Leisure Painter April 2017 FreeMags - CC

LP02 1 Cover4_Layout 1 09/12/2016 13:52 Page 1
LEISURE PAINTER’S 50TH ANNIVERSARY YEAR
UK’s
No.1
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FEBRUARY 2017 £4.20 watercolour!
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© Image - Caroline Griffin RBSA, Tabletop with Flowers (detail), Oil on Board.
Call for entries
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Open all Media exhibition 2017
Sponsored by Fresh: Art Fair
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Open to artists working in all media*.
Deadline to enter Weds 1 February, by 4pm
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Sun 12 March, 10.30am-1pm
Exhibition on show Thurs 16 March - Sat 8 April
+ Download the interactive application pack at
rbsa.org.uk or send us a SAE marked ‘Open all Media’.
Royal Birmingham Society of Artists
RBSA Gallery, 4 Brook Street, St Paul’s, Birmingham, B3 1SA
T 0121 236 4353 W www.rbsa.org.uk
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2 FEBRUARY 2017 www.painters-online.co.uk

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February welcome_Layout 1 13/12/2016 12:40 Page 3
Incorporating Leisure Painter

and Craftsman
and Creative Crafts
VOLUME 51/2
ISSUE 556
www.leisurepainter.co.uk
Welcome
www.painters-online.co.uk
ISSN 0024-0710
from the editor
FEBRUARY 2017
Editor
Ingrid Lyon
W elcome to the February issue of
Leisure Painter, which is packed full
of demonstrations, advice, tips and
Contributing Editor
Jane Stroud
Editorial Consultants
techniques for drawing and painting through mid-winter. I hope
Diana Armfield, RA, NEAC (Hon), RWS
David Bellamy
you enjoy taking part in this month’s projects and competitions,
Tony Paul STP
whether you’re emailing our online editor – [email protected] – to
Advertising Sales
Anna-Marie Brown (Tel: 01778 392048) submit your finished paintings from this month’s painting projects
([email protected])
Advertising Copy (pages 16 to 20) or Fiona Peart’s ‘Shapes, not details’ challenge
Sue Woodgates (Tel: 01778 392062)
([email protected]) (pages 21 to 23). All the finished work is shown on a dedicated LP
Accounts
[email protected]
Painting Project area of our website at www.painters-online.co.uk.
Events Manager There’s also the 50th anniversary competition to enter, based this
Caroline Griffiths
Subscriptions & Marketing Manager month on Arthur Begg’s still-life feature (pages 27 to 31). We’re
Wendy Gregory
Subscriptions
looking for drawings and paintings in any medium of any still-life
Nicci Salmon & Liza Kitney
(Tel: 01580 763315/763673)
subject. With £50 worth of art materials vouchers from Great Art
Online Editor to win each month, we would love to see everyone’s work in our
Dawn Farley
Designers anniversary competitions, including beginners to painting.
Alison Renno
Sarah Poole This is a good time to think about the work you will enter for our
Leisure Painter is published annual Open Competition/Exhibition (held at Patchings Art Centre
every four weeks by:
The Artists’ Publishing Company over the summer, submission deadline 31 March, see pages 54 and
Limited (TAPC), Caxton House,
63-65 High Street, Tenterden, 55). There are £17,500 worth of prizes to be won for the exhibited
Kent TN30 6BD
(Tel: 01580 763315) work and an opportunity to see your drawings and paintings
Publisher displayed in the magazine, on our website and on social media.
Dr Sally Bulgin, Hon VPRBSA
The recipient of the Leisure Painter Award this year will see a
Publication of an article or inclusion of
an advertisement does not necessarily showcase feature on his or her work in the magazine. The
imply that TAPC is in agreement with
the views expressed, or represents competition is a terrific opportunity to highlight the talents of
endorsement of products, materials
or techniques. TAPC does not accept amateur painters – let’s make it the best year yet.
responsibility for errors, omissions
or images received in good faith If you are a beginner or new to Leisure Painter, please don’t
Annual subscription rates:
UK £39.99 (includes Northern Ireland); hesitate to enter these competitions and challenges. Beginners
USA $80; Canada $92; EC member
countries €67; all other countries often produce better results than they think and it’s all good
(sterling rate) £50
practice in entering art competitions and having your work shown.
Foreign currency prices include
bank charges. Payments made Wishing you a happy and creative year ahead,
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)
MARCH 2017 issue on sale 27 January
www.painters-online.co.uk FEBRUARY 2017 3

LP02 4-5 Contents_News 1st 13/12/2016 15:45 Page 4
Contents FEBRUARY 2017
40
18 46
21 Shapes, not details
IN EVERY ISSUE Part 2 Gather your own water-soluble media
and paint a street scene with figures from
7 Diary 57 Books a photograph, by Fiona Peart
Things to do this month Some of the best practical art
books are reviewed 24 Drawing matters
8 Exhibitions Part 1 Pick up a pencil and begin to draw
Some of the best shows 59 Art clubs with Anne Kerr. This month, create texture,
around the country News, profiles, exhibition listings light and shade using four graphite pencils
and ‘best in show’ gallery
10 Letters 27 Simple beauty
Your tips, suggestions, 66 Online gallery Find simple objects to compose and paint in
ideas and questions Jane Stroud chooses two Arthur Begg’s guide to painting still life in oils
paintings from PaintersOnline
33 Coming in to land
Make the most of watercolour’s transparent and
lively properties with a wet-in-wet watercolour
painting of a puffin, by Rachel McNaughton
FEATURES
12 Your painting life 36 Understanding colour
Steve Strode offers ten top tips for leading Part 15 How to use the cool red earths in your
a creative and productive painting life palette, by Tony Paul
16 Painting project 40 From photo to painting

Part 1 How to change a spring scene into Part 2 Follow Elena Parashko as she transfers
a painting of melting snow on a winter information in three photographs to a finished
lane, by Jem Bowden painting of a butterfly in oils
On the cover
Arthur Begg Trowel and Secateurs, 18 Painting project 43 Watercolour problem solver
oil, 10x12in. (25.5x30.5cm). Learn
how to set up and paint still lifes on
Part 2 Follow Colin Steed as he paints Part 2 Tim Fisher answers a reader’s question
pages 27 to 31 two watercolours from one photograph on painting foliage; this month, how to add
of boats taken at Blakeney, Norfolk several different trees to one watercolour

LP02 4-5 Contents_News 1st 13/12/2016 15:45 Page 5
Coming
48
next month
Learn to draw and paint successfully with
Leisure Painter. Here are just some of the
highlights to be found in the March issue
ON SALE 27 JANUARY
n How to paint delicate
snowdrops step by
step in watercolour
n Tips and techniques
for drawing with
water-soluble
graphite pencils
n Paint realistic three-
dimensional skies
using acrylics
n How to paint
foliage and buildings
in the landscape
n Transfer a sketch
27 and a photo into a t

Julie King Snowdrops,
watercolour painting watercolour, 1012⁄ x814⁄ in.
n A beginners’ guide to
(27x21cm). Use a variety of
OFFERS, HOLIDAYS & COMPETITIONS printing: linocutting
techniques and just five colours
to paint this scene next month
6 Enter February’s 50th anniversary competition PLUS n Paint fleeting winter
your chance to win Wendy Jelbert’s new book, From light in oils
Sketch to Watercolour Painting, from Search Press LEISURE PAINTER
n How to use the warm ON-SALE DATES
32 Save money when you subscribe to Leisure Painter dark browns in your Issue On sale
this month palette April 24 February
50 Join a host of well-known artists in this year’s painting May 24 March
n Follow step-by-step June 21 April
holiday lineup from Leisure Painter and The Artist demonstrations July 19 May
54 £17,500 worth of prizes to win! Call for entries Summer 16 June
n And much more! August 14 July
to the Leisure Painter Open Competition 2017,
in association with Patchings Art Centre
56 Take advantage of the latest offers on practical art
books in LP’s online bookshop at PaintersOnline
58 How to win fantastic prizes and a place in this year’s

Art Club of the Year exhibition
67 Your chance to win one of eight sets of liquid acrylics

from ProColour
46 Fairy light
Draw a delicate rendition of a fairy, with Trudy Friend
48 Loose and lively oils

Learn how Richard Holland splashes, dribbles and scores his oils
50 A walk on the moor: winter t

Christine Pybus Winter Landscape near Ugthorpe, oil on board,
Follow Tony Hogan as he paints Bodmin Moor using acrylics 10x14in. (25x35cm)

Feb page 11_Layout 1 16/12/2016 09:59 Page 3
& PAINTERSONLINE
in association with Great Art
ANNIVERSARY COMPETITIONS 2017
To celebrate LP’s 50th and PaintersOnline’s 10th anniversaries
we continue a year of painting competitions for Leisure Painter readers
FEBRUARY’S COMPETITION Trowel and Secateurs,
PRIZES
M
(25.5x30.5cm). oil, 10x12in.
by the horizontal Recession is achieved
composition. The triangular
are lost and the top edges of the pot
are only loosely details of the secateurs
main interest onindicated, leaving the
of the blade in the trowel. The curve
is a critical partrelation to the handle
Using the information found in

of the compression,
We are delighted to announce exclusive

note the highlight
corner of the blade.on the top left
Such simple
observation and arrangements make interesting studies
The art of of the cut glass right) and the knowledge gained
can be put
The painting tray (above
a silver s.to good use in your larger works.
bottle on ng problem
more interesti ition.
presents consider the compos I
tray,
First, let’s
Arthur Begg’s article (pages 27 to 31),

g the entireso the items Step 2 Block
sponsorship by Great Art throughout
M
By not includin Balanced compositio
subject close If theyInhad n 1 Using in
brought the
a
size. the painting of objects No. 4 short flat
painted life the detail,grinder such the coffee pot ,
and not varying the tone brush, rough
could be smaller, of the (page 48) I was interestedand
been painted round the edge the copper forgetting the and hue in the
to contrast between the polished in jug. At reflecti to indicat two
as the beading have been
difficult metal
I also wood.
work and the
had matt finish of
2 Then
go
this stage, on of the e the form
tray, wouldthe tray had feet, the the When it came adjustm over it, strengt roughly colour bottle in the
ents as
depict. As that the space beneath the coffee pot to painting found edges necessa hening the darksthe background.
set up and paint an original still life

were it was more about are and ry, noting where and making
Then there
this year’s anniversary competitions

to ensure painting the reflections cylindr taking
convincing. r. pot itself. in it than the ical
the bottle. form of the care the lost-an
tray was ns to conside is not as The subtle tonal change jug and to maintain d-
least overnigHaving comple the the
the reflectio n of the bottlebetween tray the white cloth ht to dry. ted this hexagonal form
The reflectio bottle, but
as thereflection in the body of and its stage, leave of
the coffee it at
you see the beneath; the same
sees it, from und. That Coffee Pot and
M
the backgro the Grinder, oil, 10

applies to to be behindbe nearer x12in. (25.5x30.5cm)
which appears
in any medium and using any objects

will
of the bottle
shoulder in the reflection.
bottom box covered
the tray on a
I stood the so that the
tablecloth hung vertically.
with the
Each month’s winner will receive £50

pattern composition
embroidered brought the was a
This again the embroidery er
forward andthe cut glass. Rememb glass is
as your inspiration. Please upload your

nice foil to the pattern on the close
of
that part side and it needed
on the far to work out the curves of
observation of the diagonal the tray
worth of art materials vouchers to spend

intersection in the glass. For and that
the cut lines ellipse of
the base t levels
itself, the edge are at differenare
entry by 12 noon on Thursday 23 March.

of the top the upper left we rim, while
so that on the inside of the at
looking at right we are looking see the
at the lower At the back, we rim.
of the
at www.greatart.co.uk, through the Great

the outside. of the inside read correctly
reflection
these ellipses
Ensuring ,
is quite tricky. th gives richness
The red backclo the bottle
green of reflected
with the
contrasts ideal colour to be refer to
and is an The tablecloth, we
there is
(25.5x30.5cm) in the tray.but in painting it, Instead
Art catalogue or at Great Art’s new shop

oil, 10x12in. as white, white to be found. the left Step 3 Add
M
and Silver, little pure yellow tones to bottom Now begin the highli
M
Cut Glass buildin
we see coolof warmer tones, sequen
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ery at the baseI used for this highlights. The
with a hintonly does the embroid
right. Not to the glass, but itional
also Following of the jug step. I lighten following is
and the
a foil spout then this I painted strengtheneded the central
act as the compos at first rim of the on the handlethe highlight some of the
area
helps to balance So, what
the bottle. painted close edge. I base was and on the darks.
worked its reflection rim of the
at Kingsland Road, London E2

weight of when the light
then added on, indicat in the body.
appears simple, ated. the highlig
JUDGES
passed ing the
s quite complic through hts: dark The
up becomefeeling of three- the the bottle the green one upper
a portraying and the where
Creating space and should be orange
dimensional of the objects
one.
caricature
your aim. Step 4 Refin
M
1 I added e the
10x12in. and rim the two small painting
Boot, oil, the copper of the bottle, white highlig
Dr Sally Bulgin, publisher

The Unlost This painting depicts y and the hts
2 Finally reflected light
M
lights of on the neck

(25.5x30.5cm). boot of a pair; was left top down I repainted thefrom the jug. the ribs and
sole surviving one the
www.painters the other home. edges and to the base, background,
unfortunately
-online.co.uk to drive of
I changedsoft comfort shadow the shadow
taking
care of working from
behind when capture the were. from the s. Note the
the green found-and-los
the
I aimed to scuffed though they a found bottle.
M
tint in the t
the leather, that there is hardly the top FEBRUARY 2017
You will see painting: one by and one 47
Dawn Farley, editor, PaintersOnline

The finishe
edge in thisone on the lace tab rest of
M
The hardbo d paintin
lace hole, by the heel.changes in tone
ard, 8x10in. g Bottle
and Copper
in the instep
is depicted
by (20.5x25.5cm
Jug, oil
the form ) on
www.painters
and colour. -online
.co.uk
ine.co.uk
www.painters-onl
Ingrid Lyon, editor Leisure Painter 46

FEBRUARY
2017 FEBRUARY
2017
49
HOW TO ENTER & CONDITIONS OF ENTRY

Only online entries can be Click through the Current Painting 4 You will be invited to send a
accepted. Only original work Competition links to Anniversary high-resolution image of your
will be considered and paintings Competitions 2017. You must winning entry to Leisure Painter
based on reference photographs be registered and logged in to for publication in the magazine
must have been taken by the PaintersOnline before you can in spring 2018.
artist or used with the permission upload an image. 5 All work entered will be
of the photographer. Only one 2 Upload your February entry by featured on our website at
painting per artist each month the closing date of 23 March www.painters-online.co.uk.
will be accepted. at 12 noon. 6 The judges’ choice will be final.
1 Online digital entries must 3 Entries will be judged after 27 No correspondence will be
be sent via our website at March and the winning entrant entered into.
www.painters-online.co.uk. will be informed early in April.
PAINTERSONLINE and
Search Press Competition
PaintersOnline, the online
home of Leisure Painter and ENTER NOW
The Artist, has teamed up with
Search Press to offer you the To win one of 10 copies of
chance to win one of ten copies From Sketch to Watercolour Painting
of From Sketch to Watercolour by Wendy Jelbert from
Painting by Wendy Jelbert. Search Press please visit
Wendy Jelbert begins her book by
asking the question ‘why sketch?’ the home of
Her answer is that it is the best way and
to record inspirational scenes and to magazines, and click on the links
capture special moments. Through a to competitions. Closing date
series of step-by-step projects,
Wendy demonstrates how to
for entries is April 1, 2017.
develop your sketching skills and to Winners will be selected at
transform a sketch into a finished random from all online entries.
painting. Everything is covered from
When completing your details please
capturing detail, composition and make sure you opt in to receive our
texture to making the most of your Search Press is the leading art and craft great regular email newsletters so that
sketchbooks. Many of Wendy’s publisher in the UK, specialising in fine art, we can keep you up to date with what’s
finished paintings and the sketches textiles, general crafts and children’s new at PaintersOnline, including the
that inspired them are included crafts. For more information visit latest features, images in the galleries,
throughout the book. www.searchpress.com new competitions and other great offers.

Diary 2_News 1st 12/12/2016 09:45 Page 6
Diary
THINGS TO DO THIS MONTH
Public vote
The New Art Gallery Walsall is inviting visitors to vote
for their favourite artworks in the collection in
celebration of its 125th anniversary. From Victorian
genre paintings to contemporary installations, there
are over 3,000 works to choose from in a collection
dating from the foundation of the original art gallery
in Walsall in 1892. The most popular works will go on
display in the gallery next year. Vote for your favourite
via the People’s Choice page on the gallery website
www.thenewartgallerywalsall.org.uk/collections
Voting closes at the end of January 2017.
Léon Spilliaert Le Pont au-delà de Zandvoorde, pencil and watercolour,

t
12x191⁄2in. (30.5x50cm) exhibited by the Lancz Gallery at the Works on Paper

Fair, London from 9 to 12 February
ART FAIRS
n Works on Paper Fair
The long-established Works on Paper Fair will return to the
Royal Geographical Society, Exhibition Road, South
Kensington between 9 and 12 February, offering work for
sale at a wide range of prices. Each year the fair hosts a
loan exhibition of paintings not normally on display to the
public, and this year features the collection from Eton
College, which includes works by Gainsborough, Cotman,
Girtin, Turner, Rowlandson and Samuel Palmer as well as
One of the A5 paintings on sale in the Secret Postcard Sale,
t
major 20th century works. Full details can be found at
on 9 February at The Bankside Gallery, London
www.worksonpaperfair.com; telephone 01798 215 007.
n Oxford International Art Fair
Secret Postcard Sale Between 24 and 26 February, Oxford Town Hall will host
On 9 February, the Bankside Gallery in London will be the Oxford International Art Fair, bringing together
providing a unique opportunity to purchase original works contemporary art from around the world, including
by members of the Royal Watercolour Society and painting, sculpture, photography, illustration, jewellery and
distinguished guest artists for a fraction of their usual price. bespoke crafts. For more information go to
All the participating artists have created special A5 postcard- www.oxfordinternationalartfair.com
size paintings, each of which is priced at £60 and offered for
sale without divulging who has painted it.
During the evening there will also be a raffle and silent Call for entries
auction of RWS paintings. All proceeds go towards prizes The deadline for the annual Royal Watercolour Society
awarded in the RWS Contemporary Watercolour Competition. Contemporary Watercolour Competition is fast approaching.
See right for details. For more information contact the All entries must be in by Monday 16 January. To download
Bankside Gallery, 48 Hopton Street, London SE1; an application pack and for full details go to
020 7928 7521 or visit www.royalwatercoloursociety.co.uk www.royalwatercoloursociety.co.uk/competition

LP Feb 2017 Exhibitions p8-9_Layout 1 12/12/2016 09:48 Page 2
LONDON
ExhibitionsJANE STROUD RECOMMENDS

n Bankside Gallery
48 Hopton Street SE1. 020 7928 7521.
‘The Mini Picture Show’: works on a small scale by
artists from the Royal Watercolour Society and the
Royal Society of Painter-Printmakers, until 22
January.
n Dulwich Picture Gallery
Gallery Road SE21. 020 8693 5254. ‘Adriaen van de
Velde: Master of the Dutch Golden Age’, until 15
January. ‘Vanessa Bell (1879-1961)’, 8 February
to 4 June.
n Mall Galleries
The Mall SW1. 020 7930 6844. ‘FBA Futures’:
featuring work by 2016 art graduates selected from
across the country by members of the Federation
of British Artists, 9 to 20 January. ‘The Pastel Society
Annual Exhibition 2017’: including work in pastel,
pencil, chalk and charcoal, 21 February to 4 March.
n National Gallery
Trafalgar Square WC2. 020 7747 2885. ‘Beyond
Caravaggio’, until 15 January. ‘Australia’s
Impressionists’, until 26 March.
n The Queen’s Gallery
Buckingham Palace SW1. 030 3123 7301. ‘Portrait
of the Artist’: including more than 150 paintings,
drawing, prints, photographs and decorative arts,
examining portraits of artists from the 15th to the
21st centuries, until 17 April.
n Royal Academy of Arts
Piccadilly W1. 020 7300 8000. ‘Revolution: Russian
Art 1917-1932’, 11 February to 17 April. ‘America
After the Fall’: painting in the 1930s, 25 February to
34 June.
n Tate Britain
Millbank SW1. 020 7887 8888. ‘Paul Nash’:
featuring work from all stages of his artistic career,
from early symbolist paintings through the iconic
works of the First World War to post-war
landscapes, until 5 March. ‘David Hockney’:
retrospective exhibition as the artist approaches his
80th birthday, 9 February to 29 May.
REGIONAL
n Gallagher & Turner
30 St Mary’s Place, Newcastle upon Tyne. 0191 2761
4465, ‘Cornish on Tyneside’: celebrating Norman
Cornish’s relationship with the city of Newcastle,
until 4 February.
n Harbour House
The Promenade, Kingsbridge, Devon. 01548
854708. ‘Dave Roper: Artist in Residence’, 17 to 28
January.
n Ilminster Arts Centre
East Street, Ilminster, Somerset. 011460 55783. ‘It’s
a Wonderful World’: celebrating the beauty of the
world around us, through photography, painting,
t
Jean-Paul Tibbles Jean, 2015, oil on canvas, 42x30in. (106.5x76cm) textiles and 3D work, 23 January to 11 February.
n Russell-Cotes Art Gallery
BP Portrait Award 2016 and Museum
Anyone who failed to catch the annual BP Portrait Award at the National East Cliff Promenade, Bournemouth. 01202 451858.
Portrait Gallery in London will have a second chance as it travels to the ‘Meeting Modernism’: 20th century art in the
Russell-Cotes collection, including work by
Scottish National Portrait Gallery in Edinburgh this spring. The exhibition Rothenstein, John Minton, Laura Knight and
features 53 stand-out works from this year’s competition, selected from a Graham Sutherland, amongst many others,
total of 2,557 entries. First prize was awarded to Clara Drummond for her until 24 April.
painting, Girl in a Liberty Dress. The portrait pictured above by Jean-Paul n Sarah Wiseman Gallery
Tibbles is of the artist’s son, Jean, painted in 2015 when he was 14. This is 40-41 South Parade, Oxford. 01865 515123. ‘On
Meadow and River’: textured landscapes by Peter
the fourth time that the artist has had work accepted for the award. Kettle, 14 to 28 January.
The BP Portrait Award continues at the Scottish National Portrait Gallery, n Victoria Art Gallery
1 Queen Street, Edinburgh until 26 March. For more information telephone Bridge Street, Bath. 01225 477233. ‘A Bath Painter’s
0131 624 6200. Travels:’ new paintings and drawings of Bath and
beyond by Peter Brown, until 19 February.

LP Feb 2017 Exhibitions p8-9_Layout 1 12/12/2016 09:49 Page 3
Jean Rose At the Garden Centre, oil on board, 18x231⁄2in. (46x60cm)

t
The Poetry of the Everyday

Jean Rose is very well known in Bath, where she can often be the city. This is her first one-woman show in Bath since 2008.
seen painting shoppers and dog-walkers. One of the first Jean Rose: The Poetry of the Everyday continues at the
artists to enrol at the Bath Academy of Art in the late 1940s, Victoria Art Gallery in Bath until 19 February. Visit
Jean is still painting works that celebrate the everyday life of www.victoriagal.org.uk for details of opening times.
Home Alone
This playful exhibition by
Northumberland artist, Gavin Watson,
explores the world of man’s best friend
once the door is closed and he’s left to
his own devices. There’s mischief,
mayhem and melancholy featuring
dogs of all kinds – from Dalmatians to
Jack Russells.
Home Alone can be seen at the
Jonathan Cooper Park Walk Gallery,
20 Park Walk, London from 2 to 25
February. Telephone 020 7351 0410.
Gavin Watson The Postman Only Rings,

t
oil on canvas, 12x14in. (30.5x35.5cm)
All information given here is correct at

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

February letters_News 1st 13/12/2016 09:24 Page 11
Letters
Good advice
Well over 20 years ago, I attended a
good art college at evening school,
where I enrolled for courses in basic
drawing, and painting in various media
and pastel, the latter – along with chalk
YOUR COMMENTS, IDEAS, and charcoal – became my favourite.
TIPS AND QUESTIONS Watercolour always scared me, but
thanks to excellent teachers and their
technical advice, I managed to produce
one or two acceptable paintings.
if necessary, to modify the light and Unfortunately, due to job relocation,
dark tones within them. I wasn’t able to continue with the
Franco Barbieri courses and, as with a lot of people I’m
sure, my art along with other hobbies
Lowering expectations were put on ice.
Having discovered the joy of painting As time passed so did artistic
some years ago, I also discovered a confidence and, although I was aware
growing frustration with not being able that the art materials I had collected
to produce the kind of finished painting were gathering dust, I had no idea what
I was hoping for. In my mind, I knew to paint or how to start again.
(more or less) what it was that I had to Years later, we moved to Lincolnshire,
achieve, but my efforts would all too a county of big skies, and whilst out
often fall well short, leaving me feeling walking, I would look at the colours and
disillusioned, almost to the point where the formations, and think about how
I considered giving up painting and they worked with the colours in the rest
consigning my art materials to the bin. of the countryside. I then remembered
My interest was kept alive by regular two important pieces of advice that my
copies of Leisure Painter dropping course teacher gave me all those years
through my door with step-by-step ago, when I was daunted by a sheet of
guides to painting by artists I have come blank paper. First, just daub on colour
to know and love. Regular visits to and allow the paint to take you ‘for a
galleries and exhibitions also helped. ride’. The second piece of advice: paint
However, what helped me most was the what you see and not what you think
Franco Barbieri Spring is Here, watercolour,
11x8in. (28x21cm). Using computer software
realisation that I needed to lower my you see.
programs to simplify and blur the photographs expectations and not focus on the Last year I won first prize in a small art
you are copying will help you see contrast and finished artwork, but to enjoy the process
tone, not detail. competition and, although it was a tiny
of creation. entry, it gave me the push to undo my
Simplify your photographs I view every painting now as a practice boxes of art materials and get cracking
For many years I painted with oil colours, piece rather than a masterpiece and I again! I have managed to find local art
but my house is small and my family expect to throw away a painting rather classes and have attended a few day
found the smell of turpentine than my materials. One of the great courses, including a Chinese Brush
unbearable. I then tried with benefits of lowering expectations has painting course, which was wonderful.
watercolour, copying fast-and-loose been a freeing up of my style and Leisure Painter has given me a huge
watercolour artists, such as Steve Hall, brushstrokes, resulting in looser and push as well. Monthly information on
but when I reverted back to painting livelier work. Mistakes are made, local courses and exhibitions, and
from my photos, I always committed the accepted and learnt from. I believe I contributions from other amateur
same errors: too much precision and too learn little or nothing from painting artists on the letters’ page, really help
many brushstrokes. perfection. Due to this, my enjoyment to boost confidence.
I then hit on the idea of modifying my of my hobby has increased, along with Gwyneth Roper
original photos using a free and easy-to- the quality of my paintings.
use computer program, called Paul Howes
FotoSketcher. I crop my photographs to Send your letters to
follow the rule of thirds then apply a Mount a finished oil painting Leisure Painter, 63-65 High Street,
variety of filters and changes until the I found Tony Paul’s reply to Ivor Tucker’s Tenterden, Kent TN30 6BD.
image appears with less detail and question on how to mount a finished oil Alternatively, email the editor at
colour, and with fewer sharp edges. I painting (LP, January) interesting. The [email protected].
then print it out. response included the advice to ‘borrow All letters published here win art
I find that it’s much easier to paint a rolling pin’. May I suggest buying a materials, courtesy of Daler-
from an image that has already been wallpaper roller? It is rubber and has a Rowney. For details of all
simplified, showing softer edges and decent handle. I have used it for many Daler-Rowney products visit
subdued colours. It’s also easier to years so I know it works. www.daler-rowney.com
distinguish large areas of foliage and, Derek Gowers

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LP02 12-15 Strode_final_Layout 1 13/12/2016 15:46 Page 12
Inspiration
Your painting life

Are you ready to begin painting or need more inspiration? Steve Strode
offers ten top tips for leading a creative and productive painting life
LEARNING OBJECTIVES
n
n
Try ways to boost your creativity
Focus on your drawing and
painting
W hether you’re just starting out
or looking to reinvigorate your
practice, embracing a few small
changes will make a big difference to
your painting this year, no matter when
own practice, which helps me to
maintain creativity and gather new
momentum whenever my creativity
becomes stale. So, over the coming year,
why not give some of these a try?
you begin.
n Keep inspired throughout 2017 The following ten tips contribute to my
1Carry a sketchbook
I carry a sketchbook and draw in
it most days, if only for a couple of
minutes. Developing our perception
of light, shadow, edges and spaces
improves the way we see. Try to use
different media like graphite, ink,
carbon or charcoal. Not just for drawing,
my sketchbook is a repository for all
things arty, including notes or ideas that
may be useful in the future.
Buy a hardback pad that fits in your
pocket or your bag. Inspiration can
strike at any time, and having a pad
at the ready will become a habit you
won’t want to break.
t
Pick up an A5 sketchbook then try different pens, pencils and even paint 2 Visit a museum
Visiting a museum or gallery is a
t
Working in the garden is a good step into plein air painting, as you can
just step inside again for anything you need. I use the painting box a lot
t
Sketch inspired by The Mower 1895 bronze by William outdoors and, as the work is rarely larger than the lid, it encourages the
Hamo Thornycroft in an A5 sketchbook quicker, looser studies I like so much.

t
River Llugwy, acrylic on canvas, 512⁄ x8in. (14x21cm). This is a quick study of a riverbank in Betws-y-Coed. Working in fast-drying acrylics
on a hot day allowed me to layer thin glazes for the water.
superb opportunity to start or develop

your life-drawing skills. In times gone
by, art schools and academies didn’t
starts than from one painting that may
become overworked long after the
learning has taken place.
5 Start a library
How many books or DVDs have you
discarded after following a few step-by-
allow students near a live model until Set aside one-hour blocks and explore step demonstrations before moving on to
they’d served their time with the cast colour, composition or tone. Look at the the next sure thing that will have all the
so you’ll be in good company. Daily Painters movement, inspired by answers? I had a shelf full when I started.
Sculpture rooms are good places to Duane Keiser, or check out Carol Marine’s Truth is, there’s no one such book, but a
begin if you’re intimidated by the life book, Daily Painting: Paint Small and collection of good resources that will feed
model. You can also revisit the pose day Often to Become a More Creative, your painting for years to come.
after day and work at your own pace. Productive and Successful Artist. Good books will always have a place in
It’s not a substitute for the model, but it
can prepare you for the real thing, as
you work on the basics.
3 Paint from life

Set up various objects on the kitchen
table. For many beginners, this is
often the first taste of painting from life.
We can gain a greater understanding of
the basic principles in this controlled
environment. Take baby steps and begin
with single objects as you explore the
different aspects of painting, such as
composition or lighting.
Aim to draw or paint one object
at a time and do it well. As you become
more experienced, progress to painting
in the garden or a quiet corner of the
park to develop your skills.
4 Make studies
The word ‘painting’ often implies
a finished product; remove that pressure
and make studies instead. Some of the
best advice I had when starting was from
the artist, Kevin McPherson. He believes,
‘the more you paint, the more you learn.’ t
Blue Pot and Nectarines, oil on canvas, 7x8in. (18x23cm). Keep it simple to begin,
You’ll achieve more from a thousand but gradually add more items to explore composition and colour.

t
Penwith Coast, mixed media, 8x8in. (20x20cm). Painted without brushes, I could also see the benefits of following Tip 6 (below left).
The more abstract elements creeping into my work come from sessions just playing with paint and seeing what develops.
the library if you’re still dipping into will feed into your usual painting results you’d like to see in your own
them year after year, but every so often practice. work so what are they doing that you’re
have a cull. Experience will see you not? Find the tools to help you model
outgrow some resources so pass on
what you don’t use to another painter
who’ll value it.
7 Try something different
Try something different and set
yourself a challenge. Ask yourself, for
their behaviour. Do you need a book to
brush up on your colour theory or find a
DVD of that artist at work? Do you need
instance: How would Picasso paint this? a course to focus on your weak areas?
6 It’s all about the paint

All painting is abstract to some
degree, and the formal qualities, such
What would I produce if I used anything
but brushes, or worked with my non-
orthodox hand?
Model other painters, but don’t make
negative comparisons. Improvement is
gradual, but assured if you persist. Above
as colour, tone or perspective that we Approaching the usual in unusual all else, be the best you can be with the
use to judge figurative painting, will ways is not novelty for its own sake. skills you have at the moment and keep
also apply to abstract works. Make Brain research into doing things plotting your progress.
time to play with the paint and create differently (neurobics) shows that new
abstract studies. Removing figurative
content prevents us from being
influenced by the subject matter and
neural pathways are created, and mental
fitness is improved in the process. Put
new ideas down on a set of cards. Once
9 Begin a project
Projects are great for creating a body
of work, especially if you have difficulty
concentrates judgement on those in a while shuffle the pack, pick one and finding single subjects to paint. For
formal qualities alone. follow the instructions. It’s surprisingly example, my current venture, Mersey
Be fearless and go for it. Paint a fun and may just change your approach Shore, aims to document the coastline
series of small pieces, making each to painting. of the Mersey estuary. I walk, draw and
mark different than the last. Once done, paint along the coast, producing different
crop a section of the study and create a
picture. Over time, the benefits you reap 8 Model another’s behaviour
A painter you admire is achieving the
genres of artwork, such as urban and
rural landscapes, still life and abstract

Inspiration
studies, whilst keeping a journal to

document my progress and research.
A project can give your work more
focus and intentionality so don’t wait for
inspiration to strike, go in search of it.
10 Step outside
Painting can be a solitary business
so make time for networking and
become more involved in your local art
scene. Subscribe to other artists’ websites,
or what’s on art sites. I visit other artists
in their studios and attend private views
and gallery shows whenever I can. This
would have been quite alien to me when
I first started, but I’ve learnt so much and
had great support along the way from
other painters.
As you become more experienced, look
at what galleries and other venues, such
as libraries or coffee shops are showing,
and recognise the standard of work
you’ll have to produce as you progress.
We are where we are right now,
because of what we know, the hours
we’ve put in and the habits we’ve
developed. It’s easy to become
comfortable with our skills and think
we’re the finished article, but that’s rarely
the case. Develop a growth mind-set.
Make small changes, cultivate new habits
and keep moving forward, and next New
Year shake things up again, because the
joy is in the journey. LP
t
Basel, Light Effects on Minster and Rhine, after Ken Howard,
oil on canvas, 10x10in. (25.5x25.5cm). Learn from the masters.
This was inspired by a book I own, Ken Howard’s Switzerland:
In the footsteps of Turner.
FURTHER IDEAS
When I started painting figuratively I invested in two books.
The excellent Betty Edwards’ Drawing on the Right Side of
the Brain has yet to be surpassed for the beginner, and
Richard Schmid’s book on painting (below) is still serving me
well years later. However, other painting books in my library
are just as informative. Basic information won’t change,
only the way it’s packaged. Here’s a selection of painting
books I still dip into:
l Alla Prima: Everything I know about Painting
by Richard Schmid
l Fill Your Oil Paintings with Light and Color
by Kevin Macpherson
l Landscape Painting Inside and Out by Kevin Macpherson
l Catching Light in Your Paintings by Charles Sovek
l Daily Painting: Paint Small and Often to Become a More
Creative, Productive and Successful Artist by Carol Marine
And drawing titles include:
l Drawing on the Right Side of the Brain by Betty Edwards
l Keys to Drawing by Bert Dodson
l The Natural Way to Draw by Kimon Nicolaides
Steve Strode
Find out more about Steve, his work and classes
at www.stevestrode.blogspot.com and on our
t
One of the iron sculptures from Anthony Gormley’s Another Place website at www.painters-online.co.uk
at Crosby on the Mersey shore. Immerse yourself in a project and
work from life whenever you can.

LP02 16-17 PP1_final_Layout 1 13/12/2016 15:47 Page 16
Paint along with LP
Painting project
Part 1 How to change a photograph taken in spring into
a painting of melting snow on a winter lane, by Jem Bowden
t
Our main photographic reference: a spring lane, which we will be changing into a winter painting in this project
LEARNING OBJECTIVES
n How to paint successfully
from photographs
n Turn a spring scene into
a snow-laden landscape
n Add extra elements to the
main reference
I often like to take inspiration from a

photo then move away from it in other
ways. It is too easy to end up copying
precisely from a single image, where
some aspects are not clearly visible. Your
creative input is minimal and the freedom
of your brushstrokes is limited, resulting
in a stilted-looking painting. Many artists
agree that there is little point in simply
replicating a photograph, and in this
painting project I want you to take a
journey from the photograph (above)
into the unknown!
t
This photograph could be used as reference for an ivy-covered tree in winter The photo has already been cropped

Paint along with LP
down from a broader view and it shows composition will work as a

a spring scene of an old ivy-covered tree painting. You need to see
on a narrow lane with a hillside in the where the areas of dark-
distance. So, how do you turn this into against-light and light-against-
a seasonal winter scene? dark (counterchange) fall and
whether or not they work.
The subject Sometimes minor adjustments
This composition has enough elements for will be needed to your first
a good painting: a feature tree, a lead-in ideas, and other times more
(the track), good depth (from foreground of a major re-think. Don’t feel
to far off hill) and a glimpse of a view to precious about such sketches,
the side of a field beyond the old fence just draw something, look at
posts. I decided it would be good to paint it to gauge what works and
a landscape with snow half melted, which what can be discarded.
could include more colour than a pure After further deliberation
snow scene. To make this convincing I eventually settled on the
I needed to work out various elements. compositional sketch (below).
I began making small sketches, trying out Here the tree on the right has
a composition where the distant land is been added, which provides
still snow covered and obviously on extra depth to the composition.
higher ground than where it has melted. It also suggests other trees
I also had the idea of introducing puddles, beyond and out of view, which
which will provide opportunity for cast interesting shadows over
reflections and therefore add interest. the road. I shortened the wall,
Being winter there would be little foliage as its length only obscured the
so I introduced more trees to the view of the field, which wasn’t
composition, and decided to make the helpful. To make the most of
hedgerow on the left a moss-covered wall the puddle reflections, I added
instead. I found another photo showing a telegraph pole to the left of t
Consider including puddles in your winter landscape
how ivy often covers tree trunks (below the main tree, and decided to
left). I would also have shadows across make the shape of the tree a little
the road, cast by trees, as seen in the more interesting than in my original
same photo. Shadows in winter are reference photograph.
longer, because the sun doesn’t rise as I also took all tone out of the sky
high in the sky. These are important behind the tree so that it stands out Jem Bowden
details to feature in the painting, as they well, dark against light. Jem provides demonstrations,
help convey reality in a convincing way. Next month I will take you step by workshops, one-to-one tuition,
In order to make space for puddles, step through the painting process of weekly classes and tutors
I decided to widen the narrow track into the finished watercolour. I will discuss on painting holidays. Next
a road. Finally, I thought it would be good colour, mark making and the order of painting holiday: Wye Valley in
to make more of the field to the left in my washes, to help ensure our ‘fictionalised’ watercolour, 9 to 14 July 2017,
main photo. I could open up the view snow scene will be convincing, as with Alpha Painting Holidays
with a muddy gateway and sparse fence well as appealing on the eye. In the (www.alphapaintingholidays.co.uk).
posts to show half-melted snow on the meantime, don’t forget to send your Find out more by visiting
field, and perhaps have the gate and finished paintings to [email protected] www.jembowdenwatercolour.co.uk
posts reflected in puddles. for inclusion on the painting project area
Puddle reflections can be quite of LP’s website, PaintersOnline. I hope
complicated and surprising, since what is you enjoy working from these photos. LP
reflected depends on the distance away
from the puddle and the viewer, and the
relative height of both. I looked through
photos of puddles – one of which can be
seen top right – to ensure my ‘fictional’
reflections would be relatively convincing.
To make sense of the shadows, I needed
to paint a fairly sunny sky. At the same
time I ensured it was darker in tone than
the distant hillside so the white of the
snow showed up when set against it.
Snow scenes are one of the few instances
where the sky is often darker than the
land. For a striking painting it can be
good to enhance – or even exaggerate
slightly – such tonal contrasts.
Compositional sketches
This all sounds fine in theory, but putting
it together in a way that works can be
a challenge. Making simple 4in. tonal
sketches is often the best way to test out
your ideas. I always use a 8B pencil for
such sketches, as they achieve a full tonal
range from very pale to very dark. If you
sketch with lines, but omit tone, you t
This compositional sketch shows the general layout and tonal aspects of the winter
won’t gain a good idea of whether the painting I’ll show you how to paint next month

Watercolour
Painting project
Part 2 Add drama and colour to your watercolour paintings
with limited colours and a little know-how, by Colin Steed
LEARNING OBJECTIVES
n
n
How to paint successfully
from photographs
Focus on colour and contrast
I n last month’s issue I introduced you
to this lovely old barge (below) that
had been left high by the falling tide.
The image’s sheer simplicity appealed
to me. I then discussed how we could
and more contrast. We looked at
two of my paintings, which offered
suggestions that could work.
I finally decided to produce two
paintings: Low Sun, Blakeney, Norfolk
separately either produce a scene with plenty of with plenty of strong colour and Storm
colour and strong sunlight or a more Clouds, Blakeney, Norfolk (page 20),
n Become familiar with using atmospheric painting with less colour which has lots of atmosphere. LP
different brushes
Demonstration Low Sun, Blakeney, Norfolk
You will need

n Surface
l Canson Moulin du Roy
300gsm NOT surface
watercolour paper
11x15in. (28x38cm)
n Artists’ watercolour
l Alizarin crimson
l New gamboge
l French ultramarine
l Burnt umber
n Brushes
l Pointed squirrel mop No. 4
l Sable Rigger No. 4
l Pro Arte Series 100 Rounds,
Nos. 6, 8 and 12
n 4B drawing pencil
The photograph that

t
introduced last month’s project:

Blakeney, Norfolk
Step 1
t
1 Make a simple outline drawing of the scene. Wet the

paper using the No. 4 squirrel mop and plenty of water,
leaving the distant boats and foreground barge dry.
2 Paint from the top left-hand corner with a medium
strength mix of alizarin crimson and a small amount of water.
Create both beach areas and the water reflections by adding
new gamboge to the mix in varying strengths.
3 Change to the No. 12 Round and stroke in the dark clouds
with a strong mix of French ultramarine and alizarin crimson.
Create a feeling of aerial perspective by painting the clouds
progressively smaller towards the far distance.
4 Using the No. 6 Round and a mix of new gamboge,
ultramarine and varying amounts of crimson, paint the
distant land.
5 Add the yellow-green saltings on the left and the slightly
green touch along the water line with new gamboge and
French ultramarine. Leave to dry completely.

Step 2
t
1 Paint the hull, rudder and the inside front of

the boat using the No. 6 Round and mixes of
ultramarine and crimson.
2 Add new gamboge and a touch of water to paint
the cabin.
3 The cabin door is a mix of burnt umber and
ultramarine. Leave small beads of white paper
around the edges of the cabin and hull to suggest
a feeling of sunlight.
4 Tint all the small boats in the distance and
middle distance lightly with either ultramarine,
alizarin crimson or new gamboge. Leave some
parts of those boats white paper.
Step 3
t
1 Paint the mast and rigging with mixes of alizarin
crimson, ultramarine and burnt umber using the No.
4 Rigger. Don’t be tempted to paint all the rigging lines
and rope detail; less is more when painting a loose
interpretation. Suggest the cabin windows and edging
around the top of the cabin.
2 Using the side of the No. 6 Round and a dry dark mix
of new gamboge, French ultramarine and burnt umber
paint the green saltings on the left. Add a dark mix
where the green meets the beach.
3 When water meets sand or mud it tends to look dark
so to give that impression paint along the water’s edge,
dragging the brush up the beach to give a textured,
sandy effect. Use burnt umber, alizarin crimson and
ultramarine for this mix.
Step 4
t
1 Using the No. 6 apply a medium

strength mix of French ultramarine
and alizarin crimson for the small
shadow areas and use the No. 8 for
the broader shadow washes.
2 Paint the reflections for the boat and
masts vertically while shadows that fall
across the water should be painted
horizontally. Shadows cast across the
beach and boat should depict the
objects’ shapes and forms. Some
shadows on the beach are hard edged,
which are cast from objects that are
relatively close, while other shadows
have soft edges, cast from distant
objects like clouds.
t
t
Low Sun, Blakeney, Norfolk, watercolour, 11x15in. (28x38cm

Watercolour
Demonstration
Storm Clouds, Blakeney, Norfolk
Step 1
t
You will need 1 Begin by producing a drawing
using the 4B pencil; include three
n Surface gulls in the sky. Dampen the sky
l Canson Moulin du Roy down as far as the horizon with
300gsm Rough texture the No. 4 mop brush and water,
watercolour paper picking around the flag, masts,
11x15in. (28x38cm) distant boats and gulls.
n Artists’ watercolour 2 Add a weak light red on parts of
l Light red the sky then a strong mix of cobalt
l Lemon yellow blue and light red to the top left-
l Cobalt blue hand clouds, which should be
l Burnt umber dark. Add depth with weaker and smaller cloud 4 The water should reflect the sky colour. Paint
shapes on the lower part of the sky. the water in the distance first, working forward
n Brushes 3 Paint the beach areas using the No. 12 Round with a weak cobalt blue then adding light red
l Pointed squirrel mop No. 4 brush and a mix of light red, a hint of lemon as you go. Drag the side of a semi-dry brush
l Sable Rigger No. 4 yellow and cobalt blue. Use more lemon yellow across the foreground surface. This will give the
l Pro Arte Series 100 Rounds, and cobalt blue to paint the light green patches. impression of light glistening on the water.
No. 6, 8 and 12
n 4B drawing pencil
Step 2
t
1 Add the dark shadow sides of the barge next using the
No. 6 Round brush and mixes of cobalt blue and light red,
leaving white edges around the top of the hull and sides
of windows.
2 Add cobalt blue with lemon yellow mix to the top of
the cabin before changing to the No. 4 Rigger and light
red to paint the flag, masts and rigging. Always remember
to leave plenty of white edges.
3 Define the water line where the beach meets the water
with burnt umber using the dry-brush technique. The
dark green area can now be painted with lemon
yellow, cobalt blue and light red.
Step 3
t
1 Apply the shadows with a mix of cobalt

blue and light red using the No. 8 Round.
Paint this mix over the beach in the far
distance and some of the small boats. The
mix is a slightly stronger one for the
foreground beach.
2 Darken some parts of the barge and sails.
Add a cloud shadow across the water in the
foreground with a soft edge.
2 To suggest movement in the water, paint
the reflections with slightly jagged edges.
Colin Steed
Essex-based tutor, Colin runs
watercolour workshops, demonstrations
and holidays. Visit Colin’s website at
www.colinsteedart.magix.net and view
his portfolio on www.painters-
online.co.uk/artist/colins5
t
Storm Clouds, Blakeney, Norfolk, watercolour, 11x15in. (28x38cm)

LP02 21-23 Peart_final_Layout 1 13/12/2016 15:48 Page 21
Mixed media
Shapes, not details

Part 2 Fiona Peart demonstrates how she tackled
the street scene and figures she introduced last month
LEARNING OBJECTIVES
n Develop strong compositional
skills
n How to edit the information you
see in a photograph
n Follow Fiona while using your
own colours and media
I always enjoy painting street scenes,

but photographs are rarely perfect
to use as they are and I usually
change, add or remove people, or
adjust the lighting. I chose this image
(right) for our challenge; however,
it didn’t need too much adjusting to
make a pleasing painting.
I like the family and I like the way
they are facing left, as if they are
looking at something outside the
photo. I particularly like the lighting,
the fact that the figures are in the
shadow of the building overhang,
and the strong contrast of the bright
sunlight on the road and the dark
of the overhang add depth and
interest. So this subject focuses on
the foreground figures, just about
to enter the sunshine.
Whilst I like the yellow awning, it’s
very high and I’m not sure that it will
add to my composition. The green
awning over the road is also a bit of
an intrusion and distracts from the
main subject.
I don’t need the height of the
buildings and the columns, however
lovely, which are competing for
attention with my figures. I also don’t
need the figure exiting the front of the
photo, or the head of the figure that is
looking over the father’s left shoulder.
t
The photo used to set last month’s challenge. Fiona describes the process over the page.
The figure on the immediate left of
him is rather a nice shape and adds
to an otherwise empty corner of the MATERIALS
composition. I won’t mention specific colour
I shall also crop the image; remove names here, as I would like you
two figures and the bollard just above to use any water-soluble media
the child’s head. and colours you have at home.
If I use a photo as my reference, it I used Artbars and Inktense
is important to me that I prefer my blocks on Saunders Waterford
painting to the original photo. If the 200lb NOT surface.
finished result is merely a copy of a
photo then no personal creativity Using my colour swatches
t
would have gone into the making of across the two media I selected
it and I may as well frame the photo. colours that work well
Why not work alongside me using together, react together and
your own media and ideas, and my have the right tonal values.
t
help over the page? LP

Mixed media
Demonstration Street Scene

Step 1
t
1 Draw simple shapes onto
the paper using a pencil
then place masking tape
around the painting. Block
in the colours, not worrying
about being too accurate as
the shapes are only there to
guide you, not to ‘colour in’.
Some of the colours you
see here may not be on
the photo.
2 Once you have applied
the colour you can remove it
with a craft knife or alter it
by adding colour on top, but
once you add the water, the
colours will mix and blend.
Step 2
t
1 Continue to build up the colour until pigment

covers the entire painting. The background shapes
are blocks of colour while the background figures
are tiny elements of brighter colour.
2 The tooth of the paper is evident at this stage,
but once enough water is added, this will disappear.
I want some of the pigment to remain on top of the
paper whilst other pigment will run between this
depending on how wet I make it.
3 It’s now time to add water; this will change the
painting dramatically and is my favourite stage.
Step 3
t
1 The surface needs to be very

wet to allow the pigment to run.
Tilting the board encourages the
pigment to run in your chosen
direction, creating some magical
textures. Too much water and the
pigments will mix together, too
little and the colours intensify,
but nothing exciting happens, and
this is all about creating exciting
runs. Work on the entire painting,
watching how the pigments
react and drop in more water
as necessary.
2 The masking tape you placed
around the painting acts as a
collecting point so excess paint
that runs onto it can be mopped
up with kitchen towel.

t
Detail of the bottom of the painting in Step 3 after the water
has been added.
Step 4
t
This is my painting when dry. I needed to make a few

adjustments by adding more pigment and wetting the painting
in certain areas again. Here are the adjustments I made:
1 I toned down the rust colour at the top of the
painting, as I felt this was leaping forward too much
and drawing my eye upwards and out of the painting.
2 I also wanted to take out the bright pink above the
mother’s head, as it was fighting with the red of the
girl’s skirt and drawing the eye upwards.
3 I liked the turquoise in the background and wanted
to bring some of that into the right of the painting
and added more to the building wall in the shadows.
4 I liked the reflections on the shiny footpath in
the photograph so I added those at this stage, too.
5 I also needed to break up the large expanse of
dark shadow to the left of the father, as this was
too dominant. By adding a lighter colour I was able
to separate the figure from the dark shadow.
6 I needed to add the background figures as my
original ones had all but disappeared.
7 The buildings above the figures also needed colour.
The loss of initial colour stemmed from the paper
being too wet and all my colours merged into one
here. This was also the reason the background
figures vanished.
Step 5
t
I adjusted the painting until I was satisfied with it.

Once I felt it was finished, I waited for it to dry
completely then removed the masking tape.
Fiona Peart
If you have not yet tried this challenge, why not
complete it now and email it to [email protected]
who will place it on LP’s website at www.painters-
online.co.uk? Fiona will choose a number of the
finished painting to critique in a future issue of
Leisure Painter.
Buy Fiona’s book, Drawing and Painting
with Water Soluble Media, from our bookshop
at www.painters-online.co.uk/store. See page 56
for details. See more of Fiona’s paintings and find
out about her workshops and classes by visiting
www.fionapeart.com t
The finished painting Street Scene, mixed media on NOT watercolour paper,
12x9in. (30.5x23cm)

LP02 24-26 Kerr_final_Layout 1 14/12/2016 08:35 Page 24
Graphite
Drawing matters
Part 1 If you can hold a pencil, you can draw, says Anne Kerr. In part one
of her new drawing series, you are invited to pick up a pencil and make your mark
LEARNING OBJECTIVES depict the entire vista, while indoors, This series of articles on drawing will
they often try to draw a room with all introduce you to a variety of materials
n How to depict trees and foliage its contents. These would be truly and techniques. I will show you how
without drawing every leaf daunting tasks for any artist. The answer to shade and build your picture using
n Create texture, light and shade is straightforward: keep it simple. Keep simple progressive steps. The final
using four graphite pencils away from figure drawing, portraits and article will include a project for you
over-complicated architecture. There to tackle using some of the materials
n Mark making with graphite will be plenty of time for these later. and techniques covered in the series.
Look around and you will see a host Different drawing media give
W hen students begin drawing,

they sometimes try to include
too much in a picture. They
look for the perfect view and want to
of subjects that will make wonderful
small studies to practise your skills:
a lamp, a chair, a bowl of fruit or
a pretty window.
different results so you can choose
whether to use one particular medium
or mix them up when you tackle
your final project. LP
LET’S DRAW WITH GRAPHITE

Let’s begin with graphite pencils, as these
are the tools with which most people are
familiar. You don’t need a huge collection – You will need
just four pencils will do: l Graphite pencils HB, 2B, 6B, 9B
HB 6B l Craft knife
l Good-quality sketching paper
or sketch pad, 200gsm or
heavier
l Soft rubber
l Battery-operated rubber for
2B 8B removing highlights (optional)
l Fine sandpaper for sharpening
your pencils
t
The higher the reference number on the pencil, t
Use simple drawing materials while you
the softer and darker the line it can produce build your confidence and skills
1 Where to begin
t
1 Begin drawing with fairly light lines using a HB pencil; try not
to use a rubber. It will give you confidence and stop you fiddling.
2 Give your work movement and interest by keeping your lines
uneven and broken in places. You only need to suggest the
texture of a surface or an object for the viewer to know what it is.
3 Look for overall shapes within your subject. Draw the largest
shape first then the next largest and work inwards from there.
This is called ‘drawing from the outside in’.
t 2 Light and shade

Drawing is all about light and shade. Achieve the right shading and
your pictures will instantly take on a three-dimensional look. So, once
the outline is complete, decide on the direction of your light source
and shade the drawing accordingly. Don’t be afraid to place an arrow
to the side of your work to remind yourself of the direction of light.
Hatching and cross-hatching are often used when shading a drawing.
t
You don’t need to draw every tile on the roof or every brick Although they have their place, try not to use them exclusively,
in the wall for the viewer to recognise the object as they can make your drawing look flat and mechanical.
t
Hatching and cross-hatching are classic techniques for shading your drawing, but there are many more marks you can make

Graphite
A B C D
3 Mark making
t
These different marks can be used
to depict various textures and surfaces.
I have left the final square blank.
Perhaps you can work up a shading
technique of your own?
Stones, rocks and bricks can be E F G H
shaded using E (dot stipple); this suggests
their rough texture. Grass and other
short foliage can be drawn using J (short
and long strokes). The thick and thin line
pattern in B can be used for the fur
patterns on animals, horizontal ripples
in water or rough tree bark.
The possibilities are endless. Use I J K
your imagination, but try to follow the
contours of the object you are shading.
Marks to depict texture, shapes

t
and surfaces
Eye level
t
A shading method that follows the contours of either
the textured surface (left) or the overall shape (right),
will give a more realistic effect
t
4 Contours
Look at this tree stump and metal post. I followed the
texture of the bark when drawing the tree stump. In the post
I followed the object’s rounded contour. You will notice that
the shaded lines on the post bend in different directions
above and below eye level. This all helps to show shape and
form. The tree is obviously rough and the post is smooth.
TIP Keep a sketchbook and pencils near your

favourite chair. Draw one object every day, using
different shading techniques each time. Keep
referring to this chart for reference.
Reflection, graphite on 200gsm cartridge paper, 1112⁄ x814⁄ in.

t
(29x21cm). Using the ‘draw from the outside in’ technique,

I positioned the chair, curtains and window using an HB
graphite pencil. A 2B pencil was used to shade the curtains
lightly and more heavily on the window and chair. I made
sure I used white paper to depict any reflections on the
chair. My shaded lines followed the contours of the objects.
Finally, I used a 6B pencil to punch in strong dark shadows,
mainly on the chair. Areas of the floor surface were
t
erased to represent light from the window.

Graphite
t
Draw bushes using the ‘dot, dash and scribble’ technique
t
5 Bushes
One of the most useful and effective shading techniques for depicting trees
and bushes is the one I call ‘dot, dash and scribble’. To do this, simply hold
a sharp 2B pencil loosely and make a series of squiggles, swirls, dots and
dashes. The more you go over your work, the darker and more shaded it
will look. Make sure you leave some white areas showing for interest and
highlights. You can also use this technique for curly fur and hair.
6 Simple
trees
t
When showing
light catching
tree foliage,
use the shading
technique you
see in Technique
3, image D.
This suggests
the shapes of
the leaves
(rounded or
spiky), which
will help us
t
Rooted to the Spot, graphite on 200gsm cartridge recognise
paper, 1112⁄ x814⁄ in. (29x21cm). Using an HB pencil, I lightly immediately
outlined the tree and areas of foliage. The fence position
that the entire
and top of the distant hills were suggested to give me my
overall composition. I then drew the branch outlines and area is in
a few detailed leaves that I wanted to remain as white sunshine.
paper. I shaded the branches with a 2B pencil, which
followed the contours of the tree and showed the Here’s a way
t
direction of the light source. The ‘dot, dash, scribble’ to draw a tree
technique was used on all other leaves and foliage. without the
The darkest shadows were shaded with a 6B pencil. need to include
every leaf
TRY THIS!
This photograph shows a Maori house in New Zealand.
I chose this as a subject for your first exercise, as there
is scope to use many of the drawing and shading
techniques I have covered in this article. Remember
to start your drawing with an outline of the largest
shapes and work inwards. Next month I will show
you my finished drawing and explain the sketching
and shading techniques I chose.
Your reference photograph: a Maori house
t
in New Zealand
Anne Kerr
Anne teaches on painting holidays in the UK,
Italy and Spain. She also runs watercolour, pastel
and picture-framing classes at her home studio
in Spain. Full details can be found on her website
www.annekerrartstudio.com

LP02 27-31 Begg_final_Layout 1 13/12/2016 15:54 Page 27
Still life
Simple beauty
Painting successfully is all about careful observation, says Arthur Begg.
If you look hard enough, even simple objects become perfect still-life subjects
LEARNING OBJECTIVES
n Practise close observation
n How to set up a successful
still life
n Discover contrast in your
paintings
N ow that the weather has

become inclement and cold,
you may not be inclined to
stand out in sub-zero temperatures
painting the landscape. In the past
I have stood ankle deep in snow,
painting the local lanes – and
enjoyed it. Painting outdoors in
winter can be very rewarding, but
I am too long in the tooth now
and I can’t stand the cold.
Hence I turn to still-life subjects
at this time of year. Still life teaches
you to look, and they are so easy
to set up. I don’t mean elaborate
arrangements of fruit in ornate bowls
on lace, but one or two everyday
objects, such as a spoon and a
bottle, a glass on a tray, a cork screw
or even food packaging. You can
also look in the garage for your
subjects, as I did last winter, and
had a fascinating time making a
series of nine 7x7in. oil paintings of
tools (Window on a Workshop, right).
There is also garden equipment,
plant pots, trowels and secateurs
t
Window on a Workshop, oil, each section 7x7in. (18x18cm)
to paint (top right). You may think
that they are not very interesting –
until you begin to paint them.
All these subjects will present the
problem of portraying the third
dimension – depth. This is most
important in a still life, as the subject
of the painting is close up and the
field of focus is shallow. In the
painting, Beetroot (right), for
instance, the leaves are more loosely
stated as they recede, whereas the
globes of the root are in sharp focus,
the upper edge of the globe is a
found edge and the lower edge is
lost. This not only gives depth, but
also fixes them to the surface they
are on.
The wispy roots also give
movement through the globes to
the leaves, thus adding to the feeling
of depth. It’s a simple subject, but
interesting to paint, and I will never
think of beetroot as quite so
t
mundane again. t
Beetroot, oil, 8x12in. (20.5x30.5cm)

The art of observation

The painting of the cut glass and
bottle on a silver tray (left) presents
more interesting problems. First,
let’s consider the composition.
By not including the entire tray,
I brought the subject close so the
items could be painted life size. If
they had been painted smaller, the
detail, such as the beading round the
edge of the tray, would have been
difficult to depict. As the tray had
feet, I also had to ensure that the
space beneath the tray was
convincing. Then there were the
reflections to consider.
The reflection of the bottle is not
as you see the bottle, but as the
tray sees it, from beneath; the same
applies to the background. That
which appears to be behind the
shoulder of the bottle will be nearer
the bottom in the reflection.
I stood the tray on a box covered
with the tablecloth so that the
embroidered pattern hung vertically.
This again brought the composition
forward and the embroidery was a
nice foil to the cut glass. Remember
that part of the pattern on the glass
is on the far side and it needed close
observation to work out the
intersection of the diagonal curves
of the cut lines in the glass. For the
tray itself, the ellipse of the base and
that of the top edge are at different
levels so that on the upper left we
are looking at the inside of the rim,
while at the lower right we are
looking at the outside. At the back,
we see the reflection of the inside of
the rim. Ensuring these ellipses read
t
Cut Glass and Silver, oil, 10x12in. (25.5x30.5cm) correctly is quite tricky.
The red backcloth gives richness,
contrasts with the green of the bottle
and is an ideal colour to be reflected
in the tray. The tablecloth, we refer
to as white, but in painting it, there
is little pure white to be found.
Instead we see cool yellow tones to
the left with a hint of warmer tones,
bottom right. Not only does the
embroidery act as a foil to the glass,
but also helps to balance the
compositional weight of the bottle.
So, what at first appears simple,
when painted close up becomes
quite complicated. Creating a feeling
of three-dimensional space and
portraying the caricature of the
objects should be your aim.
The Unlost Boot, oil, 10x12in.

t
(25.5x30.5cm). This painting depicts

the sole surviving boot of a pair;
unfortunately the other one was left
behind when I changed to drive home.
I aimed to capture the soft comfort of
the leather. You will see that there is
hardly a found edge in this painting:
one by the top lace hole, one on the
lace tab and one in the instep by the
heel. The rest of the form is depicted
by changes in tone and colour.

Trowel and Secateurs, oil, 10x12in.

t
(25.5x30.5cm). Recession is achieved

by the horizontal triangular
composition. The top edges of the pot
are lost and the details of the secateurs
are only loosely indicated, leaving the
main interest on the trowel. The curve
of the blade in relation to the handle
is a critical part of the composition;
note the highlight on the top-left
corner of the blade. Such simple
arrangements make interesting studies
and the knowledge gained can be put
to good use in your larger works.
Balanced composition
In the painting of the coffee pot and
grinder (below) I was interested in
the contrast between the polished
metal work and the matt finish of
the wood. When it came to painting
the coffee pot it was more about
painting the reflections in it than the
pot itself. The subtle tonal change
between the white cloth and its
t
reflection in the body of the coffee Coffee Pot and Grinder, oil, 10x12in. (25.5x30.5cm)

pot and that in the spout intrigued alizarin and viridian while the painting, allowing yourself two or
me, along with the reflected light in backcloth is vermilion and brown three painting sessions with time
the rim and knob, which gave the madder alizarin. Other colours used for the paint to dry between times.
pot its form. While the tonal were titanium white, ultramarine The subject could be set up on a
differences between the backcloth blue, raw umber, light red, yellow board so it can be moved to one
and the corners of the grinder helped ochre and a touch of mineral violet. side if it is inconvenient to leave it
to create depth, the crumpled white Of course the best reason to paint in place between painting sessions.
cloth rising above the base of the still-life subjects is that they stay still. A large cardboard box with two
grinder in the foreground gave the So all you have to worry about is a sides and the top cut off makes a
objects stability. constant light source. If you begin useful mobile corner on which to
Notice how the knob on the grinder, painting in daylight from a window, place your still-life arrangements.
painted light from one side, helps don’t be tempted to carry on in Let’s now try an exercise in
to give the feeling of space. The dark artificial light because of course you painting a still life, using just two
for the recesses in the grinder top can’t guarantee it will be the same objects, a glass bottle and a copper
was mixed with brown madder tomorrow. Take time over the jug. LP
Demonstration
Bottle and Copper Jug
You will need

n Surface
l Hardboard,
10x8in.
(25.5x20.5cm)
n Artists’ oils
l Titanium white
l Light red
l Ultramarine blue
l Yellow ochre
l Raw umber
l Brown madder alizarin
l Lemon yellow
l Sap green
l Viridian
l Cadmium orange
Step 1 Draw the subject

t
1 Draw on the smooth side of a piece of hardboard, that has been

well sand papered and primed with acrylic primer and texture paste
then stained with a turpsy mix of light red and ultramarine. Prepare
the board well in advance so that the primer is well and truly dry.
2 Using a No. 1 short flat brush and a light red and ultramarine
mix draw the position of the jug and bottle. Make the colour redder
for the jug and bluer for the bottle. Ensure you are happy with the
placement of the objects on the board and ensure the sizing of
the two objects is correct and that they sit well together.

Step 2 Block in
t
1 Using a No. 4 short flat brush, rough in the two

objects, varying the tone and hue to indicate the form
and not forgetting the reflection of the bottle in the
copper jug. At this stage, roughly colour the background.
2 Then go over it, strengthening the darks and making
adjustments as necessary, noting where the lost-and-
found edges are and taking care to maintain the
cylindrical form of the jug and the hexagonal form
of the bottle. Having completed this stage, leave it
at least overnight to dry.
t
Step 3 Add the highlights
Now begin building the highlights. The following is the
sequence I used for this step. I lightened the central area
at the base of the jug and strengthened some of the darks.
Following this I painted the highlight on the rim of the
spout then on the handle and its reflection in the body.
The rim of the base was worked on, indicating the dark
upper edge. I then added the highlights: the green one
where the light passed through the bottle and the
orange one.
Step 4 Refine the painting

t
1 I added the two small white highlights on the neck

and rim of the bottle, and the lights of the ribs and the
coppery reflected light from the jug.
2 Finally I repainted the background, working from the
top down to the base, taking care of the found-and-lost
edges and the shadows. Note the green tint in the
shadow from the bottle.
The finished painting Bottle and Copper Jug, oil on

t
hardboard, 10x8in. (25.5x20.5cm)

LP02 Subs_Layout 1 14/12/2016 09:10 Page 1
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LP02 33-35 McNaughton_final_Layout 1 13/12/2016 15:56 Page 33
Watercolour
Coming in to land
Make the most of watercolour’s transparent and lively properties with this
wet-in-wet rendition of one of the UK’s most beloved birds, by Rachel McNaughton
LEARNING OBJECTIVES COLOURS USED

n Become more confident with
wet washes Neutral
tint
n Use the splatter technique
n Practise softening edges and Ultramarine
dry-brush technique
Burnt
umber
Aureolin
You will need
Cerulean
n Surface blue
l Saunders Waterford High
White Rough 140lb paper
Light
15x11in. (38x28cm)
red
n Artists’watercolour
See colours, right Daniel Smith
transparent
pyrrol orange
t
The finished
painting Puffin,
watercolour,
15x11in.
(38x28cm)
Step 2
t
Mix a wash of ultramarine

with a little light red to
make a warm blue-grey,
but be aware that too
much light red will result
in a reddish brown mix.
Add plenty of water to
t
Step 1 make a pale wash. Use
Lightly sketch your puffin. I like to leave some of the areas this to paint the shadows
that will be loose and splashy without a line to enclose them, on the head and body of
in this case the lower part of the wing and feet. Look carefully the puffin. Avoid hard
at the colour pattern on the beak and the almost triangular edges by softening with
t
markings around the eye. Suggest rocks and waves. a clean, damp brush.

Watercolour
Step 3
t
1 Mix a greyish blue with ultramarine and a little neutral tint
and a separate wash of cerulean blue. Using both these washes,
add choppy waves using upward strokes of the side of the brush
and a small amount of paint. Allowing the paint to break up on
the rough texture of the paper gives an impression of sea spray
and foam.
2 Mix a small amount of burnt umber and ultramarine to make
a brown-grey and paint a wash over the rocks. Vary the colour
by dropping in other suitable colours.
t Step 4
Now mix up a large, colourful wash of neutral tint or a mix of
burnt umber and ultramarine. Make sure the shadows on the
puffin are dry and paint this colour over the dark areas around
the head and over the far wing. With the side of a clean damp
brush, drag the dark colour diagonally away from the head,
allowing the paint to break up on the surface of the paper.
Step 5
t
1 Add more water to the neutral tint wash and paint the underside
of the near wing. Don’t attempt to paint separate feathers. Allow
the ends of the feathers to disappear by fading out with a clean
damp brush as before. Where the dark is alongside the white
breast feathers use a few short, irregular strokes to indicate
where the white plumage comes over the dark feathers.
2 Splatter neutral tint from your brush, using it to give a feeling
of movement. If the marks look too well defined, a quick squirt
of a water spray will soften them.
3 Once the dark feathers are dry, darken areas with another
layer of neutral tint to give shape and form, especially on the
head area. With a more dilute version of the wash, add a few
details to the underside of the wing, allowing the edge to
disappear by fading with a damp brush.

Step 6 Step 7
t t
1 Paint the top of the feet with Daniel Smith transparent 1 Paint the yellow area on the beak and the eye with aureolin.
pyrrol orange and allow the paint to mix on the paper with a little You can take this colour under where the orange will be on his
aureolin. Try not to finish off the bottom of the feet; just allow beak but not under the blue or it will result in a green beak.
a few drips and splatters of orange to break up the lower outline. 2 Add a third layer to the shaded surfaces on the rocks to
Add a small dot or two of neutral tint for the claws. make them feel three-dimensional.
2 Mix a darker blue-grey from ultramarine and burnt umber and
add more strokes to the choppy sea. Allow some of the first layer
of paint to show through.
3 With a slightly stronger mix of the rock colour, add another
layer on the shaded part of the rocks, leaving the tops, where the
light hits, unpainted. Drop in stronger paint for extra texture
using neutral tint or burnt umber with ultramarine.
Step 8
t
1 Ensure the yellow on the beak is dry then paint over with
orange to make the appropriate markings. Leave some of the
yellow showing.
2 Then paint the middle section of the background with a ragged
shape of cerulean blue. Again try to use the side of the brush
rather than the point. This ragged blue helps to define some of
the white plumage, but don’t fall into the trap of painting all
around the bird. Leave something for the imagination to do.
3 Check the beak is dry and add the blue section.
4 With a fine brush, add a dark eye, leaving a small white
highlight to give your puffin a bit of life.
5 Finally, use a toothbrush and white gouache to splatter
white spray against the rocks and choppy sea.
Rachel McNaughton
Find out about Rachel’s classes and
workshops at www.artbyrachel.co.uk
t
The finished painting Puffin, watercolour, 15x11in. (38x28cm)

LP02 36-39 Paul_final_Layout 1 13/12/2016 15:56 Page 36
Back to basics
Understanding colour
Part 15 How to use the cool red earths in your palette, by Tony Paul
LEARNING OBJECTIVES
n Colour history and development
n Build colour and mixing
confidence
n How to use cool red earth colours
in your paintings
T here are many cool red earths on

the market with exotic names such
as Italian Pompeii red, terra rossa,
flesh ochre, Pozzuoli earth or Spanish
earth. Some of these names are created
from earth mined in certain countries
or locations, but all will be labelled as
PR102, or if developed in the laboratory,
as PR101.
Most of these are opaque and ideal
for oil colours, but for watercolour,
where transparency is required, there
are a number of transparent red earths,
made by roasting pigments with a high
silica content.
Some years ago my watercolour cool
red earth was Venetian red. Its only flaw
to my mind was its dense opacity. It was
the only opaque colour in my palette. In
a meeting with Daler-Rowney’s technical
manager on other matters, I mentioned
that I was looking for a transparent
alternative for Venetian red. He pointed
me to a recently introduced colour in
their Artists’ watercolour range that fitted
the bill. It was called transparent red
brown. This performed the function of
Venetian red perfectly. It is not actually
an earth, but yet another lightfast pigment
based on quinacridone. Its pigment
name is PR206; in Winsor & Newton’s
Professional watercolour range it is
known as brown madder.
There are further examples where earth
pigments have been substituted by red
browns, developed in the laboratory.
t
Michael, oil on board, 14x10in.
(35.5x25.5xm). Cool reds made from
Venetian red added to crimson were VENETIAN RED
used to form the cheekbone and
the shadowed side of Michael’s face.
Between nose and chin cerulean
was added to the Venetian red.
His forehead was a blend of Venetian
red and ultramarine, as were the upper
lip and facial creases. Viridian and
white were added to Venetian red for
the neck under his chin. The grey
jacket was Venetian red with
ultramarine, lightened with white. t
Lovely, warm flesh colours can be made from Venetian red – far better than the
‘flesh tint’ supplied by the colour manufacturers. All the earths in this article are
of great value to portrait or figure painters.

Back to basics
One such pigment is Winsor & Newton

Indian red deep, an opaque pigment
based on titanium and chromium; this
is labelled PBr25.
VENETIAN RED PR101 or PR102

Just cool enough to have a purple bias,
it is an earth colour, much used on
Venetian buildings. It is the brightest
of the cool red earths diluting to, or
lightening with white to give a range
of cool pinks, which are useful for flesh
tones in portraiture or figure work.
It is densely opaque and absolutely
lightfast, and when mixed with
ultramarine or cobalt blue will make
a range of soft purplish hues. Adding
white or diluting will produce lovely
greys.
INDIAN RED PR101

The longer roasting time of the Mars
pigment creates a darker and duller
red/brown leaning more obviously
to purple.
Mixed with ultramarine this makes
a great shadow colour in a blue-heavy
blend, while when red-heavy it is
a perfect shaded flesh colour. Mix
these two colours densely and a dark
characterful off-black is achieved.
I use this mix a lot, scrubbed thinly
for underpainting in watercolour,
acrylic and oils.
MARS VIOLET PR101

(CAPUT MORTUUM)
Mars violet is also known as caput
mortuum – literally dead head – named
as such after the colour of the par-boiled
severed heads of criminals often
displayed on spikes at city gates during
the 16th century. The pigment has its
origins in ancient history and is a useful,
though not essential, addition to the
palette.
Further roasting darkens the Mars red
pigment to give a mass colour akin to
burnt umber. Although dark in mass
tone it washes down to reveal a subtle
crimson bias.
Mixed strongly and blue-heavy with
ultramarine, a deep indigo results. Again
dilution or whitening Mars violet will
reveal lovely, cool flesh colours, and
t
The Canoe, Kerala Backwaters, India, acrylic, 12x10in. (30.5x25.5cm). The dark areas of
with ultramarine shaded flesh colours. the canoe’s interior and the shaded flesh were a blend of Indian red and ultramarine. The lit
flesh was painted using a lightened mix of the above with crimson added to the mix for the
Characteristics woman’s face. The phthalo green of the water was subdued and darkened with Indian red.
Venetian red, Indian red and Mars
violet share the same characteristics:
Lightfastness ASTM D4302, Class I, INDIAN RED
excellent lightfastness.
Colour bias Towards purple.
Transparent/opaque Opaque.
Tinting strength High.
Staining Yes.
Watercolour These red earths are
commonly used in watercolour, but
their opacity means that in washes they
will veil, rather than optically blend
with colours applied beneath them.
The washes tend to dry into flat, even t
The extra roasting of Indian red gives a duller and cooler range of mixes, less
planes of colour. bright than Venetian red, but equally useful. Simply diluting or mixing in white can
Oil Medium oil absorption and a medium give subtle pale flesh colours.
dryer means that these colours can be
t

THE MIXES
Venetian red Indian red
Visually, equal blends of ultramarine and Venetian red will give a fairly Ultramarine and Indian red make a great shadow colour
neutral off-black. This can be substituted for black – it has more character and a purplish near black, which in dilution makes great
and makes a better paint film than the soot-based lamp and ivory blacks. shaded flesh tones.
+ = + =
Venetian Ultramarine Indian Ultramarine

red red
Mars violet Transparent red brown

Densely mixed blends of Mars violet and ultramarine make a perfect Mixing the red brown with ultramarine, blue heavy, will
indigo, less stark than black and creating less bland greys in dilution. result in a characterful dull violet, which is wonderful for
Shaded flesh colour is a little duller than those made from Indian red. shadows.
+ = + =
Mars Ultramarine Transparent Ultramarine

violet red brown

Jeepneys, Manila, pen & wash on

t
sketchbook cartridge paper, 10x11in.

(25.5x280cm). All the greys in the painting
were a binary blend of ultramarine and
transparent red brown. The advantage of
using a mixed grey is that the colour can
be varied between a brownish grey to a
deep violet one, hinting at reflections in
the polished aluminium sides of these ex-US
personnel carriers. Without the colourfully
painted elements of the vehicle this would
have been rather monochromatic.
used in any layer in the painting. Their

density and opacity make them ideal oil
colours, stable and good mixers.
Other media Cool red earths are popular
in all media.
TRANSPARENT RED BROWN PR206

(CAPUT MORTUUM)
Although this is not an earth colour it
is an ideal replacement for a cool red
earth if you require transparent effects.
This wonderful quinacridone pigment is
known as brown madder by Winsor &
Newton in their Professional watercolour
range and as quinacridone burnt scarlet
in Daniel Smith watercolours. It is an
expensive pigment, but powerful, of
good lightfastness and a brighter colour
than its earth equivalent – Venetian red.
Its expense will exclude it from Student
quality ranges.
PR206 will be given a variety of
names in different media and by
different manufacturers. Always look
on the tubes to check for PR206.
I use it in watercolour, but it is equally
good in acrylic and oil – the latter for
t
Agnes, oil on board, 10x8in. (25.5x20cm). Mars violet was blended both with an
glazing effects. orangey red and cobalt blue for the shadowed side of Agnes’s face, while her hair
was made with a strong blend of viridian and Mars violet. Her chest was of Mars
Lightfastness D4302, Class I, excellent violet lightened with Naples yellow. All the dark drawn elements were a mix of
lightfastness. Mars violet and cobalt blue.
Colour bias Towards purple.
Transparent/opaque Transparent.
Tinting strength High.
Staining Yes. MARS VIOLET
Watercolour A transparent replacement
for Indian or Venetian red, vivid, punchy
and drying to give a granular wash.
Mixing the red brown with ultramarine,
blue heavy, you will have a characterful
dull violet wonderful for shadows.
Mixed with various yellows, many lovely
autumnal colours can be made.
Oil Its great transparency makes it t
The dark Mars violet, when diluted or with white added, gives yet another range
brilliant for glazing effects, but applied of de-saturated cool flesh tones. So useful!
thickly from the tube the colour will
be dull, unless given more opacity
by adding a little white. Its high oil
absorption and slow drying speed
make it of more use in the upper layers TRANSPARENT RED BROWN
of a painting.
Other media PR206 can be used in any
media. LP
Tony Paul
Tony is the author of four popular
practical art books, still available on t
See how closely the transparent red brown resembles the tints made with Venetian
Amazon. Find out about Tony and his red. This is the perfect substitute for Venetian red for those watercolourists, myself
work at www.courtenaysfineart.com included, who like to use a transparent watercolour palette.
+
LP02 41-43 Parashko_final_Layout 1 15/12/2016 09:43 Page 40
Oils or acrylics
From photo to painting

Part 2 Put last month’s theory into practice and follow Elena Parashko
as she transfers information in three photographs to a finished painting
LEARNING OBJECTIVES
n Grid up an image for accurate
drawing
n How to change your focus point
half way through a painting
n Understanding colour choices
I n last month’s article on painting

successfully from photographs, the
first in a series of eight, I discussed
how to take photographs for reference
material, balance your composition,
simplify a scene and begin using
your creative powers to transfer what
you see in a photograph onto your
paper or canvas. As well as reinforcing
those techniques this month, I also
want to show you how to draw an
image accurately, using the gridding
technique. I hope you find the
following demonstration, which is
suitable for oils or acrylics, enjoyable
to follow. LP t
I liked the shape of the main two
leaves in this photo of dense vegetation,
and thought they would make an
interesting backdrop for this painting
t
After trying unsuccessfully to
photograph ulysses butterflies in flight,
I found this specimen in a display case in a
nature reserve. However, I changed my mind
during the painting (see over the page).
You will need

n Surface n
Oils or acrylics
l Stretched canvas l
Titanium white
30x40in. l Ultramarine blue
(75x100cm) l Phthalo blue
l Phthalo green
n Brushes
l Burnt sienna
l Flats Nos. 8, 4 & 2
To simplify the composition and give it more depth and impact, I cropped the l Burnt umber
t
l Liner brush No. 1
vegetation photograph (above) then deleted most of the background leaves and l Cadmium red
added a glimpse of ocean in my finished painting (over the page)

Oils or acrylics
Demonstration Flutter By
After experiencing the beauty of lush vegetation swarming with brightly coloured
butterflies, I was inspired to capture their magic in a painting. It was not possible
to take a single photograph of the perfect butterfly in the perfect position on just
the right leaves so I used my imagination and the help of several photographs
to create the composition.
Step 1 Gridding technique

t
1 Use charcoal and the gridding technique the canvas, which will be difficult to
to draw the vegetation onto the canvas erase later, use masking tape to secure
accurately. First, ensure the cropped wool grid lines to mirror the photograph.
photo and the proportions of your canvas 4 Look carefully inside each box in the
are the same. photo and draw the identical shape in
2 Using a pen and ruler grid the photograph the corresponding box on the canvas.
into eight squares along the top and side. When the drawing is complete, it’s a
3 Instead of drawing grid lines directly onto simple matter of removing the wool.
t
Step 2 Paint sky and ocean t
Step 3 Add the leaves
1 Using a charcoal pencil, draw the colour closer to the horizon. 1 Paint the leaves with a range of greens
horizon line, the outline of a ulysses 3 Using a medium flat brush, paint the from dark to light using a mixture of
butterfly and a few holes in the leaves. ocean with differing ratios of phthalo blue ultramarine blue, cadmium yellow medium,
2 Paint the sky with a mixture of and titanium white. For variation, add cadmium yellow light and titanium white
ultramarine blue and titanium white. a small amount of phthalo green to the (below). To paint the underside of leaves, add
Add more titanium white to lighten the central band of dark water. a small amount of phthalo to these colours.
2 Using small to large flat brushes, blend
dark, medium and light greens to indicate
the contours of each leaf depending on
areas of sunlight and shadow. Careful
observation of the photograph will give
you all the information you need.
Step 4 Add the stalk

t
1 Complete the leaves by painting

the stalks.
2 Add the shadow on the left side of
each stalk using burnt sienna mixed
with a dark green leaf colour.
3 For the highlight on the right side
of each stalk, add a light green leaf
colour to the stalk shadow colour.
t

Step 6 Finish
the butterfly
t
1 When the
underpainting is
dry, use a fine liner
brush to stipple
small dots of the
same butterfly
colours on the wings
to indicate their
powdery texture.
Add short vertical
strokes of light brown to the body to indicate fine fur. A steady hand
is needed to paint the antenna and a dot of white reflection in the eyes.
2 Add a cast shadow of the butterfly on the leaf around its lower left
side with a thin glaze of dark green leaf colour diluted with lean
t
Step 5 Change the butterfly and underpainting medium (for oil paint). If you are using acrylic paint, use a clear
It was at this point that I decided to change butterflies, as painting medium to make the cast shadow.
I realised there would be too much blue in the composition
with the ocean and a blue butterfly. I needed a contrasting colour
that would have more impact on the background. I found the Elena Parashko
tawny rajah, which is a similar shape to the ulysses. I did not find
a photo that depicted this butterfly in the exact position I needed, Elena is the author of the empowering book Survival Guide for
but several photos provided me with enough information to Artists: How to Thrive in the Creative Arts, available via Amazon.
complete the painting. I made slight alterations to the leaf She also runs painting retreats in Fiji and Tuscany. For more
background then underpainted the whole butterfly with burnt information about her work visit www.elena parashko.com or
sienna, burnt umber, titanium white and a range of light to email [email protected]. Her blog www.survivalguide
dark oranges, made by mixing cadmium yellow medium forartists.com has a wealth of information for practising artists.
with cadmium red.
t
The finished painting Flutter By, oil on canvas, 30x40in. (75x100cm). When the painting was completely dry, I applied two coats
of gloss varnish.

LP02 43-45 Fisher_final_Layout 1 13/12/2016 15:58 Page 43
Watercolour
Watercolour problem solver

Part 2 In response to a reader’s question on painting foliage, Tim Fisher discusses
the colours, techniques and materials he uses to paint several trees in one painting
LEARNING OBJECTIVES which leads the eye

n How to use horizon lines and nicely to two figures
vanishing points in your work walking up the road in
the distance. The road
n Colour mixing for greens appears to slope uphill,
which is influenced by
n Add texture and depth to your the placement of the
landscapes figures whose heads
appear to be lower
I n this series I am offering advice and

techniques for painting trees, foliage
and shrubs, following a request by
reader, Gordon Gibbon, who kindly
submitted four of his paintings to aid this
than the perceived
eye line or horizon.
An easy way to check
this is correct is to
project the edges of the
series. Gordon’s painting (right) is a view lane until the two lines
of a tall building surrounded by a number meet at the same point,
of different trees at the end of a lane. VP1 (Figure 1, below).
It represents some of the problems we The fence running
encounter when painting such a scene. parallel to the lane
When the trees are close, there is little should also meet at
room for adding depth into the painting, the same point. A
although, in this case, I would be tempted horizontal line can
to change the colour of the trees near the be drawn through this
building to blue grey, mixed from French point, which creates
ultramarine blue and French vermilion. the eye line or horizon.
If this appears too violet, a little Venetian This horizontal line
red can be added to grey off the mix. should be
The middle ground trees could be treated approximately the
to a greener grey using yellow ochre same height as the
and French ultramarine blue, whilst the heads of the figures in
foreground trees could have stronger the distance. A second
greens, mixed from primary yellow and vanishing point is
ultramarine blue. created at VP2. The
It’s a good idea to break up the greens road and fence change
by adding a species with a different direction and meet at
foliage colour as Gordon has done by this point. A third
adding a different coloured tree to the vanishing point occurs
right. My only suggestion here is that some way to the left of
the trunk would probably not be quite the picture as the road
so visible, and would be lost in more disappears around the
places by the foliage. corner.
Although paintings
Horizon line needn’t be plotted out in this way, it’s t
Gordon Gibbon Building in the
The roadway has a fence on the left, worth understanding the landscape by Landscape, watercolour, 10x7in.
(25.5x18cm)
VP3 VP2 VP1 Eye line

measuring how high up the end of the
road needs to be placed in the painting,
and looking at the points where the road
enters the frame at the edges of the
picture.
Follow my demonstration over the page
to practise painting a variety of foliage
and trees in one painting. Next month
I shall be painting foliage along country
lanes and buildings in the landscape. LP
Figure 1 How to draw the scene

t
accurately using eye level and three

viewpoints
t

Watercolour
Demonstration Fort Henry

Fort Henry is a small Gothic style building that sits on You will need
the edge of a lake within Exton Park. Numerous trees n Surface n Sennelier L’Aquarelle n Brushes
of different species, shapes and colours surround it. l Arches Aquarelle watercolour l Nylon synthetic No. 8
140lb Rough l Yellow ochre l Round synthetic No. 14
watercolour paperl Ultramarine blue l Flat 3⁄4in.
TIP The Arches Aquarelle Rough surface is l Venetian red
n
10x14in. Miscellaneous
heavily sized, which helps the paint sit for l Primary yellow
l
(25.5x35.5cm) 3B pencil
longer on the paper surface. It greatly helps l French vermilion
l Masking fluid
the user when creating tree textures, as the l Chinese orange
l White FW Acrylic Ink
paint granulates more readily.
Step 1
t
1 Use a 3B pencil to draw

the scene.
2 Add masking fluid into the
spaces where lilies will be placed.
3 Wet the entire paper with
a wash of yellow ochre and
introduce diluted ultramarine blue
into the upper half of the sky. In
the lower half, place ultramarine
blue with a little Venetian red.
4 Mix green from primary yellow
and ultramarine blue and paint
onto the wet surface at the
position of the tree line. Leave
the painting to settle and dry.
Step 2
t
1 Beginning with the trees farthest

away, add the distant shapes using
a mix of ultramarine and French
vermilion and the side of a No. 8 nylon
brush. Leave a space for another tree
in front. Add this and the far shoreline
using a mix of yellow ochre and
ultramarine blue. Feed more dark
into the left side of the tree and
base to make it appear more rounded.
2 Work across the paper painting each
individual tree shape in turn. At this
stage I had already decided that the
light will fall from the right and began
to gradate each tree from left (dark)
to right (light).
3 Paint the tree next to Fort Henry
with a loose mix of primary yellow
and ultramarine blue. My mix contained
flecks of blue and yellow in the palette
and as the paint was applied to the
surface, the partially mixed colours
split apart on the rough surface,
adding textures that suggested
leaf foliage.

Step 3
t
1 Working with the tip of No. 8 nylon brush, model the next
tree with a dark mix made by adding Chinese orange into a mix
of ultramarine blue and primary yellow. Feed this colour into
areas near the building to create more contrast with the edges.
2 To the left paint trees with wetter paint then feed darker
colours into the wet paint to give the trees more form.
3 Paint the shapes of the background trees with a light wash
of yellow ochre and ultramarine blue then add glimpses of the
trunk with slightly darker paint. In between, add a copper
beech using diluted Venetian red.
4 Define the form of the building by adding light washes of
ultramarine blue and French vermilion over a light yellow
ochre wash. Allow to dry then add darks to the windows using
a mix of Venetian red and ultramarine blue.
t Step 4
1 Select a Round No. 14 synthetic brush for the large trees on
the left and make a strong mix of ultramarine blue and primary Finishing touches
yellow. After filling the brush with paint, touch it onto a paper 1 Paint a flagpole with white FW
towel to take out excess moisture then, using the side of the acrylic ink and waterfowl on the Tim Fisher
brush, drag it over the rough surface to create the tree shapes. left with a light mix of ultramarine
Find out more about Tim
2 After wetting the paper, add yellow ochre where the building blue and Venetian red, dragging the
and his work by visiting
reflection will be. Whilst this is still wet, add dark green mixed reflection downwards with the brush.
www.timfisherartist.co.uk.
from yellow ochre and ultramarine and paint downward strokes 2 Add a hint of structure into the
His latest book Drawing
with a ¾in. flat brush. Touch the area where the lighter tree is trees on the left using a stronger
Masterclass: Perspective is
reflected with a damp tissue then feed in diluted primary yellow. mix of ultramarine and Venetian red.
available from Leisure Painter’s
3 When the surface is dry, rub off the masking fluid with dry Use the same dark under the trees
bookshop at www.painters-
kitchen roll and reapply more dots of masking fluid to represent to define the top of the grasses.
online.co.uk/store and follow
the lily flowers. Once dry, add a wash mixed from primary 3 Remove the masking fluid and
the links to books.
yellow and ultramarine blue. Add a dark edge where the add spots of primary yellow to
lily pads meet the water. represent the lilies.
t
The finished painting Fort Henry, Sennelier watercolour on Arches Aquarelle 140lb Rough watercolour paper, 10 x14in. (25.5x35.5cm)

LP02 46-47 Friend_Layout 1 13/12/2016 15:59 Page 46
Mixed media
t
Preliminary soft graphite pencil sketch on ordinary copier paper to compose the study, 8 14⁄ x814⁄ in. (21x21cm)
Fairy light
Combining techniques for liquid pencil and watercolour pencil
ensures a delicate and loose rendition of a fairy, by Trudy Friend
LEARNING OBJECTIVES 90lb – encourages the textural effects of permanent liquid pencil.
dry-brush work for the underpainting of The completed study in the form of
n Mix liquid pencil with the pots in liquid pencil while allowing the vignette (above right) demonstrates
watercolour pencils smooth brushwork in other areas. how detailed work and loose painting
n Learn techniques using both I used the tip of a fine brush for can be combined using these two
brushes and pencils intricate drawing while the same brush, media. Mixing media is always exciting,
when applied on its side, also produced and monochrome work in its own right
n Develop your drawing skills sweeping strokes of tonal washes. as well as a base for painting offers
Rewettable liquid pencil is ideal for this many possibilities, encouraging
work, as it can be lifted easily with a experimentation and the development
T he delicate form of garden

ornaments provided me with the
inspiration to draw this fairy with
liquid pencil. I have used both permanent
or rewettable varieties in this study,
damp brush, whether wet or dry, where
highlights or adjustments are needed.
In contrast to this, a loosely painted
background in permanent liquid pencil
was tinted with delicate overlaid
of new ideas. LP
Trudy Friend
demonstrating the contrasts between a translucent washes from four Inktense Trudy teaches drawing and watercolour
detailed approach for the monochrome pencils. Although the pencil strips lessons through the post. Call her on
figure (above) and loose underpainting contain strong, vibrant colours, when 01291 689641 to find out more. Details
for the supporting background impression diluted and applied loosely, they produce of Trudy’s books and DVDs are on her
(above right). Notice how the choice of a soft impression that does not disturb website at www.trudyfriend.co.uk
paper – Saunders Waterford CP (NOT) the monochrome underpainting of the

LP02 46-47 Friend_Layout 1 13/12/2016 15:59 Page 47
Mixed media
t
Fairy Study, rewettable liquid pencil and Inktense pencil, 912⁄ x1112⁄ in. (24x29cm)
HOW TO COMBINE MEDIA AND TECHNIQUES t Colour mixes
t Background – permanent liquid pencil
Versatile rewettable Dry-brush A mix of

liquid pencil can effect for blue and
be softened, lifted underpainting orange
with a damp brush, over which
receive overlays translucent hues
of richer tone are applied for
and applied the pots
delicately or with Glazing with a mix
sweeping strokes of yellow and orange
of the loaded
brush
Loose underpainting
for massed foliage
comprises a Tints
variety of washed
strokes, different loosely
t Combinations
lengths, widths over the
of these four and directions underpainting
colours produce
a varied selection
of subtle hues t Stones at the base of the image
Wider strokes
suggest shadow
sides of
the stones.
These are
Light olive Peacock blue Burnt orange Sun yellow loosely applied.

LP02 48-49 Holland_final_Layout 1 13/12/2016 15:59 Page 48
Oils
Loose and lively oils

Explore landscape painting in a different way as you splash,
dribble and score your oil colours, with Richard Holland
LEARNING OBJECTIVES
n Splash and dribble oil paint
on canvas
n Keep the energy of on-site
sketches in your finished
paintings
I always carry a sketchbook with me,

and working with a Pilot pen I aim to
capture instantaneous moments
quickly and on-site with rough, lively
sketches (such as the ones you see far
right). Trying to transfer the energy of
my plein air work into finished oil
paintings, I began experimenting with
splashing and dribbling the paint. Over
time, this has become a preferred way
of working with oils.
Capturing the movement of the waves
on a stormy March morning in the Isles
of Scilly, Scilly Seas (left) began as a
rough scribbled sketch that was
transferred to canvas in my studio.
Modelling paste was then applied across
the entire canvas, heavily in places, such
t
Scilly Seas, oil on canvas, 18x24in. (45.5x61cm) as the foreground rocks and the
movement of the waves, and a little
lighter in many other areas. I then
dribbled primary colours – French
ultramarine, alizarin crimson and raw
sienna – down the canvas, roughly
adhering to the highlights, mid tones and
shadows on my sketch. These dribbles
followed the contours of the paste, giving
me a loose base from which to work.
Once dry, I continued dribbling on with
the full set of colours, beginning with the
darker tones. I wanted to retain some
areas that had worked well with the
dribble and kept this in place all the way
through the painting. I continued to build
up areas with lighter colours using loose
and erratic brushmarks then wafted the
brush over the paste to capture marks I
couldn’t achieve through conventional
application. Dabbing, stumbling and
scraping also helped to build up the
looseness.
I finally used an old, fairly hard brush
to flick paint at the canvas, both whilst
the canvas was still wet, which helped the
splashes to defuse, and on a dry surface
when the marks stayed more prominent.
Lively brushmarks
In Misty Cunnery (left) I turned a simple
scene into something more interesting
t
Misty Cunnery, oil on canvas, 18x24in. (45.5x61cm) through painting the road with erratic

LP02 48-49 Holland_final_Layout 1 13/12/2016 15:59 Page 49
t
Edale, Hollins Cross Farm, oil on canvas, 12x24in. (30.5x61cm)
vertical and horizontal brushmarks, some trees and the building in shadow. This
blended, some not, using colours that style of painting helped me to define the
worked with the surroundings. A misty foreground without too much detail and
haze that inherited some of the the ramshackle house, partly in shade and
underpainting also gave little clarity to the lit from the left.
distance, and the use of dribbling and A clear area between the grasses gave
splashing for the foreground tree, walls me a lead into the focal point of the
and fern bank gave the painting more building, drawing the viewer into the
interest without a great deal of detail. central part of the painting.
I tried to capture the scene from Edale
in Derbyshire (above) several times in my Lively brushmarks
sketchbook, but this time everything fell Finally,Waterfalls (below) is a scene
into place, especially the light on the hills, of Lumsdale Waterfalls in Derbyshire.
I have painted this
many times before
and have many
sketches and
t
On-site sketch for Edale, Hollins Cross Farm
watercolours
made in situ from
which to work
(including the
sketch, right). The
texture and
dribbles I
inherited from my
underpainting
allowed me
to achieve
something very
different for the
standing and
moving water,
as well as the
texture in the
cliffs and rocks
that sat with
this water. An
altogether livelier
feel was
established.
Splashing also
helped me to
t
On-site sketch for Waterfalls
defuse a few
of the hard edges,
which in turn gave
it an enclosed
Richard Holland
Visit Richard’s website at
feeling, lit from www.richardhollandlandscape
the left. LP artist.co.uk for details of his
workshops, exhibitions and
other events.
t
Waterfalls, oil on canvas, 18x24in. (45.5x61cm)

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

[email protected] www.spencerscotttravel.com
Spencer Scott Travel Services have been offering painting holidays in association with The Artist and Leisure Painter magazines since 1990.
These holidays are fully ATOL protected under CAA Licence 3471
LP02 51-53 Hogan_final_Layout 1 13/12/2016 16:00 Page 51
t
The finished painting Bodmin Moor in Winter, acrylics, 16x20in. (40.5x51cm)
A walk on the moor

Winter: Follow Tony Hogan as he paints the first of four
images of Bodmin Moor through the seasons using acrylics
tin mines. The marshy areas of winter scenes of Christmas cards are few and
LEARNING OBJECTIVES harden underfoot and wild ponies and far between here. With this in mind and
n How to paint winter landscapes sheep roam freely once more. the knowledge that, if it should snow,
Bodmin Moor would be the first and last
n Begin a landscape using a Your subject place to have it, I was ready to respond
dramatic blue/black ground The highest village in Cornwall is to the first sign of a white covering.
n Learn traditional acrylic Minions, which is on the moor and Hoar frost or the lightest sprinkle of
techniques step by step close by are the Hurlers, a set of three snow had me returning time and again
standing stone circles believed to date to the moor, armed with camera, sketch
back to 1500BC. Here there is ample pad and pastels, to review and build
T he changing seasons of Bodmin

Moor draws the artistic eye, heart,
hand and palette into its history and
mystique. As rain-laden clouds scurry
across the sky, driven along by bone-
parking and a good choice of scenes
for potential paintings. Eventually,
with my back to the Hurlers, I selected
a view looking west, which incorporated
a wide vista. The heads of abandoned
on previous visits ready for the final
painting. Yet the fickle Cornish weather
eventually won and it became clear to
me that to complete this acrylic painting
of the moor covered in snow, by my
chilling winds, winter on Bodmin Moor tin mines, gorse bushes and rough preferred en plein air method, was
becomes a dark, desolate, wet and terrain are feasts for the eyes and a lost cause. So I acquiesced and retired
marshy landscape. However, walk the I realised that each painting would to my studio, my hours of reference
moor in summer and feel the warmth of embrace the ensemble of its season. work completed on the moor to hand
the sun as it bounces highlights off the When we think of winter landscapes, and thus my starting point of the winter
t
standing stones and the remains of old snow springs to mind, but the white painting began (see over the page). LP

Acrylics
Demonstration Bodmin Moor in Winter Step 1
t
I covered a pre-
stretched canvas
You will need with indigo blue.
I then returned
n Surface n Atelier Interactive Acrylics to the moor, set
l Pre-stretched and primed l Blue/black (indigo) up my canvas in
medium texture canvas l Dioxin purple bone-chilling winds
16x20in. (40.5x51cm) l Cobalt blue (hue) and used a thin mix
l Raw sienna
n Brushes of tinting white to
l Yellow ochre
l Rosemary & Co Ivory draw the main shapes of the landscape. Going to the location to make
l Tinting (pearling) white the first marks was important, as it helped me to capture the energy of
long flat
l Titanium white
l Rosemary & Co small the landscape. The sky threatened the day with heavy-laden clouds that
l Quinacridone red violet combined in varying colours of purples, blue greys and ochres. Having
Round brushes
l Madder brown captured the drama with photographs and mental notes I returned quickly
to my studio to continue working while the vision was still fresh in my mind.
t
Step 2 t
Step 3 t
Step 4
For this stage my selection of colours I settled in to several hours of painting As is often the case I reach a point when painting a
were dioxin purple, tinting (pearling) white, and repainting the sky as I worked at sky when I need to begin developing the landmass
cobalt blue and indigo blue. I began to capturing the movement of the scudding to establish a relationship between the two areas.
paint the main shapes using a fairly clouds. To achieve this I added raw I added yellow ochre to my palette and loosely
undiluted form of the tinting white across sienna, madder brown and cerulean blue blocked in areas of the distant whites and slightly
the sky area before blending other colours touches. The greys in the painting are warmer middle distance. This now made the initial
into it. This method creates tones and a mixture of indigo blue, dioxan purple, sky appear overworked and so necessitating a
colours much more exciting than achieved raw sienna and the tinting white. I often repaint. Upon completion I began work on the
mixing them on a palette. Once the form, take these four colours directly on to my moors, establishing further the distant soft whites
structure and initial colour references were brush from the palette and allow them with the tinting (pearling) white and touches of
blocked in, it was time for a coffee break. to mix on the canvas. the same colour in the middle and foreground.
t
Step 5 Step 6
t
More time was then spent balancing the Using raw sienna I made the first marks for They are a significant feature of Cornwall
snow-covered areas with tinting white the gorse bushes to locate all the positions and in particular in this landscape. I painted
and the use of titanium white to create and follow in with the darker shades (indigo these using titanium white and cast their
the brighter areas. Hints of cerulean blue and purple on the lower areas). Where the shadow area using the indigo blue pushed
hue (a cold blue), yellow ochre and snow sits on top of the gorse I used light in while the area was still wet. As the paint
dioxin purple were painted across the touches of titanium white. I also established dried a little and still using indigo, I added
snow to reflect the sky colours. the location of the old tin mine workings. the darks of the missing windows.

t
Step 7 t
Step 8
1 Using the colours already on the palette, I blocked in the I applied more white to the area behind the foreground and added
near foreground to differentiate the snow-covered landmass further titanium white to give the snow a shimmering finish. I then
and the area flooded with rain. I now needed to create enough developed the rain-flooded area by using colours reflected from
countercharge between the highlights and the dark areas to create the overcast sky. Using a small Round brush, the rushes in the water
the drama I wanted. This was a balancing act between painting, were painted with indigo blue and dioxin purple. I followed this
looking and overpainting until the right effect was achieved. quickly with raw sienna to allow random blending and mixed
2 The larger of the gorse hedges were developed with the corner ochre with tinting white for the highlights.
of the brush and varying degrees of the colours tinting white,
yellow ochre, raw sienna, dioxin purple and indigo blue.
3 I then painted the small trees and gorse bushes, fencing posts
and the larger tree trunks in the middle distance to the right of the
work. I was constantly reviewing the entire picture and observing
the need for a hint of warmth in the bank behind the water, which
I introduced with just a hint of quinacridone red violet.
4 I also added further touches to the gorse bushes. This is the
beauty of working with acrylics; areas can often be readdressed
up to the final brushstroke.
Step 9
t
1 As I blocked in the dark tones of the foreground, the painting

began to reflect the photographs and the images I had seen on
my many visits.
2 The bare trees bent by the wind of the wild exposed moorland
are another important aspect of this painting. I painted these
with varying strengths of indigo blue with touches of raw sienna
and hints of white added where the snow settled on branches.
These trees brought more depth to the work, pushing the tin
mine workings further into the background.
Step 10
t
Using loose brushstrokes, a heavily loaded

brush and often three colours at a time,
I painted the foreground. The right-hand bush,
areas where the snow had settled and the bare
earth were now honed. Other areas were
revisited to give the final visual punch with
particular focus on the deepening of darks
and further touches of white.
Tony Hogan
Tony runs painting holidays and courses
from his studio in Wadebridge, Cornwall.
He will also be offering selected courses in
Scarborough, Yorkshire, Spain and Venice
this year. Visit www.hoganart.co.uk or
telephone 01208 895088. t
The finished painting Bodmin Moor in Winter, acrylics, 16x20in. (40.5x51cm)

LP01 PatchingsCall17_v4_Layout 1 09/12/2016 17:16 Page 54
and
open Art Competition 2017
in partnership with patchings Art Centre
CALL for eNtrIeS
£17,500 WortH of prIzeS
OVER 40 INDIVIDUAL PRIZES WILL BE AWARDED TO SELECTED ARTISTS COMPRISING:

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

The competition is open to artists per entrant will be accepted for 4 BY POST colour photos or prints (no correct return postage) for the
worldwide. Only original work will exhibition in the Leisure Painter larger than A4) must be sent to the results and return of your entry.
be considered and paintings based category. address on the entry coupon (right). 6 Send your entry/ies with the non-
on reference photographs must have 2 No entry should be larger than refundable entry fee of £16, payable
been taken by the artist or used with 5 Each entry must be clearly marked
120x150cm WHEN FRAMED with your name and address and title to TAPC, to: TA&LP/ Patchings 2017
the permission of the photographer. (canvases do not need to be framed). Competition, 63/65 High Street,
Photography, except where incorporated of the work and placed in an envelope
3 ONLINE digital entries must be sent to which you must affix the entry Tenterden, Kent TN30 6BD, to arrive
into collage, is not acceptable. by the closing date of March 31, 2017.
via our website at www.painters- coupon, right. Place into a larger
1 The entry fee of £16 covers up to online.co.uk clicking through the envelope for posting, with a stamped 7 Entries will be judged after March 31,
THREE entries of two-dimensional links entitled TA&LP/Patchings addressed envelope large enough to 2017 and selected works called for
works in any media; only ONE work 2017 Competition. accommodate your entries (with the exhibition. These must be framed
LP01 PatchingsCall17_v4_Layout 1 09/12/2016 17:16 Page 55
and
opeN Art CoMpetItIoN 2017
eNtry forM for poStAL eNtrIeS
(Online entries: please see point 3 in entry details, below left)
DEADLINE: March 31, 2017
Please accept my work for consideration for the 2017 competition.
I confirm that my entry is original. I have read and understand the rules
and agree to allow The Artist and/or Leisure Painter to publish,
republish and repurpose my work in print and digital formats
including but not limited to magazines, promotion materials, websites,
databases and as part of downloadable digital products.
Affix to envelope holding entry/ies and send with stamped
addressed envelope and payment of £16, (make cheques payable to
t
Leisure Painter Highly Commended Award 2016 Celia Brookes TAPC), to TA&LP Patchings 2017, 63/65 High Street, Tenterden, Kent
Just Picked, watercolour, 15x1712⁄ in. (38x45) TN30 6BD by the closing date of March 31, 2017. Or, please charge my
n Mastercard n Visa n Maestro

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ALL eNtrANtS WILL reCeIve A
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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
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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
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$
The online home of
and magazines
2
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of
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LP Feb 2017 Books p57 _News 1st 12/12/2016 09:54 Page 6
Books & DVDs WHAT TO READ & VIEW THIS MONTH

Visit www.painters-online.co.uk/store and click on Why sketch?
the link to books to buy the latest practical art books Wendy Jelbert’s new
available from LP’s online bookshop book, From Sketch to
Watercolour Painting,
poses and answers the
question, why sketch?
Here, Wendy shows us
Get sketching how to capture special
Architect and art moments through our
teacher, Klaus Meier- sketches, then how to
Pauken, shows us how develop these sketches
to sketch in busy and ideas into a finished
locations, creating painting. There’s
speedy, animated information on
drawings in his Quick & capturing detail,
Lively Urban Sketching. composition, texture,
The book is divided into using watercolour and making the most of your sketchbooks, as
seven lessons: tools, well as tips on pen and line and wash techniques – all given
colour, composition, through a series of step-by-step projects. Wendy is an experienced
bringing a sketch to life, and popular tutor who understands the needs of the amateur
urban life, landscapes and human subjects, and for painter and how to get results.
each of these Klaus shares with us tips, techniques From Sketch to Watercolour Painting: Pen, Line and Wash by Wendy Jelbert.
and learning objectives to make our drawings better. Search Press, (s/b), £12.99.
There’s plenty of inspiring illustrations too and
creative exercises to build confidence as well as skill.
Quick & Lively Urban Sketching by Klaus Meier-Pauken.
Search Press, (s/b), £8.99.
DVD
Harvest mouse
Paul Hopkins will be known to
many Leisure Painter readers
Expressive for his meticulous
animals watercolours of flowers and
Marjolein Kruijt’s latest book, birds. In this, his first DVD,
Drawing and Painting Animals Paul shows us in real time
with Expression looks at that how to paint a harvest mouse
most difficult of subjects – in watercolour, from the very
capturing often unwilling beginning so that you see his working methods every step
subjects on paper. Although of the way. Paul was prompted to make the video by his
not for the absolute beginner students, many of whom were asking the same questions,
because of the inherent such as how to build up fur detail, what to do with the
difficulty of the subject matter, background or how to apply masking fluid. The film
Marjolein shows us how to answers these questions, using the harvest mouse as the
draw both domestic and wild subject, but with techniques that could easily be applied
animals, with subtleties that to other furry creatures. The tutorial is split into sections,
help you capture their personalities. Using a variety of media, making it easy to revisit a particular area to watch again –
including pencil and charcoal, ink, pastel, oil and watercolour, how the background is added, for example, or how the
Marjolein covers basic materials and techniques, how to make eye is painted. Annotated information pops up onto the
sketches of animals, use photographs as inspiration as well as screen to show particular paint processes, colour mixes or
how to create your own style. There’s information on specific things to avoid.
areas, such as using space and background, anatomy and coat, Harvest Mouse in Watercolour: A Step-by-Step Tutorial by Paul
fur and feathers and drawing at the zoo, as well as step-by-step Hopkinson, 2hrs 53mins, £19.99 plus postage. Available from
projects for you to work on. The Devon Artist, www.devonartist.co.uk; email
Drawing and Painting Animals with Expression by Marjolein Kruijt. [email protected] or telephone 07975 906395.
Search Press, (s/b), £15.99.

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 Feb 2017 Art clubs p59_News 1st 12/12/2016 09:59 Page 3
Art clubs
OVER TO YOU FOR THE LATEST NEWS ON CLUB
Brighouse Art Circle
Artist, John Thornton, will demonstrate
painting figures in the landscape in
mixed media to the Brighouse Art Circle
on 12 January at 7.30pm at the Waring
Green Community Centre, Brighouse.
Visit [email protected]
EXHIBITIONS AND ACTIVITIES Hipperholme & Lightcliffe
Art Society
CLUB EXHIBITIONS Matthew Thompson will give an acrylic
n Brierley Hill and District
Demonstrations & classes demonstration to the Hipperholme &
Bedford Art Society Lightcliffe Art Society on Tuesday 17
Society of Artists January at Brighouse Rest Centre, Park
James Green will give an airbrush
Exhibition at The Red House Glass Cone, Row, Brighouse, 7.30pm. Visitors
Wordsley, West Midlands from 14 January to demonstration to the Bedford Art
12 March. Open weekdays, 10am to 3pm; Society on 3 February, 7.15 for a 7.30pm welcome. For more information visit
and from 11am until 4pm at weekends. start. James will cover all the equipment www.handlas.co.uk
n Keswick Society of Art and techniques involved in creating a Virginia Water Art Society
Exhibition at the Theatre By the Lake, painting from start to finish. The Artist, Jonathan Newey, will
Lakeside, Keswick CA12 5DJ until 20 demonstration will take place at Putnoe demonstrate painting buildings,
January. Enquiries to Ted McCardle 01768 Heights Church, Bedford MK41 8EB. landscapes and abstracts in watercolour
744855. Entry is free for members; £5 for at 7.30pm on Wednesday 1 February at
n Salisbury Group of Artists visitors. For more information contact Jean the Community Centre, Beechmont
Exhibition at Salisbury District Hospital, Paterson on 01234 307210 or visit Avenue, Virginia Water, Surrey GU24 4EY.
Odstock Road, Salisbury until 6 January. www.bedsartsociety.co.uk Visit www.virginiawater.org.uk/artsociety
Karen Akroyd The Brown Hare, pastel, 16x12in. Visitors’ ‘add-a-bit’ painting at the Redcatch
t
t
(40.5x30.5cm), winner of the public vote at the Art Club’s annual exhibition
annual exhibition of the Redcatch Art Club
News The Redcatch Art Club meets on can be made on a weekly basis at
Redcatch Art Club Monday mornings between 9.30am and £1.50 or £30 per annum. For more
Last autumn the Redcatch Art Club 12noon at the Community Centre, information contact Penny Docker on
held the second of its annual Redcatch Road, Bristol BS4 2EP. 0117 971 3629; email
exhibitions. To get visitors involved Presently there are over 30 members, [email protected]
they not only asked the public to vote some of whom are experienced artists, North Lincs Art Society
for their favourite painting (above), whilst others are much less Work by members of the North Lincs Art
but also try painting themselves – experienced, but enjoy painting and Society will go on show at the Caistor
adding their own marks to an acrylic drawing, and learning new techniques. Arts & Heritage Centre, 28 Plough Hill,
painting of the sea and sky. The final There is no regular instructor, although Caistor, Lincolnshire LN7 6LZ from 5 to
result is shown above right. Chairman, visiting artists provide demonstrations 29 January. There will be a Meet the
Penny Docker, commented: “Our and workshops from time to time. If Artists session on Saturday 7 January,
visitors thought it was a great idea, you are interested in finding out more, from 11.30am until 1.30pm. Telephone
although not all wanted to have a go!” the first session is always free. Payment 01472 851605 for details.

LP Feb 2017 Gallery p60-61_Layout 1 12/12/2016 10:18 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.
t
Thringstone Art Group Rita Bloor Memories of Archie,
watercolour, 16x20in. (40.5x51cm). The Thringstone Art Society
meets on Friday afternoons, between 1 and 3.30pm for painting,
tea and cakes. The summer exhibition, at which Rita’s painting
was chosen as the public’s favourite, ran for 10 days in August. A
record-breaking 90 paintings were sold. For more information
contact Catherine Waldram on 01530 813812.
t
Darlington Society of Arts Gina Morton Judgement Time at
Masham Sheep Fair, watercolour, 11x15in. (28x38cm). The
Darlington Society of Arts, which began life in 1922, is a friendly
group of amateur and professional artists, ranging in ages from t Sutton Coldfield Society of Artists Brian Garbett Puffer
10 upwards. The group meets at Hummersknott Academy on on the Clyde, Glasgow, watercolour, 19x28in. (48x71cm).
Wednesday evenings between 7 and 9pm. For full details on all For more information about the Sutton Coldfield Society of
the society’s events and how to get involved, visit Artists and how to join, telephone Wing Lien on 0212 323
www.darlingtonsoa.weebly.com 3826 or visit www.suttoncoldfieldsocietyofartists.co.uk

LP Feb 2017 Gallery p60-61_Layout 1 12/12/2016 10:18 Page 3
t
Alton Art Society Robin Lees Oak Trees, Highmead House, meet weekly for indoor painting on Thursday afternoons at the
acrylics, 18x20in. (46x51cm). Formed in 1923, the Alton Art Alton Maltings. A programme of winter talks and demonstrations
Society now has a large and active membership of almost 300. is arranged throughout the year, with outdoor painting during
The society is open to anyone, whatever their ability. Members the summer months. Visit www.altonart.org.uk for more details.
Horsley and Clandon

t
Society of Arts Anne Parsons

Cornish Creek, watercolour,
13x9in. (33x23cm). The
Horsley and Clandon Society
of Arts meets monthly
throughout the year for a
programme of
demonstrations and lectures.
The annual exhibition is held
in October, when around 200
paintings are exhibited for
sale. For more information
contact Robyn Cormack on
01483 224063.
t
Altrincham Society of Artists Mike Harrison Winter Evening, How you can join in
Bollington, pastel, 11x14in. (28x35.5cm). The Altrincham Society To participate in our best in show feature, arrange for
of Artists was first established in 1937. Members have their own the voting to take place at your next club exhibition,
studio at Sylvan Grove, Altrincham, which they can use at any then send Leisure Painter a photograph, transparency or
time. There are regular painting sessions on three days and three jpeg of the chosen painting. We can only accept sharp,
evenings a week, as well as outdoor painting sessions at various high-resolution (300dpi) images for reproduction
locations in the area during the summer months. Regular purposes. Attach details of the artist, title, medium and
workshops and demonstrations, two major exhibitions a year, dimensions, along with details of the club itself. LP also
and a painting holiday at a country or coastal location complete welcomes art exhibition listings, profiles, events, letters
the busy schedule. Last year the holiday was held in the Lake and news. Send to Jane Stroud, 63/65 High Street,
District in stunning weather. For full details of all these and other Tenterden, Kent TN30 6BD; or email [email protected]
social events visit www.altrinchamsocietyofartists.org.uk

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

LEARN AT HOME. Watercolour
and drawing. Beginners/advanced Painting Holidays
correspondence courses. Easy, relaxed,
in Sicily
thorough. Details: Jenny Trotman NDD.
Tel: 01305 264568
www.catswhiskersart.co.uk
The Old School Studio

The Old School
Old School Studio
Lane,
Whittlesford,
Old School Lane, Whittlesford, The Real Sicily offers idyllic 7-day painting
Cambridge
Cambridge CB22 4YS holidays in Sicily for groups of 3 to 5
CB22 4YS
CAMBRIDGE based Working Art Studio artists in May, June and July 2017. Guests
set in an attractive Victorian School House. will be based at the beautiful Casa Serena
Affordable one &CAMBRIDGE based
two day fully tutored Working
workshops. Art in the Madonia regional park – and will TERRY HARRISON WORKSHOPS
Studio be taken to a range of scenic locations to
m Akib, Paul Alcock, Marilyn Allis, Jamel Akib,set in an attractive
Vic Bearcroft, Melanie Cambridge, £49 per day. All materials supplied. Come and enjoy an
ya French, John Glover, Rachel Haynes,Victorian School
Prue van der House.
Hoorn,Chris Lockwood, draw/paint each day. Weeks are on a informative and fun day learning to paint watercolour
mble, John Shave, Simon Williams SBA, Thomas Plunkett PRWS, Sue Williams full-board basis and all transport supplied. landscapes. No drawing skills required.
Affordable one & two day
rop-in-and-Paint Club every Thursday & Friday For more information and to book online
fully tutored workshops.
CAMBRIDGE OPEN STUDIOS IN JULY
We also offer two Tutored Painting weeks
www.terryharrison.com Tel: 01451 820014
from May 13-20 and July 1-8, 2017,
Tutors for
ay Summer School & Kids Painting Activities 2017:
in August
led by artist and professional tutor, Lach Dennis, Cheshire - Normandy, Surrey -
tocked with easels, drawing boards etc,Hashim
and benefitsAkib, Vic mezzanine
Bearcroft,
from a large floor with a
Linda Matthews. 14th Mar 22nd Mar
Students can also relax in the attractive garden and courtyard, whilst enjoying a cuppa!
Soraya French, Simon Williams SBA, Little Wenlock, Telford - Hemel Hemstead -4th Apr
TonyEmail:
kshops or to request the 2016 brochure Allain, Robert Dutton
[email protected] Contact 0207 724 8543 or go to 15th Mar East Grinstead -11th Apr
ifer: 01223 833064 and many more popular tutors
www.theoldschoolstudio.co.uk www.therealsicily.com for details. Saltford, Bristol-21st Mar Guildford -25th Apr
Drop-in-and-Paint Club
every Monday, Thursday & Friday
View/download our 2017 brochure
Visit
Email: [email protected]
Or call Val Pettifer: 01223 833064 www.painters-online.co.uk
www.theoldschoolstudio.co.uk
TARN AREA, SW FRANCE. Painting ALL-INCLUSIVE SPANISH WATERCOLOUR

holidays. Excellent food and HOLIDAYS in the mountains of Southern
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swimming pool. Professional tuition by Instruction is followed by fieldwork,
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STAITHES ART SCHOOL 2017
Cora Martin. Everything included except your flight.
DISCOVER THE JOY OF PAINTING
Details: Bob and Carla Schaap, Non-painting partners welcome. For IN THE ARTISTS’ HAVEN OF STAITHES
Chateau de Pourpry, 81220 Damiatte, special offers and customers' comments www.staithesgallery.co.uk
contact [email protected] Haidee-Jo Summers tutoring at Staithes Art School
Tarn, France. Tel: 0033 563 707 176 visit www.watercolourspain.com 01947 841840 or 07972 012464 (photo courtesy of Rachel Ward)
Email: [email protected] Tel: 020 3239 6786 or 0034 637 458679
PAINTING COURSES & PAINTING HOLIDAYS,

DAY WORKSHOPS IN
CRETE WITH GAIL WAREHAM
FRANCE
Paint on location,
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STUNNING LOCATION All materials included.
Come and join us at
“I achieved far more The Old Bakery B&B,
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Charity No. 1146825
Great tuition, great company,

01736 797180 See website for details:
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great surroundings and an
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E: [email protected]
T: 0030 694 346 3920 www.theoldbakerystudio.org
lp CLA FebNEW.indd 62 13/12/2016 12:15:34

artsmart Leisure Painter 2017.pdf 1 08/12/2016 10:17
Holidays & Courses

BATH PAINTING SUMMER SCHOOL
2017 C
www.bathpaintingsummerschool.co.ukY
Phil Hobbs CM
June 26th-30th 2017 MY
Jane Blundell CY
July 17th-21st CMY
Judi Whitton K
June 16th and 17th

For more information visit our web-site www.bathpaintingsummerschool.co.uk
YARN MARKET HOTEL France, Norfolk, Sicily Cornwall Small friendly painting holidays in
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• Unspoilt beaches, ancient ruins,
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For lots more information see our advert in the Art Courses and Holidays supplement
Dozens of holidays to choose from Jan-Dec 2017. All abilities welcome.

Contact John or Christine on 01202 393234
[email protected] www.artholidaysindorset.co.uk
Painting Courses ARNOLD LOWREY

TWO FABULOUS PAINTING HOLIDAYS
with P&O cruise art instructor Anne Barnham.
Come & enjoy watercolour.
1-7 Day & Weekly Art Courses Be inspired & stimulated.
painting flowers, gardens, May 7th-12th at St Briavels, Wye Valley. Join me in Spain for the
landscapes, watercolour July 9th-14th at Sidmouth, Devon. watercolour holiday of
or line & wash Half board – no single supplement. a lifetime.
Studio and en plein air.
with Jan Blanch in Norfolk
Dalvaro Painting Holidays
Very good accommodation Beneganim, Valencia
also painting holidays in Corfu Everything included.
For further details contact: 4th-10th June 2017
Tel: 01493 393639 1st-7th October 2017
or 07702 069300
E-mail: [email protected] Contact Anne: 01526 320626
www.janblanch.co.uk
[email protected] www.dalvaro.co.uk Further info: [email protected]
www.saa.co.uk/art/annebarnham

Holidays & Courses
Sue Ford’s
David Webb, professional artist, author
Watershed Studio
and contributor to Leisure Painter.
2-Day watercolour workshops in
Painting Holidays Celebrating our 15th year South Devon in 2017.
Mixed Media Courses
Cober Hill and Red Lea Hotels • Proven reputation for quality courses
both in Scarborough, • Warm welcome & home-cooked food
various dates • Rural studio in its own grounds
• Excellent local accommodation
Glenthorne, Grasmere, • High profile, popular tutors
Higham Hill, Bassenhwaite, Jamel Akib, Tessa Pearson,
various dates • Demonstrations/one-to-one tuition
Carole Baker, Sara Johnson, • All materials included
The Algarve May 10-17 Robert Dutton and many more…
• Lunch included, plus tea & coffee
The Watermill in Tuscany Call Allison Bond for details: • Maximum 12 students
July 15-22 01255 820466 • Studio based in large, well-lit room
www.sueford.co.uk Email: [email protected]
Details at: www.davidwebbart.co.uk
[email protected] www.watershedstudio.co.uk Email: [email protected]
St Clere’s Hall Lane, St Osyth,
Tel: 01642 712926 Clacton on Sea, Essex, CO16 8RX 01803 846321
EastDevonArt.co.uk
Award Winning Art
2017 New Painting Holidays! painting holidays
Higham Hall, Lake District
Rydal Hall, Lake District DEVON COAST
Where better to develop your painting skills than in beautiful Pembrokeshire
Cober Hill, Scarborough ART COURSES
HF Holidays - Malham, Whitby Top tutors including Glyn Macey,
Dalvaro Art, Spain Roger Dellar, Chris Forsey, Paul Weaver, Professional tuition for all levels
Paint Andalucia, Spain David Bellamy, Soraya French,
Sandpiper Studio, South Wirral Jake Winkle and many more.
3 and 5-day full board residential courses
Watershed Studio, Essex Superb home cooked cuisine
Norfolk creative Arts, Norfolk Spectacular location 3 minutes
Various dates,different media. from the coast. 4 Star en-suite accommodation
Visit www.rdcreative.co.uk 01395 516284 S mall groups, large studio space
for further details
[email protected]
...be inspired painting partners welcome
non
Top quality workshops and www.eastdevonart.co.uk
demos for you all nationally!
Call 0113 2252481or East Devon Art Academy, t: 01348 840 177 Andrew and Maggie Brown
email [email protected] Old Fore Street, Sidmouth EX10 8LS e: [email protected] w: www.indigobrown.co.uk
ENJOY PAINTING CATALONIA Drawing & painting in

QUALITY PAINTING HOLIDAYS IN SPAIN unspoilt Abruzzo, Italy
Join tutor Angela Brittain ASWA UA,
guest tutor David Napp* & friends on
ZBUKVIC April 23rd-30th 2017 for a relaxing & fun
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CHIEN CHUNG-WEI
Materials, food & drink included.
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+34 645 767 403 See www.paintinginitaly.co or tel: 01403 274477
*TBC
Art
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rt bre
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re k in Exmoor
ks E
Exmoor The Sandpiper Studio
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Large, bright studio in rural location and friendly
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Holidays & Courses
Tess Baker Art Grows Wings Rachel Clark

Take a dream painting holiday to Provence, Antigua, LIFE DRAWING & PAINTING CLASSES
Tuscany or Mallorca with professional artist Tessa Baker Widely acclaimed & exhibited artist Rachel Clark
has run life drawing classes in London since 1976.
• All elements of art included “Regardless of experience, everyone will gain from her
• Dream destinations skillful teaching. The small supported and structured classes
maximise individual tuition and growth”.
• small groups • one to one tuition
Saturdays - Weekends - One week - Private or Corporate tuition
• meals cooked by 5* chef
www.rachelclark.com T: 07528 674 389
Full details on the website
www.paintprovencewithtess.com
www.tessabakerart.com DAVID COUPE situated in Bolsover
or email: [email protected] Derbyshire does Saturday workshops
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Starts at 10.00am and finishes at
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“Thank you for such an enjoyable & informative refreshments. Media are watercolour,
weekend. I learned more in 2 days than I have in years!” oils, and pastels. Beginners and
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email [email protected]
Tel: 01246 826311
Framing
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CHINESE BRUSH PAINTING SUPPLIES Films

We have an extensive range of high quality,
authentic Chinese Brush Painting supplies,
beautiful accessories and specialist books.
• Over 300 titles in stock

• Starter packs for beginners
To keep in touch and receive

more hints, tips and news
about our competitions and
offers sign up to receive our
FREE regular e-newsletter
www.painters-online.co.uk/
art-community/newsletter-
registration.htm

LP Feb 2017 OG p66_News 1st 12/12/2016 10:30 Page 66
Online gallery
Jane Stroud’s selection of work from our PaintersOnline gallery
WWW.PAINTERS-ONLINE.CO.UK
A s the deep winter settles around us, I
wanted to draw your attention to
two paintings I’ve selected from our
create his beautifully atmospheric
landscape from the warmth of his
studio, while Rodney Kingston thrives
frame. So there’s no excuse – there are
painting subjects everywhere! If you
would like to see more work by these
online gallery this month as examples of on painting the everyday. He has artists, post a comment or have a go
where you might try to look for managed to turn a very humble subject yourself and upload your own images
inspiration. John Jarratt has used into a vibrant painting, setting himself on our free online gallery visit
photographs of a scene he knows well to the task of finishing it in a limited time www.painters-online.co.uk
Everyday subjects
Rodney Kingston is a full-time graphic
designer on a weekly magazine, but
finds time in the evenings and weekends
to paint. He uses oils, trying to work
from life as much as possible. “I like to
paint portraits, still life and plein air
landscapes,” he says. “I have always
painted for fun but have taken it more
seriously for the past three or four years,
with the hope of one day turning
professional. Golden Syrup was part of
a still-life series of food products that
included ketchup, coke bottles,
Campbell’s soup, Oxo cubes and
Marmite. I painted it from life in two
one-hour sessions.” Take a look at some
of the paintings from this series on our
online gallery at www.painters-online.
co.uk/gallery
Rodney Kingston Golden Syrup, oil on

t
canvas, 8x10in. (20x25.5cm)
Setting the scene

Thomas Jarratt, known as John to his family and
friends, was a commercial artist for all of his
career, which required him to draw, but not paint.
It wasn’t until retirement that he started to paint,
teaching himself and working through the various
media until he settled on oils. “I find them so
flexible,” he says, “so rich and forgiving. I wish I’d
started with them all those years ago.
This picture was prompted by a landscape
competition I entered in a local magazine. The
scene is one that my wife and I regularly walk, on
the approach to Ayot St Lawrence – a small
Hertfordshire village, where George Bernard Shaw t
Thomas Jarratt Late Snow near Ayot St. Lawrence, oil on canvas, 14x26in.
lived and worked. We climb the hills and always (35.5x66cm)
have to stop, turn and look at this wonderful view
full of dips, ridges, trees, fields and hedges. I used photographs camera shows you a lot of sky and foreground, but little of
taken over the years, but was careful with the detail, or lack of it, interest in between. The snow is purely my invention as I
that these reveal. I find this necessary with landscape painting as wanted to add just a touch of the mystery that it can bring
your brain opens out the details when you look at a view, but a to everyday sights.”

p067_LPFeb17_Layout 1 09/12/2016 11:58 Page 67
magazine
is available Watercolour
Inspired by nature
digitally
Here’s an easy-to-follow watercolour demonstration to practise applying light,
fluid washes while reserving the white, by Rachel McNaughton
M Colours used
Yo u w i l l n e e d
I Surface
G Saunders Waterford High
White 200lb Rough paper Cobalt Neutral Quinacridone Burnt Burnt Payne’s Aureolin Daniel
15x22in. (38x56cm) turquoise tint gold umber sienna grey Smith
light (or light red) moonglow
I Winsor & Newton
Professinal Water Colour
See colours, right
I Miscellaneous
G Daniel Smith moonglow
G White gouache
G White gel pen
G White pastel (not oil pastel)
G Old toothbrush
Step 1
M
1 Use a plate or saucer to draw around for
the dandelion clocks. I used a 6in. plate.
Use a ruler to find the centres of each then
place the stem and centre of both heads.
Try to avoid ramrod straight stems; give
them a bit of movement.
G Instant acccess to your

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

burnt umber with a little neutral tint
and either burnt sienna or light red.
2 First, with a very dilute mix of
moonglow, add a little shadow to
model the ‘cushion’ in the centre
of the dandelion clock. Paint a little
on the dark side and fade across 4 Mix a little aureolin and add green
the rest with clean water. mixture. Use this to paint the stems.
3 With dark green paint the sepals Quickly blot some colour off with
under the cushion. Vary the colour, tissue or kitchen roll.
adding more quinacridone gold 5 Use the browns to paint the individual
or Payne’s grey as necessary. seeds that are still attached to the centre.
G Easy access to paid-for past

32 OCTOBER 2016 www.painters-online.co.uk
and present issues Go to www.painters-online.co.uk and

G All issues stored in one place click on the ‘Subscribe’ tab, search for
G Subscriptions and single Leisure Painter magazine at these
copies from just £2.49 stores or scan the QR code
G Try it FREE. Sample issue
is available to download
PAINTERSONLINE
and ProColour Competition
PaintersOnline, the website for
Leisure Painter and The Artist ENTER NOW
magazines, has teamed up with
ProColour to offer you the To win one of eight sets
chance to win one of eight sets of ProColour Acrylics from
of four 59ml bottles of ProColour ProColour please visit
Acrylics. Each set includes three
primaries and a white with a www.painters-online.co.uk
total value of £33(rrp) per set.
the home of
ProColour is made to a unique formula styles of painting where purity, depth
and
and offers the artist a professional of colour and permanence are essential. magazines, and click on the links
quality pigment-rich paint with a matte The pigments are chosen for their high to competitions. Closing date
finish, which is waterproof when dry, lightfastness. for entries is April 1, 2017.
allowing colours to be overpainted With its high pigment concentration Winners will be selected at
without re-activating or smudging. All ProColour provides opacity when used random from all online entries.
84 colours in the range are non-toxic, straight from the bottle as an acrylic or
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fully intermixable. massive dilution to create make sure you opt in to receive our
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suitable for all visit www.procolour.net new competitions and other great offers.

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: [email protected]
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p68_lpfeb17.indd 1 12/12/2016 15:59:05

Inspirational
ACH Cover 2017.qxp_Layout 1 07/12/2016 12:09 Page 1
A and artist supplement
art courses
& holidays
2017
Over
50
of the leading
art holidays and
courses in the UK
and abroad Across the Lagoon, Venice by Paul Alcock
Le Perchoirs de Paons Paul Alcock Art in the Algarve Tony Hogan Learn to Paint in France
What to pack for outdoor oils • Cycling and painting trips • Why book a painting holiday?
Val Cansick Art
Flooded Lane, Withiel, Cornwall 2016 by Val Cansick
Whether you are a complete beginner, or picking up pencil or brush after a long
absence from doing any artwork, come and have fun on one of Val's courses.
Prices start from £95 for a day or up to £495 for a week in Hertfordshire or Cornwall.
In between we have 2 and 3 day courses to help you with your chosen medium.
All materials included.
‘Great class, patient tutors and good value’
‘Can’t imagine life without art since I began painting at Churchgate Gallery’
Call or email us for details or to request a brochure:

07544 343749 any time, or email at [email protected]
p02_hacfeb17.indd 1 14/12/2016 10:12:31

AC&H contents p3v2.qxp_Layout 1 08/12/2016 09:35 Page 1
www.learntopaintinfrance.co.uk
Inside this
With Mike Hall Des RCA.
supplement
Inside this
Join popular artist and supplement
experienced tutor Mike for a long
weekend or a week’s all inclusive
painting holiday in France.
Sunlit church squares, decaying

20 16
chateaux and medieval villages
set on fast flowing rivers, can all
4 20of 16
Over 50 the best art courses and holidays
be found in the Limousin where
12 Holiday inspiration with Paul Alcock
he runs small painting groups in
4
16 Over 50 best
Travelling artoils
with courses and holidays
by Christine Pybus
his studio. All levels welcome.
12
20 Holiday inspiration with
On the move with Tony HoganPaul Alcock
16 Travelling with oils by Christine Pybus
20 On the move with Tony Hogan
Inspirational Art Courses & Holidays 2017
is published by The Artists’ Publishing
Company Ltd, 63-65 High Street,
Tenterden, Kent TN30 6BD
Inspirational Art Courses & Holidays 2017
T 01580 763673
is published by The Artists’ Publishing
Company Ltd, 64-65 High Street,
Publisher Kent TN30
Tenterden, Dr Sally
6BD Bulgin
Editor
T 01580 763673 Ingrid Lyon
Designer Sarah Poole
Publisher Dr Sally Bulgin
Subscriptions 01580 763315
Editor Ingrid Lyon
See the website for details or call Mike on Advertising manager
Designer
Anna-Marie Brown
Sarah Poole
01256850167 or 07774 616361 E [email protected]

Subscriptions
T 01778 392048
01580 763315
Advertising manager
email: [email protected] Anna-Marie Brown
www.painters-online.co.uk 12
E [email protected]
You only live once…

T 01778 392048
www.painters-online.co.uk 12
In conjunction with Arte Umbria (www.arteumbria.com), the and at the same time allow the atmosphere of these fantastic
leading painting holiday destination, Painting in Europe invites locations to pervade your soul. With many new and exciting
you to dip into some spectacular new painting courses for 2017. destinations to choose from in 2017, these courses also offer a
luxury holiday for both painters and any non-painting partners.
At Painting in Europe we believe in providing the best
experience imaginable, which means we meticulously plan If you enjoy painting at any level these courses, combined with
and research every holiday destination to ensure your painting the locations and the painting skills you will acquire, are once
holiday is both enjoyable and relaxing and one that will live in a lifetime opportunities, so go on indulge yourself and book
in your memory forever. It also helps if you have access to the today. We guarantee you won’t be disappointed. To book and
most talented and creative tutors around and they will help for full details of destinations and prices please visit our website
you to explore your painting passion, elevate your techniques www.paintingineurope.com
VENICE with INDIA with
BARCELONA with GRANADA with
MARRAKESH with Tim Wilmot Grahame Booth
2017 Paul Alcock Grahame Booth
Kelly Medford
PAINTING IN EUROPE For more details on all courses email [email protected]

call 0033 964 124 123, cellphone 0033 643 436 721
Follow us on Twitter @painteurope and @arteumbria and on our Facebook
and other exotic locations with Arte Umbria pages Painting in Europe and other Exotic Locations and Arte Umbria 
www.painters-online.co.uk Inspirational art courses and holidays 2017 3
p03_hacfeb17.indd 1 14/12/2016 10:15:58

be s t
Over
of t h e
Top 50 use v2.qxp_Layout 1 13/12/2016 09:13 Page 1
50 art courses and

holidays in the UK
Enjoy the full
Italian experience
at Gorgiano Studios
and abroad
1 Gorgiano Studios
Everything you could want from
a painting holiday in Italy – beautiful
3 Bettina Schroeder:
Morocco - Algarve - Italy - UK
In a variety of stunning locations, artist
5 Staithes Art School 2017
Painting weekends in a beautiful
fishing village on the Yorkshire coast.
scenery, expert tuition, good company, Bettina Schroeder shares a wealth of Walk in the footsteps of Laura Knight
icecream and sunshine – just bring knowledge as she offers tips and and the famous Staithes Group of
enthusiasm and your favourite hat. professional secrets. Whether in the Artists. It’s hardly changed at all!
‘Happy days, painting, singing, dunes of the Moroccan desert, the Superb tutors, stunning location,
laughing, laughing, laughing,’ Val UK coastal landscapes of Sicily, Portugal fabulous food and great company.
E [email protected] and Devon, or the breathtaking E [email protected]
T 00 39 328 9680796 mountains of Tuscany and Scotland, the T 01947 841840 or 07972 012464
www.paintingholidaysitaly.com courses offer much more than just a www.staithesgallery.co.uk
beautiful landscape.
2 Creative Getaways
‘I help you to capture the moment
so your paintings are created with a
E [email protected]
T 020 7609 0843
M 07960 086104
6 Open College of the Arts
The Open College of the Arts
(OCA) offers a real alternative to local
vibrancy, immediacy and looseness,’ www.art-holidays.com classes and university courses, whether
says Anna Martin. We run small, you want to develop your artistic voice
friendly, en plein air painting holidays
in Andalucía Spain and Kalkan Turkey.
With over 300 days of sunshine, we
4 AJ (Tony) Hogan: HoganArt
Cornwall, Scarborough, Venice and
Spain, magical and inspirational art
or study for a certificate, diploma or
honours degree. Our courses are online
so you can start studying when it suits
run all year round, visiting deserted holidays just for you. Enjoy personal you. Choose from degree pathways in
beaches, ancient ruins, spectacular attention, expert tuition and a pinch of painting, drawing, fine art and
mountain scenery and pretty fishing humour with renowned artist, Tony illustration, and Foundations Drawing,
villages. Delicious Mediterranean Hogan. All abilities and all media are enrolling on one course at a time. Meet
cuisine, luxury accommodation and welcome. Guided en plein air and studio other students on our programme of
small groups where friendships are painting, capturing magical landscapes, study visits to galleries, exhibitions and
made. No single supplement. seascapes and more. arts festivals across the UK.
E [email protected] E [email protected] T 0800 731 2116
T 07931 742450 T 01208 895088 or 07888 852503 www.oca.ac.uk
www.creative-getaways.com www.hoganart.co.uk www.weareoca.com
4 Inspirational art courses and holidays 2017 www.painters-online.co.uk

7 Painting in Italy
For over 12 years Painting in Italy
has organised holidays in Tuscany,
10 Inspired Painting Holidays
From spring to autumn, enjoy
residential painting holidays with
13 Terry Harrison:
one-day workshops
Enjoy an entertaining and informative
Umbria, Sicily, Florence, Lake Garda Catherine Stott in wonderful Devon and day painting watercolour step by step
and Venice. The holiday is a balance Exmoor locations, a spacious studio and with Terry. All materials are provided,
between improving painting skills and four-star accommodation. Small groups including the prepared drawings on
a relaxing, interesting holiday. Includes and individual attention for all levels and watercolour paper. Friendly help is at
airport transfers, high-standard hotels, most media offered. ‘Fabulous painting hand to guide you throughout the day,
quality food and wine and interesting experience. The whole set up – painting, helping you to succeed. All you need to
excursions. A perfect holiday for solo rooms, food, atmosphere – is brilliant,’ bring with you is your packed lunch and
travellers and partners/friends as VD, Carshalton a sense of fun.
cooking tuition is available on some E [email protected] E [email protected]
destinations. T 01398 332094 or 07763 882955 T 01451 820014
E [email protected] www.inspiredpaintingholidays.co.uk www.terryharrisonart.com
T free phone 0808 118 5729
www.paintinginitaly.com
11 Arnold Lowrey: Spanish
watercolour holiday 14 Callington School of Art
Callington School of Art offers
8 The Watermill at Posara

For centuries artists have drawn
their inspiration from the Tuscan
Join Arnold Lowrey in the Valencia
district of Spain for the watercolour
holiday of a lifetime. Absolutely
painters of all abilities the chance to
develop and improve their techniques
in any medium or try something new.
landscape; you couldn’t find a better everything is included from the moment ‘There is a studio to die for and Tessa
place to improve your skills. Relaxing, you step off the plane. ‘The is a patient and knowledgeable tutor.
inspiring and fun-filled painting courses accommodation and delicious home Peter’s cooking always attracts praise.’
with internationally renowned tutors cooking are second to none, and we will E [email protected]
will help you to release your talent and take you to terrific painting sites and T 01579 383491
enjoy your painting. Watercolour, oils, have great fun making you a better www.callingtonartschool.com
pastels, acrylics and other media are artist.’ June 4 to 10 and October 1 to 7.
covered.
E [email protected]
www.watermill.net
Contact Dalvaro Painting Holidays
(www.dalvaro.co.uk).
E [email protected]
15 Tess Baker Art
Our all-inclusive painting
holidays include transport and cosy
www.lowrey.co.uk accommodation in our Provencal
9 Learn to paint in France

Tutor: Mike Hall Des RCA.
Medium: acrylics. Subjects: landscapes 12 Alpha Painting Holidays
One of the UK’s leading
farmhouse apartments or in
carefully chosen villas. Delicious
5-star meals are cooked by our
and architecture. Location: Mezieres- painting holiday companies provides all- professional chefs and you’ll be
sur-Issoirs, Haute Vienne. All skill inclusive residential holidays around the looked after from start to finish.
levels. Small groups and one-to-one UK and the Algarve, paying great Paint plein air in the lavender
tuition with the tutor. This inspirational attention to every aspect of your and poppy fields of Provence, the
area provides many different subjects holiday. ‘All our tutors are amongst beaches and hills of Antigua, the
for paintings: lakes, rivers, medieval Britain’s best. We thoroughly research romantic countryside of Tuscany and
villages and the Blond Mountains. Fun, all the holiday destinations, including the inspiring landscapes of Mallorca.
friendly atmosphere and great food. hotels and painting locations.’ E [email protected]
E [email protected] E [email protected] T 00 33 4 94 68 73 76 or
T 01256 850167 T 01934 733877 M 00 33 6 11 25 29 72
www.learntopaintinfrance.co.uk www.alphapaintingholidays.com www.paintprovencewithtess.com u
Be inspired by Montmorillon with Learn to Paint in France

Live and paint in beautiful surroundings with Art in the Algarve
16 Art in the Algarve

Art in the Algarve’s tutor line
up for 2017 includes popular artists,
19 Linda Matthews
Small groups mean individual
tuition at unique venues, traditional alla
22 Do your watercolours
need improving?
At EPC Art Courses, based in Spain, you
Roger Dellar, Grahame Booth, Tessa prima techniques in most media. Linda’s will improve your watercolours
Pearson and Paul Weaver, as well as inspiration is wherever she finds herself. dramatically with the best watercolour
several tutors from the USA and Leading structured courses and holidays masters: Castagnet, Zbukvic, Chien
Australia. There is a large art studio in the UK, France and Morocco, Linda’s Chung-Wei, Liu Yi and Scaller. Paint
with en-suite accommodation, including aim is to share her knowledge, medieval cities, fishing towns and
swimming pools and courtyards to relax in. developing your confidence and style. landscapes under an impeccable stress-
E [email protected] ‘If everyone produces the same free organisation that provides a high-
T 0203 2877140 painting, I have failed.’ quality learning experience and pure
www.artinthealgarve.com T 01692 639485 enjoyment. Check our website and see
www.paintncanvasholidays.co.uk for yourself.
17 Sue Ford
Sue has just updated her
website with full details of holidays for 20 Shorland Old Farm
All-inclusive art breaks led by
E [email protected]
T 00 34 645 767 403
www.epc-artcourses.com
2017. She will be leading three long professional artists in a wide range of
weekends and has planned return trips
to Algarve, Tuscany, Menorca and the UK.
E [email protected]
media for all abilities. Non-painting
partners are always welcome.
Accommodation in a 17th century
23 London Art College:
study art at home
A wide range of courses for beginners to
T 01642 712926 farmhouse in an idyllic Exmoor location. experienced artists. Courses include pet
www.sueford.co.uk Shorland also offers accommodation for portraits, digital illustration, botanical
art clubs and other groups, looking to art, illustrating children’s books, oils,
18 Art Safari
Discover wildlife havens,
wilderness locations, beautiful cities and
tailor their own breaks.
E [email protected]
T 01598 763505
watercolour and illustration. Our tutors
are here to help you develop your art.
T 0800 3280 465
local culture with the Art Safari team of www.shorlandoldfarm.co.uk www.londonartcollege.co.uk
dedicated tutors. Art Safari takes
adventurous artists on inspirational
painting holidays worldwide. Long-haul
and short-haul destinations, UK art
21 Dedham Hall
Dedham Hall has been hosting
residential art courses for nearly 30
24 HF Holidays
A variety of tutors cover all
media and subjects that include
breaks and workshops. Paint in New years. Constable country offers the portraits, landscapes, life, natural world,
York, Venice, Norway, Namibia, Zambia, perfect setting to relax and let your sketching, Chinese brush painting and
Sri Lanka, Galapagos, Spain and creative juices flow. Visit the website to art appreciation. All abilities are
Slovenia in 2017. ATOL 9916 see an impressive list of 2017 tutors. welcome.
E [email protected] E [email protected] E [email protected]
T 01394 382235 T 01206 323027 T 020 3424 6396
www.artsafari.co.uk www.dedhamhall.co.uk www.hfholidays.co.uk/art

25 The Sandpiper Studio

Large, bright studio, rural
location and a variety of teaching
30 St Ives School of Painting
Looking for inspiration or to
loosen up your painting? Visit St Ives for
33 East Devon Art Academy
‘Think big picture but also pay
attention to fine detail. A good painting
methods for all abilities. Located in superb tuition in a truly stunning setting. needs both.’ Catherine Osbond.
the Wirral. Courses are designed to enable anyone Breathtaking scenery and top-level
E [email protected] at any level to receive the individual tuition. Devon coastal location in an
T 07788 412480 attention they need to develop their AONB. Warm, friendly atmosphere.
www.thesandpiperstudio.co.uk skills. This, combined with the light and Tutors include Glyn Macey, Roger
beauty of St Ives, makes the best Dellar, Chris Forsey, David Bellamy,
26 The Old School Studio

A Cambridgeshire-based art
studio offering tutored painting
location for a creative escape.
T 01736 797180
www.schoolofpainting.co.uk
Stephie Butler, Hashim Akib, Soraya
French, Thomas W Schaller and many
more.
workshops, a drop-in-and-paint club and E [email protected]
open studios. Packed full of charm, the
studio is a popular and friendly venue
for artistically minded people. A
31 Arte Umbria
Arte Umbria and Painting in
Europe offer the best painting and
T 01395 516284
www.eastdevonart.co.uk
dedicated team of artists offer a wide

range of one and two-day tutored
workshops, including life drawing,
stone-carving courses based in Umbria,
Italy and other exotic locations across
Europe, Morocco, India and Canada.
34 Aegean Painting Holidays
Location: our historic
farmhouse and delightful garden,
watercolour, pastels, mixed media, oils With the best tutors teaching in peaceful traditional villages, bustling
and much more! watercolour and oil/acrylic and many fishing harbours, silent ruins of ancient
E [email protected] returning guests, treat yourself to civilisations, away from tourist
T 01223 833064 something special in 2017. intrusion on the Aegean coast around
www.theoldschoolstudio.co.uk www.arteumbria.com the Bodrum Peninsula. Family-style
www.paintingineurope.com holidays carefully planned to showcase
27 Jan Blanch:
cottage flowers
With courses in Norwich and Corfu, Jan 32 Field Studies Council
Be inspired by the natural
the best views the area has to offer
the creative painter. Individual tuition
in small groups. Local wines and some
teaches painting flowers, gardens and world. Over 150 day and short of the best food you will have ever
landscapes in watercolour and mixed residential art and craft courses in tasted and all-inclusive, too. Our
media to all abilities from the absolute stunning locations across the UK. Expert guests return year on year for the best
beginner to more experienced painters. tuition at all levels with comfortable sole value painting holiday under the sun!
Jan’s watercolours have sold in the form occupancy accommodation. Seven and ten-day holidays available.
of giclée prints, greetings cards and T 01743 852100 E [email protected]
stationery in Harrods, Fortnum & www.field-studies-council.org/arts T 07971 082605 or 020 8883 8545 u
Masons, Liberty’s of London and in
Kobe, Japan.
E [email protected]
T 01493 393639 or 07702 069300
www.janblanch.co.uk
28 Dalvaro Art Holidays,

Spain
A week of painting with renowned
artists in a purpose-built studio within
the grounds of Las Orquideas and
visiting various locations, including
landscapes, townscapes and seascapes.
Painting materials, paper and paints are
supplied for each course. Three meals
a day with drinks included; absolutely
no extras to pay. ‘Our guarantee of no
holiday cancellation’. Contact Loli Alvaro.
E [email protected]
T 0034 96221 7226
www.dalvaro.co.uk
29 Rachel Clark:
life drawing and painting
All abilities are welcome on Rachel
Clark’s life drawing and painting courses
in her large East London studio.
Students derive maximum benefit from
their time with her. She gives supportive
individual tuition in small groups. See
testimonials on her website.
E [email protected]
T 07528 674 389
www.rachelclark.com Surrounded by colour at Yalikavak market, with Aegean Painting Holidays

Paint outdoors in the beautiful British countryside with Val Cansick
35 Val Cansick Art

Painting outdoors is fun and
easier than you think! If you live in
38 Painting and tutored
painting breaks in Sicily
Seven-day idyllic painting breaks in the
house studio. Stunning locations.
Delicious home-cooked food. All
holidays include full board and wine.
Hertfordshire and would like to join mountains of Sicily from May to Oct T 01202 393234
one of our en plein air day sessions, 2017; there are also seven-day tutored www.artholidaysindorset.co.uk
(starters and improvers welcome) painting courses (May 13 to 20 and
E [email protected]
T 07544 343749
July 1 to 8). All breaks on a full-board
basis at the beautiful Casa Serena.
T 07967 158206
41 Wild & Tame wildlife
workshops in pastels
Cate Wetherall runs small friendly
36 Fiona Mcafee
(Le Logis de Luxe)
www.therealsicily.com wildlife pastel workshops at her home
studio, set in six acres of
Offering two week-long art course
holidays at the stunning Le Logis de
Luxe in the heart of the beautiful
39 Indigo Brown
Creative Holidays
Three, five and seven-day high-quality,
Buckinghamshire countryside. You’ll
meet her donkeys, goats, hens and
ponies, which are often used as the
Cognac region in France, during May full-board, residential painting holidays subjects of the day! Small, unhurried
and September. Your tutor is Anne in some of the most beautiful and and relaxing workshops enable you
Bosset, a well-known local artist with stunning landscapes Wales has to offer. to develop your own style, using a
many years of watercolour and For beginners and experienced artists, variety of pastels and papers.
teaching experience. who wish to explore drawing and E [email protected]
T 0033 546 915303 painting, seascapes and landscapes. T 07702 060113
www.lelogisdeluxe.com Maggie’s inspiring, enthusiastic and www.wildandtame.co.uk
sensitive tuition along with Andrew’s
37 Yarn Market Hotel,

Dunster, Exmoor
A summer artists’ course in the
delicious home cooking create a
wonderfully relaxed environment.
E [email protected]
42 Watershed Studio
Watershed Studio holds a
wide variety of art workshops
medieval village of Dunster. Led by T 01348 840177 throughout the year. ‘We are very lucky
Wiltshire-based artist, Lynda Appleby www.indigobrown.co.uk to have such a great team of tutors
(www.lyndaappleby.co.uk), who is who teach here and we try to cover
experienced in teaching pupils of all
abilities, working in their chosen
medium. Come and enjoy the beautiful
40 Art holidays in Dorset
Professional, supportive
tutors. Comfortable, en-suite
most media. We specialise in one and
two-day courses, priding ourselves on
good-quality, professional but
landscapes, quaint villages and warm accommodation. No single supplement. affordable painting breaks.’ The 2017
sandstone architecture. Relaxed, friendly house-party programme is now available.
E [email protected] atmosphere. Attractive, secluded E [email protected]
T 01643 821425 courtyard. Small groups to ensure T 01255 820466
www.yarnmarkethotel.co.uk individual support. Well-equipped in- www.watershedstudio.co.uk

43 Le Perchoir des Paons:

painting holidays in
SW France
food. Superior accommodation with
terraces looking over the Grand Sasso
mountains, from April 23 to 30, 2017.
Our Holiday Home offers painting
holidays for beginners and intermediate
level painters with guidance from
Susie and Mike offer full-board, tutored T 01403 274477 Simon Roberts, local English artist and
painting holidays in the relaxed www.paintinginitaly.co teacher, who will share his enthusiasm
environment of their French farmhouse and help hone your skills.
and studio in the beautiful Lot region
of south west France. Their holidays
are for artists of all levels, offering the
46 Bath Painting School
Nestled amongst beautiful
countryside, Bath is a fabulous setting
T 07831 281538
www.ourholidayhome.net
use of most media, including charcoal,

pastels, watercolour and acrylics (all
provided).
for a painting holiday, offering
inspiration from its medieval Roman
and now quintessential Georgian
49 Robert Dutton
Contributor to The Artist
magazine, Robert Dutton invites you
T 00 33 (0)565 31 54 88 architecture. We offer teaching from to loosen up your style with expressive
www.leperchoirdespaons.com highly respected and internationally drawing and mixed media. Residential
renowned artists. weeks at Rydal Hall and Higham Hall
44 The Old Bakery Studio

Tutor: Mary Greenacre. Media:
oils, acrylics and watercolour. Subjects:
E [email protected]
T 01225 318042
www.bathpaintingsummerschool.co.uk
in the Lake District, Cober Hill in East
Yorkshire, HF Holidays in Malham and
Whitby, Paint Andalucia and Dalvaro Art
landscapes and still lifes. Locations: in Spain, where you will really learn!
around Chateauneuf-du-Faou, Finistere,
Brittany, France. Beginners,
intermediate and experienced painters
47 Paint Paleochora
Weekly courses in Crete,
Greece, based on location in and
E [email protected]
T 0113 225 2481
www.rdcreative.co.uk
welcome. Beautiful scenery, great around the town of Paleochora.
hospitality and experienced tuition in
our unforgettable holidays.
E [email protected]
Teaching watercolour, acrylic, pastel
and graphite, with a maximum of
four students each week, meaning
50 Henllan Mill Summer School
of Painting & Drawing
Painter, printmaker and sculptor,
T 01902 652360 plenty of one-to-one tailored tuition. David Wynn Millward offers drawing,
www.theoldbakerystudio.org E [email protected] oils, watercolour, acrylics and oil pastel
T 0030 694 346 3920 courses. All levels, from beginners to
45 Painting and drawing

in unspoilt Italy
www.paintpaleochora.com professional artists, are welcome.
Location: Llangynyw, Welshpool,
Set in the hills of Abruzzo with tutor
Angela Brittain ASWA, UA, for mixed-
ability students. Have fun improving
48 Painting holidays
in the south of France
Improve your painting skills in the
Powys in Wales.
E [email protected]
T 01938 810269
your techniques, enjoy lovely local beautiful region of Languedoc, France. www.henllanmill.co.uk u
Monpazier in the Dordogne is

just one painting destination
with Le Perchoir des Paons

usev2_Layout
Top 50 use 1 15/12/2016
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1 13/12/2016 PagePage
7 7
Enjoy quiet year-round. Run by people who actively

time painting enable the creative process, with access
and relaxing in to stunning private Devon coastal
the courtyard locations, gorgeous food and tutors,
at Coombe who actively teach and demonstrate,
Farm Studios Coombe is an ideal creative break.
E [email protected]
T 01803 722 352
www.coombefarmstudios.com
54 Artsmartuk
Tutors include Varvara Neiman,
Ali Cockrean, Barry Herniman and
Jonathan Newey teaching landscapes,
Enjoy a week of painting in seascapes and portraiture in oils,
beautiful surroundings with watercolour and acrylics. Locations:
Dalvaro Art Holidays (page 7) Buckinghamshire, Oxfordshire, Italy,
Spain and France. Weekly and weekend
51 David Webb
Popular contributor to Leisure
Painter, David, runs adult watercolour
innovative and informative learning
programmes for adults. Drawing on the
specialist knowledge of its staff,
courses together with painting holidays
in perfect locations for beginners and
improvers.
art classes, workshops and holidays. practitioners and historians, and E [email protected]
Learn useful painting and drawing utilising the museum’s incredible T 01494 670372
techniques and choose from venues collections and exhibitions, the V&A www.artsmartuk.com
in Dorset, Cornwall, south Wales and delivers lively and engaging sessions
Essex. Groups have a maximum of 12
students to allow one-to-one tuition.
T 01803 846321
for a wide range of interests.
T 020 7942 2000
www.vam.ac.uk/courses
55 Tuscany in the Frame
Italian painting holiday
specialists in stunning locations:
www.davidwebbart.co.uk Tuscany, Amalfi, Venice/Lake Como,
52 Victoria and Albert

Museum (V&A)
53 Coombe Farm Studio
Painting Holidays
‘I learnt more in a weekend than I have
Malta, Matera and Puglia, Sicily. Tutors
include Jan Pollard, Margaret Evans,
Phil Hobbs and Tom Wood.
The V&A Learning Academy was in years!’ Unlock your creativity, paint E [email protected]
launched in 2016 to build on over fresh vibrant watercolours, get to grips T 00 39 0575 610406
30 years’ experience of delivering with oils or experiment with acrylics www.tuscanyintheframe.com b
b
p10_hacfeb17.indd 1 15/12/2016 12:12:17

Artist Leisure Painter ad 2016 24/11/2015 12:57 Page 1
BE INSPIRED by the NATURAL WORLD
A range of day and short residential art and

craft courses
l Over 150 courses including a wide range of

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l Stunning locations across the UK
l Expert tuition at all levels
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Visit: www.field-studies-council.org/arts
Call: 01743 852100
p11_hacfeb17.indd 1 13/12/2016 14:37:25

H&C 12-14 Alcockv2.qxp_Layout 1 16/11/2016 10:15 Page 1
Holiday n
p Montegabbione, Early Morning,
oil on board, 113⁄4x153⁄4in. (30x40cm).
This was the view across the valley at
inspiratio
Arte Umbria and was painted in a few
short bursts before breakfast over a
couple of days. I was attracted to the
early morning light as it caught the sides
of the buildings and tops of the trees.
there’s a real opportunity to develop your

work, and you’ll soon discover the
rewards of being away from everyday
Paul Alcock responds to a question he’s often asked by routines and distractions. There’s the
his students: what can a painting holiday offer me? added security in numbers when
L
working alongside other artists, and a
ast year I was fortunate enough it, both as an artist and a teacher. confident, experienced tutor to call when
to tutor a painting holiday for Going on a painting holiday can be a painting in unfamiliar surroundings.
Arte Umbria, which I then truly magical experience, as it offers you Established holiday providers have a
followed with a week of the chance to relax, learn new skills and proven track record of delivering
travelling and painting in Italy on my paint in beautiful surroundings in the painting holidays and employing
own. It was my first real experience of company of like-minded people. By experienced tutors, who know how to
painting in Italy and I learned a lot from painting regularly over several days, inspire the best from their students. They
p12_hacfeb17.indd 1 13/12/2016 14:00:12

H&C 12-15 Cooperv2.qxp_Layout 1 16/08/2016 16:58 Page 2
will also have a good knowledge of the

t Copsa Mare, watercolour,
local area and what it offers, as well as
11 ⁄ x14 ⁄ in. (30x37cm). Painted in
3 1
an understanding of which spots offer

4 2
situ. The rooftops were a very specific

the best painting opportunities.
red (almost purple) so I added a tiny
Non-painting partners
amount of alizarin to burnt sienna;
brown madder would have done the
Many holiday companies offer discounts
same job. Green gold with ultramarine
for non-painting partners. Some may
or raw sienna was employed to make
also have knowledge of other schools in
some speedy green tones.
the area, offering other types of courses,
such as cookery or languages, and so it is
worth
hours enquiring before you go.
later to surroundings seemingly
If you’re holidaying
unaltered for centuries. on Cows
your own, werea
painting holiday offers
gently grazing on untainted verges; a really enjoyable
experience,
nothing butasscythes you canhad enjoy been timenear onthem
your own, absorbed in your work andis p Copsa Street, 3B pencil in Moleskine sketchbook, 51⁄4x81⁄4in. (13x21cm)
for the past 200 years. Transylvania
socialise,
still mostly discuss progressand
agricultural andsuperstitious
the events
ofinthe
many ways and it is easy to evenings
day over meals or in the
with the other
understand how participants.
the vampire myth was
Many holiday
cultivated. All theproviders
villagesalso are offer a
dominated
wide variety of tutors;
by fortified Saxon churches with some cover
particular
imposingmedia spires andthat approaches.
rise up fromMost the
companies
landscape in have a website
a slightly showingway,
menacing p Santa Chiara From Above, oil on board, 93⁄4x113⁄4 in. (25x30cm). I’d seen a
examples
depending of on
their
thetutors’
weather. work, That which
said,will photography exhibition with shots of Assisi from above, which had given me the idea
help you make a considered
some of the older villagers are still more choice. of trying to find a high vantage point. When I arrived in Assisi, I walked up the hill to
Recommendations
afraid of the brownfrom bear,painting
but we didn’t friends the castle where I found a spectacular view of the Santa Chiara. I returned at the
are
seealso
oneaon good
thisguide.
visit. Tutors may well same time the following afternoon to complete my painting.
have expectations of what they would
Holiday painting
like you to do on the holiday so it’s
worth
After finding out if they
a long journey it iswant
importantyou tonot
follow
to be tooa particular approachdon’t
hard on yourself; and what
expect
their plans are for
a masterpiece on thethe first
course. day. Give
A reallytime.
yourself important
Sometimes aspectyou of taking
can’t make
part in a painting holiday
the decision about what to paint is to enjoy untilthe
journey
your hand andhas to learn
actedon as the way. It’s
a catalyst to the p Copsa Street Dog, watercolour and sepia pen, 8x15in. (20x38cm).
exciting
weary brain.if youLet come theawayhandwith decide.yourYournext You can see this type of street all through Transylvania, a legacy of the Saxons
masterpiece, but you’ll have
sketchbook or travelogue will be your spent your who departed last century taking their farming practices and wine-making
time
biblewellwhen if you finishtothe
it comes holidayyour
working with a techniques with them.
clutch
drawings of sketches,
later on. studies and a deeper
understanding
Do always check of painting,
that your which
chosen can be scene from a photo, however brilliant it taking no shelter at all in a Saxon
built upon in the future.
place to sit is appropriate – you may may be. You have to be there in person doorway to paint The Vale of Tears (page
unwittingly be in someone’s front garden on the day, hot or cold. Paintings can 14). It was raining hard and we had to
The practicalities
or bullpen. The locals will always work always be worked up from the briefest work flat out to complete our sketches
When
out who we’re
youworking
are veryoutdoors,
early on in a shifting
your of sketches while the scene is still fresh with rain sheeting into our faces, which
light
stay and will be more than generouswe’re
source always limits how long and in your mind. I found strangely liberating.
able to work at any
accommodating particular
if you ask, but location.
don’t It Not having a car enabled us to stay We were given a memorable tour of
makes
assume. sense
I amthenalwaysto try to complete your
cautiously local and we were only too happy to the region by a young conservator, which
work in onesince
optimistic, paintinga man session
with or to whip
a bull walk and explore. There was so much included most of his friends and family
arrange to come back another
chased my artist son out of a Romanian day and to paint that we could have stayed for in some capacity – not least the lunch,
work at the same time.
village a couple of years ago! months. We didn’t have to go far to find with musical accompaniment. Passing
More often than
The weather wasnot, chilly working
last Octoberon so old farmsteads and houses that have through the local town, we came upon
location
it was not involves
possible a certain
to linger amount
for long of and never been touched by western ideas the family in Three Generations (page 15):
carrying
we had to equipment
be ruthlessly so ifeconomical
you think you’ll with p Across the Lagoon, Venice, oil on board,
of civilisation. Beware the dogs though the11
3
⁄ x15 ⁄ in. (30
4
3
grandmother 4 x40cm).
resigned, the Venice
motheris
have difficulties doing
materials. This is all part and this, it will
parcelbe of aand
gorgeous city and a magnet
this is not just in Romania. for painters. This was my first time painting
wary and the daughter confident. in Venice.
What
worth
working checking
en pleinhow air. much
You just walking
don’t and When
OneI ofarrived I just
the most wanted tomornings
memorable feel what it was
didlike to tell
they paintusand experience
about Romaniasome today?ofIt
carrying
capture the will atmosphere
be involved.or Mostemotionholidayof a the
wasclassic
spent views that I’ve
with another seen painted
foolhardy artist,many times by other artists.
was impossible to capture it all. uu
You stay in a beautiful house beside an

old watermill in a graceful valley
fringed by the Appenines.
We offer all-inclusive painting holidays
with acclaimed tuition, fantastic food
and excellent accommodation.
For more information and booking, please email [email protected] or call Bill or Lois on +39 366 488 2587
www.painters-online.co.uk Inspirational
Inspirationalart
artcourses
coursesand
andholidays
holidays2017
2016/17 13
13
p13_hacfeb17.indd 1 13/12/2016 14:50:05

p12_hac_oct16.indd 2 24/08/2016 10:58:47
On my trip to Italy I took a medium- the essentials before you go. For a week’s
sized rucksack, which converted into a painting in Italy last year I took a dozen
case on wheels and gave me the best of thin MDF boards, maximum size of
both worlds. I could carry my painting kit 16x12in. (40.5x30.5cm), a small
over rough ground and was able to pull it pochade-type paintbox, which I attached
along on smoother surfaces. to a lightweight camera tripod and about
a dozen brushes. I stuck matchsticks to
Pack smart the back edges of my boards and stacked
Some holiday providers supply all the them then stuck them together with
paints and equipment you’ll need for masking tape to prevent them from
your trip whilst others will loan you the sticking together when transporting
bulkier items such as easels, boards and them.
chairs; the rest you’ll need to either take If you’re flying with oils, place them in
or purchase there. It’s always worth a plastic container and pack them in a
packing a few of your favourite brushes. suitcase in the hold. Labelling them as
If you are taking paints, be aware of Artists’ colours and including the
p A Hilly Street in Spello, oil on
how much you can carry comfortably. manufacturer’s product sheets with them
board, 113⁄4x93⁄4in. (30x25cm).
Watercolour paints are reasonably light, are useful precautions. Solvents need to
This was one of the quicker paintings I
but if you’re working in oils, cut down to be purchased when you arrive. b
made on my travels, which I painted one
afternoon, partly from under an umbrella
as I dodged the showers. I loved the
Paul will be leading a painting holiday to
steepness of the streets with just enough
Barcelona in June; for further details visit
room for ancient Fiat 500s to climb.
www.paintingineurope.com. Paul is based
in Southend-on-Sea, Essex, where he
providers will drop you off at locations, teaches and finds inspiration for many of
but check first to find out if assistance is his paintings. He also runs workshops for
available. A small luggage trolley or Watershed Studio, Old Bank Studios,
suitcase on wheels may prove a handy Old School Studio, Art and Craft Days,
addition when moving equipment demonstrates painting techniques throughout
around. Many holiday providers are also the south east of England, and writes for
experienced in accommodating students’ Leisure Painter. Visit www.paulalcock.co.uk
differing dietary needs. for further details
ART IN THE ALGARVE

Watercolour • Oil painting • Oil & Acrylic • Specialist courses
Call us on: 0203 287 7140 [email protected]

www.artinthealgarve.com
p14_hacfeb17.indd 1 13/12/2016 14:07:13

Wildlife Painting Workshops with
Cate Wetherall
-
One to One, One Day or Weekend Workshops
Learn how to create realistic portraits,
painting with pastels or oils
Small confidence-building classes from

beginners to advanced
All materials, lunch and plenty of refreshments included.
Available dates updated regularly on the

website www.wildandtame.co.uk
phone or email Cate for more details
[email protected] 07702 060113
p15_hacfeb17.indd 1 14/12/2016 10:17:11

v e l l i n g
H&C 16-17 Pybusv2.qxp_Layout 1 16/11/2016 10:19 Page 1
Tra
with oils
Easy solutions for packing art equipment and

well-used 11x15in. aluminium pochade box
p Christine on Runswick Bay beach with her
painting abroad, with Christine Pybus
p Pochade boxes (from the French
D
espite the initial shock from would be pushing your luck.
in a multitude of sizes, this is 10x12in.

being detained at Sydney pocher, meaning to sketch) are available Paint manufacturers post safety data
airport, it was actually quite sheets (SDS) online; print the relevant
an agreeable experience; the and ready for action. one out and put it in your paint box.
Aussies do it so well. First, there was a Better still, use the airline philosophy of
favourable critique on the still-wet oil in your kit, travel and paint en plein air. ‘if in doubt, ask’. Email the SDS to your
my paint box lid, followed by several Due to work commitments, the airline luggage enquiries with a brief
phone calls, all of which concluded with weather and shyness, many artists rarely explanation that you’re a travelling artist
the box being taken away, wrapped in experience the joys of painting on and wish to take your oils. Wait for the
polythene and consigned to the aircraft location in everyday life, but consider reply, print it out then put it in a plastic
hold. To my surprise and relief, it this: it’s warm with sparkling light, you folder with your paint box. It’s unlikely
re-emerged intact on the carousel at have plenty of time and it’s highly likely that anyone would challenge an SDS
Heathrow. that nobody knows you so you can do along with a letter from head office. If
That was 15 years ago and long before whatever you want. You’ll attract a few you’re using multiple airlines, remember
the era of heightened security. The people, you’ll be asked ‘how long does to forward your e-mails to the others,
world’s a different place today so it pays that take’ dozens of times, but you’ll also too. Although that sounds a lot of hassle,
to plan your trip in advance. Turning up receive positive comments. less than half an hour on a wet winter’s
at the airport looking and feeling ever so It’s usually only like-minded people evening will ensure peace of mind and
slightly furtive will probably work, but who linger so it’s not unusual to make could make a good trip into a great one.
why take the risk? interesting new friends or acquaintances
whilst you’re working. You’ll also be What to pack
Is it worth the effort? pleasantly surprised, not only by people’s Paint cloths Where might you magic
When you arrive anywhere new, it’s all reactions, but also by the freshness and up a paint cloth when travelling? Do
bright, light and sparkling, isn’t it? From immediacy of your finished paintings; it remember to pack a couple of old
breakfast time on the first morning could even be life changing. So, is it t-shirts and a carrier bag to keep them
onwards, there’s just a multitude of worth that extra effort? Oh, yes! in once they’re in use and discard them
subjects desperate to be painted and it’s before your flight home. Remember also
simply a question of which one to tackle Travelling with oils to take a few older clothes or an apron.
first. And that’s when the frustration sets It may be off-putting when you read the Surfaces Either thin MDF with three
in. Yes, you can work back at home from conflicting online reports that state you coats of gesso primer or commercial oil
photographs and sketches, but the initial can’t travel with oils, but in fact you can boards are your best choice for weight.
excitement, sparkle and immediacy is travel with them. Your best practice, Keep all boards the same size to fit in
somehow muted, if not completely lost however, is to take them as check-in your pochade box; this also makes them
in transit. There is an alternative: pack up luggage; braving the x-ray machine easier to transport.

H&C 16-17 Pybusv2.qxp_Layout 1 16/11/2016 10:19 Page 2
Solvents on aircraft are an absolute no-  Manly Ferry,

go. There are specialist non-flammable oil on board 61⁄2x9in.
solvents available, some based on (16x23cm). Although
oranges, but I have never liked them, I recommend that you
having experienced some paint keep your boards the
discolouration and less-than-perfect same size, it doesn’t
brush-cleaning properties. Newer brands mean you have to fill
may have improved. them. This rapidly painted
Why risk the possibility of hassle or little study of the Manly
delay when a little online homework Ferry was painted in the
before a trip will direct you to the middle of a larger board
nearest art shop? Failing that, there’ll and the excess trimmed
usually be a hardware shop nearby where off later at home.
you’ll find something that will suffice.
Whilst I’ve used some unusual
concoctions, finding a solvent that works minimum number of brushes with you, then cut it into pieces. As soon as you’ve
has yet to be a problem. Where possible, discard the old ones and buy new ones as painted two same-sized pictures, put
always go for low-odour solvents; the required. four pieces of the wood at the edges of
lingering smell of turpentine quite the boards, tape round them, seal into a
rightly worries airport staff. Transport plastic bag and put them into your
Paint Once you’ve booked your flights The question that I’m most asked is: how luggage. Along with the two wet boards
and months before your trip, do you carry your wet oil paintings kept in the pochade box lid, it’s then
immediately open new tubes of paint. home? There are numerous methods. I simple to bring home a few weeks’ worth
Save your half tubes and ‘bits’ for your asked my friendly local woodworkers to of paintings, which could even pay for
trip, particularly those colours that you make me a length of channelled wood your trip. b
use least. Alternatively, buy a selection of
small tubes, because a box of pristine Christine Pybus works in oils and watercolour, with a
new tubes of paint weighs a considerable particular love of painting plein-air seascapes, landscapes
amount, most of which will be coming and snow scenes. Exhibiting throughout Britain, she also
home with you again. gives demonstrations to art societies, tutors groups of
Brushes Unless you’re going to a remote painters, writes practical features for Leisure Painter and
wilderness without an art shop, carry a writes on art history. Visit www.pybusfinearts.co.uk
“Your First & Best Choice for a Painting Holiday”

David Bellamy, Grahame Booth, Roger Dellar,
Joe Francis Dowden, Soraya French, Jeremy Ford,
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Somerset (Inc Wells & The Mendip Hills), Exmoor National

Park, North Devon Coast, North Cornwall Coast, Wye Valley,
Lake District, Provence, France & The Western Algarve
 All Art Materials included on selected holidays

PLUS
 Non painters & All Abilities Welcome
Organ
ovely  Studio & Location based courses in all media iser
 All rooms en-suite & some Ground Floor rooms always s
 Stunning Views & Amazing Locations locatio on
ainting n with
 Combined Sketching & Walking Holidays group
oliday
dventure 01934 733877
p17_hacfeb17.indd 1 13/12/2016 14:22:53

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Travellers Companion_Feb17.indd 1 14/12/2016 14:17:21

TES
SUMMER SCHOOL OF PAINTING & DRAWING

Directed by David Wynn Millward LLB, RASch, ATC,
& Jenny Nimmo
Y
Art weeks in the summer with tuition.
Set on the banks
A structured of beginners,
course for the riverinBanwy
learningin
to the old
see with
89 or greater
county ofawareness, plus techniques
Montgomeryshire, wein provide
drawing &tuition
painting.at
05 Brochure can be sent by post.
all levels, studio space, Landscape/Still Life/Life
0 890411 Drawing. Food from the garden.
Self-catering HOLIDAY COTTAGE
Directed when
Available by resident
schooltutor,
closed.
i.co.uk David
Fishing, Wynn Millward
Bird-watching, walking.and Jenny
Sleeps 5. OilNimmo
CH £250pw.
adoo.es www.HenllanMill.co.uk
ays.com Tel: 01938-810269

SUMMER SCHOOL OF PAINTING AND DRAWING
www.HenllanMill.co.uk
Henllan Mill, Llangynyw, Welshpool,
POWYS
HenllanSY21
Mill,9EN, WALES,Welshpool,
Llangynyw, G.B.
Tel: 01938 810269
Powys SY21 9EN Wales U.K.
LY STRUCTURED ART BREAKS

Painting Holidays Self Catering Accommodation
TUSCANY
NORFOLK BROADSAcclaimed
NATIONAL Artist tutors JanPARK
Pollard,
Margaret Evans, Phil Hobbs,
IN THE FRAME Tom Wood and more...
NCE AT
NTE
Learn to paint this unique
BRIAN wetland landscape
WATERSIDE LOCATION with motor launch Dulwich Art Group
INSPIRATIONAL PROVEN
est of both TEACHING METHODS
Clion is the
Manor
e area and
FRIENDLY and STIMULATING
s of eleven ATMOSPHERE
medieval
the many
DEDICATED to YOUR CARE and ENJOYMENT Residential Painting Holiday in Hereford
19th YEAR OF 1, 2, 3, 4, 5 day COURSES FOR ALL ABILITIES 2nd -9th September 2017
Malta 18 -25 March
th th
with
Tuscany 13th-20th May
resident painter ANGELA DAMMERYTuscany and CHARLES
27th May-3rd June
EVANS
JOHN LIDZEY • BILL NEWTON • JOE
Tuscany DOWDEN
3rd-10 th
June • Enhance your painting skills with professional support
RICHARD BAWDEN • DAVID HYDE • JOHN PATCHETT
Amalfi 10th-17 th
June • Landscape and or Life Painting with our model
JOHN SHAVE • SUE WILLIAMS • TIM FISHER
Tuscany 13th-20•th ROYSept LANG
and more for Painting in all media, Sketching, Drawing,
Venice/Lake Como Sculpture,
20th-29th Sept
• Stay in a beautiful small stately home
Fresco, Tempera, Icons, Printmaking, Creative
Tuscany embroidery.
2 workshops October • Enjoy a house party with a private chef
PAINT IN THE NETHERLANDS Matera IN
& Puglia
APRIL. 14th-21st October • Eat well and enjoy the good company of fellow artists
aint in our UNIQUE CLASSICAL OIL PAINTING Sicily 22 nd
-29th October
3 part series.
essful Malta November
• Excellent location - just walk out and paint
n.
SAILING/PAINTING CRUISES accommodated on a NORFOLK
For updates and more workshop
st work will WHERRY YACHT in June and THAMES SAILING BARGE
Villa Nobile Villa Nobile dates visit our website
inspiring in July. FREE DVD and colour brochure. More info www.dulwichartgroup.co.uk/abbey-dore
best kept
ention and For more information,
tel: Angela contact Raffaele
on 01702 475361/01692 Nobile
536486 or call us on 0207 274 2300
rtners are
r.
TUSCANY IN THE FRAME
email: [email protected]
www.broadlandarts.co.uk
Villa Nobile, Loc. Oppiello, Farneta, Cortona, 52044 (AR)
BROADLAND ARTS
Tuscany, Italy CENTRE The Dulwich Art Group:
7 Italy +39
The 0575 610406Dilham,
Old School, Mobile +39
North 339 825 6617
Walsham, Untutored drop-in life drawing and painting,
Norfolk NR28 9PS Tutored educational courses and art events
Website: www.tuscanyintheframe.com
PAINTING HOLIDAYS & COURSES 2008

www.painters-online.co.uk 11 Inspirational art courses and holidays 2017 19
p19_hacfeb17.indd 1 14/12/2016 10:18:15

H&C 20-21 Hoganv2.qxp_Layout 1 16/11/2016 10:27 Page 1
p Tony’s plein air sketching kit
 Tony’s bike, trailer and set up on

Bodmin Moor last summer
a knife, erasers and, of course, a

sketchbook come in handy (above).
Without a doubt, the bicycle trailer is
perfect if you are planning on a half or
On themove
full day of painting. The only restriction
on what you take is determined by the
trailer’s size. A 70cm long trailer is more
than adequate for the majority of canvas
sizes required for outside work and, if
placed corner wise, full Imperial
watercolour paper with a suitable board
will fit. However, when you’re having an
on-the-move painting day, a block pad
for watercolour sketching is
advantageous and saves carrying an
additional board. The trailer also allows
for the luxury of carrying extra water,
additional painting materials, seating
and essential food and drink.
Pack your kit and join Tony Hogan as he cycles,
sketches and paints in Cornwall Be prepared
A mobile phone with a camera and
often a small digital camera for back up
O
n one of my daily cycle rides are always with me when I’m painting
along the Camel Trail Pack your trailer outside. The mobile phone is essential in
between Wadebridge and What to take with you when painting on case of an emergency and allows for the
Padstow in Cornwall the move depends on what you hope to download of two very handy apps:
recently, I realised how many great achieve, the time available and whether 1 Compass app: this enables the location
painting views are simply inaccessible by you are planning on painting in one or of east to west of the sun thus allowing
car. The carrying of all the equipment more locations. When my time is you to work out the expected changing
that you need for a day of en plein air limited I take off on my bike with just shadow positions during the day.
painting becomes a challenge in itself. If essential equipment in my pocket: a 2 Weather app: choose one that gives an
you have strength and a desire for a long hard-backed, ring-bound sketchbook, hourly radar position of impending
walk, you can, of course, set off in your pens, graphite pencils and possibly a few showers which will allow you time to
hiking boots or you can as I do and cycle. Inktense pencils to add colour. protect your work and find shelter if
With a little initiative, such as fastening With the luxury of time I pick up my needed.
your easel to the crossbars and carrying a sketching case with a more varied choice Suitable clothing for the time of year is
rucksack on your back, you now have of equipment including graphite pencils, paramount. Sun cream is advisable any
access to a host of wonderful locations different grades of water-soluble pencils, time of year, but essential in the summer
that were previously out of reach. If you coloured charcoal pencils and various ink months. A wide-brimmed hat not only
feel unsafe carrying your equipment in pens with different nib shapes and protects from the sun’s rays, but shields
this way, take a look at my bike trailer changeable colour options. There are also the eyes thus enabling an accurate
(above). If you are part of a group, this is a few pastel pencils, Inktense blocks and appreciation of the view and colours. If
an excellent idea and trailers can be hired pencils, coloured line painters and two or at all possible avoid wearing tinted
as, of course, can bikes. three water brushes. Finally, sharpeners, glasses, as they will affect the true

H&C 20-21 Hoganv2.qxp_Layout 1 16/11/2016 10:27 Page 2
colours of your view. When setting out

on a warm summer’s day – even one
with a good forecast – take additional
warm and waterproof clothing with you.
Although some artists are reluctant to
venture out on cold winter days, there
are fine rewards to reap. When standing
in a field almost knee deep in snow for
two hours with an air temperature of
minus four degrees centigrade, I created
in acrylics one of my best snow scenes.
I was able to achieve this by wearing the
correct clothing, including a full set of
thermals underneath a layer of fleece
clothing and a ski suit. So, be bold in the
colder months, but be aware of the road’s
surface when you’re on your bike.
Now to paint p Tony and his granddaughter, Alexandra, stop for a sketching session
Nearly always I begin by taking time to
look, study and select what I want to notations, such as sun direction and more comprehensive study before
achieve from the many options available. weather conditions, to allow you to beginning your painting.
I work to the mantra ‘think slow and complete the work later if the weather Painting on the move is an exceptionally
paint fast’, in other words take lots of or other outside influences stop the rewarding experience, allowing you to
time thinking about and reviewing your work. You can then move on to visit remote areas and, hopefully,
options before you put brush to paper. developing the sketch you like best to a stumbling on an exciting new one. b
When you have decided on the view,
make a series of thumbnail sketches – Tony Hogan runs art holidays and courses in Cornwall,
not full drawings – to help create the Scarborough, Venice and Spain. New for this year is his
correct composition. ‘cycle, paint and draw’ holiday from his studio and home
It is vital at this stage to collect enough in Wadebridge, Cornwall. Details are available on
information with your sketches and www.hoganart.co.uk or email [email protected]
Painting Holidays in Italy

Painting
Painting in Italy
Holidays in Italy
A Fairy Tale Castle and perfect painting location: Hotel Castello di Petroia - 4 stars
• Sublime Italian locations such as Tuscany, • Fully organised holiday including airport • This is the perfect holiday for solo travellers and
Umbria, Lake Garda, Sicily, Florence and Venice transfers, 4 star accommodation, dinners/ friends/partners coming together as cooking
• Top class tutors: Fiona Graham-Mackay, John lunches including wine and excursions to lessons available on some destinations.
Booth, Chris Forsey, Jennifer Johnson, Charles historical Italian towns with professional guide.
Mitchell, Sarah Miatt and Soraya French.
The Times “Top 50 Holidays for 2016” and The Telegraph “Best Special Interest Holidays 2016”
“I’ve had a truly, wonderful holiday and made so many delightful new friends. It was difficult going on holiday on my own for the first time but I shouldn’t have worried” – Anne B.
“I thought the whole of the holiday excellent and I know it sounds boring but really did rate every experience with 5 stars”. Charles B.
Freephone: 08081185729 • Email: [email protected]
• Email:Inspirational
HandG.indd 1 20/08/2015 16:14:33
Freephone: 08081185729 art courses and holidays 2017
[email protected] 21
HandG.indd 1 20/08/2015 16:14:33
p21_hacfeb17.indd 1 13/12/2016 14:25:23

Dalvaro Art Holidays

express yourself
Dalvaro Art Holidays
different
Painting in watercolours, oils, pastels, acrylics Painting in watercolours, oils, pastels, acrylics
Discover what a real painting Discover what a real painting

holiday experience is all
about. Arrive, relax, paint,
All materials
included
All meals
TRY SOMETHING
holiday experience is all
about. Arrive, relax, paint,
All materials
included
All meals
Airport transfers Airport transfers
leave knowing you have had Private en suite leave knowing you have had Private en suite
that “I must return again”

rooms
4 Over 100that
years’“Iexperience
must return again” rooms
holiday. 4 Tuition and support holiday.

from a professional artist
4 Full board accommodation
4 Small sociable groups
4 Transport included on outdoor art holidays
4 No single room supplement
Expressive Pastels
I I
ndividual attention, from the moment you ndividual attention, from the moment you
arrive, warm welcome, delicious home
Book
arrive, warm welcome, delicious home
ear
Main image: Murray Ince
cooked meals, relaxing by the pool, cooked meals, relaxing by the pool,
save uplyt
superbly landscaped gardens all created superbly
Image: Robert Dutton
Life Drawlandscaped
ing gardens all created
just for the artist within you just for the artist within you
Painting Flowers
o
Viktoria Prischedko, Igor Sava, Ekaterina Ziuzina,
Pablo Ruben, Joe Dowden, Francesco Fontana, Anna
Ivanova, Olga Litvinenko, Eugen Chisnicean, Direk
Pablo Ruben, Joe Dowden, Francesco Fontana,
Ivanova, Olga Litvinenko,
£75 pp
Viktoria Prischedko, Igor Sava, Ekaterina Ziuzina,
* Anna
Image: CatherineEugen Chisnicean, Direk
Kingnok, Michal Jasievicz, Antonio Giacomin, Joanne Kingnok, MichalMacD
Image: Claire Warner
Jasievicz,
iarmid
Antonio Giacomin, Joanne
Thomas, Anne Kerr, Claire Warner, Les Darlow, Sue Thomas, Anne Kerr, Claire Warner, Les Darlow, Sue
Bradley, Arnold Lowrey, Tony Hogan, Robert Dutton
request a brochure quote EP05
Book now orwww.dalvaro.co.uk Bradley, Arnold Lowrey, Tony Hogan, Robert Dutton
www.dalvaro.co.uk [email protected] [email protected]

0345 470 7558 hfholidays.co.uk/art
EXCITING NEW 2017 BROCHURE NOW AVAILABLE!

Dedham Hall For brochure and other information contact John or Christine on
01202 393234 [email protected]
2014 BROCHURE NOW AVAILABLE!
www.boscombespahotel.co.uk
2017 Art Holidays in Dorset

DOUBLE-UP-DEAL - BOOK TWO CONSECUTIVE HOLIDAYS IN PINK &
SAVE £169 PLUS A FREE NIGHT DINNER, BED & BREAKFAST
• Prices from £155
SNEAK PREVIEW OF SOME OF THE DOZENS
• 500 m from the sea OF COURSES IN 2017 WINTER WARMERS
• 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
• Friendly house-party atmosphere for only £155 Why not pamper yourself and add Friday and/
or Sunday night dinner, bed and breakfast at the special
• Delicious food and wine painters’ rate of £55 per night? Most people do!
• All accommodation en-suite Sat 21 & Sun 22 Jan Dip Your Toes in the
• No single supplement World of Fantasy
• Stunning locations - easy walking Sat 11 & Sun 12 Feb Winter - White Subjects
Sat 18 & Sun 19 Feb Drawing for Beginners
• All abilities and non-painting
Sat 18 & Sun 19 Mar Animal Portraits in Pastel
partners welcome
• Well equipped studio SPRING AND SUMMER HOLIDAYS
• Small numbers to ensure 10-13 Mar Getting to Know Watercolour studio based
individual attention 18-21 Apr Let’s Look at Texture in Fantasy studio based
17-20 May South Coast Scenes with Acrylics and
Palette Knife
18-22 Jun Embellish Your Fantasy Paintings
Painting by David Webb
studio based
Herman Pekel 11-14 Jul Sketchbooks - Where to Draw the Line?!
15-18 Jul Rocks, Waves, Sea and Sky - Acrylics
19-22 Jul Riverside Views and Bridges
Come to Dedham Hall where we offer tutored courses run by an ever-increasing number 23-26 Jul South Cost Scenes with Acrylics and
of tutors that include Alvaro Castagnet, Soraya French, Paul Banning, Roger Dellar,
SUPER P
Palette Knife
1-4 Aug Sketching is an Art in Itself!
Jane Evans, Liz Seward, Chris Forsey, David Howell, Carole Massey, EU
DOUBL AVE
5-8 Aug Cliff Top Painting - Look East and West
Herman Pekel and many more. 12-15 Aug Sketching Buildings with Pen and Wash
DEAL S studio based
Dedham Hall is situated in the beautiful vale of Dedham within easy reach of many
charming coastal locations where you will find everything from wonderful Thames
£169 21-24 Aug Loosening up with Watercolour
6-11 Sep The Four Stages of Watercolour studio based
15-20 Sep Seascapes and Harbours
barges to creeks and grand river views. Dedham Hall is renowned for its lovely studio, 26-29 Sep Painting Dorset Skies
20-23 Oct Watercolour - the Basics and Beyond
great accommodation and excellent food. studio based
R
SUPEE UP
And much, much more!!
For more information please contact Jim or Wendy Sarton on 01206 323027
B L
or [email protected] www.dedhamhall.co.uk DOU L SAVE Art Holidays in Dorset, The Studio, Boscombe Spa Hotel, 4 Glen Road,
DEA
£145
Boscombe Manor, Nr Bournemouth BH5 1HR
p22_hacfeb17.indd 1 13/12/2016 15:00:14

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

[email protected] www.spencerscotttravel.com
Spencer Scott Travel Services have been offering painting holidays in association with The Artist and Leisure Painter magazines since 1990.
These holidays are fully ATOL protected under CAA Licence 3471
The opportunity to learn how to critically assess artworks and link
ideas in a creative way now means that I can endow everything I see
with constructive potential. The world has become a different place.
Painting and words by student Margaret Hargreaves
LIVE | LEARN | CREATE oca.ac.uk/ta
p24_hacfeb17.indd 1 13/12/2016 14:23:59

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LP02 1 Cover4_Layout 1 09/12/2016 13:52 Page 1

LEISURE PAINTER’S 50TH ANNIVERSARY YEAR

PAINT PROBLEM SOLVER

*Please see our shipping policy for full details

Pro Arte, Park Mill, Brougham Street, Skipton, BD23 2JN

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

p02_lpfeb17.indd 2 12/12/2016 16:04:48

Incorporating Leisure Painter

Newstrade distribution by INGRID LYON Editor

MARCH 2017 issue on sale 27 January

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

Contents FEBRUARY 2017

16 Painting project 40 From photo to painting

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

27 and a photo into a t

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

67 Your chance to win one of eight sets of liquid acrylics

48 Loose and lively oils

50 A walk on the moor: winter t

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

FEBRUARY’S COMPETITION Trowel and Secateurs,

Using the information found in

We are delighted to announce exclusive

Arthur Begg’s article (pages 27 to 31),

sponsorship by Great Art throughout

set up and paint an original still life

this year’s anniversary competitions

the backgro the Grinder, oil, 10

in any medium and using any objects

Each month’s winner will receive £50

as your inspiration. Please upload your

worth of art materials vouchers to spend

entry by 12 noon on Thursday 23 March.

at www.greatart.co.uk, through the Great

Art catalogue or at Great Art’s new shop

at Kingsland Road, London E2

Dr Sally Bulgin, publisher

lights of on the neck

Dawn Farley, editor, PaintersOnline

Ingrid Lyon, editor Leisure Painter 46

HOW TO ENTER & CONDITIONS OF ENTRY

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

Léon Spilliaert Le Pont au-delà de Zandvoorde, pencil and watercolour,

12x191⁄2in. (30.5x50cm) exhibited by the Lancz Gallery at the Works on Paper

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

ExhibitionsJANE STROUD RECOMMENDS

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

Jean Rose At the Garden Centre, oil on board, 18x231⁄2in. (46x60cm)

The Poetry of the Everyday

Gavin Watson The Postman Only Rings,

oil on canvas, 12x14in. (30.5x35.5cm)

All information given here is correct at

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

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

41-49 Kingsland Road 10:00am to 7pm

Closed on Institution / Company: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

p11_lpfeb17.indd 1 12/12/2016 15:58:05

Your painting life

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