovered how
challenging it is to capture their
colour and beauty. A successful flower
painting should depict the essence of
expressionistic line and colour.
Watercolour is the perfect choice of
medium for rendering the beauty and
fragility of flowers and their vivid or
delicate colours, and the aim here is
The ray shape is a simple disc seen as
an ellipse when viewed at an angle, but
pompoms are more varied, with a mass
of small petals that spiral from a tight
centre to form a dome or even in some
the flower – its shape, texture and to show you how to paint ray and cases a globe shape.
colour – as well as intangible qualities pompom-shaped flowers, using a range In each case, treat the flower as a
such as freshness and scent. Some try to of different watercolour techniques and whole rather than a cluster of individual
pin down the spirit of a flower in formal paint mixes. These flower shapes are petals.
botanical paintings, while others aim to based on a circle, with petals radiating Having formed the basic shape, pick
express ephemeral spirit through more outward like spokes on a wheel. out a few petals to paint in detail.

Painting ray-shaped flowers

Drawing the shape The back view


of an English daisy reveals how the

stem, calyx, and flower head fit
together, with the base of the petals
springing from a central point.

Side view

Viewed from
the side, you
can see that
the petals
are more
elongated at
the top and
than in the

Front view From almost
face-on, the flower head presents
a flattened dome with a small
sphere of tight petals in the centre
following the line of the stem

12 DECEMBER 2016

LP12 12-15 Extract_Layout 1 21/10/2016 11:20 Page 13


Ray structure Pompom structure (below) are rolled lengthwise into

The full face-on view of the sunflower Some pompom-shaped flowers, such quills. In spite of the seeming disarray
(below) illustrates the ray principle as this allium (bottom), feature many of the petals, which point in different
perfectly and demonstrates how shadows tiny flowers to one head. Think of directions, the form of the flower is a
give it form. Each petal is firmly anchored pompoms as geometrical globes and faultless sphere. The overall shape of
to the centre. When turned, the circle add details in the later stages. pompom flowers must always be kept
becomes elliptic. The stem and calyx in mind, with the feeling of roundness
need to be joined to the flower centre Perfect sphere apparent even when many of the petals
back, and the centre becomes domed. The long, thin petals of this dahlia create their own light and shade. LP DECEMBER 2016 13

LP12 12-15 Extract_Layout 1 21/10/2016 11:22 Page 14


Demonstration 1 Carnation (ray) Demonstration 2 Sunflower (ray)

t Colours used t Colours used

Lemon yellow Permanent rose Lemon yellow Indian yellow Raw sienna

Bright red Alizarin crimson French ultramarine Burnt sienna Burnt umber Dioxazine violet

1 Paint a faint
lemon yellow tinge
on the upturned
petals. Add a mix of
permanent rose and
bright red as the first
wash. Allow the
paint to pool on
the lower edges.
2 Add a mixture
of alizarin
crimson and
bright red to the
deeper petals. Tip
the paper to allow
the paint to settle
around the spiky
edges of t 1 Wash a mix of lemon
the light petals. yellow and Indian yellow into
each petal. Add water to push
the paint to the edges.
2 Mask out the highlights on
the flower centre. Use Indian
yellow and raw sienna to
darken parts of the petals.

3 Continue
adding darker
paint to areas away
from the light, tipping
the paper to form
crinkly edges. The
deepest colours are
an alizarin crimson
and bright red
mix, and alizarin

3 Dampen the flower

crimson with centre and apply a wash
a touch of of Indian yellow and
ultramarine. burnt sienna. Remove the
masking fluid and, as the
paint dries, add burnt
umber to the darker parts
and a burnt umber and
dioxazine violet mix to
the darkest areas. As this
dries, wash dark paint
into the shadow areas
of the petals.

14 DECEMBER 2016

LP12 12-15 Extract_Layout 1 21/10/2016 12:42 Page 15


Demonstration 3 Allium (pompom) Demonstration 4 Scabious (ray)

t Colours used t Colours used

Permanent mauve Cobalt violet Cobalt blue Permanent rose

Burnt sienna Olive green Cobalt green Cobalt green

1 Begin by masking the
stamens with masking fluid.
Paint a delicate wash of cobalt
Cadmium yellow Dioxazine violet Sap green
blue mixed with permanent
rose onto the petals. Drop in
water to push the paint to the
petal edges.

1 Mask off some of

the nearest spidery star
shapes, then use a fine

brush and a fairly dry 2 Add a darker wash of the
permanent mauve and same colours to the deeper-
cobalt violet mix to toned areas and shadows. Dot
paint a network of fine a pinker mix into the central
lines radiating out from dome and surround
the floret centres. this with cobalt green.

3 Remove the masking


2 Using a darker mix fluid, then use various

of the same colours, plus mixes of cobalt green,
small touches of burnt and phthalo blue for
sienna, build up more the leaves and buds.
star shapes, concentrating
colour in the centre of
the sphere shape.

3 Weave olive green These demonstrations were adapted

into the centre. Add from The Watercolour Flower Artist’s
strong permanent mauve Bible, edited by Claire Waite Brown
to build depth. Remove the (2016, Search Press, £12.99). Save £2
masking fluid and paint the when you buy from Leisure Painter’s
star centres in cadmium yellow, bookshop at www.painters-
emphasising with dioxazine violet. and follow the
4 Paint the stem in sap green, links to books. Quote code DEC16
with olive green for the shadow. to claim your £2 discount. DECEMBER 2016 15

LP12 15-17 PP2_v2_Layout 1 21/10/2016 11:28 Page 16


Painting project
Part 2 Follow Jem Bowden as he paints an autumnal scene comprising water,
trees and a swan from a photograph to create a fresh, loose watercolour

I n the first part of this painting project

last month I discussed how to
combine a photograph with sketches.
Using artistic licence I took the best
aspects of both to create an improved
always need to consider the best way to
break down the painting into stages. This
involves working from light to dark,
considering the highlights and judging the
best colours and tones to represent the
the lightest areas – the swan and clouds –
contain pure white. All else falls between
the two extremes.
Planning and painting one stage at a
time will help you to paint confidently
composition, which gave me a sound light effect you want to convey. You can and not mess about too much. This
foundation on which to base a painting. see from the photograph (below) that the is the way to produce fresh, clean-
Before you put paint on the paper, you shadowed areas contain strong darks, and looking watercolours. LP

The Pond in Autumn

You will need

n Surface
l Bockingford 200lb
NOT watercolour
paper, taped down on a
board with masking tape
121⁄2x201⁄2in. (32x52cm)
n Artists’ watercolour
l French ultramarine
l Winsor blue
(red shade)
l Burnt umber
l Raw umber
l Light red
l Indian red

n Brushes
l Large wash
brush – squirrel t
Your reference material: the cropped photograph that introduced last month’s project
hair mop or
l Medium synthetic
Round brush
with a good
point Nos. 12 to 14
n Miscellaneous
l Palette with large
mixing areas
l Scrap paper
for testing
l Soft pencil (8B)
l Soft putty rubber

The finished sketch, laying out


composition and tonal values

16 DECEMBER 2016

LP12 15-17 PP2_v2_Layout 1 21/10/2016 12:47 Page 17

Step 1 t Step 2

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

LP12 15-17 PP2_v2_Layout 1 21/10/2016 11:32 Page 18


Demonstration continued

t Step 3
1 Now define the trees, using a mix of surface. Try this
browns; some parts have more pink, technique on scrap
some maroon. The shaded woodland and paper first, with
tree trunks are purple blue. These colours some marks wetter
are all mixed from differing amounts of and some using
French ultramarine, Indian red and burnt dry brush. This
umber. simplifies the
This detail shows the quick sideways ‘dragged’ brushmarks
2 The light is coming from the right so painting of foliage
use the cooler colour particularly on the so you’re not I used for the tree foliage. Branches were painted with the
shaded left-hand side. Note from the attempting to pointed tip of the brush.
photo and sketch that some of our darkest paint every leaf
tones are here so your mix needs to be individually (see
quite thick. detail photograph, above right). background grasses between the trees;
3 To suggest the sparse autumnal leaves 4 Use negative painting in the ground their top edges are described by painting
drag the side of the synthetic brush foliage. This is where you paint a darker tone the darker trees above them, while the
quickly over the paper, just catching the around a shape to define it. Look at the underlying wash provides the colour.

18 DECEMBER 2016

LP12 15-17 PP2_v2_Layout 1 21/10/2016 11:33 Page 19

Step 4
1 Reflections in water often take on the
colour of the water itself to some extent,
and I’ve enhanced this by choosing quite
a strong brown of burnt umber, with
ultramarine and raw umber to vary it.
Starting at the top, work downwards using
horizontal marks to suggest ripples on the
surface as well as the reflected shapes of
the trees. The less is more rule is evident
here and don’t worry too much about
achieving a mirror image; water does
the strangest things.
2 For the nearer reeds and their reflections
try using vertical swipes of the brush,
wiggling a few just a little in the water.
Let’s say the water here is a bit stiller.
Aim to preserve some white paper where
the reeds are catching the light.
3 The swan is also painted at this stage, and
the strong dark shadow on the grass to the
left of it. Use ultramarine for the swan itself,
quite strong to give a good sense of the shade
and light, adding burnt umber for the darkest
accents around its belly, neck and head. 3 Leave the painting for a while. On
returning with fresh eyes you’ll be able Jem Bowden
to see where it needs final attention. Jem is an award-winning watercolour
t Step 5 At this stage I added the reeds poking artist and tutor. He provides demonstrations
1 Mix a large blue wash using ultramarine up in the foreground and more detail and workshops for art groups, gives one-to-
with a little light red. on the grasses left of them. I also tidied one tuition, runs weekly classes and tutors
2 Once the reflections are completely dry, up the shapes of the trees, and added on painting holidays. His next painting
quickly paint over the entire area the distant birds, which are really just holiday is in the Wye Valley in watercolour, 9
of water with this wash, using your large tiny marks. to 14 July 2017 with Alpha Painting Holidays
wash brush. Start with a pale mix at the 4 You may find that your painting at ( Email
top of the water and add more colour this stage will need something a bit or visit
towards the bottom. Stroke the brush over different, or it may not need anything. and
the area gently and once only so the paint Always resist the temptation to fiddle
underneath isn’t raised from the paper. if the job is done!

The finished painting The Pond in Autumn, watercolour on Bockingford 200lb NOT watercolour paper, 1212⁄ x2012⁄ in. (32x52cm) DECEMBER 2016 19

LP12 00-00 Milne_Layout 1 21/10/2016 11:40 Page 20


Produce your own Christmas cards this year by working with
Judith Milne and these studies of a popular seasonal theme, holly


Holly Studies, pencil on smooth cartridge paper, 6x814⁄ in. (15x21cm)

A s Christmas draws closer,

our thoughts turn to all things
associated with the season and
its traditions. Evergreens featured as
decorations in homes and shrines of
hope will inspire you to take the first
steps in producing your own cards.

Your subject
Holly (ilex) is universally symbolic of
nearer ground level, produced
to protect the tree from animals.
Green and shiny surfaces are always
a challenge to produce so why not
follow my tutorial and work up your
pagan people at this time of year, as Christmas with its characteristic dark, own Christmas card, giving a lovely
their continuing greenness was a sign shiny, spikey leaves. The flowers are surprise to friends and family.
of life in the winter, when other plants insignificant, but the bright red berries
were dead. Holly, ivy and mistletoe of winter create contrast against the Drawing your subject
also bore fruit at this time. Evergreens rich green foliage. It is at this time Let’s begin by looking at the leaves
were used as Christianity developed that we need to capture them in paint, and their habits. Holly Studies (above)
and people looked for Christian especially before the birds eat them. were worked on smooth cartridge
meanings in these plants. It is thought The leaves are noted for their dark paper, using an F pencil, which gave
that the English word holly derived green, glossy, oval shape and sharp a fine line. Working from the central
from the word holy. needle-like protuberances, with vein in each case, I drew the twisted
As painters we often look towards undulating surfaces, thick and leathery shapes, showing the surface
designing our own greetings cards for with a slightly pitted surface. There are undulations and needle-like points.
family and special friends, especially many varieties of holly, some of which A The shading was gradually built up
at this season when they are welcomed are variegated with different colour and following the contours. The leathery,
with delight as a personal greeting. pattern combinations. shiny surface is slightly dimpled so
For this article, therefore, I have chosen Some species have smooth edges and highlights were strongly contrasted
holly as my subject, and will show you can be found at the top of the tree, and showed the pitted pattern.
different methods of working, which I whereas more spikey ones are found B Here is a foreshortened view,

20 DECEMBER 2016

LP12 00-00 Milne_Layout 1 21/10/2016 11:40 Page 21



For all my botanical studies I work to
the actual size of the plant and in so
doing can make an accurate comparison
of shape and perspective. Although a
watercolourist, I also favour pen and
ink, as I love to draw. If you use ink,
you do need to be confident, unless you
place pencil guidelines before adding
pen marks.
Normally I use smooth paper, such
as Bristol board or a good quality
cartridge. If I intend to add a wash,
I work on NOT or HP surface watercolour
paper. It is worth noting, however, that
this surface does alter the pen marks,
as the pen does not travel as
smoothly over the textured surface.
The grouping of leaves and berries
on this sprig (right) made a good
composition, and I placed it off centre
and at a slight angle. Using a 0.1
waterproof drawing pen, I outlined the
shapes, depicting the double edge to the
leaves, central and lateral veins. The
marks you make in pen and ink should
be dictated to you by your subject
matter and due to the delicacy of the
plants, it is advisable to use stipple to
build up tonal values. Stipple is time-
consuming, but sympathetic to plant
forms; varying the amount of stipple
conveys the depth of tone and form.
Note that the highlights on the berries
do not appear in the same place on each
berry. Close observation on all details is t
Holly Study, pen and ink
important to create a convincing image. drawing, 9x814⁄ in. (23x21cm)

I added the wash over my pen drawing


(above) to produce this Christmas card in

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

showing the character of the leaf.

C This linear drawing takes another view
of the irregular shape. The light green
edge of this variety has been depicted.
D The under surface of the leaf displays
the proud central vein and hollowing
along the lateral veins. In a strong
contrast to the upper surface the
colour is matt and olive or sap green.
Above and over the page are exercises
using ink and watercolour for you to try,
and a photograph of holly, which I hope
will inspire you to paint your own version
for this season’s greetings cards. LP

Judith Milne
To find out more about Judith’s work,
please visit or
t DECEMBER 2016 21

LP12 00-00 Milne_Layout 1 21/10/2016 11:41 Page 22


t Holly, Golden King (F), watercolour EXERCISE 1 Holly, Golden King

on Saunders Waterford Rough paper, Holly, Golden King was worked in watercolour on Saunders Waterford Rough
6x4in. (15x10cm) paper. I laid a wash of sap green on the central vein and lateral veins. In this
variety the leaf edges are a golden green so I mixed sap green with green gold
for this area then added warm sepia to the mix for the slightly shaded area
on the right. Perylene green was a good match for the dark, shiny patches.
Initially I laid a dilute wash of perylene green, but while still damp,
dropped in stronger pigment to give the shape and tone of the leaf. With
a stipple action I added deeper colour to define the hollows and the veins
to the slightly irregular surface. This paper responds well to the wet-in-wet
technique, which gives the gradation of tone on the curved surface between
the lateral veins. Initially I used a No. 6 brush for the washes then reduced
the size down to a No. 3 for the remainder of the life-size painting.


+ =

gold +
sap green
+ =


EXERCISE 2 Holly, Silver Queen t Holly, Silver Queen (M), watercolour

Holly, Silver Queen shows a much lighter edging on Saunders Waterford NOT paper,
to the variegated type. To achieve the right hue 4x4in. (10x10cm)
I mixed lemon yellow and Naples yellow and laid
a wash around the leaf edges. As with all holly
leaves, they are thick and leathery so you will
see the thickness which shows where shadows
fall. The shiny surface catches the light so there
is strong contrast between light and shade with
the convoluted surface.
Some areas showed white so I dropped clear
water on these places, before feeding in dilute
perylene green then adding more pigment until
I achieved the depth of tone I required. I allowed
my brushstrokes to follow the contours to
emphasise shape and form.
For the hollows and shadow areas on the
yellow edging, I added Davy’s grey to the yellow
mix. The lateral veins were hardly visible, but
I suggested them by negative painting in the
final layer of paint. This leaf was worked on
Saunders Waterford NOT paper. The paper is
very responsive to wet in wet, but obviously in
a controlled manner, as the painting is small.

+ =

yellow Sap green Perylene Green Davy’s grey

22 DECEMBER 2016

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EXERCISE 3 Ilex Aquifolium t Ilex Aquifolium, watercolour

Ilex Aquifolium is dark green in colour with on Canson Moulin du Roy HP

a sap green edging. It is very shiny so there paper, 4x5in. (10x12.5cm)
is strong contrast where the light catches the
uneven surface. As I chose a more detailed
approach, I used a HP Canson Moulin du
Roy paper, which is recommended for
detailed studies. There is no tooth so the
paint sits on the surface and can easily
be lifted off, which is ideal for creating
highlights. The light outline was drawn
with a F pencil, before laying sap green
along the edges and central vein.
For the base colour I used a light mix
of olive green and French ultramarine,
deepening with more pigment for the darker
tones. I added indigo to the mix for the
darkest areas, sometimes using a stipple
action to capture the irregular surface.
Finally, using a small nylon brush, I lifted
off some of the paint in the centre of the
highlights. Except for the initial wash, I used
a No. 1 sable brush, gradually building up
the required layers with an almost dry brush
until I achieved the desired colour balance.

Olive Indian
green yellow

+ = + =

French Indigo

The painting for this Christmas card measured 912⁄ x7in. (24x18cm).

This image in watercolour was designed specifically as a card and

was painted on Arches 140lb NOT paper to the actual plant size, but
was reduced in reproduction to 7x5in. (18x12.5cm). I used the same
painting techniques as in the other examples you see here. Note the
variety of greens on the leaves, varying as they twist and turn in the
light. The highlights on the shiny berries catch the light as their
position on the stalk changes.

Reference photograph of a further variety of holly.
Notice the different markings. DECEMBER 2016 23

LP12 24-26 Paul colour v3_Layout 1 21/10/2016 11:58 Page 24

Back to basics

Understanding colour
Part 13 How to use the yellow earths in your palette, by Tony Paul

T he yellow earths were the first

yellows known and used by man.
They are still used today, millennia
later. There are thousands of variants
available, broadly grouped into two types:
metallic elements, such as manganese,
copper and aluminium, mean the
resulting pigments offer a wide range of
subtle and utterly beautiful earth colours.
The natural yellow ochres are classified
earth yellows, often named Mars yellow,
are labelled as PY42. The Mars earth
colours are sometimes accused of being
bland, lacking the attractive idiosyncrasies
of those taken from the ground. To create
ochres and siennas. The ochres are with the name pigment yellow PY43, the darker tone of raw sienna, a Mars red
composed by the reaction of water on while the natural siennas are labelled pigment PR101 is often added to Mars
iron rich clay and/or chalk, creating pigment brown PBr7. The downside of yellow. Commercial production of
a more opaque pigment. The siennas, these natural pigments is that their colour synthetic earth yellows began in the
again clays, bear a greater amount can be inconsistent. This makes it difficult mid 1800s.
of silica, which renders them more for a large manufacturer to maintain their To these two types of earth colours
transparent. The raw and burnt siennas specimen colour from batch to batch, and I will add one whose origins came from
were named after a primary source of the often if you look on the tube at the notes the mouth of a volcano. This dull yellow
earth pigment found near Siena in Italy. of pigment used, there may be more than was found on the slopes of Vesuvius and
The natural ochres and siennas are the PY43 or PBr7, because they have to used in oil painting, particularly for
literally dug up, washed and filtered to add small amounts of other colours to portraiture and for warming blue skies
remove impurities and any vegetation achieve the text book hue. without turning them green. The original
matter then ground to give an acceptable Increasingly, the earth colours are being Naples yellow pigment PY41 is rarely
particle size. Their varying natural sources synthesised, assuring consistency and used nowadays, replaced by hue colours
and the influences of traces of other increased tinting power. The synthetic because it is a very heavy pigment

Seashore, Winter: a Ghost Haunted, oil on canvas, 8x10in. (20x25.5cm). Yellow ochre was used, darkened slightly with burnt umber for
the beach and, lightened for the walls of the buildings on the right. The promenade was scrubbed in thinly then the sky colour scumbled
over the top to create a translucent effect.

24 DECEMBER 2016

LP12 24-26 Paul colour v3_Layout 1 21/10/2016 11:59 Page 25


Daler-Rowney Artists’
watercolour yellow
ochre PY42

Winsor & Newton

yellow ochre PY43

Winsor & Newton

golden ochre PY42

Atelier Interactive
acrylic yellow ochre

comprising lead antimoniate, which tends

to separate out from its binder in the tube.


(Mars yellow PY42)
This is a subdued yellow that has a
greenish or tan bias depending on its
source. One of the bread-and-butter
colours in the palette, it is good for
subduing greens and oranges. It is
probably of more use in oil, pastel and
acrylic than in watercolour, where it tends
to be difficult to work in washes and can
be streaky. Its colour is similar both in
mass and in dilution.
Lightfastness ASTM D45302, Class I,
excellent lightfastness.
Colour bias Towards green or tan.
Transparent/opaque Semi-opaque.
Tinting strength Low.
Staining No.
Music at Phillips House, watercolour, 22x15in. (56x38cm). Raw sienna was the yellow
Watercolour It is useful more for mixing earth used throughout this watercolour. The unmixed colour can be seen on the upper
rather than in solo use. Its opacity can extreme right wall. It was mixed with burnt sienna for the piano lid and on the floor with
create veiling effects when used in washes. Indian red. Burnt umber and ultramarine were mixed with the yellow to model the
It’s good for desaturating bright colours. curtains and add strength to the darks.
Oil Here it is a good solid colour. Reduced
with white, it becomes an excellent flesh Other media Yellow ochre is suitable for the better yellow earth for watercolour.
colour in portraiture, especially if touches use in any medium. Definitely more useful in dilute washes
of cadmium red or crimson are added. or in mixes, it has a deadening quality
It can be used in thick or thin applications. RAW SIENNA PBr7 when used in impasto.
Its high oil absorption and medium to Raw sienna appears dull and brownish in Lightfastness ASTM D4302, Class I,
slow drying make it best for use in mixes mass tone, but when reduced into a wash excellent lightfastness.
with faster drying and leaner colours, becomes a pale slightly subdued warm Colour bias Towards tan.
or in the upper layers of a painting. yellow. It is considered by many to be Transparent/opaque Transparent due
to its high silica content.
Tinting strength High.
Watercolour An ideal watercolour, giving
flat, even washes. It’s a good mixer, useful
in making soft greens and dusty oranges.
When used densely, it becomes dull.
Oil A medium to fast drier, it has a high
Daler-Rowney Artists’ Using the same pigments Again, PY42 oil absorption, which can cause it to
watercolour raw as before, Winsor & and PR101 are darken in time. Best used alone in glazes,
sienna doesn’t use Newton Professional combined to or in mixes, but impasto will look mucky
Daler-Rowney the natural earth, Water Colour adds a little make Winsor & and dead. It’s a good mixer, particularly
Aquafine instead using a blend more of the earth red to Newton’s Cotman
watercolour, with leaner colours.
watercolour of Mars yellow PY42 create a slightly deeper Other media Raw sienna can be used
raw sienna PBr7 and Mars red PR101 toned yellow earth raw sienna
in any medium.
t DECEMBER 2016 25

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Back to basics

(Originally PY41)
A densely opaque and heavy Tony Paul
colour, Naples yellow was originally Tony is the author
used in oil painting. It was fast of four popular
drying and low in oil absorption. practical art books,
Nowadays it is made as a hue still available on
colour, although rarely indicated as Amazon. Find out
such; it is often made from titanium more about Tony
white, yellow and earth red. Being and his work at
a useful colour, the hue version www.courtenaysfine
is available in all media. It is not
possible to give the properties
of the hue versions, because the
component colours will vary from
manufacturer to manufacturer. LP


Daler-Rowney Artists’ watercolour

Naples yellow is a blend of cadmium
red, cadmium yellow and titanium white
to give a pale and warm soft yellow,
which is fairly opaque.

Atelier t
Winsor & Newton t
Winsor & Newton
Interactive Acrylic Artisan Water Artists’ oil Naples
Naples yellow is Mixable oil Naples yellow is a deeper
made from yellow is paler and toned and slightly
titanium white with slightly more pink, brownish colour,
a little Mars yellow made by combining made from lithopone
Lesley, oil on board, 10x8in. (25.5x20cm). The lights on the and arylamide titanium white, white, an earth brown
face were painted with Naples yellow lightened with titanium yellow. This is quite Mars yellow and and Mars yellow. This
white. The yellow was also used in mixes with reds – cadmium a delicate colour, an earth red. Again, is a solid and heavy
light and permanent alizarin crimson. These are particularly which is ideal as this pale, clean colour, which mimics
visible at her throat and on her cheek. The three paintings a base colour for colour is just right the genuine colour’s
illustrated this month were all painted from life. flesh tones. as a base for flesh. character well.


t The opaque yellow ochre gives a dusty, sharp green t When Aquafine raw sienna is mixed with ultramarine,
when mixed with phthalo blue the mixed colour becomes a more neutral grey

+ = + =

Yellow ochre Phthalo blue Raw sienna French ultramarine

t When the ochre is mixed with ultramarine, the blue’s purplish t Mixing Daler-Rowney Artists’ watercolour Naples yellow with
bias argues with the yellow to create a neutralised khaki a touch of alizarin crimson hue gives a pure pale flesh colour

+ = + =

Yellow ochre French ultramarine Naples yellow Alizarin crimson hue

t With phthalo blue, Aquafine raw sienna makes a subtle t The same yellow mixed with viridian results in a delicate
greenish grey, ideal for distant trees in landscape pastel, eau de nil green; the slightly orange yellow warms
the coolness of the green

+ = + =

Raw sienna Phthalo blue Naples yellow Viridian

26 DECEMBER 2016

LP12 27-31 Parashko_Layout 1 21/10/2016 12:14 Page 27


Herculean prince
Elena Parashko demonstrates colour mixing and techniques
used to paint a strong and dramatic portrait of a racehorse

T he following demonstration
painting was created with the
intention of entering it into an
equine art competition with the theme
‘at the track’. To gather inspiration
and reference material for my
painting, I visited the stables of highly
successful Australian racehorse trainer,
Gai Waterhouse. I spent a wonderful
afternoon photographing her horses
training on the track and exercising
in the equine pool.
I did not have a preconceived idea
of the composition so took hundreds
of photos of many horses in a variety
of positions and the racetrack setting
adjacent to the stables. It wasn’t until
I returned home and carefully sorted
through the images that I came up
with an idea for the composition
of this painting. It was easy to delete
most of the photos, as often the horses
were captured in awkward poses,
shadows were so strong that details
of their anatomy were not clearly
visible, or the horses were moving
so fast that they were not completely
captured in the frame. I did not take
one perfect photo from which to work
so I selected two photos as the basis t
Reference Photo 1 The subject of this painting: the thoroughbred gelding, Herculean Prince
for my painting.
Reference Photo 2 (below) is a view portrait almost life sized, and gives it a
Your reference material of Randwick Racetrack from near the stables big, bold appeal. Work on whatever sized
Reference Photo 1 (above right) is and equine training pool. I liked the curve canvas feels most comfortable for you.
of the beautiful thoroughbred gelding, of the rails from this angle and the Sydney As always, it’s important that you enjoy
Herculean Prince, as he was just skyline in the distance. It gives a nice sense the painting. I also chose oils for this
about to swim in the equine pool. of context and depth to the painting. painting, but you can easily transfer the
I selected this photo as his head was The original large canvas size makes this techniques to acrylics. LP
in a graceful pose and I loved how
he looked straight into the camera
and made eye contact with me.
I thought this would give a personal
feel to the painting.
However, two problems in this
photograph detracted from the beauty
of this horse: the overly complicated
training bridle and the unappealing
background. I therefore decided to
superimpose Herculean Prince onto
a racetrack, wearing a simple racing
bridle. To make this adjustment
I needed more reference photographs.
I was fortunate to have taken photos
of the surrounding areas of the
racetrack and equine pool, but
I didn’t have a photo of a racing
bridle so I made an internet search of
recent local horse races and found a
newspaper photo of Herculean Prince
racing in the bridle favoured by his
trainer. I used this as a guide in
Reference Photo 2 Randwick Racetrack in Sydney, Australia

changing his tack. t DECEMBER 2016 27

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Demonstration Herculean Prince

Step 1

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

Step 2 medium, lightened with a touch of sky colour.


1 Cover the canvas with light red oxide 4 Use a small flat brush to block in the
acrylic paint to give a lovely warm glow to buildings with a variety of dark browns made
the painting. Once dry, place white transfer from burnt umber, burnt sienna, ultramarine
paper face down over the canvas, position blue and titanium white. Then block in the
the drawing on top of the transfer paper tall buildings of the skyline in the far distance
and secure it in place with masking tape. with grey made from ultramarine blue, burnt
Using a ballpoint pen, trace the horse, umber and titanium white.
background trees and buildings. I did not
trace the fences on the track at this stage,
as they would be added later. TIP I used acrylic paint to colour
2 Remove the drawing and transfer paper, the canvas, as it has a very quick
and paint the sky with a mixture of cobalt drying time so I was able to start the
blue, ultramarine blue and titanium white. painting process in about 15 minutes.
Lighten the sky towards the horizon with Allow specks of the red canvas colour
more titanium white. to show through in places throughout
3 Using a small filbert brush, block in the the painting process to create
background trees with dark green made a unified warm glow.
from ultramarine blue and cadmium yellow

t Step 3
underpainting colour: a cool lime green on the top and right side of the trees in
1 To complete the trees, make three different by adding lemon yellow, a warm olive the main, allowing the shadows on the
mid tone greens from the same dark green green by adding cadmium yellow medium, left and underside to remain visible. Tree
and a reddish green by trunks were painted with burnt umber.
adding burnt sienna. 3 Mix mid tones and highlights for the
Use a filbert brush to buildings by adding titanium white to
shape horizontal arcs all the brown and grey shadow colours.
in some of the trees; Remembering that the light is coming
for other trees use from the right, the faces of the buildings
the side of a small in sunlight are lighter than the faces
flat brush to imply in shadow.
vertical foliage. 4 Add final details with a small liner brush.
2 Add highlights When dry, place the transfer paper and
by lightening these drawing back on top of the canvas and trace
mid tones with the perimeter fence over the background
titanium white. As the then paint it with a grey building colour.
light source is coming While I had the drawing on the canvas,
from the right, the I also traced the curves of the grass on the
highlights should be track in preparation for the next step.

28 DECEMBER 2016

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Step 4 t
Step 5
1 For the turf on the racetrack, make 3 Paint the turf with short vertical Once the turf is dry, place the transfer
light shades of green using cadmium brushstrokes. Notice how much of paper and drawing on top of the painting
yellow medium, ultramarine blue, yellow the red canvas colour is still showing once again and trace the fences on the
oxide and titanium white. Mix slightly through between the grass blades racetrack. Paint these with the same
darker shades of green by adding burnt in the foreground. greys used for the background buildings.
sienna and more ultramarine blue.
2 Add a dark cast shadow for the
still-to-be painted inside rail with burnt TIP According to the rules of perspective, brushstrokes for the grass in the distance
umber softened with some of the green should be small and close together while brushstrokes for the grass in the foreground
grass colour. should be larger, thicker and spaced further apart.

Step 6

1 The first stage of

painting the horse
involves roughly
blocking in the shadow
colours. Study the
photograph closely
for accuracy in the
shape of the underlying
muscle and bone.
2 His mane, muzzle
and area around the
eye are grey. Make a
few shades of dark
grey by adding a small
amount of burnt sienna
to ultramarine blue
and varying small
amounts of titanium
3 For the coat, mix a
range of browns using
more burnt sienna with
less ultramarine blue
and titanium white.
t DECEMBER 2016 29

LP12 27-31 Parashko_Layout 1 21/10/2016 12:15 Page 30


Demonstration continued
Step 7 t
Painting the muzzle is a process of refining the shape of all its interesting
contours with medium then light shades of grey. Some smooth blending
allows the merging of the grey muzzle with the brown coat so there is
a seamless transition between these areas. Add details of whiskers
and bumps last.

Step 8

Make the darks of

the eye and eyelid
from a mixture of
ultramarine blue
and burnt sienna.
Note that horses’
pupils are elongated
rather than circular.
Paint the brown iris
with burnt sienna
brightened with
orange, made from
cadmium yellow
medium and
cadmium red. The
iris is at its lightest
and brightest on the
lower right side,
where sunlight is
streaming into the eyeball. Use medium and light grey for the rim of the
eye and folds of the eyelid. White sparkles applied with a fine liner brush
indicate moisture glistening in the sunlight. Indicate the reflection in the
eye: the sky of the racetrack landscape behind the viewer.

Step 9

The ears contain quite a dense pattern of hairs. Add yellow oxide to the
dark brown coat colour to paint the hairs in sunlight. No hair detail is
visible in the shadow areas. The most important part of painting the
ears is ensuring the direction of the hair growth is correct.

Step 10

To complete the coat, mix

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

TIP The highlights

on the coat give the
appearance of a glossy
sheen and bring a
horse portrait to life.
It is therefore
important to make
them light enough
and position them
on pronounced
contours that attract
the most light.

30 DECEMBER 2016

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Step 11

Underpaint the leather of the bridle with
the dark brown coat colour and the metal
of the bit and buckles with the dark grey
of the muzzle. Make the mid tones and
highlights by adding titanium white
to these underpainting colours. Add
details with a fine liner brush.

t Step 12
1 Paint the fringe on top of the
completed coat and bridle with a small
liner brush using the same mid-tone
grey and light grey as in
the mane. Begin your
brushstrokes at the base Elena Parashko
of the hair and flick Elena is an award-winning artist, teacher and writer from
down towards a fine Sydney, Australia. She leads plein-air painting holidays
tapered point. in Tuscany, Italy (14 to 21 October 2017) and Fiji Islands
2 When the painting is (10 to 17 June 2017). She is the author of Survival Guide
totally dry, apply two for Artists: How to Thrive in the Creative Arts available
coats of gloss varnish to via her website and Amazon. Visit
bring out the colours or email
and unify the finish.

The finished painting Herculean Prince, oil on canvas panel, 29x36in. (73x91cm) DECEMBER 2016 31

LP12 32-36 Fisher_v3_Layout 1 21/10/2016 12:29 Page 32


Curved perspective
Follow Tim Fisher as he discusses circles, ellipses, spheres and
curvilinear perspective to help you draw and paint more accurately

M any artists see perspective as a

perplexing and puzzling subject.
Our ability to grasp the three-
dimensional world and form an
understanding of it is essential to our
a new world for the first time. It is
a wonderful thing to appreciate a
landscape or even how a shadow falls
onto steps.
My early attempts at drawing were not
ability to draw an image correctly. always successful, and I see now that
Anything we see is subject to perspective, I had no knowledge of perspective and
some obviously, some not. was unaware that it was having a big
Our view of the world is greatly influence on my work. Things just didn’t
influenced by a perception of objects look right and I didn’t know why. The
that we learn at an early age. We quickly following is designed to help you see
build a representation of the universe in and understand the world and how
our heads and this model will continue to perspective in its many forms has an
manipulate and interfere with our ability influence on it. I encourage you to
Figure 1 Using the hand like compasses to draw what we see for years to come. observe and practise freehand drawing
There is an old saying, you haven’t seen regularly and try out the exercises as it
anything until you’ve drawn it. Being is only by doing this that you will come
able to draw what you see is like seeing to understand how things work.
t Figure 3a

Figure 2a


Figure 2b Figure 3b

32 DECEMBER 2016

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When you are freehand drawing,

avoid too much use of an eraser or even
a ruler. Live with your mistakes, as it is A B
a great teacher for future work. Rub
them out and they are lost forever. Take
yourself right out of your comfort zone
and use an indelible drawing pen. Ruled
lines can look very unnatural when
rendering subjects in a freehand
Try not to become too dependent
on photographs but draw from life
whenever possible. Camera lenses
distort and curve the edges of a scene
and we unknowingly transfer these
distortions into our drawings.
Figure 4
It is worth practising drawing circles.
Start with small ones, gradually
enlarging them until it gets to the point
where construction lines are needed.
This will give you an idea of how
large you can draw a circle freehand.
A useful technique to use where an
accurate circle is required is to make
the hand behave like a set of
compasses, keeping the pencil
stationary and rotating the paper
(Figure 1, far left). Hold the paper
down firmly with the middle finger
and grip the pencil between the thumb
and forefinger. Use the other hand to
rotate the paper, making sure it can
move freely, without obstruction, and
then touch the pencil on the surface.
With practice, some quite good circles
can be produced. Try using different
parts of the hand for a pivot, say the
little finger joint or the base of the
palm for larger circles.

From circle to ellipse

A circle will fit into any square we
draw. It is the shape of this square
when under the laws of perspective
that influences the shape of the circle,
which then becomes an ellipse. In most
instances, it is useful to create a square
under the correct perspective conditions
and then draw the circle freehand into
it. The axes of the square control the
shape of the circle and the line drawn
is not as free as one drawn without
Figure 5 St Paul’s Cathedral, London, showing the various sized ellipses that make up the dome
any guidelines.
Figure 2a (far left) shows a concentric freehand drawing the circle, draw the freehand circle in the flat plane.
circle in a flat plane or a plan view. front half first. Where the half-circle A second circle is then drawn in the
I have divided it into eight parts, by touches the diagonals, take a line vertical plane, crossing the first drawing.
adding diagonals first and then dividing through this point and back to VP1 These two shapes are then encompassed
the centre where they meet. Drawing to mark the position on the diagonal with a third circle to complete the
a circle in this space with compasses, at the rear of the square. The rear half drawing and shading is added (Figure
I can see where the circle intersects can then be drawn in. It takes some 3b, bottom left).
the dividing lines. I have shaded in the practice to get the ellipse shape right.
spaces outside the circle, as seeing these Early attempts can make the curve on DOMES, WINDMILLS AND TOWERS
shapes makes it easier to freehand the near and far edges look flat and A lot of domes that we see are basically
draw a circle. the curve on the left and right side a sphere cut in half (Figure 4a, top left).
Figure 2b (far left) shows the square in look pointed. We could take a sphere and erase the
perspective with the left and right edges bottom half and be left with quite
going to VP1. The other two edges are Spheres a convincing dome. In some cultures
parallel to the base of the paper. As the Drawing a sphere is a progression from the domes are a different shape, more
circle drawn in this space is no longer drawing a single ellipse. Construct a like an onion (Figure 4b, top right).
accurate, it becomes an ellipse. The cube in two-point perspective (Figure Observation will tell us what shape
perspective of a square makes the front 3a, above left). I have divided the cube the subject is.
half look larger than the back and this into eight smaller sections by dividing When we look upwards to draw a
each square in half, and created a

is also true for the ellipse. So when subject, it is useful to imagine where DECEMBER 2016 33

LP12 32-36 Fisher_v3_Layout 1 21/10/2016 12:31 Page 34


Figure 6

Figure 7 Wymondham Windmill.


This disused windmill in Leicestershire has

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

the ellipse at the base of the dome

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

This way of working uses curved
perspective lines instead of straight
ones back to a vanishing point.
The method approximates the image
which appears on the retina of the
eye, which is spherical. It uses VP (South)
four, five or more vanishing points.
Working this way offers a much wider
field of vision and in my view is more

interesting, fun and quirky than t

Figure 8

34 DECEMBER 2016

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Figure 9 The Circus, Bath. This curved structure is one of the many fine architectural examples to be found in this city. The drawing
is done on Bristol vellum board in 0.3 black fibre-tipped drawing pen over an initial rough layout in 3B pencil.

t Figure 10 Line Styles I have devised several underlying line styles that I try to adhere to when working, usually starting with a very
loose pencil drawing that emulates the underlying pattern. As long as most of the lines in the image echo the underlying structure,
some cohesion can be achieved.

Circular motion t
Waves t
Fish eye or bull’s eye

Rapidly converging or expanding lines
Winding river or road t
Vase or grasses DECEMBER 2016 35

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Figure 11 A ‘helicopter view’ of Melton market. This time
I have used the fish eye as an underlying shape.

Figure 12 This pen sketch of Burton Street, Melton Mowbray,


Leicestershire uses the underlying idea of the winding road. There

are no fixed vanishing points, though I have placed the horizon
quite high up the paper, taking a helicopter view of the scene.

straight-line perspective systems. five vanishing points. I have built up box. The systems can become even
Setting up a surface for multiple a series of curved construction lines to more complicated when working with
vanishing points is quite time- act as a guide. All the lines going from more vanishing points.
consuming. The finished work can north to south and east to west are I prefer to use a more intuitive
look tight and it is sometimes difficult curved. Lines converging on the CVP method which moves outside the
to fit the composition within the (central vanishing point) are straight. constraints of fixed vanishing points.
construction lines. Setting up a background of guidelines This opens up the scene and provides
The drawing (Figure 8, page 34) for the drawing is quite involved but flexibility and ways of viewing the
is a scene along the canal in Venice. once this is complete, it can be used for world that straight-line perspective
Within this circular composition are several drawings with the aid of a light does not offer. LP

This tutorial was adapted

from Drawing Masterclass:
Perspective by Tim Fisher
(Search Press, 2016, £12.99).
Save £2 this month and buy
from Leisure Painter’s
bookshop at www.painters-, follow the
links to books and quote code
DEC16. See page 62 for more
Figure 13 This view down the abbey steps at Whitby in Yorkshire has the underlying special offers on books by
pattern of a wave as the steps dip and curve down the slope and the distant harbour Search Press.
moves up and down across the page. Some of the buildings behave like a vase or grasses.
Perspective is still acknowledged in these scenes – things still get smaller as they get
further away – but it is fun to bend the rules a little to produce interesting subjects.

36 DECEMBER 2016

LP12 37-40 Index_Layout 1 24/10/2016 11:13 Page 1

index 2016
Pull out and keep reference guide to the features
and information within this year’s issues

A art groups/societies Collins, Julie

acrylics Jan 26, 51, 52; Feb 19, 51; Exmouth Art Group Oct 57 Colour Mixing Guide: Acrylics Jan 57
Apr 39–41; Aug 36–41; Nov 37, 50, Gateshead Art Society Oct 54 Colour Mixing Guide: Oils Summ 57
53, 54, 55 Guildford Art Society Nov 56–7 Crossley, Barbara, The Canals of Harley
Amsterdam Acrylics Sep 22–4 Hipperholme & Lightcliffe Art Society Crossley Aug 61
animals Apr 45–7; Oct 13 Jun 57 Dowden, Joe Francis, How to Paint
beach scenes Summ 19; Aug 29–31; Jamaica Street Artists Apr 8 Water in Watercolour Nov 65
Nov 47–9 Leicester Sketch Club Mar 57; Elliott, Helen, Creative Me Aug 61
brushes Feb 19 Aug 56–7 Finmark, Sharon, Learn Drawing
colour palette Feb 49–50 Menston Art Club May 58 Quickly Jul 61
flowers Feb 39; Sep 22–4; Oct 35 Saddleworth Group of Artists Sep 67 Fisher, Tim, The Drawing Masterclass:
glazing May 25–8; Aug 36–7 Stafford Art Group Feb 59 Perspective Dec 63
harbour scenes Summ 18, 19; Aug 66 Wareham Art Club Aug 59 Ford, Jeremy C., Painting Pastel
knife painting Nov 47–9, 50
landscapes Feb 18–19; Mar 15–17,
B Landscapes Mar 56
Barker, Duncan Apr 38–41 Gayford, Martin, A Bigger Message:
37–9; Apr 28–9; May 25–8; Begg, Arthur Sep 12–15 Conversations with David Hockney
Summ 18–21; Oct 52 Bellamy, David Mar 10–13; Jul 15–19 Jul 61
liquid acrylics Nov 53–5 Birch, Linda Jan 54–5; Feb 52–3; Getlein, Mark & Howard, Annabel,
and oils Jan 40–2; Feb 42 Mar 50–1; Apr 54–5; May 48–50; Art Visionaries Feb 57
portraits Summ 8 Jun 54–5; Jul 56–7; Summ 54–6; Haines, Jean, Paint Yourself Calm
seascapes Jan 25; Jun 51–3; Aug 54–5; Sep 56–8; Oct 52–3; Jul 61
Oct 46, 48 Nov 50–2; Dec 60–1 Harrison, Terry, Terry Harrison’s
Sennelier Abstract Acrylics Feb 37–9 birds Apr 34–7; May 42; Jul 27; Watercolour Secrets Dec 63
spray paints Apr 45–7 Summ 38–9; Aug 42–5; Oct 13, 66; Hart, Christopher, Figure it Out!
still life Aug 36–41 Dec 17–19, 48–51 Drawing Essential Poses Nov 65
techniques Jan 24–6; Feb 38; boats Feb 14; Mar 21; Jul 47–9; Hockney, David & Gayford, Martin,
Mar 37–9; Apr 38–41; Jun 51–3; Summ 32; Aug 51–3; Oct 16–17; A History of Pictures Nov 65
Aug 29–31, 36–41; Oct 35; Nov 18–21 Hodge, Susie, How to Draw: Babies and
Nov 47–9, 52 book reviews Children in Simple Steps Oct 55
top tips Oct 46–8; Nov 10–11 Andrews, Jorella, This is Rembrandt Howard, Annabel, This is Caravaggio
Venice Jan 24; Apr 25 Jul 61 Jul 61
and watercolour Summ 48–50 Barringer, Tim & Devaney, Edith, James, Andrew & Paul, Painting
Alcock, Paul Aug 29–31; Dec 56–9 David Hockney: 82 Portraits and 1 Self-Portraits Feb 57
animals Still-life Oct 55 John-Naylor, Denis, Drawing Masterclass:
birds Feb 53, Apr 34–7; May 42; Bearcroft, Vic, Drawing and Painting Trees Summ 57
Jul 27; Summ 38–9; Aug 42–5; Cats Jan 57 Keizer, Joost, This is Leonardo da Vinci
Oct 13, 66; Dec 17–19, 48–51 Bernard, Mike & Capon, Robin, Jul 61
cats Jan 54; Jul 34; Summ 54; Oct 53 Collage, Colour and Texture in Kersey, Geoff, Take Three Colours:
deer Jul 33; Sep 16–17; Oct 19–21 Painting Mar 56 Watercolour Landscapes Oct 55
dogs Mar 22–4; May 66; Jul 28, 34–5; Blacklock, George, Colour and Lang, Roy, Sea & Sky in Oils Feb 57
Oct 49–51 Abstraction Mar 56 Lowrey, Arnold, Start to Paint with
dolphins Sep 48–9 Böhler, Thomas, Pop Art Aug 61 Acrylics Mar 56
donkeys Summ 56 Brehm, Matthew, How to See It, How Macey, Glyn, Glyn Macey’s World of
elephants Apr 45–7; Nov 52 to Draw It: The Perspective Workbook Acrylics Summ 57
fish Jul 31 May 57 Martin, Judy, The Encyclopedia of
horses Feb 11; Dec 27–31, 60–1 Brown, Claire Waite Coloured Pencil Techniques Dec 63
otters Summ 10, 66 The Pastel Artist’s Bible Jun 65 Nawratil, Waltraud, Abstract Nature
sheep Apr 55; Summ 55 The Watercolour Flower Artist’s Bible Dec 63
tigers Jun 20–1; Jul 50–3 Dec 63 Palmer, Matthew, Painting without Paint
apps May 10 Byfield, Graham & Binney, Marcus, May 57
ART CLUB NEWS/GALLERY Jan 59–61; Cambridge Sketchbook Jun 65 Parashko, Elena, Survival Guide for
Feb 59–61; Mar 57–9; Apr 58–60; Castagnet, Alvaro, Watercolour Artists Jun 65
May 58–61; Jun 56–9; Jul 58–60; Masterclass Jul 61 Pereznieto, Leonardo, You Can Draw!
Summ 58–60; Aug 58–9; Sep 66–9; Chapman, Lynne, Sketching People Simple Techniques for Realistic

Oct 56–9; Nov 58–61; Dec 64–7 Apr 61 Drawings Mar 56 INDEX 2016 1

LP12 37-40 Index_Layout 1 21/10/2016 16:01 Page 2

Pitamic, Maja & Laidlaw, Jill, Modern courses see holidays and courses F
Art Adventures Jan 57 Cox, Graham Jun 31–3 Fennell, Alison Summ 38–9; Sep 48–9
Scott, Marylin, The Acrylic Artist’s Bible creativity tips Feb 11–13 figure drawing/painting Jan 36–9;
Jun 65 Curtis, David Mar 52–3 Feb 19; Mar 25–6, 47–9, 52–3;
Jun 16–19; Summ 52–3; Sep 44–7
Scouller, Glen, Colour and Line in D Fisher, Tim Sep 22–4; Dec 32–6
Watercolour Summ 57 Darlow, Les Jan 27–9
Scully, Pete, Creative Sketching diary Jan 7; Feb 7; Mar 7; Apr 7; May 7; Fitzpatrick, Emma Aug 56–7
Workshop Jan 57 Jun 7; Jul 7; Summ 7; Aug 7; Sep 7; flower painting
Seidl, Diana, Drawing and Painting on Oct 7; Nov 7; Dec 7 acrylics Feb 39; Sep 22–4; Oct 35
the iPad Jan 57 disability Feb 10 alliums Summ 13
Shadbolt, Daniel, Painting and drawing and sketching Feb 11–13, apple blossom Apr 18–21
Drawing the Head Nov 65 22–4; Apr 11–14, 35–7 bluebells Jun 43–5
Soan, Hazel, Learn Oils Quickly animals Apr 54–5; Jul 50–3 botanical illustration Jun 27–9;
May 57 buildings Mar 18–20; Apr 22–3 Sep 50–3
Southan, Mandy, Beginner’s Guide to charcoal Mar 40–1 camellias Feb 32; Summ 44–7
Silk Painting Oct 55 fashion illustration Jul 54–5 coloured pencils Aug 16–19
Strother, Jane, The Coloured Pencil felt-tip pens Dec 60–1 daffodils Feb 32; May 32–3
Artist’s Drawing Bible Dec 63 Fibralo brush pens Jan 34–5 daisies Sep 22
Thomas, David, Drawing & Painting figures Jan 36–9; Feb 19; Mar 25–6, geraniums Feb 39
Portraits in Watercolour Apr 61 47–9, 52–3; Jun 16–19; Summ 52–3; gouache Summ 26–8; Sep 50–3
Vize, Sue, Botanical Drawing using Sep 44–7 hellebores Mar 50
Graphite and Coloured Pencils graphite drawing Jul 28, 66; Aug 46–9 Hydrangea Jun 27–9
Nov 65 liquid pencil Oct 49–51 irises Feb 44–5
Williams, Simon, Botanical Painting pastels Jul 30–1, 50–3; Sep 16–17, 37 Japanese ink painting Summ 44–7
with Gouache May 57 pen and wash Mar 18–21; Apr 22–3; oils Feb 32–3; Mar 50; May 32–3;
Williamson, Steve, The Bridges of Dee Jun 16–19; Aug 33–5, 54–5; Summ 12–15
Summ 57 Nov 18–21; Dec 20–3 orchids Sep 50–3
botanical illustration Jun 27–9; perspective Dec 32–6 pansies Summ 16–17; Aug 16–19
Sep 50–3 portraits Oct 60–1 poppies Jul 22; Sep 24
see also flower painting readers’ tips Oct 10 roses Jan 30–1
Bowden, Jem Aug 20–1; Sep 19–21; sketchbooks Apr 12–14 rudbeckia Sep 28–33
Nov 16–17; Dec 17–19 techniques Mar 25–7; May 50; sunflowers Oct 35
Bramble, Paul Mar 52–3 Jun 54–5; Sep 58 sweet pea Jan 32–3
Brett, Amanda Jan 36–9 trees Jan 35, 43–5; Apr 42–4; May 50; techniques Jul 20–3
Brown, Claire Waite Jun 65; Dec 12–15, Aug 46–9 trompe l’oeil effect Summ 16–17;
63 and watercolours Jan 36–9; Aug 16–19
brushes Jan 34–5; Feb 19; Jun 40–1; May 12–15; Summ 34–7; Aug 20–1; tulips Feb 52; Jul 40–3
Summ 23–4; Aug 11; Sep 41 Sep 44–7; Oct 16–17; Nov 16–17 watercolours Jan 22–3, 30–3;
Feb 20–1, 44–5, 52; Apr 18–21;
C Winsor & Newton BrushMarkers
Jul 54–5 Jun 43–5; Jul 20–3, 40–3;
cadmium pigments Jan 12
see also pencils and crayons Sep 28–33; Dec 12–15
cameras Feb 10; Mar 6; May 10; Jun 10
DVDs Ford, Jeremy Feb 28–31
Campbell, Helen Jan 30–3; Apr 18–21
Lowrey, Arnold, Flowers in Watercolour Friend, Trudy Jan 43–5; Oct 49–51
cards Aug 10–11; Dec 20–3
Chapman, Lynne Sep 44–7 Apr 61 G
charcoal Mar 40–1; Oct 60–1 Sluga, Charles, Mixing It Up in Gasperi, Lorna Feb 32–3; Summ 26–8
Chinese brush painting Dec 60–1 Watercolour Feb 57 gouache Feb 51; Apr 55; Jun 66;
Coates, Stephen Jul 36–8 Summers, Haidee-Jo, Vibrant Oils Summ 9, 26–8; Aug 55; Sep 50–3
Colbert, Emma Jul 33–5; Sep 16–17; Aug 61 H
Oct 19–21 E Hampson, Linda Summ 16–17;
collage Jan 51, 52; Feb 13, 42; Oct 53 egg tempera Apr 27; Nov 34–5 Aug 16–19
colour mixing Jan 19–21; Feb 20–1; Elcock, Bob Jun 20–1; Jul 50–3 Harman, Heather Gail Mar 22–4;
Mar 32–5; Apr 24–7; May 16–18; equipment Sep 37–40
Jul 36–8, 44–6; Summ 30–3; easels Summ 22, 24 Harrison, Terry Jan 46–8; Feb 34–6;
Aug 25–7; Sep 10, 34–6; mobile studios Apr 11 Oct 22–6
Oct 12–15; Nov 34–7; Dec 24–6 palettes Jun 10; Nov 10 Heywood, Denise Oct 43–5
competitions sketching kits Nov 11 Hogan, Tony Jun 51–3
LP/Patchings 2016 Sep 59–63 Evans, Charles Jul 47–9 holidays and courses
self-portrait competition winners exhibiting your work May 10 2016 guide Feb [supp. 2–23]
May 55 exhibitions Jan 8–9; Feb 8–9; Mar 8–9; Adrienne Parker Apr 48; Sep 54
composition Jan 27–9, 54; Feb 32–3; Apr 8–9; May 8–9; Jun 8–9; Jul 8–9; Christopher Corr May 37
Mar 10–13; Summ 36; Sep 42; Summ 8–9; Aug 8–9; Sep 8–9; Fiona Peart Jan 49
Nov 17, 26 Oct 8–9; Nov 8–9; Dec 8–9 Glyn Macey Jul 67

2 INDEX 2016

LP12 37-40 Index_Layout 1 21/10/2016 16:01 Page 3

Hazel Soan May 24, 56; Jul 62; M P

Oct 11 McCannell, Ursula May 9 painting projects Jan 22–3; Feb 18–21;
Helen Campbell Aug 28 McNaughton, Rachel Feb 44–5; Oct 32–3 Mar 15–17; Apr 16–17; May 19–23;
Judi Whitton Apr 49; Summ 67 masking fluid/tape Mar 6; May 48–50 Jun 16–19; Summ 16–17;
Les Darlow Jun 67 Massey, Carole May 34–6; Jun 34–5; Aug 16–19
Pamela Kay Jan 18; Mar 67; Oct 11 Jul 30–1; Summ 18–21 deer study Sep 16–17; Oct 19–21
Paul Talbot-Greaves Summ 25 Mather, William Oct 60–1 Guernsey boats Oct 16–17;
Soraya French Sep 55 Matthews, Linda Aug 51–3 Nov 18–21
Terry Harrison Jan 49 Millet, Jean François Mar 47–9 riverbank scene Nov 16–17;
Holland, Richard Feb 46–7 Milne, Judith Jan 22–3, 34–5; Feb 20–1; Dec 17–19
Hopkinson, Paul Aug 42–5; Dec 48–51 Apr 42–4; Summ 34–7; Dec 20–3 tiger portrait Jun 20–1; Jul 50–3
Humphrey, Sarah Jane Jun 27–9 mixed media Feb 11, 13; May 29–31, Welsh landscape Aug 20–1; Sep 19–21
46–7; Jun 27–9; Oct 53; Nov 51 paper see supports
I acrylics May 29–31; Summ 48–50 Parashko, Elena Apr 16–17; May 19–21;
collage Feb 42 Oct 37–9, 46–8; Nov 42–3; Dec
acrylic inks May 29–31
oils Feb 40–2 27–31
Chinese brush painting Dec 60–1
watercolours Jun 54, 66; Jul 56; Parker, Adrienne Feb 11–13; Apr 45–7;
Japanese ink painting Summ 44–7
Summ 48–50; Sep 44–7 May 29–31
pen and wash Mar 18–21; Apr 22–3;
Morrish, Sarah Apr 34–7 Parsons, Tony Feb 22–4; Summ 52–3
Jun 16–19; Aug 33–5, 54–5; Sep 56,
58; Nov 18–21; Dec 20–3 N pastels Jan 27–9; Feb 50; Mar 22–4;
water-soluble ink May 50 Newcombe, Robert Sep 41–3 Jun 31–3; Nov 26
Nield, Anthony Mar 18–21; Apr 22–3 animals Mar 22–4; May 66; Jun 20–1;
J Jul 33–5; Summ 10; Sep 16–17;
Jelbert, Wendy Jan 51–3; Feb 37–9 O Oct 19–21
Jelbert-Ingram, Rosalind Oct 40–2 oils Jan 14–17; Feb 22–4, 40–2, 46–7,
50–1; Jun 66; Summ 52–3; Aug 51–3; colour palette Feb 50
John-Naylor, Denis Aug 46–9 landscapes Jan 27–9; Feb 30–1;
Oct 37–9
K animals May 66; Dec 27–31 Jul 31; Summ 18; Dec 60–1
Kay, Pamela Jan 14–17, 18; Apr 12–14; boats Summ 32; Aug 51–3 lightfastness Feb 51
May 12–15; Summ 12–15 colour mixing/palette Jan 19–21; oil pastels Mar 50; Jun 54; Jul 10;
Kerr, Anne Apr 51–3; May 43–5; Feb 48–51; Mar 32–5; Apr 24–7; Summ 10; Aug 10; Dec 60–1
Jun 46–7; Nov 26–8; Dec 42–5 May 16–18; Jun 36–9; Jul 44–6; pencils Jul 30–1, 50–3
King, Julie Aug 33–5; Sep 28–33; Summ 30–3; Aug 25–7; portraits Sep 37–40
Nov 30–3 Sep 12–15, 34–6; Oct 12–15; soft pastels Jan 27–9, 55; Mar 22–4;
Kinnear, Martin Jan 40–2; Feb 40–2; Nov 34–7; Dec 24–31 Jun 31–3; Jul 33–5; Summ 18;
Mar 47–9; Dec 46–7 figure painting Mar 47–9; Summ 52–3 Sep 16–17, 37–40; Oct 19–21;
Dec 42–5
L flowers Feb 32–3; Mar 50; May 32–3;
sunsets Nov 26–8; Dec 42–5
landscapes Summ 12–15
acrylics Feb 18–19; Mar 15–17, 37–9; garden scenes Summ 12–15; Oct 30–1 supports Nov 27
Apr 28–9; May 25–8; Oct 52 Jackson’s Artist Oil Colours Oct 29–31 techniques Feb 28–31; Summ 10;
mixed media Feb 40; Summ 48–50; knife painting May 48–50; Oct 34–6 Nov 26–8; Dec 42–5, 60–1
Oct 53 landscapes Jan 42; Feb 52; Jun 12–15; Paul, Tony Jan 19–21; Feb 48–51;
oils Jan 42; Feb 52; Apr 16–17; Aug 12–15; Sep 12–15; Nov 12–15 Mar 32–5, 40–1; Apr 24–7; May 10,
May 19–21; Jun 12–15; Aug 12–15, Australia Apr 16–17; May 19–21 16–18, 39–42; Jun 23–6, 36–9;
66; Sep 12–15; Nov 12–15 California Aug 66 Jul 25–8, 44–6; Summ 30–3;
pastels Jan 27–9; Feb 30–1; Jul 31; mediums Nov 10, 42–3; Dec 46–7 Aug 25–7; Sep 10, 34–6;
Summ 18; Dec 60–1 perspective May 19–21 Oct 12–15; Nov 34–7;
textiles May 46–7 portraits Jun 39; Jul 44; Sep 74; Nov 7 Dec 24–6
watercolours Jan 12; Mar 12–13, problem-solving Nov 42–3 Peart, Fiona Mar 25–7; Apr 30–2
42–4; May 43–5; Jul 15–19, 37, seascapes Jan 41; Feb 22, 24, 42; pencils and crayons
56–7; Summ 34–7; Aug 20–1; Oct 29, 34 coloured pencils Jan 54; Feb 50–3;
Sep 19–21; Oct 9; Nov 39–41 still life Jan 14–17; Mar 66; Dec 56–9 Apr 34; Summ 16–17, 54–6;
river scenes Apr 66; Jul 47–9; techniques Jan 40–2; May 32–3; Aug 16–19; Oct 40–2
Summ 20; Nov 16–17; Dec 17–19 Oct 34–6; Nov 12–15; Dec 27–31 liquid pencils Oct 49–51
snow scenes Jan 51–3; Apr 52–3 texture paste Feb 46–7 pastels Jul 30–1, 50–3
woodlands Apr 44; May 44–5; trees Sep 12–13, 15 water-soluble pencils Jul 31
Jun 43–5 online gallery Jan 66; Feb 66; Mar 66; see also drawing and sketching
letters Jan 12; Feb 10; Mar 6; Apr 11; Apr 66; May 66; Jun 66; Jul 66; perspective Feb 14–17; Mar 42–4;
May 10; Jun 10; Jul 10; Summ 10; Summ 66; Aug 66; Sep 74; Oct 66; Apr 16–17; May 12–15, 19–21;
Aug 10–11; Sep 10; Oct 10; Nov 66; Dec 74 Dec 32–6
Nov 10–11; Dec 11 outdoor drawing/painting Feb 22–4; Pethers, Ian Jun 43–5; Nov 23–5
Louca, Jo Nov 39–41 Apr 11; May 10; Summ 22–4, 52–3; photographing artwork Feb 10
Lowrey, Arnold Jan 24–6; Jul 20–3 Aug 10, 22–4 see also cameras
t INDEX 2016 3

LP12 37-40 Indexv2 use_Layout 1 24/10/2016 11:10 Page 4

photographs, painting from Jan 22–3; Turner, J.M.W. May 13; Sep 41, 56–8 river scenes Apr 66; Jul 47–9;
Feb 18–19, 34–6; Mar 11–13, 15–17, Summ 20; Nov 16–17; Dec 17–19
27; Apr 16–17, 30–1, 34–7, 45–7;
U snow scenes Jan 51–3; Apr 52–3
Underhill, Tony May 22–3; Jun 16–19;
May 22–3; Jun 27–9; Jul 40–3; Oct 16–17; Nov 18–21 Wales Jul 15, 18–19; Aug 20–1;
Summ 16–17, 34–7; Aug 20–1; Sep 19–21; Oct 9
Oct 16–17, 37–42; Nov 16–21, W woodlands Mar 44; Apr 44;
Wain, Linda Nov 53–5
26–8 May 44–5; Jun 43–5
water-mixable oils Summ 40–2;
portraits leaves Mar 33; Apr 42
Sep 25–7
acrylics Summ 8 light depiction May 43–5; Nov 39–41
watercolours Jan 30–9, 43–8, 54–5;
animals Mar 22–4; Jun 20–1; Jul 33–5; masking fluid/tape Mar 6; May 48–50
Feb 34–5, 51; Mar 10–13, 29–31,
Dec 27–31 and oils Feb 40–1
52–3; Apr 32, 66; May 12–15, 23,
backgrounds Sep 37–9 pen and wash Mar 18–21; Apr 22–3;
34; Jul 66; Summ 22–4;
children Oct 40–2 Jun 16–19; Aug 33–5, 54–5;
Aug 22–4, 54; Sep 41–3; Oct 14,
coloured pencils Oct 40–2 Sep 56, 58; Nov 18–21; Dec 20–3
15, 43–5; Nov 30–3, 52
graphite pencil Jul 66 perspective Feb 14–17; Mar 42–4;
with acrylics Summ 48–50
oils Jun 39; Jul 44; Sep 74; Nov 7 May 12–15
animals Feb 11, 53; Apr 55; Jul 46;
pastels Sep 37–40 photographs, painting from Feb 34–6;
Summ 66; Sep 48–9
quick sketches Oct 60–1 Mar 11–13; Apr 30–1; May 22–3;
Aquafine mini travel set May 52–3
readers’ questions Sep 40 Jul 40–3; Summ 34–7
birds May 42; Jul 27; Summ 38–9;
self-portraits May 55; Sep 8 portraits Jul 25
Aug 42–5; Dec 48–51
watercolours Jul 25 purple mixes Aug 25–7; Sep 34–6
blue mixes Jul 44–6; Summ 30–3;
posters Jan 54–5 red mixes May 16–18; Jun 36–9
Sep 10
printmaking Oct 52–3 reflections Jun 34–5; Jul 30–1
boats Jan 48; Feb 14; Jul 47–9;
Pybus, Christine Jun 12–15; Aug 12–15; seascapes Mar 43; May 36
Oct 16–17; Nov 18–21
Nov 12–15 skies May 12–15; Jul 56; Oct 22–6
bridges Summ 23; Aug 26–7
S brushes Jun 40–1; Summ 23–4;
still life Jan 54; Jul 20, 22; Oct 43–5
Samuelson, Becky Feb 25–7; Jun 40–1; street scenes Apr 30–1; Jun 37
Aug 11; Sep 41
Oct 29–31; Dec 54–5 sunrise/sunset Mar 29–31; May 13;
buildings Feb 15–17; May 22–3;
Scott, Gwen Mar 29–31; Jul 40–3 Oct 26
Sep 41–3
Scott, Marylin Aug 36–41 supports Apr 55; May 10, 39–42;
clouds Mar 51; May 15; Dec 54–5
seascapes Jan 25, 41; Feb 22, 24, 42; Jun 23–6; Jul 15–19, 25–8;
colour mixing Jan 19–21; Feb 20–1;
Mar 43; May 36; Jun 51–3; Oct 29, Summ 22–3
Mar 29, 32–5; Apr 24–7;
34, 46, 48 techniques Jan 12, 30–3, 43–5;
May 16–18; Jun 36–9; Jul 36–8,
selling your artwork May 10; Aug 11; Mar 29–31, 52–3; Apr 51–3;
44–6; Summ 30–3; Aug 25–7;
Sep 10 May 12–15; Jun 43–7; Jul 31;
Sep 10, 34–6; Oct 12–15;
Shaw, Barbara May 46–7 Summ 38–9; Aug 22–4, 42–5;
Nov 34–7; Dec 24–6
Soan, Hazel May 32–3 Sep 48–9, 56–8; Nov 23–5,
colour palette Feb 48–9; Jun 46–7;
Steed, Colin Feb 18–19; Mar 15–17; 30–3, 39–41; Dec 54–5
Jul 36–8
May 52–3; Summ 48–50 texture Jul 15–19; Nov 23–5
composition Mar 10–13; Summ 36;
still life tonal value Apr 43–4, 51–3; May 12
Sep 42; Nov 17
acrylics Aug 36–41 trees Jan 43–5; Feb 66; Mar 11, 12–13;
drawings Jan 36–9, 55; Summ 34–7;
oils Jan 14–17; Mar 66; Dec 56–9 Apr 42–4; Sep 19–21
Aug 20–1; Sep 44–7; Oct 16–17;
water-mixable oils Sep 25–7 Venice Jun 41; Sep 41
Nov 16–17
watercolours Jan 54; Jul 20, 22; washes Aug 22–4; Sep 48–9; Oct 32–3
flowers Jan 30–3; Feb 20–1, 44–5, 52;
Oct 43–5 water depiction May 34–6; Jun 34–5;
Apr 18–21; Jul 20–3, 40–3;
Strode, Steve Summ 40–2; Sep 25–7; Sep 48–9
Sep 28–33; Dec 12–15
Oct 34–6; Nov 47–9 wet-in-dry Mar 29–31; Summ 38–9;
fruit Apr 27; Oct 43–5
supports Nov 23–5, 30–3; Dec 54–5
garden scenes Jan 22–3; Feb 20–1;
pastels Nov 27 wet-in-wet Mar 29–31; May 42;
Jul 40–3; Aug 22–3, 33–5;
watercolours Apr 55; May 10, 39–42; Summ 38–9; Oct 26; Nov 30–3,
Sep 28–33
Jun 23–6; Jul 15–19, 25–8; 39–41
glazing Nov 39–41
Summ 22–3 yellow mixes Mar 32–5; Apr 24–7;
granulating colour Jul 36–8
Dec 24–6
T green mixes Feb 21; Oct 12–15;
Webb, David Feb 14–17; Mar 42–4;
textiles May 46–7 Nov 34–7
texture Feb 46–7; Jul 15–19; Nov 23–5, Summ 22–4; Aug 22–4
harbour scenes Feb 25, 34–5; Mar 27;
53–5 White, Dave Mar 37–9; Apr 28–9;
Apr 32; Jul 37, 45
townscapes Apr 39–41; Summ 42 May 25–8
Jackson’s Artist Watercolour Feb 25–7
trees Jan 35, 43–5; Feb 18–19, 66; Williams, Hayden Jul 54–5
landscapes Jan 12; Mar 11, 12–13,
Mar 11, 12–13; Apr 42–4; May 50; Williams, Simon Sep 50–3
42–4; Apr 44; May 43–5;
Jun 31–3; Aug 46–9; Sep 12–13, Jul 15–19, 37, 56; Summ 34–7; Y
15, 19–21; Nov 50–1 Nov 39–41 Yaura, Yukki Summ 44–7

Compiled by: James Helling Email:

LP11_HolidayKayv2_Layout 1 19/10/2016 15:48 Page 38

Reader holiday

11 to 24,

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

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,
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

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

Leisure Painter and The Artist magazines have been offering overseas painting holidays since 1990 with renowned tutors. These holidays are organised by fully licensed
operator Spencer Scott Travel Services Ltd CAA ATOL 3471. Other holidays in 2017 include the Greek island of Symi with Hazel Soan, South of France with Lachlan Goudie ROI,
southern Italy with Richard Pikesley PNEAC RWS, Amsterdam with Ken Howard OBE RA, Vietnam with Peter Brown Hon RBA NEAC PS ROI RP, and India with Hazel Soan.
LP12 41-43 Kerr_Layout 1 21/10/2016 13:18 Page 42

Soft pastel

Soft sunset
Part 2 Learn when to blend and when to keep the texture
as you follow Anne Kerr’s step-by-step sunset in soft pastel

Your reference material: the photographs

that introduced last month’s project

L ast month we looked at the reference

photographs (above and left) and
thought about the various ways that
we could combine elements in the photos
to make an interesting painting. I made
rough tonal sketches of the possible
design for the picture before making
my final choice (below left). I then chose
my colours and the type of paper that
I thought best suited the project.
The trees in the photograph were
a rather dull grey colour so I decided
to give them more impact by making
them dark brown. This links well with
the orange and yellows in the
background. Once I had chosen my
colours, I put the rest of the pastels
away so I was not tempted to add extra
shades and complicate the painting. The
following demonstration shows you how
I tackled the project and the problems
I came across on the way. LP

The finished tonal sketch from last month


You will need

n Surface n Miscellaneous n Unison pastels
l Clairefontaine l Charcoal pencil l Dark 14 l Brown
Pastelmat paper l Dark brown and l Grey 7 earth 24
in colour light grey pastel l Red 16 l Green 15
anthracite, pencils l Orange 07 l Dark 5
131⁄2x193⁄4in. l Craft knife and l Yellow 15 l Dark 6
(35x50cm) sandpaper to l Additonal 10 l Grey 28
sharpen pencils l Brown earth 9 l Dark 05

42 DECEMBER 2016

LP12 41-43 Kerr_Layout 1 21/10/2016 14:42 Page 43

Soft pastel

Soft Sunset

Step 1

Draw the picture onto Pastelmat using

your tonal sketch as a guide. Use a light
grey pastel pencil as graphite pencil is
slightly oily and pastel won’t stick to it.
You could also use a felt-tip pen in a light
colour. I made as little drawing as possible
so my painting would not become too
tight and fussy.

Step 2

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

Step 3

1 Begin at the horizon and work your way

up so the dark colours don’t contaminate
the light ones. Using the heel of your hand
and circular movements, push the pastel
down into the paper. Always put down less
dark than you think you need, as it goes
a long way. I made the mistake of adding
too much dark and finished up with a
thunderstorm sky. You can always add
pastel, but it’s difficult to take it away.
2 To produce a sharp line between the
sky and the top of the mountain range
take the sky colours slightly over the top
of the mountains. Check that the sky is
complete, as once the mountains are
added there is no going back to freshen
up the light colours around the sun.
3 I decided to keep the sky blended to
a fairly fine finish and keep the more
textured look for areas of the painting
nearer the front. DECEMBER 2016 43

LP12 41-43 Kerr_Layout 1 21/10/2016 13:19 Page 44

Soft pastel


Step 4

Use dark 14 to add the mountain range.

Add a little grey 7 to indicate light
hitting the rocks. Don’t include too
much detail, as you want to keep the
mountains away in the distance. By
using the two purple colours you are
ensuring a unified look to your painting.
Adding too many colours dilutes the
impact of the picture.

Step 5

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

Step 6

1 Now that you can see the dark tones

of the trees, you know how dark or light to
make the water. Using all the colours from
the sky and horizontal strokes, lay the
water. Only adding a base coat on the trees
in Step 5 means you don’t have to worry
about smudging the edges whilst painting
the water.
2 In this painting you want the viewer to
look directly at the main feature – the sun
– so keep the edges of your painting
blurred and uninteresting, and add detail
to the main focal point. Play around with
the colours of the water until you are
happy with the overall effect. Blend some
of the colours and leave others as
highlights on the surface. Keep all your
strokes horizontal or the water will appear
to be running down hill. Directional
strokes in paintings are very important to
portray the texture or angle of an object.

44 DECEMBER 2016

LP12 41-43 Kerr_Layout 1 21/10/2016 13:20 Page 45

Soft pastel

Step 7

1 Use the brown pastel pencil and

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

t Step 8
1 Look back at your reference sketch to
help you work out the rough grass and
bushes to use for the foreground. I used the
pencils to indicate just a few sticks and I think I have achieved the drama of
twigs, as I didn’t want to create a barrier the sunset within the quiet and calm
across the front of the painting. I sloped surroundings of the New Zealand coastline.
Anne Kerr
the edges of the land inwards to lead the How did you get on with the project? Anne teaches on painting holidays in
viewer’s eye into the picture. You may also Don’t forget to email your finished painting the UK, Italy and Spain. She also runs
have noticed that I made the left-hand tree to who will place it in watercolour, pastel and picture-framing
slope slightly inwards so that it did the the project area of Leisure Painter’s website classes at her home studio in Spain.
same thing. at I hope Visit
2 This was an exciting picture to paint and you had fun with the project.

The finished painting Soft Sunset, Unison pastels on Clairefontaine Pastelmat paper, 1312⁄ x1934⁄ in. (35x50cm) DECEMBER 2016 45

LP12 46-47 Kinnear_Layout 1 21/10/2016 15:12 Page 46


Oil painting troubleshooter

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

W elcome to my new and

occasional series in
Leisure Painter on problem
solving for oil painters. To find your
problems I’ve been surfing the forums
This issue is all about solvents and issues
of paint ‘sinking in’ to the canvas.
Forum user, Caroline Greene, wrote:
‘I’ve always used odourless mineral spirits
(OMS), but as I’ve only been painting in
of juicy paint on the canvas or board,
but am struggling to create it. I use only
the tiniest touch of OMS when plein-air
painting, but the paintings can still look
thin and they sometimes sink. My
on LP’s website in search of a few oils for a year I’m still learning about and question is: when you use turps instead
knots to unravel or myths I can bust. trying out different things. I love the look of odourless mineral spirits in a painting,
does it have an effect on the final result,
in other words, does it help maintain
that lovely juicy look of oils?’
To answer this you need two pieces
of information: the role of solvents in
oil painting, and the reason oils can
appear glossy or dull as they dry.

What is a solvent?
Oils are not soluble in water and
therefore to dilute them you have to
use a solvent. Solvents vary in strength,
and oil painters call that the solvent’s
‘volatility’. The most volatile solvent is
turpentine; the least volatile is OMS
or odour-free mineral spirit.
OK so far? So now you have to choose
the best solvent for the job. Traditionally
solvents had a dual role in oil painting.
Primarily they were dilutants or thinners,
used to make oils more fluid. Their
second role was as a base ingredient for
many traditional oil mediums, which are
commonly based on mixtures of resin
Solvents are not dilutants nor binders t
All oil colours dry with a variable and turpentine, in effect, a varnish.
and will only weaken oil films and create a sheen. Titanium white is ‘fat’ and dries
matte finish. If you must use them, choose with a gloss; raw umber is ‘lean’ and Solvents and mediums
an OMS such as Gamsol or Sansodor, as will dry matte. Because traditional solvents are volatile
they are less aggressive than turpentine. (strong), they are just the thing for
dissolving natural resins such as copal
or dammar, and it is in this role that you
normally see turpentine on the must-
have list in traditional painting manuals.
A dab here or a touch there is essential
for thinning out sticky resinous
Modern solvents, such as OMS, on
the other hand, are simply not strong
enough to use with traditional mediums,
but have been developed to work with
modern resins such as alkyd, most
commonly sold in the UK as Galkyd
(Gamblin) or Liquin (Winsor & Newton).
If you pour OMS onto a traditional resin,
it will simply cloud it, rather than make
a varnish. Pour turpentine into alkyd and
you’ll compromise the medium. So a

Martin Kinnear Blakeney Point, oil


on canvas, 30x40in. (76x102cm). In raking

light the natural gloss of various colours
is revealed, with the earthier ones setting
to a dull or matte finish. The extra white
around the moon creates a more lustrous
finish; this variance would usually be
corrected with a varnish.

46 DECEMBER 2016

LP12 46-47 Kinnear_Layout 1 21/10/2016 15:12 Page 47

golden rule with solvents is modern with

modern, and traditional with traditional.

Solvents as thinners
Thinning oils with solvents sounds like
a great idea, but is it? Oil paint is made
of two things: coloured dust (pigment)
and an oil (such as linseed), which acts
as an emulsifier, binds it and makes
it appear glossy when dry. This is the
reason that a common pigment, such
as PB29 (ultramarine blue), can appear
matte in watercolour, gouache or acrylic,
yet glossy if used as an oil.
The ratio of pigment to oil in any given
tube colour is primarily determined by
the specific pigment used; slow-drying
colours, such as titanium white, are
relatively oil rich and will dry both
slowly and with a fair gloss. Conversely,
pigments that require or will absorb
less oil, such as raw umber, tend to dry
both rapidly and be a little duller when
they do.
The variety in surface sheen between
oil-rich (‘fat’) and oil-poor (‘lean’)
colours creates a variance between
relatively glossy and relatively dull
patches on a dry oil painting. All of this
means that even if the artist had used
no solvent, the painting would still dry
with glossier and duller patches.
However, whacking solvent into oils
simply weakens the carefully controlled
ratio of binder to pigment present in
the tube. While this isn’t a huge problem
if done in moderation, it can cause the
paints to be underbound or ‘chalk’ if
used to excess.
On the positive side, it is the oil in oil
paints that retards drying time so a bit
of solvent will generally make oils dry
more quickly at the expense of making
them dry with a reduced gloss.
So how do oil painters traditionally
manage this balancing act between
gloss, matte and drying rate?

Your problem solved

Caroline, you are currently compromising t
A dull ‘sinked in’ student still life (top) compared to a ‘glossy’ still life by Martin Kinnear
the binders in your oils by adding solvent, (above). All oils dull a little as they dry, says Martin. The study on the top is typical, while
and this is having the effect of increasing subsequent working improves the gloss as the study above reveals.
their tendency to dry with a matte finish
(‘sinking in’). The easiest way to manage 3 Consider using more white in your traditional oil mediums. Resins impart
this is to replace your solvent-only mixes, or reducing the amount of lean gloss and speed drying.
method with a simple medium. I suggest colours (natural earths mostly) you use. OMS Odour-free mineral spirit, a very
the following courses of action: This will make your paintings look refined and low-volatility solvent made
1 Replace your OMS-only solution with glossier when they dry. from a petroleum distillate, as opposed
a simple medium made of half alkyd, 4 When your work is dry, correct any to the natural, more toxic and highly
half OMS. The alkyd in this mixture sinking in with a quick coat of varnish. volatile solvent, turpentine.
will provide a little more gloss to your This will revive the duller areas of paint, Sinking in Dull surface quality in dry
finished oils, whilst the solvent content and optically unify the surface. oils is the natural result of the variable
will help you with the drying rate. 5 Finally, if you give your boards or oil to pigment ratio in tube paints; it
2 If you find this too slow – OMS is a canvases a quick thin coat of either of is exacerbated by use of solvents. LP
very slow evaporating and weak solvent the mediums I’ve recommended above
– try a more volatile traditional medium, before you use them and allow them
such as a damar or copal medium. You’ll to dry, you’ll reduce their absorbency,
typically find this labelled as ‘oil painting which in turn will keep your oils Martin Kinnear
medium’, and if it smells of turpentine glossier. In a nutshell: replace your Martin is a professional oil painter
then it’s a natural resin. This will also dry solvents with a simple medium to and course director of The Norfolk
to a gloss, but a little faster, which will help prevent sinking in. Painting School, where he offers courses
reduce your working time. I would not in oils for painters of all abilities.
normally recommend turpentine, as it is Glossary Telephone 01485 528588 or email
toxic to use indoors, but as you paint en Resin A natural substance such as copal
plein air that shouldn’t be an issue. or damar used with turpentine in DECEMBER 2016 47

LP12 48-51 Hopkinsonv3_Layout 1 21/10/2016 15:18 Page 48


Welcome visitor
Follow Paul Hopkinson step by step as he paints this iconic
and welcome visitor to our gardens, the long tailed tit

You will need

n Surface
l Bockingford 300gsm NOT
81⁄2x111⁄2in. (21.5x29cm)
n Artists’ watercolour
See colours, below
n Brushes
l Detail No. 1
l Round No. 6
l Large wash brush

n Miscellaneous
l Paper towel
l Two water pots
l Ceramic mixing palette
l Masking tape
l Masking fluid
l Mechanical pencil
l Putty rubber

t Colours
This lovely photograph of a long tailed tit was taken by photographer, Roger Wasley

t Step 1
Lamp Burnt Using your preferred drawing method, copy the pencil marks showing when the painting is
black umber long tailed tit drawing onto your watercolour completed. The drawing shown here has been
paper. Keep the lines very light to avoid the darkened solely for teaching purposes.

French Yellow
ultramarine ochre

Winsor Burnt
orange sienna

Opera Sap
rose green

Scarlet Gouache
lake white

Gamboge Vandyke
(hue) brown

48 DECEMBER 2016

LP12 48-51 Hopkinsonv3_Layout 1 21/10/2016 15:18 Page 49


Step 2
Give your masking fluid a swirl before you start to ensure it
is mixed well. Masking fluid will ruin a good brush so dig out
Step 3
an old brush, perhaps a No. 4, and apply the masking fluid. 1 Make four separate weak washes in your palette:
Do this about an inch inside the drawing. A cocktail stick is gamboge (hue), burnt umber, sap green and Vandyke
a good way to pull out those little details whilst the masking brown. Always make more than you think you will need.
fluid is still wet, but be quick as it will be dry before you 2 Begin with a large wash brush to wet the background;
know it. Allow to dry completely; the fluid will be tacky to do this two or three times to ensure the paper is wet,
touch, but not wet. but not running like a waterfall.
3 Drop in the lightest colour first,
gamboge (hue), and move this around
the background, leaving gaps; a shaky
hand helps. Do the same with the other
colours in the order of sap green, burnt
umber then Vandyke brown. Remember
to avoid covering the entire background
with the same colour.
4 Allow this to dry for a few hours
before removing the masking fluid.

Step 4

1 When completely dry, remove the

masking fluid with a clean, dry finger,
working from the outside to the inside
of the bird. This avoids any potential
tears with the masking fluid damaging
the background. Any imperfections
within the bird can be covered up
with the detail work later.

Step 5

1 As usual I begin with the eye to bring the bird to life. Make
three separate washes of lamp black, French ultramarine, and
a mix of Winsor orange with a touch of scarlet lake.
2 Using a No. 1 detail brush, wet the eye. Drop French ultramarine
into the top half of the eye, avoiding the highlight area. Whilst
wet, add lamp black to the lower half and let it dry.
3 When dry, reinforce the black of the eye and the blue tint then
carefully paint the eye outline using a weaker wash of lamp black.
4 Let it dry then wet the small orange area to the top of the eye
and drop in orange; this may need a second layer once dry.
5 If you cover up the highlight accidentally, add a touch of
white gouache then carefully blend the left-hand edge out
with a damp, clean brush.
t DECEMBER 2016 49

LP12 48-51 Hopkinsonv3_Layout 1 21/10/2016 15:19 Page 50


Demonstration continued
Step 6

1 Make up a weak wash of opera rose and ivory black.

Using a No. 1 brush paint the lighter details on the top
of the head and under the eye. Keep a constant check
on the direction of the feathers.
2 With a thick mix of the same colour, add the darker lines
on the top of the head and back of the neck. Keep the lines
tight together, but leave the occasional gaps for the lighter
areas. I find the best method is to dab the brush just once
onto kitchen roll to take off surplus paint; this avoids
blobs of paint being deposited on the painting.
3 Wet the beak and drop in a thin wash of French
ultramarine and lamp black, pulling out the centre
beak line with a damp clean brush.
4 Wet the back, wings and tail of the bird and using
a weak mix of opera rose and scarlet lake, add the
background colour then leave it to dry thoroughly.

Step 7
1 The next step is to paint the lighter details using a No. 1 brush.
With a thicker mix of the pink and a touch of burnt umber, paint
the back feathers, keeping an eye on the length and shape as you
go. Work on one feather at a time, leaving the white areas clear.
2 Use a mix of lamp black and scarlet lake to paint the wings and
tail feathers carefully. Barely touching the painting, lightly blend
the wings with a clean damp brush to soften the feathers a little.
3 Paint the tail feathers using the same black and scarlet colour.
4 Lift out small highlights within each tail feather using a clean,
damp No. 1 brush by working over the same single line a few
times, keeping it wet. Whilst still wet, dab the area with a piece
of kitchen roll to pull off the paint.
5 Wet the belly area and add a stronger wash of the pink and
brown colour for the background, lightening as you reach
the top of the chest.

Step 9
1 The next stage brings a feeling of 3 Then add the fine white feathers
realism to the chest area. Use white underneath the body and between
gouache of a creamy consistency and the legs with the white gouache.
Step 8 a No. 1 brush to add the fine white 4 To begin the legs, mix a thin wash
1 Strengthen the pink and brown mix of opera rose, lines from below the beak and down of scarlet lake and burnt umber, wet
scarlet red and burnt umber and using the No. 1 brush the chest to the underside of the bird. the legs with clean water and drop
add the details for the chest. Remember to make these Be careful not to cover all the darks in this colour. Leave to dry.
areas darker towards the left-hand side and the lower underneath and use less gouache the 5 Strengthen the mix, add a touch
area of the belly. Don’t be too precise with the direction; lower down the bird you go. This will of lamp black and carefully paint
your lines need to overlap and criss-cross a little. ensure the dark areas show through. the fine details for the legs and feet.
2 Add a little lamp black to the same mix to paint the 2 Whilst you have the white gouache 6 Once you have done this, areas
darker areas on the belly; make this darker on the at hand, add wing highlights to the can be highlighted using the lift-out
lower areas. This will give the area more form and back feathers and underneath technique, or you can add a little
create a base for the detail. the tail. white gouache for the light marks.

50 DECEMBER 2016

LP12 48-51 Hopkinsonv3_Layout 1 25/10/2016 12:44 Page 51

Step 10

1 For the wood, prepare your colours

first by making up separate wells of
yellow ochre, burnt umber, burnt sienna,
sap green and an ivory black and burnt
umber mix.
2 Wet the entire area of wood with clean
water then drop in the colours using a
No. 6 brush and the lightest colour first.
Do this in the direction of the wood grain.
Leave it to dry before you add detail.
3 Paint the wood detail using the No.1
brush and strengthened mixes of the same
colours already mixed in Step 10. Again
use the lightest colour first.
Keep the lines in the direction of the
wood grain, but here it’s useful to have
a shaky hand so none of the lines are
exactly the same.
4 Do this many times, working again from t Step 11
the lightest colour to the darkest. Leave 1 Continue to paint down the tree stump using Paul Hopkinson
the section for the feather unpainted. the same method you used for the top section
5 Paint the feather details with a watery of the wood, but at the later stages add a little Paul has been painting for 35 years. His
mix of French ultramarine and burnt lamp black to your darker mixes for the medium is primarily watercolour with acrylic
umber so you can barely see the lines. contrasting colours. Remember that many paint or gouache. For details of his classes
This has to remain soft so you want to tiny marks are needed for this final stage. and new DVD on painting a harvest mouse,
keep your lines light, applied in the 2 Finally, head back to your white gouache and please visit;
direction of the feather marks. Add a little thin it down a little. Use the white to add a few
white gouache to complete the feather. highlights to the wood but don’t overdo it. or

The finished painting The Long Tailed Tit, watercolour, 812⁄ x1112⁄ in. (21.5x29cm) DECEMBER 2016 51

LP Dec sub offer_Layout 1 24/10/2016 09:04 Page 1




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LP12 44-45 Samuelson_Layout 1 21/10/2016 15:28 Page 54


Confident clouds
How to develop your watercolour skills using the wet-on-dry
technique and experimenting with colour, by Becky Samuelson

W ith this short article I would

like to develop the theme of
watercolour skies and give
you some practice at painting them
wet on dry. This approach will give
In this way you can even do it several
times and each time it becomes easier
as you gain knowledge of what to
expect and what might happen!
ready, wet and waiting, it will help
you control the edges.
Try dividing an A3 sheet of paper
into four, you can paint four of the
following studies. You’ll be surprised
you hard-edged clouds. This I know The painting process at how your confidence will increase
can be tricky for some of us, but In order to paint, you need to prepare with each one. LP
sometimes we need to take a deep yourselves. First, select your colours
breath and just go for it! then produce enough paint so that
Painting is all about mastering the you can keep going without running You will need
techniques and developing the out. I often refer to this as making
confidence to put them into practice. puddles of paint. n Artists’ watercolour
Don’t worry about making the perfect Next choose a good-sized brush l Winsor blue (green shade)
painting; just throw caution to the wind or two; squirrel brushes are great for l Cobalt blue
and practise these techniques without holding lots of paint, and remember l Cadmium red
putting yourselves under pressure. if you have a second brush that is l New gamboge

Demonstration Watercolour sky

Step 1

1 Lightly draw the cloud outlines and mask out

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

Step 2

1 Once this is dry, add shadows underneath

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

TIP You might find this hard and

can be critical of your attempts.
My experience tells me that you are
doing much better than you think
you are. Keep faith in yourself!

54 DECEMBER 2016

LP12 44-45 Samuelson_Layout 1 21/10/2016 15:29 Page 55

The finished sky, watercolour, 6x814⁄ in. (15x21cm)
Step 3
1 Now to paint the water, which is also 2 Repeat immediately in the foreground to Becky Samuelson
painted wet on dry. Pre-mix Winsor blue strengthen the paint. Remember always to load Find out more about Becky at
and cobalt blue with a tiny amount of new the brush with enough paint. It’s better to
gamboge. I try to keep the yellow separate have some left over on the brush than to run Becky also sells canvas bags
and add it gradually. Charge your brush out. This will ensure a clean wash. for art and craft supplies at
with a good amount of paint and apply 3 I then ran a little paint under the nearby boat
with confident strokes. to darken its base and help it ‘sit’ in the water.

Here are two further sky examples for you to try. I was
taught to paint a sky a day. Even if you use a colour theme
that you think you might not like, it will increase your
experience. Practise also with your own colour choices;
sometimes something unexpected will come from this.
Keep your sky examples in a folder to look back on when
you need inspiration.

This has an underlying wash This sky has an


of raw umber. Once it is dry, underlying wash of raw

play with adding hard-edged sienna. The second wash is
washes using burnt sienna, a mix of Winsor blue (red
Winsor blue and neutral tint. shade) and neutral tint. DECEMBER 2016 55

LP12 56-59 Alcock_Layout 1 21/10/2016 15:33 Page 56


White on white
Explore the importance of tonal nuances in your paintings as you
set up and paint a still life, white on white, with Paul Alcock

T he focus of this exercise is on

seeing and painting tonal values.
As all the objects and the
background are white, the effects of light
and shadow are therefore highlighted
If you can develop your skills when it
comes to seeing and depicting the effects
of light, it will make an enormous
difference to the quality of your paintings.
I hope you will follow my suggestions
working from direct observation and
in creating your own compositions.
In our day-to-day life we spend very
little time looking at the shapes of
shadows or pondering the qualities of
without the distractions of colour. For my and set up your own still life, and you’ll reflected light, but if you can tune into
example I’ve used traditional oil paints be able to make your own discoveries observing these qualities, your artwork
but you could equally substitute these for about the way in which light behaves. and your life will be enriched. Enjoy
acrylics, pastels or water-mixable oils. You’ll also gain valuable experience in working through this demonstration. LP

Demonstration White on White

You will need

n Surface
l MDF board, 6mm thick,
primed with three coats
of Jackson’s Acrylic Gesso
16x16in. (40.5x40.5cm)
n Jackson’s Artists’ oils
l Titanium white
l Burnt umber
l Ultramarine blue

n Bristle oil painting

l Rosemary & Co No. 2
short flat
l Seawhite No. 8 filbert
l Seawhite No. 14 filbert
l Pro Arte Series A
No. 12 hog
n Miscellaneous
l Faber-Castell Pitt pencil
1121-273 (mid-grey
pastel pencil)
l Zest-it low-odour solvent
l Wooden or disposable
l Rags
l An easel (I use a Loxley
radial easel with a home-
made tray attachment)

Step 1 Setting up the still life t

Any interesting shapes will do, but ideally decided on the most pleasing arrangement. table with a blanket so that I could control
they should have a matte surface. Some In my example I wanted to contrast the the lighting. I then placed the still life inside
objects I painted with matte white paint; shapes of the sphere and the cylindrical box this area and clipped a small spotlight to one
others, such as the boxes, I wrapped in with the cubes. Atmosphere was created of the table legs. I used a light with a L.E.D.
white cartridge paper. by controlling the lighting. Notice how the bulb so that it didn’t become too hot and
Once you’ve created your own collection shapes of the shadows contribute to the create a fire hazard.
of objects, it’s worth spending some time overall composition as well as the objects Once you’ve created your own set up,
experimenting with different arrangements. themselves. it’s time to choose an appropriate shape in
Try recording these with quick thumbnail You can see in my photo (above) how I’ve which to work. I used a viewfinder to help
sketches or use a digital camera until you’ve created a shadow box by covering a picnic me decide on the square format.

56 DECEMBER 2016

LP12 56-59 Alcock_Layout 1 21/10/2016 15:34 Page 57

Step 2 Drawing t

Begin by lightly sketching out where you lined up my thumb and the end of the
think the main shapes will go with a pastel pencil with the width of the bottle. I
pencil. Once you feel that everything is compared the bottle’s width to all the other
roughly in the right place, it’s now time objects in the still life. If you find you have
to define the different shapes with a little too much or too little space, now is the time
more care. to move things around or change their scale.
1 The bottle I began with the bottle, first It’s well worth spending time getting it right
measuring its width by holding out a pencil at this stage, as you won’t be able to rectify
at arm’s length and closing one eye. I then a cramped or awkward looking composition
later on. You can
see in this
illustration how
I’ve used a vertical
centre line and a
series of horizontal
lines and dots to
make sure that
both sides of the
bottle appear
2 The cubes
Moving on to the
cubes, I again
closed one eye and
this time used my
pencil to help me horizontal centre line on which I marked
to judge the angles the widest and narrowest points of the
of the cube. In this ellipse. When it comes to drawing ellipses,
case all the angles I find I achieve a more accurate shape if
became a tiny bit I begin with the tightest radius in the
steeper the further corners then work out to the bigger arcs.
down they were. 4 The sphere The drawing was completed by
3 The box To draw drawing the sphere. This was simply a case
the ellipse at the of drawing a nice even circle and making
top of the box I sure it was the right size and in the right
used a vertical and position in relation to the other objects.

t Step 3
Once you’ve set out the main shapes, move on to the painting. Using
your largest brush, mix a quantity of dark grey using ultramarine blue
and burnt umber. You can then add this to titanium white to create
the lighter tones. Paint from the background to the foreground,
beginning with the dark then the lighter areas.


At first it can be hard to judge tonal values.
1 Try half-closing your eyes when you look at the subject,
which has the effect of cutting down the details. It’s then
easier to judge the relative tonal values of each item.
2 Another useful aid to judging tonal values is to create a tonal
scale as I’ve done here using the mixes of grey painted on to a
strip of board. Try to achieve a good range of five or six gradually
darkening tones. To use the scale, close one eye and hold it up
to the part of the still life you’re observing and compare tones
on the scale with the tones in the still life. At first, it’s hard to
believe that a white still life can appear quite so dark in places,
but in painting it really is the darks that create the light.
t DECEMBER 2016 57

LP12 56-59 Alcock_Layout 1 21/10/2016 15:34 Page 58


Demonstration continued
t Step 4
With the background in place, move to the mix: one for dark, one for mid tone and one to clean the brushes; just a quick wipe on
objects, which I painted using three No. 8 for white or near white. This meant I could a rag if a particular mix got too light or dark
filberts. Each brush held a different tonal work quickly as I didn’t need to keep stopping before dipping it back in the paint.

1 With each object take note which is the lightest and which is
2 The top surface of the round box graduated from light to darker

the darkest part. Begin with the boxes, noting which is the lightest across its surface and the very lightest part was its front edge.
side, which the darkest side and which sides are in between

3 Move on to the bottle, completing each shape before

4 Some of the edges of one object appear to dissolve into

moving on to the next, but sometimes it may be appropriate another. These effects can be suggested by softening some of the
to carry a shadow from one object on to another. edges, which will also help to keep the surfaces varied and the
painting lively.

58 DECEMBER 2016

LP12 56-59 Alcock_Layout 1 21/10/2016 15:35 Page 59

The finished still life White on White, oil on board, 16x16in. (40.5x40.5cm)
Step 5 Paul
After you have painted all the other
objects it is now time to paint the Alcock
sphere, which I’ve used to show the Paul is an artist
Highlight and tutor based in
different types of light to look out for
when you’re painting tonal values. Southend-on-Sea, Essex.
1 The highlights The very brightest He will be running
spots or edges where the light is a painting holiday to
shining most directly on the forms. Barcelona for Arte
2 Crescent shadow When the object Crescent shadow Umbria’s Painting
gradually starts to receive less light in Europe next year
it moves from light into shadow. and will also be
3 Cast shadows Here the object blocks running workshops
out the light and casts a shadow across for Watershed Studio,
another surface or object. Old Bank Studios,
4 Reflected light You would expect this Old School Studio,
area to appear darker as it receives less plus art and craft days
direct light but instead it suddenly and demonstrations
starts to get lighter! This is because throughout the
light is reflected back from another Reflected light south east. Visit
surface. Look carefully in all areas for Cast shadow
reflected light as it can create some for more details about
unusual and interesting visual effects. his work. DECEMBER 2016 59

LP12 60-61 Birch_Layout 1 21/10/2016 15:41 Page 60


What shall I paint?

December In the final instalment of this year’s diary, Linda Birch shows
how to use sgraffito, Chinese brush painting and Artists’ felt-tip pens

Scrape the surface

D ecember is a month of contrasts:
short days and long nights,
and Christmas lies like a jewel,
throwing off lights into the dark of a
too-long winter. Despite the commercial
I decided to try to recreate the pub in the
snow (right) by using a technique called
sgraffito, taken from the Italian, meaning
to scrape through a surface to reveal a
l Washing-up liquid and a saucer for
l A large watercolour brush.
l A small penknife – a craft knife is too
sharp for this procedure – or scraping
razzmatazz of shopping and all that colour beneath. This term was originally tool from scraperboard supplies.
stresses us, there is something about connected with fresco painting and is
humankind celebrating something also used by potters when a glaze is The method
special that still catches me, however scraped away to reveal a colour 1 Draw the image lightly on the card.
hard I try to resist. underneath before firing. Trace over the drawing as you will need
The village celebrates the coming The technique I used comprised a this for reference when all is black!
of Christmas with carol singing around coloured base of oil pastel applied thickly 2 Crayon over with colour, making sure
a large Christmas tree in advent. Last over a lightly drawn image. A mix of the entire surface is covered and the
Christmas eve the snow came and one-third washing-up liquid was added colour is thick and bright.
a children’s service in church ended to black Indian ink and painted over 3 In a saucer mix one-third washing-up
in a prearranged trek of children, parents the entire surface. The image was then liquid to two-thirds ink and apply over
and grandparents up the street on a hunt scraped away with a knife to reveal the the entire surface of the card. Allow to
for a lost star, which ended at the local colours beneath. If you would like to dry thoroughly.
pub. The surprise was a nativity in a try this, you will need: 4 When dry, use the tracing paper to
stable in the yard behind the inn where, l A piece of white card; framers’ help you find the main lines of the image
to the astonishment of the adults and mountcard is ideal. and start scraping back the ink layer,
children alike, there was a real Mary l Oil pastels (preferable as the colours laying the knife at a shallow angle for
and Joseph and a real baby together are stronger) or coloured wax crayons. maximum effect.
with sheep and a donkey. Looking up l An image you want to use. Keep it It’s important to note that this is not a
the street with the pub lights shining simple until you gain in confidence. technique that is suited to fine detail. You
on the snow was a memory I wanted l Tracing paper and 2B pencil. have to accept the character of sgraffito,
to remember and capture. l Black Indian ink. but you never know what will emerge
and the contrast of black
and colour is always

Chinese brush & ink

Whilst hunting for my oil
pastels, I came across my
Chinese ink stone and
a stick of ink. I also have
a set of Chinese brushes
and decided to use them
on a new cartridge pad
by Seawhite, a company
whose sketchbooks I like
very much.
I am not trained in the
art of Chinese painting,
but love to use Chinese
brushes as drawing tools
for their character and
fluidity of line. These
brushes for watercolour are
reasonably priced and are
made of real hair.
I ground the ink stick on
the stone using a little hot
water until the right degree
of blackness was achieved.
I then stood up to paint the
horse (right) with the paper
flat on a table, as this gives
greater freedom of
movement to the arm and
Three Camels, Letraset Promarkers, 812⁄ x1134⁄ in. (21.5x30cm). Artists’ felt-tip pens on cartridge paper wrist, which results in
were used to accentuate the pattern values of this scene. better lines.

60 DECEMBER 2016

LP12 60-61 Birch_Layout 1 21/10/2016 15:42 Page 61

Christmas Eve, oil pastel and ink on card, 912⁄ x1112⁄ in. (24x29cm). The lights from the village pub shine out onto the snow using the
sgraffito technique – black ink and soap was scraped away to reveal an oil pastel ground on white mountcard.

To capture the movement of the horse colours were also worked into the stones
I disconnected a number of the limbs in the foreground. As these pens are
and the hooves. As with all rapid double ended with a point and a wedge
movement, we do not see the whole shape, I made the drawing formal with
of the image and leaving parts empty an emphasis on outlines, which created
increases the feeling of rapid action. a pattern of shapes.
When working with any medium you
New ideas have to respect its integrity and a felt-tip
Bearing in mind that you might receive pen drawing will not look like a
or want to request art materials for watercolour or crayon; it is what it is –
Christmas presents, I wanted to show a refreshing change from the struggles
you a variety of different media to try we all have with our favoured medium.
this month. I have also included an Strangely, I always go back feeling
image worked using Letraset Promarkers, rejuvenated by the experience of trying
which are Artists’ felt-tip pens. These new materials and new techniques.
pens were originally developed for Happy Christmas and a creative New
graphic designers when working on Year to all of you. LP
client visuals and now that computer-
generated artwork has replaced them, Moving Horse, Chinese ink, 1612⁄ x1112⁄ in.

they are available on the art materials (42x29cm). Chinese ink was applied with
market. These are not the same materials a Chinese brush on cartridge paper. Note
as children’s felt-tip pens, which may not how simplifying the subject and the use
be colourfast. of brushstrokes help create the effect of
The three camels (left) were worked movement in the drawing.
on heavyweight cartridge paper. I mixed
the colours by overlaying them, for
example the camels were orange with
pale grey laid over the top. I worked the Linda Birch
sky in pale and sky blues with the moon Linda regularly teaches at the Bowes
a mix of skin white and yellow. The Museum, Co. Durham. Email lindajoyce
mountains were added with skin white for details of her courses,
and pale and cool greys, overlaid to workshops and other events.
create shadows and vegetation; these DECEMBER 2016 61

The online home of
s and magazines
Save £2
on all of th
featured b e
using prom ooks
o code
Closing da
2nd Decem
£10.99 s
p p

s s
Available from
and follow the link to books
Closing date 02 December 2016
Bookshop_FullPage_December16.indd 1 17/10/2016 11:06:30
LP December 2016 Books p63_News 1st 20/10/2016 09:55 Page 6

The natural world

Abstract Nature by Austrian artist,
Waltraud Nawratil looks at how to
paint the natural world with
acrylics, watercolour and mixed
media. But rather than simply
painting what she sees, Waltraud
shows us how to capture the
emotion you feel when looking at a
Visit and click particular scene and translate that into paint. Painting techniques
and media are clearly explained before moving on to finding
on the link to books to buy the latest practical inspiration in the natural world throughout the year, and through
art books available from LP’s online bookshop the seasons with flowers and trees. The book includes step-by-step
demonstrations and plenty of practical advice on abstracting the
essence of what you see in the world around you.
Abstract Nature by Waltraud Nawratil. Search Press, (s/b), £12.99.

In Brief
Search Press has published three new editions of popular titles: The Watercolour
Flower Artist’s Bible by Claire Waite Brown, in a new portable size to keep handy
Watercolour secrets in the studio for reference; and The Coloured Pencil Artist’s Drawing Bible by
With a lifetime of painting Jane Strother, giving step-by-step instruction on essential techniques. The third
experience behind him, Terry new edition is The Encyclopedia of Coloured Pencil Techniques by Judy Martin,
Harrison is the perfect teacher which has become an indispensable guide to anyone beginning or developing
for those new to watercolour. In their exploration of coloured pencils.
his new book, Terry Harrison’s The Watercolour Flower Artist’s Bible by Claire Waite Brown. Search Press, (s/b), £12.99.
Watercolour Secrets, he shares The Coloured Pencil Artist’s Drawing Bible by Jane Strother. Search Press, (s/b), £12.99.
all this experience with us, The Encyclopedia of Coloured Pencil Techniques by Judy Martin. Search Press, (s/b), £12.99.
explaining: “My aim in teaching
art has always been to make
painting more accessible by
helping to make the techniques Perspective masterclass
easier.” He certainly does that Tim Fisher needs no introduction to Leisure
here – covering what to buy, Painter readers, being a regular contributor
how to master the main and demonstrator. His new book, Drawing
techniques, how to use Masterclass: Perspective focuses on the
photographs, mix colours, difficult subject of perspective, starting from
achieve special effects and the basics and moving on to complex scenes.
troubleshooting, before moving And it’s not just buildings that are included.
on to looking at particular Tim shows us how to master the perspective
subjects, such as skies, of landscapes, people, animals, boats and
mountains, figures, animals reflections. Taking the subject further, Tim
and boats. In all, Terry includes then shows us how to move beyond
170 tips to make your artistic mathematical accuracy of perspective to have
journey easier and more the confidence to draw freely and
enjoyable. instinctively within this framework. The
Terry Harrison’s Watercolour Secrets presentation is excellent and there are plenty
by Terry Harrison. Search Press, of exercises to work through in your quest to
(s/b), £12.99. achieve accurate drawings.
Drawing Masterclass: Perspective by Tim Fisher. Search Press, (s/b), £12.99. DECEMBER 2016 63

LP December 2016 Art Clubs p64-5_News 1st 20/10/2016 09:59 Page 2

Art clubs
n Cirencester Art Society
Winter exhibition at The Parish Church,
Cirencester from 30 November to 10
December, 10am to 4pm daily. Visit
n Desford and Peckleton Art Club
Annual winter exhibition at Peckleton
EXHIBITIONS AND ACTIVITIES Village Hall, Main Street, Peckleton,
Leicestershire LE9 7RE on Saturday 19 and
Sunday 20 November. Open daily from
10am to 4pm. Enquiries to Jude Markillie
07850 596318 or visit
n Guildford Art Society
Autumn exhibition at Guildford House
Gallery, 155 High Street, Guildford GU1 3AJ
from 12 November to 3 December. Open
Monday to Saturday, 10am to 4.45pm. Visit

& classes
Bedford Art Society
On Friday 2 December, Rebecca
Merry will give a demonstration
to the Bedford Art Society at
Putnoe Heights Church, Bedford
MK41 8EB. Rebecca is an
English painter and illustrator
living in the Dordogne, France.
She works in watercolour and
egg tempera, and is inspired by
folktales and myths from
around the world. Entry is free
for members; £5 for visitors.
Contact Jean Paterson on 01234
307210 for more details or visit
Halifax Art Society
Artist, Stephen Coates, will give
a demonstration to the Halifax
Art Society on painting skies in
watercolour on Thursday 17
Kathy Grevaux Tulips, water-based inks, 113⁄4x113⁄4in. (30x30cm) on show at the winter exhibition by

the Salisbury Group of Artists at Salisbury District Hospital, from 25 November until 6 January. This lively December at the Oddfellows
group of artists meets once a week to paint and draw together, and also participates in more challenging Hall, Unity House, 3 Coleridge
workshops each month. The society was established 40 years ago and continues to flourish. For more Street, Halifax HX1 2JF, 7.30 to
information visit
9.30pm. Non-members
welcome. For more information
n The Attic Club n Berkhamsted Art Society Hipperholme and
Original Art Fair at The Queen’s Hall, High Winter exhibition at the Civic Centre, 161- Lightcliffe Art Society
Street, Cuckfield RH17 5EL from Friday 25 163 High Street, Berkhamsted, Jake Attree will demonstrate an
November, 12 noon to 8pm; and Saturday Hertfordshire HP4 3HD from 20 to 26 oil pastel of Haworth to the
and Sunday 26 and 27 November, from November. Open Monday to Saturday,
9am to 5pm; from 2 to 4pm on Sunday.
Hipperholme and Lightcliffe
10am to 5pm.
Art Society on Tuesday 13
n Bathampton Art Group Visit
December at the Brighouse Rest
Exhibition at Bathampton Village Hall, n Breaston Art Group
Centre, Park Row, Brighouse, at
Holcombe Lane, Bathampton BA2 6UL on 21st exhibition at the Methodist Church
Saturday 19 November, from 10 am until Hall, Blind Lane, Breaston, Derbyshire 7.30pm. For more information visit
5pm. Demonstrations will take place DE72 3DX on 10 November, 2 to 5pm; 11
throughout the day. For more information November, 10am to 5pm and 12
visit November, 10am to 4pm.

64 DECEMBER 2016

LP December 2016 Art Clubs p64-5_News 1st 20/10/2016 09:59 Page 3

Chailey & Newick Painting Group
The annual exhibition by the Chailey & Newick Painting Group will
be on show at Chailey Village Hall, East Sussex (A275) on 19 and 20
November, 10am to 5pm daily. As well as paintings, cards and
refreshments, there will also be demonstrations taking place during
the exhibition. Free admission, easy parking and disabled access. Visit
Guildford Art Society
The autumn exhibition by the Guildford Art Society takes place at
Guildford House Gallery, 155 High Street, Guildford GU1 3AJ from
12 November until 3 December. The gallery is open Monday to
Saturday from 10am until 4.345pm. On Friday 25 November to
coincide with the exhibition, artist, Liz Seward, will give a
demonstration on painting a still life in mixed media between 11am
and 1pm at the Brew House. Entry is free, but booking is essential for
the demonstration. To book telephone 01483 444751 or email For more information about the
Guildford Art Society, visit
Maghull Art Group
The winter exhibition of work by the Maghull Art Group will take
place at Deyes Lane High School, Maghull L31 6DE on 19 and 20
November, 10.30am to 4.30pm daily. The exhibition will also include
a photographic display by the Maghull Photography Club. Free on-site
Ruth Netherton Judy’s Jug, watercolour and ink, 251⁄4x211⁄4in.
parking, raffle, jewellery, cards and refreshments will be available. (64x54cm) on show at the Guildford Art Society’s autumn
Visit exhibition

n Hagley Art Club Lakeside, Keswick CA12 5DJ from 25 n Society of Fulham Artists and
27th annual exhibition at Hagley November until 20 January. Enquiries to
Community Centre, Worcester Road, Hagley, Potters (SOFAP)
Ted McCardle 01768 744855.
near Stourbridge, West Midlands DY9 0NW Autumn exhibition at Fulham Library, 598
n Kilmood Art Club Fulham Road, London SW6 5NX from 15 to
on Friday 25 November, 7 to 9pm; Saturday
and Sunday 26 and 27 November, 10am to 28th annual exhibition at the Castle Espie 20 November. Open Tuesday to Thursday,
6pm daily. Gallery, Castle Espie Wildfowl & Wetlands 10am to 8pm; Friday and Saturday 10am to
Trust, Ballydrain Road, Comber, Co Down 5pm and Sunday 11am to 3pm. Visit
n Hallam Art Group until 20 November. Visit
Christmas exhibition at Hallam Community
n Tondu & District Art Society
Hall, Hallam Grange Crescent, Sheffield n Muskham Art Group
S10 4BD on 19 and 20 November, Winter exhibition at the Len Evans Centre,
11am to 5pm daily. Visit Annual exhibition at South Muskham Aberkenfig, Bridgend, South Wales CF32 Village Hall, Newark NG23 6EE on 5 and 6 9RF from 11 to 14 November, 10am to 6pm
November, 10am to 4pm daily. Enquiries to daily. This year, the competition will be on
n Ham Art Group 01636 605875.5. a Welsh theme. Enquiries to Lorna Chilcott
Autumn exhibition at St. Thomas Aquinas n Nettleham Art Group 01656 863924 or email her at
Church Hall, Ham Street, Ham, Richmond
TW10 7HT on 5 and 6 Nobember, 10am to Exhibition at the Old School (near the
church), Nettleham, near Lincoln LN2 2PE n Trysull Art Club
4pm daily. Enquiries to 020 8940 5725.
on Saturday 12 November, from 10am to Biennial exhibition at Trysull Village Hall,
n Harrogate and Nidderdale Art Club 3pm. Enquiries to Ian Straw 01522 753558. School Road, Trysull WV5 7HW on 19 and
80th anniversary autumn exhibition at n Putnoe Art Group 20 November, 10.30am to 4pm daily.
Ripley Town Hall, near Harrogate HG3 3AX Enquiries to Thelma 01902 894879 or visit
on 26 and 27 November, 10am to 5pm One-day exhibition at Sharnbrook Village
Hall, Lodge Road, Sharnbrook, Bedford on
daily. Visit
Saturday 26 November, 10am to 4pm. n Walton Group of Artists
n Highgate Watercolour Group Enquiries to Bob Wardale at Exhibition at Walton Village Hall, School
Annual exhibition at Lauderdale House, Lane, Wetherby, West Yorkshire LS23 7DW
Highgate, London N6 5HG from 8 to 27 n Royal Tunbridge Wells Art Society on 19 and 20 November. Open daily
November. Enquiries to 020 8348 8716. from 10am to 4pm. For more information
Exhibition at 61 The Pantiles, Tunbridge
n Horsham Painting Group Wells, Kent from 12 to 27 November. Open visit or
One-day exhibition at the Quaker Meeting daily, 10am to 5pm; closing at 4pm on final telephone 01937 583399.
House, Horsham, West Sussex RH12 1SL on day. Visit n Wareham Art Club
Saturday 19 November, 10am to 4pm. Visit n Salisbury Group of Artists Autumn exhibition and craft sale at Wareham Town Hall, East Street, Wareham,
Exhibition at Salisbury District Hospital,
n Keswick Society of Art Odstock Road, Salisbury from 25 November Dorset BH20 4NS on Saturday 12
Exhibition at the Theatre By the Lake, to 6 January 2017. November, 10am to 4.30pm. DECEMBER 2016 65

LP Dec 2016 Gallery p66-67_Layout 1 20/10/2016 10:06 Page 2

Art club gallery BEST IN SHOW PAINTINGS ...

As the year draws to a close, we are looking

for new best in show paintings to feature in
our art club gallery pages for 2017. If you
would like to see your group’s wnning
paintings reproduced here, encourage
visitors to your next exhibition to vote for
their favourite painting. Then simply send
us the details. Full information is given
below right.

t Royal Tunbridge Wells Art Society Tamara Lawson

Ozzy, pastel, 181⁄2x213⁄4in. (47x55cm). The Royal Tunbridge

Wells Art Society has its own premises at Sussex House,
61 The Pantiles, Tunbridge Wells, Kent, where members
can meet daily for a variety of talks, demonstrations and
social events, as well as classes and painting from the
model sessions. For more information and full details
of the weekly programme of events on offer, visit

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

Hornsea Art Society


David Dawson Capriccio of

Kingston upon Hull, oil on
canvas, 30x40in. 78x102cm). The
Hornsea Art Society was founded
in 1969 by Harry Hudson
Rodmell RSMA and meets on the
second Friday of the month for
demonstrations or illustrated
talks by artists from all over the
north of England. For more
information visit

66 DECEMBER 2016

LP Dec 2016 Gallery p66-67_Layout 1 20/10/2016 10:06 Page 3

t Llandrindod Wells Art Club

Marjorie Pascoe Monty the Spaniel,

pastel, 151⁄2x151⁄2in. (39.5x39.5cm).
The Llandrindod Wells Art Club has
been in existence for over 60 years.
Despite being 101, the founder and
president, Masie Powell, is still a keen
painter and exhibitor and attends club
meetings almost every week. The
winner of the public vote, Marjorie
Pascoe, is new to the club, and won
the majority vote from over 500
visitors to the annual exhibition,
which took place at the Metropole
Hotel in Llandrindod Wells in August.
For more information email
Jean Woods at

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

Horncastle Art Group


Peter Smith Path Near

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

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, Tenterden,
Kent TN30 6BD; or email DECEMBER 2016 67

UK ART SHOPS Support your specialist art retailer by purchasing
your materials from the shops listed here

Opening times: shop Tuesday to
Artist's Palette
Friday 9am – 5.30pm,
The Art Shop 1 Millgate, Thirsk YO7 1AA
The Art Shop
Cotswold ArtStreet,
Supplies W F Gadsby
Saturday 9am – 2.30pm The Art
Local Trading
Art Shop Company Pullingers
Tel: 01845 574457
2 Newmarket Skipton,
2 Newmarket Stow
Church Street, Skipton, 347 High
(closed Street, Lincoln,
Sunday & Monday) 36a Earsham Street,Bungay N35 1AQ 109 West Street, Farnham,
Yorks BD23on 2JBthe Wold, Lincolnshire LN5 7DQ
4 Main Road, Gedling, Opening times: Monday to
Surrey GU9 7HH
North Yorks BD23 2JB 01986 897939
Tel: 01756
Gloucestershire 70177
Tel: 01756 70177 GL54 1BB Phone
Tel: 01522 527 487 Monday to
lines open Nottingham NG4 3HP Saturday
Tel: 9am - 5pm
01252 715390
01451 830522
Friday 9am – 5.30pm, Stocking: 
Tel: 0115Golden, Lascaux, Unison,
Stockists of: Winsor & Newton,
Stockist of: Derwent,
Stockist of: Derwent, Pebeo,
Loxley Stockist of: Winsor & Newton, Sennelier, Daniel Smith, Pro Arte, Da Vinci, Stockist of: Canson, Caran D Ache, Cretacolor
Opening times: Monday to Saturday 9am – 2.30pm or visit Opening times: Tuesday Daler-Rowney, Loxley, Sennelier, Derwent,
Reeves, Unison, Daler-Rowney,
Reeves, Unison, Daler-Rowney, Daler Rowney, Caran D’Ache etc Pip Seymour, Canson, Derwent,to Friday
Roberson, Clairfontaine, Da Vinci, Daler-Rowney,
Saturday 9.15am
Sennelier, Winsor - 5.15pm
Conte online shop Faber-Castell, Golden,
Clairefontaine andRoyal
10am - 5.30pm,
Saunders Waterford,
Waterford,Hahnemuhle, Westgate Gallery  Sennelier, Winsor & Newton, Fabriano
Fabriano, Art
Stockists ArtMaster
of: Winsor
& Newton,
83 Westgate, Grantham NG31 6LE
Saturday 12.30pm - 5pm materials, model kits and bespoke framing
Stockists of: Golden Acrylics, Roberson,
Daler-Rowney, Pro Arte, Unison pastels,
Tel 01476 578800 The Art Shop
service. Professional artist and tutor owner

Sennelier, Conté, Paperblanks, Reeves.
Stocking:  Royal Talens, Da Vinci,binders,
Talens, pigments and Schmincke Stockists of: Royal
2 Newmarket & Langnickel,
Street, Skipton, Whappy to offer expert advice.
F Gadsby
Jacquard dyes and paints, Khadi, North Yorks BD23Loxley,
2JB Golden,
Pullingers Sennelier, Pebeo, 347 High Street, Lincoln,
Picture framing on site.
109 West Street, Farnham,
Pink Pig, Seawhite, fabrics and Tel: 01756 70177
House of Crafts, Cretacolor, Jakar,
The ArtLN5
Lincolnshire Shop7DQ
Surrey GU9 7HH The off
canvas Art
roll. - Ilkley  Stockist of: Derwent,
Daler-Rowney, CaranPebeo, Loxley
230 01522 527
High 487 Northallerton,
Pegasus Art Shop
Tel: 01252 715390 Reeves, Unison, Daler-Rowney,
Hawksworth Street, Ilkley,  Northof:Yorkshire DL7 8LU
Griffin Mill, London Road, Stroud, Stockist Winsor & Newton,
West Yorkshire LS29 9DU Sennelier, Winsor & Newton, Conte
Stockist of: Canson, Caran D Ache, Cretacolor Patchings Art Centre Tel: Rowney,
Daler 01609 Caran
761775D’Ache etc
Gloucestershire GL5 2AZ
01453 886560
Tel & Fax: +44(0)1943 432016
Clairfontaine, Da Vinci, Daler-Rowney, Derwent,
Saunders Waterford,
Oxton Art Master
Calverton, Opening times: Monday to
Westgate Gallery 
Golden, Royal Talens, Schmincke Winsor & Newton, Daler Rowney, Pro Arte, Saturday 9.30am – 5pm
Opening Winsor Monday
& Newton, Fabriano
to Ken Bromley
Canson, Art Unison,
Liquitex, Derwent, Supplies
Caran Nottingham NG14 6NU 83 Westgate, Grantham NG31 6LE
Saturday 9am - 5pm D’Ache,
Unit 13 Loxley,
LodgeSennelier Mapac
Bank Estate,
Tel: 0115 965 3479
Tel 01476 578800
LINCOLNSHIRE Crown Lane, Horwich,
Opening times: every day
StockistsRoyal Talens,&DaNewton,
of: Winsor Vinci, Schmincke

W F of:
Stockists Gadsby
Williamsburg, Rembrandt, SUFFOLK
Bolton BL6 5HY
109 West Street,
9.30am Farnham,
- 5.30pm
Daler-Rowney, Loxley, Pip Seymour,
Surrey GU9 7HH
Old347 High Street,
Holland, Lincoln,Cobra,
Pip Seymour, The
Tel: Art 690114
01204 Trading Company
Pan Pastel, Unison, Pro Arte, Artmaster,
Lincolnshire LN5 7DQ
Tel: 01252 715390 The Art Shop - Ilkley 
Winsor & Newton, Daler-Rowney, 36a Earsham Street,Bungay N35 1AQ Hahnemühle, Pebeo.
Tel: 01522 527 487 Opening times: Monday to Friday Stockists of: Winsor & Newton, Hawksworth Street, Ilkley, 
01986 897939 Stockist of: Canson, Caran D Ache, Cretacolor
Derwent, Daniel Smith, Schmincke, 9am - 5pm Daler-Rowney, Derwent, Caran d’Ache, West Yorkshire LS29 9DU Clairfontaine, Da Vinci, Daler-Rowney, Derwent,
Da Stockist of: Arte,
Vinci, Pro WinsorArches,
& Newton,
Canson, Stocking:  Golden, Lascaux, Unison, Tel & Fax: +44(0)1943 432016
Daler Rowney, Caran D’Ache etc
Saunders Waterford watercolour paper,
Sennelier, Daniel Smith, Pro Arte, Da Vinci,
Stockists of: Winsor
Pip Seymour, & Newton,
Canson, Derwent, Roberson,
Unison, Liquitex,
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Newton, Fabriano
Winsor & Newton, Daler Rowney, Pro Arte,
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Gallery  Canson, Liquitex, Derwent, Unison, Caran
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Bob Ross, Derwent, Caran d’Ache, LINCOLNSHIRE D’Ache, Loxley, Sennelier Mapac
Hawksworth Street, Ilkley,
Jackson's Art Supplies
Tel 01476 578800 W F Gadsby
Stocking:  Royal Talens, Da Vinci, Schmincke Pro Arte,Art Shop
Loxley, Bockingford, Arches, SUFFOLK
West Yorkshire LS29 9DU
Unit 4 Brearley Court, Baird Road,
Waterwells Business Park,
Saunders Waterford
2 Newmarket and
Street, accessories.
Skipton, SUFFOLK
347 High Street, Lincoln,
Lincolnshire LN5 7DQ The Art Trading
Tel: 01943 432016Company
Gloucester GL2 2AF
North Yorks BD23 2JB
Tel: 01756 70177
Tel: 01522 527 487
The Art Trading
36a Earshamtimes: Monday
Street,Bungay N35to1AQ
01986 8979399am – 5.30pm
Tel:The Art729672
Shop - Ilkley Saturday
01452 Company
Stockist of: Winsor & Newton,
Hawksworth Street, Ilkley,  Stockist of: Derwent, Pebeo, Loxley Reeves,
Opening times: Daler
55 Rowney, Caran
Earsham D’Ache
Street, etc
Bungay Stocking:  Golden, Lascaux, Unison,
West Yorkshire LS29 9DU Unison, Daler-Rowney, Sennelier, Winsor
Stockists Daniel
Sennelier, of: Winsor
Arte, Da Vinci,
Monday to Friday
Tel & Fax: 9am
+44(0)1943 – 5pm
432016 Jackson's
& Newton, ConteArt Supplies
Saunders Waterford, Suffolk NR35 1AF Pip Seymour, Canson, Derwent, Roberson, Hahnemuhle, Fabriano, Art Master
1 Farleigh Place,
Westgate Gallery  Daler-Rowney, Loxley, Pip Seymour,
Tel: 01986 897939
Winsor & Newton, Daler Rowney, Pro Arte,
Jackson’s warehouse holds painting,
Canson, Liquitex, Derwent, Unison, Caran London N16 7SX
83 Westgate, Grantham NG31 6LE
Opening times: Monday to
Tel 01476 578800 NORTH YORKSHIRE
Pan Pastel, Unison, Pro Arte, Artmaster,
Hahnemühle, Pebeo.
D’Ache,printmaking and sculpture
Loxley, Sennelier Mapac Tel: 020 7254 0077 Stocking:  Royal
Saturday 10amTalens, Da Vinci, Schmincke
– 5pm The Art Shop
materials from Golden, Sennelier, Pullingers
Opening times: Monday to Friday (closed Sunday and Bank Holidays) 2 Newmarket Street, Skipton,
Schmincke, Winsor & Newton etc. 109 West Street, Farnham,
The Art Trading Company
Surrey– 5.30pm,
GU9 7HH Saturday
Tel: 01252
10am – 6pm 715390
The Art
Stockists of: Shop - Ilkley 
Old Holland, Michael
Tel: 01756 70177
36a Earsham Street,Bungay N35 1AQ Emrys
Stockist Art Supplies
of: Derwent, Ltd
Pebeo, Loxley Reeves,
01986 897939
Stockist of: Canson, Caran D Ache, Cretacolor
Stockists of: painting,
Clairfontaine, Da Vinci,drawing and Derwent,
Daniel Smith,
Street, Golden,
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Ilkley,  Lascaux,

Rohrer & 432016

Klingner, Winsor
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Tel & Fax: +44(0)1943 & Newton, Conte Saunders Waterford,
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Old Holland and Michael Harding etc.
Canson, Liquitex, Derwent, Unison, Caran
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Opening times: Tuesday to

Tel: 0238 0339444
W F Gadsby NORTH YORKSHIRE Pullingers
Saturday 9am – 5pm
109 West Street, Farnham,
Opening times: Monday to
The Art Shop 347 High Street, Lincoln,
Jackson's Art
The Art Shop Skipton
Surrey GU9 7HH
Saturday 9.30am – 5.30pm Lincolnshire LN5 7DQSupplies Stockists
Tel: 01252of: Winsor & Newton, plus many
2 Newmarket Street, Skipton,
Email: Tel: 66,
01522 527 487Approach,
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Online & instore
North Yorks BD23 2JB Arch Station
more including Daler-Rowney, Sennelier,
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High-quality art70177
materials at competitive London SW6 3UH 22 Newmarket Street, Skipton, Unison, Pro Arte, Derwent. Stockist of: Winsor & Newton, 01986 897939 Clairfontaine, Da Vinci, Daler-Rowney, Derwent,
prices and a personal friendly service. Daler
Tel: 020Rowney,
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701177 Sennelier, Winsor & Newton, Fabriano
Opening times: Monday to
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spray paints,
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Thursday 9am – 6pm, Friday, Opening times: Monday
Derwent, to Friday
Saunders Waterford, Hahnemuhle,
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83 Westgate, Grantham NG31 6LE Pip Seymour,
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F Gadsby
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Canson, Caran D Ache, Cretacolor
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68 DECEMBER 2016

p68_69_lp_dec16.indd 68 21/10/2016 11:27:33
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70 DECEMBER 2016

lp CLA Dec NEW.indd 70 21/10/2016 12:28:52

Dec 16 Holiday of the Month_Layout 1 20/10/2016 10:54 Page 3

Holidays & Courses Holidays & Courses

LEARN AT HOME. Watercolour
day David Webb, professional artist, author TheOld
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and drawing. Beginners/advanced Old School Lane, Whittlesford,
ainting and contributor to Leisure Painter. Old School Lane, Whittlesford,
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dscapes, thorough. Details: JennyinTrotman
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SUMMER 2016 65 71 DECEMBER 2016

lp CLA Dec NEW.indd 71 02/06/2016 12:25:43 21/10/2016 14:04:16

Holidays & Courses Art Materials

The colour of the light en Plein Air

Explore an unspoilt world of mountains, sea, dark skies, wildlife, light
and reflections, with endless inspiration on a remote Scottish island.

Small groups with professional wildlife and landscape tutors

and demonstrators.
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LP09 SubsDigital_Layout 1 19/09/2016 16:20 Page 1
Pick up available from Fort William bus/train station
Contact Allison or Andy Jackson Tel. 01972 500208

is available Watercolour

Inspired by nature

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

 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
 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.

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

l Easy access to paid-for past

and present issues Go to 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

72 DECEMBER 2016

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and ExaClair Competition
PaintersOnline, the online
home of Leisure Painter
and The Artist, has teamed ENTER NOW
up with ExaClair, the UK To win one of ten sets of three
supplier of Clairefontaine, Paint’ON Fine Art Pads worth
to offer you the chance to £25(rrp) from ExaClair please visit:
win one of ten sets of three
Fine Art Pads from its new
Paint’ON Multi-technique
collection – an A3 and an A4 the online home of
in white, and an A4 in natural and
tan, worth £25(rrp) per set.  magazines, and click on the links
to competitions. Closing date
for entries is January 20, 2017.
The thick and luxurious 250gsm Clairefontaine started production in
paper in this range is suitable for 1858, in the town of Etival-Clairefontaine,
Winners will be selected at
acrylic painting, gouache, ink, dry situated next to the Meurthe river, 90km random from all online entries.
or oil pastels, collage and other dry from Strasbourg. It now produces an
techniques. The pads are a clever extensive range of premium fine art When completing your details please
way for established or budding make sure you opt in to receive our
papers for numerous disciplines,
great regular email newsletters so that
artists to delve into a wide range including watercolour, sketching, pastels we can keep you up to date with what’s
of media without requiring a and acrylics. For more information visit new at PaintersOnline, including the
different pad for every type. latest features, images in the galleries,
new competitions and other great offers.

and Royal Talens Competition
PaintersOnline, the online home
of Leisure Painter and The Artist,
has teamed up with Royal Talens ENTER NOW
to offer you the chance to win To win a Rembrandt Soft Pastels
a set of 150 Rembrandt Soft Pastels General Selection Master Box from
in a display box worth £375(rrp) Royal Talens please visit

The Rembrandt Soft Pastels

General Selection Master Box
consists of 144 coloured the online home of
Rembrandt soft pastels, with extra and
whites and blacks, to make this magazines, and click on the links
pastel box a complete and
wonderful collection of 150
to competitions. Closing date
pastels from which every pastellist the metals lead, cadmium and cobalt. for entries is January 20, 2017.
can find the right colours for any subject. For more than 100 years Winners will be selected at
Royal Talens have been stimulating
Rembrandt Soft Pastels are known
creative expression worldwide by
random from all online entries.
for their:
 Excellent colour release
developing high-quality brands and When completing your details please
 Intense and pure colours
products that inspire people to paint make sure you opt in to receive our
 Good to highest degree of lightfastness
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 Very high colouring power due to we can keep you up to date with what’s
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 They are also free of pigments based on
latest features, images in the galleries,
new competitions and other great offers. DECEMBER 2016 73

LP December 2016 Online gallery p66_News 1st 20/10/2016 10:11 Page 66

Online gallery
Jane Stroud’s selection of works from our PaintersOnline gallery

T his month I have chosen a commissioned family portrait by

artist, Paul Porter. Here Paul describes how he was able to
capture the spirit of the family using only a photograph as
painting made from an old photograph, with an interesting
story behind it. If you would like to see more of Paul’s work,
post a comment or upload your own images on our free online
reference. Next month we will be showing you another gallery visit

Family group
Born in Derry, Northern Ireland, Paul
Porter has always had a strong interest in
drawing and painting. He graduated with
a BA Hons in Graphic Design in 1984 and
started working in the design business,
before setting up his own business with a
colleague in 2005. Painting was
something he continued to do in his
spare time. “As a change from pushing a
mouse around all day at work,” he says,
“I usually take to the back room at home
where I can enjoy my oil painting. It’s
amazing how time flies once you are in
the zone and, as a stress buster, I could
not recommend it more highly. Although
I have to admit to feeling sad when I
have to hand over a commission that I’ve
spent countless hours working on.”
The Houstons was the result of a
commission Paul received from a
business acquaintance who wanted a
portrait of her family as a present to her
husband in celebration of his 60th
birthday. Paul explains: “The painting
was to include portraits of the seven
Paul Porter The Houstons, oil, 26x34in. (66x86.5cm) members of the family and was to be a
surprise for the husband. Ideally I would
have liked to plan and photograph the
family group myself, but as this was to be
a surprise, this wasn’t possible. Instead, I
was given this photograph of the family
(left) taken when they were on holiday in
Svalbard – a group of islands between
Norway and the North Pole. The
photograph showed the family in one
long line, with the hut looming large in
the background, which I thought
constricted the space I was able to give
the portraits on the canvas. Instead I
moved Peter, the father, and his son on
the left to just behind his wife and eldest
daughter to break up the line and make
it more interesting. I also reduced the
size of the hut slightly and moved it to
the left, allowing room for the sign.”
Photograph of the Houstons taken on holiday in Svalbard

74 DECEMBER 2016

LP11_HolidayBrownv2 2_Layout 1 21/10/2016 09:08 Page 38

9 to 21,

with Peter Brown NEAC, ROI
a wonderful adventure capturing every corner
of these towns, producing lots of work and
learning much from him. Peter is a humorous,
enthusiastic and inspirational guest artist.

Hoi An is a busy riverside town with

a huge variety of painting material to suit
everyone. Emerald green rice paddies, girls
in traditional dress and wearing palm leaf
conical hats, fishermen in small wooden rafts,
children riding buffalos, markets full of exotic
fruits and vegetables, ramshackle tailor shops,
Chinese temples with brightly coloured

J oin the well-known and highly respected

artist Peter Brown, aka ‘Pete the Street’,
in one of Vietnam’s most exotic, atmospheric
demonic-looking deities and dragons, a
Japanese-covered bridge, former merchants’
houses and old tea warehouses, alleyways
and compelling locations. The Unesco World decorated with lanterns, scooters, bicycles, a full
Heritage town of Hoi An in central Vietnam moon festival and so much more…. If this isn’t
is a kaleidoscope of vivid colours, street life enough to satisfy your palette then there are the
and architectural styles. nearby idyllic Cham Islands, the ancient temple
This painting holiday is ideal for experienced ruins of My Son and a pristine coastline lined
and intermediate students who aspire to with casuarina and pandan trees.
achieve a very exciting and different portfolio Accommodation is in a charming colonial
of work. Peter will encourage you to learn by hotel in the old town with 24 en-suite t
Udaipur, Midday, oil by Peter Brown
example and provide guidance when needed. bedrooms, a restaurant and a tranquil garden.
Tuition, demonstrations and critiques will Scheduled flights are direct to Hanoi with
not be provided. Peter will be working in oils a good connection to Danang, which is 30km
l 8 to 12 intermediate and
but all media are welcome. This is a rare north of Hoi An. Breakfasts and dinners are
opportunity to share time with, and experience experienced students
included and a travel escort from the UK
l Price per person from £3,875
the life of a hard-working artist. Students who will accompany you to take care of all
l Single supplement £250
travelled to Arles and Florence with Peter had the arrangements.

For full details contact

01825 714310
Leisure Painter and The Artist magazines have been offering overseas painting holidays since 1990 with renowned tutors. These holidays are organised by fully licensed
operator Spencer Scott Travel Services Ltd CAA ATOL 3471. Other holidays in 2017 include the Greek island of Symi with Hazel Soan, South of France with Lachlan Goudie ROI,
southern Italy with Richard Pikesley PNEAC RWS, Amsterdam with Ken Howard OBE RA, Holland and Belgium with Pamela Kay NEAC RBS RWS, and India with Hazel Soan.

For addional informaon and stockists please contact: JAKAR INTERNATIONAL LIMITED
Jakar Internaonal Limited, 410 Centennial Park, Elsee, WD6 3TJ • Tel: 020 8381 7000 email:

p76_lp_dec16.indd 1 21/10/2016 11:23:56