Magazine Artist y Illustrators
Magazine Artist y Illustrators
Magazine Artist y Illustrators
It is highly pigmented and a little goes a long way to create luscious passages of deep blacks as well as subtle
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I’m really impressed with this new addion to the Nitram Charcoal range. You just don’t want to leave the studio,
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~ Robert Dutton
Robert Dutton has won numerous awards for his distinctive and expressive pastel paintings. He contributed to Artist’s Drawing Techniques
published recently by Dorling Kindersley – a best selling book with the Royal Academy. He was recently awarded ‘best Monotone drawing’
as a first time exhibiting artist with The Society of Graphic Fine Arts in London in their highly acclaimed open art exhibition in London. With
continual sell out workshops, art holidays throughout the UK and abroad to include France and Spain, Robert’s enthusiastic response to his
subject and encouraging and informative style of teaching is instrumental in Robert’s growing popularity.
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TIPS • TECHNIQUES • IDEAS • inspir ation April 2019 £4.50
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blockbuster Tate show n black
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Why one artist left
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How to...
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•Paint perspective
•Draw in crosshatch
Lay it on t hi c k artworks
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IT IS TIME TO FIND
ISSN NO. 1473-4729
Stay paintings (and one sculpture) that I had only just set eyes upon.
There were lessons for myself in the experience too. One artist
inspired had painted a nude with rather thick illustrative lines, which I felt contrasted
with a badly with the more expressive background. Embarrassingly, I’d already told
subscription... him to soften those outlines when I discovered that was his favourite part of
Artists & Illustrators the picture and his aim all along. For the rest of the session, I made a point of
Tel: +44 (0)1858 438789 asking each artist’s intention first so I could better guide them towards their
Email: chosen ends, rather than forcing them to change things as I may have wanted.
[email protected] The experience underlined for me the fact that there is no right or wrong
Online: answer in art. With that in mind, I hope the articles in this issue give you some
chelseamags. practical advice and gentle guidance as you try to find your own chosen path.
subscribeonline.co.uk As Grahame Booth succinctly puts it in this month’s masterclass, “Remember,
Renew: when you are painting, the only opinion that matters is yours.”
www.subscription.co.uk/
chelsea/help
Steve Pill, Editor
Go for the
essence of
the place and
36
mood... Allow
the viewer to
read into it
what they want
regulars
7 The Diar y
Our pick of the top events for
28 LUCY MARKS
– PAGE 2 8
Many thanks again for the voucher. many different things as well as
PLEASE NOTE: WE RESERVE THE RIGHT TO EDIT ALL
9 ARTISTIC THINGS TO DO IN
April
PINTAR RAPIDO
The UK’s biggest plein air painting
competition and exhibition returns to
London this summer (22-23 June) and
you can sign up online now to take part.
Register your canvas, paper or boards
on the Saturday then go out and paint
plein air anywhere in the capital.
On the Sunday, all the fresh works
will be featured in a public exhibition at
Chelsea Old Town Hall. Participating
artists are also eligible to win the
£1,000 Pintar Prize.
www.pintarrapido.com
ADAM RALSTON
the diary
5 PAINT
Buxton Spa Prize 2019
This competition challenges you to
capture the historic Derbyshire town of
Buxton en plein air between 3 May and
22 June. Painting locations are drawn by
ballot and the open category has a first
prize of £5,000. Sign up to take part on
DRINK the website from 1 April onwards.
2 Van Gogh’s Britain
& The Green Fairy
www.buxtonspaprize.co.uk
STEVE DIXON
exhibition, Van Gogh and Britain,
this Artscapes event (3 April) at
Library on St Martin’s Lane in
London will guide you through the PRINT
life and libations of the great artist.
The menu includes the infamous
7 Monoprinting from
the Human Figure
‘Green Fairy’ – the affectionate Try your hand at capturing the
name given to absinthe. human figure in mono print on
www.lib-rary.com this one-day workshop with tutor
Steve Dixon (13 April).
Based in the Pegasus Art Studio
3 ENTER
The Grosvenor Museum’s
13th Open Art Exhibition
in Stroud, you’ll learn how to
effectively capture light and
atmosphere using pioneering
Chester’s premier gallery is offering techniques used by Edgar Degas
the chance to win a share of in the late 19th century.
£1,850 prize money. Hand-in days www.pegasusart.co.uk
for artworks are 26-27 April with
entry forms available to download
from the website.
www.westcheshiremuseums.co.uk 8 EXPLORE
Using Mixed Media
to Create a Picture
Experiment with mixed media
d o n’ t
SUBMIT as part of this day-long workshop
4 The Natural Eye 2019 (29 April) run by artist Amanda
mis s!
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Exhibitions
APRIL'S BEST ART SHOWS
LONDON British Museum. Rough drawings and book BELOW LEFT William George Shaw:
In the Studio www.britishmuseum.org dummies for the 14-million- Holman Hunt, A Corner of a Foreign Field
Until 27 April selling children’s classic. Pathless Waters Until 6 May
Royal Watercolour Society 1890s Illustration: What House of Illustration. (Homeward Bound), Hyper-realistic paintings of the
members capture the essence inspired the Beardsley www.houseofillustration.org.uk 1869, watercolour Tile Hill estate in Coventry.
of their working environment. Generation? on paper, Holburne Museum, Bath.
Bankside Gallery. Until 27 May Sorolla: Spanish 25.5x17.5cm www.holburne.org
www.banksidegallery.com Explores the influences which Master of Light
transformed illustration. 18 March to 7 July Louise Bourgeois: Prints
Reimagining Captain Cook: Heath Robinson Museum. The most complete collection Until 7 May
Pacific Perspectives www.heathrobinsonmuseum.org of the artist’s paintings seen The anxious latter years of the
Until 4 August outside of Spain. influential artist’s career.
Pacific Island artists re- Ludwig Bemelmans: Sketches National Gallery. Victoria Gallery, Bath
examine Cook’s relationship for Madeline www.nationalgallery.org.uk www.victoriagal.org.uk
with the people of the Pacific. 1 March to 28 April
The Renaissance Nude Exeter’s Fine Art Collection:
Until 2 June Women Artists
PRIVATE COLLECTION
Lewis Hazelwood-Horner
Growing up in a house of creatives meant Lewis was
raised to share his parents’ passion for art. Being a
LEWI S’s shy child, he found solace and confidence in art, an
to p tiP enthusiasm which spurred him on to enroll at the London
ir b ru s he s Atelier of Representational Art (LARA). Here, he developed
U s e hog ha
rger, more his drawing skills and learnt the sight-size method which
to c reate la troke s
s
ex p re s s ive was to become an integral part of his practice.
s y nthetic
and turn to detail Lewis’ performance at LARA earned him an invitation
b ru s he s for from the New Generation Festival to capture their four-day
opera gala via a series of live paintings. To be given free
range to explore the festival was a dream come true for
the artist, who grew up playing the violin and so feels a
close affinity with orchestras and classical music.
In this painting, Garden Gathering, we see the interval
of Don Giovanni in the gardens of the Corsini Palace.
The artist was drawn to the energy of the audience whose
conversations were emotionally charged by what they had
just witnessed. Looking back at the image now, Lewis sees
similarities with Édouard Manet’s 1862 painting Music in
the Tuileries Gardens, though he admits this wasn’t a
conscious influence at the time.
Lewis prefers to work from life, with many of his paintings
being themed around pubs where he finds the hive of
activity and energy of the room feeds into his work. He also
takes inspiration from Jan Steen paintings and has a keen
interest in Velázquez’s drinking scenes. As a self-confessed
stickler for detail, he likes to immerse himself fully in a
scene and become very familiar with his subjects before
beginning a piece. He starts by making graphite sketches
before moving on to oil studies made in-situ. Then, if
possible, he has the models visit his studio for sittings or
otherwise works from photos. He uses hog hair brushes,
reserving synthetic ones for finer detail, and mostly works
in Old Holland and Michael Harding paints.
LARA runs full-time and part-time courses, as well as evening
LEFT Garden and weekend courses, in drawing and painting in London and
Gathering, oil Bristol. Each year, one LARA alumni is invited to act as artist in
on canvas, residence for the New Generation Festival. If you would like a
109x130cm chance to take part, visit www.drawpaintsculpt.com >
c h a r les
’s
to p tiP
B uil d p aint
in layers of
inc rea s ing
thic k ne s s .
T he p aint s
hould have
Charles Simpson During these trips, Charles won’t sketch or a deg re e o
f tac k ine s s
For some, landscape painting can be a rather breathless paint, but rather soak up the experience and b e fore add
ing more
pursuit, throwing down colour as quickly as possible to take hundreds of digital photos. “Painting is about
capture a fleeting record of a scene before the clouds shift continuous decision making,” he reasons. “The more
and the light changes forever. Charles Simpson, however, time I have to make these decisions the better – and this
is a man who likes to take his time about things. process is more suited to my working in the studio.”
He is a fan of Scotland’s “notorious changeable” Big Cloud over Portuairk was based upon a series of
weather, yet he has honed a way of working that allows pictures taken overlooking Sanna Bay near to Stevenson’s
him to really absorb his subjects first. “I probably spend famous lighthouse at Ardnamurchan Point on the most
as much time looking at and thinking about a painting than westerly tip of mainland Britain. “I was just lucky with the
I do actual painting,” he reveals. weather,” says Charles. “I do recall it was remarkably hot.”
After graduating from Glasgow School of Art and working The key, he says, to doing justice to his subjects back in
for 15 years as a graphic designer, Charles moved to the the studio is creating subtle variations of colour, tone and
Scottish Borders in 1991. Eight years later he turned to temperature within the large expanses of sky and water.
painting full-time and has since completed more than 30 “For example, a great variety of warm-cool and dark-light
solo exhibitions for top-end galleries in London, Edinburgh tones can be achieved through mixing Burnt Umber and
and beyond. Ultramarine Blue with a white. Similarly, more neutral paint
Despite this prolific output, he works methodically, colours such as Payne’s Grey or Cool Grey can be warmed
heading out for research trips before each new body or cooled by adding small amounts of colour, such as ABOVE Big Cloud
of work. As well as exploring the farming country that Naples Yellow, Yellow Ochre, Light Red or Ultramarine.” over Portuairk,
immediately surrounds his cottage, he regularly ventures Charles Simpson: Painting the Light runs from 14-29 March oil on canvas,
further afield to Scotland’s islands and west coast. at Panter & Hall, London SW1. www.csimpson-art.co.uk > 90x110cm
Coming
Home
WAYNE ATTWOOD spent seven years living
on a yacht painting in the Mediterranean and
Caribbean, yet it took a return to Birmingham to
truly find his artistic calling he tells STEVE PILL
W
ayne Attwood was incredibly hard to get himself into that
a man with a plan. position in the first place. Born in
His two life-long 1970, he grew up on a Birmingham
passions were council estate yet was fortunate to
painting and boats, so he thought he find encouragement for his passions.
would combine them both and set sail Despite living in the country’s most
across the world, making art as he land-locked city, he began sailing at
went. He and his wife, the textile artist a young age thanks to a local charity
Angela Attwood, spent 18 months that took council estate kids off the
renovating a classic yacht before street and taught them how to sail.
launching from Plymouth. What could At another after-school club, a
possibly go wrong? metalwork teacher also introduced a
The couple sailed down the coast of pre-teen Attwood to oil painting and
Spain and Portugal before heading up the art of the Pre-Raphaelites. His
the Mediterranean, stopping at Malta, father further encouraged his son,
Sicily and other islands along the way. having been a skilled draughtsman
They eventually made their way across himself. “I think deep down he wanted
the Atlantic to the Caribbean and it to pursue artistic career but he had a
was here that Wayne first got the first really rough upbringing.”
inkling that this lifestyle was not for When Attwood left school, he took
him. “It was all pretty beaches and a media arts and design course that
the Another Day in Paradise scenario, lead to a career in advertising. He
and it just didn’t inspire me,” he says. spent his days as an illustrator and
While this could easily sound like creative director, while developing a
the ungrateful complaining of a spoilt sideline career in fine art painting on
artist, nothing could be further from evenings and weekends. The young
the truth. Attwood is a fiercely artist was employed by various manor
talented painter who has grafted houses to create Pre-Raphaelite-style
portraits of previous tenants, including After just more than a decade advertising industry and set sail in
the Marquess of Anglesey. “I probably balancing two careers, the workload his newly-renovated yacht, Hitrapia.
got paid really badly to be honest but took a toll. “I basically wasn’t sleeping,” He painted mostly watercolours
when you’re 20 and someone says I’m he admits. “I remember getting a brief initially and would spend occasional
going to pay you £500 to paint, it’s from a client and falling asleep while days working for boatyards to top up
great,” he says. “Looking back on it he was talking. I thought, ‘This isn’t savings as the couple lived frugally.
now, I was too young to have anything very good’. Something had to give.” “I thought I was going to become a
to say myself, so it was good for me to The next phase of his career began marine painter but as I anchored up
focus on that illustration work.” in earnest in 2004 when he quit the in these beautiful harbours, the thing
the subject means I can be creative close to home. His love for the local
art scene extends to him being vice
president of the Royal Birmingham
was precisely in trying to answer perception of colour and lead to his Society of Artists, of which he hopes
that question that Attwood found his pictures having a green cast. This to become the president following
calling. Having struggled for years for forced a change in approach that the AGM in April. While he remains
something to say, he finally had a continues today, as he now favours surprised that paintings of local
purpose. He set about exploring creating studies on location that he building sites have wide commercial
through his art why he felt this deep later works up into more expressive appeal, the success of his recent work
connection to his home city. studio paintings. “Having that cushion has reminded him to always paint
His first major project on returning between me and the subject means what he feels and try not to pre-empt
ABOVE The Green was to become artist-in-residence for I can be more creative and playful what might sell. “It just goes to show it
Kiosk, St.John’s the renovation of Birmingham’s New with them,” he reveals. is sometimes down to this connection
Street, Valletta, Street station. Eventually given access The New Street experience also we have with a place, which I probably
oil on canvas, via an enthusiastic marketing reminded Attwood that his real feel more acutely from travelling for a
61x61cm department, Attwood spent two years interest wasn’t just urban scenes but number of years. It’s what we do as
LEFT She Loves the visiting the construction site every rather the people that within them. artists really: explore these connections
Winter Sun, But couple of weeks. He painted on He has since explored the works of that we have with each other.”
Can’t Stand the location initially yet soon realised the Walter Sickert and Édouard Vuillard, The RBSA Prize 2019 exhibition runs
Cold, oil on canvas, large industrial lighting required trying to capture some of the intimacy 23 May to 22 June at the RBSA Gallery,
91x61cm underground was distorting his of their paintings in the likes of his Birmingham. www.wayneattwood.com
Annabel
The latest
work involves
pressings
made in ink
Gault
The landscape artist embarks on a new series
in her Suffolk workspace. Words and photos:
ANNE-KATRIN PURKISS
You are known as a landscape and from her I learned how to make
painter. Do you spend much time plasters. The result is a mixture
in your studio? of both of our practices.
Yes. During the past three years,
I have spent most of the time here. Can you explain the process you
Normally, I work outdoors as much are using now?
as I can and use the studio only in I start with rolling clay out in large
the winter months and as a ‘base plates, that part is incredibly what I do. I absolutely love painting
camp’. But with my recent work, that physical. Then I make drawings on outside. I like the immediacy of
has changed. It’s a new experience. these clay plates, and I take plasters working outdoors.
from the clay. The pressings are
Can you tell us about the new work? done from these plasters, using How do you know when one of your
The pictures are pressings or normal printing ink. works is finished?
rubbings from my plasters, it is a The thing about working outside
process that is closely related to Where do you find inspiration? is that you are very much in the
printmaking. In the landscape that surrounds me, moment – you’re not really aware of
here or in other places that I visit. time, which I really like. You are not
What prompted you to break from It changes constantly: the light, the thinking in terms of ‘finishing’ a
painting and try a new technique? weather, and the seasons are never painting, you just arrive at a point.
I love images in black and white the same. It is important to be open I never touch up things back in the
– for instance, charcoal drawings to ideas and to follow them. studio. Once it’s finished, that’s it.
have always been a separate thread
for me that is not really connected When you work outdoors, do you Do you ever return to earlier work?
to painting. About four years ago, use sketchbooks? There will always be a connection
a sculptor friend invited me to her I just paint. I have got sketchbooks, between what you are doing now
studio. We experimented there, but when I go out to paint, that’s and things that you have done in the
For further details about any of our tours, please contact our friendly team:
01453 823328 | authenticadventures.com
*Secure your place for just £199 per person – terms & conditions apply
COLUMNIST
An artist’s residency
can be as basic as
housesitting for a friend
H
ave you ever thought about attending an artist’s plans or, even better, organising a show or talk for your
residency? Residencies come in all shapes and return, even if it’s just in a local café or church hall.
sizes, but the one thing they all have in common is Work hard and seize the moment and a residency can be
time away from everyday life to develop and grow your art. life changing. It was my first residency in Japan, a terrifying
It is a rare opportunity for some ‘me time’ and focus on leap of faith at the time, that taught me the skills that
whatever creative process you wish to explore. A residency enabled me to turn professional and make art my living.
can be as basic as housesitting for a friend, right up to www.lauraboswell.co.uk
Lucy
Marks
With an experimental approach to oil mediums
and mark making, this vibrant artist wants to
share her love of the landscape through paint,
as AMANDA HODGES reveals
L
ucy Marks’ upcoming exhibition at the Piers Feetham
Gallery will showcase this distinctive artist’s vibrant
portfolio of work and her enthusiasm for the venture
is evident. “It has been such an exciting and thrilling
journey to get to this point.”
She describes herself as fundamentally a landscape
painter who “walks a line pushing towards the abstract”
and her canvases are distinguished by a sense of palpable
movement and vibrant energy. “The joy of being a
landscape painter – and one of the reasons I fall in love
with painting the land and sea and sky so much – is that it
is forever changing. You can go outside to the same spot
day after day and it never looks the same.”
Her new collection features both watercolour and oil
paintings and they vary in scale to reflect the South Downs
landscape. Growing up in Sussex, her family were keen
walkers and she has a clear affinity for the natural world.
“Today all is so busy it’s hard to find time to connect back
to the basics and just enjoy the fundamental land around
us,” she says, something she’s redressing through her art.
One of the interesting facets of Lucy’s landscapes is that
although each is characterised by depth and vitality, none
is directly representational of any specific place; this is a
deliberate strategy. “We all experience the world differently.
In the same way no one person will ever experience the
same landscape on the same day in the same way. So why
get caught up with whether there was a house or dog in a
LEFT The Sky Grew particular spot? To me it seems unnecessary. Go for the
Darker..., oil on essence of the place and mood. And allow the viewer to
panel, 85x85cm read into it what they want.”
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Sarah
Papworth
This West Midlands illustrator has just published a book
called I Know An Artist – and she knows a few things about
being one herself as well. Interview: RACHAEL FUNNELL
How did you get started as an illustrator? tight deadline. For portrait work I gather a few extra images
Illustration has always been a part of me. I can’t remember so I can get a feel for a person’s face and main features.
a time when I wasn’t drawing, from childhood sketches to I always try to do a different pose from the one in the
studying fine art and textile design at Winchester School of photos, even if it’s an amalgamation of a few. I sometimes
Art. After graduating I worked as an in-house designer for a sketch thumbnails if I’m unsure, to get the layout right,
high street retailer for seven years before finally going then I will sketch up to the correct scale.
freelance. At that time, I decided to invest in my career by
doing lots of online courses, mainly with Make Art That How do you begin a new illustration?
Sells, and they helped me to rediscover the joy in my work. It almost always starts as a doodle, usually made while
My illustration workload eventually grew to fill my time. sitting in front of the TV in the evening. I note down ideas in
a quick sketch and wait for inspiration. Sometimes I go out
You illustrate a variety of subjects. Is there a theme that for some fresh air or do some yoga to help my ideas flow
you particularly enjoy? but, if I have deadlines, I don’t always have that luxury.
There are themes I come back to again and again, but I I then begin sketching up thumbnails before moving onto
also like to experiment. I’m a bit like a butterfly in that I like full-size images and finally working in the colour.
to flit around trying new things. One particular theme I do
like is portraits. Everyone’s faces are so unique which Tell us about your studio.
means it’s always interesting drawing someone new. My studio is my kitchen table, or the garden in spring and
summer. I prefer natural light, so my painting table is by
When did you first begin doing book illustrations? the patio doors overlooking the garden. don’t really use
I started working with a publisher about two years ago. any specific materials, but I did buy some Caran d’Ache
I really enjoy the process of coming up with ideas, water-soluble crayons (Neocolor II) last year which I love.
sketching at my desk, on the sofa or in the garden, and Generally speaking I like to work with anything that gives an
then adding colour and texture, usually on my computer. interesting texture. I use biros and pencils a lot, as well as
I enjoy getting the colour balance to my liking which watercolours, inks and acrylics – anything that layers well.
sometimes can require a lot of fine tuning and other times
comes very quickly. What advice would you give someone illustrating a book?
I love seeing and feeling a book in my hands once it has Books can be long projects, so make sure you work out the
been printed. I’ve always loved books, so there’s something hours before agreeing on a deadline – and double what you
that really resonates with me with this type of work. think it will take! Also, it pays to establish what particular
style you will be working with for the whole book early on.
How did you come to illustrate Susie Hodge’s new book,
I Know an Artist? How do you stay motivated when working from home?
I was very lucky to be contacted by the publisher directly to Generally, I’m pretty well motivated because I enjoy what
illustrate I Know a Woman written by Kate Hodges, which I do. I find it harder to stay motivated when I’m working day
was released last year, and was delighted to be asked to after day on just one project. To overcome this, I make sure
illustrate again. I believe it was a group of illustrations of I take regular breaks and change up the pace by listening
IRINA & SILVIU, TOGETHER & SUNSPELL
Mary Poppins and some birds I had made for a personal to music in the morning and podcasts in the afternoon.
project that first got the art director interested in my work. I also make sure I keep the weekends free for relaxing and
doing something different like gardening or canvas painting,
How do you identify the images to create for a book? then I can return to work with a fresh outlook on Monday.
Usually I’ll receive a brief from the publishing team, which Sarah illustrates I Know an Artist by Susie Hodge, published by
really helps to speed up the process when working to a White Lion Publishing (RRP £20). www.quartoknows.com
P
ierre Bonnard is an artist of two careers. Born on 3 October 1867 in the Fontenay-aux-
His first forays into the art world began Roses suburb of Paris, Bonnard was an unlikely
with Les Nabis, a group of avant-garde artist. He was raised in the bourgeoisie and
artists who first formed in 1890s Paris. encouraged by his wealthy parents to pursue
What started as a group of friends who shared a career as a banker. Instead, he became a
an interest in contemporary art and literature founding member of Les Nabis during his time
became a movement which paved the way for at Académie Julian, a private art school in Paris
the early 20th-century development of abstract where he mixed with like-minded artists who took
art, helped along in no small part by the dawn of a pragmatic approach to their work, believing art
Bonnard’s second career from 1912 onwards should help one to live rather than just be
as one of the world’s great colourists. beautiful. Les Nabis also believed art should
Tate Modern’s new exhibition, Pierre Bonnard: accessible to all rather than tucked away in
The Colour of Memory, is the first UK solo show exclusive exhibitions for only the rich to enjoy.
dedicated to the French artist in more than 20 They created works for mass consumption, which
years. It focuses upon Bonnard’s mature works were used as both commercial posters in the
and explores how the artist used colour to street and decorations in the home. Bonnard
capture fleeting moments in time, creating also began using print lithography to create
masterpieces which he would often revisit, frontispieces for La Revue Blanche, an art and LEFT Dining Room in the
reworking the canvas over several months or even literary magazine. Country, 1913, oil on
years. But how exactly did Bonnard come to In 1893, Bonnard met Marthe de Méligny, a canvas, 164.5x205.7cm
develop such a command of his palette and what companion who was to become the cornerstone ABOVE Coffee (Le Café),
inspired the intimate scenes which featured so of his practice. Initially producing work with an 1915, oil on canvas
heavily in his work during that time? erotic focus, her frequent exposure in his early 73x106.4cm
emerged as he began to reconsider the role Bonnard and his contemporaries, Les Nabis et le
of colour in his work. This move came during Décor, from 13 March to 30 June).
a period of artistic reinvention among his The years following the war proved turbulent for
contemporaries including Henri Matisse, and Bonnard, as he suffered the loss of his mother,
Bonnard’s
second
artistic career
emerged as
he began to
reconsider
the role of
colour in
his work
MUSÉE D’ART MODERNE DE LA VILLE DE PARIS/ROGER-VIOLLET; NATIONAL GALLERY OF ART, WASHINGTON, USA
Bonnard made
alterations to
paintings long
after they were
‘complete’… On his
deathbed, he said
“The green on the
left is wrong”
PAINT LIKE PIERRE SIX TIPS FOR CREATING COLOURFUL BONNARD-STYLE ART
1 RESTRICT YOUR START POINT where is the observer? Such 4 PIN YOUR INSPIRATION considering a subject, but
Bonnard’s compositions often daring compositions add intrigue Bonnard collected sweet commit to a timeframe when
place the focus to the side, to your work. wrappers, newspaper cuttings creating your masterpiece to
leading your eye off the canvas. and other images which he capture the raw spirit of an idea.
Affix paper to the centre and 3 VARY THE TONES pinned to his studio wall to fuel
margins of your canvas to resist Colour is a complex element of his creativity. Try collecting 6 KEEP MOVING
the urge to place your focal point Bonnard’s work, with each base artefacts to keep in your studio Bonnard’s studio contained a
in an obvious spot. colour appearing in a single which could inspire new ideas. mezzanine which enabled him
painting in a variety of tones. to view his work from a different
2 CONSIDER THE OBSERVER Pre-mix three blobs of your 5 THINK SLOW, ACT FAST height. He also worked with
In Nude in an Interior, what chosen base colour with varying After long periods of long-handled brushes while
initially appears to be a doorway amounts of Titanium White to consideration, Bonnard’s painting on unstretched canvas
is in fact a reflection in a mirror. give a trio of tones to great a approach in the studio was one tacked to the wall. Try these
So where is the subject and varied first layer. of speed. Take your time when tricks to gain a fresh perspective.
Follow
Smith T
manufa
handcr
HAND
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TIPS • ADVICE • IDEAS
To p t i p ks.
alcohol in
Consider tiful
he y p ro duce beau
T
atterns on
organic p s
non-porou
glossy or MAKE A SPLASH!
surfaces
BRIDGET DAVIES introduces
three of her favourite artistic inks
ACRYLIC INK
Made by suspending very finely ground pigments
in a fluid acrylic binder, acrylic ink can be diluted
with water yet becomes water-resistant once dry.
They work well when you are producing artwork in
layers and you need each layer to remain intact
and avoid bleeding.
These inks generally have good lightfastness,
although they don’t have the translucence and
luminosity offered by dye-based inks.
METALLIC INK
Metallic inks are comprised of super-fine metallic
pigments, usually suspended in a shellac or
acrylic binder. When mixed with either of these
two binders, the ink becomes waterproof.
Check the manufacturer’s instructions before
using with pens as some brands have larger
particles which may cause a blockage.
If you want some shimmer with your colour,
Daler-Rowney’s FW range has an extensive
choice of pearlescent and shimmering inks.
www.bridgetdaviesart.co.uk
henry moore drawings Father of the Arts & Crafts Movement. Take a stroll around the
Manor’s enchanting gardens, barns, dovecote, stream & meadow.
Enjoy home-made food in our licensed Tearoom and visit our shop for
the art of seeing a variety of exclusive souvenirs.
WWW.KELMSCOTTMANOR.ORG.UK
3 APRIL - 27 OCTOBER 2019
Book online at www.henry-moore.org Kelmscott Manor, Kelmscott, Lechlade GL7 3HJ
01367 252486 | [email protected]
Registered charity number: 271370 Owned by the Society of Antiquaries of London (registered charity no 207237)
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To p t i p k e t he bounce
is li
If you d vas,
a t r a d it ional can
of on
n s id e r painting
c o
panel
a canvas
instead
CANVAS OPINION
Four things to consider when
buying your nex t canvas
1 MATERIAL
Cotton is more economical but lacks the durability of
linen, which is made from longer flax fibres. Poly-cotton
uses polyester for a tighter, more uniform finish.
2 WEIGHT
This is usually expressed as grams per square metre
(gsm) or ounces per square yard (oz). A higher weight is
usually the result of thicker yarn, a tighter weave, or both.
A heavyweight canvas (280gsm or more) is usually more
tense and less likely to rip.
THE COLOUR
A dark emerald green leaning towards teal.
The name comes from the Latin word for
green: viridis.
THE PROPERTIES
Viridian is an inorganic pigment made from
chromium oxide dihydrate. It has a high
permanence and tends to dry incredibly fast.
THE USES
First created in Paris in 1838, Viridian was
initially used as a replacement to poisonous
Emerald Green. Though a seemingly unnatural
hue, it is highly versatile in the mix, blending with
Cadmium Red for a warm grey or Cadmium
Yellow for an autumnal green.
MASTER TIPS:
ELIZABETH BLACKADDER
Discover the painting techniques BOOK OF
of the world’s b est ar tist s
THE MONTH
Dame Elizabeth Blackadder became fascinated by Japan in her later
career, visiting many times from 1985 onwards. 2011’s False Palm You Can Paint Dazzling
(Shadow) and Kimono [above] not only depicts Japanese objects but Watercolors in Twelve
also demonstrates an Eastern approach to composition and a Zen-like Easy Lessons by
sense of space that we can learn from. Yuko Nagayama
By avoiding the temptation to centre her composition on a single object This Japanese watercolourist’s paintings capture
and cropping other elements, she encourages our eye to move around the natural subjects in an often-shimmering light, yet her
image in unexpected ways, adding further interest. The tall-and-narrow methods are rigorously organised despite this organic
portrait format further echoes ukiyo-e prints. If you struggle with finish. Across five chapters (there is oddly no mention of
composition, try borrowing an existing layout from a painting or photo you the dozen lessons inside the book), she uses complex
© THE SCOTTISH GALLERY
like and replace all the elements with objects or people personal to you. flow charts to decide background colours, breaks down
Elizabeth Blackadder: From the Artist’s Studio runs from 29 March to 12 June at mixes into easy-to-follow sums, and crafts beautiful
Willis Museum and Sainsbury Gallery, Basingstoke. www.hampshireculture.org.uk step-by-step demonstrations.
Harper Design, £12.99
www.hawkwoodcollege.co.uk
Painswick Old Road, Stroud, GL6 7QW | Tel. 01453 759034
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MASTERCL ASS
Simplifying
scenes
GRAHAME BOOTH shows you why
a strong sense of perspective is
required to turn a bustling scene
into a smart, focused watercolour
Grahame’s materials
he Ghanta Ghar (or avoid drawing too much attention
‘clock tower’) is a heritage to just one and so I was careful
landmark in the centre not to isolate any of the strong •Watercolours
Udaipur, India, and the busy features. I used extensive Cobalt Blue, French
cing street provides a useful softening of edges to allow one Ultramarine, Winsor Blue
xercise in both perspective and element to blend with the next. (Green Shade), Burnt Sienna,
mplification. Indian cities are As for perspective, although Quinacridone Magenta,
ustling, energetic places full of I was aware where the vanishing Winsor Red, Quinacridone
movement and colour and, while point was (just to the left of the Gold, Cadmium Yellow, all
have tried to capture this, what painting, on the eye-level line Winsor & Newton Professional
eally attracted me to this linking the heads) I didn’t want Water Colour
particular subject was the it to be too perfectly defined as I •Brushes
electrical cables seemingly would lose the relaxed feel of the A 1” wash brush, a size 10
festooned in all directions. subject. In the event, I checked sable, a size 6 round, an old
One problem with tackling the lines of the building in the size 8 sable (for lifting out)
this type of subject is that final stages and fixed a line that •Paper
there is so much going on. was just a little bit too inaccurate. Millford 300gsm (140lb) NOT
With such a selection of strong Can you spot the repair? •2B pencil
points of interest I wanted to www.grahamebooth.com
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T Magic
onochro e
Not everything is black and white, but it can be a lot simpler if it is.
HANNAH IVORY BAKER sings the praises of working without colour
to improve your drawing skills and ability to spot mistakes
O
ver the past year or so I have found myself willow charcoal, compressed sticks and thick stumps.
working increasingly in black and white. I decided I spent the next four hours creating a huge black and white
that I needed to completely change things up as charcoal drawing measuring two metres in length.
I felt that my process of painting had become too formulaic Ever since then, I have incorporated an element of
and my use of colour predictable. One day, instead of black-and-white drawing and painting into my other work
ABOVE Towards the painting, I rolled out a large section of paper and taped it and it is now a regular part of my practice. Aside from the
Pumping Station, to my living room floor. I looked through my drawers of liberating aspect of changing things up, what I found was
charcoal on paper materials and picked out various charcoals, including that using only black and white allowed me to focus on a
3. COLOUR IS A DISTRACTION
Colour can confuse or even destroy a composition.
While I am generally not a fan of fuchsia pinks and lime
greens being on the same canvas in my own work, I am not
“anti-colour” now and I certainly appreciate the ability of
other artists to be able to work with these colours in a way
that enhances a composition rather than distracting from it.
Having said that, colour doesn’t need to be neon in order
to be distracting. Even with a limited palette there are so
many potential colours you could make and use. Sometimes
the distraction is just in being spoilt for choice, let alone
selecting colours that work well together. You may find that
you want to limit your palette further when you return to
using colour after working in black and white.
CONVERTING COLOUR
When working in colour, it can help to take a photograph of a painting
that you are working on and converting it to black and white, either on
your computer or even just with a smartphone. Seeing your work-in-
progress reduced to tones in this way can help to remove the distraction
of colour and identify areas of composition that need adjustment.
“Nitram charcoal doesn’t break easily and can be sharpened to a fine 5. ECONOMICAL MARK MAKING
point with a sharpening block. It allows for deep dark shades while I found that the ability to develop your mark making is
still being easily erased for luminous light effects. Kneaded rubbers improved when you have to find different ways of making
are fine, but I find the straight edges of these rubbers useful ” marks to suggest the features of landscape, rather than
just resorting to colour.
Crushing bits of charcoal onto the paper, using card or
masking tape to mask sharp white lines, brushing off the
dust to create abstract marks… All are examples of ways to
describe texture and convey movement. Black and white
Soft and firm simplifies everything, which in turn highlights the impact
rubbers these beautiful marks have on a finished piece.
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www.artacademy.org.uk
schoolofpainting.co.uk [email protected]
01736 797180 020 7701 2880
ingwith
Sketchconfidence
Wildlife artist TIM POND shares three great challenges
designed to improve your hand-eye coordination and
help you draw with conviction
To p t i p
T he b e s
tw
a c q u a i n ay t o ge t
ted wi t h
animal an
i s to sp
t ime ob e n d
s er v ing
t hroug h i t
d r aw i n g
T
he aim of these exercises is to build your confidence
with your drawing materials and give you a set of
mark-making skills that will improve your drawing
– in particular your quick sketching skills.
It is very important that you enjoy the drawing process.
Any memories of previous failures are often associated
with the material we have used before, so for these
exercises I recommend starting fresh with a good quality
colouring pencil, such as a Faber-Castell Polychromos
pencil, rather than graphite. There can be some trepidation
– even fear – attached to sketching with the graphite line
so try changing it to a coloured line. These exercises will Lines
develop your hand-eye coordination and get you to start Try locking your arm at the
thinking about how you can visually dissect a form. elbow to help draw straight
lines consistently. Arcs
EXERCISE 1: DYNAMIC LINES Keeping your joints
Create seven straight lines, moving from a light mark to a locked while you
darker line. Maintain a straight, consistent and accurate move your arm is
line by drawing from the elbow. Draw with a steady pace important.
and then try to speed up. Draw both short and long lines.
Repeat this exercise several times.
EXERCISE 2: ARCS
Using your natural radial geometry to help draw smooth
arcs, by locking your wrist and elbow. Create small arcs
with a wrist motion and large arcs from the elbow. Practise
repeatedly, so that you are able to create these marks
accurately without looking at the page.
EXERCISE 3: ELLIPSES
Freehand ellipses are the hardest part of these exercises Ellipses
and will always be challenging. They are a fundamental You can start from the narrowest angle and then open
element of drawing biological forms. Go through the motion the circle wider, or work the opposite way around.
and ‘air draw’ before your pencil touches the paper, so that
you are confident about the smoothness and symmetry of
the mark before you make it. You can sketch the first line
lightly and then refine the ellipse. Make sure that the Eye level
shapes have round corners and are not spiky.
Ellipses
For this exercise, imagine a cylinder, such
as a cup, turning away from you, so that
the circle of the opening gets narrower.
Degree
The width of an ellipse is called the degree.
This is the angle of the circle relative to the
viewer. At 90° the circle is perpendicular to
the viewer, so the whole circle can be
The point of turn is seen. At 0° the circle is parallel to the
when the ellipse is viewer, so the ellipse turns into a line.
parallel with the viewer
Assemblages RAY BALKWILL lives and paints on the banks of the Exe Estuary.
He found inspiration for his latest project quite literally under his feet
COL
SKETCH CHNIQUES
How-to Videos
Step-by-Step
Everything You Need Instructions
HomeHobby. com
Follow us for more
tips and instruction
1st
P
£1, rize
000
Call for entries! !
RBSA Prize exhibition 2019
Exhibition on show at RBSA Gallery, 23 May - 22 June
Artists from across the UK are invited to enter artwork in all
media except photography. 6 prizes to be won, including £1,000!
> Download the interactive application pack at rbsa.org.uk
Deadline to enter Wednesday 3 April, by 4pm
Delivery of selected work Sunday 19 May, 10.30am-1pm
Image: Lisa Henderson, Cannock Chase, Mixed Media, Prize 2018 (detail)
Registered charity no 528894. Registered company no 122616
Joaquín Sorolla
A first major London exhibition of the Spanish artist’s work for a century gives us a rare
chance to admire his light-filled paintings up close, as ROS ORMISTON discovers
A
n outstanding painter of the early 20th century, poster by Grafton Galleries, London, created for an
Valencia-born Joaquín Sorolla y Bastida is the exhibition of Sorolla’s art, named him “The World’s
focus of a new exhibition at the National Gallery, Greatest Living Painter”. The National Gallery introduces
London. Remarkably, Sorolla: Spanish Master of Light is significant works by this master of Spanish impressionism.
ABOVE Running the first major exhibition in the UK in over a century, to Sorolla initially built his reputation on works of social
along the Beach, explore the Spanish master’s work. There are few commentary. Painting on monumentally-large canvases
Valencia, 1908 examples of his art in Britain yet at the turn of the 19th the realism in his paintings exposed the realities of life
oil on canvas, century, in Spain and across Europe, Sorolla was critically in Spain. He painted marginalised characters, such as
90x166.5cm admired, his work readily collected and exhibited. A 1908 disabled children and a woman arrested for murder,
it very quickly with an has studied during his 1908 London visit. His short, rapid
brushstrokes, using deepening blue-to-purple tones for the
economy of brushstrokes sea, gives dynamism to the waves, complementing warm
neutrals for the beach and the children’s tanned skin,
– Christopher Riopelle, National Gallery each connoting the warmth of the sun and heat of the
day, engaging the viewer to be part of this world.
IMPASTO PAINTING
Scottish artist JUDITH BRIDGLAND knows how to lay it on thick!
Here she reveals how she uses substantial impasto marks to
create her bright, expressive paintings
70 Artists & Illustrators
LEFT Calendula in You paint on both linen canvases and have that resistance too. A panel
Bloom, oil on linen, wooden panels. What determines gives a feeling that there is a great
30x30cm which support you use? robustness underpinning the work.
ABOVE Gorse at I enjoy working on both, as they each
Rhossili Bay, oil on give something special to the painting. Do you prepare the supports first?
linen, 101x122cm I use Belgian linen, as it is better in I give the supports a coloured ground,
RIGHT Judith conservation terms and also usually a warm grey or blue, but
scratches into the preferable when using impasto paint. sometimes lilac, magenta or a deep
impasto on Gorse A linen canvas is made from the long yellow. It’s good to work on a medium
at Rhossili Bay with fibres of the flax plant, which have a tone, as this not only helps to unite
the sharpened end lovely natural oil within them. This the composition and set the mood
of a paintbrush gives a nice flexibility and strength, of the painting, but also can be less
which means the support doesn’t sag daunting than a stark white surface.
when thick with paint. When you apply
a loaded brush to the surface, there is Could you describe how you apply
a lovely responsiveness to it, like a the paint and the tools you use?
tensioned dancefloor. Broadly speaking, the painting moves
However, it’s also rewarding to work from the general to the particular
on a panel, for different reasons. – large, flat, thinly painted areas to
There is a beautiful tooth to the small, complicated, impasto details.
surface, yet a smoothness that means Sometimes I will thin the paint with
the paint slides across it. It’s nice to turps and use a large scenery
painting brush to sweep in the good parts of the accidental and the Do you use any oils or mediums to
background, other times a palette unpredictable, and building upon and help thicken or control the paint?
knife or the edge of a sheet of card. correcting others. The painting I have a large bowl of turpentine
I mix the paint on my palette, pick becomes all about this balance. placed on my palette, so I can dip into
up the amount I need on a palette it and just loosen up the paint when
knife, and make a purposeful mark I love the long strands of grass and required. I also have a good dollop
firmly. I blend the edges of these big plant stems where you appear to of Liquin on the palette. It makes oil
volumes of impasto with a small score the previous layers of paint. paint manageable and glossy, so I
watercolour brush or stipple it in with How do you make those marks? use it when I feel it needs it.
a small, flat, firm-bristled brush. I have a great fondness for painting
landscapes which have foregrounds Do certain subjects lend themselves
Do you have to be very considered containing seasonal plants and foliage better to this style of painting?
with each mark you make? – it’s almost like putting a still life into Seascapes are a special favourite and
Every stroke is completely considered a landscape painting. I carefully place I’ve painted Eastbourne Pier hundreds
and purposeful. Art is a language and the marks of impasto, and then draw of times. That familiarity frees you up
choosing the right mark to make is like into them with the sharpened end of to make marks and just capture the
choosing the right word for a poem. an old brush handle to get individual energy and the character of the pier,
Applying the paint to the canvas is, leaves or details (a technique called which is actually quite fragile against
ultimately, a dialogue between sgraffito) or flick long lines of paint all the force and foam of the sea.
yourself and your materials. loosened with Liquin onto the paint Impasto is also a good form of
You can bring an idea of what you surface, using a long Script Liner painting for describing the petals of
want to paint to the canvas, and you watercolour brush. flowers and the form of plants – again
can control things up to a point, but Incising into the paint using the though, there has to be that contrast
then the materials themselves bring end of the brush means that you can of marks.
a certain unpredictable quality to the draw some nice, precise details and
process, which is good. As you structure which then contrasts with You keep colours very distinct without
progress, you are reacting to the the broader passages of paint. muddying. Do you have any advice for
marks you make and the way the Because the paint is wet, when you how best to achieve that?
materials and colours behave and score into it, is goes right down to I pick up the amount of paint I need
relate to each other, incorporating the the coloured background. for one mark on my knife, choose the
spot and make the mark. I know what
sort of shape of mark each of my tools
is going to make, and I know from the
amount of paint on the knife how hard
I have to press to get the thickness of
mark that I want, and how big a mark
I’m going to get.
I am putting wet paint onto wet
paint, so the more you move it about,
the more the colours will mix together
and muddy up, so the key is just to
make the mark once. Place the paint
on the canvas, move it into shape,
finish the mark – all in one confident,
controlled movement that should last
just two or three seconds.
2. PENS To p t i p
Continuing our new series of articles exploring the
A fount a
fundamental materials of drawing, JAKE SPICER turns his c an b e u
in pen
sed to d
attention to ballpoint, felt-tip, fineliner and fountain pens a finer li
ne when
r aw
t u rn e d a it is
nd held
upside d
ow n
T
his month’s article will focus on pen charting the journey of your eye
portable pens that draw from around a subject) or from imagination
an internal reservoir of ink, in (with the pens line allowing you to
contrast to dip pens and brushes that weave your thoughts into visual
require a separate pot of ink, which we imagery), it is a linear language
will tackle separately next month. you’ll be using.
There are a huge range of writing Over the next few pages you’ll find
and drawing pens available, with one an overview of common pen types and
quality in common – the shared some exercises you can attempt to
language of line. Pens are inclined help you explore the range of mark-
towards linear marks, so whether you making possibilities.
are drawing from observation (with the www.jakespicerart.co.uk
1 Fountain pens
Fountain pens with nibs that are
suitable for drawing are expensive,
refillable and a portable alternative
to a dip pen.
Their lines vary with the angle
at which they are held and also
the pressure placed on the nib,
which splays the tines of the pen,
dispensing more ink to the page.
3 Felt-tip pens
Felt-tip pens come in a variety
of widths and create a bold line that
starts dense and solid when the pen
is new and becomes lighter and
broken as the pen runs out of ink,
creating a new type of mark that can
potentially be used to great effect.
The width of the felt-tip mark will
vary with pressure and pen angle.
4 Fineliner pen
Fineliners are disposable,
affordable drawing pens that are
sold by line width (often ranging
from 0.05mm to 1mm) and make a
consistent, even mark. The plastic
nibs gradually wear down, creating
an angled or flat nib over time, and
eventually wearing back to the metal
when they should be thrown away.
Technical drawing pens with steel
nibs are an expensive, refillable
alternative that won’t wear down.
5 Ballpoint pens
Ubiquitous, disposable and
cheap, ballpoint pens are liable
to be your most readily accessible
writing and drawing medium.
Though no one’s first choice
perhaps, ballpoint pens make a fine,
occasionally unreliable mark that
can be varied with pressure.
CROSS HATCHING
Blocks of hatching can be layered in
different directions to create areas
of increasingly dense tone.
YOUR GRIP
Experiment with holding your pen in different ways to
create a wider variety of line. Gripping the pen as if
you were writing will provide control and suits short,
consistent marks. Meanwhile, a looser pinch of the
barrel further from the tip reduces control and
creates a more gestural and varied mark.
N e xt
i ss u e …
J a ke t
alk s t h
dip p e roug
n s , ink h
and br s
u she s
1 2
1. INITIAL DRAWING
Establish the overall
shape of the hands with
a swift, gestural sketch
in pencil.
2. DEFINING SHAPE
Refine the edges of the
hand in pencil.
3 4
3. CONTOURS
Draw over the pencil
contours in pen, erasing
the former when the
ink is dry.
4. HATCHING
Use parallel marks to
establish simple tones
over the entire image.
5. EXPLORING FORM
Explore the surface of the
form with sculpted,
curving lines.
6. CROSS HATCHING
Layer marks in varying
5 6 directions to create the
darker tones.
ARTISTS MATERIALS
PEGASUS ART
Finest Art Materials since 2005
www.pegasusart.co.uk
Workshops - Art Classes
Bespoke Canvas - Stretcher Bars
ART TUITION
ART AND CRAFT WAREHOUSE JONATHAN NEWEY
PICTURE FRAMING
Wide range of ready made picture frames plus Pearmans Glade, Shinfield Road
bespoke framing service. Reading RG2 9BE
FINE ART AND CRAFT MATERIALS Tel: 0118 931 4155
Paper, board, paints etc... Email: [email protected]
STATIONERY Web: www.jonathannewey.com
Computer
Cartridges and Distance: 75 Miles Media:
printing paper. Watercolour, Acrylic, Pencils
Colour and black Special subjects: Landscapes,
& white photocopying
and comb binding Architecture, Wildlife
Mon, Wed, Thur, Fri 9.00am - 5.30pm
Wed & Sat 9.30am - 4.30pm
TEL: 01582 712807 CUSTOMER PARKING
Sue Ford
Mixed Media Painting holidays
WWW.ARTSCAPE.UK.COM Scarborough - Cober Hill, Red Lea Hotel
Cumbria - Higham Hall and Grasmere
Tuscany, Perigold in the Dordogne,
ART FOR SALE Spain & Algarve
www.sueford.co.uk
Email [email protected]
Artistic Flare Tel 01287 622612
E: [email protected]
COURSES
M: 07854734280
www.jacquelinemidgen.wordpress.com
Visits to studio by appointment only
Next show - Wimbledon Art Fair - 9-12 May 2019
WATERCOLOUR
WEEKENDS
To advertise in Artists & Illustrators please call 020 7349 3702 Tel/Text 07512 425688
or see our website www.artistsandillustrators.co.uk [email protected]
COURSES
CORRESPONDENCE COURSES
6WLOO OLIH LQ RLOV 3RUWUDLWV LQ RLOV
:HHNHQG ZRUNVKRSV LQ SLFWXUHVTXH :HHNHQG ZRUNVKRSV LQ SLFWXUHVTXH Pastel Correspondence
5RVV RQ :\H +HUHIRUGVKLUH 5RVV RQ :\H +HUHIRUGVKLUH
and Studio Courses
Designed and tutored
by Annabel Greenhalgh
Highly Recommended
[email protected]
Places still available for Tel: 01834 831633
Debbie Loan -Expressive Landscapes &
Christine Morrison -Walk,Draw, Connect
www.annabelgreenhalgh.com
atershed Studio THREE DAY East Devon Art.co.uk
Celebrating our 18th year! PORTRAIT HOLIDAYS
• Excellent courses with popular tutors WORKSHOPS UK & BEYOND
• Rural Studio in extensive grounds DEVON COAST VIKKI JONES INVITES YOU TO
• Welcoming and friendly atmosphere
• Delicious home-cooked farmhouse lunches
ART COURSES HER PAINTING COURSES IN
Top tutors include
ͻ'ŽŽĚůŽĐĂůĂĐĐŽŵŵŽĚĂƟŽŶ Viktoria Prischedko, Chris Forsey, PICKERING, NORTH YORKSHIRE.
Full 2019 programme with Kevin Scully, Roger Dellar, Personal, sensitive tuition for
Sylvia Paul, Roger Dellar, Keith Morton David Bellamy, Stephie Butler, beginners or the more advanced.
Stephie Butler and many more David Poxon, Soraya French,
Drawing/painting a live model, Amanda Hyatt. Non-painting Partners welcome.
Call Allison Bond for details:
anatomy, colour theory/mixing. Spectacular coastline 3 minutes Relaxed atmosphere. Excellent
01255 820466 from the studio.
Email: [email protected] All abilities welcome. accommodation and cuisine.
LINDY ALLFREY STUDIOS 01395 516284 • [email protected] For free brochure telephone
www.watershedstudio.co.uk STOW-ON-THE-WOLD www.eastdevonart.co.uk
St Clere’s Hall Lane, St Osyth, East Devon Art Academy Vikki on 01751 470156.
Clacton on Sea, Essex, CO16 8RX www.lindyallfrey.co.uk Old Fore Street, Sidmouth EX10 8LS www.artbreak.co.uk
HOLIDAYS
UK & BEYOND
Be Inspired by Skye
Residential Art Retreats on the stunning Isle of Skye
• Professional tuition
• All levels welcome
• Small groups
• Limited places
August 2019
Sun 4th – Sat 10th
Sun 18th – Sat 24th
September 2019
Sun 1st – Sat 7th
Sun 15th – Sat 21st 10% discount if booked by 30 April
Come and enjoy friendly and informal, studio and location based tuition.
For more information please contact Anne
To advertise in the
26 Beck Street, Digby, Lincs LN4 3NE Classified Directory
Tel: 01526 320626 e: [email protected] please call
www.saa.co.uk/art/annebarnham 020 7349 3702
WALES
www.shorlandoldfarm.co.uk Art Workshops & Painting
Art
r bre
r aks
k in beautiful Exmoor Holidays in Beautiful
Mid Wales with
Ideal venue for 8 - 12 Anita Woods
C17t
7 h farmhouse ac accom odat a ion Suitable for all levels
and tailored to suit
Wonderfrul locat
a ion, good fo
f od your needs. Relaxing
Spacious, we
w ll-equipped st
s udio and inspiring.
Relax
a ed & friendly at
a mospherer Luxury self catering
accommodation not
oor & Nortrh Dev
evon on the doorsrstep far from Cardigan
Bay. Drawing,
painting and mixed
Now booking for 2019 media.
Tel: 01974 200815
07891919444
Tel. Sandy on 01598 763505 or email [email protected] [email protected]
www.anitawoods.net
www.artistsandillustrators.co.uk
FRAMING PRINTING
THE BLUE GALLERY THE ART SHOP & CHAPEL LONDON ART GOSLINGS
16 Joy Street, 8 Cross Street 132 Finchley Road, Swiss Cottage, 50 Station Road,
Barnstaple Abergavenny London NW3 5HS Sudbury
EX31 1BS NP7 5EH Tel: 020 7433 1571 Suffolk C010 2SP
Tel: 01271 343536 Tel: 01873852690 [email protected] Tel: 01787 371932
[email protected] [email protected] www.londonart-shop.co.uk A family run business specialising in
www.bluegallery.co.uk www.artshopandchapel.co.uk We sell a wide range of Art & Craft Bespoke Picture Framing and Artist
Fine art supplies shop in market materials. Materials
SOUTH WEST ART
town. Friendly art-trained staff.
Old Fore Street,
Sidmouth STUART R. STEVENSON THE ART TRADING COMPANY
LONDON Artists & Gilding Materials 55 Earsham Street,
EX10 8LP
INTAGLIO PRINTMAKER 68 Clerkenwell Road Bungay NR35 1AF
Tel: 01395 514717
The Specialist Supplier London EC1M 5QA Tel: 01986 897939
[email protected]
of Fine Art Printmaking Products Tel: 020 7253 1693 [email protected]
www.southwestartmaterials.co.uk
9 Playhouse Court, [email protected] www.thearttradingcompany.co.uk
Quality fine art materials, gallery and
picture framing. 62 Southwark Bridge Road, www.stuartstevenson.co.uk
London
NORTH YORKSHIRE
HAMPSHIRE SE1 0AT RUSSELL & CHAPPLE
The Canvas Specialists THE ARTIST’S PALETTE
Tel: 020 7928 2633
PERRY’S ART SUPPLIERS LTD 30/31 Store Street, 1 Millgate, Thirsk,
Fax: 020 7928 2711
109 East Street London WC1E 7QE North Yorkshire YO7 1AA
[email protected]
Southampton SO14 3HD Tel: 020 7836 7521 Tel: 01845 574457
www.intaglioprintmaker.com [email protected]
Tel: 023 8033 9444 Fax: 020 7636 8733
Wide range of tools available to try in We stock fine quality artist’s
[email protected] www.randc.net
our store (near Tate Modern). materials, crafts, models and kits
www.perrysart.co.uk Custom canvases, linens, cottons and
stretcher bars.
GLOUCESTERSHIRE WEST MIDLANDS
ATLANTIS ART MATERIALS
PEGASUS ART – suppliers of the
– UK’s largest and one of L. CORNELISSEN & SON HARRIS MOORE
Europes biggest art stores 19th century shop near Fine Art Supplies
finest art materials
Unit 1 - Main Shop The British Museum Unit 12 Minerva Works,
Griffin Mill,
London Road Unit 6 - Office & Warehouse Pigments,Gilding & Etching supplies, 158 Fazeley Street,
Thrupp, Stroud, Unit 7 - Paper Department tubed colour, brushes, paper, Birmingham B5 5RT
Glos Bayford Street Industrial Centre pastels. Tel: 0121 633 3687
GL5 2AZ Bayford Street, London E8 3SE 105 Gt. Russell Street, [email protected]
Tel: 01453 886560 Tel: 020 7377 8855 London WC1B 3RY www.harrismoore.co.uk
[email protected] www.atlantisart.co.uk Tel: +44 (0) 20 7636 1045 Specialists in Artists Canvases and
www.pegasusart.co.uk Car parking, open 7 days. www.cornelissen.com Professional Painting Supplies.
www.artistsandillustrators.co.uk
3 EYE UP DETAILS
“When seeking a subject, look
mean physically comfortable I mean
mentally and visually comfortable too.
or Raw Umber
blue-and-white striped blinds. They
created a wonderful but subtle focus ABOVE John Standing, Pimlico House,
which brought the piece together.” oil on canvas, 58x51cm
www.schmincke.de