LsrPntrJnr2017 FreeMags - CC

LP01 1 Cover_red_Layout 1 18/11/2016 10:32 Page 1
LEISURE PAINTER’S 50TH ANNIVERSARY YEAR
UK’s
No.1
JANUARY 2017 £4.20

Practice wet in wet
STEP-BY-STEP
WATERCOLOUR
STREET SCENES
Make sense of
colour and shape
Your watercolour
problem solver:
foliage and trees
TRY TRADITIONAL
OIL TECHNIQUES Paint winter
HOW TO PAINT
creatively from
photographs
landscapes
COLOUR MIXING COMPETITIONS!
How to use Fantastic prizes
warm red earths to win in 2017
Charcoal and !
soft pastel: the
perfect partners

CALL FOR ENTRIES
Be part of our 10th anniversary year
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levels, small group, includes professional wildlife & landscape tutor.
Resident artist, renowned watercolourist Anne Byas.
April 22nd-29th 2017. Fully catered using local produce.

£975pp, second person sharing £550pp.
Non-resident £70 per day, inc. transfers.
Pick up available from Fort William bus/train station

Contact Allison or Andy Jackson Tel. 01972 500208
email allison@selfcatering-ardnamurchan.co.uk
www.isleofcarna.co.uk
Wildlife
Artist of theYear
Seven categories to suit all artistic New
styles & mediums
£10,000 TOP PRIZE
Expert judges include fellow artists,
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Entry until 20 February 2017

For full details & rules of entry please see
www.davidshepherd.org
or call 01483 272323
The David Shepherd Wildlife Foundation is a UK registered charity (1106893)
working to save endangered wildlife
David Shepherd Wildlife Foundation,

Saba House, 7 Kings Road, Shalford, Guildford, Surrey GU4 8JU UK
Tel: 01483 272323 Email: dswf@davidshepherd.org
Image courtesy of Sevina Yates - 2016 shortlisted finalist
2 JANUARY 2017 www.painters-online.co.uk
p02_lpjan17.indd 2 18/11/2016 10:51:06

January welcome_Layout 1 21/11/2016 12:49 Page 3
Incorporating Leisure Painter

and Craftsman
and Creative Crafts
VOLUME 51/1
ISSUE 555
www.leisurepainter.co.uk
Welcome
www.painters-online.co.uk
ISSN 0024-0710
from the editor
JANUARY 2017
Editor
Ingrid Lyon
I n this, the first issue of our 50th
anniversary year, we have no less than
three painting competitions for you to
Contributing Editor
Jane Stroud
enter. First and foremost – and the main event of our calendar –
Editorial Consultants
Diana Armfield, RA, NEAC (Hon), RWS is the launch of LP’s Open Competition 2017 (pages 54 to 55), from
David Bellamy
Tony Paul STP which selected works will be exhibited at Patchings Art Centre
Advertising Sales
Anna-Marie Brown (Tel: 01778 392048)
during the summer. As always, we are looking for original drawings
(annamarieb@warnersgroup.co.uk)
and paintings that show both an understanding of the technicalities
Advertising Copy
Sue Woodgates (Tel: 01778 392062) of using your chosen medium and your authentic ‘voice’. We’re
(suewoodgates@warnersgroup.co.uk)
Accounts
never adverse to quirkiness or humour either, and with over
creditcontrol@warnersgroup.co.uk
£16,500 worth of fantastic prizes to be won, we’re eager to see
Events Manager
Caroline Griffiths your entries.
Subscriptions & Marketing Manager
Wendy Gregory
Our second competition for individual readers is the first of a
Subscriptions series of 13 challenges to celebrate our 50th year (page 67). Every
Nicci Salmon & Liza Kitney
(Tel: 01580 763315/763673) month we will invite you to enter a painting that has been inspired
Online Editor by, but not copied from, a specific exercise or article from that issue.
Dawn Farley
Designers We’re kicking off the competition with work by our favourite colour
Alison Renno
Sarah Poole man, Tony Paul (pages 20 to 23), and asking you to produce an
Leisure Painter is published original painting using predominantly warm red earth colours. With
every four weeks by:
The Artists’ Publishing Company
a voucher for £50 worth of art materials from Great Art given to a
Limited (TAPC), Caxton House,
63-65 High Street, Tenterden,
winning entrant each month, why not join in on a regular basis?
Kent TN30 6BD
(Tel: 01580 763315)
Finally, following the success of our inaugural Art Club of the Year
Publisher competition in 2016, we are proud to call for entries to 2017’s event
Dr Sally Bulgin, Hon VPRBSA
(page 58), aimed at highlighting the outstanding work of clubs in
Publication of an article or inclusion of
an advertisement does not necessarily
promoting amateur art in this country. Artist and tutor, Hazel Soan,
imply that TAPC is in agreement with
the views expressed, or represents
is as enthusiastic about this competition as we are, and joins us
endorsement of products, materials again in judging the entries. There are fantastic prizes, sponsored
or techniques. TAPC does not accept
responsibility for errors, omissions again by Jackson’s, so I hope your club will enjoy entering into the
or images received in good faith
Annual subscription rates: spirit of this unique competition.
UK £39.99 (includes Northern Ireland);
USA $80; Canada $92; EC member
We are excited and proud to be celebrating Leisure Painter’s 50th
countries €67; all other countries anniversary and look forward to seeing your work throughout the
(sterling rate) £50
Foreign currency prices include coming year.
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)
FEBRUARY 2017 issue on sale 30 December
www.painters-online.co.uk JANUARY 2017 3

LP01 4-5 Contents_News 1st 22/11/2016 11:56 Page 4
50
Contents JANUARY 2017
32
20
24 From photo to painting
IN EVERY ISSUE Part 1 In this new series, Elena Parashko
combines theory with practice to help you
7 Diary 57 Books paint more creatively from photographs
Things to do this month Some of the best practical art
books are reviewed 28 Shapes, not details
8 Exhibitions Part 1 Make sense of colour and shape as
Some of the best shows 59 Art clubs you paint street scenes and figures using four
around the country News, profiles, exhibition listings different methods. Fiona Peart shows how to
and ‘best in show’ gallery simplify a scene, use hatching styles, work
10 Letters with tracing paper and loosen up your style
Your tips, suggestions, 66 Online gallery
ideas and questions Jane Stroud chooses a painting 32 Pastel partners
from PaintersOnline Charcoal is an effective addition to your
pastel repertoire. Heather Harman explains
its use in tonal underpaintings and highlights
for landscapes and portraits
FEATURES
13 A walk in the snow 36 Oil painting troubleshooter
This month Martin Kinnear discusses the
Capture the peaceful atmosphere of a
value of working in black and white, known
snow-laden landscape using a variety of
as grisaille, to add drama and depth to your
watercolour techniques, by Julie King
landscapes in oils
18 Painting project
Part 1 Join Colin Steed on a coastal 39 Watercolour problem solver
journey as he introduces this month’s Part 1 Tim Fisher offers solutions to a
project from a photograph reader’s question on how to improve his
On the cover painting of foliage and trees
Julie King A Winter’s Walk, 20 Understanding colour
watercolour, 11x15in. (28x38cm). 44 Rembrandt soft pastels
Follow Julie step by step as she paints Part 14 How to make the most of the
a snow-laden landscape in watercolour warm red earth colours in your palette for Royal Talens triumphs with its Artists’ quality
landscapes and portraits, by Tony Paul pastels, put to the test by Becky Samuelson

LP01 4-5 Contents_News 1st 21/11/2016 12:42 Page 5
18
Coming
next month
Well-known and experienced tutors help you
to draw and paint successfully in the February
issue of LP. Here are just some of the highlights:
ON SALE 30 DECEMBER
n Top 10 tips to help
you draw and paint
more freely
n Understanding colour:
how to use cool red
earth colours
n Forget detail –
simplify! Make
painting easier by
recognising shapes
n Follow step-by-step
tuition to paint a
landscape in acrylics
n NEW SERIES: Learn
39 to draw well, from
graphite to colour t
Rachel McNaughton Puffin,
n Loosen up your oil
watercolour, 15x11in. (38x28cm)
NEWS, HOLIDAYS & COMPETITIONS
painting techniques
10 View the winner of this year’s Christmas Greetings
charity competition n Use watercolour
LEISURE PAINTER
to capture a bird ON-SALE DATES
11 Win an artist’s lamp from Daylight worth £89(rrp) in flight
Issue On sale
12 Receive a special gift, worth £29.95(rrp), when you n How to paint March 27 January
subscribe to Leisure Painter this month successfully from April 24 February
photographs May 24 March
54 Over £16,500 worth of prizes to win! First call for June 21 April
entries to the Leisure Painter Open Competition n Stay warm! Be creative July 19 May
2017, in association with Patchings Art Centre with winter still lifes Summer 16 June
56 Take advantage of the latest offers on practical art n And lots more....
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
61 Join a wealth of well-known artists on reader painting
holidays throughout 2017
67 Celebrate LP’s 50th anniversary by entering the first
of 13 painting challenges in 2017, with your chance
to win £50 worth of art materials each month
47 Berry delight
Build your drawing and painting skills as you produce
this loose and lively watercolour of rowanberries, by
Rachel McNaughton
50 Café society
Learn to draw and paint loose and lively figures in your
sketchbook, with Klaus Meier-Pauken t
Arthur Begg Beetroot, oils, 8x12in. (20.5x30.5cm)

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Artist Quality Watercolour Paper by Canson
Incoming Tide by Robert Dutton
p06_lpjan17.indd 6 18/11/2016 12:28:52

LP Jan 2017 Diary p7_News 1st 17/11/2016 09:49 Page 6
Diary
THINGS TO DO THIS MONTH
Mini pictures
The Bankside Gallery in London will be holding its
annual Mini Picture Show from 9 December until 22
January, with small paintings by members of the Royal
Watercolour Society and the Royal Society of Painter-
Printmakers available to take away at the time of
purchase. Prices start at £50, so it’s the ideal place to
pick up that unique Christmas gift.
Christmas Card by Alastair Flattely sent to the Fleming family

t
on show at Happy Christmas! at the Scottish National Gallery of

Modern Art, Edinburgh until 29 January
Christmas treats
n Happy Christmas!
The Scottish National Gallery of Modern Art will be
featuring a free exhibition of Christmas cards from the
personal collection of Scottish artist and lecturer, Ian
Fleming. The original cards will encompass a whole
variety of styles from artists in the mid-20th century
including Anne Redpath, William MacTaggart and Ainslie
Yule. Happy Christmas! Cards from the Ian Fleming
Collection at the Scottish National Gallery of Modern Art,
Edinburgh until 29 January. Telephone 0131 624 6200.
Angie Lewin Festival of Britain Mug with Garden Seedheads, n
t
Winter lights
watercolour, 161⁄4x161⁄2in. (41x42cm) from the Mini Picture Show at
the Bankside Gallery, London Head to the Dulwich Picture Gallery in London after dark
this month (6 to 18 December) for the special winter
Gift tags by local artist, lights trail that turns the grounds into a magical winter
t
Fran Russell, on show at the wonderland. Roaming choirs will add to the festivities,
Smallhythe Studio in Tenterden,
Kent, until 16 December with Christmas storytelling in the enchanted cottage and
mulled cider, hot chocolate and other treats in the
The Smallhythe Studio in Christmas Cabin. Christmas markets take place at the
Kent is also holding an weekends – 10 and 11, and 17 and 18 December.
exhibition of small works, Full details can be found at
including paintings, www.dulwichpicturegallery.org.uk
ceramics, jewellery, cards
and prints by local artists at
affordable prices for
Christmas. A sale of gift A year of art
tabs individually painted With present-giving in mind, take a look at the benefits
by different artists will also offered to members of London’s National Gallery. Members
be available, with profits going to the Tenterden Day enjoy free exhibition entry and exclusive benefits, such as
Centre. Small is Still Beautiful is on show at Smallhythe discounts on courses and workshops, entry to exhibitions at
Studio, Smallhythe Road, Tenterden, Kent TN30 7NB preview days and private views, a ten percent discount in the
until 16 December. Telephone 0790 594 8525 or visit National dining rooms as well as in the gallery shop. In
www.smallhythestudio.com addition, you will be helping to support and conserve the
National Gallery Collection. Visit www.nationalgallery.org.uk

LP Jan 2017 Exibitions 8-9_Layout 1 17/11/2016 09:55 Page 2
Exhibitions
Kline, as well as lesser-known figures who
contributed to the movement, until
2 January.
n Tate Britain
Millbank SW1. 020 7887 8888. ‘Paul Nash’:
featuring work from all stages of his artistic
JANE STROUD RECOMMENDS career, from early symbolist paintings
through the iconic works of the First World
War to post-war landscapes, until 5 March.
‘Turner Prize 2016’, until 8 January.
LONDON
n Bankside Gallery n Mall Galleries REGIONAL
48 Hopton Street SE1. 020 7928 7521. Trafalgar Square SW1. 020 7930 6844. ‘Royal n Fitzwilliam Museum
‘The Mini Picture Show’: works on a small Institute of Oil Painters’: annual exhibition,
Trumpington Street, Cambridge. 01223
scale by artists from the Royal Watercolour until 11 December. ‘Art Russe: The Art of
332900. ‘Colour: The Art and Science of
Society and the Royal Society of Painter- Storytelling’, exploring the themes of
Illuminated Manuscripts’, continues until
Printmakers, 9 December to 22 January. storytelling and folk tales in Russian art
30 December.
See page 7 for more details. from the late 19th and early 20th centuries,
n Harbour House
n Dulwich Picture Gallery 14 December to 6 January. ‘FBA Futures
2017’: new work by graduate artists, 9 to The Promenade, Kingsbridge, Devon. 01548
Gallery Road SE21. 020 8693 5254. ‘Adriaen 854708. ‘Present Maker’: annual Christmas
20 January.
van de Velde: Master of the Dutch Golden
n National Gallery exhibition of arts and crafts by members of
Age’, featuring 60 works by this 17th the South Hams Arts Forum, until
century Dutch landscape painter; the Trafalgar Square WC2. 020 7747 2885.
11 December.
exhibition explores his painting process ‘Beyond Caravaggio’, continues until
from conception to completion, until 15 January. ‘Australia’s Impressionists’, n The John Russell Gallery
15 January. showcasing the work of Australia’s four 4-6 Wherry Lane, Ipswich, Suffolk. 01473
n Llewellyn Alexander major exponents of Impressionism, 212051. ‘The Seasonal Show’: past and
7 December to 26 March. present paintings and prints by Suffolk
(Fine Paintings) Ltd., 124-126 The Cut,
n Royal Academy of Arts artist, Michael Carlo, 5 December to
Waterloo SE1. 020 7620 1322. ‘Christmas 23 January.
Exhibition 2016’: including oil paintings by Piccadilly W1. 020 7300 8000. ‘Abstract
Pamela Kay and watercolours by Lisa Graa Expressionism’: exploring the movement n Lincoln Joyce Fine Art
Jensen, Geoffrey Wynne and John Yardley, through the art of some of the most 40 Church Road, Great Bookham, Surrey.
featuring still lifes, landscapes and celebrated artists of the past century, 01372 458481. ‘Christmas Exhibition’, until
architecture, until 7 January. including Pollock, Rothko, de Kooning and 17 December.
A Sense of Place
Joan Eardley: A Sense of Place at the
Scottish National Gallery of Modern Art
provides an opportunity to immerse
yourself in the world of one of Scotland’s
greatest artists. Chief curator at the
gallery, Patrick Elliot, writes: “We have
tried to recreate Eardley’s working
process, to show how she made the work
from sketch to finished painting, and
attempted to track her movements as
precisely as possible. In many of the
Catterline paintings, you can see exactly
where she was standing, almost down to
the nearest inch. Visitors to the
exhibition will, as it were, be looking
over her shoulder, in what will be the
most detailed and personal insight into
Eardley’s life and art to date.” The
exhibition will include much previously
unpublished material as well as loans
from private collections.
Joan Eardley: A Sense of Place is at the
Scottish National Gallery of Modern Art
Edinburgh, 3 December until 21 May.
Joan Eardley Fields Under Snow, 1958, oil on

t
canvas, 263⁄4x283⁄4” (68x73cm)
Cut please
LP Jan 2017 Exibitions 8-9_Layout 1 17/11/2016 09:55 Page 3
Artemisia Gentileschi Self-portrait as the Allegory of Painting

t
(La Pittura), c.1638-9, oil on canvas, 38x29in. (96.5x73.5cm)
Portrait of the Artist

Portrait of the Artist at The Queen’s Gallery, Buckingham
Palace features more than 150 paintings, drawing, prints
and photographs of portraits of artists from as early as the
t
Sue Allen, Two Herons on the Somerset Levels, mixed media with Indian ink, 16th century. As well as artist’s self-portraits, the exhibition
311⁄2x231⁄2in. (80x60cm) also explores themes of the cult of the artistic personality
and the artist at work, showing changing fashions in the
Prizewinners on parade way painters depict themselves and the way they worked.
The Ilminster Arts Centre in Somerset starts the year with a The 17th century artist, Artemisia Gentileschi, for example,
celebration of the winning works from its 2016 Ilminster Open used two mirrors to capture herself from the unusual angle
Competition. All the winning artists will be represented, shown in the portrait above.
showing not only paintings, but also ceramics, textiles, Portrait of the Artist can be seen at The Queen’s Gallery,
sculptures and assemblages. The exhibition represents the Buckingham Palace, London until 17 April. For information
diversity of work being produced by local artists today. and tickets telephone 030 3123 7301 or visit
Ilminster Open Prizewinners opens at the Ilminster Arts www.royalcollection.org.uk
Centre, East Street, Ilminster, Somerset on 3 January and
continues until the 21 January. Telephone 01460 55783.
n Mariana-Art Gallery
n Scottish National Portrait Gallery n Victoria Art Gallery
East Street, St. Briavels, Gloucestershire.
01594 530484. ‘Ark-Art’: animal paintings by 1 Queen Street, Edinburgh. 0131 624 6200. Bridge Street, Bath. 01225 477233.
Mariana Robinson, Mark Jenkins and Alison ‘BP Portrait Award’: 53 works from the 2016 ‘A Bath Painter’s Travels:’ new paintings
Lingley, until 12 December. BP Portrait Award will tour from the and drawings of Bath and beyond by Peter
National Portrait Gallery in London, until Brown, 3 December to 19 February.
n The Mercer Gallery 26 March.
Swan Road, Harrogate, North Yorkshire. n The Wilson
n Smallhythe Studio
01423 556188. ‘Eileen Cooper RA: Hide and Clarence Street, Cheltenham. 01242 237431.
Seek’, until 15 January. Smallhythe Road, Tenterden, Kent. 0790 594 ‘The Last Word in Art’: works by key 20th
8525. ‘Small is Still Beautiful’: small and century and contemporary artists, such as
n Middlesbrough
affordable paintings, ceramics, sculpture, Tracey Emin and David Hockney, exploring
Institute of Modern Art jewellery and cards, until 16 December. See the relationship between images, words and
Centre Square, Middlesbrough. 01642 page 7 for more information. ideas, until 8 January.
931232. ‘Liberation of Colour’: paintings by
Winifred Nicholson, until 12 February.
n Sarah Wiseman Gallery All information given here is correct at the time of going to press, but you are
40-41 South Parade, Oxford. 01865 515123. advised to check details and opening times with the galleries prior to your visit
‘On Meadow and River’: textured landscapes in case of unavoidable alterations to their exhibition schedules
by Peter Kettle, 14 to 28 January.
Laurie Lee Self-portrait c. 1936, gouache,

t
letters Jan_Layout 1 21/11/2016 12:50 Page 10
Merry Letters
A READER’S QUESTION
IS ANSWERED
Christmas How do I mount a finished oil painting?
I have completed a painting from an airborne photograph I took
and in 1966. The painting was done using traditional Georgian oils on
new Daler-Rowney 250gsm Georgian Oil Painting Paper, which
best wishes measures 16x20in. (40.5x51cm). I would now like to mount and
frame the picture. Please help me with the following questions:
1 What type of mounting should I use – thick cardboard, MDF or
something else?
for 2017 2 What is the recommended glue that won’t leech through the
paper to affect the image adversely?
3 Please give me guidance on the construction techniques needed
to mount this painting successfully. Thank you in anticipation.
Ivor Tucker
Tony Paul replies: In reply to your first question, I would

recommend 3mm cardboard, preferably acid-free. If it isn’t
acid-free, coat the board with acrylic gesso primer. MDF would
be fine, but it is not acid-free so prime it first.
As far as glue is concerned, a good quality PVA adhesive is
best used for this. The following is a run-down of the technique
you could use to mount the finished painting.
1 Set out newspaper on a flat table. Cut the board larger than the
painting so the positioning of the paper is not critical. Place the
painting alongside the board along with a fairly wide brush – a
thin 3in. varnishing brush is ideal. Borrow a rolling pin and keep
this on the table.
2 Coat the board with the PVA glue. If the board has been primed
with gesso, it is this side to which the painting will be affixed. Don’t
plaster on the PVA glue, but don’t apply it too frugally either. It has
the habit of drying out in parts where it is covered too thinly.
3 Bend the painting into a shallow crescent and position one end
on the board. Be careful that the painting is more or less square
to the board then roll the painting fully on to the board. Try to
ensure that no air is trapped.
4 If the position is OK, gently and quickly smooth the painting out
from the middle to the edges. Again working from the middle, take
Diana Boanas Christmas Jewels, watercolour, 14x91⁄2in. (36x24cm)
M
the rolling pin and apply pressure, rolling over the painting.
5 The painting should now be stuck firmly to the board. Trim it
from the team at to size and ensure no glue has found its way on to the face of the
painting. If it has, clean it off.
6 Still face up, cover the painting with a sheet of plastic film – an
opened out supermarket bag would do. Place the unprinted side
against the painting and overlay this with another flat board.
& PaintersOnline Weigh this down with heavy books or bricks and leave overnight.
In the morning the mounted painting will be perfectly flat, ready
for framing.
We are pleased to make a donation
of £200 to the Bolenowe Animal Send your letters to Leisure Painter, 63-65 High
Sanctuary, Helston, Cornwall as the Street, Tenterden, Kent TN30 6BD. Alternatively, email
charity nominated by our winner, the editor at leisurepainterletters@tapc.co.uk. All
letters published win art materials, courtesy of Daler-
Diana Boanas, in this year’s Charity Rowney. For details of all Daler-Rowney products visit
Christmas Greetings competition www.daler-rowney.com

Unique
acrylics
from the
Netherlands
LP01_WebCompD_Layout 1 15/11/2016 09:13 Page 1
www.royaltalens.com
190x130mm UK Ads cmyk.indd 1 18.04.16 21:20
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LP01 Subs_Layout 1 18/11/2016 16:03 Page 1
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TRY TRADITIONAL
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HOW TO PAINT
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to
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COLOUR MIXING COMPETITIONS!

How to use Fantastic prizes
warm red earths to win in 2017
Charcoal and !
soft pastel: the
perfect partners
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LP01 13-17 Kingv3_Layout 1 18/11/2016 10:56 Page 13
t
The finished painting A Winter’s Walk, watercolour on NOT watercolour paper, 11x15in. (28x38cm)
A walk in the snow

Join Julie King on a winter’s walk without having to venture out into the cold!
Here’s how to capture the peaceful atmosphere of a snow-laden landscape
using a variety of techniques to create texture and atmosphere
The secret to painting a snow scene

LEARNING OBJECTIVES is to leave plenty of white paper rather
n How to paint a snow scene than using white paint. However, as
an experiment, I added acrylic gesso
n Work with a limited palette with a palette knife to the paper to
and masking fluid suggest the raised texture of the frozen
n Paint wet on wet and wet on dry snow on the branches, which gives
the picture a slight three-dimensional
effect when dry. Then, using
I n a warm studio on a cold winter’s

day I’m ready to translate one of
my photographs into a watercolour
painting. The scene I have chosen
(right) is brought alive by the figures,
sharpened bamboo dipped into
masking fluid I applied a few loose
finer lines and splattered the surface
using a toothbrush flicked with a
paper clip. To add even more texture
with their brightly coloured clothing, to the frozen branches I applied
walking into the landscape and Clingfilm to the wet paint.
providing a focal point. Using artistic I used a limited palette of five
licence, I decided to change the colours (see page 22), mixing cool and
composition slightly by omitting warm shades of mauve and green to
the fence and by adding stronger create an impressionistic interpretation.
footprints from the foreground, This demonstration is a guideline
which assist in leading the eye into to help you practise a variety of
the picture. It also gives the painting watercolour techniques. I hope you
balance, as I will be using the same go on to produce imaginative scenes t
Your reference photograph and materials
t
colours throughout the scene. from your own photographs. LP for this project: A winter’s walk with figures

Watercolour
Demonstration A Winter’s Walk
You will need

n Surface n Golden QOR
l Bockingford or Fabriano watercolours
Artistico 140lb NOT See colours (below)
n
watercolour paper
Miscellaneous
stretched or on a block
l B pencil
11x15in. (28x38cm)
l Pebeo masking
n Brushes fluid
l Cotman mop brush l Acrylic gesso and
19mm palette knife
l Round Nos. 8 and 10 l Old toothbrush,
(I used Da Vinci paper clip and
Maestro Kolinsky sable) sharpened
l Rigger No. 3 bamboo
Colours used
t
Your reference photograph
Ultramarine Burnt Hansa yellow

blue sienna medium
Payne’s Alizarin
grey crimson
Step 1
t
Using a B pencil, lightly sketch out the scene,

referring to the photograph.
t Step 2
Add texture by applying white gesso with a spatula knife.
Drag the gesso downwards on the flat side and the edge of
the knife in the direction of the growth of the branches.
t
Step 3
Allow to dry before applying masking fluid freely with a
sharpened piece of bamboo to suggest snow on the top of the
branches. This will help retain the brilliant white of the paper.
Add finer splatters of masking fluid using a toothbrush and a
paper clip on the left side and on the smaller tree to the right.

t
Step 4
t
Step 5
1 Prepare two pools of colour by combining alizarin 1 Lay a sheet of Clingfilm on the wet area and crunch it up.
crimson and ultramarine to make two shades of mauve: 2 Leave to dry before removing it, resulting in further texture.
a pink mauve and a cooler blue mauve.
2 Lightly wet the surface of the paper to the horizon
using a mop brush.
3 Beginning with the pink mauve shade, paint sweeping
brushstrokes with a No. 10 Round brush either side of
the main trunk, becoming denser towards the horizon.
Add the blue mauve, with touches of a blue green
made from ultramarine and Hansa yellow medium.
4 While still damp increase the strength of colour
in the lower area with neat ultramarine and a grey
mauve created by adding Hansa yellow to the purple.
5 Providing the area is still damp add sweeping
brushstrokes of burnt sienna mixed with
ultramarine blue.
Step 6
t
1 Prepare two shades of green using Hansa

yellow and ultramarine blue.
2 Begin applying the left-hand foliage. Working wet
on dry and using the No. 10 brush draw a brushstroke
upwards to suggest the dark trunk on the snowy white
background and the leafy profile. Diffuse with water
to cover the foliage area, except for the thick branch.
3 Use stong colour and vary the tones by applying areas
of neat ultramarine blue, dark green – a mixture of
Payne’s grey and Hansa yellow – and a rich purple
made of alizarin and Payne’s grey.
Step 7
t
1 Wet the distant ridge

of snow and add soft
tones of mauve.
2 Draw a brushstroke of
mauve beneath the tree
on the right and diffuse.
3 Add more depth in the
background to suggest
the density of trees by
adding Hansa yellow
to the mauve mix. Work
wet on dry leaving gaps
to suggest tree trunks.

Watercolour
Demonstration continued
t
Step 9
1 Continue painting branches using the No. 8 brush
followed by the No. 3 Rigger to achieve finer brushstrokes.
2 Add ultramarine to the burnt sienna to add more depth.
t
Step 8 Add the smaller tree trunks.
Apply burnt sienna, wet on dry, to the tree trunk leaving the 3 Wet the mid-tone tree above the trunk on the right
area at the top white. While damp, drop in a rich purple mix. and add more strength of tone with a purple mix.
Step 10
t
Remove the masking

fluid to reveal the white
of the paper and add a
few more fine branches.
t Step 11
1 Begin to paint the
figures. Using colours
of your choice, place a
simple background wash
on the clothing, wet on
dry. While damp, drop
in stronger tones to
give depth and form.
Step 12
t
Continue
with the
figures
in the
distance.

Step 13
t
Add foliage wet on

dry at the base of
the trees to the left,
using blue green
shades. Add burnt
sienna combined
with ultramarine
blue while damp.
t
Step 14 t
The finished
Finally, lead the eye into the picture painting A Winter’s
by adding a suggestion of footsteps Walk, watercolour Julie King
in the snow, using varying shades of on NOT watercolour Julie is the author of How to Paint Flowers in Watercolour and
mauve and blue. Add yellow to the paper, 11x15in. Irises in Watercolour (published by Search Press). Find out more
purple to make it less intense. (28x38cm) about Julie and her work by visiting www.juliehking.co.uk

LP01 18-19 PP1_3_Layout 1 18/11/2016 11:26 Page 18
Paint along with LP
Painting project
Part 1 Join Colin Steed on a coastal journey as he
introduces this month’s project from a photograph
t
The reference photograph for this to realise that it’s not a matter of copying
month’s project: Blakeney on the north LEARNING OBJECTIVES the subject and colours I saw in front of
n
Norfolk coast Paint successfully from photographs me, but to think more deeply about the
colours and tones I used. Now I ensure
n How to develop a strong all colours and tones work together,
composition rather than competing with each other.
n Understand the difference If I achieve that, at the very least I am
between colour and tone happy with the painting, and hopefully
others will enjoy looking at it, too.
I have travelled in this country

and abroad sketching and painting
hundreds of subjects with the view
to capturing a fleeting moment; that
moment which you see with your eye,
This month’s coastal project (above)
demonstrates how you can focus on
colour and tonal contrast. I will give
you my thoughts on contrast and colour
combinations that may or may not work
but the camera never quite captures. well with this subject. I will then ask you
After many years of painting I came to paint a picture of this coastal subject
before next month’s issue. Next month,
A sketch of the scene, made in situ, I will take you through the painting of
t
will help you set out the correct colours my version of this lovely scene, taken
and tonal changes at Blakeney on the north Norfolk coast.

LP01 18-19 PP1_3_Layout 1 18/11/2016 11:26 Page 19
Reference material
For this exercise I have chosen a scene
that has very little colour and virtually
no atmosphere, which gives us the
opportunity to try almost any colour
and tonal contrast combination. To
paint a picture that has good tone,
colour balance and atmosphere from this
photograph will require some planning.
When I photograph a subject with the
view to painting it back in the studio,
I always produce a pencil sketch in situ
(below left). A drawing, however rough
or simply produced on the spot, will
always give you an extra feel for the
scene, as you are looking at every
element of the view in front of you.
I use the viewfinder on the camera to
select a composition and a sketch to
study form, tone and contrast. For the
sketch I used a 4B water-soluble graphite
pencil on my favourite drawing paper,
Canson’s Imagine Mix-Media paper. t
On The Mud, Brancaster, watercolour, 11x15in. (28x38cm). Colours used: raw sienna,
cadmium yellow, Prussian blue, French ultramarine, burnt sienna and alizarin crimson.
Composition and tone
The composition is good. With an
incoming tide, the water leads our
eye from the foreground and past the
barge, which is the focal point, to the
far distant creak. We also have small
pleasure boats along the water’s edge
and on the horizon, which add interest
and punctuate the scene.
In my sketch, I designed the sky to
divert the eye back towards the barge,
with the light coming from the right.
The barge is then dark, giving a strong
contrasting tone against the light beach
areas. The water reflects the tone of the
sky and the boats. There are also dark
tones along the water’s edge and the
green patch running out of the picture
on the left is also given a dark accent.
For the painting, I used the following:
l 4B drawing pencil.
l Canson Moulin du Roy 300gsm
NOT and Rough texture watercolour
paper, 11x15in. (28x38cm).
l Watercolour New gamboge or
cadmium yellow, raw sienna, light red,
t
Evening, Heybridge Basin near Maldon, watercolour, 11x15in. (28x38cm). Colours used:
alizarin crimson, burnt sienna, burnt cadmium yellow, raw sienna, alizarin crimson, burnt sienna, burnt umber, French
umber, cobalt blue, French ultramarine ultramarine and Prussian blue.
and Prussian blue.
l Tin mixing palette. saltings from cadmium yellow, raw I hope you enjoy incorporating some
l Brushes No. 4 pointed squirrel mop sienna and Prussian blue. of these options in your version of this
brush, No 4. Artist’s watercolour sable In Evening, Heybridge Basin near lovely barge subject. In next month’s
Rigger, Pro Arte Series 100 Rounds Maldon (above) the sky was painted issue I will be painting two versions,
in Nos. 6, 8 and 12. first using the wet-into-wet technique. one where colour dominates and the
Working from the top left-hand corner other will be all about atmosphere.
Colour combinations to the bottom right-hand corner, I used Don’t forget to email an image of your
On The Mud, Brancaster (top right) is ultramarine fading through to a weak mix finished painting to dawn@tapc.co.uk,
similar to this month’s subject. It depicts of raw sienna and alizarin crimson. While who will place it on Leisure Painter’s
a small fishing boat caught high and dry still damp the trees were painted using painting project area of its website,
by a receding tide. The colours create mixes of ultramarine, alizarin crimson and PaintersOnline. LP
the impression of a sunny day. The sky, burnt sienna. After leaving plenty of time
water and boats were painted using for the paper to dry I worked on the boat
mainly cool blues. For the sky and details and their shadows. The water was
water areas I used Prussian blue. The then painted wet into wet using mixes of Colin Steed
boats were rendered using ultramarine, all the other colours, including Prussian Essex-based tutor, Colin runs
leaving white paper where needed. blue, which gave the water a green hue. watercolour workshops, demonstrations
I painted warm colour to depict small Of the two paintings this one has and holidays. Visit Colin’s website at
details on the large fishing boat, using the most atmosphere. Its good colour www.colinsteedart.magix.net and
alizarin crimson then balanced it with harmony and strong colour and tonal view his portfolio on www.painters-
warm colours for the beach – burnt contrasts make it one of my more online.co.uk/artist/colins5
umber and ultramarine – and the green successful coastal paintings.

LP01 20-23 Paul_amend_Layout 1 21/11/2016 08:56 Page 20
Back to basics
Understanding colour
Part 14 How to use and mix the warm red earth colours in your palette, by Tony Paul
LEARNING OBJECTIVES
n
n
Colour history and development
Build colour and mixing
R ed earths are either natural, dug
up as reddish brown coloured
clays, or manufactured artificially.
The natural red earths are given their
colouring by their iron content, the
they achieve the required hue.
Ancient men would have noted that
yellow clays turned reddish around
his fire then used them in their murals
– probably the earliest use of a
confidence action of water and the evolution of manufactured pigment.
n How to use the warm red earths the earth’s geology, often involving The natural red earth, burnt sienna
in your paintings heat, or developed synthetically by (along with the brown earths raw and
roasting iron-rich yellow earths until burnt umber) is often named pigment
brown PBr7. The yellowish raw sienna
pigment is mined, filtered, washed
and ground to a uniform particle
size then roasted in an oven until
it achieves the desired colour.
With natural earths, such as
Venetian red, Indian red and many
other beautiful, but scarce varieties
of red brown such as Pozzuoli earth,
their colours were so strong that they
needed no roasting. The best quality
mines became exhausted, however,
and consistency was a problem so,
apart from some specialist colourmen,
the majority of manufacturers now
use the Mars reds, artificially made
from clays to which iron and other
elements have been added. These
are powerful, consistent and generally
brighter than their natural
counterparts.
The Mars reds – all labelled pigment
red PR101 – light red, burnt sienna,
Venetian red, Indian red and Mars
violet (caput mortuum) are now
produced in the laboratory. As the
length of time of the roasting of the
pigment is increased, the resulting
pigment becomes cooler in visual
temperature and darker in tone. The
lightest roasting is for light red, a
warm colour biased to orange. Burnt
sienna has silica added to increase its
transparency, but its roasting time is
increased, creating a fiery reddish
orange colour. With Venetian red, the
further increase in temperature bends
the bias away from a warm orange to
a cooler, slightly purplish one. Further
roasting creates Indian red, with a
marked purplish bias and, almost
finally Mars violet (caput mortuum),
which is considerably darker and a
dull purple. Further roasting produces
Mars black – pigment black PBk11.
Only light red and burnt sienna are
warm biased so it is these that will be
reviewed in this month’s article.
LIGHT RED PR102 & PR101

A Lane in Cazals, France, water-mixable oil, 8x6in. (20x15cm). I used burnt
t
Light red has been in use in painting

sienna lightened with Naples yellow to represent the warm stone colours of these since ancient times. Also known as
buildings. To express the cooler areas I added some of the cerulean of the sky English red, it was a mainstay in the
and a little Indian red. palette, particularly in oils, where its
opacity was a valuable asset. When

t
Farmhouse, Chenonceaux, watercolour, 8x10in. (20x25cm). I used Edward Seago’s palette of yellow ochre, ultramarine and light red
for this watercolour. It was interesting to see how far these three colours would take me. The darks of light red and ultramarine proved
important. On reflection, however, perhaps I should have used Prussian blue rather than ultramarine, as no doubt Seago may have done,
to mix better greens. Ultramarine’s purple bias added to yellow ochre’s orange bias managed to suppress greens to grey. The roofs of the
lean to and the well were pure light red, while the grey of the clouds was a careful blend of ultramarine and light red, well diluted.
made from roasted yellow ochre,

it is named as PR102. This pigment
is sometimes preferred for its subtlety LIGHT REDS
in Artists’ colours. The brighter
synthetic PR101 version is being
increasingly used.
Light red has a pinkish edge, and
although it is probably more useful
in oils because of its opacity, during
the Seago period in the 1950s it
became popular, along with
ultramarine and yellow ochre, as
a watercolour palette.
Lightfastness ASTM D 4302, both
PR101 and PR102, Class I, excellent
lightfastness. Light red PR102 Light red PR101 A wash of light red will dry to
Colour bias To orange. a somewhat flat, even-textured
Transparent/opaque Both are opaque. surface. In dilution it has a pinkish
Staining Yes. undertone. The more solid colour
Tinting strength High. has a dusty appearance.
Watercolour The opaque colour lacks
brightness and has a dusty look in
dilution. It creates flat washes and painting. Its iron content ensures that red would be useful for roughing
mixes easily with other colours. the colour dries fairly quickly into a in an underpainting.
Oils A useful substitute for the hard, fairly flexible paint film, with a Other media Light red can be used
transparent burnt sienna in alla prima low to medium oil absorption. Light in all media.
t

t
Crossing the Ford, Moreton, Dorset, acrylic, 12x16in. (30.5x40.5cm). Burnt sienna has been used throughout this painting. The water
was a blend of phthalo green, burnt sienna and a little white, with cobalt blue added here and there to deepen the tone. Small glazes
of burnt sienna were applied within the trees on the right and also used for the distant riverbank. The colour was lightened with white
and a little yellow ochre for the central horse, and used more or less unmodified for the leading horse.
BURNT SIENNA PR101 & PBr7

This is another historic pigment that Siena in Italy. It is one of the few version is duller than the Mars
evolved from the yellow raw sienna transparent earth reds, most being synthetic PR101, which is quite
and mined in the area of the city of densely opaque. Its original PBr7 a fiery orange brown.
Lightfastness ASTM D4302, both
are Class I, excellent lightfastness.
Colour bias To orange.
BURNT SIENNAS Transparent/opaque Transparent.
Staining Yes.
Tinting strength The silica in the
pigment reduces the amount of
iron oxide making it medium (PBr7)
to high (PR101).
Watercolour This is a pigment
found in most palettes due to its
versatility in mixes. Some brands
granulate more than others. A
superb red earth, which in my
opinion far exceeds light red in
usefulness.
The more powerful The colour made from Oil Best used in thin layers where
and brighter PR101 the natural PBr7 its rich glow can shine out. It has
burnt sienna pigment is a slightly See how lively a wash in
more subdued hue. burnt sienna can be. In a medium oil absorption and is a
Some of the cheaper combination with a NOT or medium to fast drier, giving a hard,
grades used in Rough watercolour paper, fairly flexible paint film. It can
Student colours may great textures can be darken with ageing.
be fairly dull. created. Other media Burnt sienna is widely
used in all media. LP

Stephanie, pastel pencils, 16x12in.

t
(40.5x30.5cm). A portrait drawing

technique used by the masters of the
15th century was tri-crayon, whereby
white, black and red-brown chalks or
crayons were used on toned paper. The
white, black and greyish toned paper
dealt with the tonal drawing, while the
red-brown gave a hint of flesh colour and
warmed up the otherwise monochrome
image. The earth colour was often called
sanguine, but burnt sienna is of a similar
colour and makes the face come alive.
I used pastel pencils on the wrong side of
Canson Mi-Teintes pastel paper. See how
the orange colour has put a feeling of
reflected light into the shaded eye
socket, neck and ear areas.
Tony Paul
Tony is the author of four popular
practical art books, still available on
Amazon. Find out about Tony and his
work at www.courtenaysfineart.com
COLOUR MIXING FOR WARM RED EARTHS

Light red Burnt sienna
Notice how all these mixes result in flat, even colour. This is due Note how much brighter these mixes are, compared to those made
to the opacity of the red. As light red is duller than burnt sienna, with light red. The transparent colour makes for characterful
the mixes will also be more subdued. washes that vary in density, thereby creating texture.
t Seago’s palette often included light red and when mixed with his t Mixing burnt sienna with gamboge hue creates a lively
blue – ultramarine – it gives a strong dark, which could serve as black, deep gold tan.
but in dilution could produce a range of useful greys that, by altering
the amounts of the component pigments, deliver warm or cool effects.
+ = + =
Light red Ultramarine Burnt sienna Gamboge hue

t This is another of Seago’s pigments – yellow ochre. t The strongly green bias of phthalo blue takes up with
Mixed with light red it gives a warmer tan colour, used the orange bias of burnt sienna to make a rich and
in many of his autumnal landscapes. useful green.
+ = + =
Light red Yellow ochre Burnt sienna Phthalo blue

t Mixing the totally unnatural phthalo green with light t The purplish edge of alizarin crimson hue bends the
red, a dark, rich natural green results, which is very orange bias of burnt sienna to give a cooler purplish leaning,
useful in landscape work. similar to brown madder (Winsor & Newton) or transparent
red brown (Daler-Rowney), both quinacridone PR206.
+ = + =
Light red Phthalo green Burnt sienna Alizarin crimson hue

LP01 24-27 Parashko_v3_Layout 1 18/11/2016 11:31 Page 24
Painting from photographs
t
These two photographs of racehorses were taken with the burst function on a digital camera – a useful addition to an artist’s toolkit
From photo to painting

Part 1 In this eight-part series, Elena Parashko combines theory
with practice to help you paint creatively from your photographs
I want to show you here a variety takes a whole series of rapid shots
LEARNING OBJECTIVES of easy techniques to use photographs one after the other, and a lot quicker
n Paint successfully from creatively, which will help you to than you could click manually. This
photographs paint innovative works of art. Each allows you to study the progressive
article (the theory) will be followed movement of your subject later and
n Develop compositional skills in the next issue by a step-by-step select the photo that captures the
n How to simplify a scene painting (the practice), which will take precise moment you want. The
you through this creative process from photographs (above) were taken
reference photograph to completed using this function.
artwork. Macro setting is perfect for taking
W elcome to the first part of

a series of articles on the
important topic of painting
and drawing from photographs. Going
to an inspiring location, setting up
How to take photographs
You do not need to be a professional
photographer or have a lot of fancy
equipment to take useful reference
close-up photos of small objects,
such as a bee on a flower, without
the image blurring. Instead of
zooming, put the camera right up
close to the subject and, with the
your art gear and creating on location photos, but there are some things to macro setting on, it will focus on the
in the excitement of the moment is be aware of to make your photos as object rather than the background.
certainly a rewarding experience. Even effective as possible. There are three White balance takes account of the
though painting on location, known settings on digital cameras that are colour cast by different environments
as painting en plein air, is often touted particularly useful: and conditions and adjusts the white
as a superior method over working Burst is where you set the camera colour of the photo accordingly. If
in the studio from photographs, it to take a succession of shots you leave your camera on the auto
is important not to reject the concept continuously. This is great for fast setting, your photos may have a slight
of using photos, as they are a moving subjects such as waves or greenish tinge to them on a very
valuable resource for artists. animals. With one click, the camera cloudy day. If you adjust the white

balance setting to cloudy day, the

camera will colour correct the photo
and you will have more reliable
reference material. Other settings in
white balance include sunny day,
fluorescent lighting, incandescent
lighting and flash.
Balance your composition

The following basic guidelines for
positioning your subject and the angle
from which you take your reference
photograph are used for arranging
a satisfying composition:
Format Decide which format fits your
subject comfortably so there is not too
much empty space where nothing is
happening: portrait orientation (where
the longest side is vertical), landscape
orientation (where the longest side
is horizontal) or square (for a more
contemporary look).
Rule of thirds Rule a page into thirds
horizontally and vertically (as you see
in the illustration, right). Where the
t
Referring to the rule of thirds will help you paint balanced compositions and stop you
lines intersect you will find the best from copying every aspect of a photograph slavishly
locations for your main points of
interest. By positioning the most partial overlap. This also unifies the main subject on one of the
important subject on one of these separate objects into some kind third lines avoids this symmetry.
intersecting lines, the composition of relationship. Odd numbers An even number of
will look balanced and comfortable. Avoid symmetry Symmetry in an image objects in a composition can lead
Overlapping Positioning objects can be boring and predictable. to symmetrical and predictable
in a row usually results in a dull Positioning objects just off centre is positioning. For example, when
composition. To create interest and more interesting for the eye than photographing and painting flowers,
give the illusion of depth, line up an having them perfectly centred in the an odd number makes for a more
object in front of another so there is middle of a photo or artwork. Placing interesting arrangement.
t

t
This reference photograph of the tree, shed and cattle yards was adapted and simplified to paint End of Season (opposite)
Lead the eye in Line up elements I was commissioned to paint, with the depicted it as unpainted corrugated
carefully so the viewer’s eye is led completed painting End of Season (above iron. The barrel seemed too close to
into the photo to the focal point and right). Can you see the changes I made the edge so I moved it closer to the
around the scene rather than out of the to the original photo to create a better action. The base of the dirt road was
composition. In landscapes, a fence, composition in the painting? The main moved to the bottom of the painting
path or river can act as useful lead-in. subjects, the tree and lean-to behind it, as a way of leading the eye into and
Variety Variety in shape, texture, size were already positioned on the left third around the composition. The colours
and position creates interest in a line, but the fencing was too dense and were darkened around the perimeter
composition, accentuating contrast complicated, and acted as a barrier to of the painting to help draw the
in the subject matter. entering the scene so I thinned it out viewer’s eye in towards the centre of
and only included the main cattle yards. interest. I also added a warm afternoon
Translation That’s enough to tell the story. glow to the sky to match the theme of
Even after taking all these points into The angle at which the photo was End of Season and the specific purpose
consideration, it’s rare to take the taken meant the top of the fencing of the commission as a farewell gift.
perfect photo, as there may be aspects obscured the view of the background
of the scene that cannot be manipulated and horizon so I also lowered the Creative spirit
and will not successfully translate into remaining fencing to give the artwork After you have found the image you
a painting. It’s usually not a simple a sense of distance. The horizon line want in a photograph, how do you
case of blindly copying a photograph, was right across the centre of the transfer it onto your paper or canvas?
as artistic decisions need to be made photograph giving the upper and lower Although some artists trace the image,
regarding: what to delete or add; how half of the photo equal weight so it was I believe this method will eventually
to crop or expand the scene; which lowered to the bottom third line, which rob you of your confidence in drawing.
colours to enhance or change; how to gave the main subjects more room to If you feel insecure about your drawing
move objects around to create a better breathe. I simplified the trees and skills, a great technique to use involves
composition; and what can be simplified eliminated some completely in order gridding the image. In my painting
to eliminate distraction from the main to create open spaces, giving a feeling demonstration of Flutter By (right)
point of focus in an overly complex of outback isolation. next month, I will explain this method,
scene. I thought the peeling green paint on which enables you to enlarge a
Compare the photo (above), which the shed was distracting so instead photographic image and reproduce

Elena Parashko End of Season, oil t Elena Parashko Flutter By, oil on stretched canvas, 30x40in. (75x100cm). Follow Elena
t
on canvas panel, 20x30in. (51x76cm) next month as she demonstrates how she transformed a photograph into this painting.
it accurately. In the process, you

will practise your skills of observation
and drawing, develop a sense of
confidence in your ability and
creativity in your artwork.
In the March issue of Leisure Painter
I will continue this month’s topic
by looking at how to create a story
around one inspiring element
in a photograph, as well as how to
paint a contemporary interpretation
of a photograph. 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@elenaparashko.com.
Her blog www.survivalguide
forartists.com has a wealth
of information for artists.

LP01 28-31 Peart_Layout 1 18/11/2016 11:42 Page 28
Mixed media
Shapes, not details

Part 1 Learn how to make sense of colour and shape as you paint
street scenes using four different methods, with Fiona Peart
LEARNING OBJECTIVES
n How to simplify a subject
n Draw more accurately using
tracing paper
n Loosen up your style as you
work wet in wet
Children on the Beach I, contour

t
pencil drawing, 312⁄ x712⁄ in. (9x19cm)
t Children on the Beach II, pastel,

1014⁄ x15in. (26x38cm). I made just one
small adjustment from the original
drawing – the pattern on the beach bag.

Mixed media
T here are so many ways we

can interpret life around us,
and I feel sure we all see things
slightly differently. I have always been
interested in design, strong shapes and
pattern, probably influenced by my
time in the late 1970s when I was a
surface designer. When a design was
created a series of ‘colour ways’ would
also be developed so that the pattern
could be printed in various colour
themes. Just as today you can choose
wallpaper or fabric patterns in different
colours of the same design, it was
all done by hand back then.
This had a huge influence on my
understanding and use of colour as
well as my experimentation with it,
and my love of shape and pattern.
I am sure this has also had a bearing
on how I interpret my subjects and
how I use colour today.
We are all influenced in life, and
these influences mould us into the
individuals we become and that,
of course, makes us all so unique.
Step back from detail

Concentrating on shapes rather than
details help us to simplify our subjects
and develop a less cluttered approach
to painting. It also helps us decide
what is and what is not important
or relevant in a painting.
Above left is an example of a line
drawing of children playing that
I made in situ at the beach. Its style is
minimalist, as I looked at my subjects
as if they were a series of simple, flat
shapes. This is a contour drawing.
Notice how little information is needed
to convey the story. It is clear which
way each child is looking and what
they are doing, but no details or facial
features are actually needed to do this.
The drawing conveys a situation very
clearly, without the need for any
more information.
Once I had my drawing I could then
adapt it using any medium, keeping
to the shapes, but now adding colour.
Little or no details were needed to
explain the painting further, and
adding anything more would have
been unnecessary.
Using a painting as your reference
for another piece of work in a different
medium can produce a development
of ideas that may well then lead onto
other works. Working on a series
of projects in this way is a good
discipline, which can extend your
artistic development.
Hatching shapes
Another way of drawing is to ‘hatch’
rather than use a continuous line
(right). This automatically suggests
tonal values with the actual shapes
being slightly less defined; however
they still remain clear.
One of the most important disciplines
art college taught me was learning
how to look. This might sound crazy;
t
Hatched pencil sketch, A4
t
after all, we look around us each day,

Mixed media
but do we really look? How much do it within our painting; we can take I used to do regularly in the design
we actually see and take in? How much parts of drawings and multiple images studio when developing artworks so
information do we need to convey our to combine ideas thereby creating the idea that tracing is cheating is totally
subject? Not very much it turns out. something that perhaps doesn’t actually alien to me. I would encourage you to
exist, but makes a pleasing image. trace your sketches and overlay them,
Work with tracing paper I sometimes use layers of tracing paper and enlarge your sketches on a
When using a drawing or a photo as a to plan paintings, which have multiple photocopier and trace those if you wish.
reference, we don’t need to use all of reference sources. This is something This method is ideal for adding figures
to street scenes, allowing you to move
them about before committing to
placing them on your painting.
The figures in the sketch (page 31)
can be seen in the background of
this detail of a larger painting (left),
suggesting a mass of figures in various
subtle colours and keeping to the
balance of colours within my painting.
The figures in the foreground were
placed in front of my sketch and
all planned using tracing paper.
At times a tonal drawing can be more
helpful than a photograph as we can
apply any colours we choose using
a tonal drawing, but once we see a
photograph, this influences our choice
of colours as well as the amount of
detail we add.
Loose interpretation
The painting of three dancers (right)
was inspired by seeing them walking
in front of me down the street. I loved
the shape of their bodies, contrasting
with the dark tones of their dresses and
hair. I chose to paint them using a mix
of water-soluble media, as I allowed
the colours to escape the shapes whilst
wet, forming textures and implying
movement.
I used this painting as my reference
when I demonstrated for Leisure Painter
and The Artist magazines at Patchings
Art, Craft & Photography Festival in
June last year. I had 30 minutes in
which to complete the demonstration
painting, Ballet School II (far right).
I used an acrylic base on Bockingford
watercolour paper, allowed it to dry
then added pastel on top. Although
the shapes were the same, the colours
were dissimilar and the finished result
was bolder, brighter and more dynamic.
Notice the turquoise hair band;
this colour was chosen, as it is
complementary to the orange used
for the skin tones. I still used the same
shapes but wanted to enhance the
colours as well as create more textural
impact. LP
Fiona Peart
See more of Fiona’s drawings
and paintings by visiting
www.fionapeart.com and click on the
gallery. Buy Fiona’s book, Drawing
and Painting with Water Soluble Media
(Search Press, 2014, £15.99) from
Leisure Painter’s bookshop. Go to
www.painters-online.co.uk/store
and follow the links to books.
t
Detail of a larger acrylic painting of a café scene

t
Ballet School I, water-soluble media, 812⁄ x12in. (21.5x30.5cm). This t
Ballet School II, water-soluble media, 812⁄ x12in. (21.5x30.5cm)
was used as the reference material for the demonstration painting (right).
TRY THIS!
Are you ready for a challenge? I would like
you to work from this photograph (right)
and be as creative as you wish: use any
medium or a mix of media, monochrome
or colour, work from all or part of the photo,
remove anything or indeed add anything
and work in any size. The only proviso is
that you concentrate on the shapes and
avoid the details.
I will use this photo and show you my
interpretation of it in next month’s issue.
If you would like to take part in this
challenge, please submit images of your
finished paintings to dawn@tapc.co.uk
and she will show the results on the painting
project area of Leisure Painter’s website,
www.painters-online.co.uk. I shall select
a group of paintings to critique over the
coming weeks and these will appear in a
future issue of LP. If you would like to see
your work printed in the magazine then
do take out your paints and have a go!
Your reference photograph for this

t
month’s project. Concentrate on shape

and colour and ignore the detail.

LP01 32-35 Harman_Layout 1 18/11/2016 11:54 Page 32
Pastel
t
Capesthorne Lake, pastel on golden ochre Sennelier La Carte, 18x24in. (46x61cm)
Pastel partners
Charcoal is an effective addition to your pastel repertoire, explains
Heather Harman, especially when used for tonal underpainting
or highlights. Here’s how to make the most of pastel’s best friend
I began experimenting with blending the too dense and it brushes off, even wipes
LEARNING OBJECTIVES two in the 1970s. I didn’t have too much off, with ease. I also prefer to work on a
n How to use charcoal with pastel success at first, because my focus was on mid-toned surface so willow charcoal
n
portraiture, and skin tone is the one place quickly gives me an initial idea of the tonal
Working pastel black on black on which I wouldn’t add charcoal. How arrangement of my painting. It just depends
n Learn texture-making methods charcoal can enhance your pastel painting, on how much pressure I put on the stick.
however, is worth further study. The real beauty of using willow charcoal
I f you look in any of my pastel boxes,

whether for outdoor painting trips or in
the studio, you will find sticks of willow
charcoal. Charcoal has been used through
hundreds of years for sketching, drawing,
Charcoal is the result of burning willow
twigs so it is hardly surprising that the
sticks vary in intensity and texture. I see
this as a great advantage, because some
sticks are more useful for some jobs and
is that it does not fill up the tooth of the
paper and it can be fixed prior to working
over with pastel. I don’t usually fix at this
stage, however, as I prefer to allow the
charcoal to tint the pastel gently as I lay
laying out mural designs and just about not so good for others. Soft black charcoal it on top.
anything we now complete with a pencil. can also be a good alternative to using
Graphite wasn’t discovered as an art black pastel pencil in a painting Techniques for landscape
medium until 200 years ago so as Given that I favour both fibrous and With the exception of the middle
working media for preparatory studies sanded surfaces, charcoal is a great tool background, which is behind the
and developing ideas, both charcoal for sketching and laying in initial tones. bridge, the two ‘wings’ of the painting,
and pastel were much valued. My first marks are often charcoal; it isn’t Capesthorne Lake (above) were laid out

t
Winter Harmony, pastel on Sennelier
La Carte, 14x18in. (35.5x46cm)
Portrait of Brucelm Diamond Harry

t
Rocks Bridgella, pastel on Sennelier

La Carte, 24x36in. (61x91.5cm)
quite roughly in charcoal. In fact, you

can see some of that initial charcoal
layer beneath the colours of the foliage,
although thin glazes of varying tones of
brown, burgundy and green were added.
As the dark areas are still quite ‘thin’ and
not pigment rich, note how the lighter
twigs and branches were added in lighter
tones. They stand out crisply, which gives
the impression of depth. The conifer-type
trees on the right-hand bank were also
modulated with charcoal in the under
shadow side of the leaf shapes, which are
more or less silhouetted against the sky.
This is precisely the kind of lower key
painting in which I like to use charcoal,
as it adds subtlety and calm.
Only a little willow charcoal was used to
plot out the design of the major elements
in Winter Harmony (above). The charcoal
was used to render much of the finer than pastel pencils could and with a ‘draw’ the twigs. They also have a
foreground trees and shrubbery, which lot more pigment saturation. It is all down tendency to drag across a soft pastel sky.
peek through the snow. Subtle dark red to how the pastel is effectively ‘rolled’
and dull green pastels were also used and over the paper, and the technique is Animal portraiture
blended back with the charcoal in places. similar in willow charcoal. Pastel pencils This portrait of prize-winning English
Where charcoal was not used, very fine are not so effective; they lack the pigment setter, Harry (above) was completed on
and therefore need to be used more to an extra-large sheet of Sennelier La Carte
t
shards of pastel gave the finest lines – far

Pastel
One portrait that proved a real

learning curve was Black Mantilla
(left). The portrait was painted in a
particularly dark key, as I focused on
the pattern of light cast from the black
lace mantilla on the form of the body.
Essentially, this is a study in light and
dark, and particularly black. I began
by looking through my entire range
of black pastels and eventually realised
that Conté Carré hard pastel sticks and
black Nupastel hard pastel were going
to be useful.
The background was made up of
ochres and black and, in particular,
Pan Pastel black and olive-toned green
on the left (with Addition colours) and
a variety of soft pastels in the raw
umber range and lighter on the right.
I used the two harder pastels with
Rembrandt black and Unison black
on the lace and predominantly used
willow charcoal on the lace detail,
which appeared to have a bluish tinge.
It also picked up the greens and golds
I used for the background light, which
resulted in a natural effect.
In the darker areas on the left, the
lace needed to show up against the
dark background and nearer the
bottom where the dress is also black.
This was where I used Unison black
pastel for the lace pattern so that it
showed up against the softer black
dress. A small range of raw umber
yellow tints also gave the impression
of the gold filigree work on the lace.
I tried using a gold iridescent pastel,
but it was far too strong.
Did I say this was a challenge?
Had it been commissioned I probably
would not have enjoyed experimenting
with different ideas, which offered
me the chance to learn and develop.
Charcoal had an important part to
play in the examples you see in this
article: as a blender on top of pastel,
as a tool to set the tonal values, and
as a drawing tool within a painting.
I certainly have found it to be the
go-to medium when pastel pencils
have not given me the results I want.
t
Black Mantilla, pastel on Sennelier La Carte, 24x19in. (61x48cm) One day I might find another way to
incorporate charcoal into my work.
surface so I could retain the necessary eye, nose and ear areas, but charcoal I call it my ‘soft black pastel’ and
detail on my subject’s coat. Harry’s also softened the fur areas in the head would not be without it in my pastel
coat is a stunning feature and I used by softly blending some of the harder boxes. LP
a variety of greys and blue greys to pastel edges.
create it, along with blue tints that In some places I used the charcoal
also appear in the background. to ‘comb’ through a passage of pastel
I initially chose a willow charcoal to give the effect I wanted. The real
stick, used broadside, to place in the challenge was depicting the many
darker areas of the coat, straight onto different types of fur in the coat: Heather Harman
the La Carte. I then built up an coarse, soft and downy, smooth and Join Heather at her Pastel Academy
arrangement of various tones of grey wavy, and some like corkscrews. Online. The academy will be a hub of
pastels and lighter, almost white ones pastel information, covering all aspects
and used charcoal to ‘settle’ the Pastel portraiture of pastel painting along with pastel
darker greys and occasionally pure Whereas I don’t use charcoal in skin drawing and sketching tuition in all
black. The area on his middle upper tones for pastel portraiture, sometimes subjects for all levels of ability. For
back was particularly interesting to I draw the portrait and composition information on how you can join,
paint. The charcoal’s main job was in willow. The key is to be open to receive full updates and the launch date
to modulate the tones between the the idea of using a technique that visit heatherandwill_2.getresponse
lighter areas and the darker areas of works so well in landscape if the pages.com. See more of Heather’s work
the coat. The head was painted with opportunity presents itself in a at www.heatherharmanfineart.com
the use of more black pastel in the portrait or other subject.

Pastel
Heather’s Q&A
Heather Harman answers two pastel landscape questions from readers
Q I have trouble painting foliage on composition and tonal values,

trees. I can’t make a fine enough mark all of which you won’t learn from
to paint leaves. copying photographs.
A This question crops up often and There are a few good reasons
my response is always the same: do why artists from the Royal
you really want to paint the detail of Academy are allowed to set
leaves or do you want to paint trees up and paint in front of Great
that have form, shape and depth? In Master paintings in the major
Bluebells at Alston (right), I painted London galleries: it is valuable
the foliage using very broad strokes learning. Why not be guided
and only in the foreground sapling by their practices? This is, of
can you see separate leaves. Even here course, great advice for artists
they were not painted as leaves, but in all media, not just pastel.
were applied with dots and dashes
to give the impression of leaves. You will also learn from
The bluebells were painted with the studying the Great Masters
broadside of the pastels and no small how much photographic detail
fiddly marks were made to give the is needed or relevant, and
effect of the bluebells. Soft pastels paintings you might love and
were used throughout. wish you could paint may not
In Roman Baths in Alhama de feature the fine detail you
Granada (below right), a variety of think you want.
different marks were made for the
tree foliage. The background trees Bluebells at Alston, pastel
t
were simply painted in blues to give on Sennelier La Carte,

distance and all were painted with 19x14in. (48x35.5cm)
the broadside of the pastel. The
trees on the left were blocked in
t Roman Baths in Alhama
loosely with a darker blue green
then the lighter greens applied in de Granada, pastel on Pastelmat,
19x14in. (48x35.5cm)
all directions to give a feathery feel.
All the trees were painted using
impressionist marks and soft
pastels, and some of them quite
large soft pastels.
So the lesson here is: you don’t
need to look for a pastel pencil to
make a very small mark. It is better
to block in the broad masses and
develop marks that give the
impression of reality.
Q I have to paint at home and can’t

go outside to paint because of disabilities.
I use photographs as a reference for my
landscape paintings. I am not happy
with the results, because they all look
very similar and I just can’t achieve
the details.
A This is a problem shared by many
artists. To help I would suggest that
you work from copies of Great Master
paintings rather than photographs.
Painting from photographs won’t
teach you much about the process of
painting. The Great Masters, however,
will teach you how to handle, but not
copy the elements of the landscape
and with each painting you will take
on board how to paint a landscape.
You will also pick up tips on colour,

LP01 36-38 Kinnear_Layout 1 18/11/2016 12:24 Page 36
Oils
Oil painting troubleshooter

Part 2 This month Martin Kinnear discusses the value of working in black
and white – known as grisaille – before you apply colour to your oil paintings
LEARNING OBJECTIVES
n The value of using the grisaille
method
W elcome to the second part
of my occasional series on
problem solving for oil
painters. To find your problems
I surfed the forum of Leisure Painter’s
traditional of techniques, grisaille.
Forum user Splash wrote: ‘I’ve
watched a couple of painting demos
on YouTube using the grisaille
method. Has anyone here used it and
n The materials you will need website, PaintersOnline, in search of are there any downfalls in using it?’
n How to paint a grisaille a few knots to unravel or myths I could This was a busy thread, and Splash
bust. This month I will be discussing received a number of comments,
the pros and cons of that most many of which offered contradictory
advice or alluded to things which,
properly speaking, sit outside of the
question. My old correspondent and
regular forum user, Robert Jones, also
specifically asked me to comment on
the use of lead white with this.
To understand grisaille and decide
whether it suits your practice, you
need to understand what it is, how
it works, the benefits of using it
and the materials you will need.
What is grisaille?
A grisaille painting is simply
a monochromatic underpainting.
It’s called grisaille, because it’s
traditionally executed in black and
white, and termed an underpainting,
because it’s intended to be a base
for glazing and working up in body
colours (translucent to opaque
colours). The underpainting method
was pretty ubiquitous and was often
done in colours other than simple
black and white, although black
and white is generally the ‘best’
way of doing it for reasons I will
explain later.
When done with earthy colours,
such as umber, sienna or ochre, the
method is generally termed en
brunaille (meaning ‘in brown’) rather
than en grisaille (meaning ‘in grey’).
Many early painters used a green
earth for the method, particularly in
what was to become Italy, and their
greenish underpaintings are said
to be painted verdaccio.
Why bother?
Traditional techniques exert a terrible
attraction on some painters, as though
chronology alone makes them more
worthwhile than modern methods
so it’s always worth assessing the
comparative value of tradition before
you rush off and start making glue
from fish bones, pigments from
arsenic or other such nonsense.
I’m happy to say that grisaille is
absolutely worthwhile using, because
– and this is incredibly important –
t
This is the finished grisaille stage for After Aivazovsky (right). This formed part of it helps you to achieve the right
a demonstration I undertook for students. values before you move on to colour.

Oils
You must master values

Value is greyscale – black and
white, if you will – and our brains
use value as the first and principal
means of assessing a visual image.
In fact, around 70 per cent of your
brain’s visual processing is devoted
to assessing values for lots of reasons
I won’t go into here. For the artist
this means a picture with strong
values will always be better than
one with weak ones so it really pays
to make them right before you put
any serious time and effort into
working up a painting.
The grisaille system deals
specifically with making value
interactions right, before moving
on to worrying about colours.
For this reason alone I really can’t
recommend it enough for new
and improving painters.
By the way, en brunaille and
verdaccio are also value-based
systems, however they are intended
to build some finesse into the
technique in terms of opacity
management and optical colour
interactions. Specifically, en brunaille
exploits the ground colour to create
shade planes and verdaccio is a
complementary base for translucent
pinkish flesh tones.
All of this is very useful, but get
grisaille under your belt first.
Pros and cons

As Splash noted the biggest
advantage to grisaille is often thought
to be cost and, of course, black and
white are relatively inexpensive.
Value management, however, is the
big win here: make it a habit and
your painting skills will just
skyrocket!
If that’s not enough – and it
should be – en grisaille forces you
to separate colour from value, which
in turn will make it far easier for you
to manage your palette, concentrate
on your brush skills and adjust an t
Martin Kinnear After Aivazovsky, oil, 30x20in. (76x51cm). Simply glazing adds depth and
image with far more confidence. colour to your grisaille.
By compartmentalising your painting
stages, you’ll be more successful,
more of the time. Material choices opacity, making it act, in an optical
Finally, grisaille will teach you A couple of contributors noted that sense, a little more like traditional
to glaze when you come to colour lead white was traditional, that zinc lead white. This is why you often see
your work and that’s worth learning. white is best avoided and that titanium it in ‘mixing white’, although many
On the negative side, grisaille is is too ‘fat’. Here’s some information to colourmen are now phasing it out of
an indirect painting method so you’ll help you make an informed choice. the underpainting mixes, replacing it
need to allow it to dry before you Lead white is traditional, because it with inert fillers, such as blanc fixe.
colour it up. For new and improving was the only white in common use Titanium white is the best choice for
painters, I don’t think speed is for centuries and certainly when this learning grisaille: it’s inexpensive, reliable
something to worry about technique was at its most popular. and non-toxic. It is a rather fat oil and
particularly, and you’ll soon quicken A great advantage of lead white is it’s therefore slow drying, however if used
up once you have some time on relatively fast drying, although this is thinly over a decent gesso with a little oil
the brush. easily replicated by mixing a modern medium it shouldn’t present any issues.
A couple of forum users noted white with a common oil medium, Acrylic Although acrylic seems like a
the problems of choosing the right such as alkyd. great idea for underpainting, it forms an
materials and wondered if they were Zinc white is problematic in unsympathetic ground for working over
stable enough for underpainting. underpaintings, because it can react in oils, which will make your overpainting
The good news is that a basic en with linseed and saponify (form a soapy much harder. I avoid it, and strongly
grisaille can be done with easy-to- residue, which will inexorably rise to the recommend that you do the same. It’s
obtain paints and there’s no real top of your oil). It was commonly added good for practising your values, but
to titanium white to offset the former’s
t
need to use exotic lead whites. not so good for working over in oils.

Oils
Your problem solved

Try this! Splash, you should try painting en
You could try grisaille, because it will do wonderful
something things for your value perception,
similar to this: although I’d avoid en brunaille and
verdaccio for the time being.
I suggest the following steps:
1 Use ivory black and titanium white
as your base oils, but keep them thin
Step 1
t
and mix them with a decent general-

The grisaille purpose oil medium to make them
stage for the fast drying and viscous.
After Aivazovsky
2 Begin by washing your white
study
gessoed support with thinned down
black to create a mid-toned ground;
this will make it easier to judge your
values. If you have a decent gesso you
should be able to wipe this workably
dry with a rag and paint straight on.
3 Sketch in your design over the
wash in (known as imprimatura).
4 Block in your shade planes, the
blacks, keeping them thin, but
viscous and relatively translucent.
5 Block in your lit planes, the whites,
again keeping your paint fairly thin,
but viscous. Titanium white will
make them more opaque, but you
want that here.
6 While these are still workable,
smudge between the two with a soft
brush or even your finger; this will
create your greys or half tones.
7 When it is dry, mix colours with
the medium and glaze over it. It’s
great fun! LP
GLOSSARY
En grisaille A black and white
tonal underpainting used in indirect
painting, which is the best way to
learn how to create strong value
changes in your work, using just oil
t
Step 2 Glazes were painted over the grisaille medium, titanium white and ivory
black on a decent gesso.
En brunaille A brownish
underpainting; a good choice for
academic portraiture.
Verdaccio A green underpainting,
useful for creating optical colours in
conjunction with skin tones.
Gesso An absorbent ground for oils,
rough to touch, and often chalky.
Acrylic A smooth unabsorbent
polymer, which is fast drying, but
too unabsorbent for use as an
underpainting.
Martin Kinnear
Martin is a professional oil
painter and course director of The
Norfolk Painting School, where he
offers oil courses for painters of
all abilities. He can be contacted
via jane@norfolkpainting
school.com or by calling 01485
528588. Read more from Martin
t
Step 3 The finished glaze over the grisaille demo on oils at www.alizarinblog.com

LP01 39-42 Fisher_Layout 1 18/11/2016 12:55 Page 39
Watercolour
Watercolour problem solver

Part 1 In the first of a three-part series, Tim Fisher offers solutions to
a reader’s question on how to improve his painting of foliage and trees
the pair of trees by bringing them

LEARNING OBJECTIVES out of the shadow of the buildings
n How to handle specialist and and making them appear more
regular brushes rounded. Beginning with a darker
green on the left side of the tree,
n Colour mixing for greens I would gradually dilute the paint to
n Add texture and depth to your a lighter tone on the right side. The
landscapes row of shrubs along the pavement
could also have the same treatment.
I think the water needs a few
more reflections added. The
I was asked recently by LP’s editor

to write a response to a reader’s
request for help and information
on painting successful watercolour
landscapes. This series is a result of
underside reflection of the arched
bridge is seen nicely, however
I would have included the dark
lamp standard and green reflections
from the two large trees.
that request. The reader, Gordon You can see how I tackled a
Gibbon, has purchased various similiar scene on pages 40 and 41. t
watercolour texture-effect brushes,
books and instructional DVDs. He Gordon Gibbon Bourton on the Water,
t
asked for help with mixing colours watercolour, 8x914⁄ in. (20.5x23.5cm
and painting trees, grasses and shrubs,
and kindly submitted four of his own t Tim Fisher Motor Museum, watercolour
paintings for me to critique as part on Rough paper, 8x11in. (20.5x28cm).
of the article. Tim shows how to paint foliage textures
Gordon’s first painting is Bourton using a variety of brushes over the page.
on the Water in
Gloucestershire
(above right).
Gordon’s view
shows one of the
many stone bridges
that cross the river
Windrush, with
a backdrop of
buildings and a
group of large trees
to the right. The
draughtsmanship
is competent and
the scene is well
composed. The
trees on the right
are painted in a style
that expresses the
texture of the
foliage nicely.
Looking at the
scene and the
shadows on the
figures, the light
is coming into the
frame from the left.
I would be tempted
to reverse the
lighting and bring
it in from the right.
This would give the
opportunity to add
more shadows and a
gradated tone across

Watercolour
Demonstration Motor Museum

Although I like using texture brushes, a number cases are too soft and water absorbent to Bourton on the Water, and flanked by different
of foliage effects can be achieved using just be used to paint foliage successfully. types of trees on either bank. I chose to use
Round synthetic nylon brushes. These perform My scene of the Motor Museum is a little Arches Aquarelle Rough watercolour paper, as
better than natural-hair brushes, which in most farther up the river from Gordon’s view of a rough texture helps when painting foliage.
Step 1 Foliage
t
shapes and
tree texture
After drawing the
structural details
in pencil, cover the
entire surface in
a wash of yellow
ochre. Whilst damp,
introduce diluted
French ultramarine
blue, brushing
it down into the
wet paint where
a willow tree will
be placed later.
Step 2 Tree texture

t
Create an illusion of depth by

painting the trees in layers; the
farthest away are the least detailed
and therefore use the most diluted
paint. With the side of a No. 8 nylon
brush and a mix of French vermilion
and French ultramarine blue, paint
the most distant foliage up to the
building outlines, remembering
to leave sky holes.
Step 3 Fan willow

t
Fill a fan brush with paint then touch

it onto clean kitchen roll to remove
excess moisture.
Some species of tree
call for different brush designs and the
weeping willow on the right will be easier TIP Try not to
to paint with a fan brush. I like Jackson’s overmix in the palette
medium stippler fan for this type of work. so that the yellow
It’s also important to ensure you have the can be distinguished
right colours and paint consistency. Avoid from the blue, which
pre-mixed greens by combining French will then separate
ultramarine blue with primary yellow. out during painting
to create pleasing
Step 4 Willow technique
t
effects.
I generally pull the brush downwards to create
the hanging willow leaves, taking care not to
make the mix too wet. This applies to most
texture brushes, as the paint will quickly run together and the effect will
be lost. Tilting the palette and watching how fast the mix moves is a good
guide to the paint consistency. Generally for texture work the movement
of the liquid should not be runny, but a little more sluggish.

Watercolour
Step 5 Distorted mop technique
t
1 Paint the left-hand tree using a No. 6
squirrel mop. Soft brushes when painted
from the side are too wet to create
convincing foliage, but if the moisture is
squeezed from the tip, it will distort and
break up, which is ideal for painting a
mixture of leaves and twigs. The paint
mixture needs to be quite strong. Mix
a darker green by adding Chinese orange to
the yellow blue mix. As the work progresses,
pick up more, wetter paint, which will make
the brush naturally come to a point and it
will be easier to denote individual leaves
and make fine lines for twigs.
2 An overall wash of yellow ochre with
a touch of cadmium yellow orange gives the
Cotswold stone colour to the buildings and
bridge. To the same mixture add Venetian
red for the rooftops.
3 When the paint is dry, decide on the
light direction. I wanted it to come from disturbed by people wading through so broken edges and lifting out highlights.
the left and added shadow to the walls you can avoid mirror reflections and uses 2 For the building reflection, drop
facing away from the light with a mixture a less accurate, looser approach to suggest a vertical brushstroke containing diluted
of ultramarine blue and French vermilion. the reflected objects. The entire water shadow paint to denote the nearest wall.
This combination makes a nice shadow surface already has a layer of yellow ochre Add a few darks for the windows to
colour and, when applied in thin washes from the first wash and onto this add more complete the effect.
on the walls, allows the originally of the same colour strengthened by a little 3 Add more shadows creeping across the
applied colours to show through. Venetian red and roughly paint the shape water from the left then add the reflections
of the bridge reflection, breaking up the of the people. I used cerulean blue for the
t Step 6 Finishing touches edges. I like to use a 34⁄ in. flat synthetic bather and white FW acrylic ink for the
1 Tackle the water next. It is moving and brush for water, which is ideal for creating figures crossing the bridge.
t
The finished painting Tim Fisher Motor Museum, Sennelier watercolour on Arches Aquarelle 140lb Rough watercolour paper, 8 x11in.
(20.5x28cm)

Watercolour
How to add depth group of trees in full leaf, which helps darks in the windows could be
The second painting submitted by to stop the eye wandering out of the varied a little to avoid repetition.
Gordon is a view of the mill at Lower scene. The foliage on the trees is well Judging by the majority of shadows
Slaughter (bottom). Daffodils flower painted with just a hint of branches to the light is coming from the right and
profusely on the verges and the edge of be glimpsed through the sky holes. with this in mind I would wash a little
the composition is well supported by a I would just say that the tone of the colour out of the right side of the
trees and leave the detail on the left
to give more volume. I think an
added profile of distant blue-grey
trees would help the background
on the left of the painting.
My painting Cottage across the
Green (left) was a subject I spotted
this year. I chose a low viewpoint to
ensure that the larger daffodils filled
the foreground. After drawing the
subject, I applied masking fluid to
cover the flower heads, which
allowed me more freedom to paint
and add texture to the grassy
foreground.
The entire surface apart from the
white cottage was covered with a
wash of ultramarine blue, changing
to yellow ochre approximately
a third down the painting.
To give a feeling of depth and
recession I added a wash mixed from
ultramarine blue and French vermilion
for distant trees with a Round No. 8
brush. I dabbed the left side of the
painting with a tissue to give the
impression of even greater recession.
The tree on the left was painted
using a Jackson’s comb foliage brush
with a mix of yellow ochre and
ultramarine blue. I saved stronger
greens for the near ground and
used greyer greens for the middle
ground subjects.
The foreground was painted with
t
Tim Fisher Cottage across the Green, Sennelier watercolour on Arches Aquarelle a wash of primary yellow mixed with
140lb Rough watercolour paper, 10x14in. (25.5x35.5cm) ultramarine blue. Once dry, I added
grass textures using upward strokes
with the same comb foliage brush
then painted the daffodil leaf structure
with a No. 6 squirrel brush.
Shadows were added from the tree
on the green and other imagined
objects just outside the frame. After
the painting was completely dry,
I removed the masking fluid with dry
kitchen towel and painted the flower
heads using primary yellow and a
touch of cadmium yellow orange.
To finish, I pushed more dark tones
mixed from ultramarine and Venetian
red into the upper half of some
of the windows.
Next month we’ll look at painting
buildings and trees in the landscape,
and I’ll touch on perspective. LP
Tim Fisher
Find out more about Tim Fisher and
his work by visiting www.timfisher
artist.co.uk. His latest book Drawing
Masterclass: Perspective is available
from Leisure Painter’s bookshop at
and follow the links to books.
t
Gordon Gibbon Mill at Lower Slaughter, watercolour, 10x1134⁄ in. (25.5x30cm)

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13/02/2015 10:59:15
Looking at the world Mastering your inspiration

behind the reality.
Feeling how the elements
adapt to a single will.
Working with colours
and techniques that give
shape to this deepest
of inspiration. That is art.
www.royal-talens.com
p43_lpjan17.indd 43 18/11/2016 11:06:46

LP01 44-46 Samuelson_Layout 1 18/11/2016 13:01 Page 44
Product report
Rembrandt soft pastels

Royal Talens triumphs with its Artists’ quality pastels,
put through their paces here by Becky Samuelson
LEARNING OBJECTIVES
n Experiment with a new medium
or brand
I have just been sent a wonderful box
of Rembrandt Artists’ extra-fine soft
pastels, a fantastic jewel-like collection
of 60 whole and 60 half-length pastels
(below). My fingers are itching to try
these adjustments, with .5 being the pure
pigment. In total there are 218 colours
in the range and they can be purchased
in various box sets or singularly.
n Develop pastel techniques them out! First experiments
n How to make small studies Royal Talens was founded in 1899, I initially tested and played with the
and introduced their pastels in 1924. pastels, making various marks, drawing
Each pastel, a soft type of chalk based on with them and overlaying colours in a
kaolin, is carefully made and the colour criss-cross movement. They feel nice in
tested against a hand-produced pastel. the hand, being a good size to hold and
Only when the pastel maker is satisfied not too chunky.
that the colour is exact are they The colours are wonderful – brilliant,
produced, dried and labelled. Each pastel pure and intense – and the high pigment
has a protective label, which concentration in each pastel ensures
indicates the pigment name, its optimum covering power. The pigments
code number (both essential for Talens uses are free from those based
re-ordering) and degree of on lead, cadmium and cobalt.
lightfastness, which These are soft pastels and in my
rates from good opinion hit the right degree of softness.
to excellent. Every They are not so soft that they crumble
pastel comes in a when used, but have a feeling of
series of shades; smoothness, enabling both good
for example, raw coverage and the ability to blend and
sienna has seven rub in. You can also draw with them
shades. Its 234.2 to describe detail or work out your
code on the label composition.
indicates the It’s fascinating to layer colour; practise
darkest shade and with using the same colour, but different
goes up to 234.10, tints then try layering yellow, oranges
the lightest. Either and reds or blues and greens to see how
black or white in each colour reacts with another. You will
varying degrees is soon work out what looks good together!
added to the pure Don’t press too hard as you will fill the
pigment to make tooth of the paper too soon and it’s also
fun to see the colour of the paper
showing through. If you keep it light,
you will be able to layer pastels in order
to produce an exciting optical mix of
colours.
I tried these pastels out on three
different surfaces, the first was
Canson Mi-Teintes Touch (right).
HOW TO USE THE PASTELS

Pastels work well if you unwrap an end
and break a bit off so that you can use
them on their sides. I like the movement
and immediate effect the pastels create.
These pastels behave very nicely and
I am really happy with their performance
and measure of softness, and their
capacity to describe detail as a linear
mark coupled with their ability to blend.
I like to use the pastel on its side in a
criss-cross diagonal movement so that
the pastel goes through 90 degrees. This
way I cover the area without fussing it
too much. I want to keep a light touch
t
Begin by testing the pastels by overlaying them, making marks and generally becoming and not exclude all the paper.
familiar with how they respond

Product report
Demonstration Sunset
You will need
n Surface n Rembrandt pastels
l Canson Mi-Teintes l Ultramarine light l Phthalo blue
Touch 350gsm 505.7, 505.9 570.7, 570.9
paper 71⁄2x11in. l Ultramarine deep l Prussian blue 508.8
(19x28cm) 506.3, 506.9 l Yellow ochre 227.5
l Blue violet 548.3, l Light yellow 201.8
548.5 l Gold ochre 231.5
Step 1
t
1 My first strokes are often experimental. I explored using
ultramarine light 506.7 and 506.9, and blue violet 548.3 and 548.5,
roughly blocking in the darker elements of the sky. I would describe
these initial pastel marks as part-drawing and part blocking-in.
I played with light strokes of phthalo blue 570.7 and Prussian blue
508.8 at the top of the sky and the lighter phthalo blue 570.9 below.
2 Working down the painting, the lighter clouds were made from
yellow ochre 227.5 and light yellow 201.8, which looked lemony
against the ochres. The darker yellow clouds were burnt sienna
411.5, gold ochre 231.5, violet 548.5 and the gorgeous madder lake
deep 331.7. I left some pastel paper showing through and overlaid
the colours so the painting looks like a series of streaky marks.
3 I ensured the pastels were lighter around the light sun then
I gently blended with my finger to smooth out some of the lines.
4 The distant hills were madder lake deep 331.3 and ultramarine
deep 506.3; this is the darkest part of the painting.
5 I echoed the sky colours on the water. Gold ochre and madder
deep made a wonderful optical mix; you really have to experiment!
Step 2
t
1 The second stage involved going back into each area, still using
the same criss-crossing action, but increasing the layers of pastel.
I started to blend gently with my finger. I worked each colour
section so that the lighter lower sky would be considered as
a passage, the bluer aspects another, and so on. I used burnt
sienna 411.5 to deepen the orange elements. The sky blues
were mostly Prussian and phthalo blue.
TIP As you build up your layers, you can lighten or darken areas.
Just press hard enough, but not too hard. The idea is to ‘kiss the
paper’ when you begin and not fill up all the surface texture. It
is, however, easier and more logical to work dark over light so
have a good think before you put a dark patch down that it is,
in fact, what you want.
2 I planned and lightly placed the boats over the water using
ultramarine deep 506.3 and madder lake deep 331.3. I gently
built up layers as before in the water, blending with fingertips
to link passages. I tempered the purplish hills with burnt umber
409.5, which is a useful colour.
3 Towards the end, I started ‘dotting’ pastel marks so they stood
out more and added criss-cross movements, working individual
colours around the entire painting, from sky to boats to water
and bouncing colour around the surface.
TIP If you feel you have overworked an area or need to correct

errors, simply brush away with a soft watercolour brush and tap
the back of the painting lightly. Avoid blowing and inhaling dust! t
Sunset, Rembrandt Soft Pastels on Canson Mi-Teintes Touch paper,
t
712⁄ x11in. (19x28cm)

Try small studies

Small studies are good when
experimenting with new materials and
the gull (left) provided a lovely subject
to try out the pastels. I applied
Spectrum Colourfix primer ‘soft umber’
to mountboard using a palette knife
and brush; you can create interesting
relief texture with this, too. When dry
this provided a sturdy surface with a
good key and mild abrasion. It’s also
good for blending with fingers and
doesn’t remove the skin. The colours
used were:
Gull colours White 100.5, yellow ochre
227.9, raw umber 408.9 plus mouse
grey.
Groyne Yellow ochre 227.9, burnt
umber 409.5 and 409.3 and gold ochre
231.5.
Water Prussian blue 508.8, phthalo blue
570.7 and 570.9.
Water – dark elements Blueish green
640.9 and 640.7, and phthalo blue
570.3.
Accent colours Permanent yellowish
green 633.9 and permanent red 372.5
These pastels work exceptionally well
to describe detail, the linear aspects and
the general coverage required. I began
lightly, covering the entire composition
then repeated, gently building up the
pastel layers. I broke off small pieces so
I could use the pastel on its side. These
pastels work brilliantly on this surface.
I used grey Mi-Teintes pastel paper for
the small study of cow parsley (below
left). The pastel paper comes in many
colours and offers a good mid tone
from which to start. This is a quick
sketchy pastel and the heads have a
mix of colours in them.
Flower heads White 100.5, raw umber
408.9, yellow ochre 227.7 and 227.9;
cinnabar green deep 627.5 and 627.8,
and permanent green light 618.9. Also
touches of light yellow 201.8 and
permanent yellowish green 633.9.
t
Gull, Background colours Phthalo blue 570.9
Rembrandt Soft and 570.7, and permanent green light
Pastels on Art 618.9.
Spectrum Colour Accent colour Slivers of permanent red
Fix primed 372.5 to the stems.
mountboard, This is a paper and therefore flimsier
514⁄ x7in. and with an obvious tooth. Try to avoid
filling the tooth, especially too soon,
as it will make adding further layers
of pastel tricky and you will end up
Cow Parsley,
t
needing to remove some colour.

Rembrandt Soft Rembrandt pastels are a great
Pastels on grey introduction to those who would like
Canson Mi-Teintes to explore techniques and ideas further,
pastel paper, and also for those who have experience
614⁄ x614⁄ in. and are itching to try a different brand.
(16x16cm) I certainly like them very much and
endorse their quality. LP
Rembrandt Artists’ soft pastels are available in 218 highly

pigmented colours: individual sticks, priced at £1.50(rrp)
each, to a wide variety of series from a starter set of 15
half pastels (£16.50rrp) to the Rembrandt Soft Pastels
Excellent box of the entire range (£495). Find out more
by visiting www.royaltalens.com

LP01 49-51 McNaughton_Layout 1 18/11/2016 13:07 Page 47
Watercolour
Berry delight
Here’s a colourful and loose watercolour to
brighten up a dull day, by Rachel McNaughton
LEARNING OBJECTIVES
n
n
Practise your drawing skills
Understand negative painting
I am not aiming for a faithful copy
of the rowanberries and leaves in the
following demonstration, but rather
to take them as a source of inspiration
and as a starting point. In this
To begin, you need to spend some
time drawing, which will help you to
visualise a picture in your mind’s eye.
When you feel ready to move on to
the finished painting take time to
n Try splattering, wet in wet, hard demonstration you will be painting make a few trial runs first to learn
edges and scoring without drawing on the paper first, what happens in the wet paint and
using the shapes and patterns made how to take advantage of happy
by the paint as it dries. accidents or disguise them.
By drawing the central vein first and

giving it a curve you can create movement
when you build the leaf around it.
Leaves grow
in pairs.
Small veins come off the central
one at a slight angle. There is
no need to draw them all.
Leaves can go behind the

berries and can overlap.
This helps to create depth.
You will need

n Surface
l Saunders Waterford High
White Rough 300gsm
watercolour paper,
15x11in. (38x28cm)
n Artists’ watercolour
Allow the berries to overlap each See colours (below)
other so you won’t see all of every
berry. Don’t make them too small. n Miscellaneous
l Small spray water bottle
l Flash Magic Eraser
Colours used
You need strong reds and oranges for this demonstration. Your palette should have warm autumnal colours, such as:
Transparent pyrrol Perylene green Quinacridone Raw sienna Cadmium Aureolin Permanent
orange (Daniel Smith) (Daniel Smith) gold red carmine
t

Watercolour
Demonstration Rowanberries
Step 1
t
1 Mix separate washes of cadmium red, orange, aureolin,

perylene green, raw sienna and permanent carmine.
2 Begin by drawing a single berry with your brush in aureolin.
Avoid beginning in the middle of the paper. Fill it in, leaving a
small white highlight then continue to add a few more, allowing
some to run together while keeping others separate. Paint
a number in orange and red. Allow the paint to run.
3 When you have created a small bunch of berries, rinse your brush
well and remove excess moisture, but don’t squeeze the brush dry.
Using the side of the brush, drag gently through the still damp
berries. Leave some untouched and allow others to run. Try to
create a ragged stroke with rough edges. This is where the
Rough paper is a big advantage. Splatter from your paintbrush.
4 Pick up a fine brush to paint the stems, especially in the
white areas.
5 Use aureolin or raw sienna and green to paint leaf shapes.
Allow them to run into the berries then score in veins while they
are still wet.
6 Again with a clean damp brush mess up the leaves you have
just painted and splatter with green and yellow. Try to direct
this roughly where you want it to go.
Step 2
t
1 Allow to dry a little then repeat

the process on another area.
2 You can paint berries and leaves on TIP Notice how
a previously painted area and repeat leaves vary in size
the messing up. Try to avoid repeating and usually grow
the same shape and brushstroke. in pairs with just
Don’t finish off perfectly. Stop a main stem.
painting as soon as it is recognisable. Don’t keep too
3 Use aureolin or raw sienna to drag rigidly to this
rough shapes in the background with though.
the side of the brush. Hopefully some
shapes will appear that suggest
leaves and berries.
Step 3
t
1 Try adding leaves at the edges of a ragged area to show

one side a crisp outline and the other a soft wet-in-wet blur.
2 Go back into the painting to reinstate the berries if they
disappear. Add black dots on most of the berries and
paint different shades of red.

Watercolour
Step 5
t
1 Keep some
areas soft and
out of focus.
2 Leaves can
be suggested
just by scoring
in veining and
don’t need to
be finished off.
t
Step 4
1 Keep splashing and splattering
a little. If the marks look too well
defined, spray with a little water
for softer edges.
2 Use negative painting to define
leaf edges, but don’t go all the way
around or the leaf will look isolated.
Step 6
t
Finally add the branch that

everything is growing from
with a mixture of burnt umber
and ultramarine. Do this in
two stages to give a slightly
gnarled texture.
The finished painting

t
Rowanberries, watercolour,
15x11in. (38x28cm)
Rachel
McNaughton
Visit www.artbyrachel.co.uk
for details of Rachel’s
workshops, classes and
other events.

LP01 50-51 Extract_Layout 1 18/11/2016 14:49 Page 50
Sketching
Café society
Learn to draw and paint loose and lively figures
in your sketchbook, with Klaus Meier-Pauken
LEARNING OBJECTIVES
n Sketch the proportions of
a human subject
H uman subjects are as worthwhile
as they are difficult. They do not
always remain still for as long
as it takes you to sketch them at leisure.
Their proportions may also be more
whole host of subjects and mental
snapshots.
Draw people wherever you can.
Study their movements, attitudes and
gestures. Pay attention to how people
n Capture figures in rapid sketches difficult to capture than those of a look from behind, from the side and
n Sketch the movement of people building, for example. However, there in semi-profile. What role does their
are scarcely any subjects that can clothing play? How are their legs and
communicate more feet arranged?
life than the depiction How can you depict their movement?
of people. You can How does the outline of a woman’s
sketch people almost blouse differ from that of a man’s shirt?
anywhere. Even a What do jacket collars look like from
short stroll through behind? You should ask yourself these
town or 15 minutes and many other questions while you
sitting in a café will sketch. Observe and practise. As you
provide you with a do so, it is very important that you
t
Try to work with clear and simple lines, and avoid fussy scribbles.
Instead, you should practise adding curves to your lines, and try to
recreate on paper the softness of the outlines produced by clothing
and human proportions.
Less is more Try to capture the movements or attitudes of sitting,
t
standing and walking people using a simple style. To do this, take

a soft pencil and try to work in a single line that runs all the way
round the outline of the figure. Avoid using many searching lines.

Sketching
TRY THIS!
After executing a simple
preliminary sketch in pencil, the
individual positions and attitudes
of the seated figures were set out
using a fountain pen and ink.
The use of a few colours creates
a cheerful atmosphere and lends
more life to the scene. The black
intermediate sections were added
last of all in order to make the
figures and colours clearer.
t
Spectators at a Boules Match, 3B pencil, fountain pen and coloured pencil

Sketching
t
Practise drawing different attitudes and positions among people who are standing or sitting (as in the illustration here).
Work very quickly and set yourself a time limit, such as five minutes, for each position you draw.
avoid losing yourself in details. foot is visible. Arms are generally that appears a little thicker around
The same rule applies to sketching held at a slight angle, or alternatively the midsection. A group of people
humans as to any other subject: less the person may hold one hand in their will initially appear as many dots,
is more! pocket. A couple walking with linked with a number of vague, elongated
Remember to be patient: practice arms should both be captured together body shapes underneath them, and
makes perfect. The greatest artists of with a single outline. it is scarcely possible to distinguish
the past would sketch incessantly in When you see people carrying bags between sitting and standing figures
order to be able to bring their figures or backpacks, pushing prams or from a distance.
to life on the page. We encounter walking dogs on leads, this is your When we view a sitting figure close
people wherever we go, and they first step towards drawing the actions up, the base of the shoulders appears
often appear suddenly in unexpected or movements of people. A person to be slightly raised, meaning that the
places. For this reason, they form an bending down to look in their bag or head is bent down a little. The arms
essential part of both city scenes and kneeling next to a pram is a person in will be either folded, in the middle
landscapes – not just to give a sense the middle of an animated movement. of a particular movement, or resting
of the scale of their surroundings, It is precisely these sorts of on top of each other. The position
but also to bring the scene to life. movements that you should practise of the legs can vary greatly. The most
Do not allow yourself to be drawing over and over again. Leave important thing is for the knee to
discouraged by what some find out the details as you do so, and be at the same height as the seating
a difficult theme. Work without concentrate on the movement itself. surface. The legs will generally be
hesitation and always use a soft pencil This will add to the expressiveness crossed, or held slightly apart. The
to start with, and you will be surprised and liveliness of your sketch. Start more comfortable and relaxed the
by the results. Always try to draw both by drawing only in outlines, and omit position, the livelier its expression will
the head and the body in one go. details. You can also play with the be. Sit down in a park or in the foyer
Avoid using a lot of searching lines viewer‘s imagination a little, as they of a museum and start to record the
and try not to make the body too will be able to mentally complete a people around you. Concentrate on
hard and boxy, especially around the movement or the details of a every phase of their movements. LP
shoulders. Instead, the soft shape movement for you.
of the head is more likely to merge
with the figure’s rounded shoulders. Keep it loose
Your sketch should be a simplified
Where to start or stylised version of your subject.
You should always start by drawing Capture the shape of the body and
the outline of the head. People its movement with quick, soft lines.
positioned in the middle distance have Movements can be made clearer by
almost oval heads, while the sides of leaving blank spaces. The outline
the shoulders run fluidly down from should also suggest the jacket or skirt
the head towards the waist. The lines worn by the figure. Allow the viewer
on the side of the body then taper to add the rest of the details with their
towards the shoes (depending on the own imagination. It does not matter if
clothing worn). This is the first fluid the proportions of the individual lines
movement you should make when are not quite right to begin with. Do
drawing a figure. not even attempt to be accurate here,
The next step is to practise drawing particularly when drawing hands and
figures that are walking. Observe feet. Feininger always drew oversized
passers-by in a pedestrian area and feet in his figure sketches, which he This article was adapted from Quick
pay particular attention to the position generally executed hurriedly at the and Lively Urban Sketching by Klaus
and movement of their legs and feet window of his apartment. Thin people Meier-Pauken (Search Press, 2016,
as they walk. You will find that their always turned out a little thinner, £8.99). Save £2 and buy from our
feet almost always point outwards while more portly subjects became bookshop at www.painters-
slightly. One leg slightly conceals the a little fatter. It is therefore not a online.co.uk/store and follow the
other when you view walkers straight problem for you to exaggerate slightly links to books. Quote promo code
on. If you look at a pedestrian’s legs in your own work. JAN17. See page 56 for more special
from behind, you will see that one When viewed from afar, a human offers on practical art books.
of their feet is always touching the head always initially appears as a mere
ground, while the sole of the other dot, while the body is simply a line

Sketching
By the Well, Venice, 3B pencil and ink. A rapidly executed pencil sketch served as the t Street Café, 3B pencil and watercolour.
t
basis for the addition of figures in outline, whose movements and attitudes were sketched This quick outline sketch was rapidly coloured
very quickly in ink. I took a little more time over the furnishing and details. in using two or three watercolours.

LP01 PatchingsCall17_v4_Layout 1 18/11/2016 14:57 Page 54
and
Open Art Competition 2017
in partnership with patchings Art Centre
CALL fOR eNtRIeS
OVeR £16,500 WORtH Of pRIzeS
OVER 40 INDIVIDUAL PRIZES WILL BE AWARDED TO SELECTED ARTISTS COMPRISING:

£5,000 £600 Canson Awards £2,600 £300 pro Arte Awards
purchase prize Three prizes of £200 worth of paper Award Two prizes of brushes
Award www.canson.com One prize of a showcase to the value of £150 each
Selected by guest judge feature on a selected artist www.proarte.co.uk
Ken Howard OBE, RA for a work £500 Caran d’Ache/Jakar in Leisure Painter magazine
up to the value of £5,000 Awards www.painters-online.co.uk £1,000 Royal talens
www.painters-online.co.uk Two prizes of £250 worth Awards
of art materials £100 Four prizes of £250 worth
£1,700 www.jakar.co.uk Highly Commended of art materials
exhibition Awards Award www.royaltalens.com
Selected artists from £500 Clairefontaine A subscription to Leisure Painter
the 2017 The Artist category Awards worth £100 £500 Sennelier Awards
will be awarded a mixed Two prizes of £250 worth of art products www.painters-online.co.uk Two prizes of £250 worth
exhibition at Patchings Art selected from the Clairefontaine Graphic of Sennelier art materials
Centre in 2018, worth £1,700 & Fine Art range £450 patchings Award www.globalartsupplies.co.uk
www.painters-online.co.uk www.clairefontaine.com of a gift voucher worth
£450 to be used at £600 St Cuthberts Mill
£100 Highly £900 Derwent Awards Patchings Art Centre, Notts Awards
Commended Award Three prizes of £300 worth www.patchingsartcentre.co.uk Three prizes of £200 worth
A subscription to of art materials of watercolour paper
The Artist worth £100 www.pencils.co.uk £600 premium Art www.stcuthbertsmill.com
www.painters-online.co.uk Brands Awards
£500 great Art Awards One prize of Daniel Smith £400 Winston Oh
£450 Batsford Awards Two prizes of £250 worth of art watercolours worth £350 Award
Three prizes of Batsford art materials from Europe’s largest and one prize of Pan Pastels A painting course up to £400 of your
books to the value of £150 each art materials’ supplier worth £250 choice, sponsored by Winston Oh
www.batsford.com www.greatart.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 18/11/2016 15:07 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.
$
2
Save £ the
of
on all books
The online home of
ed
featur romo code and magazines
p
using AN17
J : e
g Dat
Closin
n
3rd Ja
RRP
£12.99 RRP
£10.99 RRP £12.99
£8.99 £10.99
£6.99
RRP
RRP RRP £9.99
£12.99 £12.99 £7.99
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RRP
RRP RRP
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Available from
and follow the link to books
closing date 3rd January 2017
Bookshop_FullPage_Jan2017.indd 1 14/11/2016 11:54:04
LP Jan 2017 Books p57_News 1st 17/11/2016 10:36 Page 6
Books
WHAT TO READ THIS MONTH
A celebration of
botanical art
Rosie Sanders’ paintings
are often compared to the
work of Georgia O’Keefe
and this stunning book
Visit www.painters-online.co.uk/store and click will not disappoint if you
on the link to books to buy the latest practical are looking for flower
art books available from LP’s online bookshop paintings that are full of
dynamism and impact. Showcasing over 70
of Rosie’s paintings, from tulips to orchids, roses to
Flashes of inspiration anemones, each is accompanied with a commentary by
Hirameki is a Japanese word meaning botanist, Dr Andreas Honegger. This is a treat of a book!
‘a flash of inspiration’, and this new Rosie Sander’s Flowers: A Celebration of Botanical Art by Rosie
book from artists, Peng and Hu, Sanders. Batsford, (h/b), £30.
encourages you, whatever your age
and ability, to turn random blobs and
blots into pictures by adding just a
few dots and lines. There are hours of
fun to be had here – developing your Christmas books
drawing skills, while allowing your Colour your own
imagination to run riot. Pavilion Books has published a fun
Kirameki: Draw What you See by Peng and series of colouring-in books inviting you
Hu. Thames & Hudson (s/b), £9.95. to colour in paintings by masters of
their art. Colour your Own Klimt includes
22 paintings by the avant-garde artist,
Gustav Klimt. You can either use the
A celebration colours of the originals, matching
colours to the guide provided, or use
of dogs your imagination to put your own twist
Award-winning artist,
on well-known paintings. Other books
Hannah Dale, brings us
available in the series include Colour
an irresistible little book
Your Own Monet & the Impressionists,
of beautifully drawn dog
Colour Your Own Van Gogh and Colour
portraits in A Dog’s Life:
Your Own Dutch Masters, as well as a
A Celebration of Our Best
small book of 20 postcards of paintings
Friend. Each illustration
by Van Gogh for you to colour, detach
is accompanied by a
and send to friends.
description of the traits
Colour Your Own Klimt, Monet, Van Gogh and
and characteristics of
Dutch Masters. Pavilion Books, (s/b), £9.99 each.
the breed – from pugs to dachshunds, border collies to
Colour Your Own Van Gogh Postcards. Pavilion
whippets.
Books (s/b), £6.99.
A Dog’s Life: A Celebration of Our Best Friend by Hannah Dale.
Batsford, (h/b), £9.99.
Edward Lear
Sketching Impeccably researched by
Turn everyday objects around naturalist, writer and
your home into subjects to fill historian, Robert
your sketchbooks, with Jon McCracken Peck, this
Stich’s Sketch Your Stuff. The beautifully illustrated book
book includes 200 items to brings to the forefront the
draw – all easy to lay your watercolours of Edward
hands on and small enough Lear, putting him in the
to enable you to draw them context of 19th century
quickly – the idea being that London, and shedding new
drawing little and often is light on the importance of
the best way to improve his work.
your drawing skills. The Natural History of Edward Lear by Robert McCracken Peck.
Sketch Your Stuff: 200 Things to ACC Art Books, (h/b), £27.99.
Draw and How to Draw Them by Jon Stich. Search Press, (s/b), £9.99.

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 Jan 2017 Art clubs p59_News 1st 21/11/2016 12:09 Page 3
CLUB EXHIBITIONS
Art clubs
OVER TO YOU FOR THE LATEST NEWS ON CLUB
n Brierley Hill and District
Society of Artists
Exhibition at The Red House Glass Cone,
Wordsley, West Midlands from 14 January to
12 March. Open weekdays, 10am to 3pm;
and from 11am until 4pm at weekends.
EXHIBITIONS AND ACTIVITIES n Cirencester Art Society
Winter exhibition at The Parish Church,
Cirencester until 10 December, 10am to
4pm daily. Visit
www.cirencesterartsociety.com
Highlights n Keswick Society of Art
Stevenage Arts Society Exhibition at the Theatre By the Lake,
The Stevenage Arts Society’s annual Lakeside, Keswick CA12 5DJ until 20
winter exhibition continues at the January. Enquiries to Ted McCardle
01768 744855.
Dennington Galleries, Springfield
House, High Street, Old Town, n Salisbury Group of Artists
Stevenage SG1 3EJ until Saturday Exhibition at Salisbury District Hospital,
10 December. On show will be oils, Odstock Road, Salisbury until 6 January.
watercolour and acrylics as well as
charcoal, graphite, prints, ceramics
and sculpture produced at the Demonstrations
society’s own pottery. & classes
Formed in 1968, the society now Guiseley Art Club
has over 100 members who meet Robert Dutton will give a
at Springfield House – a period t
Ken Woodruff working on a watercolour demonstration to the Guiseley
property at the north-east end of painting. Ken has been exhibiting with the Art Club on 6 February at The
the High Street in Stevenage Old Stevenage Art Society for 20 years and runs
watercolour classes at Letchworth Settlement Methodist Church Hall, Oxford
Town. The society runs sessions for on Wednesday mornings from 10am until 12 Road, Guiseley, Leeds LS20 9£P,
members at its studios on Monday noon during term time. 1.15 for a prompt 1.30pm start.
afternoons, Tuesday evening, Non-members are welcome. Visit
Wednesday mornings and evenings can work on their ceramics and fire www.guiseleyartclub.co.uk or go to
and Friday mornings. On Monday them in the society’s kiln. New www.facebook.com/guiseleyartclub/
and Tuesday afternoons, and members are always welcome. Visit
Tuesday and Friday mornings the
Tewkesbury Art Society
the exhibition for more information or
Artist, Martin Bowden, will give a
pottery is open, where members visit www.stevenageartssociety.org.uk
demonstration to the
Tewkesbury Art Society on
painting quickly in watercolour,
on Tuesday 24 January. The
demonstration runs from
10.30am until 1pm at the
Methodist Church Hall, by The
Cross, Barton Street, Tewkesbury,
Gloucestershire. Refreshments
are available and the hall has
disabled access. Entrance £3 for
non-members. For more
information visit www.t-a-s.info
Virginia Water Art Society
Artist, Sera Knight, will give a
Street Scene in Watercolour
demonstration to the Virginia
Water Art Society on Wednesday
4 January, at 7.30pm, at the
Shirley Hooper In the Groove, watercolour, 121⁄2x20in. (32x51cm), winner of the public’s vote at
t
the Roche Art Group’s exhibition in September 2016

Community Centre, Beechmont
Avenue, Virginia Water, Surrey
Roche Art Group GU24 4EY. Visitors are welcome;
Roche Art Group meets every Wednesday evening from 7.30 until 9.30pm. £5 entry. Visit www.virginiawater.
New members are always welcome. Telephone John on 07549 991105 or Gill org.uk/artsociety for more
on 01702 421737 for more information. information.

LP Jan 2017 Gallery 60_Layout 1 17/11/2016 10:44 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.
Catterick Group of
t
Artists Patricia Baker

pictured with her winning
painting, Hairy Highlander,
pastel, 151⁄4x153⁄4in
(39x40cm). The Catterick
Group of Artists meets every
Tuesday at the Scout Hut,
beside the Pavilion in
Catterick village from 1.30
to 3.30pm. Patricia, who
won the public’s vote at the recent annual exhibition,
is a talented watercolourist, but is relatively new to
pastel. For more information on the group, telephone
01748 518398.
t
Honiton Art Society Carolyn Barker Sea at Dusk, oil, 14x18in.
(35.5x45.5cm). Honiton Art Society has been running for over 50 years.
t Arnold Art Society David Wharton Meet Me By The Members meet monthly from October to May at Awliscombe Village Hall
Lion, acrylic, 141⁄4x18in. (36x46cm). The Arnold Art for demonstrations by professional artists. New members of all abilities are
Society was formed in 1967 and has a lively programme always welcome and visitors can attend meetings for a charge of £4. For
of demonstrations by professional artists. Members more information visit www.honitonartsociety.com or contact the
meet on Tuesdays, Wednesdays and Thursdays, and membership secretary, Julie Ashcroft on 01404 841189. Carolyn works in
enjoy outdoor sketching days during the summer. For several media with a range of subjects, but prefers seascapes, being
more information visit www.art4arnold.com inspired by the movement and moods of the ocean.
How you can join in

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

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

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p62_63_lpjan17.indd 62 18/11/2016 12:37:39

OWCASE 2017 To help you choose the painting course or holiday to
suit you best in 2017 simply contact the organisers below
express yourself “Your First & Best Choice for a
different
Painting Holiday”
PLUS
TRY SOMETHING David Bellamy, Joe Francis Dowden,
Organ
iser
always s
4 Over 100 years’ experience Roger Dellar, Soraya French, Jeremy locatio on
4 Tuition and support from a professional artist n with
Ford, Steve Hall, Terry Harrison, Barry group
4 Full board accommodation Herniman, Matt Palmer, Thomas Schaller,
4 Small sociable groups
Keiko Tanabe, Paul Weaver & many more
4 Transport included on outdoor art holidays
4 No single room supplement
Expressive Pastels
Somerset, Exmoor National Park, North
Devon Coast, North Cornwall, Lake
Book District, Wye Valley, Provence, France
ear
Main image: Murray Ince
save uplyt
Life Drawing
& The Western Algarve, Portugal
Image: Robert Dutton
Painting Flowers
o
Image: Catherine
£75 pp *
with all-inclusive holidays
ovely ainting oliday dventure
Image: Claire Warner
MacDiarmid
01934 733877
 All Art Materials included on selected holidays
Book now or request a brochure quote EP05  Non painters & All Abilities Welcome
 Studio & Location based courses in all media
0345 470 7558 hfholidays.co.uk/art
ARTIS IN RESIDENCE
ARTIST Wildlife Painting Workshops with
©
River Cruises 2017 Cate Wetherall

One to One, One Day or Weekend Workshops
IN THE Learn how to create realistic portraits,
THE ART FOOTSTEPS OF SKETCHING ON painting with pastels or oils
OF THE TULIP VINCENT THE DANUBE
VAN GOGH
April 20 - April 28, 2017 April 27 - May 5, 2017 October 15 - October 23, 2017
Small confidence-building classes from
Artist: Margaret Best Artist: Sandee Ewasiuk Artist: Barry Coombs beginners to advanced
Explore the culture, history Experience the inspiration and Refine your artistic skills on All materials, lunch and plenty of refreshments included.
and the art of the tulip, in the works of this creative genius from the spectacular Danube
historical gardens at the the comfort of your ship. visiting some of the Available dates updated regularly on the
Low Countries. Amsterdam to great cities of Europe.
website www.wildandtame.co.uk
Amsterdam to Amsterdam Including: Destinations include:
Amsterdam Including: Exclusive escorted tours to Melk, Vienna, Budapest, phone or email Cate for more details
Garden tours of the Winter Kinderdijk, Dordrecht, Borinage, Bratislava and Dürnstein. cate@wildandtame.co.uk 07702 060113
Garden, Leiden Hortus Rijksmuseum, Maison Van Gogh, Focus on personal creative
Botanicus, Ruben’s House, Vincentre Museum, Van Gogh expression and development
the famed Keukenhof, and the Museum and other key places in on locations with special
Museum of the Black Tulop. Van Gogh’s life. artistic interest.
HIGHLIGHTS
• Individualized • Unique Exclusive Excursions • Extensive Inclusions
art instruction with • Small Groups • Gourmet Local Cuisine
engaging artists • All Abilities Welcome • 4* + River Ship
LIMITED SPACE - BOOK TODAY:

www.visiontravel.ca/sandieharman Email: sandie.harman@visiontravel.ca
www.facebook.com/AIRculturalex +1 416-407-1830 or +1 705-657-7196 TICO NO: 50018498
p62_63_lpjan17.indd 63 18/11/2016 11:55:48

LP Marketplace
To advertise your holiday, course or business call Anna-Marie now on 01778 392048
Holidays & Courses
FIONA PEART
TWO FABULOUS PAINTING HOLIDAYS
Watershed Studio
with P&O cruise art instructor Anne Barnham.
Come & enjoy watercolour.
Informative and lively demonstrations Celebrating our 15th year Be inspired & stimulated.
• Proven reputation for quality courses May 7th-12th at St Briavels, Wye Valley.
and workshops for art societies and clubs. July 9th-14th at Sidmouth, Devon.
• Warm welcome & home-cooked food
• Rural studio in its own grounds Half board – no single supplement.
Ring 01451 820014 • Excellent local accommodation Studio and en plein air.
or email fiona@fionapeart.com • High profile, popular tutors
Fraser Scarfe, Tim Fisher
www.fionapeart.com Jeremy Ford, Charles Evans,
Diana Seidl and many more…
Call Allison Bond for details:
01255 820466
Email: allison@watershedstudio.co.uk
www.watershedstudio.co.uk Contact Anne: 01526 320626
St Clere’s Hall Lane, St Osyth,
annebarnham@hotmail.co.uk
Clacton on Sea, Essex, CO16 8RX www.saa.co.uk/art/annebarnham
EXCITING NEW 2017 BROCHURE NOW AVAILABLE!

TAKE ADVANTAGE OF OUR EARLY-BIRD SPECIAL 10% DISCOUNT ON BOOKINGS
PAID FOR BEFORE 31 DEC 2016 AS WELL AS THE OLD FAITHFUL DOUBLE UP DEAL
Holidays & Courses For brochure and other information contact John or Christine on
01202 393234
2014 BROCHURE NOWinfo@boscombespahotel.co.uk
AVAILABLE!
LEARN AT HOME. Watercolour
-7 day www.boscombespahotel.co.uk
Art Holidays in Dorset

and drawing.COURSES.
PAINTING Beginners/advanced
1-7 day and
painting correspondence courses. Easy, flrelaxed,
weekly art courses painting owers
ndscapes, thorough. Details: Jenny Trotman NDD.
and gardens, landscapes, watercolour
d wash with or01305
Tel: line and wash with Jan Blanch in
264568
also Brusho DOUBLE-UP-DEAL - BOOK TWO CONSECUTIVE HOLIDAYS IN PINK &
Norfolk also Brusho classes. Very good
www.catswhiskersart.co.uk SAVE £169 PLUS A FREE NIGHT DINNER, BED & BREAKFAST
mmodation. accommodation. • Prices from £155
THE SKY’S
SNEAK PREVIEW OF SOME OF THE DOZENS
rfu. Painting holidays in Corfu. • 500 m from the sea OF COURSES IN 2017 WINTER WARMERS
7702 069300 Tel: 01493 393639 or 07702 069300 • Free transport Two full days’ tuition in our cosy studio from 10am to 5pm,
• Highly professional tutors light lunch and delicious dinner plus bed and breakfast all
@gmail.com Email: janblanchartist@gmail.com for only £155 Why not pamper yourself and add Friday and/
THE LIMIT
• Friendly house-party atmosphere
Email: info@watermill.net www.janblanch.co.uk • Delicious food and wine or Sunday night dinner, bed and breakfast at the special
painters’ rate of £55 per night? Most people do!
Call Bill or Lois: +39 366 488 2587 • All accommodation en-suite Sat 21 & Sun 22 Jan Dip Your Toes in the
• No single supplement World of Fantasy
FilmsWHEN IT COMES TO ADVERTISING • Stunning locations - easy walking

• All abilities and non-painting
Sat 18 & Sun 19 Feb Drawing for Beginners
Sat 18 & Sun 19 Mar Animal Portraits in Pastel
ay of the month
Painting Videos from Seeba Films
WITH LEISURE PAINTER partners welcome
• Well equipped studio
• Maximum 10 students each group
SPRING AND SUMMER HOLIDAYS
10-13 Mar Getting to Know Watercolour studio based
27-30 Mar Spring Gardens with Watercolour Pencil
4 - 7 April From Light to Dark in Watercolour
‘N CANVAS HOLIDAYS Call Anna Marie to discover the

8-11 April Landscape With Pen and Wash
18-21 Apr Let’s Look at Texture in Fantasy studio based
6-9 May Mixed Media Landscape
Painting by David Webb
10-13 May Express Yourself in Watercolour

opportunities available to you. 17-20 May South Coast Scenes with Acrylics and
T: 01778 392048 Palette Knife
10-13 Jun Seascapes and Coastlines with Watercolour
E: annamarieb@ 14-17 Jun Lightfilled Landscape in Watercolour
SUPER P
5 - 10 Jul Alien Landscapes studio based
warnersgroup.co.uk 11-14 Jul Sketchbooks - Where to Draw the Line?!
EU
DOUBL AVE
15-18 Jul Rocks, Waves, Sea and Sky - Acrylics
19-22 Jul Riverside Views and Bridges
The acclaimed series of Art Videos from Seeba Films are DE A L S 23-26 Jul South Cost Scenes with Acrylics and
available on DVD and feature artists -Art
Ray Materials
Campbell Smith, £169 1-4 Aug
Palette Knife
Sketching is an Art in Itself!
Wendy Jelbert, Christopher Assheton -Stones, Barry 5-8 Aug Cliff Top Painting - Look East and West
21-24 Aug Loosening up with Watercolour
Sidewinder Studio
Herniman and more - 01243 552186
15 - 20 Sep Seascapes and Harbours
And much, much more!!
showing Watercolour, Pastel, Oil, Mixed Media, Pastel PencilShop
& Airbrush
online etc. R
SUPEE UP
www.sidewinderstudio.co.uk
U B L
To view & order visit - www.seebafilms.co.uk - or call - 01865 522136 DO L SAVE Art Holidays in Dorset, The Studio, Boscombe Spa Hotel, 4 Glen Road,
DEA
£145
CHINESE BRUSH PAINTING SUPPLIES Boscombe Manor, Nr Bournemouth BH5 1HR
We have an extensive range of high quality,

64 JANUARY 2017 authentic Chinese Brush Painting supplies, www.painters-online.co.uk
beautiful accessories and specialist books.
• Over 300 titles in stock

lp CLA Jan NEW.indd 64 18/11/2016 10:34:53
• Starter packs for beginners
Jan 17 Holiday of the Month_Layout 1 14/11/2016 13:58 Page 3
Holidays & Courses

TARN AREA, SW FRANCE. Painting DAVID COUPE situated in Bolsover
David Webb, professional artist, author
holidays. Excellent food and Derbyshire does Saturday workshops
and contributor to Leisure Painter.
accommodation, superb landscape, 2-Day watercolour workshops in once a month throughout the year.
forestry, mediaeval villages, studio, large South Devon in 2017. Starts at 10.00am and finishes at
swimming pool. Professional tuition by 5.00pm. Cost £45 including lunch and
Ken Ray BA, WSCAD, Diana Golledge, refreshments. Media are watercolour,
Cora Martin. oils, and pastels. Beginners and
Details: Bob and Carla Schaap, intermediate welcome.
Chateau de Pourpry, 81220 Damiatte, Website www.watercolourartist.net
Tarn, France. Tel: 0033 563 707 176 • Demonstrations/one-to-one tuition email david@watercolourartist.net
Email: bobencarla@aol.com • All materials included Tel: 01246 826311
• Lunch included, plus tea & coffee
• Maximum 12 students
SUE FORD'S PAINTING HOLIDAYS TheOld
The OldSchool
SchoolStudio
Studio
• Studio based in large, well-lit room
Old School
Old Lane,
School Whittlesford,
Lane, Whittlesford,
Mixed Media Courses Cambridge CB22 4YS
Details at: www.davidwebbart.co.uk Cambridge CB22 4YS
Cober Hill and Red Lea Hotels both in
Email: mail@davidwebbart.co.uk CAMBRIDGE based Working Art Studio
Scarborough, various dates set in an attractive Victorian School House.
01803 846321 Affordable one & two day fully Working
tutored workshops.
Glenthorne, Grasmere, Higham Hall, CAMBRIDGE based Art Studio
set inMarilyn
Tutors for 2016: Hashim Akib, Paul Alcock, an attractive Victorian
Allis, Jamel Akib, School
Vic Bearcroft, Melanie House.
Cambridge,
various dates Clare Crossman, Soraya French, John Glover, Rachel Haynes, Prue van der Hoorn,Chris Lockwood,
Affordable one & two day fully
Val Pettifer, Lesley Rumble, John Shave, Simon Williams SBA, Thomas Plunkett PRWS, Sue Williams
The Algarve, May 10-17
tutored workshops.
Drop-in-and-Paint Club every Thursday & Friday
The Watermill in Tuscany, July 15-22
Email suefordartist@icloud.com
Mobile 07718076942
Holiday of the month CAMBRIDGE OPEN STUDIOS IN JULY
Three day Summer SchoolTutors
& Kids for 2016-2017:
Painting Hashim
Activities in August Akib,
Paul Alcock, Marilyn Allis, Jamel Akib,
The School House is well stocked with easels, drawing boards etc, and benefits from a large mezzanine floor with a
comfortable reading area. Students can also relax in the attractive garden and courtyard, whilst enjoying a cuppa!
Vic Bearcroft, Melanie Cambridge,
01642 712926
INSPIRATIONAL ISLE OF CARNA For full details of all workshops or to request theClare Crossman,
2016 brochure Email:Soraya
Or call Val Pettifer: 01223 833064Johnwww.theoldschoolstudio.co.uk
French,
info@theoldschoolstudio.co.uk
Glover, Rachel Haynes,

Art
r breaks
rt bre
r aks
re k in Exmoor
ks E moor
Ex Prue van der Hoorn, Chris Lockwood,
John Shave, Simon Williams SBA,
www.shorlandoldfarm.co.uk
ww
www
ww.
w.shorlandoldfa
fa
f rm.co.uk Thomas Plunkett PRWS, Sue Williams
Drop-in-and-Paint Club
every Thursday & Friday
f l locat
Beautifu
Beautiful
fu a ion
location
at Three day Summer School &
ffood
Good fo od Kids Painting Activities in August
Friendly at
aatmosphere
mosphere For full details of all workshops or to request a brochure
Courses fofforr all abilities Email: info@theoldschoolstudio.co.uk
Or call Val Pettifer: 01223 833064
Non-painting part
partners
r ners welcome
rt www.theoldschoolstudio.co.uk
Ready-made groups also welcome
LEARN AT HOME. Watercolour
and drawing. Beginners/advanced
t
The Island of Carna where Allison Jackson runs self- correspondence courses. Easy, relaxed,
Call Sandy or Mark 01598 763505 catering and painting holidays. Photograph by wildlife thorough. Details: Jenny Trotman NDD.
Email: enquiries@shorlandoldfa
enquiries@shorlandoldfarm.co.uk
f rm.co.uk
fa photographer, Cain Scrimgeour Tel: 01305 264568
F
ALL-INCLUSIVE SPANISH WATERCOLOUR or a digital detox away from it all – people, cars, and www.catswhiskersart.co.uk
HOLIDAYS in the mountains of Southern phones – look no further than Allison Jackson’s self-catering
Spain. Superb food and delightful holidays in Ardnamurchan on the west coast of the Scottish
en-suite air-conditioned rooms. Highlands. Allison runs painting holidays on the beautiful island Art Materials
Instruction is followed by fieldwork, of Carna in Loch Sunart (pictured above). Allison and her
including visits to Granada and Mojacar. husband, Andy, took over the day-to-day running of the Island of Sidewinder Studio
Everything included except your flight. Carna in 2003 and have since gone on to form the Carna 01243 552186
Non-painting partners welcome. For Shop online
Conservation Initiative. The couple are passionate about the west www.sidewinderstudio.co.uk
special offers and customers' comments coast – its history, heritage, wildlife and scenery. Living on the
visit www.watercolourspain.com spot, they can provide the holiday you’re looking for, combining CHINESE BRUSH PAINTING SUPPLIES
Tel: 020 3239 6786 or 0034 637 458679 painting, wildlife and boating.
We have an extensive range of high quality,
Holidays are tailor made to suit. The experience starts with a
authentic Chinese Brush Painting supplies,
Art Shops boat trip across Loch Sunart to Carna, in Allison’s words, “there beautiful accessories and specialist books.
follows a week on your own private island paradise”, where you
will be looked after by Allison and Andy and able to discover • Over 300 titles in stock
crystal clear seas and an unadulterated landscape of 600 acres of • Starter packs for beginners
glorious countryside. Between 22 and 29 April 2017, Allison will
be organising an En Plein Air Art Retreat comprising a week with
resident artist, Anne Byas. The week is suitable for all levels and Framing
media, and guests will stay fully-catered in one of two warm and
cosy cottages on the island. The week will also include a meet-
the-artist session with Andrew Sinclair at his Resipole Studio with
AshcraftArtists
FramingFrames
a personal gallery tour of the current exhibition and ample time - Save money on framing
for discussion, as well as a trip to Tobermory on Mull to paint the - Complete or self-assembly
colourful and picturesque harbour. - Plain wood or painted
Suppliers of the finest - Inlay frame specialist
art materials - Large, standard and bespoke sizes
For more information email Allison at allison@selfcatering-
VISIT OUR ONLINE SHOP Exclusive - St Ives/Nicholson style
ardnamurchan.co.uk; telephone 01972 500208 or visit
FREE CATALOGUE frames available on-line
www.selfcatering-ardnamurchan.co.uk
Tel: 01453 886560
email: info@pegasusart.co.uk Call 01427 787318 or visit
Griffin Mill, Stroud, GL5 2AZ www.ashcraftframing.co.uk/store
lp CLA Jan NEW.indd 65 18/11/2016 14:08

LP Jan 2017 Online gallery p66_News 1st 17/11/2016 10:52 Page 66
Online gallery
Jane Stroud’s selection of works from our PaintersOnline gallery
WWW.PAINTERS-ONLINE.CO.UK
David Briggs Someone’s Mum a Long
t
Time Ago, acrylic, 24x20in. (61x51cm)
he says. Occasionally, however, he is

asked to paint other things – as was
the case with this painting. He
explains: “Someone saw one of my
transport paintings and contacted
me to ask if I would do a painting
for her. A few weeks previously
she’d discovered a small sepia
photograph of her mother as a
young woman and she wondered
whether I could turn it into a
painting. “She sent me a scan of the
photograph, which showed her
mother pictured close to the
northern shores of Lough Neagh in
Northern Ireland. Her mother was
born in 1910 and died over 30 years
ago. After some thought, I sketched
the photograph onto a stretched
canvas. I paint solely in acrylic and
usually work on 30x20in. canvas
boards, but the proportions weren’t
right for this one, hence the
stretched canvas I had sitting
around was put to good use.
“My only clue to colours was that
her hair was brown and so was the
fur coat! I could see by the bare
trees that it was winter and, as I
always put great emphasis on strong
directional light in my artwork to
give a sense of depth, I decided a
low winter sun would allow me to
use shadows to create the desired
effect. I included the dog to add
interest to the scene. At first glance I
thought it would be difficult to
make an interesting painting out of
the old photograph, but once I
started, it surprised me how much
there was to work on – from the
In the past
L ast month we showed you a painting of
a family group the artist made using just one
photograph as his reference. This month’s
Self-taught artist, David Briggs,
started to take his work seriously
textures of the bare trees and rough
hedgerows, to the crumbling stone
wall and rough pasture set against
painting by David Briggs was also painted from a when he took early retirement ten the sharp lines of the cottage. Sixty
single photograph, requiring a great deal of input years ago. Since then, he has gained hours later, this is the result.”
from the artist’s own imagination. Here David membership of both the Guild of To see more of David’s work, post
describes the circumstances that resulted in the Railway Artists and the Guild of a comment, or upload your own
commission and some of the difficulties he faced Motoring Artists. “I am enthusiastic images on our free online gallery,
along the way. about all things transport-related,” go to www.painters-online.co.uk

LP01 AnnivComp_Layout 1 22/11/2016 08:21 Page 58
& PAINTERSONLINE
in association with Great Art
ANNIVERSARY
COMPETITIONS 2017
To celebrate LP’s 50th and PaintersOnline’s 10th anniversaries we are
launching a year of painting competitions for Leisure Painter readers
JANUARY’S COMPETITION Leisure Painter launched
Using the information found in Tony Paul’s Understanding in the spring of 1967 as a
Colour (pages 20-23) paint an original picture in any 50-page quarterly magazine,
medium and of any subject, using predominantly warm measuring just 8x51⁄2 inches.
red earth colours. Please upload your entry by 12 noon on Over the past 50 years it has
Thursday, 23 February. See details on how to enter below. been at the forefront of teaching
and inspiring amateurs and
especially beginners to draw and
Prizes paint well – and to enjoy their
We are delighted to announce exclusive sponsorship hobby with advice on locations,
by Great Art throughout this year’s competitions art club activities, exhibitions,
competitions, and painting
holidays and workshops.
Each month’s
winner will receive
£50 worth of art
materials vouchers
to spend at
www.greatart.co.uk,
through the Great Art
catalogue or at
Great Art’s new shop
at Kingsland Road,
London E2
Judges
Dawn Farley, editor, PaintersOnline
Dr Sally Bulgin, publisher
Ingrid Lyon, editor Leisure Painter
HOW TO ENTER & CONDITIONS OF ENTRY

Only online entries can be accepted. 2 Upload your January entry by the
Only original work will be considered closing date of 23 February at 12 noon.
and paintings based on reference 3 Entries will be judged after 27 February
photographs must have been taken by and the winning entrant will be
the artist or used with the permission informed early in March.
of the photographer. Only one painting
per artist each month will be accepted. 4 You will be invited to send a high-
resolution image of your winning
1 Online digital entries must be sent entry to Leisure Painter for publication
via our website at www.painters- in the magazine in spring 2018.
online.co.uk. Click through the
Current Painting Competition links 5 All work entered will be featured
to Anniversary Competitions 2017. on our website at www.painters-
You must be registered and logged in online.co.uk.
to PaintersOnline before you can 6 The judges’ choice will be final. No
upload an image. correspondence will be entered into.
CREATE
COLOURS MADE IN SWITZERLAND
For addional informaon and stockists please contact: JAKAR INTERNATIONAL LIMITED
Jakar Internaonal Limited, 410 Centennial Park, Elsee, WD6 3TJ • Tel: 020 8381 7000 email: info@jakar.co.uk
carandache.com
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LP01 1 Cover_red_Layout 1 18/11/2016 10:32 Page 1

LEISURE PAINTER’S 50TH ANNIVERSARY YEAR

JANUARY 2017 £4.20

The colour of light, en Plein Air

Find endless inspiration on Carna in an unspoilt world of mountains, rugged

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

Pick up available from Fort William bus/train station

Entry until 20 February 2017

David Shepherd Wildlife Foundation,

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

p02_lpjan17.indd 2 18/11/2016 10:51:06

Incorporating Leisure Painter

Newstrade distribution by INGRID LYON Editor

FEBRUARY 2017 issue on sale 30 December

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

Contents JANUARY 2017

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

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

Available through a select group of stockists

Have an arty Christmas! Great value! Big savings!

leisure-painter-advert-1216.indd 1 10/11/2016 11:32:48

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

p06_lpjan17.indd 6 18/11/2016 12:28:52

Christmas Card by Alastair Flattely sent to the Fleming family

on show at Happy Christmas! at the Scottish National Gallery of

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

Joan Eardley Fields Under Snow, 1958, oil on

canvas, 263⁄4x283⁄4” (68x73cm)

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

Artemisia Gentileschi Self-portrait as the Allegory of Painting

(La Pittura), c.1638-9, oil on canvas, 38x29in. (96.5x73.5cm)

Portrait of the Artist

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

Laurie Lee Self-portrait c. 1936, gouache,

Tony Paul replies: In reply to your first question, I would

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

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

The Daylight Artist Easel Lamp offers www.painters-online.co.uk

www.painters-online.co.uk JANUARY 2017 11

p11_lpjan17.indd 11 18/11/2016 11:01:26

LEISURE PAINTER’S 50TH ANNIVESARY YEAR

SAVE MONEY and

JANUARY 2017 £4.20

receive a FREE GIFT

worth £29.95(rrp) STREET SCENES

when you subscribe

COLOUR MIXING COMPETITIONS!

Become a Leisure Painter subscriber

and enjoy all these benefits:

Overseas n £50 13 issues by cheque, debit or credit card

n I enclose a cheque made payable to TAPC for the amount of £ __________

A walk in the snow

The secret to painting a snow scene

I n a warm studio on a cold winter’s

www.painters-online.co.uk JANUARY 2017 13

Demonstration A Winter’s Walk

You will need

Ultramarine Burnt Hansa yellow

Using a B pencil, lightly sketch out the scene,

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

1 Prepare two shades of green using Hansa

1 Wet the distant ridge

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