HELPING YOU BECOME A BE T TER AR TIST

artist
THE PRAC TICAL MAGAZINE FOR ARTISTS BY ARTISTS – SINCE 1931

Try pastel pencil

techniques
for striking portraits

GOUACHE
WATERCOLOUR Top tips on painting
techniques
Keep your
colours fresh
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ACRYLICS
Capture the
atmosphere of
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 THE LIFE OF A FORM

“Skull and Book”, 29 cm x 38 cm, Charcoal and chalk on Arches paper, hand-toned with shellac and pigment.

WITH NITRAM CHARCOAL

“When I started this project, I wanted to do an anatomic study of a skull in a
still life setting. However, I also wanted to study light and depth through light.
Value relationships are the foundation of any beautiful artwork; whether it has colour
or not. It’s through the correct contrasts of light and shadow that you achieve the
solidity and the life of a form. It is for this reason that Nitram Charcoal is such a
good medium for studying light. Charcoal is also excellent in that the contrast reads
differently up close than it does far away. And so you need to use that strength as a
reminder to constantly step back and assess the harmony of values in the whole,
as much as in each detail.”
~ Emmanuelle Capatos

To see the process of Emmanuelle Capatos working on this

stunning drawing using Nitram Charcoal, go to:
https://nitramcharcoal.com/ecapatos or scan the QR code

Born and raised in South Africa, Emmanuelle Capatos (aged 21) originally moved to the UK to study Theatre and French at Bristol University. However, in 2020 she changed
careers to pursue art, and a year later would start training at the Glasgow Academy of Fine Art. Her focus for the next two years of study is to grow a fluency of craft - not simply
to learn a language of realism that captures the truth of a subject materially, but through it to give form to an emotional or spiritual realism that lies subtly underneath.
By the Grace of God, she hopes to spend her life revealing a light and beauty through art that sits so abundantly around us.
https://emmanuellecapatos.com | Instagram: @akeenartist

NITRAM
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MC

www.nitramcharcoal.com FINE ART CHARCOAL

 artist
WELCOME
incorporating ART & ARTISTS
First established 1931
ISSN 0004-3877
Vol.137 No.11
ISSUE 1113
from the editor
Next issue on sale October 21, 2022 Want to comment on something you’ve read, or seen?
The Artist magazine is published 12 times a year.
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I
Digital & E-commerce Marketing Executive:
’m really looking forward to the UK’s first Cézanne retrospective since 1996, opening
Emily Warner at London’s Tate Modern on October 5. Cézanne is one of my all-time favourite artists,
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[email protected] so much so that during a summer holiday trip to the south of France I felt compelled
Advertising Sales Manager: Jayne Notley to include a visit to Aix-en-Provence specifically to see some of the sites from where
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trudged up to the designated spot from where he painted several of his famous views of
[email protected] Montagne Sainte-Victoire, which will be amongst the 80 or so works on show in the Tate
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great motifs, and the spot where he set up his easel, known as the Terrain des Peintres, is
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intensified by the piercing sun, which so inspired Cézanne.
DISTRIBUTION & CIRCULATION I regret that I didn’t make it to the Bibemus Quarries, however, ten miles east of Aix,
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which many believe is THE place to go to understand Cézanne better and his palette of rich
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of the jagged shapes of the hollowed-out quarries. Cézanne spent a huge amount of time
there, between 1895 and 1899, in his mission to realise his ‘sensations’ in paint, inspired by,
rather than copied from nature. Access is only allowed for guided groups, but if you’re a
The views expressed by contributors are not necessarily Cézanne fan, it has to be well worth a visit and is on my ‘must-do’ list when I next travel to
those of the editor or publisher. While every care is taken to
ensure that the content of the magazine is accurate, neither the south of France.
the editor nor publisher assumes responsibility for any
omissions or errors. The editor reserves the right to edit copy.
Sharing may be encouraged in many aspects of life, but
The other revelation during my Aix pilgrimage, was my visit to Cézanne’s final studio
when it comes to original material, you have to be wary
of copyright. By all means, copy the project, artwork or
on Les Lauves, built on a hill overlooking Aix. It’s open daily in the summer
demonstration for your OWN PLEASURE, but no part of this
magazine may be published, reproduced, copied, or stored (cezanne-en-provence.com) and provides the chance to view all his painting paraphernalia
in a retrieval system without the prior permission in writing
of the publisher. Even where permission is gained, it’s still in situ, imagine his working methods, and see many of the props used in his paintings,
courteous to credit the original source and the designer. Any
activity used to benefit commercially from the magazine is lining one of the walls. Returning to the town centre to visit the Musée Granet was a
not permitted.
By respecting copyright, you ensure that we, as disappointment, however, as it has very few Cézanne paintings in its collection, and none
publishers, can continue to provide you with the content
you want. To read more about how you can navigate this
tricky area, visit our website: www.painters-online.co.uk/
are examples of his best work.
information/copyright For any further queries relating to
copyright, contact [email protected] and
So if, like me, you’re a Cézanne fan and thankful for his legacy and impact on the history
state your query is related to The Artist.
While reasonable care is taken when accepting of 20th century art, the forthcoming Tate exhibition offers a fabulous opportunity to see
advertisements, the publisher cannot accept responsibility
for any resulting unsatisfactory transactions. No warranty his best and most ground-breaking works all in one place. If you’re unable to visit, you can
is implied in respect of any product mentioned herewith.
The Advertising Standards Authority exists to regulate the see nearly all of them, including his Bibemus and Montagne Sainte-Victoire paintings at the
content of advertisements. Tel: 020 7429 2222.
Prizes, gifts or give-aways offered in competitions might online catalogue raisonne resource cezannecatalogue.com
be substituted with ones of similar value. Unless otherwise
stated, all competitions, free samplings, discounts and offers
are only available to readers in the United Kingdom. Full
terms and conditions are available on our website at www. The EY Exhibition: Cézanne is on show at Tate Modern from October 5, 2022 to March 12, 2023
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14 22
36 The adjudicator
CONTENTS Robert E Wells reveals some surprising tools
he uses in his oil paintings to obtain the
results he’s looking for

FEATURES 43 Head in the clouds

14 Working in harmony Winston Oh demonstrates how to tackle
IN CONVERSATION Susie Hodge talks to mountain landscapes in watercolour
Katrina Wallis-King about her affinity
46 Delights of the garden
with landscape and the natural world and
discovers how it brings meaning and value
to her work
43 Follow Judith Yates as she paints
gardenscapes in acrylic and acrylic inks

18 An appetite for nature 50 Crosshatching in pen

MASTERCLASS Jenny Pery sheds light on and ink
Alan Cotton’s optimistic approach to oil Learn how to use contoured crosshatching
painting techniques with August Lamm as she works
on a portrait demonstration
59 Staying safe
Mike Barr encourages us to take more risks 54 A temperamental medium?
and enjoy the confident accident In the second of her three-part series on
painting with gouache, Manda Comisari
tackles blending, layering and adding detail

PRACTICALS
22 The eye of the beholder
In the final article of his four-part series
60 60 Taming the wild
Follow Lucy Swinburne’s step-by-step guide
to painting a wild dog in pastel pencils
on watercolour landscapes, Ian Sidaway
describes various approaches to the subject
and the all-important composition
NEWS & OFFERS 65 Working from sketches
Julie Collins offers advice on ways to think
about your sketches as preparations for
26 The art of the limited palette
To conclude her three-part series, Hazel 8 Looking for more
great content?
paintings as well as works in their own right

Soan explores the staining, lifting and

granulation qualities of watercolours
Find inspiration at PLUS THIS MONTH
PaintersOnline with tutorials, 6 Your views 9 The Art World
31 Arresting portraits tips and techniques, videos, 69 Opportunities 70 Exhibitions
In the first of two articles on pastel pencil
advice and more!
74 Book reviews
techniques, Michele Ashby shows how to
create a contemporary portrait

THIS
39-42 72-73
MONTH’S Choose an art course or Join one of our exciting
COVER holiday to help take your live online webinars
Michele Ashby work to the next level!
Noa, pastel pencil
on pastelmat
card, 121/23101/4in
Check out our latest
(32326cm). See
pages 31 to 35
58 & 64 bookshop offers
4 artist November 2022 www.painters-online.co.uk
 78 SEE YOUR WORK
Next month in
PUBLISHED IN THE ARTIST
Simply upload your work to our
PaintersOnline gallery for the opportunity
artist
to be selected for our monthly Editor’s
FEATURES
Choice feature t IN CONVERSATION
Winner of The Artist
Award in last year’s DSWF
Wildlife Artist of the Year
competition, Hilary Kington
shares the thoughts and
techniques behind her
woodcuts and watercolour

MEMBERSHIP
paintings of wildlife

u INSPIRATION
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START ENJOYING STUDIO TODAY p Paul Riley demonstrates p Catherine Ingleby

advanced watercolour advises on different colour
painters-online.co.uk/membership techniques for capturing palette choices and how
texture in still life and to use colour to capture
costume studies light and warmth in your
paintings
79 PLUS
l Practise and develop your life-drawing skills with
Become a member of our Studio community Catherine MacDiarmid
and enjoy these exclusive benefits l Follow Michele Ashby’s demonstration and use pastel
pencil techniques to create a detailed still life
l Robert E Wells encourages the use of a simple limited oil
EDITORIAL CONSULTANTS palette and suggests an exercise to try
l How to avoid and fix the most common mistakes when
painting with gouache, by Manda Comisari
l Julie Collins concludes her popular watercolour series
with advice on when to stop to avoid overworking your
Ken Howard OBE, RA David Curtis ROI, Haidee-Jo Summers paintings
studied at Hornsey VPRSMA ROI, RSMA
School of Art and the has won many awards for has won many awards for her l ‘I don’t care about perspective!’ More artist musings from
Royal College of Art. He his en plein air and figurative plein-air and alla-prima oil
is a member of the NEAC, paintings in both oils and paintings. She is an elected
Mike Barr
ROI, RWS, RWA and RBA. watercolours. He has had member of the ROI, the author
He exhibits extensively
and has won numerous
awards.
several books published on his
work as well as DVD films, and
exhibits his work extensively.
of Plein Air Painting with Oils and
Vibrant Oils and also has a DVD
with the same title.
And much more! Don’t miss out:
our December issue is available from October 21

www.painters-online.co.uk artist November 2022 5

YOUR Email [email protected] or write to The Editor,
The Artist, Warners Group Publications, The Maltings,

VIEWS LETTERS, EMAILS AND COMMENTS

West Street, Bourne, Lincolnshire PE10 9PH
Please note we may have to edit letters for reasons of space

Two sides to every story

I wanted to get in touch with you as I would
like to offer another opinion to Mike Barr's STAR LETTER
informative article in the September 2022
issue of The Artist. I feel compelled to do
so really. Mike points out that in order for
an artist to succeed they need to work in a
very narrow way with a particular style and
subject to be recognised and successful as a
professional artist. I beg to differ.
I work in many different ways and with
many different media, as you may know
from my articles that have appeared in
this magazine. I would not be successful
if I didn't. Training as a designer we were
encouraged to be versatile in order to attract This month’s star letter writer
will receive a Sennelier portable
a variety of clients and keep the money watercolour palette, worth
coming in. It's a philosophy I adopted as a £29.95 (rrp).
fine artist and it worked.
Having a variety of styles has enriched
the readership of The Artist. Being versatile What three words I now give my artwork a 'name' of the
Recently I was invited to paint at Southill particular location so that everyone
has meant that you have been able to give
Park, Bedfordshire. I chose a beautiful, knows exactly where I painted it,
me article after article and not expect the
perfect day and all I could hear were the especially as I paint abstracts and usually
same thing twice. It's the same for teaching.
birds and see them with the graceful refrain from titles. Some of the names
Different courses, media and subjects appeal
swans, moseying on down to the large are quite funny and sometimes fitting.
to many as a necessary income stream.
lake. I painted oil on canvas en plein air, of The name/location of this one is
The appeal for my work in different galleries
course, and thought about my location. ///smudges.cobbles.political.
is also regional, and with different media
I had downloaded the what3words app. I hope this is useful to any artists who
too. What works with one certainly doesn't
This gives every three-metre-square don't want to get lost! I completed my
with another. Different styles and media in
space anywhere in the world, even on painting (above) that day.
the mix appeals to many. As for galleries
wanting a particular style, I've been caught water, three different random names. Alexandra Wells, by email
out by this as many others have before.
Fashions and subjects of a buying public
change overnight. If you are, unfortunately,
one of the artists who are not 'fashionable'
any more, you are left out in the cold with
your 'recognised' style keeping you company.
Artists today work in very different ways.
There are more independent artists out
there than ever before making great
successes without gallery interference or
dictate. They do what they want and are
very successful at it too. Historically, famous
artists have gained fame and popularity
because they have been versatile, adaptable
and moved with the times. Look at the work
of Picasso, Matisse, or Hockney, for example. p H is for Honeybees p X is for Xylophone
I believe readers should see the other side
to the coin.
Robert Dutton, by email What your magazine has done is to inspire or whatever. I've now been through the
me to take small steps. I would like to share alphabet twice – once on my own, and the
Small steps my 'small steps' idea for other partners second time with a friend, texting our letter-
I am the happy beneficiary of living with a of artists. I gave myself the challenge of inspired art each day. I'm about to start my
The Artist subscriber. I am not the artist of doing something 'arty' each day using the third alphabet with my mother. I've attached
the family, but I so enjoy looking at all the alphabet. A for the first day, B for the second, a few of my favourites (above).
'how to' articles and array of different styles. and so on. 'Arty' could be pencil, watercolour, Alison Seymour, by email

Subscribe at www.painters-online.co.uk or telephone 01778 395174

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6 November 2022 www.painters-online.co.uk

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 Find even more artist guides to inspire
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THE ART WORLD
NEWS, INFORMATION AND ONLINE EVENTS IN THE ART WORLD
compiled by Jane Stroud

The Legend of King Arthur

A Pre-Raphaelite Love Story
The Legend of King Arthur: A Pre-
Raphaelite Love Story at the William
and William Morris as well as lesser-
known female painters including Eleanor
WILLIAM MORRIS
Morris Gallery in London explores the Fortescue-Brickdale and Emma Sandys. GALLERY
legend of King Arthur as told through Beginning with Merlin as depicted
Forest Road
the eyes of Pre-Raphaelite artists. The through Arthur Hughes’ painting The Rift
legend of King Arthur was recorded by Within the Lute (above), the exhibition London E17 4PP
various authors from the 9th century explores each strand of the legend as well ☎ 020 8496 4390
onwards, but in 1485 Thomas Malory as demonstrating how King Arthur has www.wmgallery.org.uk
compiled the stories into a single work – continued to inspired artists into the late
Le Morte d’Arthur, which saw a resurgence 19th and early 20th centuries.
October 14 to January 22, 2023
of interest in Victorian England. The To coincide with the exhibition, the p Arthur Hughes The Rift Within the Lute,
exhibition includes paintings, tapestries gallery has commissioned London-based 1861-62, oil on canvas, 20½336¼in
and drawings by artists such as Dante contemporary artist Joy Gregory to (52392cm). Hughes based the subject
Gabriel Rossetti, Arthur Hughes, Edward create an embroidered textile installation loosely on The Idylls of the King poems,
Burne-Jones, John William Waterhouse exploring international myths and legends. published by Alfred Tennyson

www.painters-online.co.uk November 2022 9

 RWS LESS IS MORE
& FUNDRAISING AUCTION

p Humphrey Ocean RA African Thrush 2,

gouache, 638¼in (15321cm) at the RWS
fundraising auction

Continuing with the Royal Watercolour

Society’s fundraising efforts for their
new gallery at Whitcombe Street, the
RWS is holding the second installment
of its very successful auction, first held
in 2019, at which original artworks
generously donated by artists,
celebrities and RWS members were
auctioned to raise funds. This year
over 150 items will be auctioned,
including work by Humphrey Ocean,
Sir Peter Blake, Timothy Bentinck and
David Gentleman. You can browse the
works online from 6pm on Thursday
September 15 until 8pm on Sunday
September 18, or in person at the new
RWS Gallery at 3-5 Whitcomb Street,
London WC2H 7HA on Saturday and
Sunday September 17 and 18, 11am
until 5pm.
To be informed when the auction goes
live and receive the link, please email
[email protected]
The RWS: Less is More exhibition at
the Bankside Gallery, London will be on
show from October 7 until November 5.
p John Newberry Flowering Cactus, watercolour, 8¾37¾in (22319.5cm) from RWS
Less is More at the Bankside Gallery, London, October 7 to November 5

JAKAR – ROSA u ROSA Gallery Fine

Art Watercolours
landscape set
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l ROSA Gallery Fine Art Watercolours are designed and produced in Ukraine using
high-quality materials. Full pan 2.5ml sets of 12, 14, and 21 Classic colours and sets
of 12 Monopigmented and Urban Sketching colours, 14 Botanical colours and 21
Landscape and Romantic colours in metal boxes are priced from £24.99 to £44.99.
There are 60 individual assorted colours available in 2.5ml full pans (£2.49 each) as Jakar International Ltd is the sole
well as empty metal boxes for full and semi-pans for 12 colours (£9.99) and 21 colours distributor of ROSA Gallery Fine Art
(£19.99). The 60 assorted colours are also available in 10ml tubes (£3.99) and a wooden gift Watercolour Paints in the UK and
box containing 14 assorted colours (£49.99). The paints were developed in collaboration Ireland. For more information contact
with professional artists and contain organic and inorganic pigments, and organic gum Jakar on 020 8381 7000, email info@
arabic. They have high lightfastness and pigment concentration, airy transparent to full jakar.co.uk or visit www.jakar.co.uk
opaque, and clear and vibrant colours, with easy dilution and brushing properties.

10 November 2022 www.painters-online.co.uk

 l The annual Leighton Buzzard Art
Society exhibition takes place in the
beautiful surroundings of All Saints
Church, Church Square, Leighton
Buzzard, Bedfordshire LU7 1AE, on Friday
and Saturday October 28 and 29. All
works on show will be for sale. For more
information visit www.lbas.org.uk
l The Walton Art Club’s next exhibition
can be seen at Riverhouse Arts Centre,
Manor Road, Walton on Thames, Surrey
KT12 2PF, from November 16 to 20. The
exhibition is open from Wednesday to
Saturday, 10am to 4pm and from 10am
to 3pm on Sunday. For more information
telephone 07836 283664 or visit
www.waltonartclub.co.uk

q Peter Matthews Taormina, pen and ink,

10½315½in (27339.5cm), at the Walton Art
Club’s November exhibition

p Suzanne Southerton Portrait of Ella, oil on

canvas, 10¼311½in (26329cm) at the annual
Leighton Buzzard Art Society exhibition

ART CLUB
NEWS
l Julie Curry’s delicate painting of a cyclamen
(right) won The Artist Award at the recent
Tadworth Art Group exhibition. Julie wins a year’s
free subscription to The Artist. She writes: ‘I very
much enjoy gardening and I enjoy painting, so it
was probably inevitable that I would be drawn to
botanical art and illustration. I particularly enjoy
painting what I grow – flowers and vegetables.
My inspiration comes from the changing of the
seasons. Cyclamen grow in most corners of my
garden and are at their best when most other
flowers are fading, so I look forward to their
arrival. Occasionally I just paint their leaves, which
are all unique and quite beautiful, but on this
occasion I decided to paint the whole plant. I used
watercolour on hot-pressed paper.
‘I was thrilled to learn my painting was chosen
for The Artist Award at the Tadworth Art Group
exhibition. I have been a member of the group for
many years. We are a small group of painters who
meet regularly to paint, share ideas and support
each other.’ To find out more go to p Julie Curry Cyclamen, watercolour, 13½316½in (34342cm), winner of
www.tadworthartgroup.com The Artist Award at the Tadworth Art Group’s annual exhibition in July

www.painters-online.co.uk November 2022 11

12 November 2022
p Paul Cézanne Mont Sainte-Victoire, 1902-6, oil on
canvas, 25½332in (65381cm)

The EY Exhibition
CÉZANNE
TATE MODERN
Bankside
London SE1 9TG
☎ 0120 7887 8888
www.tate.org.uk
October 5 to March 12, 2023

The EY Exhibition: Cézanne at Tate Modern, from October 5 to March

12, 2023 brings together around 80 carefully selected works by the artist,
spanning the breadth of his career. Amongst the works, which are drawn
from collections in Europe, Asia, North and South America, there will be 20
works that have never been seen in the UK before. The exhibition focuses
on the main tensions and contradictions in Cézanne’s work, setting him
within the context of his time and showing his development from a young
ambitious painter from the south eager to make his mark in Paris, to his
relationships with the emerging impressionists, who were amongst the first
to appreciate his vision and the impact he was to make on modern art.
The exhibition also highlights important relationships in Cézanne’s life,
including with his wife, Marie-Hortense Fiquet and their son Paul (left), as
well as with his childhood friend Emile Zola.
A guided tour of the exhibition takes place every Saturday, from October
8 to March 11, 10.15 to 11.15am, which will explore the themes of the
exhibition and the artist’s life and allow you to discover some of Cézanne’s
best-loved works. For more information and to book tickets visit
www.tate.org.uk

t Paul Cézanne Portrait of the Artist’s

Son, 1881-2, oil on canvas, 13¾315in
(35338cm)

November 2022 13
?????????

p Paphos Pine, pastel, charcoal and acrylic on mountboard, 16½316½in (42342cm)

IN CONVERSATION

Working in harmony
Engaging with the world at a human level is important to
Katrina Wallis-King both personally and as an artist. Susie Hodge talks
to her about her affinity with landscape and the natural world and discovers
how it brings meaning and value to her work

A
fter spending her think, deep down, I’ve always thought of included encouraging people to
childhood in Norway myself as an artist. After graduating from reconnect with old hopes and dreams,
and studying fine art and university, I spent a year painting and or take a risk and explore new horizons
archaeology in London, drawing in Florence, hoping to lay my and I started wondering if it was time for
Florence and Bath, Katrina creative frustrations to rest. I returned me to follow my own advice. Eventually,
Wallis-King draws, paints and produces to London and eventually settled I made a conscious decision to get away
prints that all explore her love for in Bath, and later, as an addictions from my everyday environment, to do
landscape and nature in general. ‘I counsellor, many of my sessions something that had personal meaning

14 artist November 2022 www.painters-online.co.uk

and value, and signed up to a workshop expressive form in its own right, or as a As an archaeology graduate, I’m also
tutored by pastel painter, Sara Bee, starting-point to explore other media interested in historical landscapes.
whose work I already admired. Her such as oils, watercolour or printmaking. When I’m out walking, I’m always
workshop was a watershed moment Our impact on the natural world and thinking about how people might have
for me and I returned home with a wildlife is a growing concern and travelled through or used the landscape
resolve to keep exploring. A few months habitats that we take for granted are in the past, the underlying geology and
later, I had completed work for open under threat. The scale of the subject natural resources. I’m also aware of our
submission to the Pastel Society’s 2019 matter, whether open landscapes or impact on precious habitats that we’ve
exhibition and in the 2020 exhibition, intimate close-ups, directs the choice taken for granted and are under threat.
won The Artist Award. I have continued of media and level of detail I want I love living in the West Country with
exploring on a largely self-taught basis, to include, often exploring with a access to the open countryside, and
with the occasional life drawing or combination of paint washes, charcoal the overall experience feeds into the
printmaking class.’ and pastel. final piece of work – the hike up a steep
‘My affinity with landscape and the path, noticing small things in larger
Affinity with nature natural world stems from my childhood landscapes along the way, the shifting
‘Drawing underpins my work as an spent in Norway, where I still visit. weather, or sitting in my car with a hot

‘Drawing underpins my work as an expressive form in its own right,

p Woodland Waters, Worthy Coombe, pastel, charcoal and acrylic on mountboard, 16½316½in (42342cm)

www.painters-online.co.uk artist November 2022 15

IN CONVERSATION
thermos flask on a bleak day. When so most of my work is developed back painting, adjusting and readjusting line
I’m not at my easel, I’m out walking or in the studio. It matters to me that I’ve and colour, moving towards a sense of
pottering about my garden. actually visited the landscape that I try overall harmony. I find if I spend too
‘Patterns, profiles and edges are often to reinterpret. I sketch, make notes on long getting over-absorbed in one area
my way in to a piece. Although I record colour, light and weather conditions, it can throw out the rest of the picture.
field notes on light and colour, I’m take photographs, and often return with ‘Recently, I’ve been exploring oils
always prepared to shift these elements physical reminders of my visit, such as after years of not picking up a brush.
at my easel. Overall, I’m trying to create seed heads, feathers, or pebbles. In the At first, I found it frustrating not being
a mood that the viewer will connect with past I’ve painted in oils en plein air and able to realise images with the same
emotionally. A well-timed tea break is that’s something I’d like to revisit.’ feeling of control as charcoal or pastel.
an opportunity to take a big step back But I’m nothing if not persistent and am
and look at the work with a new eye. Overall harmony starting to feel more comfortable and,
And if a piece just isn’t working, I’ll take ‘I’ve done printmaking in the past, interestingly, using brushes and oils
a deep breath, scrub out the image which I think has helped me to look has helped me loosen up in my pastel
entirely and start again.’ for compositions that work; mark- work.’
making for etching and lino prints are
Evoking a sense of place statements that can’t always be undone. Muted colours
‘Part of my decision for subjects and As drawing is so much part of my work, ‘I work in a range of sizes, depending
compositions is technical. I tend to look I look for something where I can get on the feel of the subject matter or the
for interesting motifs and harmonious involved – the dramatic perspective of size of support I have knocking about
arrangements, but mostly it’s about a pathway or river, the linework of trees in my studio, mainly A1, 23½323½in
evoking a sense of place that viewers or textures of vegetation for instance. I (60360cm) or 16¼316¼in (42342cm).
might connect with, inviting them always do a charcoal under-drawing to Occasionally I work on a couple of
to explore a path, stream or tree, or map out the overall composition. Once pieces at the same time, and often
look out across an open landscape. I fixed, I apply clear gesso then break some of my better work has been done
enjoy revisiting certain motifs, such up the stark surface with acrylic colour, over old pieces that I wasn’t satisfied
as streams, beaches, rocky pathways, sometimes scratching through the paint with. Sometimes a piece will head
tangled vegetation and iconic trees. in areas where I later want to show towards completion within a couple of
Sometimes I’m drawn to exploring the texture. days, with others I have to turn them to
simplicity of a bleak, open landscape. ‘Once I’ve roughed out a thumbnail the wall and look afresh a few days later.
I usually have an overall vision of I’m happy with, I’ll upsize it on to ‘I always start off thinking that I’ll keep
where I’d like to take initial sketches, my support – usually mountboard, to a limited palette and before I know
but sometimes I really have to work sometimes wood panel – and sketch in it, other colours start creeping in. Over
hard to nail a composition that will the key elements of the composition. time I think I’ve been heading towards
be satisfying to develop. At times, I Sometimes I become more involved a narrower range, but ultimately, it’s the
become so involved with the charcoal in the drawing process, to get a sense painting itself that dictates which way
under-drawing that moving on to adding of where I can take the piece later to go. I love the rusts of bracken and
colour and making a piece look more on. Other times I’ll just dive in and ochre of dead grasses, smoky blues
finished feels risky. Sometimes it works, block out the lights and darks over my and hints of purple, and sometimes
sometimes I could have left well alone! sketch, using acrylic washes over gesso. an unapologetically limpid sky of pale
‘I often have an idea of what might After that I go back in with charcoal yellow or evening blue. As I work, I
work compositionally, based on and pastel, working across the entire pretty much know when a piece is
experience, or if I’m struck by an finished. Sometimes this comes about
arresting image. That said, every work quickly from start to finish over a
has a life of its own and sometimes couple of days. More usually I reach
heads in a direction that wasn’t part the point where I’m satisfied enough to
of my initial vision. I try to be open to set the work aside for a while, adding
this and follow where the painting is very minimal adjustments before
leading me. My process involves a lot framing. Either way, I have enough of an
of thinking and self-direction as well understanding of what makes a piece
as letting go and working intuitively. complete enough to move on.
Finding that balance can be hard work! ‘I’m inspired by a range of artists. One
‘At the moment I work mostly in of my favourite painters is Isaak Levitan;
pastels and charcoal. I love the I love the reflective mood that Russian
immediacy of dry media; a stick of landscape painters evoke. I also like the
charcoal, a surface and you’re good to works of Finnish painter, Eero Järnefelt.
go. Charcoal is responsive for mark- Being half-Norwegian, the work has a
making and forgiving of mistakes; and particular resonance with me. I love
the range of colours offered by pastels the work of Kyffyn Williams; brooding
can amplify the mood in a painting. The Welsh uplands in a limited palette, and
prehistoric cave paintings of Lascaux the spare quality of Norman Ackroyd’s
and Altamira were done in charcoal, monochrome prints and watercolours.
ochre bars and calcites – materials that As a figurative artist, skilful drawing
contemporary artists still choose today. always catches my attention, such as
‘Because of the fragile nature of the dark portraits by Käthe Kollwitz and
charcoal and pastel it’s not always p Beach Grass, pastel, charcoal and acrylic exquisite animal observations by April
practical to work on a piece outdoors, on mountboard, 21¼316½in (54342cm) Coppini.’

16 artist November 2022 www.painters-online.co.uk

p Forest Heather, pastel, charcoal and acrylic work will be received. That said, winning company. That said, I miss some of the
on mountboard, 16½316½in (42342cm) awards at consecutive Pastel Society weekly structure I used to have working
exhibitions was a real honour. Being directly with people as a counsellor and
recognised has given me confidence volunteer with a mental health charity.
Engaging with the world and self-belief as an artist. As I like the Finding ways of engaging with the world
‘My initial gateway to finding an freedom of developing an image without at a human level is important to me
TA
audience was through the Pastel having to factor in someone else’s personally and as an artist.’
Society’s annual open exhibition. expectations, I prefer not to work to
Having my work hanging alongside commission, but I’m always interested
well-established artists as well as in being signposted to new landscapes
having a goal to work towards was a to explore. Instagram is a great platform
real incentive. And of course, that red to share work and follow other artists,
sticker beside one’s painting does and increasing your exposure. I used to
wonders for an artist! During the feel there was an expectation to post
pandemic, I’ve sold work on the Mall regularly, forgetting it’s unrealistic to Katrina Wallis-King
Galleries virtual exhibition platform, come up with finished masterpieces lives in Bath, Somerset with her partner who
and had success through the Lion Street five days a week. Creativity isn’t a is a singer-songwriter and her son who writes.
Gallery, Wales. I’ve also participated She shares her studio with two cats; an elderly
competition, every artist has their own
moggie that likes Classic FM and a handsome
in Matthew Burrows’s initiative – the process and there’s room for us all, so youngster who is a joy to draw.
Artist’s Support Pledge. As my work now I post when I feel comfortable with See more of her work on Instagram
develops, I’m looking to approach what I’m sharing. @katrinabath on her website
galleries that feature artists whose work ‘I suspect the pandemic has affected www.katrinawallisking.art
on Facebook
resonates with me. many artists in different ways. At first, I www.facebook.com/KatrinaWallisKingArtist/
‘Winning prizes isn’t my goal; I don’t found the prospect of more time quite and on Twitter @wallisking
find it constructive to overthink how my easy to adjust to as I enjoy my own

www.painters-online.co.uk artist November 2022 17

MASTERCLASS

An appetite for Alan Cotton MBE

has been represented internationally by

nature
Messum’s Fine Art, London for over 30 years,
and has works in royal and public collections
worldwide. Alan is president emeritus
and a founding member of the South
West Academy. He was awarded honorary
doctorates by both the universities of Exeter
and Bath and is hon. professor for the arts at
the University of Bath. Alan has presented
In this abridged extract from Alan Cotton’s book, and been the subject of arts programmes
for both regional and national television.
Drawn to Paint, Jenny Pery sheds light on the He accompanied HRH the Prince of Wales as
tour artist to the Southern Hemisphere and
artist’s optimistic approach to oil painting travelled twice as expedition artist to Mount
Everest with explorer Sir David Hempleman-
Adams. He was awarded an MBE in the
2022 New Year Honours List. Alan will be
exhibiting at Messum’s, 12 Bury Street,
St James’s, London SW1 until September 30.
The exhibition then continues online at
www.messums.com

A
lan Cotton is a painter
of nature. The colours
and forms to be found in
landscape are the driving
force in all his work. When
he sees configurations of land that fire
his imagination, he wants to become
a part of them, to possess them. The
possessive instinct is strong. ‘If you see
something that is so amazing that you
want to make a painting of it, you want
to get to it as quickly as you can. You
are so afraid it’s going to go because
these moments are so rare... You feel
territorial about places as if they belong
to you. You are aware of your special
relationship – this is my place, I’ve
discovered this’.

 Devon – Winter Sun at Hartland, oil on

canvas, 353/4328in (91371cm).
‘I first discovered Hartland in the 1970s and
have returned most years since then. I have
made many drawings and paintings from
this one spot, visiting at different times of
day and every season of the year. I have been
there when the sea has been millpond calm
and when the waves are crashing in during
a storm. The viewpoint never changes, but
every painting depicts the ever-varying
nature of this remarkable stretch of the North
Devon coastline. I sometimes choose a large
vertical format, so that, whilst the painting
starts with the spot on which I am standing
– often perilously close to the edge – the eye
is then taken down to the rocks far below
and along the coastline to distant bays. This
painting depicts a calm winter evening, with a
watery sun just about to set.’

18 artist November 2022 www.painters-online.co.uk

p Drawing made on location for Cottages
at Ventry Harbour, pen and ink, 113/4313in
(30333).
‘When I am working in Ireland I am always
aware of the fleeting nature of the weather.
One moment the sun is shining, but in just a
short time the scudding clouds will appear
and the light where I am sitting disappears. p County Kerry – Cottages at Ventry Harbour, oil on canvas, 303353/4in (76391cm).
Yet on distant hills there are still bursts of ‘I have spent many hours around Ventry in Co Kerry, but this view down to the harbour has always
sunlight. So here I must work quickly to fascinated me. It captures so much of the essence of Ireland – stone walls edging narrow lanes,
capture the moment, because so many of my groups of cottages with derelict outlines set beside new buildings and delicate foliage against
paintings, especially in Ireland, are all about darkening clouds. From the one drawing (above left) I have produced a number of paintings,
fleeting light – sunlight and shadow across sometimes focusing on the foreground and sometimes taking in the panoramic landscape of
the landscape.’ distant hills. Whenever I return to the West Coast of Ireland, I find new inspiration for my work.’

‘A drawing will remind you of the sun on your back and the sense of
a place. A photograph is never as meaningful’
It is the painter’s responsibility to find he wanted to convey his subjects. The also the changing light, the direction of
representative images as well as the knife is capable of an enormous variety the wind and the accompanying sounds
emotions they evoke. Also implicit in of marks, from delicate touches to bold and smells. For the painter the whole
this vision is the idea that art itself is sweeping, slabs and slices of paint, sensory experience remains fixed within
redemptive, that art conveys a message where the heavy impasto becomes the drawing long after he has left the
of optimism and hope. This essentially almost sculptural. The knife’s sharp- scene.
optimistic approach underlies all Alan’s edged marks stand in low relief on the Throughout his life Alan has travelled
work. canvas and create their own dynamic of widely in search of particular places
light and shade. Alan possesses many that spark his creative imagination. He
The painter at work painting knives of different sizes, but is adventurous in his quest, undaunted
Alan is a representational painter, tends to favour three or four, which are by the inconvenience or difficulty of
working with oil paint on canvas in a now wearing thin with constant use. He some of the locations. Long ago he
traditional way, proud to be part of is still discovering new possibilities with abandoned the idea of working on
a long tradition of painters in oils. the knife, driven by the demands of a large oil paintings out of doors because
It is only in his use of paint that he new subject. it involved lugging easel, canvases,
diverges from the usual practice of Although Alan’s paintings are made oil paints and other paraphernalia
using brushes. Although he does use a in the studio, they are all composed around. He now travels light, taking
brush to sketch in the main lines of his from drawings made outdoors. These only sketchbooks, pens and a few
composition, he uses painting knives to drawings are the seed corn from which watercolours with him. This gives him
apply the paint. Early on he found that all his paintings are derived. The marks the freedom to draw anywhere and to
paint laid on with painting knives gave that go down on paper attempt to catch the fleeting moment – the ‘here-
him the particular body and texture capture not just the actual scene but and-now-ness’ of the place. 

www.painters-online.co.uk artist November 2022 19

MASTERCLASS

‘A drawing will remind you of the sun posters. At the art schools he attended, his mind and books with ideas for his
on your back and the sense of a place. the countryside was always his core work. He then begins the process of
A photograph is never as meaningful. subject. Over a lifetime, Alan’s love translating those ideas onto canvas. ‘By
Drawing is immediate, and I can draw of painting the landscape has never this time my mind will be buzzing with
very quickly if I need to. Usually I look wavered. dozens of images and my expectations
for a structure, which is more use than are high. Usually the work just flows, but
just putting a line around something. Equipment and materials sometimes I don’t get off to the best
As you draw you are taking in far On trips abroad, Alan takes the start. I can misjudge the complexity of
more than you are putting down. The minimum of equipment – sketchbooks the idea in relation to the size of the
drawing is like a conduit between you and drawing materials – to make canvas on which I have started to work.
and the painting. You are aware of all numerous drawings, sometimes Yet each time I start with a burning
the sounds and scents around you, topographically accurate descriptions, desire to get to the heart of the subject.’
the waves coming in, bird noises, the sometimes rapid notes of details. Alan is prolific. During his career he
rustling of plants and the smell of the ‘Drawing is the starting point and the has completed over 3,000 paintings.
herbs. key to my finished paintings, so that The demands of regular annual
‘I would wander into the fields as a whilst some may be the briefest of exhibitions interspersed with his many
small boy and make drawings. The sketches with working notes, others other activities, have made working to
things that turned me on were the light, need to be more detailed so that I have a routine essential. ‘As a painter I need
the romanticism of the landscape, the all the material I need when painting to think of my work in relation to my
scale of objects and different locations.’ back in the studio.’ total life. I’m obsessed with painting,
It was his mother who encouraged his At home in his studio Alan pores over I always have been, and with other
passion, even making paintbrushes for the drawings to find ideas for paintings. arts activities. It is so intrinsically part
him out of her own hair. At grammar Travelling light, with drawing books of me that I can’t imagine not being
school he was the kid who was good and pens and watercolour, allows him a painter. I like to be in the studio
at art and was asked to make all the the freedom to move freely, and fill every morning as early as I can. I do
get up and exercise first. Exercise is
very important, because if I’m going
to spend the morning in the studio for
five to six hours at a stretch, I really
do need to get energised to start with.
It’s important to have a pattern or
sequence of ideas, so that when I go
into the studio I know pretty well what
I’m going to be engaged with.
‘For a painter the demands of the work
are not only physical, although applying
paint with a knife on a large canvas can
require a great deal of energy. There is
also intense mental activity, with myriad
decisions to be made concerning
composition, colour, impasto, handling.
It is an all-consuming process.’

Revisiting locations
Over the years Alan has discovered
many favourite painting grounds,
places to which he returns again and
again, and has his own individual way
of celebrating them. ‘It is important for
artists to go the way their hearts and
minds feel. It is no good imitating other
people. If you enjoy other people’s
work inevitably you take in all sorts
of ideas which have inspired you, but
essentially you must start from your
own perception. When I’m out in the
landscape I’m not thinking about other
p Provence – Bonnieux Glimpsed Through Trees, oil on canvas, 20320in (51351cm). people’s work. I’m thinking of ideas
‘I have painted this magnificent hill town of Bonnieux so many times and I am always looking that turn me on. That overworked word,
for new angles from which to capture this tiered, wedding cake group of terraced buildings. inspiration, does come into it. I never
This one was discovered quite by accident. We were walking through woodlands nearby when start any painting without being visually
suddenly, through a clearing in the trees, we spotted this magnificent view, very much closer turned on by what I’ve seen in the first
to the town than any of my earlier paintings. I am fascinated by landscape viewed through place.’
close-up foliage or trees and this presented me with a unique opportunity to look at the angular Alan’s art is upbeat, a celebration of
shapes of the buildings, some sides brilliantly lit, other facets in deep shadow, whilst the trees the world he lives in. He is eye-driven,
framed the hill town. As with all my paintings, the contrasts of light and shade feature strongly.’ searching for something seen outside

20 artist November 2022 www.painters-online.co.uk

 This abridged extract is taken from
Drawn to Paint by Jenny Pery, published
by Halstar, £34.99. Copies are available
to The Artist readers, signed with a
dedication, at a special price of £25 plus
p&p. Email [email protected]

q Morocco – The Edge of the Souk

in Marrakech, oil on canvas, 20320in
(51351cm).
‘As the figures came and went, new local
residents replaced them, so I did a series
p Location drawing for The Souk at Marrakech, below, pen and ink, 113/43153/4in (30340cm). of sketches of people on the edge of the
‘When I am working in places where the sun blazes down from early morning until sunset, souk. Sometimes the whole scene was in full
there is never the same urgency as cooler climes and I can sit and draw, knowing that only the sunlight and at others deep shadows would
shadows, cast by the overhead sun will change. Working in the midst of the souk, with hordes of be cast across the buildings and narrow
people and constant badgering from stall holders, proved impossible, but here on the edge of passages. The patterned cloth canopies and
the souk I could observe the locals coming and going, or stopping for a chat before continuing the vibrant robes of the men provided stark
on their way. Here rough awnings give shade from the midday sun. I often make colour notes on colour contrasts to the terracotta buildings
my drawings as an aide-memoir when I come to the painting on canvas back in the studio.’ and sun-bleached pathways.’

that triggers an inner recognition, like

a light switch coming on. ‘What turns
me on in terms of light, of shape, of
form – all those things make that magic
moment when I say “Wow! That’s what I
want to paint.” It is always a journey of
discovery and when you start you can’t
predict where it’s going. With each new
painting you should be thrilled with the
prospect of actually putting paint on
and discovering where it’s going to go,
not only combinations of colours but
also the range of marks and the whole
tapestry of the surface which allows you
to convey that idea that you had maybe
weeks or months earlier.’
For Alan, the shift of time, space and
distance between his on-the-spot
drawings and the construction of his
paintings has proved fertile. In the
studio he is freed from the immediate
demands of the subject in front of him
and he can let loose his imagination.
Because his drawings are mainly tonal,
he can allow himself to invent the
colour on the canvas to suit the mood
of the subject. Shapes can also be
modified to emphasise the drama of the
subject. Rocks can be rendered rockier,
seas wilder or glassier, clouds heavier.
The artist selects and interprets, and
it is his interpretation that gives the
subject its unique flavour. TA

www.painters-online.co.uk artist November 2022 21

WATERCOLOUR LANDSC APES: 4TH OF 4

The eye of the

beholder
In the final article in his four-part series on watercolour landscapes,
Ian Sidaway describes various approaches to the subject and the
all-important composition

‘The question is not what you look at, it’s what you see.’ Henry David Thoreau

T
horeau was pointing out one time. No wonder painting pictures planning out the composition, then
the difference between the is far from easy. maybe a grisaille – a monochrome
senses and perception, sketch – to breakdown the piece
something I think artists Direct or indirect tonally and establish the lights and
train themselves to do, often Artists usually approach picture making darks. This might be followed with
without knowing it. At college during in one of two ways, depending on the semi-transparent coloured glazes to
the late 1960s we were trained in basic materials being used. These are either modify the monochrome underpainting
design and composition, which left the direct or indirect approach or, as can allowing colours to mix optically. Or,
us with a distinct ability to look at the often be the case, a combination of the possibly, ever thicker paint is applied
world in a certain way, and this helped two. The direct approach calls for the in layers working ‘fat over lean’, which
enormously when it came to picture artist to finish the work in one sitting. is then followed by glazes. This is the
making. When working alla prima with oils, colours indirect approach and is usually done,
There are several basic design are mixed and applied wet into wet, for obvious reasons, over time in the
principles, varying in number according usually on a relatively small scale and studio. It allows for a slower, considered
to various authorities, including: at speed, in an effort to catch a fleeting approach to the subject, lacking in
hierarchy, emphasis, balance, moment, the essence or impression of
proportion, rhythm, pattern, repetition, a scene, which given the ever-changing
movement, contrast, variety and unity. weather and light, makes it a perfect  Esher Wood, watercolour, A4 sketchbook.
To these I would add the use of white approach to landscape painting. This is a watercolour drawing made on
or negative space. Nowhere are these Working in front of the subject en plein air location that tries to capture a particular
considerations more important than the artist completes the work in a single moment early in the morning. These types
when landscape painting. All this to concentrated sitting. No easy task. of work, usually painted at speed and in one
bear in mind, not to mention colour Alternatively, the work is made in session, can often be more successful than
mixing and draughtsmanship. These are layers, one informing the next; possibly work that has been laboured over for weeks
a lot of balls to keep in the air at any an initial drawing over a toned ground and months in the studio

22 artist November 2022 www.painters-online.co.uk

 PRACTICAL

p High Stile and Lake Buttermere, Cumbria, oil I have nothing against working from help me arrive at suitable compositions.
on canvas, 39¼339¼in (1003100cm). photographs; I use them myself, but They are quick to do; each one made is
This large studio painting was made by I do find that time spent in front of practising one’s drawing skills; working
layering paint using semi-transparent glazes the subject, if only making drawings on a squared-up surface aids squaring
one over the other until the desired result is and compositional sketches, allows up compositions; and I enjoy doing
achieved. This is a way of working very similar something of that so called ‘spirit of them.
in many respects to applying watercolour place’ to be absorbed. If time allows The next stage is usually watercolour
washes. It takes time allowing each layer to for longer to be spent working on drawings or fineliner drawings or both
dry well before applying the next location, so much the better. We all done in sketchbooks. Whilst these
have a different approach and I’m are part of the process of arriving at
not suggesting one way is better than a possible studio painting, they are
the spontaneity achieved by painting another. What is important is that you also an end in themselves. Made
directly, but enabling complex layers of should feel comfortable and at ease in on location, but also sometimes put
paint effects to be achieved. The artist your approach. together using photographs, they
can also produce larger works, which help me explore the subject more
although not impossible en plein air (look The process of landscape thoroughly. I often rework these in the
at the work of Sorolla or Antonio Lopez painting studio adding to or developing the
Garcia), is not without its difficulties. Sketchbook work is, for me, the genesis drawings to suit. I visually edit, quite
Unless working exclusively from of most studio paintings. I make heavily, moving elements, altering
photographs, the landscape artist compositional sketches or thumbnails colour, and pushing the compositional
will inevitably be collecting material in a small sketchbook with squared- elements. Paradoxically the watercolour
on location, which will probably lead up pages. I got into the habit of doing drawings are usually made in a
to a degree of direct work in front of this after reading Composition of Outdoor landscape-format sketchbook giving
the subject. I am a studio painter and Painting by Edgar Payne. Although me a working area across the spread of
collecting material is, for me, one of the many might conclude that they are not approximately 8¼323½in (21360cm),
most enjoyable parts of the process. entirely necessary, I do believe they a format that I never use for a finished

www.painters-online.co.uk artist November 2022 23

WATERCOLOUR LANDSC APES: 4TH OF 4

p Mount Burgess, fineliner drawing in my Moleskine sketchbook.

p Mount Burgess, fineliner drawing in my Moleskine sketchbook. I make fineliner drawings for their own sake but also as a means of
In this page of thumbnail drawings I’m playing around with possible capturing details and I can make them whilst watercolour washes
compositions. Easy and quick to do, it’s a good habit to get into – dry, maximising time spent in front of the subject. Often these are
informative and helps advance your drawing skills only partially finished and will be completed later

 Mount Burgess, watercolour,

in my A4 Moleskine watercolour
sketchbook.
The A4 sketchbook is ideal for
making landscape paintings in.
The panoramic format forces
you to work hard at composing
the image especially if elements
are tall. This can create radical
and interesting compositions.
Although I never make studio
paintings on this format I can
section parts out that interest me

studio painting. This format makes me

work hard at the composition especially
if painting tall things, like trees or tall
buildings, which often necessitate
heavy cropping, but does have the
effect of increasing the dynamic of the
piece.
Whether in the studio or on location
I make fineliner drawings at the
same time whilst watercolour washes
dry. These are often unfinished and
completed later, especially if they
consist of extensive tonal work, which
can take time, but is easily done away
from the subject. I like exploiting the
negative spaces in these drawings,
which are usually made in a small
conventionally rectangular sketchbook.
I realise there is something a little
perverse in making heavy tonal
drawings sometimes with what is
essentially a linear tool, but I find the
process and the results very satisfying
p Mount Burgess, watercolour on Saunders Waterford 200lb (425gsm) Not paper, 141/43213/4in and not a little Zen.
(36355cm). The decision to make the transition
A studio watercolour putting all of the reference material together. The foreground trees were in to a studio painting from these notes
a different position. The image simply shows how easy it can be to alter and adapt what you see and sketches is not always certain and
before you. ‘Beating the parts’ as Donald M Anderson would say, ‘into submission’. sometimes can be made months, if

24 artist November 2022 www.painters-online.co.uk

 PRACTICAL

not years, after sketches were made. p Oia Santorini, watercolour on Saunders Waterford 200lb (425gsm) Not paper, 21¾321¾in
Leafing through a sketchbook an image (55355cm).
strikes a note occasionally and the Sometimes the answer to the composition is simple and right in front of you. It’s just a question of
process can begin. At other times I know position. ‘It’s been done before’ I hear the cry, ‘Bothered’ is my reply. Sometimes a proven formula
exactly the image I want to make and is precisely the right one to go for. But with perhaps just a slight nuance here and there of course
the process of making a studio painting
happens automatically. The decision for
it to be an oil or a watercolour can be
determined by nothing more complex and pushed into a submissive state of
than the mood I’m in, although certain cooperation.’
images can dictate the medium. I put great store in composition. I
Composition is a complex science. think it’s the primary reason attention
There are rules but, as the saying is grabbed and held by a painting
goes, they are there to be broken. The seen from across a room. The American
process is infinitely adaptable and landscape artist Michael Workman
packed with nuances and subtlety and, has pointed out the 30,3,3 rule. This
as the author of your work, you have the
Ian Sidaway
reads that a painting should grab your studied graphic design. Throughout the
power to take it in the direction that attention at 30 feet away. At three feet 1980s and ‘90s he painted portraits to
you want. As Donald M Anderson said away, the painting should tell a story commission but now concentrates on the
in his wonderful book, Elements of Design, and create a dialogue with the viewer, landscape. He is a member of the Royal
Institute of Painters in Water Colours.
published in 1921, the graphic structure and at three inches away, the painting
http://iansidaway.co.uk
of a piece should ‘...express dignity, should be interesting to other artists,
excitement, elegance and order.’ He with interesting texture and paint
added that the whole is greater than application. I like that idea and think of
the parts which, ‘should be beaten it as an admirable thing to strive for. TA

www.painters-online.co.uk artist November 2022 25

3RD OF 3

The art of the

limited palette
In this concluding article in her three-part series, Hazel Soan turns our
attention to the staining, lifting and granulation qualities of watercolours

I
n the last part of this series about
the advantages of using a limited
palette, we look at the staining
properties of watercolour pigments.
By its nature watercolour is a
staining medium, laid in thin films over
a paper surface made of cotton or pulp
and set in place by the gum Arabic
binder. Most pigments seep into the
fibres of the paper, staining the fabric
to a greater or lesser extent, while
others sit on or between the fibres and
can therefore be lifted off by varying
degrees, even when the paint is dry.
The level of staining depends on
the pigment, not on the transparency
or opacity of a colour, and as the
information is relevant to the artist,
manufacturers mark it on the label
of the tube or pan with a triangular
symbol. Since brands formulate
their colours from their own pigment
recipes, the specific colour names
(mainly Schmincke) mentioned in this
article may not have exactly the same
properties in other ranges.

Staining and semi-staining names such as quinacridone, p Sheltering the Newborns, watercolour,
pigments indanthrene, perylene, etc.) and many 22330in (56376cm).
Most Artists’ watercolours are staining or traditional colours, such as alizarin Two fully staining colours, Prussian blue and
semi-staining. This property belongs to crimson, Prussian blue, cadmium red Schmincke violet, enabled me to build this
the majority of modern carbon colours and cadmium yellow, and if you have painting up from light to dark in a series of
(recognisable by their polysyllable ever splashed a shirt with Prussian blue translucent washes laid over semi-staining
you will know firsthand that the marks yellow raw ochre and transparent sienna.
can never be washed out! The luminosity of the underlayers is retained
A staining colour permanently stains as well as allowing me to wash in a very wet
the paper and, so long as it is dilute and background sky without fear of disturbing
not laid too richly, cannot be disturbed the paint. What a joy!
Semi-staining Non-staining Staining by successive layering when dry and
colour colour colour cannot be removed. This enables
the repeated layers of translucent the friction of the brush or the addition
Staining symbols films, painted wet on dry, to create of water, just as it can in the pan or
The staining properties of pigments are watercolour’s celebrated luminescence, palette.
shown on the colour’s packaging by a as the hues from beneath glow through
triangular symbol. The triangle is fully the colours laid over the top. Non-staining pigments
blocked in for a staining colour; half filled Naturally, if a colour is painted in a The same glowing appearance is true for
in for a semi-staining colour; and left very rich, neat or dark layer, there will low or non-staining colours, equally set
blank for a non-staining colour. be ‘spare’ pigment sitting on the surface in place by the binder, but the pigment
of the paper that can still be shifted by can be shifted by excess water and the

26 artist November 2022 www.painters-online.co.uk

 PRACTICAL
rubbing of a brush, so care has to be easily when paired with a lifting blue friction in the rubbing motion. Let the
taken when applying wet overlayers in such as cobalt blue. Burnt sienna is area dry thoroughly before painting
case the action inadvertently disturbs easier to lift in some ranges than others over it to avoid muddying the colour.
the pigment below and muddies the and although Schmincke marks their Heavyweight watercolour paper is
colours. burnt sienna as staining it seems to lift strong so you can actually run it under
Lifting colours is very useful, when I want it to, and the paper plays a a dripping tap to rinse off non-staining
especially for beginners, because big part too. pigment if you wish to remove a whole
the artist can reintroduce light by The smoother the surface of the paper painting and start afresh.
lifting off some or all of the pigment. the easier the colour will lift, however, I Specific shapes of light can be
For example, clouds can be created demonstrated lifting colours in my first retrieved by using a custom-made
within a French ultramarine skywash African Watercolours video on Rough Khadi stencil to protect the surrounding paint.
or smoke created simply by gently paper after painting a rather successful Even semi-staining colours may be
sponging out some of the non-staining jackal with yellow ochre, burnt sienna lifted off to some extent in this way to
pigment. If you use lifting colours to and ultramarine blue. I then swiped restore some light, and while too much
paint architecture, balustrades, rails or it with a clean damp sponge to rubbing and lifting off gives the paper
window frames can be lifted out easily demonstrate the lifting colours and it a leathery appearance, if the area is
rather than having to be masked or disappeared without a trace! Needless small, it can take a firm rub which will
carefully painted around. In portraiture, to say, I quickly checked that the not notice in a large painting.
knowing you can reposition facial cameraman had recorded the original Most manufacturers also sell a lifting
features is a real boon to aid confident image as I was sad to see the little medium with which to isolate the paper
painting. I once had to raise one eye up fellow go completely! before painting but as I have never
a whole inch in a portrait but because used it, I know nothing more than that
I had used ultramarine as my blue Lifting off the pigment it works!
and burnt sienna as my brown, the The best way to lift off a non-staining My emphasis is on the limited palette,
repositioning caused little problem. colour is to gently rub the area in and because I consider the colours
The majority of the non–staining question with a damp brush or sponge ultramarine blue and burnt sienna
colours are found among the earth and dab off loosened pigment with a ‘safety colours’, I often choose them
colours, which are derived from iron clean towel. Some pigments lift easily, as my blue and ‘red’ and the mix for
oxide or related minerals and the more others need several goes. Rinse out black, as they allow me to be brave and
granular the pigment, the more likely the brush or sponge each time you go bold with shadows and darks knowing
it is to lift easily as the flakes settle in back in, otherwise you will transfer the I can restore light if needed and shift
the tooth of the paper. But not all earth pigment back into the area and sully mistakes later.
colours are non-staining and many the paper. Be careful not to introduce
are semi-staining. Raw sienna and raw too much water to the paper either, nor Granulation
umber are usually easier to lift than rub it too hard or you will damage the Most watercolours have an even paint
yellow ochre because of their more surface. If a soft brush does not shift the flow when laid on the paper but certain
granular nature and I find they can colour to your satisfaction, use a bristle pigments have a natural tendency to
be moved around on the paper more brush or rough sponge to create more granulate, fragmenting into visible

u Lake Picola, Udaipur,

watercolour, 10314in
(25.5335.5cm).
I loved using
ultramarine blue for
painting the waters of
Lake Picola in Udaipur,
knowing I could lift
out the pale reflections
of the marble white
buildings after the
wash was dry. I used
the edge of a piece of
card to create a stencil
for the straight lines,
pulling the sponge
down with one quick,
firm rub

www.painters-online.co.uk artist November 2022 27

 pigment particles in an attractive
mottled appearance as they settle
outside the binder in the valleys of the
paper’s tooth. The textural effect can
be enhanced by using more water, or
rougher paper. Granulating colours are
sometimes referred to as sedimentary
colours because they agglomerate
on the paper. Most of the granulating
colours, even those that are staining,
such as cadmium red, can be lifted off
to some extent or shifted around.
Paint manufacturers also make
granulating mediums to mix with non-
granulating pigments and granulating
sprays that are applied to wet
watercolour. These cause colours that
normally flow evenly to agglomerate
on the paper and also act to intensify
natural granulating pigments. I have
never tried them but they sound
interesting.

The limited palette

My emphasis in this series has been on
the advantages of the limited palette.
When choosing a set of few colours,
it is beneficial to know the differing
properties of the pigments and the
effect of temperature, transparency
and staining on the appearance of the
watercolour. This knowledge enables
a well-informed selection, helping you
choose colours that pertain to whatever
you want to achieve in the painting.
This will also ensure you keep your
watercolours fresh and unsullied, give
you harmony by default and manage
your whole watercolour painting process
more efficiently. Have fun! w p.30

p Matriach II, watercolour 30322in

(76356cm).
Schmincke makes a series of
supergranulating watercolours,
combining two or three naturally
granulating pigments to enhance the
effect. Advocating a limited palette, I had
fun using three constituent colours, raw
umber, manganese violet, and cobalt
azure, to paint this elephant. The triple
granulation adds to the dusty atmosphere
created by the matriarch’s approach

u The Sound of the Sand, watercolour,

11315in (28338cm).
The same set of three non-staining and
granulating colours was used here, raw
umber, manganese violet, and cobalt
azure, providing texture to the beach. All
three mixed together to make the black of
the stallions. The distant wave and water
splashes raised by the hooves were lifted
off easily with a fine brush once the paint
was dry

28 artist November 2022 www.painters-online.co.uk

 PRACTICAL

p The Swish of her Sarong, watercolour on Khadi paper, 30322in (76356cm).

Although cadmium red is a staining colour, it is also naturally granulating and the pigment could be lifted out of the tooth of the paper to restore
some light to clothing as can be seen in the folds on the shoulder and in the shadows of the lower sarong. This colourful painting uses a palette
of five colours but only three differing pigments: cadmium red, cadmium yellow (cadmium zinc sulfide), cobalt blue and cerulean (cobalt) and
Schmincke violet (dioxazine) so the mixing remains fresh and the harmony is guaranteed w

www.painters-online.co.uk artist November 2022 29

THE ART OF THE LIMITED PALET TE: 3RD OF 3

EXERCISE
My annoyance: The shape of the silhouette of the gemsbok to the left has
Restoration by lifting irritated me for ages, the back of his head and neck are the wrong shape
Have you abandoned a painting
because you were annoyed at one
particular area? Now is the time to
correct that annoyance, or practise by
copying my sunset silhouettes here.

HAZEL’S COLOURS
l Ultramarine finest
l Cadmium red
l Cadmium yellow

u STAGE ONE
Paint a sunset by blending bands of
cadmium yellow, red and ultramarine on
dampened paper. As it is drying, paint
the skyline silhouette with a deep mix of
ultramarine and cadmium red (much less
red than blue in the mix) and allow it to
bleed into the sky a little. Once the sky
is dry, add the silhouettes with the same
dark mix, making a ‘deliberate’ mistake
with the shape. Let the painting dry

t STAGE TWO
Tear a piece of paper with a curved edge
to act as a protective stencil over the
silhouette of the annoying gemsbok,
exposing only the offending back of the
neck where it is wrongly shaped. Hold it
in place with one hand and with a small
damp brush, gently rub the area of dark
paint on top of the neck and dab off with
clean kitchen towel. Clean the brush and
rub and dab again until the dark area
is removed sufficiently and the proper
curvature of the back of the neck restored

CONCLUSION
Because cadmium red is a Hazel Soan
staining colour in its dilute has studios in London and Cape Town
and travels widely for her painting. Hazel
form but also granulates, its
is the author of many painting books, has
stronger form could be lifted recorded several DVDs and her work is in
off with the ultramarine blue private and public collections, including
without any disturbance to the National Portrait Gallery and a
the paler background colour number of embassies. Her new book,
Hazel Soan’s Art of the Limited Palette, is
of the sunset. Knowing published by Batsford in
the properties of the August 2022. See pages 74 and 75 for
colours makes painting and Henry Malt’s review.
correcting paintings much www.allsoanup.com
DETAIL more straightforward.

30 artist November 2022 www.painters-online.co.uk

1ST OF 2 PRACTICAL

Arresting
W
hen I’m drawing a
portrait, it’s important
that I think about what

portraits
it is I’d like to say
and how I want that
intention to come across to the viewer.
I want my portrait to stop someone
in their tracks and to that end I want
to make a strong connection to my
audience through my work from the
very first moment it’s viewed. Making a connection with the viewer from the
Composition is the most important
part of a portrait painting, which
start is important to Michele Ashby. In the first
includes thinking about size, position, of two articles exploring pastel pencil techniques,
crop and negative space (the area
around your image) before you start. Do she shows how to create a contemporary portrait
some sketches of your model or use the
computer to work out what looks best
from your photo references before you combined with a sanding paddle. I I printed the image out at the actual
begin so that you don’t waste valuable have tried many different methods and size of the finished drawing and used
time or materials. tools to sharpen my pastel pencils but it for size and position. I use my
this is the one way that never lets me phone for colour reference and value
Preparation down. I use the scalpel to whittle down study but this, too, is always open to
Pastel pencil is a medium I’m very the wood from the pencil, keeping an interpretation as I feel appropriate.
comfortable with. I guess it takes me acute angel between the blade and the I like to use pastel pencils to create
back to where it all began as pastel pastel to allow for a long nib of pigment the detailed realistic finish I favour,
pencils and the art of drawing are to show. I then use the sanding paddle enjoying the focused patience it
intrinsically linked to the humble to make the nib into a point by rolling requires. I use all the different brands
pencil. The first thing I do before the pencil around between my thumb of pastel pencils and don’t really favour
starting a new pastel drawing is to and my first two fingers to give an even any of them in particular, making my
prepare my pastel pencils. To do point all the way round. choice by the colour I need. Having
this I use a scalpel with a 10A blade said that, I tend to produce my initial
drawing using a Faber-Castell 270,
Tip which is a soft light grey that I find sits
well on the dark sanded surface of the
If you use a scalpel blade you will notice
pastelmat. Faber-Castell pastel pencils
it can become blunt quite quickly. I am
are strong and reliable, making them
left-handed and my husband is right-
pretty resilient to sharpening and using
handed and we found that by swapping
in different ways. The softer pencils,
our used blades, they were like new. We
such as Caran d’Ache and Derwent are
found this out by chance while in the
lovely but can break quite easily unless
Michele Ashby middle of a sharpening frenzy!
handled with care. Stabilo is also a
graduated with a BA (hons) degree in
graphic design before forging a successful brand I enjoy for its strength of pigment
career running her own graphic design I tend to use Clairefontaine pastelmat that allows for a ‘dink’ of colour or strong
business. She became a full-time artist six card, which comes in a range of highlight or shadow where needed.
years ago and is a Master Pastellist and beautiful colours. I favour the very dark As I said earlier, composition is key.
Signature Member of the Pastel Society
of America, a Master Circle Member of
grey anthracite shade. The surface is With this portrait I wanted to capture
IAPS (International Association of Pastel sympathetic to my style of drawing, the innocence of youth – the playful
Societies), a member of the Society of which is mainly pastel pencils but also tilt of her head along with the intricate
Women Artists, an associate member pastel sticks. elements of the drops of water in
of the Society of Graphic Fine Artists, a
If I don’t have a live model I use her hair and skin, her bright tie-dyed
member of the Institute of East Anglian
Artists and a Unison Colour pastels a grid method to lay out the initial swimsuit, colour-matched swimming
associate artist. Her work has earned many drawing using a photo reference. For goggles sitting nonchalantly upon her
awards, and has been exhibited at such this particular portrait (pages 32–35) cute bunches, and the wonderful cast
venues as The National Arts Club, New shadow across her face showing off her
York, The Butler Institute of American Art,
Ohio, The Zhou B Art Center, Chicago,
gorgeous curly eyelashes which add
movement to this piece.
Illinois as well as with several art societies
at the Mall Galleries, London. She will
Tip to check I heavily cropped the image, pushing
be exhibiting with the Pastel Society of tone values my model forwards in the frame and
America Enduring Brilliance Exhibition at
A good way to check the lights and allowing plenty of room around her to
The National Arts Club Galleries, New York
City, USA, until October 6. darks in your work is to convert your emphasise that she is still young and
www.micheleashby.co.uk reference photo on your phone to black has much growing to do. I wanted to
Instagram @micheleashbyartist and white. use a strong, slightly graduated blue
background to echo the tones in her

www.painters-online.co.uk artist November 2022 31

PASTEL PENCILS

DEMONSTRATION Noa

p STAGE ONE p STAGE TWO

It’s important to get everything correct at Starting with the shadow side of the face, I
this stage as it’s fundamental to capturing a used Faber-Castell 177 as my base colour. I
Reference photograph
strong likeness. Take time here to check and often use a mahl stick to ensure that I don’t
double check all the measurements. I used my lean on my work and rub out important
Faber-Castell 270 to draw in my subject layout marks
MATERIALS
l Surface Clairefontaine anthracite
pastelmat card.
l Pastel pencils Faber-Castell: 101, 270, 273,
175, 199, 132, 189, 131, 186, 187, 188,
113, 118, 109, 180, 192, 140, 177. Stabilo
CarbOthello: 215, 305, 642, 100, 700, 704,
750. Caran d’Ache: Chinese white, 581,
161, 050, 582. Derwent: 15D, 25D. Daler-
Rowney: 562, 416, 425, 140, 123, 073.
Unison Colour: BG9, BG3, BV10.
l Scalpel with 10A blade.
l Putty rubber.
l Sanding paddle.

 STAGE THREE
I applied a series of warm tones to add
contour and depth to the skin

swimming goggles but also to give a Getting started areas on the right-hand side of the
carefree summer’s day feeling, so I Pastel pencils can be used in different face whilst looking for the reflective
cropped all other information from ways to create a wide range of marks colours cast from my model’s swimsuit
the reference photo. If it doesn’t bring that add texture and interest to your to add depth and realism. Make sure
anything to the portrait, leave it out. drawing. Experiment by holding the you follow the contours of the face and
When making the initial drawing, take pencil in a variety of ways between your notice how the skin sits over the skull
time to ensure that everything is correct fingers to explore the range of strokes to give a more three-dimensional finish.
and positioned exactly where you want you can create, from intricate sharp I worked around this area, adding the
it to be. You’ll save time measuring at points of solid pigment to a swathe of features of the eye and brow, making
the beginning when there are only a thin coverage for a more delicate finish. sure I looked closely to study the tones
few marks made than finding something Everyone works in a different way. necessary to produce a believable
wrong in the portrait once you’re Some want to get straight into the image. Don’t draw what you think a
underway with it. These elements details of the eyes while others mark feature, particularly an eye, looks like.
are key to ensuring a good likeness, in the highlight areas first. There are Make yourself take a closer look to
so double-check the size, shape and no hard and fast rules and no two discover the truth ensuring that the
angles of the features. While working portraits are the same, so I apply colour of an eye in shadow will naturally
through your portrait try to think about different approaches depending on contrast with the eye in direct light. I
what you are trying to say. At the same my mood. When working from photos, find it helpful to think of the elements
time it’s important that you enjoy the try not to let the photo steer you away that make up the eye socket in layers.
journey you are on so embrace the from the fundamental structure of the I make sure the eyeball is drawn
freedom that a creative process such as human form. For this particular portrait first before moving onto the eyelids,
drawing gives you. I decided to block in the dark shadowy eyebrows and surrounding skin. Only w p 34

32 artist November 2022 www.painters-online.co.uk

 PRACTICAL

p STAGE FOUR
Having completed the darker section, I moved on to the lighter side of the face. I will go back to look at the two sides together once this stage is
complete. Don’t forget, the important highlights on this side of the face will really help the portrait ‘pop’

p STAGE FIVE
I added warmer tones to create richness and contrast, but was mindful to keep this side of the face lighter than the shadow side

Michele’s top tips

l Consider the intrinsic elements to a
portrait - drawing, gesture, colour,
composition, value and edges.
l Take time to draw out the
initial sketch, double checking
measurements before starting with
colour.
l Consider the skull beneath the
person.
l Keep the colours warm for the very
dark areas especially for a portrait of
a young person.
l With hair, think about drawing how
p STAGE SIX the light captures the texture.
I really enjoyed creating the water droplets on my model’s skin. Paying attention to the small
details and having fun with the things you enjoy, will come across to your viewers and may even l Think about your portrait in layers
become part of what makes your work unique. I wanted the face to be the focal point of the adding the tiny details last.
portrait, so I created softer edges to the neck and the arms to knock them back and keep the
face the main focus w

www.painters-online.co.uk artist November 2022 33

PASTEL PENCILS

STAGE SEVEN
The colours used in the swimsuit and
goggles were very true to the reference
photo. They add to the vibrant youthfulness
of the piece. I added deep red and blue
to the swimsuit to create the strong cast
shadow from her bunches

p STAGE EIGHT
I used Unison pastels for the
background, blending three colours to
create a graduated summer sky vibe. I
also used a blue pastel pencil to gently
move the soft pastel in towards the
edges

then would I draw in the eyelashes. work upside down. Lots of artists do this also light, although not as bright as the
My darkest darks here are in the if they are finding a section challenging. lightest highlights. Don’t be tempted to
shadows of the bunches, which also Turning your drawing 180-degrees helps simply add a bright white here. Mix the
contain the lightest lights. I used pink, the brain switch off from what it thinks lightest flesh tone with a dash of white
lilac and warm brown in her hair with it knows and allows it to see the basic to create a softened highlight. Ensure
soft strokes to give texture and warmth. shapes and structure rather than the also that you look for the beautiful
Drawing hair is fun to do and not as thing as a whole. reflective light at the base of the nose,
difficult as it first appears. I have found The lightest highlights here are the the bottom of the lip and under the
that the best way to create hair like my water droplets on the hair as the sun chin, which gives the skin a beautiful
model’s is to block in the main values catches them and the left-hand earring. glow. These areas, along with some
then, using a sharpened pencil held Keep these areas clean and bright by intense colour, will bring life to your
with a loose hand quite a distance from adding them last. The highlighted area portrait.
the nib, add random marks in a less on the tip of her nose and the section One of the great things about pastel
controlled way. If it helps, turn your of her forehead wet from the pool are pencils is that they are pretty forgiving,

34 artist November 2022 www.painters-online.co.uk

p STAGE NINE
I blocked in the darkest areas of the hair using a Stabilo black then added reddy-brown to other areas of the bunches to create a richer depth to
the hair. Adding a variety of warm greys I made different marks and flicks of colour to give the impression of curly hair. I left the water droplet
highlights until the very end to keep them clean of any other pastel dust. I also tipped in tiny touches of blue to match the background to give a
more realistic finish

EXERCISE
l Try using the pastel pencil in different
ways noticing how, by adjusting your
grip and varying your pressure, allows
for a huge range of creativity, offering
different weights and strength of
marks.
l Using just one colour pastel pencil
sketch a realistic self-portrait putting
some of the things you’ve learned
into practice.

allowing you to build up layers with a

light touch. You can also mix several
colours to create a new one, which is
cool, especially if you don’t have that
particular colour or shade.
Pastel pencils and pastel sticks can
be used alongside each other to build
stronger, more intense colour. I like
working with both and have used the
sticks here in the background as it’s a
large area and I wanted the strong blue
that’s evocative of a summer’s day.
Once I’ve finished I tend to sit with my
portrait for quite a while, checking for
likeness, balancing colours and making
sure there are no glaring parts that don’t
sit comfortably with what I’m trying to
achieve. I use my phone to take photos
as well as a mirror to see if there are
any mistakes or areas of uncertainty.
Finally, I walk away and allow my mind
to be free from the whole process.
The next morning I’ll look again with
fresh eyes to make sure I am happy
with the impression of light and, most
importantly, the likeness. TA

Next month Michele turns the ordinary into the p FINISHED DRAWING
extraordinary with her pastel pencils. Noa, pastel pencil on pastelmat card, 121/23101/4in (32326cm)

www.painters-online.co.uk artist November 2022 35

 t The Swimmers, oil on panel,
12312in (30.5330.5cm).
This oil painting was completed
in one session. The colours
were applied over a discarded
landscape painting with a similar
colour variation, and it was a
relatively simple task to follow
the existing values

The adjudicator
In the second of his four articles on oil painting translation of a Latin phrase meaning
‘to change one’s mind’. There is no
techniques Robert E Wells reveals some specific technical balance as to how
this would be achieved, but in general
surprising tools he uses to obtain the results it would refer to a painting constructed
he’s looking for over another painting, allowing some
of the vagaries of the tonal ranges from
the previous work to influence the

T
here is no specific rule finest, smooth finishes applied with new work. It is impossible to gauge
that states what surface a multiple layers of gesso on relatively how paintings of this nature will react
painting should be applied texture-free panels. This may be to the previous incarnation, and it can
on. It is, however, something ideal for fine detail work, such as egg be a case of trial and error to achieve
that needs to be carefully tempera, or other techniques requiring a satisfactory result. It is possible that
considered with regards to its impact on close attention to detail. There is, sometimes the application of the paint
the texture and the feel of the painting. however, another option that has below is so thick or textured that it
Canvas has an advantage of allowing been used in painting techniques for interferes with the flow of the new work
the weave to show through under the many hundreds of years. This is the and creates a negative response. It may
layers of paint, in itself creating its own application of paint layers on top of also cause the paint in its new version
textural interest. There are many types a previous discarded painting. This to sink, or disappear and reduce its
of canvases, ranging from fine linen to technique is the one that we will impact, because of the dominance of
coarse calico, each with its own charms discuss more at length now, as it also the surface below. There is a solution
and influences. This can allow for robust has an advantage when recycling old or for such a problem, and it is what I call
handling of paint or more delicate discarded work. ‘the adjudicator’. This is a heavy-duty
brushstrokes, but each will react electric sander, which I use occasionally
according to the surface texture. Pentimento to cut back the surface of previously
Other surfaces can include the very The technique of pentimento, is a rough discarded paintings.

36 artist November 2022 www.painters-online.co.uk

 PRACTICAL
THE PROCESS
u STAGE ONE
The original discarded painting, which
measured 10312in (25.5330.5cm), had
been modified several times with the hope
that it would complement a future desired
narrative. Having considered it was no longer
possible to move the painting forward,
I decided to recycle it rather than form a
negative presence around other paintings.
My eagerness to destroy some work in the
past has been a little premature, and I am
convinced that many decent paintings have surface of paint on a discarded canvas panel. p STAGE TWO
been destroyed as a result, but I don’t like to It’s important not to be too aggressive as The canvas has had its textures reduced, and
see paintings scattered around my studio that you don’t want to wear through the canvas can be classed as primed, ready to receive a
have no potential use. The great thing with itself, although it would be hard to do as the new painting. I don’t consider it important
the adjudicator is that it removes any trace paint will have dried in a very solid manner. to have a specific number of reconditioned
of the previous work, and therefore allows a This can be advantageous because there panels in the studio at any one point. They are
positive decision to move forwards. will still be tonal variations and textures to purely a by-product of paintings that don’t
Here you can see the adjudicator at work, work with. The result you want is a relatively work, that vary in size and tonal variation,
with its sole intention being to remove excess smooth surface, but with a varied texture. and initial surfaces. They are reused when a
paint where possible and to reduce spiking After sanding, once the surface has been new project is undertaken, and one matches
of paint from the original surface layer. This smoothed out, it is ready to be treated as any roughly how I would imagine the start of
close-up shows the sander removing the top other surface another painting to look

t STAGE THREE
I explored the suitability of the surface by
attempting an outline painting in diluted oil to see
primarily how the original surface started to react
with the new. There is no science to this, it is purely
a visual attempt to engage with a new work. The
process is exactly the same as would be carried out
on a blank canvas. The surface should be smooth
enough to accept the underpainting but, at the
same time, offer opportunities to interact with the
new application. Sometimes there’s no spark to
enable me to move a painting forward, but in other
cases the reaction is immediate and positive

p STAGE FOUR
As the new painting reached its final
conclusion, the application of paint
took the direction of any of my other
works and was applied in the exact same
manner. We can always take comfort
in the fact that if a painting fails at this
point, it can always be returned to the
naughty corner, ready for the recycling
process to begin

t FINISHED PAINTING
Chiara Sleeping, Green Blanket, oil, 8310in
(20325.5cm).
Now the work is completed, it is possible
to evaluate the interaction between old
and new. The benefits should include
unexpected surface reactions, to allow
for a spontaneous and unpredictable
element to the work

www.painters-online.co.uk artist November 2022 37

 OILS: 2ND OF 4

t Fear & Loathing, oil on canvas, 36336in

(91.5391.5cm).
This painting was modified several times
in the studio, but only one portion of the
painting was sanded back around the figure
area. The paint textures had become too thick
to allow the tonal variations to work on the
face and body

Robert E. Wells
is a multiple award-winning artist born in
Yorkshire. He is known for his cityscape
paintings as well as rural landscapes and
figurative works. A member of the New
English Art Club and the Royal Society of
British Artists, he regularly exhibits his work in
solo shows, mainly in the UK. His book, Robert
E. Wells in Perspective was published in 2018.
Contact Robert at
https://robertewells.com where you will
also find details of Wells Fine Art supplies or
visit him on Instagram at
Robert E. Wells (@robert.e.wells.artist)
Robert will be starting a weekly online
art club in December. For content and
membership details enquire through Wells
Fine Art.

Next month Robert will be working in oils with a

limited palette.

ROBERT’S
CHALLENGE
Have a general spring clean. Be
ruthlessly honest and separate
any piece of work that you feel
needs to move forward. Using
any application to reduce the top
surface of the painting, start a new
work over the top. A useful tip
would be to turn the painting on
its side (or upside down), to help
prevent following the existing
painting when applying a new
layer. Try to work in an energetic
manner, safe in the knowledge
that even a failure in this instance
could merit success on another
occasion. We would be interested
to see the outcome of your work
and invite you to email your results
to [email protected] to be shared
on PaintersOnline and on our social
media pages. Please include (if p Bed in the Corner, oil on panel, 14318in (35.5345.5cm).
possible) an image of the original The painting relies very heavily on a combination of composition and paint application. In this case, it
painting before it gets painted over. was painted directly over a heavy impasto panel that was sanded back. The effect is to allow much of
the previous painting to shine through

38 artist November 2022 www.painters-online.co.uk

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40 artist November 2022 www.painters-online.co.uk

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 Head in the clouds
Paint the delicate shape of clouds and mist with Winston Oh as he
demonstrates how to tackle mountain landscapes in watercolour

S
p Clouds Forming at a Mountain Top, pending most of September on top of mountains, below the top,
watercolour, 11319in (28338cm). in the Alps during lockdown, or clouds rising up the valley, is
Dynamic formation of clouds around the top I was treated to frequent no different from the technique of
of a mountain, with a newly formed cloud displays of clouds around painting clouds in the sky. It involves
at the top peeling off to the left. The strange the mountain tops and in some planning and wetting the areas
necklace-like pattern in the middle is the the valleys. The constantly changing designated for clouds, then painting the
remnant of a melting glacier views were mesmerising, with the light mountain on the dry part of the paper
and mountain peaks playing hide and towards the wet cloud area. By lifting
seek. The artist aspiring to capture a the brush when it meets the wet edge,
moment of nature’s displays will find it the water and the paper will do the rest
difficult to choose a composition before of the work for you.
it morphs into something else. A mobile The technique works well if you
phone camera, however, can help you use the appropriate watercolour
capture fleeting images to paint at paper. A Rough surface works best as
leisure. the diffusion of wet paint and water
Clouds forming at the top of a into each other where they meet is
mountain is relatively simple science. facilitated by the presence of peaks and
Moist warm air rises from the valley up troughs on the paper surface. The water
the side of a mountain. Meeting cooler and paint flow and mingle randomly
air at the top, the moisture condenses along the mesh of troughs, until they
into fine water droplets and voila! a dry up. The result is a fluffy, ‘spidery’
cloud is formed. On a humid day this edge to the cloud.
can happen frequently. Some days the The process is quite straightforward,
Winston Oh moisture condenses low down in the but the technique requires some
Is a past student of James Fletcher-Watson
valley and then rises as a cloud up the practice to learn to judge the amount
and John Yardley. He is an elected member
of the Pure Watercolour Society and is valley to the mountain top and beyond of water to use, the size of brush, and
represented in the Singapore National – an eerie thing to watch from above, as the strength of pigment. The following
Collection. Winston has exhibited in the UK, it rises to engulf you. illustrations in stages will describe the
Switzerland, Singapore, Sydney and London, technique, but it is likely that you will
and teaches at Dedham Hall. Techniques
www.winstonoh.com
need to practise it many times, in order
The technique for painting clouds to get it right. w

www.painters-online.co.uk artist November 2022 43

WATERCOLOUR

DEMONSTRATION ONE Cloud at the Top of a Mountain

p STAGE ONE p STAGE TWO

I began with a pencil sketch of a fluffy cloud shape on a mountain To paint a cloud in a blue sky, I first wetted the outlined area of the
peak. Using a soft 2B pencil, I outlined the scene lightly (to facilitate cloud using a small brush, to limit the amount of water used. Then,
rubbing the pencil mark out later). You may wish to outline the using a large brush, I painted a blue sky using French ultramarine.
peak of the mountain rising above the cloud Stopping when I touched the wet cloud area, I painted progressively
around the perimeter of the cloud, keeping to the irregular shape
pencilled in. I continued to paint the rest of the paper in blue.
The diffusion across the cloud edge
u STAGE THREE took a minute or so before it produced a
I wetted the lower half of the fluffy, cottonwool-like cloud shape. I left
cloud shape, then, using a dark everything to dry
mix of cobalt blue and burnt
sienna, I painted the mountain
I had outlined previously. I
started painting upwards from There is another way of
just beneath the cloud until the painting a white cloud in a
brush touched the wet cloud blue sky. Wet the whole paper
edge, then lifted my brush. I surface, then paint all of it blue
repeated the process until I had with a large brush, except the
created the irregular bottom outlined cloud shape. The result
of the cloud. I then finished the will be different in several ways.
rest of the mountain The sky will be lighter because
the paint will be diluted by
the water on the paper and
the white cloud will be smaller
than the pencilled outline,
because of greater diffusion
from the diluted blue paint. The
cloud edge will also be softer
and smoother. If you wish to
counter these effects, use a
stronger mix of blue, and allow
an extra quarter of an inch of
white space around the cloud.
Let it all dry.

t STAGE FOUR
Cloud at the Top of a Mountain,
watercolour, 638in (15320cm).
To add the top of the mountain just
above the cloud I used the same
darker mountain mix to paint the top
of the mountain peeping above the
cloud, remembering to wet the top of
the cloud first

44 artist November 2022 www.painters-online.co.uk

 PRACTICAL

DEMONSTRATION TWO
Clouds in front of and behind a Mountain, and Ground Mist
This example illustrates how clouds and mist can be
painted using the same wet-into-wet technique. It’s
about getting the step-by-step sequence right. There
t STAGE ONE
I lightly outlined a
is no need to hurry. Just let each step dry completely.
near mountain on
The wetted areas can be topped up with more water
the right and a far
if they dry by the time you get to paint them.
one in the middle.
I then outlined the
three clouds and put
in a line to indicate
the top of the mist at
ground level

STAGE THREE q
Once it was completely dry, I wet only the two lower clouds and the mist line
before painting the tall middle mountain from the top, using a mixture of French
ultramarine and burnt sienna. Cadmium yellow was added to the mix halfway
down. As before, I painted the mountain mixture to the edge of the clouds. The
lower cloud may have to be re-wetted by the time you get to paint the near
mountain, using a
mixture of cobalt blue
and burnt sienna. The
p STAGE TWO mist line was created by
I wet the whole paper, then painted it all blue using painting the greenish
French ultramarine, except the three white clouds and the blue mountain down to
foreground on the left. I used a paler blue in the lower third the wet straight line

t STAGE FOUR
Clouds in front of and behind a Mountain, and
Ground Mist, 638in (15320cm).
Next, I wetted the left foreground and
painted the foreground grass with a dilute
mixture of raw sienna and a little burnt
sienna, fading towards the mist.
I wetted the mist line again and, using a mix
of French ultramarine and light red, painted a
span of trees in silhouette down to the mist

Winston’s painting tips

l Painting clouds around mountains within the clouds, but only after everything is the damp paint at the edge with soft tissue,
employs the same technique as painting dry. Re-wet the cloud before painting. cotton bud, or a small damp brush.
clouds in the sky. Essentially it is painting l Because clouds move and change shape, it is l Plan the order of what to paint first. Stick
up to the edge of a designated wet area on difficult to sketch and compose a picture within to the lightest elements first: the sky and
a Rough paper surface, then allowing the a few minutes. Capturing a desired composition clouds followed by mountains, which can
paint and water to diffuse into each other to on your phone enables you to refine the be painted over the blue, and the dark grey
form a soft, fluffy cloud edge. composition at leisure and to continue to enjoy tree silhouettes on top of mountain colour.
l As the colour of the mountain is usually a your plein air experience. There is a lot of room Shadows in clouds can be added last.
darker tone than the colour of the sky, the for artistic license too. l As a general rule, don’t make alterations
tonal contrast between cloud and mountain l If the diffusion process is excessive, it can or additions until everything is dry. Then wet
will be striking. Shadows can be added be contained by carefully and gently lifting the relevant area and proceed at leisure.

www.painters-online.co.uk artist November 2022 45

ACRYLICS

Delights of the garden

Judith Yates finds constant inspiration from her own garden.
Follow in her footsteps as she paints gardenscapes in acrylic
and acrylic inks

I
have been an enthusiastic gardener I incorporate two specific painting p Allium Haze, acrylic and acrylic inks,
for as long as I can remember, techniques. I use soft, atmospheric, 19¾327½in (50370cm)
tending to both small and medium- hazy techniques where the forms are
size patches of land with care, suggested for an impressionistic effect,
affection and admiration for nature. downplaying the details and forms, and
It is no surprise, therefore, that the contrast this with well observed and of the flower heads. These are both
delights of the garden are a constant detailed painting in specific areas of the accentuated as the side lighting casts
source of inspiration in my artwork. I artwork. I enjoy the contrast between deep shadows. I am also fascinated
relish the profusion of shapes, forms these bold defined shapes playing with the consequences of sunlight after
and colours represented in the garden against indistinct backgrounds. rain, which creates wonderful, gauzy,
along with the variety brought about Subtle light effects emphasise nebulous effects as the light hits the
by the changing seasons. A particular these wonderful contrasts, such as water droplets hanging in the air.
fascination is to capture the light effects low morning light cutting through
and atmosphere surrounding the the borders. As the light dissipates Hard and soft edges
many forms and structures within the through the mist the soft haze highlights Using a variety of hard and soft edges
greenery. and acts as a foil to the strong linear within a painting keeps the work loose
To capture these transient light effects, shapes of the stems and bold forms and fresh and creates considerable

46 artist November 2022 www.painters-online.co.uk

 PRACTICAL

interest for the viewer. Edges can perspective, that recedes into the results. To achieve this, I use negative
range from those that are ultra- distance. painting around the areas that I wish
sharp and well defined with a strong To create interesting, suggestive to retain. I wait until the paint starts to
contrasting tone to the background, to textures, I use a variety of additives, dry, before I decide which elements to
those that are so blurred and soft, they occasionally adding granulation remove or retain. The areas I choose to
cause shapes to merge and dissolve medium to areas of very wet paint to keep are those which either represent
into the background. The softest edges encourage the pigment to dissipate recognisable organic forms or those in
occur when the transition between the and break down into patches of colour which interesting shapes have formed,
object and the background is non- containing flecks of texture. In addition, where the layers merge in unexpected
existent as they literally merge together, I add drops of methylated spirits to and beautiful ways.
as the tones become one, causing the produce organic shapes and patches Finally, to create a sense of
edges to blur. of light. To create gently merged perspective, I use multiple washes of
If the majority of elements within tones, I apply very wet flooded areas thinned white paint over specific areas,
the painting are well defined and of pigment, tipping the surface in all to create a soft haze, slowly building
hard edged, nothing is left to the directions to allow the paint to move up layers until the desired opacity
imagination. The looser, dissolving around and swill over the surface until is achieved, causing these areas to
areas enables the eye to fill in the the required plant forms are suggested. recede into the background.
missing detail. The deployment of soft I’m often happy to ‘go with the flow’
edges creates atmospheric areas; misty and work with the unpredicted results. Colours of seasons
and indistinct they bring a mysterious, On other occasions, I will deliberately In addition to recreating the various
ethereal quality to the artwork. manipulate the paint into certain areas atmospheres of the garden, I take
whilst still allowing the forms to remain considerable pleasure in presenting
Loose techniques loose and suggestive. the variety of striking colour
To represent the atmospheric areas Whilst the paint is still wet, I enhance combinations that occur side by side,
within the painting, I combine a variety the effect of leaves and branches from the most subtle tones to the
of looser, more unpredictable painting by creating definite organic lines harshest brights, and everything in
techniques, allowing very wet paint to emanating from the wet paint to between!
run and merge to create soft diffused suggest branches. This is achieved by In this demonstration, below, I aimed
light effects. The process creates free using the tip of a rigger brush to drag to display those beautiful, subdued
flowing tones with soft blended edges the paint out of the flooded areas. early autumnal colours as flowers fade
that appear light and airy. Quiet patches These techniques are unpredictable. and go to seed, presenting tinges of
are also formed in the painting to rest Once the paint is dry, I have to be muted browns and ochres that merge
the eye, helping to form an atmospheric prepared to paint out some of the with the final brighter hues of summer. TA

DEMONSTRATION Hydrangea Haze

STAGE ONE stems and seed heads, leading up towards
I wanted to create a spontaneous painting, the light source. I worked with a vague and
aiming to keep the work loose, painterly and flexible design, rather than a meticulous
fluid. With this objective in mind, I started to composition drawn out in pencil.
create a dark area with solid flower heads at I applied very loose floods of acrylic paint
the bottom left of the work, alongside airy together with drops of acrylic ink to fill in the
main elements of the composition, allowing
the paint to flow and merge to form shapes
MATERIALS and details that I could incorporate into the
l Ready-primed canvas. painting. I applied very wet areas of acrylic
paint in burnt umber using a 1-inch flat brush
l Winsor & Newton Artists’ acrylics:
loaded with plenty of pigment and water. I
ivory black, titanium white, cerulean
blue, phthalo blue, indanthrene blue, combined this with acrylic inks, applied with
dioxazine purple, cadmium yellow the dropper in the lid. I allowed the paint and
light, yellow ochre, raw sienna, burnt ink to flood and merge together by tipping
sienna, burnt umber, quinacridone the canvas in all directions to encourage
magenta, perylene maroon. tendrils of paint to drip outwards and
l Daler-Rowney acrylic inks: indigo, upwards, creating natural flowing forms.
sepia, Payne’s grey. Whilst still very wet, I added granulation
l Daler-Rowney brushes: System medium to a few of these flooded areas,
3 short flat brushes, 1in and 1/2in; which separated the pigment, developing
aquiline rigger, 1/4in; rigger, size interesting flecked textures. To create the first composition, deciding where elements
2; System 3 short handled round stage of the flower heads at the bottom left of would sit comfortably together and creating
brushes in sizes 4 and 10. the painting, I lifted areas by applying a dry interesting textures within the base layers.
l Methylated spirits. rag to create soft airy shapes. I began to pull At this stage the painting was half planned
l Winsor & Newton granulation out the wet areas into finer stem shapes using but quite intuitive. I am more than happy to
medium. the tip of a rigger brush. initiate and encourage surprises that I will be
I tentatively worked my way into the able to use and accentuate later w

www.painters-online.co.uk artist November 2022 47

?????????

p STAGE TWO
I started to create the darker shaded areas in the foreground of the
painting by applying thin, wet washes of acrylic paint in rich deep
tones, using dioxazine purple, burnt sienna and burnt umber.
I allowed the colours to gently merge. Whilst the paint was still wet,
glistening (but not dripping) I applied a few drops of methylated
spirits using a small brush to create a suggested shimmer of light in
the undergrowth. The methylated spirits gently forces the pigment p STAGE THREE
away, creating tiny organic circles of light. To make a few of the tall stems recede into the background, I used a
In order to create the underpainting of the flower heads, I applied very wet wash of titanium white, applied multiple times over the distant
strong mid-tones, working with a thicker, more opaque mix of acrylic background details, moving the brush in all directions to create a flat
paint, applied loosely with a 1/2- inch flat brush, using blue green wash. This also produced a misty, light-filled effect that started to create
tones in the lighter area. The colour was a mix of phthalo blue, a small the atmosphere I had in mind.
amount of titanium white and yellow ochre. For the deep shadows For the background, I used the technique of negative painting,
on the flower heads, I mixed a deep purple by combining dioxazine applying a creamy, white acrylic paint, achieved by mixing titanium
purple, indanthrene blue and a touch of Mars black white with a touch of yellow ochre, to block out several unwanted
background details. This also emphasised the stems and formed the
seed heads, which were created from the most interesting patches of
paint.
I added a handful of hazy, ochre-coloured pastel tones using a gentle
mix of dioxazine purple, raw sienna and burnt sienna, all mixed with
titanium white, which softened the painting towards the bottom right,
forming diffused edges. I darkened the flower heads by glazing over the
entire area, with a wet wash of burnt umber and raw sienna to enable
subsequent lighter layers to show up against the deep tones

t STAGE FOUR
To create additional form in the background, whilst still keeping the
painting loose and fresh, I used more ‘negative’ painting to emphasise
specific areas and to form definite flower stems with harder edges.
I then applied washes of paint using soft tones of sepia to help
emphasise the flower forms and highlight the organic shapes. To
suggest patches of light in various areas, I added small dabs of clean
bright titanium white mixed with a touch of yellow ochre.
In the foreground, I began painting the mid-toned petals of the
hydrangea, using mixes of phthalo blue and cadmium yellow. For the
purple petals I mixed a combination of dioxazine purple, yellow ochre
and burnt sienna. I added a tiny amount of burnt umber to each colour
to suggest the subtle, subdued autumnal tones. Lastly, I shaped the
petals slightly by creating a small arc with a fully loaded 1/2-inch flat
brush. At this stage the painting was still very loose. The detail won’t be
added to specific areas until the final stage

48 artist November 2022 www.painters-online.co.uk

 PRACTICAL
u FINISHED PAINTING
Hydrangea Haze, acrylic and acrylic
inks on canvas, 22318in (56346cm).
As I completed the hydrangea
flowers, I studied samples collected
from the garden alongside the many
reference photographs I have taken
over the years, in order to achieve
a detailed realism. For this purpose
I changed to a smaller ¼-inch flat
brush and a size 4 round brush still
using fairly loose brushstrokes. I
added bright highlights, rich mid-
tones and deep shadows, taking
note of the various colour changes
and subtlety of tones within the
petals.
To add a three-dimensional
realism, I painted very deep
shadows, using a mixture of burnt
umber, dioxazine purple and black,
to allow the rich ‘brights’ and pale
highlights to stand out. These
carefully painted, hard-edged flower
forms produced a strong contrast
with the loosely painted, soft edges
of the background elements.
I stood back to analyse the whole
composition. I decided to add more
stems using negative painting and
to overpaint the soft detailing at the
bottom right, creating a lighter area
suggestive of hazy shadows. I then
washed several thin layers of a burnt
sienna glaze over the bottom of the
painting to give it a warm, autumnal
glow and to unify the tones. This
also helped to tie the elements
together.
Finally, I applied very wet glazes
of yellow ochre to the lightest areas.
Where the pigment was too heavy,
I lifted the paint with a rag, adding
extra layers in patches until a warm
glow was achieved, and added small
dabs of highlights and lowlights
to create the desired, filtered light
effect

JUDITH’S TEN TOP TIPS

1 Look out for atmospheric side lighting early in the morning and early evening for warm
light and strong shadows.
2 Take reference shots to refer to, moving in close occasionally to capture the finer detail.
3 Take photographs of unusual weather conditions and light effects.
4 Try various different techniques and additives to discover fascinating textures. Judith Yates
5 Experiment, allowing paint-flooded surfaces to drip and merge by tipping the canvas. trained as a fine artist before a career as a
professional designer and illustrator. She is
6 Try the negative painting technique, leaving background textures to show through. now a full-time artist, exhibiting and selling
7 Look for interesting stems and flower forms to lead the eye around the painting. work privately and through a number of
galleries in the UK and has work in private
8 Restrict your colour palette in order to create a particular mood.
collections both at home and abroad. Judith
9 Achieve subtle tones by mixing tiny amounts of sepia to brighter colours. also runs regular workshops.
10 Don’t be afraid to leave some areas unfinished, creating soft blurred edges as they can www.judithyates.com
be both compelling and intriguing.

www.painters-online.co.uk artist November 2022 49

DRAWING

Crosshatching in
pen and ink
August Lamm brings the ancient technique of crosshatching
up to date in this abridged extract from her new book. Follow her
portrait demonstration and learn how to use contoured
crosshatching techniques

C
rosshatching is a drawing exceedingly cost-effective process. elevated the technique to the realm
and printmaking technique The challenge of printmaking was of fine art. The resulting prints found
that involves the use of that the medium imposed a number an even broader audience around
parallel lines to convey of technical constraints on the artist. the globe, thanks to the advent of the
lifelike depth and shadow. Painting was, by comparison, a world printing press.
All crosshatching can be divided into of possibility, with the freedom to
two categories: flat and contoured. modulate colour, texture, opacity, and Guidelines
The former involves only straight lines, more. Printmakers meanwhile were Contoured lines give a flat drawing the
which communicate varying degrees limited to a single layer of opaque black illusion of three-dimensional depth.
of tone. The latter is more difficult to ink on white paper. How then to create Deployed correctly, they will bring a
learn but exceedingly satisfying once a convincing imitation of reality within drawing to life. Deployed incorrectly,
mastered. In contoured crosshatching, these constraints? they will contradict or invalidate your
lines respond to the shapes of objects, A solution was found in hatching. previous linework; they will read
curving around them as a bracelet In its earliest iterations, hatching as wrong even to a viewer with no
curves around a wrist. was employed crudely, signifying or knowledge of crosshatching. Therefore,
While flat crosshatching can certainly implying shadow without actually getting your contours correct is the
be employed to great effect in graphic reproducing its effects. Over time, Old most crucial element of the planning
or abstract compositions, contoured Masters such as Dürer and Rembrandt process. Any mistakes in the other
crosshatching is the better steps can always be chalked up
choice for capturing the depth to artistic license – distorted
and dimension of real subjects. proportions, for example, or
Though it is impossible to a limited range of tone – but
pinpoint the earliest example of mistakes in contouring are clear
crosshatching – some variation signs of an artist’s impatience or
on this simple approach to inexperience. The way to avoid
shading can be seen in almost these mistakes is to map out
all artistic traditions – the some guidelines in pencil. More
technique was refined and often than not, once you see a
popularised in medieval Europe. curve on paper, you will know
At the time, visual art was being intuitively whether it is wrong or
produced and disseminated right. Whenever I get confused
on an utterly unprecedented during the inking process, I
scale. Whereas paintings were switch back to pencil and sketch
still prohibitively expensive for out a guideline just to make sure
most, and could only be viewed I’m on the right track. You can
in person, printmaking enabled also make some contour tests on
art to move beyond the domain separate scraps of paper before
of the elite and to infiltrate the proceeding with your sketch. It
everyday lives of the middle is one thing to imagine how a
and lower classes. Printmakers contour will look, and another
(and their apprentices) were thing entirely to see it on the
responsible for producing an page.
image — be it a carved wood
block or an engraved metal plate
— which could be printed over
and over again, making this an t Guidelines mapped out in pencil

50 artist November 2022 www.painters-online.co.uk

 PRACTICAL

DEMONSTRATION Portrait
Now comes the hard work of combining the broad sculptural
sketching of the head with the hyper-detailed rendering of the t STAGE ONE
Begin by creating a rough
facial features to create a full portrait. For the time being, let’s
sketch of the head’s
forget about the features and focus on scaling up that loose
proportions. Ask yourself
sketching technique. How do we retain our objectivity when
general questions: Which
we’re working at a more human scale? Blurring your eyes will
direction is the head facing?
help, as will loosening your grip and making quick, loose lines,
Is it tilted up or down? How
trying to capture the whole shape of the head in as little time
does its height compare with
as possible. The longer you linger, the more detail you will add,
its width? What about the
and at this point we don’t want any detail at all. We just want
hair – how far does it project
to understand the basic geometry in front of us. In this portrait
from the head? What is the
exercise I will show how proper planning can alleviate (if not
distance between the chin
fully eliminate) the many technical and emotional challenges of
and the shoulders?
drawing the human face.

t STAGE TWO
Use guidelines to estimate where the features might fall.
Remember that the eyes will usually be at about the midpoint
between the chin and the top of the skull. Although the
latter may not always be visible – in my drawing, the crown
is covered by hair – you should still be able to determine its
approximate location. As you expand and edit the sketch,
it will become easier to place the features. For example,
sketching the nose will help you see more clearly where
the eyes should go. Try sketching gridlines to map these
relationships. Bounce around the page, from one feature to
another, developing the whole drawing at once, and checking
the relationships as you go. At this point, you will also want
to outline the crucial highlights and shadow shapes using a
simple shadow map

u STAGE THREE
Once your sketch begins to resemble your subject, you can begin
to think about how to bring the face to life using dimensional
marks, such as guidelines. We often make the mistake of
conceptualising the human face as a flat plane punctuated by
eyes, nose, and mouth. In reality, it is not only the features but
also their surroundings that are curved. I want you to focus not
just on such obviously sculptural features as the nose and ears,
but also the forehead, cheek, and chin, which actually comprise
the majority of the portrait and establish the dimensionality of
the face. Because the head is approximately spherical, you will
want to approach it with a form of hatching suited to such a
shape. Regardless of the particular pose or person, there will be
opportunities to curve the first layer of hatching around the face,
encircling it like a wreath. Compare the contours on the forehead
with those on the chin; or likewise, compare the contours above
and below the eyes. In my example, each of these pairs completes
an implied circle of hatching. As you sketch your guidelines, look
out for junctures where the hatching sharply changes direction,
or the direction is unclear – for example at the corner of the
mouth or eyes. Try out a few different configurations or do some
rough tests to find what looks right. This is where a light touch
and a reliable eraser will come in handy w

www.painters-online.co.uk artist November 2022 51

?????????

p STAGE FOUR
Now that your outlines, shadow map, and guidelines are squarely in
place, you’re ready to dive in with ink. For this first layer, all you have
to do is follow those handy contours you’ve laid down. Of course, you
should always be looking at your subject to confirm the accuracy of your
preliminary sketch, and to correct elements of it as needed. You are by
no means wedded your maps, they are only the first step in the drawing
process. You can contradict them with ink, or you can erase and redraw
them in pencil before proceeding.
As you will likely have found in stage three, there will be moments
when the hatching seems to lead in two directions at once. Although this p STAGE FIVE
may seem to go against the prescribed method – in which each layer of Use the second layer of hatching to accentuate the shapes you’ve
hatching is limited to a single line direction – this is a natural byproduct alluded to in the first. Remember that the purpose of each additional
of hatching any complexly contoured subject. layer is to darken shadows and thereby increase the range of tone.
In the human face, convexity and concavity exist side by side in every If, later in the drawing, you should see the need for more midtones,
combination imaginable. There will be moments at which two sections of you can add them by adopting the direction of the first layer of tone.
hatching seem to butt up against each other, and cannot be forced into This is a way to refine and add detail without departing from the
a smooth transition. In my example, such a moment occurs where the layering system you’ve established already.
eyebrow meets the bridge of the nose. This step can result in some visual confusion. By the end of it,
Far from signifying poor planning on the part of the artist, these you’re left with a pencil sketch (in blue here), plus two layers of inked
moments in fact will aid your transition from hatching to crosshatching tone, and the various details you’ve managed to pin down along
in the second layer: all you have to do to get started on the next step is to the way – pupils, nostrils, eyebrows, hair. This is a pivotal moment in
extend the ‘conflicting’ hatches on either side the drawing process, when you can finally begin to shed the pencil
sketch that has been your guide. This should be done gradually
to avoid damaging the paper, smudging the ink, or potentially

HAIR discarding any important information you may need in order to

complete the drawing.
You can choose to map out the hair or not. I personally prefer Begin erasing from the inside out, leaving the sketched outline as
to hatch hair in a gestural way, reproducing the direction of the
a guide. Having erased the sections you no longer need, take a good
strands with bold, quick strokes. Only rarely will I crosshatch
look at the outline and see if it needs any alterations before you
hair with multiple layers. Crosshatching signals solidity, but
hair is delicate, shifting constantly with the slightest change in go over it with ink. You may well find that the shading you’ve done
atmosphere or lighting. The swift motion of your pen can capture since your preparatory sketch has shed new light on the shape of
that, making it seem more realistic despite the lack of detail, and the face. This is why I strongly advise against outlining in ink in the
will also serve to differentiate the hair from the more carefully earlier stages, before the drawing is developed enough to dictate
rendered face. To create this effect, you may want to switch to its own bounds. If you outline before shading, you will need to force
a wider nib. Following the direction of the hair, sparsely hatch the shading to conform to those outlines, instead of allowing the
all areas of visible texture, then return to the areas of darkest drawing to take shape naturally in response to careful, prolonged
shadow. Continue to shade until sufficient variation and clarity are observation.
achieved. Your stopping point is, as always, a matter of personal
Having added the outline and erased the underlying pencil sketch,
preference and creative vision. In this portrait, for example, I’ve
taken an especially minimal approach to the hair, adding just you should be able to see your drawing a lot more clearly, which will
enough shading to communicate the weight and texture, and help you identify any weak points. Before proceeding to the final
nothing more stages, make sure that the first two layers are looking their best. Any
new lines should be drawn in accordance with existing contours

52 artist November 2022 www.painters-online.co.uk

 PRACTICAL

u STAGE SIX
At this stage, the drawing should be clear
and tidy enough to stand on its own. Still,
a third layer and a few additional details
will give it a more finished look: those
darkest shadows will finally complete the
tonal spectrum. Now is your chance to
improve the likeness by making minor
tweaks. In my demonstration, you can
see that I’ve worked on the lip line to
reflect the slight smile of the sitter. I’ve
also shaded the eyelids and eyebrows
to add further nuance to her expression.
On the cheeks and forehead, I’ve added
diagonal hatching to clarify the shape
of the head. Notice how these diagonal
lines curve around the head just like
the first layer, except at a slight angle.
No part of this layer is constant; it can’t
be applied mechanically in a neat row.
It needs to respond to both the subject
and to the underlying drawing. For that
reason, and because your drawing is
nearing completion, this stage should
be approached with special care and
consideration.
Previously, I discussed the rendering
of hair, and how a certain level of
incompleteness can actually make it
seem more alive, and the same concept
applies to the portrait as a whole. If
you refine it to the point of perfection,
you’ll risk losing that spark of life that
makes a portrait so captivating. There
should always be signs of a human
touch, remnants of the creative process,
mistakes and inconsistencies. My
personal strategy for walking away
from a drawing before I’ve beaten the
life out of it is to tell myself that I’m just
taking a break, and that I can always
come back and edit it later on – which I
never actually end up doing, owing to
a preference for starting new projects
over revisiting older ones. Some of the
drawings you consider unfinished – quick
sketches and abandoned ideas – might
be exactly as finished as they were meant
to be

AUGUST’S TIP
The sketching process for a portrait will likely take longer than
for any other subject. Don’t be discouraged if you find yourself
Crosshatching in Pen & Ink by
erasing and redrawing again and again, or even starting over on
August Lamm is published
a clean sheet of paper. I can’t speak for all professional artists,
by Ilex Press, £20. See Henry
but I can relate my own experience with portraiture: it continues
Malt’s review of the book on
to be the most consistently daunting, frustrating, exciting, and
pages 74–75 of this issue.
rewarding type of drawing I do.

www.painters-online.co.uk artist November 2022 53

GOUACHE: 2ND OF 3

A temperamental
medium?
In the second of her three-part series on painting with gouache,
Manda Comisari tackles blending, layering and adding detail and shows
that, applied correctly, there’s nothing to fear

P
eople often have a love/ you’re going to be using it as a wash, area, there’s always a chance that you
hate relationship with your gouache paint should be prepared might mess it up. If your top colour
gouache and it unfairly gets at about the consistency of nail polish. reconstitutes your bottom colour and
categorised as a difficult Any thinner and it acts more like a they blend together, it might create a
medium to paint with. In watercolour, and any thicker might muddy situation that can be hard to
fact, it’s no more difficult than any cause the paint to crack and flake off the fix. You must weigh the risks and the
other medium once you understand its page once it dries. Unlike acrylic paint, rewards of your actions. It’s often best
quirks and learn how to work with them dried gouache is not very flexible and to leave it alone if it’s a very large area,
instead of against them. In this article, does not respond well to being rolled, but in a smaller, controlled section, it
we’ll cover some of the best practices which means that your paintings should might be worth it. For example, I might
when using gouache, including tips for always be stored in a flat, dry area. change an eye colour, or enhance a nose
blending, layering, and adding detail. The best advice for painting with with texture, but I would never attempt
Hopefully, this newfound information gouache is don’t overwork it. Be to rework a large area of my painting.
will help shine a different light on this deliberate and confident in your Instead I would try to work with what
so-called temperamental medium! mark making. The fact that you can I’ve already put down.
reconstitute gouache by adding a bit When planning your composition
Basic rules of water doesn’t mean you should. Any and colour palette it’s important
Let’s begin with some basics. Unless time you decide to fix or rework an to remember that gouache dries
differently to other media. In general,
lighter colours will dry darker and
darker colours will dry lighter. It’s worth
t In order to get a nice blend in this creating colour swatches early and
area, I applied a darker shade of pink next often to ensure you achieve the colour
to a lighter shade and moved them into palette you want.
one another while they were still wet. I
repeated the same action on both sides to Blending techniques
get the smooth transition I was looking for. There are several ways to blend with
To do this smoothly, I needed to work fast gouache. The biggest hurdle is the fact
that it dries quickly, meaning that you’ll
need to plan accordingly for most of
these techniques. If I want to blend
multiple colours, I pre-mix everything
so I have easy access to the paints I’ll
be working with. I also make sure I have
various brushes ready before I begin
so I can grab them as needed. It’s often
best to have a separate paintbrush for
u I wanted to blend the white area of this each colour in addition to a clean brush
eye with some grey for dimension, but I for additional blending.
also wanted to leave the middle section Once your colours are ready, you have
very white to act as a pop of colour. I chose a choice of how to move forward. If you
to apply the grey sections on the outer want to blend two colours together, you
part of the eye first then added my white can apply them next to one another
between them. While they were still wet, I and, while the paint is still wet, quickly
used a damp brush to move the white and move the colours into one another. This
greys into one another along the edges to should create a blended appearance
blend them slightly and while it sounds easy enough, it
may take a few tries to understand the

54 artist November 2022 www.painters-online.co.uk

 PRACTICAL

t Stargazy Pie, gouache, 8310in

(20325.5cm).
One of my favourite projects was to paint
different food specialties from around the
world. For this painting of a stargazy pie,
I wanted to find a way to make the pastry
section look realistic. I decided I could
achieve this by blending small sections
together to give the crust a flaky, textured
appearance. Once my colours were on
and dry, I used a small damp brush to
slowly move the edge of one colour into
another. This allowed me to control how
far I wanted to take each blend. Since my
colours were already dry, I could move at
a slower pace

nuances of how to do it. My best tip

is not to add too much water to your
paint and don’t be afraid of adding
enough paint to your paper when you’re
attempting to blend. Having more paint
on your paper makes it easier to move
around and prevents your gouache from
drying too quickly.
Alternatively, you can achieve the
same result by applying two colours
near to one another but be sure to
leave a small gap between them.
Then, you can either edge the colours
gradually closer to one another by
adding paint to each side until they
meet and blend, or you can apply a
middle shade between the two and use
a damp, clean brush to move them into
one another.
If you don’t like the idea of moving Fred’s Favourite Toys, gouache,
fast, you can always try to blend your 11322in (28356cm).
paint once it’s dry using a clean damp Even when I use other methods
brush. This works best for smaller areas to blend, my go-to always
and is really effective if you need to comes back to hatching. I
soften a sharp edge or want to blend like the resulting texture and
one section into a neighbouring area. it’s a nice way to add just a
My favourite gouache blending little bit of blending where
method usually combines one of the you need it. For this project, I
above techniques with hatching of painted a series of dogs with
some kind. I use a small brush to apply their favourite toys. For the
different hatching lines in the shading texture on the rope toy, I used
colour I want until I get my desired a simple line hatch to indicate
effect. I might use a crosshatch or which way the fibres were
simple line work; it just depends on moving. This accomplished two
what I’m painting. things: it added shading where
I wanted some and it also
Layering techniques created movement. I liked the
Layering colours is really important result and decided to add some
when working with gouache. You should to the hat, too
always start with your most transparent

www.painters-online.co.uk artist November 2022 55

GOUACHE: 2ND OF 3
layer on the bottom and add more u Banana Study, gouache, 735in (17.5312.5cm).
opaque layers on top because gouache In order to paint this banana peel, I started with a
easily reconstitutes and you want to simple and thin base layer of light yellow (A). I made
avoid accidentally creating a mud sure it was completely dry before adding on my
situation. Additionally, you should next colour, a darker yellow, which was a slightly
never add a very wet layer on top of a thicker consistency of paint than my underlayer (B).
thicker layer unless your intention is to My third layer was similar to my second, but a dark
blend. Whenever you add a layer, you brown (C). The last thing I added was my finishing
should make sure it has completely details. For each new layer, I used single strokes to
dried before adding anything else. For avoid activating the layer underneath. No fussing
example, if you want to build layers, around here!
start with your wettest one and let it dry
completely. Your next layer can be more
opaque and should be applied with
single strokes to avoid upsetting your
previously dried foundational layer.
This is how you build using gouache
layers.
One of the best parts about gouache
is that its opacity lets you layer however
you want, colour-wise. You can layer
from dark to light or light to dark
without issue, which gives you flexibility
when moving forward with a piece!

Detail techniques
MANDA’S
Adding details is my favourite part of
any painting process, when you finally remember is that your bottom layer
LAYERING TIP
Be aware of your bottom layer when
see your painting come to life and look needs to be completely dry before you
working with gouache layers. Resist the
like the one you imagined! There are add anything on top of it. This ensures
temptation to overwork or scrub the
many ways to add details to a gouache your detail work acts as a separate top
area when adding anything to it. Defer
painting. You can easily use other layer and doesn’t begin to mix with your
back to the idea of being deliberate in
media, such as pen and ink, coloured bottom layer.
your mark making.
pencil, or acrylic on top of gouache, If you’re using gouache to create
because it naturally has a bit of tooth details on top of another gouache
when it dries so other media adhere to layer, it’s important to mix it to the right One of the best tips I can offer when
it nicely. consistency. It should always be on the applying detail is that whatever mark
You can, of course, also add your thicker side, like the consistency of nail you make, leave it alone! Let it dry
details in gouache. For any of these polish. The idea is to avoid disrupting before you fuss with it, or you’ll activate
options, the most important thing to the bottom layer you’re working on. the bottom colour and start creating

Abby, gouache, 11311in (28328cm).

For this painting, I used gouache to add detail. I roughly blocked
in my bottom layers without worrying too much about them
being perfect. The dog would eventually be covered in long hair
anyway, so I focused on basic shapes and shading suggestions.
Once my base was in, I used a small round watercolour brush (size
00) to make long lines in the direction of hair in various colours

56 artist November 2022 www.painters-online.co.uk

 PRACTICAL
mud. For example, If I was adding a pop
of colour (such as a highlight to an eye)
and my first try wasn’t bright enough,
I would let it dry completely and then
add some more paint. If I tried to add
something else while it was still wet, it
would start mixing on my paper and I
would lose the highlight. If I wait until
everything dries, I can brighten up a
section without issue.
For most situations, you should work
from your bottom layer up, which means
details should always be put on last.
That being said, if I’m adding a plain
background colour I always choose to
do this after I’ve finished painting my
subject completely. If I painted it first,
there’s a chance I might accidentally
get something on it during the painting
process and that would be a nightmare,
or even impossible, to fix. It’s better to
avoid the problem altogether and add a
background colour last.
For a solid matt background my paint
should be the consistency of nail polish
or slightly thicker. I also make sure that
I mix enough paint for my canvas before
I put anything on it. The consistency
means I’m never in danger of my paint
spilling all over the place, which is why
I can add it on last without worrying
about the rest of my painting. Having
the right amount of paint mixed means
p q Mabel, gouache, 15315in (38338cm).
I can cover my canvas evenly without
If I’m adding a plain background, I fill in my subject completely before adding anything else.
worrying about colour matching halfway
This ensures I won’t accidentally get any marks on my finished colour, which would be a
through.
nightmare to fix!
I hope the information shared
in this article gives you a broader
understanding of gouache as a
medium and helps relieve it of its
temperamental reputation. Just
remember, don’t overwork it, be
confident in your mark making, and
keep the consistency similar to nail
polish. You’ll be fine! TA

Next month Manda will look at common

problems experienced by gouache painters and
provide solutions to fix them.

Manda Comisari
is a London-based illustrator working and
living in Richmond. She has a Masters of Fine
Art in Illustration with Class Distinction from
the University of Edinburgh and is a Leopold
Schepp Foundation Scholar, a Clan Donald
Educational Trust Recipient, and a Hispanic
Scholarship Fund Scholar. She specialises
in gouache on paper and her work has
attracted wide recognition and received
several awards. Find out more on Instagram
@mandacomisari or via her website
www.mandacomisari.com

www.painters-online.co.uk artist November 2022 57

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ME
 Mike Barr
is a Fellow of the Royal South Australian
Staying safe
Society of Arts. He has won over 80 awards,
including 17 first prizes. You can find
more of Mike’s work at
Mike Barr encourages us to take more risks and
www.mikebarrfineart.com enjoy the confident accident

I
’m not referring to harmful chemicals in paint
or solvents; it’s this irresistible urge we have
to play it safe with a process, that in the end,
will cause no harm, even if we are completely
reckless about it.
The safety thing is so widespread, that it
reaches the very top in the art world down to the
those who have just begun their art journey. It is
really summed up in one word – replication.
The perfection of replication is the call that
many take heed to. It’s a voice that is always TA

present, even in those who have chosen to go

down the impressionist path. Sticking to the
painting reference is the safest thing in art. I’m
talking about either photographic reference or
painting from life. We can be so engaged in the
safe practice of replicating, that any deviation
from this path is seen as failure. We rub out,
scrub out and sometimes start again when such
‘failures’ occur.
In other forms of painting that don’t require
exactness, those accidents or errant brushstrokes When applying underpaintings, I often do some figure practice.
can become little blessings. Watercolourists in This one was very lucky and produced in a few strokes with a
particular will be familiar with this, but other rough gesso brush. See the ten-second video here
types of brush-painters will know this to be true facebook.com/mike.barr.7399/videos/2748043262119504
also.
Painters of experience will have the confidence
to be so bold with the brush that their happy
accidents are a combination of artistic intent and
vagaries of the brush. They let the brush have
a say while they roughly guide it. Brushstrokes
are left as they stand even though they may
not be perfect, the energy of such things is
quite incredible – those who are not artists can
particularly sense it.
Personally, I find this is true with the treatment
of figures in a landscape, especially when
they are relatively small. To try and ‘get things
right’ with a small brush just never looks right.
My method of using a bigger flat brush to
approximate a figure as a silhouette, works
well. Unstudied strokes make their own shape
and because I know I want a figure it becomes
half artist and half brush. The shapes become
confident, guided accidents! Confident accidents
may be the enemy of perfection, but they are
lifelong friends to so many artists.
Now is a great time to let the brush have a little
more say. Even if you are an exact painter, why
not give something loose a try. No-one will be
TA
harmed, I promise!

www.painters-online.co.uk artist November 2022 59

PASTEL PENCILS

Taming the wild

Follow Lucy Swinburne’s step-by-step guide to
painting a wild dog with pastel pencils

Reference photo. This original photograph MATERIALS

is available to download at l Surface: Clairefontaine Maya grey
www.tamingwildlife.com or here at Lycaon card or Canford light grey card, 140lb
African Wild Dog - Free photo on Pixabay
(270/300gsm), A3 size 113/43161/4in
(29.7342cm).
l Faber-Castell Pitt pastel pencils: white

A
s a dog lover, I can’t resist I mainly use a grid to transfer my
101; cream 102; ivory 103; Naples yellow
these beautiful animals. outline using a white pastel pencil, as 185; burnt ochre 187; walnut brown 177;
I just love the striking I quite often work to tight deadlines. Indian red 192; dark chrome yellow 109:
colours in their coats, their Using a grid means I can draw my cold grey IV 233; warm grey I 270; bistre
fabulous satellite dishes subject to the exact size I want to 179; dark sepia 175; light ultramarine 140;
for ears and how they care for each and reproduce it, and I know it will be an and black 199.
every member of their pack, especially accurate representation. If you haven’t l Tracing paper, white carbon trace-down
if they are sick and can’t hunt. Painted used a grid before, there is a blog paper or a grid to transfer a basic outline
wild dogs are elusive and can be hard explaining how to use it on my website of the wild dog to your surface card.
to spot on safari in South Africa, but any www.tamingwildlife.com l Masking tape.
encounter with them, even here in a UK I always make sure I have a few A4 l Pencil sharpeners and pot for shavings.
wildlife or safari park, is never forgotten. sheets of spare paper available to
l Kneadable putty rubber.
Follow me as I show you how to paint rest my hand on as I work to prevent
l A4 spare paper to lean on and protect
this exquisite wild dog in pastel pencils. smudging.
your painting as you work.
Before you start l Soft, fat fluffy blusher brush for brushing
excess pastel dust off the surface of the
Before we start, there are a couple
card.
of things to say about the way that I
use pastel pencils as all artists have
different styles and ways of working.
I always paint from light to dark. This t STAGE ONE
means that I apply all the lightest I transferred the finished outline of the
colours to a painting first and then wild dog onto my grey card with a white
gradually start to add the darker pastel pencil using the grid method. To
colours on top. This is my own personal keep the background simple, I shaded and
technique but there are many other blended in the background using a light
pastel artists who prefer to work in grey pastel starting at the top-left corner
reverse, from dark to light. I also of the card and working downwards with horizontal rather than vertical shading. If you look
only use pastel pencils on smooth carefully to the right of the dog (your right) you can see what the pastel pencil lines looked
card. Again, this is another personal like before they were rubbed into the card with my finger. I made sure I took the colour
preference, as I love the fine art quality right up to the outline, blending it slightly into the outline to prevent any gaps forming
that a smooth surface lends to my that could make the subject look cut out from the background. I continued to work across
pencil technique. the background until I had covered the card and blended the pastel in everywhere. If the
outline becomes too faint, sharpen it with your white pencil

t STAGE TWO
With a sharp white pencil I began adding a few long white hairs in the inner ears, checking
the reference photograph to maintain the correct hair direction, then moved on to the
softer, white tufts of long fur on the cheeks, eyebrows and shoulder. Sharpening the pencil
again, I moved back up to the head and added the short white hairs you can see in the
foreground, working gradually down towards the eyes.
Taking my sharp ivory pencil I stroked in all the ivory fur I could see, starting at the top of
the head, and working in between the white hairs I had already added. Still with the ivory
pencil, which I resharpened, I started to build up the ivory hairs inside the ears, before
moving down to the neck and body. The fur here is mostly out of focus, so I will blur it at a
later stage by blending it slightly once all the colour layers have been completed

60 artist November 2022 www.painters-online.co.uk

 PRACTICAL

t STAGE THREE
Starting with the ears, I used my cold grey I continued with the cold grey and added the
pencil to outline them softly, shading dark stripe in the centre of the forehead, then
inside the ears where the fur was dark and went back over the hairs above and around
following the hair direction by keeping a the eyes with my ivory pencil, and adding the
close eye on the reference photograph. ivory fur on the sides of the muzzle.
Make sure you keep the grey pencil sharp White hairs under the eyes and cheekbones
as you are working. Don’t worry if you go were applied with a sharpened white pencil.
over a little of the previously added ivory Once you begin to add the white hairs you will
hairs, as you can add some back in later notice other areas that need this colour, for
but be careful not to lose it all completely. instance in the brows, between the eyes at the
Take your time working in and around the top of the muzzle and in the cream fur at the
ivory hairs. sides of the muzzle

u STAGE FOUR marks within the irises made the eyes

I needed to complete the eyes and nose really stand, creating spiral lines out
before I added any more grey to the face. from the pupils. I added the shadow
With a sharpened ivory pencil I added a light cast by the top eyelids and shaded
layer over the irises working from the outer around the outer edges of the irises
edge in towards the pupils. Then taking and over the bottom lids. Reflections
a sharpened dark chrome yellow I began in the pupils were updated with light
shading softly, using small lines over the top ultramarine and white, and I used a
of the ivory layer, working from the outside pupils. I filled in the pupils with dark sepia little cream to put more light back into the
of the irises in towards the pupils as before. working around the blue reflections. Burnt irises at the bottom, tidying up the shape
Naples yellow was worked gently over the ochre in the irises made them stand out more with the dark sepia.
dark chrome yellow, keeping the texture light and I also added some around the outside of Finally I used my black pencil to darken
and feathery. More depth was added with my the pupils. Wipe your pencil tip clean as you all the dark sepia areas. The black pencil
sharpened burnt ochre pencil, working in the work so that you don’t drag the dark grey must be kept sharp during this stage,
same way, from the outer edge of the irises into the colour. India red was applied in small especially for the lashes hanging over the
in towards the pupils. This colour should be strokes over the top of the irises and around tops of the eyes. To finish the eyes, I topped
added as a series of small marks, not as a solid the pupils and even more depth was created up the reflections with light ultramarine
layer or you will lose the layers underneath. with my bistre pencil, using it gently over and white and used these same colours to
Don’t worry if you go over the edges; this the burnt ochre and India red. I outlined the add highlights to the bottom eyelids and
can be tidied up later when you add the dark irises and shaped them slightly with my sharp corners of the eyes
colours. Light ultramarine blue was added to bistre pencil.
the bottom eyelids and as reflections in the Small dark sepia

STAGE SIX q
Time to go back to the fur. With a sharp Naples yellow I added colour to the
face, ears and body paying attention to the length of the fur as it changed
STAGE FIVE quickly from short around the eyes to longer on the head and cheeks. You
I started the nose by can pat with your finger to blend in the fur on the neck, shoulder and back if
adding a white undercoat you prefer. I topped up the white hairs in the eyebrows and around the eyes,
where I could see white exaggerating how much white hair there is because, when I add the darker
highlights, using a series colours later, I will lose any white I don’t need. Using a sharpened cold grey
of marks and scribbles I worked in between the
to build the texture. I white fur to separate it into
then started working in and around the white pastel individual and small clumps
with light ultramarine blue using the same method of of hair around the eyes. I took
shading. This colour will be the undercoat for all the my time doing this as the hair
black areas you can see in the nose. I went back over the changes direction and length
white highlights to make them more prominent then, often. Don’t go over too much
using the same method of layering, I went back over of the white layer. Leave a
the pastel with black, leaving a little bit of the white little more than there is in the
showing through. White and light ultramarine were reference, so you have plenty
used to update the highlights on the nose, and I added to play with when you add
more black where required to finish the darker colours later

www.painters-online.co.uk artist November 2022 61

PASTEL PENCILS

u STAGE SEVEN
Continuing down the face and muzzle I used a freshly sharpened
cold grey as an undercoat for the dark grey/black pastel layers to
come. All the tiny little hairs you can see on the muzzle will be added
at the end. Concentrating on the neck ruff now, I started adding a
light layer of white, using a method to create texture and topped it
up with white and ivory.
The orange tones in the fur were added with dark chrome yellow,
starting with the ears. I worked slowly down the head, cheeks and
muzzle keeping the pencil sharp. I went back over all the white
in the fur with a sharp white pencil to make it stand out, again
beginning at the ears and working down. Make sure that there is
enough white in the ears before you start to add the darks, as you
will find it hard to put the white back in over dark pastel colours.
Adding light wispy hairs over black will be possible, but not solid
white areas. Clean your pencil tip regularly as it will pick up grey and
this could muddy up your white areas. I looked for the red/brown
tones within the fur in the reference picture and added them with
burnt ochre, used sparingly as the colour is quite strong STAGE EIGHT q
I added the grey undercoat for the dark grey and black areas of the fur
with a sharpened cold grey pencil. Selecting my bistre pencil I began to
add the undercoat
for the darkest
sections of the
neck ruff, directly
under the chin and
then moved down
into the crinkly fur
itself. I extended
the bistre down
into the grey band
under and to the
side of the ruff, too

p STAGE NINE
Going back to the eyes with my bistre pencil I went over the
lashes and added some brown hairs around them below the inner
corner of the dog’s right eye. I topped this up with a little India
red then, using walnut brown, I darkened the neck ruff directly p STAGE TEN
under the chin and cheeks, using the blunt side of the pencil I sharpened my dark sepia pencil and, starting with the ears, added
point to help create the crinkly fur effect. Using bistre, I added it carefully between the lighter hairs I had already placed there,
light brown fur around the bottom of the face and took this remembering to ensure the pastel dust drops away from my painting
colour into the ruff, adding texture as before. More colour was as I worked. Gently blow any excess dust away from your portrait every
added to the ruff and bottom of the face with burnt ochre now and then. Concentrate on filling in the most solid dark areas for
now. You can create more detail later. I continued to work down the face
adding more depth to the grey stripe on the forehead with dark sepia.
Sharpening the pencil, I worked around the eyes between the white
LUCY’S TIP hairs. I used cold grey in the brows for the lighter grey hairs and worked
Make sure you leave a gap at the bottom of the spare paper you steadily down the dog’s face with this colour, keeping the pencil sharp.
are leaning on, for the dark brown pastel dust to fall away from A little more burnt ochre was added to the light hairs either side of the
your portrait as you work, or it will stick to your painting muzzle and I continued to block in the muzzle and chin with dark sepia
until it was completely covered

62 artist November 2022 www.painters-online.co.uk

 PRACTICAL
u STAGE ELEVEN wispy hair tufts carefully around
I went back over the grey areas with dark the outer edges of the ears to
sepia on the shoulder and back. The dog finished them off.
still looks very rough around the edges but Turning my attention to the
be patient, shaping the fur and finishing muzzle I started to darken it with
the details will all come soon enough. With black. You will need a couple
a sharp black pencil, starting with the ears, of layers of black to make it jet
I went back over all the dark areas. Try to black, so that it will be easier to
resist the urge to start adding detail as you add the fine hairs on top with
darken with the black – especially in the white, ivory and blue. These
ears as you need sharp pencils to begin to details will only work if the
break up the clumps of hair into individual muzzle is almost solid black.
sections. For now, just get all the dark areas Using dark sepia over the
as dark as possible. There were some places brown directly under the chin,
that required updating with light ultramarine, I darkened the shadow, then
for example, in the top eyelid, the pupils and added more walnut brown and
bottom eyelid. bistre to the ruff. I darkened
the brown area of fur between the ruff and ruff then, using dark sepia I broke up the ivory
Using a sharp dark sepia pencil I broke up
white fur on the shoulder using my dark sepia hairs a bit more between the eyes and on the
the light hairs on the cheekbones, directly
pencil. Then, using a sharp black pencil, I sides of the muzzle. I applied black on the
under the eyes. Then, using white I went back
darkened the grey fur on the side of the dog. muzzle and around the eyes where I could see
over the hairs around the eyes to make them
With sharpened pencils I added more ivory, areas that needed darkening further, and to
stand out more, and shadows and highlights
white, light ultramarine, burnt ochre and create the shape of the mouth. I tidied up the
with cold grey and burnt ochre, taking care
walnut brown where necessary, copying the ends of the hairs within the ruff, alternating
not to pick up dark pastel dust on my pencil
texture I could see on the top of the muzzle. between burnt ochre and white. Keep the
tip as I worked.
I updated the walnut brown fur in the neck pencils sharp!
To finish the ears, I added some bistre to the
inner ears with a sharpened dark sepia pencil,
working between the hairs to break them up
and separate them into individual hairs in
places. You must keep the pencil sharp at all
times. I worked back over the inner ear with
black and cold grey then, using the blunt
tip of the dark sepia pencil, I added all the

LUCY’S TIP
Use a soft brush to clean up the
background and the dog where you can
see specks of dark pastel have settled
in the light fur. If it doesn’t move after a
gentle swish downwards with the brush,
shape a putty rubber into a point and
press it firmly on the pastel speck to lift it
off the surface card.

p FINISHED PAINTING
Painted Wild Dog, pastel pencils on card, 113/43161/4in (29.7342cm).
The finished touches to the dark fur on the neck were added next, flicking out some individual
wispy hairs on the ends. I then did the same with a sharp white, keeping it clean throughout as
Lucy Swinburne it picks up any dark pastels and spoils my whites.
has been a professional artist for over
two decades having taught herself to use With a sharpened black pencil I started to break up all the tips of the cream fur on the dog’s
pastel pencils through trial and error. She back and side, so it looked less like clumps and more natural. Keep a close eye on the reference
divides her time between writing book and image for guidance as you do this. I went back over the black patterns in the fur and added
magazine articles, teaching art workshops some white and blue hues where I could see them in the photograph, using white and light
and painting commissions. Lucy has written
three ‘how to draw in graphite pencil books’ ultramarine.
for Search Press as well as her own pastel I added bistre to all the cream fur on the body to add more depth. Then, sharpening my dark
tutorial art book Taming Wildlife with sepia pencil I went back over the ends of the dark hair to create individual hairs that flick over
Pastel Pencils, available at the top of the cream fur. Do the same with the ends of the cream fur with a sharp Ivory pencil.
www.tamingwildlife.com
Finally, I added a few white and dark grey whiskers with a sharp white and dark sepia pencil

Full videos of every stage to accompany this step-by-step article, showing the application of the pastel pencils and
focusing on the techniques used, can be found at www.tamingwildlife.com

www.painters-online.co.uk artist November 2022 63

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ME
WATERCOLOUR PROBLEM SOLVER: 11TH OF 12 PRACTICAL

Working from sketches

Turning sketches into successful watercolours can be a difficult process.
Julie Collins offers advice on ways to think about your sketches as
preparations for paintings as well as works in their own right

I
have often looked at the drawings
in my sketchbook and felt unsure
how to use them in a watercolour
painting. In fact, many of these
sketches aren’t suitable to be used
for a painting, but if a sketch is to be
used it’s important to accept that when
using a sketch, it will rarely appear the
same in a painting. Sketching serves
many purposes which I will discuss in
this article. Personally, I find it useful
to think of sketches as a starting point
rather than to be replicated for a
finished painting. Or a sketch may be
part of your watercolour painting and
further work will need to be done to
work out a painting in its entirety.
It’s important to remember that in
a watercolour painting the paint can
do most of the work. By this I mean
that your sketch will never look like
the watercolour as it is a completely
different medium. But a lovely sketch
of a figure could be a wonderful focal
point in a painting. The sketch would be
a line drawing and the watercolour paint these are equally valid but if you’re p Sketchbook drawing to gather ideas
would bring it to life. having trouble translating your sketches
Before showing ways of using sketches into paintings then I suggest that you sketch in your sketchbook, but this
in paintings, it’s useful to look at the are more definite about your purpose doesn’t mean that it will make a good
different purposes of sketches. All of when sketching. You may have a lovely painting. w

Above and right. Watercolour sketches in my sketchbook to develop observational skills

www.painters-online.co.uk artist November 2022 65

WATERCOLOUR PROBLEM SOLVER: 11TH OF 12
t Sketches of trees to help me understand
their character, looking carefully to work out
scale and proportion

bird sketches, right, were rendered

very quickly in watercolour while
working outside in a nature reserve.
I used only two colours and painted
swiftly to capture the essence and
feeling of the birds. I didn’t worry
about capturing detail, whether they
were about to move or getting things
absolutely right. Remember that the
observed world, like the birds, may
be your subject but you must capture
your experience of the subject in your
drawing. Let go of set ideas of how you
should draw, remembering that we all
see things differently. I have sketched
so many birds, but I have most enjoyed
connecting with my subject and getting
to know them. My sketch is my personal
impression and feeling of a bird. Then
back in the studio a bird may feature
‘The sketchbook is great because I can close in one of my paintings, as seen below
right.
it and may not look inside it for a long time’ The bird sketches are typical
examples of how I use my sketchbook
as research for my paintings. The bird
Ideas
There’s no better way to collect ideas
PURPOSES OF painting is a finished work, which is
much more complex than the bird
than to go out with your sketchbook. SKETCHING sketches. However, it is good to be
This is not the same as taking 1 Sketching for pure enjoyment – when open minded about your artwork as
photographs, which is also useful, but you’re on holiday or out for the day. sometimes a sketch is good enough
it is a completely different process. For 2 Practice. to be exhibited as a piece of work.
example, if I am outside sketching trees, 3 Gathering ideas.
Some of my best sketches fall into this
I am really getting to know the character category.
of the trees. I have to look carefully and 4 Connecting to your subject.
work out the proportions of the trees. I 5 Observation. Thumbnails
can make a tonal sketch of the tree and 6 Warming up. When you are sketching think about the
begin to think about how to include subject you are looking at and begin to
7 Composition and planning.
trees in my paintings. consider what kind of painting you are
I love my sketchbooks as they serve 8 To work out tone and value. going to create. By being specific about
many purposes and are an interesting 9 Editing. the purpose of the sketches this will
reminder of special times. The 10 Working out proportions. focus your mind on what you wish to
sketchbook is great because I can close achieve. Thumbnails are a good way to
it and may not look inside it for a long begin to work out compositional ideas.
time. This gives a welcome break from other lady’s figure would usually float in They are the first step to recreating
this part of my work, unlike paintings the centre of a very large piece of paper our world in two dimensions. As the
that linger in the studio. and look lost. Before beginning your world is in three dimensions, we
drawing take time to think about where often forget that the first thing we are
Composition you will place your subject, perhaps doing is changing a three-dimensional
Students often fail to consider where make discreet marks of the edge of a scene and recreating it on a flat, two-
they place their subject on the paper. A figure before you begin the real thing. dimensional surface.
piece of fruit can often be found in the Turn your page around if necessary Simplify your subject by using a
centre of a page, as if floating around or select a different size of paper or chunky pen, graphite stick or charcoal.
unsure of where it should be. At the sketchbook. A successful composition This helps to see shapes, lights and
beginning of my artistic career, I taught will be much more useful if you want to darks and work out your composition.
life-drawing classes, which was hugely use it in a painting. Don’t be tempted to make a pretty
enjoyable. I remember two very gifted To help define the composition when drawing. Remember that the sketch is a
ladies who invariably produced amazing making a sketch concentrate on the tool to help you work out the painting.
drawings. However, they both had main shapes and don’t get too tied up If you get caught up with the idea of
trouble with composition. One would with detail. making a good drawing it will hinder
draw expressively but rarely fit the the process. By trying too hard to make
figure on to the paper. Part of the body Simplify a good drawing your work can become
or head would either leave the page or Simplify your sketches so that you careful and lack the fluidity that you
be too near the edge of the paper. The capture the essence of the subject. The need in a good composition. TA

66 artist November 2022 www.painters-online.co.uk

 PRACTICAL

p Bird sketch rendered very quickly in watercolour working outside in p Red bird painted at speed in watercolour using just two colours
a nature reserve

‘I didn’t worry about capturing detail, whether they were

about to move or getting things absolutely right’
TYPES OF
SKETCHES
l Basic and messy
l Shaded
l Simple line drawings
l Shapes
l Scribbles
l Detailed

u This bird painting is a finished work.

It took more time to complete and
is much more complex than the bird
sketches

Julie Collins
studied painting at the University
of Reading and is a member of the
Society of Women Artists. She has
received numerous awards for her
paintings, including with the ING
Discerning Eye, Royal Watercolour
Society and Royal Western Academy.
She exhibits widely in the UK and
internationally. Her sixth book, Colour
Demystified, published by Search Press,
is available at a discounted price from
our online bookshop: http://bit.ly/
pobooks [email protected]
www.juliecollins.co.uk
Next month Julie concludes her watercolour series by offering advice on knowing when to stop.

www.painters-online.co.uk artist November 2022 67

Showcase your art…
Join our friendly, online art community! Share your work on our online
gallery, receive feedback from other artists, join forum discussions,
discover art clubs and tutors, plus much more!
Michele Ashby

Start sharing: bit.ly/POLGALLERY

OPPORTUNITIES & COMPETITIONS
Check out the latest competitions to enter and make a note of important deadlines

Sending-in days judging panel meets every

three months to consider
information and an application
form for individuals and groups.
When: The deadline for entries is
November 30.
the preceding three monthly A separate pack is available for
A Letter in Mind shortlists. Monthly winners, schools and colleges. Contact:
announced every three months https://www.
Details: Entries are invited for the Exhibition: Penlee Inspired will botanicalartandartists.com/
National Brain Appeal’s 2022 A after each panel meeting, take place at the Penlee House
receive £250. Winning entries for news/young-botanical-artist-
Letter in Mind fundraiser. Entries Gallery & Museum, Penzance, competition-2022-call-for-entries
must be made on a simple each monthly competition will Cornwall, from January 18 to
envelope, responding to the automatically form part of the April 22, 2023.
theme, ‘A Sense of Movement’. annual exhibition and awards
ceremony and will form the When: The closing date for
All work will be displayed for
exhibition anonymously, priced shortlist for the additional annual submissions is Saturday Events
cash prize of £2,500. November 12.
identically at £85. Money raised
will go towards helping people When: Enter online at https:// Contact: Talk and draw
with neurological conditions and www.johnbyrneaward.org.uk/ www.penleehouse.org.uk
Details: In this National
supporting vital projects at The enter-now/ Gallery online creative
National Hospital for Neurology
and Neurosurgery. Contact: Society of Painters in session, Fiona Alderton and
www.johnbyrneaward.org.uk Water-Mixable Oils Marc Woodhead will explore
Exhibition: The exhibition of Details: The Society of Painters Jean-Siméon Chardin’s The
work will go on show at Gallery King Edward VIIs Hospital in Water-Mixable Oils is inviting Young Schoolmistress, which
Different in Fitzrovia, London as entries to its third annual open the artist Lucian Freud
well as on the charity’s online Details: Following the success reproduced directly in front
of its 2022 collaboration with painting competition 2022. All
gallery, from November 3 to 6. entries must have been created of the painting in his etching
King Edward VIIs Hospital in After Chardin. Participants
When: The deadline for entries is London, the Zimmer Stewart using water-mixable oil paint,
September 30. and created no earlier than are invited to listen to a brief
Gallery is calling for a wider, talk then respond by making
more diverse range of artists. The January 1, 2019. Two entries
Contact: per artist in each category are their own work in this short
For details and to register, go to gallery was originally approached artist-led drawing session,
by the hospital to source and allowed. The categories include:
www.aletterinmind.org Landscape; Seascape; Portrait/ which lasts around one hour.
select work by emerging artists The event is free.
to be rented from the artists Figurative; Still Life; Wildlife/
Artist@Soane Residency and exhibited in their new Animal; and, new for 2022, Floral When: Friday October 7,
Details: Sir John Soane’s Museum medical centre during 2022. The paintings. 4-5pm.
is inviting creatives to take part in exhibition can be seen at https:// Exhibition: Selected winning Where: Online.
Artist@Soane, a new residency for www.zimmerstewart.co.uk/post/ finalists’ work will be exhibited on Contact:
artists, architects and designers king-edward-vii-s-hospital-art- the society’s website and in their www.nationalgallery.org.uk
to mark the restoration of Soane’s rental-project newsletter.
Drawing Office. The museum The hospital is now looking for Graphite and coloured
occupies three buildings, Nos When: The closing date for online
artists based in the UK to submit pencils
12, 13 and 14 Lincoln’s Inn Fields, entries is October 31.
works for consideration for its
and houses Sir John Soane’s 2023 project. Entry is free and Contact: Details: Andrew Forkner
collection of paintings, sculpture, successful applicants will be paid Further details and entries should will give a talk and
books, drawings, furniture, a rental for the course of the be emailed to [email protected]. demonstration in the use
architectural fragments and exhibition (one year). uk or visit www.spwmo.org.uk of graphite and coloured
models. Starting in the spring pencils to the Bedford Art
When: The closing date for Society. Entry is free for
of 2023, two residents will Young Botanical Artist
submissions is September 30. members, £5 for visitors.
be hosted annually, for three Competition 2022
months each (March to May and Contact: When: Friday November 4
September to November). Full Full details and how to apply Details: The Young Botanical at 7.15 for a 7.30pm start.
details are available from the can be found at https://www. Artist Competition is new for
2022, sponsored by Dr Shirley Where: Putnoe Heights
website. zimmerstewart.co.uk/king- Church, Bedford MK41 8EB.
edward-vii-call-for-artists Sherwood in collaboration with
When: To enter, applicants the Royal Botanic Gardens, Contact: Jean Paterson on
must complete the online Kew. The competition is open 01234 307210.
application form. The deadline for Penlee Inspired 2023 to all budding botanical artists
submissions is 5pm, October 4. Details: Penlee House Gallery aged between 16 and 25. Two- Block printing
It is free to enter. & Museum is asking for dimensional works are invited Details: Learn how to make
Contact: www.soane.org contributions to its 2023 Penlee including paintings, drawings block-printed Christmas
Inspired exhibition. The exhibition and prints, with a fixed size cards with Helen Brown.
features works by members of either A4, A3 or A2. Work All materials are provided,
The John Byrne Award of the public inspired by the should be representative and plus refreshments, lunch
Details: The John Byrne Award, collections and exhibitions at in a botanical art style and it and a tour of Charleston
established in 2012, is a creative the gallery. Contributions are should be about trees, leaves and Farmhouse.
competition open to anyone over invited from individuals, groups, anything that exists in between.
16 years old living or studying schools and colleges and can be The competition is divided into When: November 28, 10am
in Scotland. Creative work in all in any media, including paint, two categories: 16-18-year-olds to 4pm.
disciplines on any theme or topic collage, textiles, sculpture, and 19-25-year-olds and ten Where: Charleston, Firle,
is invited. photography, film and animation. artists from each category will Lewes, East Sussex BN8 6LL.
Once accepted, your submission Creative writing is also welcome. be shortlisted for exhibition at Contact:
will be displayed in the online For full details apply for a the Shirley Sherwood Gallery in www.charleston.org.uk
gallery and entered into the Penlee Inspired pack containing Kew Gardens from April 2023
monthly competition. The details of the selection criteria, onwards.

www.painters-online.co.uk November 2022 69

EXHIBITIONS
GALLERY OPENING TIMES AND EXHIBITION DATES CAN VARY; IF IN DOUBT PHONE TO AVOID DISAPPOINTMENT

p Richard Pikesley Gulls and Moored Yachts, Weymouth, oil on board, 8315in (20.5338cm) at the Jerram Gallery in Sherborne, Dorset

LONDON Artists; annual exhibition,

September 22 to October 1.
National Maritime
Museum
Tate Britain
Millbank SW1.
The Wallace Collection
Hertford House, Manchester
Bankside Gallery SWLA: The Natural Eye Greenwich. ☎ 020 7887 8888 Square W1.
48 Hopton Street SE1. 2022; annual exhibition of ☎ 020 8858 4422 www.tate.org.uk ☎ 020 7563 9500
☎ 020 7928 7521 the Society of Wildlife Artists, www.rmg.co.uk Walter Sickert; www.wallacecollection.org
www.banksidegallery.com October 13 to 22. Canaletto’s Venice Revisited; until September 18. Inspiring Walt Disney:
International Original until September 25. Cornelia Parker; The Animation of French
Print Exhibition 2022; National Gallery until October 16. Decorative Arts;
annual exhibition by the Trafalgar Square WC2. Royal Academy of Arts Lynette Yiadom-Boakye: until October 16.
Royal Society of Painter- ☎ 020 7747 2885 Piccadilly W1. Fly in League with the
Printmakers, www.nationalgallery.org.uk ☎ 020 7300 8000 Night; November 24 to William Morris Gallery
September 21 to October 2. Winslow Homer: Force of www.royalacademy.org.uk February 26, 2023. Lloyd Park, Forest Road,
RWS: Less is More; annual Nature; until January 8. Milton Avery: American Walthamstow E17.
exhibition by the Royal The Credit Suisse Colourist; until October 16. Tate Modern ☎ 020 8496 4390
Watercolour Society, Exhibition – Lucian Freud: William Kentridge; Bankside SE1. www.wmgallery.org.uk
October 7 to November 5. New Perspectives; October September 24 to December 11. ☎ 020 7887 8888 The Legend of King Arthur:
1 to January 22, 2023. Making Modernism: Paula www.tate.org.uk A Pre-Raphaelite Love
Mall Galleries Discover Manet & Eva Modersohn-Becker, Käthe Lubaina Himid; Story; October 14 to
The Mall, SW1. Gonzalès; looking at Kollwitz, Gabriele Münter until October 2. January 22, 2023.
☎ 020 7930 6844; a painting from fresh and Marianne Werefkin; The EY Exhibition: Joy and Solace: Frank
www.mallgalleries.org.uk perspectives, October 21 to November 12 to February Cézanne; Brangwyn and Music;
Royal Society of Marine January 15, 2023. 12, 2023. October 5 to March 12, 2023. until April 2, 2023.

70 November 2022 www.painters-online.co.uk

 from the Rijksmuseum;
BIRMINGHAM OXFORD SHERBORNE until November 6.
JMW Turner: The Sun
The Barber Institute Ashmolean Museum Jerram Gallery is God; major exhibition
University of Birmingham. Beaumont Street. Half Moon Street. featuring over 80 paintings,
☎ 0121 414 7333 ☎ 01865 278000 ☎ 01935 815261; October 8 to February 6, 2023.
https://barber.org.uk www.ashmolean.org www.jerramgallery.com
Dürer: The Making of a Pre-Raphaelites: Drawings Richard Pikesley;
The
Jerram Renaissance Master;
until September 25.
& Watercolours;
until November 27.
October 8 to 26. SCOTLAND
Gallery Taking Root: The
Sustaining Life of Trees; Sarah Wiseman Gallery WOKING EDINBURGH
until October 16. 40/41 South Parade,
The Lightbox City Art Centre
Summertown.
Chobham Road. 2 Market Street.
☎ 01865 515123 ☎ 01483 737800 ☎ 0131 529 3993; www.
COLCHESTER www.wisegal.com
www.thelightbox.org.uk edinburghmuseums.org.uk
Spellbound: Magic and
The Ingram Collection National Treasure: The
The Munnings Art Nature; new work by Daniel
& The Fry Art Gallery: Scottish Modern Arts
Museum Ablitt and Flora McLachlan,
Bawden, Ravilious and the Association;
Castle House, Dedham. until October 1.
Art of Great Bardfield; until October 16.
☎ 01206 322127; www. until October 9.
munningsmuseum.org.uk
Canaletto and Melissa Scottish National
Alfred Munnings: The Art of PENZANCE McGill: Performance and Gallery
the Poster; until October 23. Panorama; until November 13. The Mound.
Penlee House Gallery ☎ 0131 624 6200;
Morrab Road. www.nationalgalleries.org
COMPTON VERNEY ☎ 01736 363625 YORK A Taste for Impressionism;
www.penleehouse.org.uk until November 13.
Compton Verney Walter Langley: Painting
York Art Gallery
Warwickshire. Between the Tides; Scottish National
Exhibition Square.
☎ 01926 645500 until October 1.
☎ 01904 810235 Gallery of Modern Art
www.comptonverney.org.uk Fred Yates; October 12 to 73 and 75 Belford Road.
www.yorkartgallery.org.uk
Portrait Miniatures: January 7, 2023.
Sin; exploring the concept ☎ 0131 624 6200
Highlights from the of sin, in partnership with the www.nationalgalleries.org
Grantchester Collection; National Gallery, October 7 Barbara Hepworth: Art &
until December 31. SHEFFIELD to January 22, 2023. Life; until October 2.

Millennium Gallery
COUNTY DURHAM Arundel Gate.
☎ 0114 278 2600; www. IRELAND WALES
The Bowes Museum sheffieldmuseums.org.uk
Barnard Castle. The Football Art Prize; DUBLIN CARDIFF
☎ 01833 690606; www. paintings, photography, film
thebowesmuseum.org.uk and collage on the theme of National Gallery National Museum
Journey in Colour; from the football, until October 30. of Ireland Cathays Park.
Renaissance to the present Ruskin Collection; Merrion Square. ☎ 0300 111 2333
day, until October 30. permanent exhibition ☎ +353 1 661 5133 www.museum.wales
celebrating the visionary www.nationalgallery.ie The Rules of Art?; 500 years
ideas of John Ruskin. Dutch Drawings: Highlights of art, until April 16, 2023.
GUILDFORD
Watts Gallery
Down Lane, Compton.
☎ 01483 810235;
www.wattsgallery.org.uk
A Fragmented Legacy: G F
ART SOCIETIES Poole and East Dorset Art Society
Holding the Moment: exhibition by
REGIONS Watts and Sculpture;
until October 2. Ambleside and District Art Society
members of PEDAS at The Gallery
Upstairs, Upton Country Park, Poole BH17
Annual exhibition at the Ambleside 7BJ, from October 14 to 31, 10am to 4pm
BATH Parish Centre, from October 18 to 30. daily; www.thegalleryupstairs.org.uk
KINGSBRIDGE Open Monday to Saturday 10am to 5pm; and www.pedas.org.uk
Sunday opening at 10.30am; and closing
The Holburne Museum Harbour House Walton Art Club
at 2.30pm on the final day;
Great Pulteney Street. The Promenade. https://amblesideartsociety.co.uk Exhibition at the Riverhouse Arts Centre,
☎ 01225 388569 ☎ 01548 854708; Manor Road, Walton on Thames, Surrey
www.holburne.org www.harbourhouse.org.uk Crook Art Group KT12 2PF, from November 16 to 20. Open
Rodin & Degas: Impressionist Returning to the Future; Annual exhibition at Crook Memorial Wednesday to Saturday, 10am to 4pm;
Sculpture; September 24 to paintings by Sarah Harcus Hall, Crook, Kendal, Cumbria LA8 8LG on Sunday from 10am to 3pm;
January 2, 2023. and ceramics by Susan Luker, October 15 and 16, 10am to 4pm daily. [email protected]
September 27 to October 2.
Victoria Art Gallery Leighton Buzzard Art Society Woking Art Society
Bridge Street. Annual exhibition at All Saints Church, Autumn exhibition at The Lightbox,
☎ 01225 477244 MANCHESTER Church Square, Leighton Buzzard, Chobham Road, Woking, Surrey GU21
www.victoriagal.org.uk Bedfordshire LU7 1AE on October 4AA, from October 11 to 23; closed
Mary Fedden: Simple Manchester Art 28 and 29; www.lbas.org.uk October 17; www.wokingartsociety.org
Pleasures; and Michael Gallery
Chaitow: Bath and its Mosley Street.
Surrounds; until October 16. ☎ 0161 235 8888;
Peter Brown: Bath, Bristol www.manchesterartgallery.org To submit details of an exhibition for possible listing here,
& Beyond; October 22 to Climate Justice; email Jane Stroud at [email protected]
January 15, 2023. until February 5, 2023.

www.painters-online.co.uk November 2022 71

LEARN NEW SKILLS, ENJOY TOP
ADVICE AND FIND INSPIRATION
WITH OUR LIVE PAINTING WEBINARS!

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ART BOOKS Reviewed by Henry Malt

Hazel Soan’s Art of the Limited Palette

This is by no means the first book on painting with a limited palette, but it
is certainly the most comprehensive and least prescriptive. Hazel Soan has
nothing to sell you – no set of colours, no range of brushes, not even some
sleight of hand. As you would expect, it is entirely practical and all about the
results, not the materials.
The idea of the limited palette is to simplify your working methods and give
your watercolours the freshness that comes from not fiddling about with a
suitcase-full of paints. Many artists have a strictly delineated range, but Hazel
suits hers to the subject in question – warm-cool, complementary, translucent
or staining. You’ll have at least three basic hues, but sometimes more – as I said,
nothing is prescribed. Subjects, lighting and mood are as varied as you could

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wish and this has everything you’d
expect from a book by Hazel Soan.
Batsford £19.99, 192 pages (HB)
ISBN 9781849947640 for the best
guide to colour
around

Textured Art
Melissa McKinnon
Books on non-brush painting are generally thin
on the ground and ones on knife work could
be counted on the fingers of one hand. This is
only the second I’ve ever seen. It is therefore
something to be welcomed and one would
hope it will be worthwhile.
David & Charles are, in their present
incarnation, generally purveyors of fairly
elementary project-based books. This is
not, however, a technique for the complete
beginner and Melissa McKinnon does it ample
justice here. Although she works in acrylics, the
processes can be applied just as well to oils.
There is an excellent variety of subject matter
that includes landscapes, trees, skies and

Buy it!
flowers. The reproduction is clear and raking
light in the photographs ensures that the
textures are clearly visible. The inclusion of
for a rare brushwork to produce softer marks and indicate
introduction
to impasto recession is useful and creates complete images
painting rather than simple demonstrations of method.
David & Charles £15.99, 128 pages (PB)
ISBN 9781446309377

74 artist November 2022 www.painters-online.co.uk

Passport to Painting
Susie West
If you like the idea of working with
bold colours and geometric shapes to
capture the essence of a place in an
interpretation, rather than a slavish

Buy it!
imitation of the classic travel poster,
this delightful book will give you all
the help you need. It is almost certainly
unique – I’ve never seen one before for a novel
and I doubt I will again, so it needs to approach to
be good and it’s pleasing to be able to working with
report that it is. acrylics
Susie provides plenty of advice, both
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photographs as well as use them,
for instance, and how to hold
brushes as well as distil detail and
colour to create striking images.
Just leafing through the pages
gives a sense of a job not only well,
but completely, done. This might
be a niche book, but the results are
intriguing and it’s hard not to be
encouraged to experiment.
Search Press £14.99, 129 pages (PB)
ISBN 9781782219569

Cross Hatching in Pen & Ink

August Lamm
This is, as far as I’m aware, a first. Cross hatching is frequently
covered in drawing and sketching manuals, but not in this
depth, and you may be wondering whether there is enough
material to occupy a whole book. The answer is that, albeit with
largish print and generously-sized illustrations, there’s plenty.
August Lamm’s avowed intent is to resurrect a technique
that was originally used by Old Masters such as Dürer and
Rembrandt in printmaking, although she is adapting it as a
working method in its own right. The results are intriguing,
convincing and certainly worthwhile and it is easy to see the
possibilities that are opened up. There are plenty of examples,
lessons and exercises, nicely staged and clearly presented. It’s
worth saying, though, that while landscapes and some still lifes
are included, the book is quite heavy on portraits and figures,
which perhaps limits its scope a little.
Ilex Press £20, 176 pages (PB)
ISBN 9781781578599

Buy it!
for a unique approach
and reappraisal
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techniques

For a huge range of inspiring practical art books that can be purchased at discount prices by our UK readers
from our online bookshop visit www.painters-online.co.uk/store and click on the link for books

www.painters-online.co.uk artist November 2022 75

Share the joy of painting
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www.painters-online.co.uk artist November 2022 77

PaintersOnline editor’s choice
Meet this month’s editor’s choice winner from our PaintersOnline gallery

t Joop Jacobs Homeless,

oil on paper, 30322in
(76356cm)

J
oop Jacobs retired
from his job as a
technical engineer
designing and
developing machine
parts for the railway and
windmill industry 11 years
ago. For more than 30
years he hadn’t touched
a paint brush or pencil
but found that he now
had time to develop this
hobby. ‘By experimenting
and practising a lot
myself,’ he writes, ‘I try
to reach a certain level,
which gives me a lot of
pleasure in painting.
‘I usually paint in oil
paint. Making portraits
is one of my favourite
activities, in which I try
to depict the life of a
certain person. Every
now and then I also make
landscapes, with a hint
of fantasy in them, often
incorporating animals.
‘I like to paint portraits
of people who have TA
experienced something
in life. I first work out a
detailed sketch, and then
work it out in oil paint. I
work in different layers,
so that I get depth to my
work.’ TA
To see more of Joop’s work, bisit his
Instagram account at joop_jacobs
To upload your own images
WIN £50 TO SPEND AT JACKSON’S!
to our online gallery, with an
opportunity of being selected
as the editor’s choice, visit
www.painters-online.co.uk

78 November 2022 www.painters-online.co.uk

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HELPING YOU BECOME A BETTER ARTIST

YOUR
EXCLUSIVE
DIGITAL ISSUE
EXTRAS

artist
THE PRACTICAL MAGAZINE FOR ARTISTS, BY ARTISTS, SINCE 1931

YOUR EXCLUSIVE
DIGITAL ISSUE
EXTRAS
DIGITAL ISSUE EXTRA CONTENT

CROSS HATCHING
in pen & ink
This extract is taken from
Cross Hatching in Pen & Ink by August
Lamm, published by Ilex Press, £20

TROUBLESHOOTING
L ike any skill worth learning, crosshatching demands time and patience. Through my years
of teaching crosshatching, I have watched students arrive at all manner of styles each
one with a unique spin on the introductory guidance I provide. Still, despite the inherent
individuality of an artist’s path, I have noticed that a handful of mistakes seem to crop up
for nearly all novice crosshatchers. With the permission of my students, I have highlighted
examples of mistakes excerpted from submitted drawings, and where helpful, I’ve also
provided some corrected hatching for comparison.

p ONE TWO
These lines are wobbly and uneven—
p p THREE
These hatches are so short that they This hatching has been done so quickly
a sign of hatching done too slowly and
create a false sense of texture. Though you that the pen has left little hooks of ink at
hesitantly. A smoother stroke requires
may be tempted to introduce shading in the end of each stroke. If you look closely
confident movement, and it may take time to
small increments like this, your drawing at Master prints and drawings, you will find
work up to that point. In the meantime, try
will be more cohesive and legible with plenty of examples of this phenomenon, but
sketching pencil guidelines first, or breaking
longer lines while it can be used to great effect by seasoned
up your strokes to reset your wrist position
crosshatchers, beginners should try to hatch
with more precision

t FIVE
The lines here unexpectedly change direction,
which suggests there might be a fold or edge
in the subject. In reality this subject should
have a smooth, continuous surface. The artist is
mistakenly using hatching to show tone only,
overlooking its effect on the overall shape of
p FOUR the drawing
The line direction changes for no discernible reason, despite the
fact that the subject is consistently smooth and flat. The shift
is confusing, and also produces a false edge between the two
sections of hatching

82 November 2022 www.painters-online.co.uk

p SIX p SEVEN p EIGHT
This hatching is so dense and There are so many different directions While it is certainly important to preserve
sketchy that the individual lines become and spacings in this one section that it highlights throughout the inking process,
indistinguishable, and we lose the becomes visually confusing. The contours this artist has taken it a step further and
crosshatching effect. The artist has are unclear. If there had been a preliminary outlined the highlights in ink, which
presumably tried to fill a large area of tone pencil sketch, it seems to have been creates a harsh and misleading ring of
quickly, losing touch with the step-by-step disregarded at some point in favour of shadow where there should be only the
methodology along the way rapid progress. The result lacks clarity lightest of shading

p NINE p TEN p ELEVEN

This section has been filled in with
This example is a confusing transition The transition between shadow and
unsystematic spirals rather than lines.
from one layer to two. The vertical lines highlight is too abrupt. There needs to be
In a crosshatched drawing, it’s important
become sparser and more widely spaced an intermediary tone to soften the
that the various layers of tone share a
once they intersect with the horizontal transition. Without one, the edge of the
textural language. The above approach,
lines. This sends a mixed message: the hatching falsely denotes an actual edge on
with its frenetic markmaking, will read as
tone is simultaneously darkened (through the subject
incompatible with any surrounding
layering) and lightened (through line
hatching
spacing), which muddles the tonal shift

p TWELVE p THIRTEEN p FOURTEEN

Because the edge of this subject is a This transition between shadow and This crosshatching is neat and
highlight, the line weight of the out- highlight is mitigated by an intermediary consistent, but it is not contoured in
line should be lighter than that of the tone, and yet the line direction here response to the rounded surface. At
hatching. Such a bold outline, especially contradicts that of the existing hatching. best, this sort of hatching is a missed
in a section free from shadows, appears to To create a cohesive fade, the light tone opportunity to create depth; at worst, it
flatten the subject should extend from the horizontal layer negates your outlines and creates visual
confusion

www.painters-online.co.uk November 2022 83

DIGITAL ISSUE EXTRA CONTENT

t FIFTEEN
The line spacing is different in each of
these layers, producing elongated rectangles of
negative space. Ideally, the mesh of lines will
have more consistency and produce an even
grid of paper-white squares.

t SIXTEEN
The lines here are correctly contoured,
but there is no transition between the left
section with two layers of tone, and the right
highlight with no tone at all. The shading on
a rounded object will typically shift gradually,
whereas the shading here implies a hard edge

t SEVENTEEN
The transition here is smoother, but
the highlights are lost along the way, reducing
the overall tonal range of the drawing

t EIGHTEEN
In this example, the lines are
contoured, the grid is consistent, and the
tones transition gradually into each other
across the curved surface of the cylinder

84 November 2022 www.painters-online.co.uk

EXTRA IMAGES FROM THIS MONTH’S CONTRIBUTORS TO INSPIRE YOU

p Judith Yates Shadow Seeds, acrylic and acrylic ink, 31½319¾in (80350cm)

www.painters-online.co.uk November 2022 85

DIGITAL ISSUE EXTRA CONTENT

t Katrina Wallis-King Pine

at Sundown, pastel, charcoal
and acrylic on mountboard,
23¼323¼in (59359cm)

t Katrina Wallis-King
Standing Water on the Moor,
pastel, charcoal and acrylic
on mountboard, 16½316½in
(42342cm)

86 November 2022 www.painters-online.co.uk

p Michele Ashby Watching Me Watching You,
pastel pencil, 16¾316¾in (40340cm)

www.painters-online.co.uk November 2022 87

DIGITAL ISSUE EXTRA CONTENT

p Michele Ashby Unspoken, pastel pencil, 26¾316½in

(68342cm)

88 November 2022 www.painters-online.co.uk

u Michele Ashby A Quiet Storm,
pastel pencil, 15¾315¾in (40340cm)

u Michele Ashby Age is a Privilege,

pastel pencil, 15¾315¾in (40340cm)

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