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LP03 1 Cover_v9_4.

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THE UK’S BEST-SELLING LEARN-TO-PAINT MAGAZINE

Our
50th
year!

Be confident
MARCH 2017 £4.20 with colour

BEGINNERS’
LOOSE & LIVELY
WATERCOLOURS
How to capture
fleeting light

Top tips for


improving your
landscapes
ACRYLICS
The perfect
medium for
cloud studies Learn to paint
How do I use...
water-soluble
with watercolour
graphite?


PAINT THREE
 

60-MINUTE STEPS TO
OIL STUDIES SUCCESS
TRY EASY 1 Sketch
PRINTING 2 Photo
TECHNIQUES 3 Painting
!
p002_Mar17_News 1st 17/01/2017 15:11 Page 2

& PAINTERSONLINE
in association with Great Art
ANNIVERSARY COMPETITIONS 2017
To celebrate LP’s 50th and PaintersOnline’s 10th anniversaries
we continue a year of painting competitions for Leisure Painter readers

MARCH’S COMPETITION PRIZES


Using the information found in We are delighted to announce exclusive
Colin Joyce’s article (pages 41 to 43), sponsorship by Great Art throughout
paint an original scene using any this year’s anniversary competitions
medium in 60 minutes or under.
Please upload your entry by Each month’s winner will receive £50
12 noon on Thursday 20 April. worth of art materials vouchers to spend
at www.greatart.co.uk, through the
Great Art catalogue or at Great Art’s new
JUDGES shop at Kingsland Road, London E2
Dr Sally Bulgin, publisher
Dawn Farley, editor, PaintersOnline
Ingrid Lyon, editor Leisure Painter
HOW TO ENTER & CONDITIONS OF ENTRY
Only online entries can be Click through the Current 4 You will be invited to send a
accepted. Only original work Painting Competition links to high-resolution image of your
will be considered and paintings Anniversary Competitions 2017. winning entry to Leisure Painter
based on reference photographs You must be registered and for publication in the magazine
must have been taken by the logged in to PaintersOnline in spring 2018.
artist or used with the permission before you can upload an image. 5 All work entered will be
of the photographer. Only one 2 Upload your March entry by featured on our website at
painting per artist each month the closing date of 20 April www.painters-online.co.uk.
will be accepted. at 12 noon. 6 The judges’ choice will be final.
1 Online digital entries must 3 Entries will be judged after 24 No correspondence will be
be sent via our website at April and the winning entrant entered into.
www.painters-online.co.uk. will be informed early in May.

magazine
is available Watercolour

Inspired by nature

digitally
Here’s an easy-to-follow watercolour demonstration to practise applying light,
fluid washes while reserving the white, by Rachel McNaughton

M Colours used
Yo u w i l l n e e d
I Surface
G 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
I Winsor & Newton
Professinal Water Colour
See colours, right
I Miscellaneous
G Daniel Smith moonglow
G White gouache
G White gel pen
G White pastel (not oil pastel)
G Old toothbrush

Step 1
M

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.

G Instant acccess to your


2 Mix up three separate washes of moonglow,
cobalt turquoise light and neutral tint; make
sure you have plenty of moonglow. Working
on dry paper and beginning at the edge of
one of the stems, paint a broken wash of
moonglow. Allow the colour to break up
on the rough texture of the paper, leaving
ragged glimpses of dry white paper. Use a
large brush and, when near the dandelion
head, use the side of the brush to create
a rough edge. M Step 2
3 Carry on around the painting, dropping 1 Wet the dandelion clocks. Make dilute washes
in a little cobalt turquoise occasionally and of cobalt turquoise and neutral tint. Paint
neutral tint at the base of each clock and turquoise on the left-hand side of each clock.
a little between them at the top. Splatter 2 With neutral tint and a fine brush, paint fine
quinacridone gold. Allow to dry. lines to suggest the stems of the dandelion’s
seed ‘parachutes’ radiating from the centres.
Allow to dry.

magazine
Step 3
M

1 Now to paint the centres. Mix green


from quinacridone gold and Payne’s
grey and a couple of browns using

G View any time, anywhere


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.
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.

G Easy access to paid-for past


32 OCTOBER 2016 www.painters-online.co.uk

and present issues Go to www.painters-online.co.uk and


G All issues stored in one place click on the ‘Subscribe’ tab, search for
G Subscriptions and single Leisure Painter magazine at these
copies from just £2.49 stores or scan the QR code
G Try it FREE. Sample issue
is available to download

2 MARCH 2017 www.painters-online.co.uk


March welcome use_Layout 1 16/01/2017 11:55 Page 3

Incorporating Leisure Painter


and Craftsman
and Creative Crafts
VOLUME 51/3
ISSUE 557
www.leisurepainter.co.uk
Welcome
www.painters-online.co.uk
ISSN 0024-0710
from the editor
MARCH 2017

Editor
Ingrid Lyon
L ooking out on Tenterden high street as
the snow nearly obliterates the
Georgian buildings opposite, I am
Contributing Editor
Jane Stroud reminded of how difficult it is to render the effects of weather – and
Editorial Consultants
Diana Armfield, RA, NEAC (Hon), RWS how much we all love to try. Only the hardy among us are tempted
David Bellamy
Tony Paul STP
to paint outdoors at this time of the year so we have included plenty
Advertising Sales of projects, demonstrations and creative ideas for you to follow this
Anna-Marie Brown (Tel: 01778 392048)
(annamarieb@warnersgroup.co.uk) month in the warmth of your own home. Don’t be lulled into
Advertising Copy complacency though, as this is a good time of the year to set
Sue Woodgates (Tel: 01778 392062)
(suewoodgates@warnersgroup.co.uk) yourself challenges and try out new ideas.
Accounts
creditcontrol@warnersgroup.co.uk
If you’ve only been comfortable painting directly from photographs
Events Manager in the past, why not find a photo you like within these pages and
Caroline Griffiths
make a sketch from it first? Set yourself a time limit and think about
Subscriptions & Marketing Manager
Wendy Gregory composition, tone and colour ideas. What would you like to change,
Subscriptions omit, simplify or include in a painting of the scene? Rarely is any
Nicci Salmon & Liza Kitney
(Tel: 01580 763315/763673) one photograph perfect for copying so take your time and think the
Online Editor
Dawn Farley
composition through or produce a series of quick thumbnail
Designers sketches to try different ideas. This is all part of the creative process
Alison Renno
Sarah Poole and will help you to become more fluent as an artist.
Leisure Painter is published
We always hope you enjoy following the demonstration paintings –
every four weeks by: you can learn a lot from following the techniques and colours used
The Artists’ Publishing Company
Limited (TAPC), Caxton House, by the tutors – but when you’ve finished, why not develop the same
63-65 High Street, Tenterden,
Kent TN30 6BD theme using your imagination or another photograph? Perhaps
(Tel: 01580 763315)
begin a series of spring flowers, paintings using warm browns or
Publisher
Dr Sally Bulgin, Hon VPRBSA snow scenes.
Publication of an article or inclusion of For those who enjoy painting from life, choose your medium and
an advertisement does not necessarily set yourself the task of painting an object, an interior or the view
imply that TAPC is in agreement with
the views expressed, or represents from your window in 60 minutes or under. This month’s anniversary
endorsement of products, materials
or techniques. TAPC does not accept competition challenge is all about simplifying and rendering a scene
responsibility for errors, omissions
or images received in good faith in an hour or under. Set yourself a timer and don’t forget to share
Annual subscription rates: your work with us all by uploading the results on PaintersOnline
UK £39.99 (includes Northern Ireland);
USA $80; Canada $92; EC member (details can be found opposite).
countries €67; all other countries
(sterling rate) £50 Enjoy your month of painting and don’t forget to contact me if you
Foreign currency prices include have questions about your art. There’s always someone here to help.
bank charges. Payments made
by credit card are taken in sterling
at the rate of £50
Printed by Warners Midlands plc,
The Maltings, Manor Lane, Bourne,
Lincolnshire PE10 9PH

Newstrade distribution by INGRID LYON Editor


Warners Group Publications plc
(Tel: 01778 391000)

APRIL 2017 issue on sale 24 February

www.painters-online.co.uk MARCH 2017 3


LP03 4-5 Contents_News 1st 16/01/2017 12:08 Page 4

Contents MARCH 2017

34

32 24

24 Drawing matters
IN EVERY ISSUE Part 2 Techniques, materials and creative
ideas for drawing with water-soluble
6 Letters 10 Online gallery graphite, by Anne Kerr
Your tips, suggestions, Jane Stroud chooses a pet
ideas and questions portrait from PaintersOnline 29 The sky’s the limit
Dave White uses shapes and subtle colour
7 Diary 57 Books mixing to achieve a realistic three-
Things to do this month Some of the best practical art dimensional sky in acrylics
books and DVDs are reviewed
8 Exhibitions 32 Three steps to success
Some of the best shows 59 Art clubs How to produce and transform a rough
around the country News, exhibition listings and sketch and a photograph into a finished
‘best in show’ paintings painting, by Wendy Jelbert

34 From photo to painting


Part 3 This month Elena Parashko discusses
how photographs can be used to support
FEATURES your artistic practice
On the 12 Fleeting light in winter
cover It’s not all about snow as Christine Pybus 37 Understanding colour
Julie King discusses how to capture light and Part 16 How to use the warm dark browns in
Snowdrops,
watercolour, atmosphere in winter paintings your palette, by Tony Paul
1012⁄ x814⁄ in.
(27x21cm). 16 Painting project 41 60-minute studies
Follow Julie Part 2 Learn to paint fluently and Oils make the perfect medium for producing
step by step as
she paints the confidently as you follow Jem Bowden’s quick studies. Find out how with Colin Joyce
first signs of step-by-step watercolour landscape
spring on pages 44 Watercolour problem solver
19 to 23 19 First signs of spring Tim Fisher completes his three-part response
Use a variety of techniques and a limited to a reader’s question on painting foliage in
palette to paint snowdrops with Julie King watercolour

4 MARCH 2017 www.painters-online.co.uk


LP03 4-5 Contents_News 1st 16/01/2017 13:56 Page 5

Coming
next month
Spring into action as you learn to draw and
paint with Leisure Painter. Here are just some
37
of the highlights to be found in the April issue

ON SALE 24 FEBRUARY
n What’s holding you
back? Creative ideas
to keep you motivated
with Helen Elliott
n David Bellamy
demonstrates
techniques to paint
trees in watercolour
n Join Pamela Kay as
she plans and paints
interiors in oils
n Follow the final
tutorial in Tony Paul’s
17-part colour series
12 n Step-by-step
demonstrations in all
your favourite media
OFFERS, HOLIDAYS & COMPETITIONS t
Use a variety of watercolour
n Rebecca de Mendonça techniques to paint this carp
2 Enter March’s 50th anniversary competition and you begins a new series on with Alison Fennell next month
could win a £50 voucher for art materials from Great painting with pastels
Art. This month: produce a painting in 60 minutes!
n Build your confidence LEISURE PAINTER
28 Save money when you subscribe to Leisure Painter by drawing with ink ON-SALE DATES
this month n Colour-mixing basics Issue On sale
May 24 March
54 £17,500 worth of prizes to win! Call for entries n Learn new skills: June 21 April
to the Leisure Painter Open Competition 2017, beginners’ woodblock July 19 May
in association with Patchings Art Centre printing at home Summer 16 June
August 14 July
56 Take advantage of the latest offers on practical art n And much more! September 11 August
books in LP’s online bookshop at PaintersOnline

58 How to win fantastic prizes and a place in this year’s


Art Club of the Year exhibition

67 Join a host of well-known artists in 2017’s painting


holiday lineup from Leisure Painter and The Artist

47 Winter on the riverbank


Join Richard Nichols as he visits a favourite riverside spot
in Suffolk to paint wild fowl and reed beds in watercolour

50 A painter’s guide to linocutting


Develop new skills with Lisa Hooper as she discusses basic
materials and shows step by step how to produce linocuts
of wildlife subjects at home t
David Bellamy River Usk, watercolour, 7x912⁄ in. (18x24cm)

www.painters-online.co.uk MARCH 2017 5


March letters_News 1st 17/01/2017 11:27 Page 11

Letters
body colour. Gouache’s opacity also
makes it body colour.
The old guard in the Watercolour
Society refused to exhibit the work of
artists using body colour so the rebels
formed a new society, which today we
YOUR TIPS AND QUESTIONS ANSWERED know as the RI (the Royal Institute of
Painters in Water Colours). The
traditionalist group are now known as
yellow for the outer ring of the eye the RWS (The Royal Watercolour Society).
then cadmium yellow for the inner Indeed, graphite is a slippery
darker shade. substance, often used as a lubricant,
2 Grey was used for the tufts of feathers and there is no doubt that dense
and above the eyes. Black was added application of the softer grades of
around the yellow of the eyes. graphite pencil will repel watercolour
3 I used white around the outer eyes washes, but the slightness of an
and the rest of the body, claws and log. underdrawing in graphite pencil is
Cadmium yellow was added for the unlikely to create much of a problem
beak with yellow ochre for the slight when overlaid with watercolour washes.
shadow on the nose. I then made a few Watercolour is basically a transparent
marks for the feathers. medium and I can’t see the point in
4 I roughly added a mix of light and putting a heavy tonal drawing
dark brown on the feathers and head. underneath watercolour washes. Thickly
5 With white pencil, I filled in some of applied paint, be it watercolour or body
the gaps then did the same with the colour, over a complete and heavily
black pencil. I added a few finishing applied underdrawing in graphite
touches around the eye with grey. would, as you suggest, almost certainly
5 Finally, for the branch I used a mix of result in the paint flaking off.
burnt umber, light and dark brown and But, in recent years, we have had
a spot of yellow ochre. water-soluble graphite pencils, which
Helen Shepherd dissolve into washes at the touch of a
wet brush, and now this new product is
Colour over graphite in a bottle. The information that I have
Over Christmas I was browsing through seen on the product shows that graphite
Helen Shepherd Owl Study, coloured pencil on a book Glory of Watercolour, which is has been tinted to give a small range of
black paper, 111⁄2x81⁄4in. (29x21cm) was inspired by colours, but it doesn’t seem to suggest
Sarah Morrish’s article in the April 2016 issue
about The RWS Diploma Collection.
I happened to note that the medium overlaying the product with traditional
was rarely straight watercolour as we watercolour. The fact that it is dispersed
Working on a coloured surface all use. A number stated ‘watercolour into an ink would suggest that it may
After trying Sarah Morrish’s exercise in and bodycolour over graphite’. LP have an ingredient that will keep it
Leisure Painter’s April 2016 issue, I felt contributors often advocate mixing water ‘friendly’, but the product seems
inspired to give an owl another go. I bodycolour in the hues to suit the to be marketed as a sketching medium
enjoy drawing and painting in my occasion. in its own right.
spare time in between working full My mind boggled over the concept Gum Arabic can be added to a
time, and lately I’ve been producing of putting watercolour over graphite, watercolour painting to create a jewel-
pictures on black art card with as I regard it as slippery. If this were like effect to more densely applied
Derwent Academy coloured pencils. I not enough, earlier paintings often touches of watercolour. There is no
begin by drawing in my sketchbook incorporated ‘gum’. I believe this reason or benefit to add it when using
then tracing my drawing onto the comes anyway as a binder in our normal watercolour techniques.
black card. I’ve been tracing out my paints. Yet I note Gum Arabic is in
drawings so I have spare images to suppliers’ lists. Is this something else
hand to redo again to see how each we should really think about?
one differs. For the owl study (above) I John Blatchford Send your letters to
used: Leisure Painter, 63-65 High Street,
Surface A4 black art card. Tony Paul replies: In the 1830s Winsor Tenterden, Kent TN30 6BD.
Coloured pencils Chinese white, & Newton introduced Chinese white Alternatively, email the editor at
cadmium yellow, pale yellow, light (zinc white) into their watercolour leisurepainterletters@tapc.co.uk.
brown, dark brown, burnt umber, raw ranges. This coincided with the new All letters published here win art
umber, black, grey and yellow ochre. breed of watercolourists rejecting the materials, courtesy of Daler-
Here are the steps I took: established ‘pure’ watercolour Rowney. For details of all
1 After I traced out my drawing onto techniques, by adding white to their Daler-Rowney products visit
the black card, I drew around the watercolours to make them more www.daler-rowney.com
outline with white. For eyes I used pale opaque – this then became known as

6 MARCH 2017 www.painters-online.co.uk


LP March 2017 Diary p7_News 1st 16/01/2017 10:03 Page 6

Diary
THINGS TO DO THIS MONTH

NEWS
I, Claude Monet
Based entirely on Monet’s personal letters, I, Claude Monet is
a new film documenting the tumultuous life of the artist, from
bouts of depression and despair to the euphoria Monet
experienced through the joy of painting. The film is part of the
series Exhibition on Screen, which works with international t
John Peter Russell In the Morning, Alpes Maritimes from Antibes, 1890-1,
museums and galleries to bring artists’ worlds to life. The film oil on canvas, 233⁄4x283⁄4in. (60.5x73cm) from Australia’s Impressionists
will be in cinemas nationwide from 21 February.
Courses
t Monet’s garden in Giverny during filming for I, Claude Monet n Australia’s Impressionists
Coinciding with Australia’s Impressionists at the National
Gallery in London until 26 March, there will be a two-day
course on Discovering Australia’s Impressionists on
Thursdays 16 and 23 February, 2 to 4pm in the Sainsbury
Wing Conference Room 1. The two-week course will look
at how Australia’s Impressionists helped shape
perceptions of Australian national identity and explore
how their works relate to, but are distinct from, French
Impressionist painting. Tickets: £28/£24 concessions. To
book tickets go to www.nationalgallery.org.uk/whats-on or
telephone 020 7747 2888.
n Joan Eardley
Complementing the
exhibition, Joan Eardley:
A Sense of Place at the
Scottish National Gallery
Call for entries of Modern Art until 21
n New English Art Club May, artist, Damian
The New English Art Club (NEAC) is inviting entries to its Callan, will lead a pastel
annual exhibition at the Mall Galleries in London from and paint course inspired
16 to 25 June. The closing date for entries is 24 by the artist’s work. The
February. For full details and online submission go to course will take place on
www.mallgalleries.org.uk/call-for-entries Tuesdays (10am until
n Society of 1pm) on 28 February and
Women Artists 7, 14, 21 and 28 March.
The Society of Participants will work
Women Artists (SWA) from the model and
Joan Eardley Two Glasgow Lassies
t
is inviting entries to other reference material,
c.1962/63, pastel on sandpaper,
its annual exhibition with an emphasis on 111⁄2x93⁄4in. (29x24.5cm)
at the Mall Galleries using the techniques and
in London (4 to 9 colours favoured by Eardley. The course costs £90/£85
July). Digital concessions. To book, telephone 0131 624 6560.
submissions for pre- n Vanessa Bell
selection are open Coinciding with Vanessa Bell at the Dulwich Picture
until 23 March. The Wang Ziling The Existence of Us
t Gallery, London from 8 February until 4 June, artist, Liz
hand-in day for pre- and Them in Time and Space No. 2, Charsley-Jory, will lead a five-week course for 15 to 18
selected and acrylic on canvas, 351⁄2x351⁄2in. year-olds looking at portraiture through the lenses of
(90x90cm), from the SWA artist, Vanessa Bell and the Bloomsbury Group. The
members’ work is
6 May. Awards, including the £2000 Special Fine Art workshop will take place on five Tuesdays from 28
Award, are on offer. For full information and on-line February until 28 March. For more information visit
entry, go to www.society-women-artists.org.uk www.dulwichpicturegallery.org.uk

www.painters-online.co.uk MARCH 2017 7


LP March 2017 Exhibitions p8-9_Layout 1 16/01/2017 11:40 Page 2

LONDON

Exhibitions JANE STROUD RECOMMENDS


n Bankside Gallery
48 Hopton Street SE1. 020 7928 7521.
‘The Society of Wood Engravers’,
31 January to 19 February. ‘Contemporary
Watercolour Exhibition’, 3 to 15 March.
n Mall Galleries
The Mall SW1. 020 7930 6844. ‘Lynn
Painter-Stainers Prize 2017’: showcasing
the best of representational painting from
both professional and amateur painters
in the UK, 6 to 18 March. ‘London and its
River 2017’: featuring work by the
Wapping Group of Artists, 13 to 18 March.
n National Gallery
Trafalgar Square WC2. 020 7747 2885.
‘Australia’s Impressionists’, until 26 March.
n The Queen’s Gallery
Buckingham Palace SW1. 030 3123 7301.
‘Portrait of the Artist’: including more
than 150 paintings, drawing, prints,
photographs and decorative arts,
examining portraits of artists – from the
15th to the 21st centuries, continues until
17 April.
n Royal Academy of Arts
Piccadilly W1. 020 7300 8000. ‘Revolution:
Russian Art 1917-1932’, 11 February to
17 April. ‘America After the Fall’: painting
in the 1930s, 25 February to 4 June.
n Tate Britain
Millbank SW1. 020 7887 8888. ‘Paul
Nash’: featuring work from his early
symbolist paintings through the iconic
works of the First World War to post-war
landscapes, until 5 March. ‘David
Hockney’: retrospective exhibition as the
artist approaches his 80th birthday,
9 February to 29 May.

REGIONAL
n Djanogly Gallery
Nottingham Lakeside Arts, University
Park, Nottingham. 0115 846 7777. ‘Victor
Pasmore: Towards a New Reality’,
exploring Pasmore’s work between 1930
Vanessa Bell Wallflowers, oil on canvas, 14x10in. (35.5x25.5cm)
t
and 1969, until 18 February.
Vanessa Bell n Falmouth Art Gallery
This spring, the Dulwich Picture use of colour, abstraction and form. Municipal Buildings, The Moor, Falmouth,
Gallery in London will be showing Alongside paintings, the exhibition Cornwall. 01326 313863. ‘Artists Afloat –
around 100 paintings by the will also feature ceramics, fabrics and Tuke and Hemy at Sea’,: featuring the
modernist painter, Vanessa Bell. A a special exhibition of photographs marine paintings of Falmouth-based
central member of the Bloomsbury by Vanessa and the American writer, Royal Academicians, Henry Scott Tuke
Group, Vanessa’s work has often artist and musician, Patti Smith. and Charles Napier Hemy, 25 March to
been overshadowed by her family Vanessa Bell (1879-1961) is at the 17 June.
life and associations with other Dulwich Picture Gallery, Gallery Road, n The Fountain Gallery
painters, such as Roger Fry and London SE21 from 8 February until 4 26 Bridge Road, Hampton Court,
Duncan Grant. This exhibition sets June. See page 7 for details of related East Molesey, Surrey. 020 8941 5865.
her work in context showing her to events. Telephone 020 8693 5254; Exhibition of life poses, still lives,
be an innovative painter with bold www.dulwichpicturegallery.org.uk landscapes and abstract paintings by
Ray Collins (1927-2014), 7 to 19 February.

8 MARCH 2017 www.painters-online.co.uk


LP March 2017 Exhibitions p8-9_Layout 1 16/01/2017 11:33 Page 3

Liberation of Colour
There are just a few days left to see the largest exhibition
of work by Winifred Nicholson since the 1980s at the
Middlesbrough Institute of Modern Art before it moves
on to Nottingham. The exhibition focusses on
Nicholson’s treatment of light and colour, taking
inspiration from places where the artist lived or visited
throughout her life. All genres and styles are featured,
including still life, flowers, landscapes and portraits – as
well as a group of rarely seen prismatic pictures which
Nicholson created towards the end of her life, and in
which she used prisms to see how light was broken up.
Liberation of Colour continues at the Middlesbrough
Institute of Modern Art until 12 February, moving on to
the Djanogly Art Gallery in Nottingham from 4 March
until 4 June, then to the Falmouth Art Gallery from
24 June to 16 September. For more information visit
www.visitmima.com
Winifred Nicholson Cineraria and Cyclamen 1927, oil on canvas

t
233⁄4x24in. (60.5x61cm)

n Glynn Vivian Art Gallery


Alexandra Road, Swansea. 01792 516900. Pastel Society
‘Glenys Cour: The Colour of Saying’: The annual exhibition of the Pastel complement the exhibition. Telephone
celebrating the life and work of Swansea Society opens at the Mall Galleries in 020 7930 6844 for details.
artist, Glenys Cour, including sketchbooks, London on 20 February and promises The Pastel Society: Annual Exhibition
paintings, collages, stage designs, stained a feast of colour. Paintings on show is on show at the Mall Galleries,
glass designs, cartoons, posters and will include work by elected London from 21 February to 4 March.
artist’s books, until 5 February. members of the society as well as by Readers are offered free entry for two
n Manchester Art Gallery artists chosen from open submission, to the exhibition (worth £8) upon
Mosley Street, Manchester. 0161 235 featuring pastel, pencil, chalk and mention of Leisure Painter at the
8888. ‘Wynford Dewhurst: Manchester’s charcoal. A variety of artist gallery desk. Visit
Monet’, including a large selection of demonstrations and workshops www.mallgalleries.org.uk
Dewhurst’s paintings, showing his affinity
t Sarah Bee Samphire Island, pastel, 153⁄4x153⁄4in. (40x40cm)
with the French landscape, until 23 April.
n Russell-Cotes Art Gallery
and Museum
East Cliff Promenade, Bournemouth.
01202 451858. ‘Meeting Modernism’: 20th
century art in the Russell-Cotes collection,
including work by Rothenstein, John
Minton, Laura Knight and Graham
Sutherland, until 24 April.
n Scottish
National Gallery
of Modern Art
73 Belford Road, Edinburgh. 0131 624
6200. ‘Joan Eardley: A Sense of Place’,
until 21 May.
n Whitworth Art Gallery
The University of Manchester, Oxford
Road, Manchester. 0161 275 7450.
‘Portraits’: looking at the collections,
artists, collectors and individuals who
shaped the Whitworth, 14 to 26 February.

All information given here is correct at


the time of going to press, but you are
advised to check details and opening
times with the galleries prior to your visit
in case of unavoidable alterations to
their exhibition schedules

www.painters-online.co.uk MARCH 2017 9


LP March 2017 OGp66_News 1st 16/01/2017 10:12 Page 66

Online gallery
Jane Stroud’s selection of works from our PaintersOnline gallery
WWW.PAINTERS-ONLINE.CO.UK

W ith any portrait, animal or human, capturing a likeness is not just about the Darren Lewis Cody, oil on canvas,
t

outward appearance – it’s character that’s the defining feature. Here, artist 1534⁄ x2312⁄ in. (40x60cm)
Darren Lewis explains how he set about painting his family pet, Cody. The result
leaves no one in any doubt as to who’s the boss! If you would like to see more work brings. I was also drawn to the low winter
by Darren, post a comment or have a go yourself and upload your own images on light streaming through the bedroom
our free online gallery visit www.painters-online.co.uk windows at the time, emitting a glow on
Cody’s youthful coat and the way it cast
Man’s best friend strong shadows in the background.
As a predominantly seascape painter, years, he has worked in a social work “I used photographs for reference, but
Darren Lewis is ideally placed in the capacity for the Kent County Council, departed somewhat by composing my
seaside town of Margate in Kent. On currently as Senior Youth Justice Worker own colour harmonies and hues to
leaving school, Darren embarked on a within the Kent Youth Offending Service. contrast the warm orange and sienna of
professional football career with Millwall “Cody is my first family pet,” explains Cody’s fur with the more muted greys in
Football Club in London, which took him Darren. “Although I have painted other the background. I love the way Cody gives
to residencies in the USA as part of a people’s pets, I found it harder to paint a ‘lord of the manor’ feel to the painting
University Soccer Scholarship programme. my own and to capture his true character. as if to say, ‘I belong here and I’m in
A serious knee injury forced his retirement The painting depicts the moment we first charge’. The painting took approximately
from competitive football and opened the relented and allowed Cody onto our bed. four months to create, as I revisited it at
doors to his academic studies at the It was Boxing Day 2015 and Cody was different times, allowing the oil paint to
University of Richmond in Virginia where seven months old. I was struck by Cody’s dry between sessions to give clarity to the
he studied art. This was followed with a pose, displaying a look of superiority as he newly applied paint. It now hangs proudly
BA Hons and MA in Fine Art at Canterbury took advantage of us and discovered all in our hallway and greets all the guests to
Christ Church University. For the past 24 the comfort being allowed on the bed our home.”

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


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p11_lpmar17.indd 11 17/01/2017 11:51:14


LP03 12-15 Pybus_Layout 1 13/01/2017 10:52 Page 12

Oils

t
Winter Landscape near Ugthorpe, oil on board, 10x14in. (25x35cm)

Fleeting light in winter


Christine Pybus discusses how to capture light in winter landscapes
be productive all year around so have Direct brushstrokes
LEARNING OBJECTIVES to look at all the other facets of winter – The buildings you see in Winter
n How to paint the effect of light and there are plenty. The muted light is Landscape near Ugthorpe (above) would
so much softer during these months and be masked by leaves in summer and the
n How to lead the eye into a scene the shadows are intense purples and foreground flat and empty. Factor in the
using both subjects and colour blues. Without leaves on the trees, the soft purple-blues and yellow-whites on
n Brushstroke techniques for sky literally sparkles through the skeletal the building, the sky sparkling between
painting landscapes in oils tree branches and those searching, long the branches and those long foreground
shadows reach out, stretching across the shadows to realise that the season can
landscape, defining the contours and make the picture.

W hat images spring to mind


when your thoughts turn to
winter paintings: fresh footprints
in deep, crisp snow; that famous Magpie
on a gate painted by Monet; or glistening,
creating patterns on what might be an
otherwise barren foreground. So whilst
I’ll paint it whenever possible, there’s far
more to winter than snow and, with a
little careful observation, you’ll find
With winter trees, I paint the branches
first then rapidly add the sky in between
the branches using short, sharp
brushstrokes and leaving some of the
burnt sienna ground showing through.
frozen streams? Whilst I absolutely delight sparkling, fleeting light in abundance. This series of direct brushmarks gives the
in painting snow, in reality we had only When painting on-site, even when trees sharpness, movement and sparkle
two good days of it here last year and wearing thermals, I’ll be the worse for cold while the warm, sienna patches register
even then I had to drive ten miles up before – or indeed if – the first watercolour as the remnants of autumn leaves.
on to the bleak North Yorkshire moors wash dries. Winter plein-air painting is Remember the ‘blue whitener’ in your
to find a good covering to paint. therefore a job for oils and, as oil paint washing powder? Old Whitby fishermen
With a regular number of gallery and thickens in the cold weather, it accentuates tell me that they used the same technique
exhibition commitments, I need to the brushmarks and is just a joy to use. when painting their boats. A touch of

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


LP03 12-15 Pybus_Layout 1 13/01/2017 10:52 Page 13

Oils

t
Snow at Lockwood Beck, oil on board,
11x15in. (28x38cm). Painted on a crisp
day overlooking the still, reflective water
on the reservoir, this was a difficult
composition to resolve. Whilst most lines
lead subtly to a focal point at thirds,
I still felt the need for that dot of red on
the lifebuoy housing. It just catches the
eye before leading it along the bankside
and into the picture.

Snow above Egton, oil on board,


t

712⁄ x10in. (19x26cm). If you contrast the


colours in winter larch trees with their
deciduous counterparts you will discover
a most glorious combination of warm and
cool colours, quite the equal of anything
that summer provides. Sheep, which are
just suggested with a few brushmarks, are
always useful to break up the foreground
and are invaluable when arranged to
lead the eye into the picture.

lemon yellow or cerulean blue in your


whites will crisp them up and lift what,
if used without, is a very flat and
neutral colour. I hope the following
painting demonstration will help you
develop winter landscape painting skills
in the warmth of your own home. LP
t

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LP03 12-15 Pybus_Layout 1 13/01/2017 10:54 Page 14

Oils

Demonstration
Winter Above Barnby Becks
Not always happy with your initial drawing
or composition? Well, me neither! Visible
beneath the brushmarks in Step 1 is my first
attempt at the track, rubbed out with a cloth
then repositioned. Next a section of the board
at the bottom was roughly discarded before
I was happy with the composition.

You will need


n Surface
l Gesso-primed MDF board 10x12in.
(25x30cm) primed and washed
with burnt sienna or a ground
colour of your choice. Alternatively,
use oil board, pad or canvas
n Rosemary & Co brushes
l Long flat hog oil brushes,
Nos. between 2 and 8
l Rigger No. 2
l Watercolour brush No. 2

n Daler-Rowney Artists’ oils


l Naples yellow 1
l Lemon yellow (hue)
l Yellow ochre
l Raw sienna Step 1
t

l Burnt sienna Roughly establish the composition, first few marks, tones and the contours
l Light red the lightest lights and the darkest darks, of the landscape are all established, the
l Ultramarine blue all of which give you a framework and a picture can then be reappraised. If you
l Cerulean blue guide on which to work. Whilst the darks don’t feel that it quite works, there’s
l Cobalt violet (Student quality can be altered later, the only fixed still ample latitude to change it. Be
colour is more affordable) parameters at this stage are the ruthless and go with your instincts;
l Titanium whites (the thicker highlights. As you’ve nothing whiter in there are no rules.
Roberson’s or Mike Harding’s your paintbox, they won’t be changing When you stand back and look at
are preferable) and everything else will then have to be this initial stage, don’t allow yourself
toned to fit in with and around them. to feel disheartened. Yes, it may look a
n Miscellaneous Begin with a few tentative marks and mess and it’s quite a discipline to stick
l A large, clean cloth allow the painting to evolve. If you start with it. Establish the right structure
l Turpentine or Sansodor to
with a detailed drawing, you will likely and tones now, however, and it will
keep brushes clean only, not follow it to a conclusion. Once those surely pay dividends later.
used for mixing

Step 2
t

Cover the board or canvas as soon as


possible. It’s only then that you can see
which areas need softening, darkening
or refining. Look back at Step 1 and
those trees against the sienna ground
looked close to perfect, but certainly not
now! With the snow and sky surrounding
them, they’re far too dark and strong.
Use big, bold marks and a No. 6 brush
to block in the fields. Suggesting the
contours now will avoid the muddiness
caused by overworking later. Whilst
some of those marks may need to
be refined in the final stages, the
majority can be left, giving a vibrancy
and freshness to the finished picture.
The more that you work into them,
the duller they’ll become. Note also
that those brushstrokes have a direction,
much of which will be apparent in
the finished painting. They will create
excitement and texture in those
often difficult-to-resolve flat areas.

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


LP03 12-15 Pybus_Layout 1 13/01/2017 10:59 Page 15

Oils

TIP Those familiar with my work may think


t Step 3 that I’m being stalked by someone in a red
It could be argued that the brighter, 3 Once that’s done, fill in the gaps coat; these figures always seen to turn up in
fresher Step 2 needed little more work; in the sky and snow, covering most the right place at the right time. However,
the degree of finish required depends of the burnt sienna ground. Again, just that one tiny dot of colour, not obvious
entirely on personal preference so be careful not to overwork those bold, but there for the viewer to find, can add
be guided here by your instincts and initial marks. Any burnt sienna left both huge depth and a sense of scale.
what excites you. To reach this stage of glistening through the trees will We all know how large a human figure
finish however requires the following: enhance them. is so just the smallest suggestion of a person
1 Tone down the trees with short, sharp 4 Now to the most important stage: will not only tell the viewer that this is a
brushmarks of cerulean blue, cobalt stand back from the picture and look huge landscape, but also indicate that the
violet and white. Do the same for the at it for a while. Anything glaringly figure is a long way distant, giving an
foreground shadows. wrong will soon become obvious and illusion of depth to the picture.
2 By painting marks of the background whilst it may only require one
colours – found in the sky, background brushmark to correct, exercise
trees or snow – into the trees using caution. Perhaps make a list of
a small brush or Rigger, those large alterations before revisiting it with
initial blocks of colour are broken up, the brush. Overworking at this stage
suggesting the skeletal winter branches. ruins many paintings. Far better to
Christine Pybus
Put these marks on sparingly, almost leave your work now and make minor Christine paints in both oil and watercolour
print them, and wherever possible alterations in a few days when the and her paintings are usually completed
resist mixing into those bold initial picture is drier. The new paint will on location. She travels extensively, gives
statements. Trees and shadows require sit on top, as opposed to mixing into talks and writes on art history, and offers
sharpness, which easily can be reduced your fresh initial statements. painting courses and demonstrations. Visit
to cotton wool by overworking. www.christinepybusfineart.co.uk for details.

t
Winter Above Barnby Becks, oil on board, 10x12in. (25x30cm)

www.painters-online.co.uk MARCH 2017 15


LP03 16-18 PP2v3_Layout 1 13/01/2017 11:07 Page 16

Watercolour

Painting project
Part 2 Learn to paint fluently and confidently as you follow
Jem Bowden’s painting of melting snow on a winter lane
LEARNING OBJECTIVES
n How to turn photographs taken
in spring into a winter painting
I n the first part of this painting
project last month, we looked
at how to combine three source
photographs (below) and turn a
(opposite), which I used to produce
the final painting. Arriving at this point
involved imagination, observation and
consideration of compositional issues.
n
spring scene into a convincing winter You can learn a lot from reinventing
Loosen up your watercolour style
landscape. I eventually produced aspects of a scene from a photograph
n Build colour-mixing confidence a composition and tonal sketch whilst keeping a firm grip on reality.
It is highly creative, and the more
reference material you collect the
better so check to be sure important
aspects of the composition look
correct before you begin painting.
The white of the paper is even more
important than usual, as you will need
to preserve it as untouched in places
for sunlit snow. When you add darker
tones, use thick paint, barely diluted
from the tube at times. Don’t be afraid
of this! It is a good way to achieve
a strong dark without risking the
muddiness that often results from
multiple layers of paint. You don’t
need to wait until near the end to
add strong darks, either. As you’ll
see from the following demonstration,
placing some quite early on in the
painting can help your eye judge
the mid-tones.
Your final sketch should already
provide you with the basis for the
tonal values (lights to darks) and you
will now need to reproduce these with
paint. Try using cooler colours for the
distant tones and warmer colours as
t The photographs that introduced the scene last month. The photograph (below) was you come forward. This helps convey
t

used to paint ivy and the other (below right) helped add detail in the finished painting the illusion of distance, thus giving
(page 18). the painting depth. LP

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


LP03 16-18 PP2v3_Layout 1 13/01/2017 11:07 Page 17

Watercolour

Demonstration Winter Lane


You will need
n Surface n Brushes
l Bockingford 200lb NOT l Large wash brush,
watercolour paper, squirrel hair mop or
taped down on a board equivalent
with masking tape l Synthetic Round brush
121⁄2x201⁄2in. (32x52cm) with a good point
n
No. 12 to 16
Artists’ watercolour
l French ultramarine n Miscellaneous
l Raw umber l Palette with large
l Burnt umber mixing areas
l Light red l Scrap paper for testing
l Indian red l 8B pencil
l Cadmium yellow l Soft putty rubber
t
The final compositional sketch, which also helps gauge tonal values

t
Step 1 t
Step 2
1 Having drawn out the main shapes of the composition, paint 1 Whilst the sky is drying place your first – and ideally only – wash
the sky. Practise this on a small scale first, as you will need to on the road. Shadows will be added later, but we don’t want to return
paint very quickly, not worrying much about the actual shapes unnecessarily to any part of the painting. Mix up a wash – as always,
of your clouds; there won’t be time! Mix up more than enough aim for more than enough – and concentrate on the tone. I used
wash of blue sky and cloud colours before beginning. I used a mix of raw umber and light red, and added some of the cloud colour
French ultramarine and added a little Indian red for the to the mix for the most distant part of the road. As you paint be careful
cloud colour. to define the edges of the puddles.
2 Using a large wash brush, dash clouds in quickly then instantly 2 Wait for the sky to dry completely before beginning the tree. Use a thick
skirt around them while they are still wet with the blue sky mix, mix of burnt umber and ultramarine to achieve a strong dark. Use the tip
touching into the bottom of the clouds, but leaving the top of a well-pointed synthetic brush to paint the branches and the full side
right-hand edges as white paper. This is to suggest where the of the brush for the suggestion of twigs. Practise this on scrap paper first.
sun, coming from the right, catches the clouds. The image Use a fairly dry brush and just skim it across the surface of the paper in a
(above) shows the paint whilst still wet, hence it looks fast motion to leave a broken mark. Less is more for this. You can always
a little darker when dry in Step 2. add more later, if the painting needs it, but you can’t take it away.

Step 3
t

1 The dark tree should help you judge the thickness of paint
needed for the mid-tone areas that follow. Using the side of
the brush again for scuff-like marks, put in the further trees
with a varying mix of burnt umber, ultramarine and Indian red.
A touch of cadmium yellow with ultramarine is the basis for
the field grass and the mossy wall. Be careful to leave white
for snow on both.
2 Add brown into the grass near the gateway whilst still wet.
3 When painting the wall, add purple, mixed from ultramarine
and Indian red into the green whilst wet, and use the thick
tree mix for dark accents at the top and bottom.
4 Next, add the wash of pale colours to the right of the road.
This can be fairly vague, but try to leave a patch of white as
a suggestion of unmelted snow. Use light red for the orange
colour and very thick paint again for the dark accents.

www.painters-online.co.uk MARCH 2017 17


LP03 16-18 PP2v3_Layout 1 13/01/2017 11:10 Page 18

Watercolour

Demonstration continued
Step 4
t

1 Once dry, add the distant hillside,


gateposts, ivy-covered tree and right-hand
tree trunk. For the hillside, use the tip of
your brush and the cloud colour mix for a
suggestion of hedgerows and woodland.
Soften edges away with a clean, slightly damp
brush in places while the paint it still wet and
add a little burnt umber to the mix for where
the hillside trees meets the nearer trees.
However, most of the hill should stay white.
2 For the closer details use strong mixes of
ultramarine with burnt umber, and the same
colours with Indian red added for the gate.
Leave chinks of white around the edges and
top of the posts to give the effect of snow for which you can use burnt umber with
or just dampness glistening in the light. a little light red. The telegraph pole and
3 The tree trunk and ivy colour is a varying its reflection are also added.
mix of ultramarine, burnt umber and dashes 2 Next, paint the shadows across the Jem Bowden
of the grass colours. Note how they are a road. Ultramarine and Indian red provide Jem provides demonstrations
medium-dark tone, but with very strong dark the colour, but vary the mix a little so it is and workshops for art groups, gives
accents on the left-hand edges, away from the slightly cooler in some places and warmer one-to-one tuition, runs weekly
light source, and on the branches. For these in others, for variety on the eye. Remember classes and tutors on painting
darks, use very little water in your mix; it to leave small gaps of light within the holidays. Next painting holiday:
is almost neat tube paint. shadows. Try to paint this quickly with Wye Valley in watercolour, 9 to 14
4 The tree on the right is almost a black-dark a large brush and, as always, aim to achieve July with Alpha Painting Holidays
for maximum contrast where it is set against the correct tone in your mix first so you (www.alphapaintingholidays.co.uk).
the sky, but at the bottom soften it away will not have to overpaint it. For more details visit Jem’s website at
with water into the underlying wash of 3 Finally, take a break before looking www.jembowdenwatercolour.co.uk
the road verge. around your painting with fresh eyes. or join him on Facebook:
I added extra brushmarks for the twigs www.facebook.com/
t Step 5 on the trees and a few birds. These small jembowdenwatercolour
1 Now to add the final, important touches. marks serve to catch the eye by offsetting
First come the reflections in the puddles, the larger shapes of the composition.

t
The finished painting Winter Lane, watercolour, 1212⁄ x2012⁄ in. (32x52cm)

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


LP03 19-23 King_Layout 1 13/01/2017 11:16 Page 19

Watercolour

First signs of spring


Follow Julie King and use a variety of watercolour techniques with
a limited palette to paint ethereal white flowers in the landscape

LEARNING OBJECTIVES
n Build confidence with
watercolour
n Practise a variety of traditional
watercolour techniques
n Use masking fluid to retain whites

W ith the awakening of spring,


snowdrops gradually emerge
from the frozen ground, and
winter walks reveal carpets of crisp white
sparkling snowdrops. With an artist’s eye
and armed with a sketchbook and camera
I want to take you through the painting
of this scene.
As I came across this scene, my main
point of interest were the snowdrops,
contrasting brightly against their
surroundings. I took various photographs,
including those shown here. Through
kneeling down on the ground (below),
my eye line was lowered to create a
composition dominated by close-up
t Your reference photographs for In close-up
t
snowdrops with the sky and trees in
the background. This gave depth and the following demonstration painting: It is always worth spending time
distance to the scene. snowdrops in a natural setting exploring the subject before beginning
a painting. Snowdrops are fascinating
flowers. Observe their characteristics and
make small sketches or notes to describe
them. Here is my brief description: ‘The
common snowdrops are small white
flowers. The solitary white blooms hang
down loosely. Three petals surround the
central bell shape, which has a distinctive
bright green inverted v-shape. Look
carefully at the smooth gently curved
edges gravitating from the tubular calyx.
The leaves are tall and narrow and have
a beautiful blue green tinge.’ LP

t
Snowdrop observation sketch
t

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


LP03 19-23 King_Layout 1 13/01/2017 11:22 Page 20

Watercolour

Demonstration First flowers of spring


t Colours used
You will need
n Surface Golden QOR watercolour Miscellaneous
l Bockingford See colours, right l Pebeo masking
140lb NOT fluid and old
watercolour Brushes brush
paper 101⁄2x81⁄4in. l Da Vinci Maestro l B pencil
l Kolinsky sable Rounds, Hansa yellow Phthalo Ultramarine Alizarin Quinacridone
(27x21cm) l Masking tape medium blue blue crimson gold deep
Nos. 6, 8 & 10

Step 1
t
With a B pencil lightly
sketch the snowdrops
and a suggestion of the
horizon line in the
distance. Using an old
brush apply masking fluid
to each flower head and
scatter a few small-scale
brushstrokes into the
background to suggest
distant snowdrops. Apply
a small drop of masking
fluid on the calyx of
each flower head to
retain a highlight.

Step 2
t

Ensure the masking fluid


is thoroughly dry before
wetting the area of sky.
Apply ultramarine blue
with a No.10 Round
brush, followed by
phthalo blue to give
a variegated wash.

t
Step 3
t

1 Prepare two pools of green using differing


proportions of Hansa yellow medium and
ultramarine to make a yellow green and a
blue green. Apply the yellow green mix to
suggest the distant trees and the distant
band of colour above the horizon. While
still damp introduce the blue green to
suggest the shadowed recesses.
2 Whilst still damp introduce a few branches
and distant trees in quinacridone gold, adding
depth with purple made from a combination
of alizarin crimson and ultramarine blue.

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


LP03 19-23 King_Layout 1 13/01/2017 11:21 Page 21

t
Step 4
1 When nearly dry, refine the tree trunks and branches with
a deeper purple mixed from a combination of alizarin crimson
and ultramarine blue, with a touch of quinacridone gold to
give a greyish purple appearance. Graze the No. 6 Round brush
downward to suggest the density of the fine branches and add
finer individual branches using the No. 3 Rigger.
2 Apply a stronger mix of green on dry paper surrounding
the trunks on the left and give more depth of tone towards
the base of the trees. Diffuse to soften the edges.

Step 5
t

1 Wet the lower area of the paper and apply a soft mix of Hansa
yellow medium in patches, avoiding most of the area under the
snowdrop leaves.
2 While still damp add ultramarine blue.
t Step 7
1 Mix a yellow green from Hansa yellow and ultramarine
and apply on the calyx using the No. 6 brush. When dry,
add a deeper tone on the shadowed right side.
t Step 6 2 Using a blue-green mix of phthalo blue and quinacridone
1 Combine Hansa yellow medium with ultramarine to yellow continue to add positive stems and leaves working
make a yellow-green and apply with brushstrokes to give from the top to the base so they taper off. Combine this
the effect of grass. technique with negative painting: surround a leaf shape
2 Finally add dilute phthalo blue in sweeping brushstrokes with a dilute wash, add water and diffuse the paint into
beneath and in the direction of the snowdrop stems. the background.

www.painters-online.co.uk MARCH 2017 21


LP03 19-23 King_Layout 1 13/01/2017 11:23 Page 22

Watercolour

Demonstration continued

t
Step 8
t

1 While areas are still damp, drop in varying


shades of green for added depth and contrast
to the negative leaf shapes.
2 Working wet on dry add a warmer green in the
foreground, leaving some areas with hard edges
to suggest grasses and some with soft edges to
blend into the area.

t Step 10
t Step 9 Add varying shades of grey, wet on dry, on the petals
1 Increase the strength in the foreground; ultramarine to suggest form and light, leaving plenty of white paper.
and quinacridone gold creates a warm green. Where one petal overlaps another, add a hint of grey. Paint
2 Remove the masking fluid. If the pencil marks rub the final bright green decorative marking on the trumpet
off, lightly redraw the lines. with phthalo blue added to Hansa yellow medium.

22 MARCH 2017 www.painters-online.co.uk


LP03 19-23 King_Layout 1 13/01/2017 11:23 Page 23

Step 11
t

Stand back and


look at your work.
Do you need to add
any final touches
to complete your
painting?

The finished
t

painting
Snowdrops,
watercolour,
1012⁄ x814⁄ in.
(27x21cm)

Julie King
Find out more
about Julie, her
work and classes
by visiting
www.julieking.co.uk

TRY THIS!
Ready for your next challenge? Use the
techniques you’ve learnt from the demonstration
to paint from this photograph of daffodils.
I would choose a limited palette of just five
colours to paint this scene:
1 Aureolin yellow or pale cadmium yellow
(a cool yellow for the outer petals).
2 New gamboge or cadmium yellow (a warm
yellow for the centres).
3 Ultramarine blue. This mixed with the yellows
will make varying shades of green.
4 Alizarin crimson gives warmth to the yellow
and, when mixed with ultramarine, makes a
lovely purple, which is useful for an end of
winter background.
5 Burnt sienna for the background trees. Add
ultramarine blue to make deeper or purple to
give a complementary lift to the painting.

www.painters-online.co.uk MARCH 2017 23


LP03 24-27 Kerr_Layout 1 13/01/2017 11:39 Page 24

Water-soluble graphite

Drawing matters
Part 2 Let’s look at techniques and materials for working
with water-soluble graphite pencils, with Anne Kerr

t
Traditional Maori House, graphite on 200gsm cartridge paper, 812⁄ x1134⁄ in. (21.5x30cm). Drawing techniques used from last month:
dark against light and light against dark (counter-change); broken lines; dot stipple; following the contours of the object; cross-hatch
and dot dash stipple. Less detail at the edges of the picture will emphasise the focal point.

(above) shows you my drawing of this


LEARNING OBJECTIVES subject. How did you get on? Did you The three water-soluble graphite
n How to draw with water-soluble remember to begin your sketch by pencils used in this month’s exercises
graphite pencils drawing from the outside in? In other
words, drawing the largest shapes first
n Techniques for shading and then gradually working your way down
texture making to the smallest details. This enables you
n How to add colour to a graphite to scale your drawing and place it
drawing comfortably on the page.
Now that we have done a little work Light wash Medium wash Dark wash
with graphite pencils, we move on

I n part one of this series last month,


we looked at drawing with graphite
pencils and examined different
methods of shading in order to make
our drawings look three-dimensional.
to water-soluble graphite this month.
I love this drawing medium, as it is
so versatile. It comes in pencil, pot
and stick form. It’s purely down to
choice whether you work mainly with
in pencil form. Similar to ordinary
graphite sketching pencils, you don’t
need to purchase many. Again, the
At the end of the article I invited you a paintbrush or with a combination water-soluble pencils are graded
to make a drawing of the little Maori of pencils and a brush. The graphite according to their degree of softness
house from the photograph provided, works in the same way whichever so all you need is a light, medium and
using some of the shading techniques method you choose, however, here we dark wash (above). Be aware that
discussed. Traditional Maori House just look at the water-soluble graphite water-soluble graphite can be difficult

24 MARCH 2017 www.painters-online.co.uk


LP03 24-27 Kerr_Layout 1 13/01/2017 11:40 Page 25

TRY THIS!
Here are two quick sketches using
all three pencils. Some lines were
blended with water and some were Sketch 1, water-

t
not. Always lay down less graphite soluble graphite
than you think you need, as you on 200gsm cartridge
can easily add more. And remember paper, 512⁄ x512⁄ in.
to build up the tones by allowing (14x14cm)
each layer of shading to dry before
adding the next one.

t Sketch 2, water-soluble graphite on 200gsm cartridge paper,


512⁄ x814⁄ in. (14x21cm)

to remove once it has been


activated, depending on the type
of paper you use.
Along with the pencils, you will
need: a waterbrush or watercolour
brush with a firm point (No. 8
or 10); Hot-Pressed watercolour
paper (300gsm or heavier) or
cartridge paper (200gsm or
heavier); a soft rubber; kitchen
roll; a palette or plate; and a
drawing board and tape.
The marks made by water-soluble
graphite pencils look exactly like
ordinary graphite pencils when
you first draw with them.
However, as soon as you wet your
drawing, the graphite moves like
watercolour. The illustration (left)
shows the differences in the light,
medium and dark washes. You
can achieve strong darks with the
softest pencil. When you want
a softly shaded area with no line
showing, use a wet brush to take
the graphite directly off the tip of
the pencil. Alternatively, scrape
a few flakes into a palette, wet
them and use the mix like paint.

Sketch 3, water-soluble graphite


t

on 200gsm cartridge paper, 8x9in.


(20x23cm)

www.painters-online.co.uk MARCH 2017 25


LP03 24-27 Kerr_Layout 1 13/01/2017 11:40 Page 26

Water-soluble graphite

Try these exercises


Using a light, medium and dark pencil,
produce tonal shading that blends from
light to dark and dark to light. Then
practise wetting an area, working from
light to dark to prevent dragging the
darker value into the light area.
When you make your sketches,
remember that you don’t have to
wet and blend every line. Leave some
marks as they were when first drawn.
1 Begin with a soft outline and the first
layer of shading using the light wash
pencil, wet your lines and blend where
needed. Remember to leave areas that
you want to show as white paper for
highlights. Allow to dry completely.
2 Go over your work again with the
medium wash pencil to add more
contrast. Allow to dry completely.
3 Use your dark wash pencil to punch
in strong contrasts where needed.

Shading
In part one of this series (last month)
we looked at different shading patterns
for different types of textures and
shapes. When using water-soluble
t
1 Here I used all three water-soluble graphite pencils; some areas were blended, pencils, it isn’t easy to use these
especially in the background, while other areas were kept crisp. shading patterns on areas where

TRY THIS!
How to layer the pencils
Here is a photograph of a little village
in Devon. To draw the scene I simplified
the rather complicated roof line on the left
side and left out the seats and the washing
on the line. I enlarged the tree foliage
behind the house so that the chimneys
stood out against the dark background.
The results you achieve with water-
soluble graphite are quite different from
those of ordinary graphite pencils. There
is nothing to say you can’t use both
graphite and water-soluble graphite in
the same picture. Try this exercise and
see the interesting textures that emerge.
Begin with a simple object and progress
to a full picture.
Next month we will look at drawing with
ink, both water-soluble and waterproof.

Your reference photo for this exercise


t

1 I began
t

with the
light graphite,
which was
scraped into
a palette and
painted on
with a brush.
t

2 The
medium wash
was added in
the same way,
followed by
the dark wash.

26 MARCH 2017 www.painters-online.co.uk


LP03 24-27 Kerr_Layout 1 13/01/2017 11:41 Page 27

Water-soluble graphite

you intend to add water, as the


water makes the lines run together.
Therefore, the main method of
shading with this medium is one
of blending light to dark and dark
to light. Once again, because we
are only using one colour, tonal
values are paramount. Additional
textures can be added to your
picture at the final stage using
a dry pencil. Sketch 3 (page 25) is
a little sketch of a river and bridge
that shows you the pencils used
in both their wet and dry form.
My best advice is to practise as
much as possible to achieve the
effects you want.

Add colour
When you come to add colour to
your drawing, remember not to
use watercolour, as wetting the
paper will ruin the drawing. You
only need a hint of colour so the
best materials would be simple
coloured pencils.
If you want to go one step further,
Derwent have introduced sets of
water-soluble graphite pencils in t
2 Following the first tonal stage, far left, I added a touch of colour with coloured pencils
lovely subtle colours. LP to complete the drawing

t
3 The medium wash
t
The finished drawing,
pencil was then sharpened water-soluble graphite Anne Kerr
and additional texture lines on 200gsm cartridge Anne runs watercolour, pastel and picture-framing
were added to the drawing paper, A4 classes at her home studio in Spain. Full details can
and left as dry graphite. be found on her website www.annekerrartstudio.com

www.painters-online.co.uk MARCH 2017 27


LP03 Subs_Layout 1 16/01/2017 13:36 Page 1

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LP03 29-31 White_Layout 1 13/01/2017 11:43 Page 29

Acrylics

The sky’s the limit


Practise creative ideas using shapes and subtle colour mixing
to achieve realistic three-dimensional skies, with Dave White

LEARNING OBJECTIVES
n Build confidence with acrylics
n Produce practice pieces, not full
paintings of skies and clouds
n Colour mixing for realistic clouds

H ave you ever begun to paint


a sky and realised it needed
a little more interest than just
blue so you added a cloud? The
cloud looked good so somehow you
repeated the same shape, size and
aspect in all its fluffiness. Then,
suddenly, you had produced a sky
that was simply flat, regular and
boring. In this article, I want to show
you how to add variety, depth and
interest into your skies.
To produce your best skies you
need discipline and a little creativity.
If you look at a sky with clouds it is
rare that you ever see a repeated
shape, showing the same size and
aspect of another cloud. Even so-called
‘mackerel’ skies have different sizes
and aspects of similar clouds. As
bodies of water, clouds are also three-
dimensional so our concentration is
on depicting variety in size, shape
and form. Here’s one way to create
believable skies. LP

Demonstration
A sky study in acrylics

t
The finished sky study, acrylics, 18x14in. (46x35.5cm). This is a practice piece
so just enjoy the process of painting these clouds with me.

Step 1 How to reuse your support


t

As the first step to achieving three-dimensional skies, I always begin with a graduated
background. I am using acrylics in this demonstration, but there is no reason why oil,
gouache or even watercolour couldn’t be used. I like to reuse supports so choosing an
opaque acrylic colour I lay down a cover coat of paint first. Whether you are painting
on a white background or not, it’s always good just to layer on a coat of paint, which
removes the absorbency of the support and allows slower drying coats of paint later.
t

www.painters-online.co.uk MARCH 2017 29


LP03 29-31 White_Layout 1 13/01/2017 11:44 Page 30

Acrylics

Demonstration continued

t
Step 3 Shapes
Once dry, I added the first cloud shape.
Variety is the key here. A simple approach to
this is to think of irregular shapes. This could
be birds, animals or soft toys, but I like to
t
Step 2 First layer of depth use the atlas and the shapes of countries or
t
Step 4 Variety
It’s difficult to achieve a flat coat of paint continents. I mixed a little ultramarine and I then chose another geographical
without brushmarks, equal depth or other cadmium red deep with a little shape, this time the North Island of
errors in the background. So having covered complementary yellow ochre to create grey- New Zealand then added Iceland! At
the entire support and allowed it to dry (Step purple, and created a shape reminiscent of this stage I selected an odd number
1), I apply a more graduated and even coat South America. It’s not accurate, but a of clouds (three), which avoided
of paint. In this case I used ultramarine with recognisable, irregular shape. You will notice symmetry, repeated shapes and
increasing amounts of titanium white then that the shape already stands out against similiar sizes. Try not to use countries
added a little cadmium red deep. There is the graduated background, not only because or continents with straight edges,
no recognisable horizon in this study, but there is a little complementary interaction including many of the states in the
the quality of the background will allow in the colours, but also the flatter colour in USA, for instance, as they will reduce
the viewer to look at the clouds and not the cloud shape is different from the the variety and therefore interest
your background errors. It’s a very important graduated background. in your painting.
phase in the process.

t
Step 5 Three-dimensional effect
t
Step 6 Highlights t
Step 7 Acceleration
At this stage I chose a light source – in this Leaving the shaded colour at the left- For the New Zealand-shaped cloud,
case from the top right-hand corner. To add hand base of the cloud will also add I repeated the process, but used a little
the three-dimensional effect, I added pure to the three-dimensional look. You will more titanium white, which brought this
white. The underpainting of the clouds was notice that the shape of the cloud has cloud a little more forward, even though
now tacky so blending the pure white was lost a little of its South American it is smaller.
easy and using a finger allowed me to leave look, but that’s fine.
gaps between the layers or bubbles of clouds.

30 MARCH 2017 www.painters-online.co.uk


LP03 29-31 White_Layout 1 13/01/2017 11:45 Page 31

t
Step 8 Connections t
Step 9 Take a breath t
Step 10 More shapes
Playing the same game with Iceland, So with three major subjects in the sky, You can also use the shape and
however, I used less white to throw this I began to add the effect of a distant line properties of your applicators to create
cloud further back in the composition. of clouds. There were no country or a further variety of shapes. In this case
continent I used the side of a 12⁄ in. Round brush
shapes here, and pushed the paint onto the support.
just a little You could also use sponges or paper
more finger towels to create variable shapes.
painting with
less white.

t
Step 11 Take a further break
Having achieved a good variety of shapes, aspects and three-
dimensional effects, I checked the balance of the arrangement
and looked for small areas that needed change. t
Step 12 The final effect
This final arrangement was painted purely for practice. If you
continue with this theme, look out for the wonderful shapes of
Dave White islands in South East Asia and be prepared to find places you have
From 23 to 25 May, Dave will be running a short painting holiday, Paint never even heard of. There are more principles outlined in my book
Forest, Water and Seascapes in Acrylics, in Wells, Somerset with Alpha Sea and Sky in Acrylics. Save £2 when you buy from Leisure Painter’s
Painting Holidays (www.alphapaintingholidays.com). Find out more bookshop at www.painters-online.co.uk/store and follow the links
about Dave’s work and workshops by visiting www.davewhite.org.uk to books. See page 56 for details.

www.painters-online.co.uk MARCH 2017 31


LP03 32-33 Jelbert1_Layout 1 13/01/2017 11:48 Page 32

Watercolour

Three steps to success


How to produce and transform a rough sketch and
colour notes into a finished painting, by Wendy Jelbert

LEARNING OBJECTIVES
n Create sketches with useful notes,
colour notes and tonal variations
n Take photographs that will help
you paint better pictures
n Build composition skills

I t was late autumn, a season


I simply adore, when I happened
on this country scene. The lush
greens of summer had started to fade,
and much of the foreground foliage
had disappeared leaving stark,
skeletal shapes. I only had a
sketchbook, a few pencils and my
camera with me, but I still managed
to record enough information to
create a finished painting in my
studio. The finished painting can be
seen overleaf.
First, I made a tonal sketch of the
t
The reference photograph
composition (below right). I was
so pleased with the result that rather and to general colour hues (orange Photographs and colour
than spoil it with colour notes, tint, brighter green, etc.). I also took a few photographs when
I decided to make another sketch I have also made separate notes making my colour notes. Notice that in
(opposite). For this second, much about particular elements of the the one reproduced above – taken from
rougher, sketch I simply marked in image (barbed wire, cow parsley the same viewpoint as the sketches –
the outlines of the basic shapes. and dandelion). You can never there is a much wider field of view than
I then made lots of handwritten make your notes too detailed, the sketch. Photographs do have their
notes about the colours I could see, especially if you do not have the uses. They are great for showing lots of
including references to specific equipment or time to make a detail, for example, but I never rely on
colours (burnt sienna, light red, etc.) coloured sketch. them for accurate colour reproduction. LP

TIPS on taking useful photographs


l Try to take photographs at different
times of the day. Mornings and
evenings are the best times.
l Avoid very bright sunlight. A strong
light source results in deep shadows
which can black out the details
within the shadow.
l Photographs without any direct
sunlight will give you depth and
detail without the drama – a good
foundation on which to place your
shadow shape.
l Take close-ups of details as well as
more general shots of the landscape.
Include portrait formats as well as
landscape ones; the tall, portrait
format can often be used to good
effect in landscape paintings.
l A useful code to remember is that
the brighter the sunshine, the
deeper the shadows will be. t
The tonal sketch

32 MARCH 2017 www.painters-online.co.uk


LP03 32-33 Jelbert1_Layout 1 13/01/2017 11:49 Page 33

Watercolour

A simple outline
t

of the shapes
with colour notes

Orange tint Cobalt


blue Burnt sienna
Green Purple Purple/burnt sienna
Olive
Blue distance Light red
Dulled yellow ochre

Brighter green Green/burnt sienna


Pinky
Blue green
Burnt sienna
Pinky
Purple Pinky yellow
ochre with
green blobs

Grass Dandelion
Pale green

This was adapted from From


Sketch to Watercolour Painting
by Wendy Jelbert (Search Press, Burnt sienna Barbed wire – pale blue grey
2016, £12.99). Save money and Cow parsley – dried in places –
buy this and other practical art books from our online pale beige + purple/yellow ochre
bookshop at www.painters-online.co.uk/store and
follow the links to books. See page 56 for details.

t
The finished painting

www.painters-online.co.uk MARCH 2017 33


LP03 34-35 Parashko_v2_Layout 1 13/01/2017 12:03 Page 34

Painting from photos

t
Figure 1 Reference photograph for Peyton’s Paradise (right), taken on the banks of Savusavu Bay in Fiji

From photo to painting


Part 3 This month Elena Parashko discusses the ways photographs can
be used to support your artistic practice and enhance your creativity

LEARNING OBJECTIVES young granddaughter of one of my Cancer Centre Appeal. The inspiration
n
students came along to this location for my painting Serenity (far right)
How to interpret your subject,
with us and were having fun playing came from listening to Olivia’s CD,
not simply copy it
further down the beach while we were Stronger than Before. I aimed to
n What to move, leave out or busy painting. During a break, I noticed capture that feeling of hope emerging
enhance in a composition a perfect composition unfold around from the shadows. I also wanted to
our two young guests. It was a personalise the painting in a subtle
n How to tell a story in your work spontaneous moment that passed way so I asked Olivia which of her
quickly so I was pleased I had my songs she would like depicted in the
camera with me to capture the magic sheet music that I would paint. The

P hotographs allow you to paint


at a time and place that suits
you and the reality of your life.
There are many situations where it is
just not possible to draw or paint –
(Figure 1, above).
All the elements for a great painting
were there: a beautiful backdrop, an
interesting subject telling a simple
story, a boat in the background to add
songs chosen were I Honestly Love You
and Can I Trust Your Arms? Their
inclusion added another layer of
meaning to the work.
To create reference material for the
locations where there is no physical variety, a wonderful play of light and painting, I was fortunate to have 30
space, public places where you would shadow on the sand and beautiful minutes access to a recording studio.
obstruct traffic flow, in adverse translucent light shining through the I brought along my props and played
weather conditions, when you don’t red plastic bucket. I knew it would with their positioning around the
have the time to create, when make a great painting and the finished musical instruments in the studio
unexpected opportunities arise and piece, Peyton’s Paradise, can be seen until I was sure I had a composition
you don’t have art supplies, and in above right. that matched my vision. My limited
awkward environments. This is where access meant painting on location
photographs are an invaluable way Check the composition was impossible so I photographed
for artists to record the moment. It’s When arranging the placement of this arrangement to work later from
not cheating; it’s being practical. objects in a still life, it is useful to my studio.
Painting on location has its benefits, photograph the arrangement and look When I later printed out the
but capturing fleeting moments with at it on a camera or computer screen; photograph (Figure 2, right), I was
a camera has its advantages, too. On this is an easy way to find any surprised to see that the leg of the
my last painting retreat to Fiji, my problems in the composition. piano stool looked as if it were coming
students and I set up under the shade A few years ago, I was asked to out of the top of the candle. I had not
of a huge rain tree and painted the produce a painting with a musical noticed this unsatisfactory positioning
view looking up the beach to theme that could be auctioned to raise at the time, but when looking at the
Savusavu Bay. The daughter and money for the Olivia Newton-John composition in a photograph, it was

34 MARCH 2017 www.painters-online.co.uk


LP03 34-35 Parashko_v2_Layout 1 13/01/2017 12:04 Page 35

Painting from photos

t
Peyton’s Paradise, oil, 834⁄ x18in. (22x46cm)

immediately obvious. I therefore changed


this important positioning in the painting,
toned down the overpowering glare of the
candles and lightened the background.

Your interpretation
Don’t feel limited to copying the facts in a
reference photograph. You can move your
artwork beyond the photographic inspiration
by allowing your imagination to take over
and create a contemporary composition. It
can be a lot of fun to allow yourself to play
with paint and other materials to see what

t
Figure 2 Reference photograph for Serenity (right) t
Serenity, oil, 2312⁄ x3112⁄ in. (60x80cm)

www.painters-online.co.uk MARCH 2017 35


LP03 34-35 Parashko_v2_Layout 1 13/01/2017 12:09 Page 36

Painting from photos

emerges, rather than restricting yourself


to remaining faithful to a photographic
image. I find after doing intense realistic
paintings where accuracy is required,
it is liberating sometimes to relax with a
loose and contemporary interpretation.
When I received these beautiful
Asiatic liliums (Figure 3, left) I knew
I wanted to paint them. Being in a
playful mood, I dived into the painting
without having a plan. I began by
designing a full and luscious
arrangement of flowers, stems and
leaves. Then to move beyond the
confines of a realistic rendition, I had
the impulse to drizzle harmonious
colours beyond the edges of the
subjects. The painting continued to
evolve as I splashed warm colours into
the centre of the flowers to exaggerate
the spray of pollen. I finished by
texturising the whole canvas with
dribbles of clear binder medium. The
completed painting is not meant to be
a faithful replication of the photograph,
but you can recognise the elements in
the photo that were incorporated into
t
Figure 3 Reference photograph for A New Dawn (below) the painting (A New Dawn, below left).

Create a story
The artist should never
be a slave to a photograph;
the photograph is merely
a source of inspiration,
which the artist can choose
to use as a basis for
weaving a more creative
story. Even if there is only
one small aspect of a
photograph that captures
your imagination, try to
extract that and build an
entirely original painting
around it. Read the story
behind my demonstration
of Thinking of You in next
month’s issue to see how
an unimpressive photo
was successfully
transformed into an
interesting painting. LP

Elena
Parashko
Elena is the author of the
empowering book Survival
Guide for Artists: How to
Thrive in the Creative Arts,
available via Amazon.
She also runs painting
retreats in Fiji and Tuscany.
For more information
about her work visit
www.elenaparashko.com
or email info@elena
parashko.com. Her blog
www.survivalguideforartists
.com has a wealth of
information for artists.
t
A New Dawn, acrylic, 3614⁄ x3614⁄ in. (92x92cm)

36 MARCH 2017 www.painters-online.co.uk


LP03 37-40 Paul_Layout 1 13/01/2017 12:23 Page 37

Back to basics

Understanding colour
Part 16 How to use the warm dark browns in your palette, by Tony Paul

t
Corner of the Rue de Danse, Bagneux, France, watercolour on cartridge paper sketchbook, A5. The greens of the trees were made from
burnt umber and phthalo green; this blend gives subdued, warm, dark greens. The lighter wall of the barn was given a very pale wash of
burnt umber before a broken and very pale wash of the green-brown mix was washed over parts of it. The broken grey wash on the face of
the building was made with burnt umber and ultramarine.

LEARNING OBJECTIVES labelled PBr7. If the browns are


synthesised they are labelled PR102.
n Colour history and development BURNT UMBER
n Build colour and mixing BURNT UMBER PBr7
confidence Also known as red umber
Like its parent pigment, raw umber, burnt
n How to use the warm dark umber contains manganese, which makes
browns in your palette it fast drying in oils. Indeed, there is
evidence that many 18th and 19th century

T he browns we use today are


broadly the same as those used by
ancient man, namely a yellow or
red earth pigment that has been roasted
until it became a dark brown colour. The
artists would add a little burnt umber to
their blacks to speed up their notoriously
slow drying. This not only helped the
drying time, but improved the quality of
the paint film – the soot blacks are prone
t
Burnt umber
PBr7
t
When diluted right
down, burnt umber
watercolour makes
most enduring and popular of these to cracking and wrinkling. If you look at the perfect colour for
pigments is burnt umber, made by the darks in an original Singer Sargent Caribbean coral sand
t

roasting raw umber. It is normally painting you will see just how bad this

www.painters-online.co.uk MARCH 2017 37


LP03 37-40 Paul_Layout 1 13/01/2017 12:21 Page 38

Back to basics

t
Fishing Boat, Mumbai, watercolour, 5x7in. (13x18cm). The hull was given a basic wash of burnt umber. While still wet, manganese blue
was dropped into this to reflect the colour of the water, and ultramarine to create the form of the bow. When this was dry, a mix of burnt
umber and ultramarine was touched in to represent the scarring and ageing of the hull. This grey was also used in the boat’s reflections,
and the cabin doorway and window.

RED UMBER VANDYKE BROWN

t
Williamsburg’s
t
Well lightened with white, this makes a natural Caucasian pink
red umber
After much research, Vandyke brown
was chosen and the kit painted with it,
cracking can become in time. Burnt decomposed vegetation and bitumen. and it really does work.
umber, being a natural pigment, It was a very unstable pigment, prone The Vandyke brown watercolour I used
is subject to many variations of hue and to fading in water-based media, and one for the portrait of John (above right) is by
tone depending on its source. Often other of the worst pigments ever used in oil, Daler-Rowney, from their Artists’ quality
pigments are added by manufacturers to taking years to dry properly, darkening, range. Labelled as being made from PBr7,
counter the variations from their colour cracking and wrinkling as it attempted it is cooler than burnt umber and warmer
charts. to do so. than raw umber. Having checked by
When proposals were made by BP mixing, I think it was made from a blend
VANDYKE BROWN to drill for oil on Furzey Island in Poole of these two pigments. I like the rather
Sometimes the burnt umber has other Harbour, Dorset, a condition of approval soft and dusty character of the Daler-
pigments added to ‘bend’ its colour to was that the visual impact of the nodding Rowney colour, perfect for a tonal
make lightfast replacements for such donkeys and associated equipment portrait study.
traditional colours as Vandyke brown. should be painted in a colour that would
Originally this colour was made from reduce their visual impact and make them WILLIAMSBURG’S RED UMBER
iron oxide-rich clays that also contained blend into the landscape of the island. Williamsburg’s red umber is a reddish

38 MARCH 2017 www.painters-online.co.uk


LP03 37-40 Paul_Layout 1 13/01/2017 12:21 Page 39

Back to basics

source version of burnt umber. This is a


brilliant portrait colour, giving perfect hues
for Asian and Afro-Caribbean flesh. Well
lightened with white – and especially if a
hint of a warm or cool red is also blended
in – it makes natural Caucasian flesh pinks.

Characteristics for all PBr7 colours


Lightfastness ASTM D4302, Class I,
excellent lightfastness.
Colour bias Towards orange or red.
Transparent/opaque Transparent.
Tinting strength High.
Staining No.
Watercolour The standard watercolour
brown, it can granulate when mixed with
cerulean, ultramarine and phthalo green.
Its transparency means that it can be
streaky unless applied in a wash that’s
well flooded on. Burnt umber is a good
mixer with other colours.
Oil Solid and dense in mass, it is the
perfect dark brown. Its high oil absorption
means that it should be mixed with low oil
colours if used in underlayers. Thanks to

A Portrait of John, watercolour on 200lb


t

Bockingford Rough paper, 22x15in. (56x38cm).


This one-hour sketch was done at a portrait
session using just Daler-Rowney Vandyke
brown watercolour and water. This colour
has a slightly dusty effect and the tone is not
as stark as straight burnt umber. The raw
umber element softens the burnt umber and
cools it a little. It is still on the warm side.
See how the thin washes build up to create
form. This is a really good colour to use for
this type of portrait, as it has a delicacy
that other more robust browns lack.

COLOUR MIXING FOR WARM DARK BROWNS


t Burnt umber mixed with phthalo green makes a natural, t Mixing French brown ochre with the opaque cerulean
warm, deep green. Lightening this with white can give a blue and white makes an interesting and useful grey-blue.
range of useful grey-greens. The colour has a soft dusty character.

+ = + =

Burnt umber Phthalo green French brown ochre Cerulean blue


+ white
t Vermilion hue and burnt umber combine to give a deep rose t A soft, dusty, deep plum colour results from a mix of French
pink. This subtle mix will find a use in most subjects. brown ochre and permanent alizarin crimson with a little white.

+ = + =

Burnt umber Vermilion hue French brown ochre Permanent alizarin


crimson + white
t Burnt umber and ultramarine make a good black; not quite as
hard as you would make from a black pigment, but arguably more t Naples yellow blended with French brown ochre achieves
useful when diluting or adding white to make greys, as you can a warm buff colour, useful in landscape subjects.
add more of one of the components to make them warm or cool.

+ = + =

Burnt umber Ultramarine French brown ochre Naples yellow


t

www.painters-online.co.uk MARCH 2017 39


LP03 37-40 Paul_Layout 1 13/01/2017 12:22 Page 40

t
The Tropical Blue Sarong, oil on board, 18x18in. (46x46cm). The rocks were laid in using French brown ochre. They were then
modelled by adding white to the brown for the lighter areas and cobalt blue for the darks.

its manganese content, it is a fast drier. to burnt umber and often added to
As with many other earth pigments, FRENCH BROWN OCHRE Artists’ quality ranges to give versatility.
it can tend to dry with a matt finish. Oil Similar in handling to burnt umber,
Other media Burnt umber is used but its high oil content and medium-to-
widely in all media. slow drying rate make it more
applicable to mixes and glazing in
WILLIAMSBURG’S FRENCH BROWN the upper layers of a painting.
OCHRE PY43 Other media Brown ochre can be
Dark browns can also be made from used in all media. LP
roasting yellow earths. Williamsburg’s
French brown ochre is one such variant, orange bias of burnt umber.
made by a long roasting of PY43. You Lightfastness ASTM D4302, Class I,
may remember that this pigment in its excellent lightfastness. Tony Paul
unroasted state is yellow ochre (see Colour bias Towards crimson. Tony is the author of four popular
part 13 of this series, December 2016). Transparent/opaque Transparent. practical art books, still available on
French brown ochre has a very similar Tinting strength Medium. Amazon. Find out about Tony and his
mass colour to burnt umber, but its bias Staining No. work at www.courtenaysfineart.com
is more to a crimson red edge than the Watercolour Its qualities are similar

40 MARCH 2017 www.painters-online.co.uk


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Tre Archi, Venice, oil on canvas board, 5x7in. (12.5x18cm). This was painted on a hot July morning, the shadow in the bottom right corner
soon moved past me and it became too hot to finish in situ. Taking a photograph at the start was useful, as I was able to add most of the
windows and other details later.

60-minute studies
Part 1 Oils make the perfect medium for producing quick studies.
Colin Joyce offers advice on what to pack, where to look and how to paint
Washes take longer to dry in cooler, Don’t go outdoors to paint thinking that
LEARNING OBJECTIVES damper weather and, if you become you want to produce finished work, but
n Techniques for painting quick impatient, disaster follows. I know; I’ve consider it a study that you can work up
studies in oils been there all too often. That’s when oils into a larger piece back home. In that
and a pochade box come into play. Oils way, you take the pressure off yourself
n What to pack for plein air are suitable for all weather conditions and and you can enjoy the time spent
painting are definitely my medium of choice from outdoors. Of course, sometimes you
n Develop your composition skills autumn through to spring. come away with a real beauty, which
It doesn’t take long to paint outdoors, is ready to go straight into a frame.
but I do recommend you work on a
What to pack
I paint outdoors more often than in my
studio, both in oils and watercolour,
because I believe the benefits are
enormous. I use more of my senses
when in front of the subject and this
smaller scale. To paint successfully en
plein air, your window of opportunity is
only approximately 60 to 90 minutes.
After this time has elapsed, the light has
changed so much, especially in sunny
Like most artists, I can’t resist visiting art
shops and buying materials I don’t need
to have, but want! When it comes to
painting outdoors, however, less is
shows in the work I create. I can also conditions, that you need either to move definitely more. I’ve reduced the amount
recall the sights, sounds and smells of the on or start another painting. Whatever of kit down to the minimum, as I carry
scene in front of me later when I finish you do, don’t try to continue, as the it all on my back.
the painting in my studio. painting will only become disjointed or I have two pochade boxes which work
When it comes to choosing which you will paint over what’s already on the in slightly different ways. The boxes I use
medium to take with me, often the canvas as you attempt to adapt to the now are an EASyL Lite and Alla Prima
prevailing weather conditions make way the scene has changed. By working Pochade Blackfoot, both produced in the
the choice for me. I need to be in small, say from 5x7in. to 8x10in., and USA. They can store a number of panels,
control and, unless it is warm and dry, using larger brushes it takes no time at which are usually sufficient for the day.
all to cover the canvas.
t

watercolour will prove quite difficult. I use standard size canvas panels from

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LP03 41-43 Joyce_Layout 1 13/01/2017 14:01 Page 42

Oils

t
Place Moulaiy Hassan, Essaouira, oil on canvas board, 8x10in. (20x25.5cm). Here I was both Winsor & Newton and Loxley. I also
attracted to the shadows working their way across the square. Working quickly I just hinted at make my own random sizes from MDF,
the figures as it was the play of light I most wanted to capture. I drew in where the shadows which then need coating with gesso
were at the beginning. Buildings don’t move but the light does so get that down first. before use. I always colour the surface
with a mix of ultramarine blue and burnt
sienna along with an oil-based white
undercoat to give a mid-tone surface on
which to work.
My colours are Michael Harding oils,
but I also have a number from Winsor &
Newton in the studio. I limit the number
of colours used in any one painting. My
palette comprises: yellow lake, yellow
lake deep, yellow ochre deep, burnt
umber, scarlet lake, ultramarine blue,
phthalocyanine blue lake, ultramarine
violet, terre verte, permanent orange
and titanium white No. 2.

Light Effect, 5pm, Side Canal, Venice, oil


t

on canvas board, 5x7in. (12.5x18cm). I had


to work quickly on this study and only
indicated where the doorway and windows
were before going straight in with the oil
colour. The warmth of the evening sun really
hit this building and the water and in just 50
minutes I had it nailed. This was the last of
four studies on the last day in Venice and
my favourite from the trip.

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Oils

My brushes are a mix of filberts and


flats from Rosemary & Co in the Ivory
and Eclipse ranges.
Other kit includes a sealable brush
washer containing Zest-It (rather than
white spirit or turps), baby wipes and
kitchen towel, a sketchbook for
thumbnail drawings and a camera to
record the scene. Finally, I use a tripod,
Hama Traveller Pro, which the pochade
box sits on, and a backpack to carry
everything in.
TIP Avoid over-mixing your colours to
keep your painting fresh and bright.
Also avoid using white too soon in
your studies as this just dulls everything.

Choosing a scene
When I go outdoors to paint I look more
for what the light does to the scene than
a particular subject. You probably have
all seen a place you normally wouldn’t
consider transformed by the way the
light hits it, perhaps after a rainstorm
when the sun comes out. If you think in
this way, you don’t have to travel far to
find lots of suitable scenes. In fact,
make a point of staying within
a few miles of home rather than spend
hours travelling and looking for that
elusive perfect spot.
When time and the transient light
allows, I make a couple of quick
thumbnail sketches in ink or soft grade
pencil to establish where I see the light
and dark areas in the scene. I want to
ensure the balance is right, avoiding an
equal amount of light and dark. What
you want is perhaps a 70/30 or 80/20
split to build more excitement into the
scene. Think about what attracted you
to the subject in the first place. I’ll also
take a couple of photos, which will
come in handy later for reference
should I decide to paint a larger version
or even add a few details to the study
if it works well.
Once I’ve set up my equipment, which
only takes a few minutes, I draw the
scene onto the canvas panel using either
blue or brown thinned with Zest-It then
block in the main shapes establishing
the light and dark areas, again thinned
down. This dries off fairly quickly and
allows thicker paint to be added on top
without sliding about. Try to avoid going t
Rio dei S.S. Apostoli, Venice, oil on canvas board, 7x5in. (18x12.5cm). I discovered John
back over the same areas as the oil Singer Sargent painted the Campo in this scene so I just had to give it a go. I learned my lesson
paint can easily mix and muddy. from painting Tre Archi, Venice (page 41) and set up under a covered walkway so there was no
Remember, you’re aiming for a study, problem with the sun this time. I spent a little over the hour on this study and particularly
not a finished piece so detail isn’t liked how I captured the impression of the stone steps going under the water.
important. I only want to capture what
attracted me to the scene in the first
place. I often set the timer on my mobile You won’t need much time if you stick
phone for 60 minutes as that hour can to my suggestions and if you go with a
pass quickly. friend or two there’s an excuse to head Colin Joyce
When you achieve what you wanted, to a coffee shop afterwards to compare Fife-based artist and tutor, Colin runs
stop! Don’t be tempted to keep going your paintings and chat about the classes, workshops and holidays, and
longer and simply move on to your next experience. Don’t wait for the weather, demonstrates for art groups. See his
scene. I would much rather go home just dress appropriately to stay warm work at the Dundas Street Gallery,
with three or four studies to work up and set up where you can seek shelter Edinburgh from 17 to 25 February.
later than one overworked painting. or dive back into the car if a shower His workshops include two watercolour
Go on, try it for yourself; you’ll have passes by. weekends in Fife (12 to 14 May
a great time and your paintings will Join me next month as I demonstrate and 22 to 24 September). Visit
improve because you’ve experienced how I painted a scene from the Forth www.colinjoyceart.com for details.
being outdoors and painting from life. Road Bridge in just 60 minutes. LP

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LP03 44-46 Fisher_Layout 1 13/01/2017 12:57 Page 44

Watercolour

t
Gordon Gibbon Oast Houses, watercolour, 8x10in. (20.5x25.5cm)

Watercolour problem solver


Part 3 Tim Fisher completes his three-part response to a reader’s question on painting
foliage by discussing more techniques and the effects of using different papers
In this article I shall be looking at gradating to a lighter colour on the sunlit
LEARNING OBJECTIVES techniques for painting foliage using side. There is also good colour variety
n How to handle your materials standard brushes and a limited palette and texture painted within the foliage
of Sennelier Artists’ watercolour. of the trees supporting the background.
n Colour mixing for greens Looking at the final painting submitted The building on the right has been
n Add texture and depth to your by Gordon we see a fenced country lane thrown into shadow; the two sides are
landscapes flanked by bushes on the left. There is a darker brown than the side catching the
a group of oast houses and to the far light. Shadow sides of buildings are often
right, a farmhouse. This is a well-drawn, cooler than their sun-lit counterparts, but

P ainting convincing trees and foliage


is a challenge that faces many of
us when producing watercolour
paintings. A reader of Leisure Painter,
Gordon Gibbon, asked for advice on
colourful image with a number of the
lines from the buildings converging to
the same vanishing point just off the
picture to the left (see last month for
more information on vanishing points).
as all surrounding objects reflect light,
these colours can also be found in the
shadows so that gives us a lot of
flexibility when applying shadow tones.
During the painting I often add what
how to represent this subject and kindly However, if we take a line from the top I call local colour as I paint surfaces with
submitted four of his paintings for of the post on the right to that same the colours I perceive the object to be,
critique. You have seen three of the vanishing point, it would suggest that before adding darker cooler washes on
paintings in the past two months and the remaining fence posts could be the shadow sides towards the end of the
in this, the final instalment of this series, drawn a little taller. painting process. I do this before adding
we look at the issues brought to light by The shrubs near the farm building are stronger darks, as these can appear
his fourth and final painting (above). well painted, using dark green and washed out when shadows are applied.

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Tim Fisher Southview, Uppingham, watercolour on Sennelier 140lb Rough watercolour paper, 10x10in. (25.5x25.5cm)
I mix the shadow colour from French colour so it’s unnecessary to grey it off nearer trees I strengthened the mix
ultramarine blue and French vermilion. with brown. I term it as a cool colour, and using the side of the brush, dragged
These two colours can be a little intense as there is generally more cooler blue it across the surface to create the texture.
when washed over a white surface and, than warmer red included in the mix. As the light enters the picture from the
in these circumstances, I add a small As the trees in this painting covered left, I pushed more dark into the wet
amount of Venetian red to grey the a large area of the paper they were paint on the right side of the tree by
colour off a little. Although these colours produced with a large Round synthetic adding Venetian red into the green mix.
are classed as opaque, the wash is No. 14 brush using a mix of Indian Finally, I brought in shadows from an
usually thin enough to allow any yellow and French ultramarine blue. The object outside the picture. This technique
previously applied colour to show selection of brush size reflects the area to helps to break up the foreground without
through. be covered, but it’s important to have a having to add texture for grass, which
brush that comes to a good point, as this can sometimes be distracting. Grass detail
Choose the right tools can be used to paint detail quickly, such doesn’t appear until we reach the foot
Southview, Uppingham (above) shows as leaves, fine branches and twigs. of the buildings. There I added darks
a group of buildings surrounded by trees, behind the grasses to make them stand
painted on Sennelier 140lb Rough Mixing different greens out more.
watercolour paper. This is a bright white I often change my choice of yellows
paper, which contributes to the intensity to match the seasons. For spring greens Textural effects
of the colour applied. Its texture also I use primary yellow, which provides a I painted Country Lane (page 46)
helps when defining trees and foliage. wide range of greens when mixed with on Arches Aquarelle 140lb Rough
The cottage walls were painted initially ultramarine blue. As the summer wears watercolour paper. The surface is heavily
with a mix of Venetian red and Chinese on, greens become darker and more sized, which helps the paint to sit on the
orange. When the buildings were uniform in the countryside so I switch to surface for longer without sinking in. This
completely dry, I added a cool shadow Indian yellow as part of the colour mix. gives time for the heavier particles in the
wash, comprising French ultramarine To give an effect of distance, the far paint to granulate and often contributes
blue and French vermilion. The tree was painted with a diluted wash of to textural effects when painting trees
t

underlying colour modifies the shadow Indian yellow and ultramarine. For the and bushes.

www.painters-online.co.uk MARCH 2017 45


LP03 44-46 Fisher_Layout 1 13/01/2017 12:58 Page 46

t
Tim Fisher Country Lane, watercolour on Arches Aquarelle 140lb Rough watercolour paper, 8x10in. (20.5x25.5cm)

Final stages
When the surface was completely dry,
I added the sky. Wetting parts of the
paper with clean water, I used very
diluted ultramarine blue. Hard and soft
edges were created where the wash met
the dampened parts of the paper. For the
lower sky I added distant clouds with
a diluted mix of ultramarine blue and
French vermilion.
Yellow ochre was washed over the field
on the right. Once dry, I added a long
shadow over the road, which disappears
into the left verge. The fence posts and
t
Figure 1 Dry Rough paper ensures t
Figure 2 Paint wet in wet to add depth livestock were a dark created from
foliage texture effects and structure to the tree
ultramarine blue and Venetian red.
After painting, I dabbed the animals with
This is a relatively small painting and so I dragged it over the dry paper surface kitchen roll to soften the edges. To vary
I downsized my brush to a No. 8 Round to create the foliage shapes and tree the texture of the grasses on the left, I
synthetic and made a mix of green from textures (Figure 1, above left). scratched out in places with a sharp blade.
primary yellow and ultramarine blue. When the main shape of the tree was With practice, painting trees, leaves and
After adding a strip of masking tape for constructed I fed ultramarine blue into shrubs becomes second nature. There are
the horizon, I painted directly on to the the wet paint to give the structure numerous speciality brushes available,
white surface, adding a series of trees volume (Figure 2, above). As the tree which can also contribute to the shape,
along the lane. The farthest trees were began to dry, I added a dark mixed from form and volume of trees and bushes
painted with a mix of French ultramarine ultramarine blue and Chinese orange to in a watercolour painting. LP
blue and French vermilion to give a represent the branches against the light.
feeling of distance. On most landscapes I refrained from adding too many, just
I try to add several layers of green whilst offering a glimpse through the gaps
increasing texture and detail as the objects in the foliage. We often assume that Tim Fisher
near the foreground so I then added the branches are brown whereas they’re Find out more about Tim and his work
intermediate tree using yellow ochre and often much darker with a greenish tinge. by visiting www.timfisherartist.co.uk. His
ultramarine blue. Finally, the foreground The lane was added next. The fine latest book Drawing Masterclass: Perspective
tree was painted using a mix of primary point of the brush allowed me to paint is available from Leisure Painter’s bookshop
yellow and ultramarine blue. I made up a grasses along the track. On the left at www.painters-online.co.uk/store and
large area of this colour, spreading it over I painted around a lighter area to create follow the links to books. See page 56
the palette so that it didn’t become over- light stalks. I then removed the masking for special offers on books this month.
mixed. Using the side of the brush, tape and completed the painting.

46 MARCH 2017 www.painters-online.co.uk


LP03 47-49 Nicholls_Layout 1 13/01/2017 13:01 Page 47

Watercolour

Winter on the riverbank


Join Richard Nichols as he visits a favourite riverside spot in Suffolk
to paint wild fowl and reed beds in a frosty winter landscape
back in the warmth
LEARNING OBJECTIVES of my studio.
n Practise watercolour techniques Perhaps it is
for winter effects because of such
challenges and the
n Make the most of your materials inherent research
required that I like
to take on

W hat could be a better subject


for drawing and painting than
a glorious river or estuary with
all the changes that occur throughout
the year in mood, colour and content?
commissions and
always enjoy
tackling something
different.

I will be looking at these aspects in a Your materials


series of four watercolour articles, which I used Saunders
follow the four seasons. In this first of Waterford White
the series I want to concentrate on the HP (smooth) 300lb
cooler, starker side to water and its watercolour paper,
surroundings in winter. as its heavy weight
The demonstration (over the page) takes a great deal
shows the painting of a commission, of moisture from
which had to include the following washes without These photographs (above and below left) are just two of several
elements: an early morning the need for images used to paint Winter WIld Fowl, Suffolk (over the page)
in Suffolk with the sun rising over the stretching. By
marshes; the presence of visiting ducks buying the entire 22x30in. (56x76cm) I supplemented from a small travel
and geese; and filtered sunlight at dawn. sheet, I can cut different sizes to suit set of pans and included alizarin
With the elements of the commission my subject and therefore escape from crimson, Winsor blue, ochre, sap green,
in place, I began researching the kind a conventional rectangular-pad format. cadmium yellow and sepia, and used
of wild fowl I would need to populate From one sheet I obtained three pieces my own less punchy Payne’s grey-like
the painting. These birds look rather for finished paintings, approximately mix, made from mixing the above
cumbersome as they approach so 14x22in. (35x56cm) and two other colours. I never use white or black
several pencil sketches were needed smaller but equally useful pieces of paint when working in watercolour.
to capture a variety of poses before 11x16in. (28x40cm). I hope you enjoy following the
adding them to the main artwork (far My favourite primaries are cadmium demonstration over the page. LP
right), and after a couple more visits on red, cobalt blue and lemon yellow,
suitably cold mornings I had gathered and I usually mix all colours from
enough material to finish the painting these three tubes. On this occasion,

t
Pencil sketches of wild fowl made on-site

www.painters-online.co.uk MARCH 2017 47


LP03 47-49 Nicholls_Layout 1 13/01/2017 13:02 Page 48

Watercolour

Demonstration Winter Wild Fowl, Suffolk You will need


n
I made various pencil studies when watching the ducks in flight and coming into land amongst the
Surface
reed beds (page 47). I then used a selection in different poses and at various sizes to give depth to
l Saunders Waterford White
the study. It’s always helpful to take a closer look at the whole scene and specific vegetation so I
HP (smooth) 300lb (625gsm)
included a couple of reference photographs on page 47, which I used to back up my sketches.
watercolour paper 14x22in.
(35x56cm)
n Artists’ watercolour
l Cadmium red
l Cobalt blue
l Lemon yellow
l Alizarin crimson
l Winsor blue
l Ochre
l Sap green
l Cadmium yellow
l Sepia
l Payne’s grey (or mix from
the above colours)

Step 1 Initial drawing

t
Here is a drawing of the finished scene
after working from my on-site sketches and
checking details from reference photographs.
As you will see in the next step, the number
and position of the wild fowl were changed
as the painting progressed.

Step 2 Subject changes and background


t

1 I don’t often use masking fluid, but this scene


has a lot of detail, such as reeds, grasses and the
birds in flight, which are lighter than the main
background colours and would be far too laborious
to paint around. Use a fine No. 3 nylon brush to
paint masking fluid over relevant areas. Allow
to dry thoroughly.
2 Using a No. 14 Round brush paint the sky by
adding broad sweeps of colour made up of pale
wet-into-wet washes in bands of pink, purple,
ochre, blue and grey.
3 With the sky still damp, use a scrunched up
piece of kitchen roll to lift out a circle to achieve
a soft, diffused and watery-looking sun.

Step 3 The focal point


t

1 When the washes are completely dry, gently rub away the masking
fluid before adding detail and colours to the mallard and widgeon ducks
using a No. 6 pointed Round sable. My original composition featured two
ducks in the middle distance with smaller silhouettes further away, but I felt
a larger, more detailed study was important to give more impact so included
the larger bird. As you can see, this is more detailed and yet not crisp or
precise, as I wanted to conjure up an early morning scene where details are
far less discernable.
2 When you are happy that the sky washes have created the right
atmosphere for your painting, remove the masking fluid from the birds.
3 Dampen the clear area with a little water then blend in base touches of
sepia, Payne’s grey, cobalt blue and cadmium yellow, before allowing them
to dry.
4 Add sap green to the still damp head then paint touches of the darker
colours to define the feathers. Add a touch of cadmium red with
yellow for the impression of webbed feet, but be careful to allow that
all-important off-white neckband to show through from the paper.

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Step 4 The reed beds
t

1 Carefully rub away the foreground masking fluid then add washes of Winsor
blue and Payne’s grey over the reed shapes using ½in. and ¾in. flat brushes.
2 Add light brushstrokes under the tops of each frond with a No. 6 pointed
Round in sepia to give detail to the wispy, frost-laden reed tops.
3 You will need two separate base washes for the foreground areas to show
the paler, frosty areas and vegetation contrasting against the dark underlying
water and ice. This is a classic example of the value of patient pre-planning
Richard Nichols
Richard offers everything from
before mixing and hitting the paper with paint too soon. one-day practical art sessions for
small, friendly groups and one-to-
t Step 5 Final touches one tutorials to full art breaks and
1 Using the same layering technique, mix 3 When these colours are dry, use lifting holidays. Telephone 01728 663722
sap green with a little cadmium yellow to sweeps of a small clean damp flat brush for more details or visit his websites
bring out lighter areas within the reeds. to enhance the icy effects around the at www.celebrationart.co.uk,
2 Add a dark blend of cobalt blue and grey base of the plants. Make sure you wipe the www.art-afloat.com and
in turn to add shadow areas and a more brush each time to avoid transferring or www.suffolkartsafaris.co.uk
three-dimensional effect. smudging the colours.

t
The finished painting Winter Wild Fowl, Suffolk, watercolour, 14x22in. (35x56cm)

www.painters-online.co.uk MARCH 2017 49


LP03 50-53 Hooper_Layout 1 16/01/2017 13:54 Page 50

Printmaking

A painter’s guide
to linocutting
From basic materials to a step-by-step look at the process, Lisa Hooper offers
a beginners’ guide to producing linocuts of wildlife subjects at home

by hand burnishing so there is no


LEARNING OUTCOMES need for access to a press.
n Use your drawing skills to make Linocuts are relief prints, whereby
simple wildlife prints the ink is carried on the flat surface
of the lino, as opposed to etchings
n Become familiar with linocutting and engravings, which are intaglio
tools and techniques prints where the ink is carried in
depressions in the surface. When
you cut a groove into a piece of lino

F or people who can already


draw and paint, the transition to
printmaking is an easy one. Its
appeal lies in the different surface
qualities of a print, the ability to
it will print as a white line and not a
black line, also known as ‘drawing
with light’. It obliges you to think
quite carefully about what you are
cutting away and what you are
produce multiple copies and the leaving, as the marks you make are
opportunity to approach an image all negative, unlike drawn or painted
from a completely different standpoint. lines. Furthermore, when you print
Linocut is perhaps the most the block, your printed image will be
straightforward choice for someone the reverse of that which you see on
wanting to take their first steps in the plate. So if you are cutting
printmaking. The basic materials are lettering or a recognisable landscape
t
Linocutting tools: a selection of the tools affordable and linocuts can be printed you will have to reverse the drawing
I use for wood and linocut printing
on the lino so that it prints the right
way round!
Finally, at least initially, you will
probably be printing in one colour
and your mark-making may be quite
crude so that you’ll be obliged to
simplify your design. This can be a
very good thing as it teaches you to
concentrate on what is essential and
to look carefully at tone.

Your materials
Lino blocks can be bought from many
art shops and online. Look for grey
lino that is three or four millimetres
thick. You can also use flooring lino,
but it must be proper marmoleum;
offcuts are sometimes available from
flooring shops. Both of these cut more
easily if they are warmed slightly on a
radiator or with a hairdryer at regular
intervals. There is also a material,
which is very soft and easy to cut,
called Softcut, sold by art suppliers.
People with limited strength in their
hands might prefer to use this.
Cutting tools are probably best bought
online. I use Swiss tools made by
Pfeil. Unfortunately the little sets of
blades that sit interchangeably in a
plastic handle, which most art shops
sell, are not very good. Better to

Waxwings, hand-coloured linocut,


t

7x7in. (18x18cm)

50 MARCH 2017 www.painters-online.co.uk


LP03 50-53 Hooper_Layout 1 13/01/2017 13:06 Page 51

Printmaking

t
Winter Blue Tit, hand-coloured linocut, 412⁄ x614⁄ in. (12x16cm)

spend more on a couple of good-


quality tools. The two essential tools
are a small V-shaped cutter and a
slightly larger U-shaped tool, both of
which must have straight shafts. In
addition, a good craft knife will be
useful. Used on lino they will stay
sharp for quite a long time, but if you
develop a passion for linocutting,
you’ll need to invest in sharpening
files to keep a good edge on them.
Water-based inks can be bought quite
widely and I do recommend them, as
they are very easy to clean and are
fast drying. I particularly like
Schminke inks. Just buy black to
begin. If you are planning to hand
colour with watercolour, you might
prefer to print with an oil-based ink.
A roller and plate glass are essential
for inking the plate. Glass placemats
can often be found in charity shops
(check that at least one side is
completely smooth). A glazier will
also be able to supply a small glass
plate with finished edges.
Cheap rollers are best avoided.
Spend as much as you can on a roller.
For small plates, a 6cm roller is
adequate to begin and you need to
spend £10

Winter Blackbird, a simple


t

monochrome linocut, 5x514⁄ in. (13x14cm)


t

www.painters-online.co.uk MARCH 2017 51


LP03 50-53 Hooper_Layout 1 13/01/2017 13:07 Page 52

Printmaking

t
How to hold a linocutting tool. Here I am cutting a woodblock, t
Inking the plate using a roller and a glass plate for the ink
but the tools are the same and held in the same way.

to £20. shape – 34350/001. They also sell oil and achieve. You can only make black
Paper You don’t need to buy special water-based inks, including Schminke, and white marks so any half-tones
paper to start; A4 computer paper is fine as well as lino. Their Abig ink rollers are have to be made with cross hatching
for taking proofs. Thin papers are much a good mid-range choice. or using the tools to cut stipples or
easier to print onto than thick ones, Should you develop a serious interest lines. Therefore, bold and contrast-
although at some stage you might in printmaking, there are also several rich designs will always work best.
want to print onto a medium-weight specialist printmaking suppliers who 2 When your drawing is finished,
watercolour paper so that you can sell online, including Intaglio Printmaker turn the tracing paper over, line it
hand colour a print afterwards. (www.intaglioprintmaker.com), up over the lino and stick the top
Burnishing tool In order to transfer the TN Lawrence (www.lawrence.co.uk) and edge to the table with masking tape.
print you’ll need a burnishing tool of Handprinted (www.handprinted.co.uk). Being careful not to move the lino,
some sort. I favour those ornamental Now you’re ready to make your first slide a piece of carbon paper, carbon
wooden eggs you sometimes see in print! side down, under the tracing. You are
interiors shops, but wooden saucepan now ready to draw over the tracing,
handles or wooden spoons can also Technique which will transfer a reversed image
be used successfully. 1 Begin by drawing around the lino onto the lino.
onto a piece of tracing paper then draw 3 Now is the time to begin cutting,
Suppliers your image onto the paper. Try to keep although if you have a can of fixative
I use Pfeil linocutting tools sold by Great it simple. When thinking about what to you might want to spray the lines
Art and others. The Great Art codes for: draw, bear in mind that complex so that they don’t rub off. Warm a
small V-shape – 34350/006; medium U- gradations of tone are difficult to spare piece of lino slightly and
practise cutting with the tools. Try
to cut along drawn lines and practise
clearing areas. In general the V-
shaped tool is good for cutting lines,
and the U-shaped one is good for
clearing areas. Hold the tools at about
45 degrees: a steeper angle will cut
deeper; a shallower angle will do the
opposite. Remember that you are
cutting away the white areas.
When you are ready to start on
your block, avoid making your first
cuts in a critical part of the design,
just in case you make a mistake.
4 When you’ve finished cutting and
are ready to print, squeeze a couple
of inches of ink out of your tube
towards the top of your glass plate.
Draw down a little ink with the roller
and begin to roll it up and down
then side to side. If you need more
ink to achieve a good flat plane, draw
more down, but don’t use too much.
If it is very wet and you can see
peaks in it, push some of the ink
back with a palette knife and try
using less. When you have a good
sheen, use the roller to ink up the
plate by rolling ink onto the surface,
t
Hand burnishing the plate using an ornamental wooden egg

52 MARCH 2017 www.painters-online.co.uk


LP03 50-53 Hooper_Layout 1 13/01/2017 13:07 Page 53

refreshing it then repeating the


process. Only experience will really
tell you when there is enough ink on
the plate. Pay attention to the corners
and edges.
5 When you are ready, carefully lift
the plate onto a clean surface and
lay your paper on top of it. Then put
a weight on one half of it and begin
to rub very hard on the back of the
paper with your burnishing tool. You
can lift the paper, without moving the
weight, to check progress.
When you have burnished as
much as you can, lift the weight and,
without moving the paper, replace it
on the area you have already printed.
Continue to burnish the paper until
the print is fully transferred.
6 You might want to re-cut or fill
areas of the plate – wood fillers t
Hand colouring a print using watercolour
work, let them dry then sand them flat
before re-cutting. Alternatively, you
might want to print your design onto
a thicker paper and hand colour it. Lisa Hooper
I hope this has inspired you to try Lisa Hooper is a printmaker specialising in wildlife art, living and working in south
simple printing. Look out for my west Scotland. She runs courses in printmaking, details of which can be found on her
painter’s guide to white line website: www.hoopoeprints.co.uk. A new practical book by Lisa detailing the different
woodblock printing in colour in next printing techniques she uses was published last year. Printing Wildlife is available
month’s issue of Leisure Painter LP from booksellers, online and from her website.

t
Gone Fishin’, hand-coloured woodcut, 1614⁄ x2134⁄ in. (42x56.5cm)

www.painters-online.co.uk MARCH 2017 53


LP01 PatchingsCall17_v4_Layout 1 09/12/2016 17:16 Page 54

and
open Art Competition 2017
in partnership with patchings Art Centre
CALL for eNtrIeS
£17,500 WortH of prIzeS

OVER 40 INDIVIDUAL PRIZES WILL BE AWARDED TO SELECTED ARTISTS COMPRISING:


£5,000 £600 Canson Awards £500 great Art Awards £300 pro Arte Awards
purchase prize Three prizes of £200 worth of paper Two prizes of £250 worth of art materials Two prizes of brushes
Award www.canson.com from Europe’s largest art materials’ supplier to the value of £150 each
Selected by guest judge www.greatart.co.uk www.proarte.co.uk
Ken Howard OBE, RA for a work £500 Caran d’Ache/Jakar
up to the value of £5,000 Awards £2,600 £1,000 royal talens
www.painters-online.co.uk Two prizes of £250 worth Award Awards
of art materials One prize of a showcase feature on a Four prizes of £250 worth of art materials
£1,700 www.jakar.co.uk     selected artist in Leisure Painter magazine www.royaltalens.com
exhibition Awards www.painters-online.co.uk
Selected artists from £500 Clairefontaine £100 £500 Sennelier Awards
the 2017 The Artist category Awards Highly Commended Two prizes of £250 worth
will be awarded a mixed Two prizes of £250 worth of art products Award of Sennelier art materials
exhibition at Patchings Art selected from the Clairefontaine Graphic www.globalartsupplies.co.uk
& Fine Art range A subscription to Leisure Painter worth £100
Centre in 2018, worth £1,700 www.painters-online.co.uk
www.painters-online.co.uk www.clairefontaine.com
£450 patchings Award £600 St Cuthberts Mill
£100 Highly £700 Daler-rowney of a gift voucher worth £450 to be
Awards
Commended Award Awards used at Patchings Art Centre, Notts Three prizes of £200 worth
A subscription to Five sets of materials to the www.patchingsartcentre.co.uk
of watercolour paper
The Artist worth £100 total value of ££700 www.stcuthbertsmill.com
www.painters-online.co.uk www.daler-rowney.com £600 premium Art
Brands Awards £400 Winston oh
£450 Batsford Awards £900 Derwent Awards One prize of Daniel Smith watercolours Award
Three prizes of Batsford art Three prizes of £300 worth worth £350 and one prize of Pan Pastels A painting course up to £400 of your
books to the value of £150 each of art materials worth £250 choice, sponsored by Winston Oh
www.batsford.com www.pencils.co.uk www.premiumartbrands.com www.winstonoh.com

JuDgeS David Curtis ROI, RSMA Ingrid Lyon, editor Liz Wood, artist and
Sally Bulgin, editor Guest Judge: Leisure Painter co-owner of Patchings
The Artist Ken Howard OBE, RA John Sprakes ROI, RBA, MAFA Art Centre
(All art materials prizes are quoted at the rrp)

How to enter & conditions


The competition is open to artists per entrant will be accepted for 4 BY POST colour photos or prints (no correct return postage) for the
worldwide. Only original work will exhibition in the Leisure Painter larger than A4) must be sent to the results and return of your entry.
be considered and paintings based category. address on the entry coupon (right). 6 Send your entry/ies with the non-
on reference photographs must have 2 No entry should be larger than refundable entry fee of £16, payable
been taken by the artist or used with 5 Each entry must be clearly marked
120x150cm WHEN FRAMED with your name and address and title to TAPC, to: TA&LP/ Patchings 2017
the permission of the photographer. (canvases do not need to be framed). Competition, 63/65 High Street,
Photography, except where incorporated of the work and placed in an envelope
3 ONLINE digital entries must be sent to which you must affix the entry Tenterden, Kent TN30 6BD, to arrive
into collage, is not acceptable. by the closing date of March 31, 2017.
via our website at www.painters- coupon, right. Place into a larger
1 The entry fee of £16 covers up to online.co.uk clicking through the envelope for posting, with a stamped 7 Entries will be judged after March 31,
THREE entries of two-dimensional links entitled TA&LP/Patchings addressed envelope large enough to 2017 and selected works called for
works in any media; only ONE work 2017 Competition. accommodate your entries (with the exhibition. These must be framed
LP01 PatchingsCall17_v4_Layout 1 09/12/2016 17:16 Page 55

and
opeN Art CoMpetItIoN 2017
eNtry forM for poStAL eNtrIeS
(Online entries: please see point 3 in entry details, below left)
DEADLINE: March 31, 2017
Please accept my work for consideration for the 2017 competition.
I confirm that my entry is original. I have read and understand the rules
and agree to allow The Artist and/or Leisure Painter to publish,
republish and repurpose my work in print and digital formats
including but not limited to magazines, promotion materials, websites,
databases and as part of downloadable digital products.
Affix to envelope holding entry/ies and send with stamped
addressed envelope and payment of £16, (make cheques payable to
t
Leisure Painter Highly Commended Award 2016 Celia Brookes TAPC), to TA&LP Patchings 2017, 63/65 High Street, Tenterden, Kent
Just Picked, watercolour, 15x1712⁄ in. (38x45) TN30 6BD by the closing date of March 31, 2017. Or, please charge my

n Mastercard n Visa n Maestro


WItH tHANKS to tHIS yeAr’S Card number
AWArD SpoNSorS: Expiry date Issue no
(Maestro only)
3 digit
security no.

Signature

First name Last name


Address

Postcode
Day phone/
mobile no
Email address

We would love to keep you informed about the exciting things


appearing in our magazines and on our website via our regular e-

like to receive our e-newsletters, please tick this box n


newsletters, packed with inspiring additional content. If you would

Please tick one box to indicate which category you are entering:
n category (by entering n category
this category I confirm that apart
from participation in amateur art
club shows or events, I do not
promote my work professionally)

Please indicate all sizes, when framed, in cms, vertical side first
Winston Oh Title of work 1

Size Medium Price*

Title of work 2

Size Medium Price*


ALL eNtrANtS WILL reCeIve A
CoMpLIMeNtAry oNe-DAy eNtry tICKet Title of work 3

to tHe pAtCHINgS feStIvAL of Art, Size Medium Price*


CrAft & pHotogrApHy, WortH £10
* Price includes framing (canvases excepted). Commission of
20% plus VAT will be charged on sales of work
(canvases excepted) ready for be accepted for loss or damage I have read and agree to be bound by the competition entry conditions
exhibition from July 13 to August 20, in transit, incoming or outgoing,
2017 at Patchings Art Centre. whilst on the competition premises Signature
or during the exhibition. Originals
Cut or photocopy

8 Successful entrants will be notified in


late April about delivering their work selected andsubmitted for final
between June 16 and July 2, 2017 to exhibition must be fully insured The Artists’ Publishing Company (TAPC) may send you details of our
by the artist. products and services which we think may be of interest to you. Please
tick if you do not wish to receive such offers by post or telephone n
Patchings Art Centre, Nottinghamshire.
9 All care will be taken with 10 Original works must be left with the Please tick if you do not wish to receive such offers by email n
entries but no responsibility can organisers throughout the exhibition. We will not pass your details to any third parties.
$
The online home of
and magazines
2
Save £ the
of
on all books
ed
featur E UK P&P
E
and FRpromo code
using AR17
M date: RRP RRP

Closin
g £12.99 £12.99
017 £10.99
rd M arch 2 £10.99
3

RRP RRP
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RRP RRP RRP RRP


£12.99 £12.99 £12.99 £12.99
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Available from
www.painters-online.co.uk/store
and follow the link to books
closing date 3rd March 2017
LP_FullPage_MAR2017.indd 1 06/12/2016 11:36:51
LP March 2017 Books p57 _News 1st 16/01/2017 10:18 Page 6

Books & DVDs WHAT TO READ & VIEW THIS MONTH


Visit www.painters-online.co.uk/store and click on
the link to books to buy the latest practical art books DVDs
available from LP’s online bookshop Watercolour tips
Given the nickname
‘The Art Whisperer’ by
her students,
Australian-based artist,
Hands Georgia Mansur is
and feet passionate about
New in the ‘How to sharing her techniques
Draw’ series from with others. She runs
Search Press comes workshops throughout
How to Draw: Hands Australia and all over
& Feet in Simple the world and this new
Steps by Susie DVD from APV Films,
Hodge. Renowned Watercolour Tips &
for being one of the Techniques brings her
hardest parts of the to England. The film opens with Georgia in her studio, from
body to draw, Susie where she demonstrates a number of techniques she later
simplifies the uses in her en plein air demonstrations. These include a
process showing the kitchen garden, a Cotswold landscape and the ruins of
readers how to build Minster Lovell. She then returns to her studio where she
the shapes of hands and feet in six stages, with easy to demonstrates a flower painting. There’s much to learn here
follow step-by-step illustrations. This book is not just from a popular tutor whether you are a beginner or have
for beginners, as more experienced artists will also some experience with the medium.
benefit from the instruction given and the results that Watercolour Tips & Techniques by Georgia Mansur. APV Films, 95
can be achieved. minutes, £28.55; www.apvfilms.com
How to Draw: Hands & Feet in Simple Steps by Susie Hodge.
Working in oils
Search Press, (s/b), £4.99.
Peter Brown is very
well known around his
home city of Bath,
painting in all seasons
The art of and in all weathers. His
drawing new DVD, Painting
Portraits of Babies & Arles, sees him in the
Children by inspiring sunshine of Arles in the
artist and tutor, Giovanni South of France – home
Civardi, is part of the ‘Art to Vincent Van Gogh
of Drawing’ Series. Not from 1888 to 1889, who
only is Civardi an produced over 300
experienced portrait artist paintings and drawings
and illustrator, he also during his time there.
studied medicine and Peter is completely at
surgery so is very well home painting the
placed to teach both narrow streets and squares, capturing the light of the town
beginners and more and the hustle and bustle of street life. Demonstrations
experienced artists the include three arches at the Roman amphitheatre and a
art of anatomy and backstreet scene. Peter’s mastery of oils is a joy of watch
proportion. Using this knowledge and a wealth of tips and and there’s much to be learned from him about
techniques Civardi shows us – with maximum illustration observation, the play of light and working outdoors.
and minimum text – how to observe, evaluate and recreate Painting Arles by Peter Brown. APV Films, 95 minutes, £28.55;
children’s portraits, from babies up to six or seven years old. www.apvfilms.com. Join Peter on a reader holiday to Vietnam (see
Art of Drawing: Portraits of Babies & Children by Giovanni Civardi. page 67 for details).
Search Press, (s/b), £8.99.

www.painters-online.co.uk MARCH 2017 57


LP01 ACYComp_Layout 1 18/11/2016 15:14 Page 58

&
in association with Patchings Art Centre & Jackson’s Art Supplies

Art Club of the Year


COMPETITION 2017
CALL FOR ENTRIES
A
ll UK art clubs are invited Festival (July 13 to 16) and through
to submit a total of five two- to July 28. An overall club winner
dimensional works that you feel and two runners up will be selected
represent your club along with a written by well-known artist and tutor,
profile, including details about your Hazel Soan, and visitors will be
club’s history, members and activities. asked to vote for their favourite club
We will select our top ten clubs for the People’s Choice Award. All
to exhibit their five entries at the work entered will be featured on our
Patchings Art, Craft & Photography website at www.painters-online.co.uk

Prizes
We are delighted to announce
exclusive sponsorship by
Jackson’s Art Supplies
l FIRST PRIZE £500 worth of
Jackson’s art materials vouchers,
£100 towards the cost of a
workshop or demonstration t
Art Club of the Year judge, the artist
to club members and a profile and tutor, Hazel Soan in her studio
about the club published in our
magazines, on PaintersOnline
and through our social media Janet Singer Poppies & Scuttle,
t

channels pastel, 28x26in. (71x66cm), one of


the five entries submitted by last
l TWO RUNNERS UP £250 year’s winners, Leicester Sketch Club
worth of Jackson’s art materials
vouchers for each club
HOW TO ENTER & CONDITIONS OF ENTRY
l PEOPLE’S CHOICE AWARD £100
The competition is open to art 3 To enter, first register your club excepted) ready for exhibition from
worth of Jackson’s art materials clubs across the UK. Only online at www.painters-online.co.uk via July 13 to 28, 2017 at Patchings Art
vouchers for the club with the entries can be accepted. Only ‘login/register’ and add your club Centre, Nottinghamshire.
most public votes original work will be considered profile to the biography area of 6 Successful art clubs will be notified
and paintings based on reference the club account. Please include a in late April about delivering their
photographs must have been name of your main contact when work between June 16 and July 2,
taken by the artist or used with the registering. Then upload your 2017 to Patchings Art Centre.
permission of the photographer. digital entries via the link on the 7 All care will be taken with entries
Photography, except where Competitions page. Payment will but no responsibility can be
incorporated into collage, is be added automatically to your accepted for loss or damage in
not acceptable. basket; please remember to pay transit, incoming or outgoing,
Judges 1 The non-refundable entry fee
of £20 covers the FIVE entries
before you leave the website.
4 Upload your entries with the non-
whilst on the competition premises
or during the exhibition. Originals
Hazel Soan, artist and tutor per art club of two-dimensional refundable entry fee of £20 by the selected and submitted for final
Liz Wood, artist, tutor and co-owner work in any media. closing date of March 31, 2017. exhibition must be fully insured
of Patchings Art Centre 2 No entry should be larger than 5 Entries will be judged after March by the artist.
120x150cm WHEN FRAMED 31, 2017 when selected work will 8 Original works must be left with
Sally Bulgin, editor The Artist (canvases do not need to be be called for exhibition. All work the organisers throughout the
Ingrid Lyon, editor Leisure Painter framed). must be framed (canvases exhibition.
LP March 2017 Art clubs p59_News 1st 16/01/2017 10:21 Page 3

CLUB EXHIBITIONS.

Art clubs
OVER TO YOU FOR THE LATEST NEWS ON CLUB
n Cookham Arts Club
Spring exhibition at Pinder Hall, Cookham
Rise SL6 9EH from 2 until 6pm on Friday
3 March, 10am to 6pm on Saturday 4 March
and from 10am to 5pm on Sunday 5 March.
n Woking Society of Arts
EXHIBITIONS AND ACTIVITIES Spring exhibition at The Lightbox,
Chobham Road, from 14 to 19 March.

Demonstrations &
classes 5pm on final day. Alice Kirwan will Rest Centre, Park Row, Brighouse, at
Bedford Art Society give a harp recital at 11am on 7.30pm. Visitors are welcome. For
Artist, Alexandra Drysdale will give Saturday morning. Enquiries to Pam more information visit www.handlas.co.uk
an illustrated talk entitled Let There Malabon 0161 439 5387. Tewkesbury Art Society
Be Light to the Bedford Art Society on Halifax Art Society Artist, Graham Cox, will give a
10 March, focusing on the art and Jane Austin will lead a workshop on demonstration to the Tewkesbury Art
science of light in painting. The painting a swan in watercolour to Society entitled Moody Views in
event takes place at 7.15 for a the Halifax Art Society on 17 Pastels on Tuesday 21 February
7.30pm start at Putnoe Heights February, with an opportunity to (10.30am to 1pm) at the Methodist
Church, Bedford MK41 8EB. Entry is complete the painting on 24 Church Hall, By The Cross, Barton
free for members; £5 for visitors. For February. Workshops take place at Street, Tewkesbury. £3 for non
more information telephone Jean Peterson All Saints Parish Hall, Godfrey Road, members. Visit www.t-a-s.info
on 01234 307210 or visit Skircoat Green, Halifax from Virginia Water Art Society
www.bedsartsociety.co.uk 10.30am to 1pm. For more information Artist, Kate Osborne, will
Bramhall Art Society visit www.halifaxartsociety.com demonstrate abstract watercolours to
The 50th annual exhibition of the Hipperholme & Lightcliffe Art the Virginia Water Art Society on
Bramhall Art Society takes place at Society Wednesday 1 March at 7.30pm at the
the Village Club, Lumb Lane, Anne Alan will lead a workshop for Community Centre, Beechmont
Bramhall from 31 March to 2 April. the Hipperholme & Lightcliffe Art Avenue, Virginia Water, Surrey. Visit
Open daily, 10am to 6pm; closing at Society on 7 February at Brighouse www.virginiawater.org.uk/artsociety

New additions to Wokingham Art


t

Society’s Queen’s Jubilee frieze

NEWS
Update on
Wokingham’s frieze
Back in the Summer 2015 issue
of Leisure Painter we carried a
profile of the Wokingham Art
Society including details of a
34-metre long frieze created
by members of the society in
celebration of the Queen’s Diamond Jubilee. In invited to add their own personalities by painting t
Detail
addition to the 17 panels depicting the Queen’s themselves as bystanders, and these were then showing the
early life of the
reign, the society has added a further two panels, added to the bottom of the new panels. To find out Queen
showing pictures of the Queen during her life. Now more about the Wokingham Art Society visit
measuring a total of 36 metres, town folk were www.wokinghamartsociety.org.uk

www.painters-online.co.uk MARCH 2017 59


LP MArch 2017 Gallery p60-61_Layout 1 16/01/2017 10:37 Page 2

Art club gallery BEST IN SHOW PAINTINGS ...

If you would like to see your group’s winning paintings


reproduced here, encourage visitors to your next exhibition to
vote for their favourite work. Then simply send us the details.
Full information is given below.

Chailey & Newick Painting Group Katherine Walden Window to the Soul,
t

soft pastel, 18x14in. (46x35.5cm). The 40-member-strong Chailey & Newick


Painting Group meets on Monday mornings, when members work on their
own projects in a wide variety of media. The group welcomes professional
tutors to run practical workshops and demonstrations. The main event each
year is the popular annual exhibition held every November. For more
information visit www.chaileyandnewickpaintinggroup.org.uk

Shefford Art Society Rod Wilson Coastal Lights 2,


t

acrylics and oil on canvas, 16x12in. (40.5x30.5cm).


The Shefford Art Society has around 40 members,
who meet monthly on Tuesday afternoons and
Wednesday evenings at The Community Hall, High
Street, Shefford for demonstrations by professional
artists. For more information contact the secretary,
Alan Massey on 01234 327219 or email
massey-1@tiscali.co.uk

Priory Art Society


t

Jeff Levett Great


Ayton in Winter,
watercolour,
153⁄4x153⁄4in.
(40x40cm). The
Priory Art Society
is made up of
approximately 70
members who enjoy
regular demonstrations and workshops by
professional artists, annual painting competitions
and a number of social events. The group meets
twice a week – on Monday evenings and Thursday
afternoons. For more information email Cath Little at
cath.little@live.co.uk or find them on Facebook.

60 MARCH 2017 www.painters-online.co.uk


LP MArch 2017 Gallery p60-61_Layout 1 16/01/2017 10:37 Page 3

t
Joan Sawdon Smith River Shanon, oil, 1534⁄ x1112⁄ in. (40x29cm). t
Sue Smith Southbank Sunshine, watercolour, 2012⁄ x2814⁄ in. (52x72cm)
Wokingham Art Society
Joan won the best in show prize at the Wokingham Art Society’s Monday afternoons and monthly on the third Tuesday of the
annual exhibition, while Sue’s work received the public’s vote month for demonstrations. For full details of how to become a
and was awarded the People’s Choice award. The Wokingham member and to find out more about forthcoming events, outings
Art Society is a lively group of artists who meet regularly most and exhibitions, go to www.wokinghamartsociety.org.uk

Alsager Arts Association


t

Karen Tilsley Moonlight Romance,


acrylic on canvas, 20x16in.
(51x40.5cm). The Alsager Arts
Association was formed in 1988 by
several artists who attended a
Painting for Pleasure group at their
local Adult Education Centre. The
Association now meets on
Wednesdays between 1.30 and
3.30pm at the Guide Hall, Cedar
Avenue, Alsager, Cheshire. For more
information visit
www.alsagerartsassociation.co.uk

Rosemary Hale’s Art Group


t

Diane Parry Harry the Hare, pastel


on velour, 20x16in. (51x40.5cm).
Rosemary Hale’s Art Group meets on
Tuesdays and Thursdays at Derrington Village Hall in Staffordshire. Over 400
people visited the group’s exhibition in Derrington Village Hall in October last
year and they selected Diane’s painting of the Hare as their favourite. Diane has
been a member of the group for many years. For more details contact
Rosemary Hale on 01538 260007 or email rosemary@rosemaryhale.com

How you can join in


To participate in our best in show feature, arrange for the the artist, title, medium and dimensions, along with details
voting to take place at your next club exhibition, then send of the club itself. LP also welcomes art exhibition listings,
Leisure Painter a photograph, transparency or jpeg of the profiles, events, letters and news. Send to Jane Stroud,
chosen painting. We can only accept sharp, high-resolution 63/65 High Street, Tenterden, Kent TN30 6BD; or email
(300dpi) images for reproduction purposes. Attach details of jane@tapc.co.uk

www.painters-online.co.uk MARCH 2017 61


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your materials from the shops listed here

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Tel 01476 578800 The Art Shop
www.localartshop.co.uk
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service. Professional artist and tutor owner

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2 Newmarket & Langnickel,
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F Gadsby
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109 West Street, Farnham,
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House of Crafts, Cretacolor, Jakar,
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The ArtLN5
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roll. - Ilkley  Stockist of: Derwent,
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Opening Winsor Monday
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to Ken Bromley
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Bank Estate,
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Tel 01476 578800
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Tel: Art 690114
01204 Trading Company www.patchingsartcentre.co.uk
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& Newton,
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Gloucester GL2 2AF
North Yorks BD23 2JB
Tel: 01756 70177
Tel: 01522 527 487
The Art Trading
Opening
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01986 8979399am – 5.30pm
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Shop - Ilkley  www.gadsbys.co.uk Saturday
LONDON
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Stockist of: Winsor & Newton, www.theartradingcompany.co.uk
Hawksworth Street, Ilkley,  Stockist of: Derwent, Pebeo, Loxley Reeves, www.theartshops.co.uk
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55 Rowney, Caran
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materials from Golden, Sennelier, Pullingers
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10am – 6pm 715390
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WALES
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36a Earsham Street,Bungay N35 1AQ Emrys
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W F Gadsby NORTH YORKSHIRE Pullingers
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C W S

 
62 MARCH 2017 www.painters-online.co.uk

6
p62_63lpmar17.indd 62 16/01/2017 14:10:12
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www.painters-online.co.uk MARCH 2017 63

p62_63lpmar17.indd 63 16/01/2017 14:10:30


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studio based
S E 01934 733877
21-24 Aug Loosening up with Watercolour
kies Gallery in Ludham, as well asDher EALweekend 6-11 Sep The Four Stages of Watercolour studio based
clude a two-day Paint in the Garden course
East Ruston Vicarage Gardens. There are also
£169 15-20 Sep Seascapes and Harbours
26-29 Sep Painting Dorset Skies- acrylics or
watersoluble oils
 All Art Materials included on selected holidays
k plein air painting holidays, walking and 20-23 Oct Watercolour - the Basics and Beyond  Non painters & All Abilities Welcome
studio based
Broads National Park, as well as holidays And much, much more!!  Studio & Location based courses in all media
UPER UPholidays to
r, Linda will be runningSpainting  Stunning Views and Amazing Locations
LE E
and to Polizzi Generosa DO inBLSicily.
U
SAV and is happy to
Art Holidays in Dorset, The Studio, Boscombe Spa Hotel, 4 Glen Road,
A
us with her teaching experience

£145
Boscombe Manor, Nr Bournemouth BH5 1HR
DE
meet the needs of individuals - whether it’s one-
at’s needed or special courses for groups. Look
r full details of all64
the courses and options on2017
MARCH www.painters-online.co.uk
find some step-by-step tutorials to follow.
Suppliers of the finest
lp CLA MarNEW.indd 64 art materials 13/01/2017 11:15:43
Mar 17 Holiday of the Month_Layout 1 12/01/2017 14:00 Page 3

Holidays & Courses


TWO FABULOUS PAINTING HOLIDAYS Small Friendly Painting
with P&O cruise art instructor Anne Barnham.
Come & enjoy watercolour. Holidays in Spain & Turkey
Be inspired & stimulated.
May 7th-12th at St Briavels, Wye Valley.
July 9th-14th at Sidmouth, Devon.
Half board – no single supplement.
Studio and en plein air.

Call + 44 (0) 7931 742450


Contact Anne: 01526 320626
sue@creative-getaways.com
annebarnham@hotmail.co.uk
www.saa.co.uk/art/annebarnham www.creative-getaways.com

SUE FORD’S PAINTING HOLIDAYS


Mixed Media Courses
Cornwall
Cober Hill and Red Lea Hotels both in
Scarborough, various dates.
Holiday of the month Scarborough, Venice
and Spain.
Inspirational painting locations for
INDIGO BROWN
Glenthorne, Grasmere, Higham Hill, you with professional artist/tutor
Bassenhwaite, various dates.
The Algarve, May 10-17. Tony Hogan
The Watermill in Tuscany, July 15-22. Fun, friendly,
www.sueford.co.uk non-residential
Suefordartist@icloud.co.uk and residential
Tel: 01642 712926 courses from 4
to 7 days
See website:
www.learntopaintinfrance.co.uk www.hoganart.co.uk
With Mike Hall Des RCA. Email: admin@hoganart.co.uk
T: 01208 895088 M: 07888 852503
Join popular artist
and experienced Art
r breaks
rt bre
rreaks
ks
k in Exmoor
E moor
Ex
tutor Mike for
a long weekend www.shorlandoldfarm.co.uk
ww
www
ww..shorlandoldfa
w ffarm.co.uk
or a week’s all

T
inclusive painting he special light and atmosphere of Pembrokeshire makes
holiday in France. Beautiful
Beautifu
f l locat
fu location
a ion
at
this area of south-west Wales the perfect venue for artists.
Inspired by the beauty around them, Maggie and Andrew Good fo
ffood
od
Small painting groups in Limousin. Brown started running painting holidays from their home in a Friendly at
aatmosphere
mosphere
All levels welcome. quiet rural location between Letterston and Welsh Hook. Indigo Courses fofforr all abilities
Brown Creative Holidays are aimed at both the beginner and
See the website for details more experienced artists, focussing on drawing and painting the Non-painting part
partners
rt
r ners welcome
or call Mike on
land and seascapes of the area. Maggie is the resident tutor, with Ready-made groups also welcome
01256 850167 or 07774 616361
many years painting and teaching experience, while Andrew
provides the delicious, organic home cooking, making them the
The Old School Studio perfect hosts. Three, five and seven day courses are offered, all
The Old School
Old School Studio
Lane, combining painting on location with studio work. All the courses Call Sandy or Mark 01598 763505
Whittlesford,
Old School Lane, Whittlesford, are underpinned with good drawing, which Maggie is passionate Email: enquiries@shorlandoldfa
enquiries@shorlandoldfarm.co.uk
f rm.co.uk
fa
Cambridge
Cambridge CB22 4YS about. Guests stay in Swmbarch House – an old farmhouse with
CB22 4YS four-star grading, which has been sympathetically extended to
CAMBRIDGE based Working Art Studio
set in an attractive Victorian School House. provide three luxury double or twin rooms – all with en suite. Art Shops
Affordable one &CAMBRIDGE based
two day fully tutored Working
workshops. Art Courses are held in the contemporary drawing room and
Studio
Akib, Paul Alcock, Marilyn Allis, Jamel Akib,set in an attractive
Vic Bearcroft, Melanie Cambridge,
conservatory studios, and guests have access to their own lounge 匀甀瀀瀀氀椀攀爀猀 漀昀 琀栀攀 
Victorian School House. and garden for relaxation. The painting venues are all within a
French, John Glover, Rachel Haynes, Prue van der Hoorn,Chris Lockwood,
le, John Shave, Simon Williams SBA, Thomas Plunkett PRWS, Sue Williams short distance of the house and include the harbours and 䘀椀渀攀猀琀 䄀爀琀 䴀愀琀攀爀椀愀氀猀
Affordable one & two day estuaries of Fishguard, Newport and Solva as well as St. Davids –  ㄀㐀㔀㌀ 㠀㠀㘀㔀㘀 
p-in-and-Paint Club every Thursday & Friday
fully tutored workshops.
CAMBRIDGE OPEN STUDIOS IN JULY the smallest city in Britain. As a taster of what to look out for in
Tutors for
Summer School & Kids Painting Activities 2017:
in August 2017, there’s Light on the Sea (five days, any media) in April;
cked with easels, drawing boards etc,Hashim
and benefitsAkib, Vic mezzanine
from a large Bearcroft, floor with a Summer Day and Shadows (five days, acrylics and mixed media)
udents can also relax in the attractive garden and courtyard, whilst enjoying a cuppa!
Soraya French, Simon Williams SBA, in June; On the Beach (five days, acrylic and mixed media in July);
TonyEmail:
hops or to request the 2016 brochure Allain, Robert Dutton
info@theoldschoolstudio.co.uk and Exploring Watercolours (five days in October). In September
er: 01223 833064 and many more popular tutors
www.theoldschoolstudio.co.uk there will be a seven-day holiday to the Tarn region of France.
Full details are given on the website.
Drop-in-and-Paint Club
every Monday, Thursday & Friday For more information contact Maggie and Andrew Brown at
View/download our 2017 brochure Swmbarch House, Letterston, Pembrokeshire SA62 5UE; 嘀椀猀椀琀 漀甀爀 漀渀氀椀渀攀 猀栀漀瀀
Email: info@theoldschoolstudio.co.uk telephone 01348 840177; email info@indigobrown.co.uk or 眀眀眀⸀瀀攀最愀猀甀猀愀爀琀⸀挀漀⸀甀欀
Or call Val Pettifer: 01223 833064 visit www.indigobrown.co.uk 伀甀爀 猀琀愀昀昀 愀爀攀 愀爀琀椀猀琀猀 ☀ 攀砀瀀攀爀琀猀 ⴀ 挀愀氀氀 昀漀爀 愀搀瘀椀挀攀
www.theoldschoolstudio.co.uk 椀渀昀漀䀀瀀攀最愀猀甀猀愀爀琀⸀挀漀⸀甀欀

www.painters-online.co.uk MARCH 2017 65

lp CLA MarNEW.indd 65 13/01/2017 10:01:23


Holidays & Courses
art holidays in cornwall

‘a great deal more than just a painting holiday...’


Small Groups
Stunning Locations
4 Star Accommodation
All Abilities
Tel 01579 383491
www.callingtonartschool.com

TARN AREA, SW FRANCE. Painting


PAINTING COURSES. 1-7 day and holidays. Excellent food and
weekly art courses painting flowers accommodation, superb landscape,
and gardens, landscapes, watercolour forestry, mediaeval villages, studio, large
or line and wash with Jan Blanch in swimming pool. Professional tuition by
Norfolk also Brusho classes. Very good
Ken Ray BA, WSCAD, Diana Golledge,
accommodation.

Sicily
Cora Martin.
Painting holidays in Corfu.
Details: Bob and Carla Schaap,
Tel: 01493 393639 or 07702 069300
Award Winning Art Chateau de Pourpry, 81220 Damiatte,
painting holidays
Email: janblanchartist@gmail.com
2017 New Painting Holidays! www.janblanch.co.uk Tarn, France. Tel: 0033 563 707 176
Higham Hall, Lake District Email: bobencarla@aol.com
Rydal Hall, Lake District
Cober Hill, Scarborough October 2017
HF Holidays - Malham, Whitby
Dalvaro Art, Spain
for details see our website: Framing
Paint Andalucia, Spain www.esplora.co.uk/painting
Sandpiper Studio, South Wirral
Watershed Studio, Essex
Norfolk creative Arts, Norfolk
or email: Teaching art has been David’s
AshcraftArtists
FramingFrames
Various dates,different media. trips@esplora.co.uk passion for over 15 years, - Save money on framing
Visit www.rdcreative.co.uk passing on his knowledge - Complete or self-assembly
for further details - Plain wood or painted
and tips from over 50 years of - Inlay frame specialist
Top quality workshops and
demos for you all nationally! Esplora painting and helping students - Large, standard and bespoke sizes
Call 0113 2252481or learn, improve and achieve. Exclusive - St Ives/Nicholson style
email rdcreative@ntlworld.com frames available on-line
Watercolours • oils • pastels
Call 01427 787318 or visit
David Webb, professional artist, author
Saturday workshops and holidays www.ashcraftframing.co.uk/store
and contributor to Leisure Painter. www.watercolourartist.net
2-Day watercolour workshops in
South Devon in 2017. Tel: 01246 826311 Art Materials
Sidewinder Studio
01243 552186
Call Anna-Marie to Shop online
www.sidewinderstudio.co.uk
discover the opportunities
• Demonstrations/one-to-one tuition available to you. CHINESE BRUSH PAINTING SUPPLIES

• All materials included We have an extensive range of high quality,


• Lunch included, plus tea & coffee T: 01778 392048 authentic Chinese Brush Painting supplies,
• Maximum 12 students beautiful accessories and specialist books.
• Studio based in large, well-lit room E: annamarieb@
Details at: www.davidwebbart.co.uk warnersgroup.co.uk • Over 300 titles in stock
• Starter packs for beginners
Email: mail@davidwebbart.co.uk
01803 846321
Films

painting holidays
Where better to develop your painting skills than in beautiful Pembrokeshire

Professional tuition for all levels


3 and 5-day full board residential courses
Superb home cooked cuisine
4 Star en-suite accommodation
S mall groups, large studio space
...be inspired painting partners welcome
non

t: 01348 840 177 Andrew and Maggie Brown


e: info@indigobrown.co.uk w: www.indigobrown.co.uk

66 MARCH 2017 www.painters-online.co.uk

lp CLA MarNEW.indd 66 13/01/2017 10:01:32


LP01 LPPaintingHols_Layout 1 21/11/2016 16:04 Page 1

&

Polignana
Antibes Hoi An a Mare

Painting Holidays
with well-known artists
Every year we offer a different selection of hand-picked Private garden in Belgium
en plein air painting holidays with well-known artists
for eight to 14 students. Destinations are chosen for their
variety of subject matter and hotels for their location
and character. Each holiday is accompanied by a travel
director who takes care of all the arrangements and
makes sure that everyone is well looked after.

Work Alongside - Masterclass


Painting Holidays
for experienced and intermediate students
Hoi An, Vietnam with Peter Brown NEAC, ROI
May 9 – 21, 2017 £3,875
Amsterdam with Ken Howard OBE, RA
June 25 – July 5, 2017 £4,995

Udaipur Tutored Painting Holidays


for intermediate and confident beginner students
Secret Gardens & Villages in Belgium & Holland
with Pamela Kay NEAC, RBA, RWS
June 11 – 24, 2017 £3,995
Polignana, Puglia, Italy with Richard Pikesley PNEAC, RWS
September 5 – 14, 2017 £2,995
Antibes, South of France with Lachlan Goudie ROI
September 16 – 23, 2017 £3,295
Udaipur and Pushkar Camel Fair, India with Hazel Soan
Amsterdam October 16 – 31, 2017 £7,995

For full details contact 01825 714310


art@spencerscott.co.uk www.spencerscotttravel.com
Spencer Scott Travel Services have been offering painting holidays in association with The Artist and Leisure Painter magazines since 1990.
These holidays are fully ATOL protected under CAA Licence 3471
£1.00

! KS
M
NOW FRO

1p
LA STO Y
ILE URR
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£13.5O0M
£0.75M NOW FR

£1.00
WH H
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£0.95M 1p £0.50M
NOW FRO
NOW FRO
1p 1p

£1.50 M
£1.00 M
NOW FRO NOW FRO

1p 1p
£3.80 M
NOW FRO

1p

£7.25 £1.85 M
NOW FRO
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NOW FRO
£1.00 1p £9.50
NOW FRO
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£1.00
RRP
£17.3O0M
NOW FR

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£11.7O5M
1p £7.50 NOW FR
£9.95
NOW FRO
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£1.00 NOW FRO
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£1.00 £1.00

EXCLUSIVELY IN-STORE! VISIT US BEFORE 31st MARCH 2017


41-49 Kingsland Road 10:00 to 19:00 – Monday-Saturday
London, E2 8AG 12:00 to 18:00 – Sunday
*This offer is only valid on selected products indicated here, in-store only, 23rd January 2017 – 31st March 2017 and only while stocks last. Products within the offer have a minimum value of 1p or £1 where
indicated, any additional payment above these values is at the discretion of the customer. To ensure this offer is available to as many customers as possible there is a maximum purchase of 5 “PAY WHAT
YOU WANT” products per customer. Customers must register in-store with GreatArt to take advantage of this limited time offer.

Take advantage of all these offers with the code: AMAZING


AVAILABLE IN-STORE, ONLINE AND OVER THE PHONE

33% OFF CANVASES £15 OFF FREE DELIVERY FREE GIFT


with over 1,000 canvases when you spend £29 for orders over £9.99 only! with all orders
to choose from Quote Code AMAZING over the phone, (as usual, no minimum to spend when
or Present this page in-store using click & collect)

**To redeem this offer, enter code AMAZING on the basket page of www.greatart.co.uk. Valid unitil 31st March 2017. Only to be used once per customer, cannot be combined with any other offer and is not
valid on gift vouchers, books, magazines, products which are already discounted and products from the I Love Art range. When code AMAZING has been applied orders over £9.99 receive free delivery, orders
under £9.99 will be charged the standard rate of £4.95. Brush only orders under £9.99 will be charged the standard rate of £2.95. As standard, an additional charge of £5 will be applied for UK Offshore,
Scottish highlands, Northern Ireland and Channel Islands. All orders are subject to GreatArt Terms & Conditions.

www.greatart.co.uk / 08433 571 572


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