Alla prima

96 Pages·2017·29.58 MB·English

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New ideas for ...
COMPELLING
COMPOSITIONS
Also.. how to
WATERCOLOUR OILS BEACHSCAPES
l Use body colour for
best results
l Master perspective
for city scenes
l Paint musical still lifes
step by step
How to start with Practise the alla prima Discover the secrets
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a mess & end in technique for fresher- to painting successful
success! looking paintings beach scenes
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TA10p3_5_Contents_TA04p3_4_Contents 24/08/2017 09:37 Page 5
WELCOME
incorporatingART & ARTISTS
First established 1931
ISSN 0004-3877
Vol132 No. 11
ISSUE 1047 from the editor
Publishing Editor:
Sally BulginPhD Hon VPRBSA
Deputy Editor: Want to comment on something you’ve read, or seen?
Deborah Wanstall
Advertising sales: Email me at [email protected], or visit our website at www.painters-online.co.uk/forum
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W
Advertisement copy: hen the judges met to select the paintings for our annual open competition and
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exhibition at Patchings Art Centre (from July 13 to August 20), the excitement about the
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depth of talent and quality of the work of our readers was palpable. For David Curtis the
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Dawn Farley resulting The Artistexhibition was ‘truly stunning’ with artists like Royal Academician Peter
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Excellence in technique and examples of an inventive eye were typical, with a few ‘stand-out jewels’
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on location’; Kelv Holtom’s decisively controlled watercolour technique, focusing on lost and found
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01580 763673/01580 763315 passages to great effect in his still life; and the masterful pure watercolour landscape, ‘loose and direct
Accounts: in approach in the true traditional handling of the medium’ by Jem Bowden. David also noted Terry
01778 391000 Ward’s evocative chalk drawing of Michael, Carol Emsley’s He Loves to be a Goalie(page 74) and Kris
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Subscription orders
should be sent to: The Artist,Circulation The absolute highlight, agreed by all the judges, was winner of The Artist Purchase Prize Tom
Dept, Caxton House, 63/65 High Street,
Hughes’ StudioInterior with iMac and Air Filter(page 72) with its exaggerated perspective, noted by
Tenterden, Kent TN30 6BD. Tel: 01580
763673 David for ’teasing the eye to travel seamlessly around the composition and finally rest on the seated
Rates are: figure at work, with an emphasis on the general chaos of a studio setting... including mine!’ Guest
UK –£39.99 (includes Northern Ireland);
EC member countries –€67; judge Ken Howard OBE RA commented that as artists spend most of their life in the studio, it’s logical
USA –$80 (air freight); Canada –$92 (air to want to paint it, with all its paraphernalia, as Ken has done throughout his illustrious career. He also
freight). All other countries £50 (air freight).
loved the restrained Velasquez-style palette of warm and cool greys used throughout Tom’s prize-
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at £50. Foreign currency prices include bank winning painting.
charges. Periodicals postage paid at Rahway, Fellow judge John Sprakes was impressed by many of the small paintings which, within the reduced
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corrections to The Artist, c/o Mercury picture plane were able to draw in the spectator, ‘presenting a delightful sense of heightened space,
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larger images in the gallery. The predominant characteristic within the most outstanding pictures was
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reproductionforbidden without permission.
Publication of an article or inclusion of an remain in the memory. A powerful painting can often seem to punch a hole in the wall with its power
advertisement does not necessarily imply of expression and design.’ Two paintings that did just that for John were Peter Kuhfeld’s The Church of
that TAPC is in agreement with the views
expressed, or represents endorsement of the Holy Saviour, Prague(page 75) with its strong composition with figures in the foreground in
products, materials or techniques. TAPC subdued light, set against the church in which part of the building is caught in dramatic sunlight, and
does not accept responsibility for errors,
Tom Hughes’ aforementioned studio interior (page 72). ‘This intriguing picture slightly distorted the
omissions or images received in good faith.
artistis printed by Warners Midlands cone of vision, heightening a sense of mystery. The balance of tone in the painting has been well
PLC, The Maltings, Manor Lane, Bourne, considered, consequently the light pervading throughout the image adds to the overall concept. This
Lincolnshire PE10 9PH and published every
painting had a strong effect on me as I felt it continued outside the picture plane and added to the
four weeksby THE ARTISTS’ PUBLISHING
COMPANY LTD overall mystery of the image.’
The team at The Artistis really looking forward to adding Tom’s painting to The Artist’s collection,
artistCaxton House, 63/65 High
featuring all past winners of our Purchase Prize Award in our offices in Tenterden.
Street, Tenterden, Kent TN30 6BD Telephone
01580 763673 Fax [phone] Go to pages 72 to 77 to see some of the prize-winning paintings from this year’s competition and
Advertising 01778 392048 look out in future issues for details of how to enter our 2018 competition, with valuable prizes kindly
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THIS MONTH’S COVER
Best wishes
Sally Bulgin Publishing Editor
Peter Burgess Sheringham,oil on
Let us know what you think at• [email protected] • www.painters-online.co.uk/forum
panel, 221⁄2(cid:0)221⁄2in (57(cid:0)57cm).
See pages 12 to 15 • www.facebook.com/paintersonline • twitter.com/artpublishing
artistOctober 2017 3
TA10p3_5_Contents_TA04p3_4_Contents 24/08/2017 09:37 Page 6
16 72
CONTENTS
28 Beach views FC
Mike Barrdemonstrates how to
paint a successful beachscape in oil,
with advice on colour, composition
and perspective
FEATURES PRACTICALS
32 The city in perspective
Robert Dutton explains how to get
12 Exploring the visible FC 16 Celebrating the rose the perspective right when painting
buildings and cityscapes
MASTERCLASS Peter Burgessbegins Peter Grahamshows you how
a new three-part series in which he roses can add atmosphere to your
shares his approach to composition, paintings as he demonstrates two
with tips on using the Golden Section paintings in oil
63 Charles Williams’ musings 20 A touch of body colour
The Horse’s Arse Judi Whittonexplains how to use
opaque media to great effect in
72 The Artist2017 Open your watercolours
Competition
Be inspired by this year’s competition 24 Alla-primaoils FC
winners Freshen up your paintings with
Haidee-Jo Summers‘tips as she
78 Adebanji Alade’s demonstrates an alla-prima oil
motivational tips Slow down and sets a useful exercise to try
36 Smooth, strong colour
Susie Hodgeloves Derwent’s new
Procolour pencils
38 Mess versus finesse FC
Paul Talbot-Greaves brings his
contrast in watercolour series to a
close by urging you to relax and
loosen up
42 Still life with violin
Adele Wagstaffsuggests you try
musical instruments as a beautiful
and interesting subject for a still life
20 42 46 Jackson’s linen boards
Max Hale recommends you try
Jackson’s ready-prepared linen
boards as a support
4 artistOctober 2017 www.painters-online.co.uk
TA10p3_5_Contents_TA04p3_4_Contents 24/08/2017 09:37 Page 7
NEXT MONTH
IN
FEATURES
MASTERCLASS
u
In the second of his
three-part series, Peter
Burgessexplains the
reasons behind his
choices of materials
and equipment
48
PRACTICALS
Follow Charlie
t
48 Mixed-media watercolours
Pickardand create a
Paul Rileydemonstrates how to add different media to
self-portrait in charcoal
great effect in your watercolour paintings
and chalk
52 How to paint edges
Michael Jules Langshows you how to master edges, and
explains why this will help you to improve your paintings
Graham Webber
u
56 A–Z of colour
reveals the secrets to
X is for dangerous colours,
painting successful
byJulie Collins
skies in the first of a
58 Sketching on the new three-part series
move on landscape painting
Barry Herniman’s advice
on what to pack for a
sketching holiday when
l How to use the rules of perspective to create
you’re on foot
dynamic coastal scenes and seascapes by
Ro bert Dutton
PLUS
l White is neve r just white, says Marie Antoniou,
wh o dem onstrates a painting of a white wolf in
7 The Art World 10 Your views
a cry lics
65 Art Books & DVDs 66 Exhibitions
l Paint im pre ssio nist interiors in oils with Haidee-Jo
68 Opportunities
Summ er s

l Capture the light and atmosphere of autumn in
EDITORIAL CONSULTANTS watercolour with Paul Weaver
l C ather ine Strongdemonstrates how to use
text ured gro und s to great effect for painting
seasc apes in acrylics

PLUS

l The A to Z of watercolour by Julie Collins: Y is for
y ello ws
Ken Howard OBE, RA Jason Bowyer NEAC, RP, PS David Curtis ROI, RSMA
studied at Hornsey School of studied at Camberwell School has won many awards for his en l The do ’s and don’ts of running your own art gallery
Art and the Royal College of of Art and the Royal Academy plein airand figurative
Art. He is a member of the Schools. He is the founder of paintings in both oils and
NEAC, ROI, RWS, RWA and RBA. the NEAC Drawing School and watercolours. He has had And m uch more! Don’t miss out:
He exhibits extensively and has exhibits his work widely. several books published on his

won numerous awards. work as well as DVD films, and our November issue is on sale from October 6
exhibits his work extensively.

artistOctober 2017 5
over £4sh0 iptFop inURgK omnE aoinrEdlaenrds*
www.artsupplies.co.uk
GREAT DISCOUNTS UNBEATABLE SERVICE
£5
READER your fi rst order TAMF5
OFFER when you quote:
OFF†
* See shipping policy for full details † No minimum spend, one use for new customers only
(cid:31) TEL: [phone] (cid:31) EMAIL: [email protected]
L
(cid:30) facebook.com/KenBromleyArt @KenBromleyArt
the-artist-advert-1017.indd 1 17/08/2017 11:43:16
6 October 2017 www.painters-online.co.uk
p06_ta_oct17.indd 6 24/08/2017 11:26:09
Oct TAW tidied_Layout 1 25/08/2017 15:04 Page 9
THE ART WORLD
NEWS, VIEWS, INFORMATION AND SPECIAL EVENTS IN THE ART WORLD
compiled by Deborah Wanstall
p Jason Bowyer Flower Structure,oil on canvas, 311⁄2(cid:0)233⁄4in (80(cid:0)60cm)
To celebrate 20 years of working from his studio at the the subject is an industrial interior, a landscape or a single
London Museum of Water and Steam, one of our editorial flower.’
consultants, Jason Bowyer, is holding a special exhibition of Flowers on the Anvilis at The Oil Store, London Museum of
flower paintings. Jason says: ‘Observation is of prime Water and Steam, Green Dragon Lane, Brentford, Middlesex,
importance to my work. My paintings develop out of my TW8 0EN from October 13 to 15, from 11am to 5pm, and
drawings.There is a constant considered figurative/abstract afterwards by appointment. www.jasonbowyer.com
interplay, a desire to find the essence of the motif whether www.waterandsteam.org.uk
www.painters-online.co.uk artist October 2017 7
Oct TAW tidied_Layout 1 25/08/2017 15:45 Page 10
l South Hams Arts Forum Arts
Trail 2017 runs for two weeks, from
October 14 to 29. From the Devon
coast to Dartmoor, the many
disciplines include painting,
ceramics, sculpture, photography,
textiles, jewellery, printing, wood
turning and furniture making. For
full details see www.shaf.org.uk
l The Scottish Society of
Botanical Artists’second annual
exhibition is at the Stirling Smith Art
Gallery and Museum, Dumbarton
Road, Stirling, FK8 2RQ until Sunday
October 22. Telephone 01786
471917. www.smithartgaller
andmuseum.co.uk
l Artists with Transit Vanis a fine
art delivery service run by artists.
Lynch’s landscape
Based in London, they transport
artworks across the capital and the
UK. All works are insured to a
New paintings by James Lynch are to p James Lynch The Post Van, Parrock Hill, collective value of £20,000 per trip
be shown at Jonathan Cooper Park egg tempera on gesso-coated panel, and there is full public liability cover.
Walk Gallery. Lynch works in egg 19(cid:0)23in (48(cid:0)58.5cm) Their vans are properly equipped for
transporting delicate objects and
tempera with paints made from the
they operate flat fees across central
eggs of his own hens. A keen A Parallel Realityis at Jonathan Cooper
London –longer distances will be
paraglider, many of his paintings are Park Walk Gallery, 20 Park Walk, London
quoted for. For full information see
of bird’s-eye views of the English SW10 0AQ from October 19 to November
www.artistswithtransitvan.comor
landscape observed whilst flying over 11. Admission is free. Telephone [phone]
telephone [phone].
the countryside. 0410; www.jonathancooper.co.uk
EDITOR’S GALLERY CHOICE
This month’s website gallery is by Michael Leetham-Cooper, who comments:
‘I combined several photographs using Paint Shop Pro to produce this figure,
which I then drew onto the canvas using a pencil grid. In my working life I was
involved in the development of art/graphics software and I still find a computer
useful for developing an image from multiple sources. My intention was to express
Andrea’s personality, hence the simplified background and the use of broader
brushwork. The narrow white border is part of the image and is broken only by the
figure in order to suggest some separation between the two elements and to
throw the figure forward out of the landscape, which was deliberately limited to a
near-monochrome flattish grey, whereas the figure was rendered in polychrome
as a further reinforcement. I use oils, as acrylics never seem to dry quite the same
as they appear when wet. I also change my mind too frequently, moving,
obliterating or introducing elements, to be any good with watercolour. I tend to
use a limited palette of titanium white, lemon yellow, cadmium yellow, cadmium
red, alizarin crimson, plus occasionally permanent rose, ultramarine and Prussian
blue. I mix black from Prussian blue, cadmium red and a very small amount of
yellow to produce the darkest tones. For greys and other neutrals I add a similar
mix to white. I occasionally use drying medium but rarely use linseed/medium.
I use a lot of turpentine to thin the paint –on occasions almost to the point of a
'wash', building up layers as the painting progresses, often contrasting this with
elements depicted using a much thicker consistency. I used this wet-on-wet wash
p Michael Leetham-CooperAndrea, oil on canvas, technique in the background, whereas the figure, especially the arms and head,
271⁄2(cid:0)193⁄4in (70(cid:0)50cm). On show in our online gallery have tube consistency paint more precisely applied wet-on-dry. I had the painting
at www.painters-online.co.uk float-framed so the narrow border remains fully visible.’
To upload images of your own work and receive valuable feedback, go to
our website and click on the link to the gallery. This is a free service. www.painters-online.co.uk
8 artist October 2017 www.painters-online.co.uk
Oct TAW tidied_Layout 1 25/08/2017 15:04 Page 11
New Tate
St Ives opens
The new Tate St Ivesopens on on
October 14. Sunk into the cliff
alongside the original building, the
new gallery will provide a column-
free space lit by six large skylights and
will be open all year round. While the
original gallery will be dedicated to a
display exploring modern art in St
Ives, the new space is for seasonal
exhibitions, the first of which is a
major survey of Rebecca Warren, who
is known for her exuberant, roughly
worked clay sculptures. This will be
followed in 2018 with an exhibition of
women artists inspired by Virginia
Woolf and a retrospective of Patrick
Heron’s paintings. For full information
about opening times, prices and
details of all exhibitions, see ART CLUB OF THE YEAR 2017
www.tate.org.uk
The winner of the Art Club of the Year p David Church (Cardigan Art Society)
Competition 2017 was chosen at this The Artist at the Folie Bar, oil, 32(cid:0)413⁄4in
year’s Patchings Art, Craft & (81(cid:0)106cm).
Photography Festival in July by Hazel
was also a visitor’s choice award, which
Soan, who headed-up the panel of
was won by North Lincs Art Society;
judges. First prize went to Cardigan Art
their prize was £100 worth of Jackson’s
Society, who received Jackson’s Art
vouchers.
Supplies vouchers to the value of £500
plus £100 towards a demonstrator. The All five entries from each of the three
two runners-up, Pinner Sketch Club and winning clubs can be seen on the news
Hornsea Art Society, both received pages of our website:
Jackson’s vouchers worth £250. There www.painters-online.co.uk
A love affair with India
Howard Hodgkin loved India, which he
first visited in 1964. This exhibition,
conceived several years before his death
earlier this year, features a range of
Indian-themed works on paper made
p Jan Robertson Silver Birch and
Tree Creeper, coloured pencil, between 1967 and 2012, including
151⁄2(cid:0)103⁄4in (39(cid:0)27cm) gouache paintings, editioned prints and
hand-coloured impressions. Hodgkin had
l Bath Society of Botanical a special relationship with the Victoria Art
Painters have taken trees as the Gallery; he first exhibited there in 1952,
theme for this year’s exhibition, and the earliest work in the exhibition is a
which will be on show at Bath previously unseen portrait of Clifford Ellis,
Royal Literary and Scientific Principal of Bath Academy of Art, where
Institute, Queen Square, Bath Hodgkin taught from 1955 to 1966.
BA1 2HN from October 5 to 23. Howard Hodgkin: India on Paperis at
As well as paintings for sale, there Victoria Art Gallery, by Pulteney Bridge,
will be cards, postcards and other Bath BA2 4AT, from October 14 to January
gifts. For more information, 7, 2018. Admission is £4, concessions p Howard Hodgkin Night Palm, 1990–91,
please see www.bsba.co.uk £3.50. Telephone [phone]; intaglio with carborundum, 63(cid:0)54in
www.victoriagal.org.uk (160(cid:0)137cm).
www.painters-online.co.uk artist October 2017 9
Oct letters SF tidied_Layout 1 25/08/2017 14:29 Page 1
YOUR
VIEWS Email [email protected] or write to The Editor,
Letters, emails and comments
The Artist, 63/65 High Street, Tenterden, Kent TN30 6BD
STAR LETTER
XX
Jenny if she has read all the articles in the
series?
Amused by musings As an example, Jenny mentioned my
article on Prussian blue; in fact in the
Musings –it’s an old-fashioned word that suits these lovely articles by
summer 2012 issue, page 66, my article
Charles Williams. When I first read them and looked at his paintings,
on Prussian blue has PB27 written clearly
I was amused and unappreciative. Strange little people, drab colour: next to Prussian blue. In the October 2011
very odd! But after seeing them month after month I began to look issue, also on page 66, my article about
forward to reading his frank, honest and straightforward words, that ultramarine blue mentions PB29. I would
also like to bring to Jenny's attention my
are slightly tongue-in-cheek sometimes, I think. His paintings grew on
article in the April 2012 issue, page 55;
me and I began to understand their humour and originality.
the article is called ‘Choosing colour’, the
Charles Williams is so ‘solid’ –may he become a permanent article advises readers precisely about the
contributor to The Artist! colour names and index numbers and
every colour mentioned in the article has
Sylvia Ditch, by email
its code next to it.
Charles Williams is a regular contributor The January 2012 issue has an article
and will remain so for as long as he entitled ‘Components of colour’ on pages
continues to enjoy sharing his thoughts 46 to 47. The paragraph on pigment
with us all. I hope this is for a long time reality on page 47 could be of value to
ahead! Turn to page 63 for this month’s her, so that she can make informed colour
musing from Charles –Ed. choices in the future. There are many
more examples within these articles.
I believe there are three years worth of
This month’s star letter writer will receive a
monthly articles and I am pleased to say
Landscape Selection of 48 Van Gogh soft
pastels worth £49.99, courtesy of Royal Talens. that some of my students have laminated
For more information about these, and other these pages into a useful handbook.
Royal Talens products, see The manufacture of art materials from
www.royaltalens.com pigments (not generally made for making
paints for artists) is a very long-winded
and complicated business. These articles
were written to guide readers, with
Happy memories Thank you, Charles Williams, for your
simple advice and instruction to make
I found Charles Williams’ musing on excellent article and for reviving
their artistic colour choices easier, not to
summer schools (The Artist, June 2017) so memories of happy times with two
take them on a scientific journey.
readable and enjoyable –please can we inspirational painters.
Soraya French, by email
have more! Kate Willoughby, by email
It also rang a bell –I had travelled to
Preserve your brushes
Sztendre, near Budapest, in recent years Pigment information
to see the work of one of Hungary's 20th- I’d like to share an idea I have for applying
I’d like to reply to Jenny Hopkins's letter
century master painters, Bela Czobel, in masking fluid without ruining your
in the July 2017 issue, in which she refers
the town’s museum. brushes. You will need a tube of silicone
to the lack of pigment index number in
In 1959, living in Paris, I was befriended (bath sealant). Squeeze a small amount
my articles.
by Czobel and his wife Maria. I often onto a piece of paper or plastic and leave
Over the course of three years I wrote a
visited them and sketched with them. it a week or so to harden. Then cut shapes
comprehensive number of articles on
Czobel painted me reading his newspaper or longer pieces of hard silicone out of it.
colour for readers of The Artist magazine.
and gave me the painting, which I still I usually cut a long strip about the size of
These articles were designed to teach
treasure. When I returned to England we a match and Sellotape it to a toothpick.
colour in a simple language and concise
corresponded for years, his letters full of format. They were also carefully thought This can then be dipped into masking
witty advice, and I continued to paint, through and designed to form a simple fluid without the need to use brushes. It
thanks to their inspirational guidance. If I overview of colour attributes, pigment can be used time and time again. It's a bit
lack ideas for my work, I only have to read characteristics, colour mixing and colour fiddly to cut the right size and to
through his letters and I start painting relationships that flowed from one Sellotape it, but I swear it works wonders.
again! month to the next. I would like to ask Les Ward, by email
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10 artistOctober 2017 www.painters-online.co.uk