Artists Illustrators September 2017

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EXPLORE THE ART

OF WINNING
Many professional artists say that, despite accolades and
admiration, they still paint primarily for themselves. And Stay inspired
its certainly true most painters first pick up a brush out of
curiosity and a desire to explore their own creativity rather
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Post: Artists & Illustrators,
competition success has set him on the path to that coveted first solo show,
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Artists & Illustrators 3
years of
CONTENTS
ERS
SEPTEMBER 2017 WINN IAL
S PEC
5 LETTERS 42 10 MINUTES WITH...
Get in touch by post, email or social media Botanical artist Rosie Sanders
7 THE DIARY 44 SKETCHBOOK
The best art events to get involved with Your monthly selection of quick tips and advice
10 EXHIBITIONS 56 EVENING GLOW
Plan your gallery visits for the month ahead Capture fading sunlight in watercolour
12 FRESH PAINT 60 GRISAILLE PAINTING
Three inspiring new artworks Develop your skills with atelier methods
18 BP PORTRAIT AWARD 2017 68 MIXED-MEDIA PRINT
The winners techniques revealed Explore Degas much-loved technique
25 GARETH REID 70 THE CANONS OF ART
SUMAN KAUR
We speak to Sky Arts Portrait Artist of the Year Get your colour just right with this guide
34 THE WORKING ARTIST 74 PAINT FROM IMAGINATION
Laura Boswell on how to approach art fairs Delve into your dreams with acrylics
35 COMPETITION 82 ARTY FACTS 22 SUMAN KAUR ON TV SUCCESS
Win 1,000 worth of art materials Illustrator Charles Tunnicliffe RA BBCs The Big Painting Challenge winner
0
Win 1,00
o
plus a sol
show
TOM DUNKLEY
NEIL HALL
28 ARTISTS OF THE YEAR 2018 36 IN THE STUDIO 38 BACK TO NATURE BOY

Submit your art as our competition opens Award-winning illustrator Michael Foreman We talk colour, composition and glass painting
LOUISE HAGGER
50 GOING GREEN 58 UPDATE YOUR PAINT 65 YOUR QUESTIONS

Try painting a naturalistic garden scene in oils See what new products you could be using Top tips for drawing beautiful birdlife
4 Artists & Illustrators

YOUR LETTERS
LET TER OF THE MONTH

write to us
Send your letter or email SOCIAL SCENE
to the addresses below: Keep up-to-date with
The art of perseverance whats happening
I have been an enthusiastic painter for several years. Unfortunately, POST: on our busy social
15 months ago I broke my right arm. Obviously this was difficult as I Your Letters media channels
am right-handed. More unfortunate was the fact it was set wrongly in Artists & Illustrators
hospital and I have ended up with a damaged arm and wrist. The Chelsea Magazine How to Paint Dog
So, I feel proud of my latest painting, one of a Fantasy Landscapes Company Ltd. Fur: Complete in
series I am working on. Against all the odds I decided to teach myself Jubilee House 10 simple steps
to hold brushes in a different way. It takes longer but I get so much 2 Jubilee Place Cate Hamilton:
from being able to remain creative. My motto is never give up, just find London SW3 3TQ I love painting dogs
different ways of doing the things you love. one of my favourite
Via email, June Leader EMAIL: info@artists subjects. Heres my
andillustrators.co.uk much-missed Alfie in
oil on canvas board.
The writer of our letter of
the month will receive a Peter Keegan @PDKeegan
50 gift voucher from our Sad to see this painting leave but
partner GreatArt, who pleased its being taken home by
offers the UKs largest one of my students. Read
range of art materials @AandImagazine [Paint a
with more than 50,000 Summer Garden, issue 381]
art supplies and regular about the painting.
discounts and
promotions.
www.greatart.co.uk
PICK UP THAT PENCIL course you can use a pen or similar

Re: Sketchbook, issue 381 tool. Happy summer sketching.
I had to smile when I read Grahame Via email, Christine Tose
Booths Sketchbook tip for finding
your eyeline. When I am out HOW NOT TO PAINT STRIPES
Let us know what you think of
sketching I rarely carry a glass Re: Letters, issue 381
Artists & Illustrators magazine
of water, but I do have a pair of About the straight line problem: you
and share your painting projects
eyes and a pencil. can solve it by not trying to at all. with us at the contacts below...
Place the end of the pencil Free-hand lines are more artistic
between your eyes on the bridge of and interesting. Throw away the @AandImagazine
your nose (a bit like a unicorn horn). straight edge, and just do it.
Hold the pencil horizontally. The tip Via email, John Bladen
ArtistsAndIllustrators
of the pencil will show you the point Weve had lots of responses following AandImagazine
your eyeline runs through on the an appeal for advice on how to paint
AandImagazine
scene in front of you. stripes. Well pop the answers on our
It is easier if you use only one eye website, so keep an eye out at
when squinting down the pencil. Of www.artistsandillustrators.co.uk

NITRAM CHARCOAL
READY WHEN YOU ARE...
"I like to be ready to draw right away when I encounter

an interesting motif in the landscape. So I sharpen my charcoal
before heading out. I usually keep 3 of each in a little wooden
box. Unlike other charcoal, Nitram holds its structural integrity
extremely well. When I am ready to draw, I'll have charcoal ready to use, not jjust
broken sticks lying about, which can be an annoying distraction.
Outdoors, I also use ground charcoal and a variety of brushes to work up

an atmosphere in my composition. Nitram is a lovely charcoal to grind into powder.
I grind the Nitram Fusains H, HB, B and even the Batons Moyens. I store them
in individually labelled salt shakers. They all have unique properties that add visual
interest to my drawings.
Nitram Charcoal is a wonderfully versatile medium. It's even better because it can
endure being lugged around while hiking.
After honing his craft as a Staff Photographer and Art Director for an independent action sports magazine in his
hometown of Cape Town, Nic emigrated to London in 2007. He spent the next few years focussed on photography
while nourishing his skills as a draughtsman. Nic now works as an artist with a focus on drawing and painting.
His work is in private collections around the world. Nic continues to work on his collections Mare Incognitum,
Terra Incognitum & A Light In The Valley. www.nicdejesus.com
NITRAM
TM
MC
www.nitramcharcoal.com FINE ART CHARCOAL

the diary
9 ARTISTIC THINGS TO DO IN
september
ENTER THE
COLUMBIA
THREADNEEDLE
PRIZE 2018
With a first prize of 20,000 and a

solo exhibition plus five additional
awards of 1,000 this prestigious
competition for new figurative and
representational art is a great
opportunity. Theres even a further
10,000 prize awarded by visitors
to the exhibition, which takes place
at Mall Galleries in London next
year. Enter fresh, topical artworks
before noon on 22 September.
OLIVER BEDEMAN/FINE ART SOCIETY
Turn to page 38 for our fascinating

interview with Columbia
Threadneedle Prize shortlisted
young artist Oliver Bedeman.
www.columbiathreadneedleprize.
mallgalleries.org.uk

the diary
TIM WILMOT
visit
5 Brighton Print Fair
A huge celebration of
printmakers and printmaking, this
new 10-day selling exhibition from
15 to 24 September will have
everything from classic printmaking,
letterpress and posters to
screenprinted gig posters and print
products. The addition of classes,
read
2
talks, demonstrations, one-day
Fahrelnissa Zeid: specials, a 20th-century
Painter of Inner Worlds printmakers exhibition, as well as an
Based on unprecedented access to in-house framer and a caf, will give TRAVEL
the artists private papers and
archive, and written by her former
JANE ORMES the event a fun, festival-feel.
www.brightonartfair.co.uk
7 Masterclass in
watercolour
student Adila Ladi-Hanieh, this Head to Venice on 26 September
comprehensive illustrated book for six days to explore watercolour
(Art/Books, 19.99) recounts the with Tim Wilmot. As well as tutor
noblewomans extraordinary career. demonstrations and one-to-ones,
www.artbookspublishing.co.uk you can also jump in and out of
painting to sightsee, too.
www.arteumbria.com
3 LEARN
Beginners oils workshop
Explore oil paint at a gentle pace
with two days of structured,
skills-based teaching at Norfolk
8 LEARN
Special Wild Life Drawing
Course: Close Encounters
Painting School from 21 to 22 of a Furry Kind
September 2017. Suitable for British Lupine dogs will be on site at
complete novices, youll learn a Dulwich Picture Gallery in London on
proved method, and take two 2 September for a life-drawing class.
paintings home with you. Accompanied by an artist and
www.norfolkpaintingschool.com canine behavioural scientist, you
can draw delightful dogs up close.
www.dulwichpicturegallery.org.uk
ENTER
4 Finnis Scott Foundation
Botanical Art Award Visit
Aimed at botanical art organisations
in the UK and Ireland, this award of
9 Coastal Currents
Arts Festival 2017
up to 10,000 will fund projects This month-long arts festival across
UGALD GRAHAM-CAMPBELL
that encourage the practice and d o nt Hastings and St Leonards features

appreciation of botanical painting. two Open Studios events, from
The deadline is 31 January 2018. m is s ! 2 to 3 September and 9 to 10
www.finnis-scott-foundation.org.uk September, to give you double the
chance to get a behind-the-scenes
FIONA GRADY
6 print
Introduction to Monotype
Get a taste for the fluid and
look at how artists work.
www.coastalcurrents.org.uk
expressive monotype printing

process with this practical course
lead by artist Kate Boucher at
Pallant House Gallery in Chichester.
On this weekend course, from 9 to
10 September, you will work from a
variety of imagery to explore a range
of mark-making techniques.
www.pallant.org.uk
EXHIBITIONS
SEPTEMBERS BEST ART SHOWS
LONDON first large-scale UK exhibition of the artists work. Manchester Art Gallery.
Sargent: The Watercolours Barbican. www.barbican.org.uk www.manchesterartgallery.org
Until 8 October 2017
The first UK show in almost 100 years dedicated ENGLAND NORTH ENGLAND MIDLANDS
to the watercolours of John Singer Sargent. Paul Nash Kaleidoscope: Colour and Sequence
Dulwich Picture Gallery. 9 September 2017 to 14 January 2018 in 1960s British Art
www.dulwichpicturegallery.org.uk The monumental Tate Britain show spanning the Until 24 September 2017
artists lifetime of work arrives in Newcastle. A touring exhibition of paintings and sculptures
Queer British Art 18611967 Laing Art Gallery, Newcastle. from the likes of William Turnbull and Bridget Riley.
Until 1 October 2017 www.laingartgallery.org.uk Nottingham Lakeside Arts. www.lakesidearts.org.uk
Explores how artists expressed themselves at a
time when sexuality assumptions were changing. Turner Prize 2017 Portrait of the Artist: Kthe Kollwitz
Tate Britain. www.tate.org.uk 26 September to 7 January 2018 13 September to 26 November 2017
This year, the annual show is staged outside One of the leading artists of the late 19th and
Fahrelnissa Zeid of London as part of UK City of Culture. early 20th centuries, she was noted for the
Until 8 October 2017 Ferens Art Gallery, Hull. www.tate.org.uk emotional power of her work.
Be mesmerised by the kaleidoscopic paintings Ikon, Birmingham. www.ikon-gallery.org
of the international female artist. Bradford Open 2017
Tate Modern. www.tate.org.uk Until 12 November 2017 ENGLAND south
Artworks in any medium from local artists. Romance and Rebellion:
Drawn in Colour: Degas from the Burrell Cartwright Hall Art Gallery, Bradford. The Art of the Victorians
20 September 2017 to 7 May 2018 www.bradfordmuseums.org Until 17 September 2017
A stunning selection of the Impressionists work. Exploring stylistic variations of the Victorian era,
The National Gallery. www.nationalgallery.org.uk Albert Moore: Of Beauty and Aesthetics including works by JMW Turner, Edward Burne-Jones
Until 1 October 2017 and James Abbott McNeil Whistler.
BP Portrait Award 2017 More than 20 paintings and watercolours of The Higgins Bedford. www.thehigginsbedford.org.uk
Until 24 September 2017 classical women.
Shortlisted paintings from the most prestigious York Art Gallery. www.yorkartgallery.org.uk BFG in Pictures
annual prize for portraiture. Until 1 October 2017
National Portrait Gallery. www.npg.org.uk The Edwardians See 40 illustrations that have been handpicked
Until 31 December 2017 by Sir Quentin Blake from his private archive
Basquiat: Boom for the Real Gathered from the gallerys permanent collection, of work.
21 September 2017 to 28 January 2018 this show illustrates the glamour, rural nostalgia Burton Art Gallery, Bideford.
A prodigy of the New York art scene, this is the and landscape of Manchester in the 1900s. www.burtonartgallery.co.uk
JaSPER JOHNS: Something

Resembling Truth
JASPER JOHNS, FLAG, 1958, ENCAUSTIC ON CANVAS, 105.1X154.9CM. PRIVATE COLLECTION
23 September to 10 December 2017
Jasper Johns has been central to American art
PHOTO: JAMIE STUKENBERG THE WILDENSTEIN PLATTNER INSTITUTE, 2017
since his first solo exhibition in New York in 1958.

This exhibition at the Royal Academy of Arts is the
first comprehensive survey of his work in the UK
JASPER JOHNS /VAGA, NEW YORK/DACS, LONDON 2017.
for 40 years, and includes more than 150

sculptures, drawings and prints. Known for his
iconic images of flags, targets, numbers, maps and
light bulbs, the artists use of iconography makes
the familiar unfamiliar, and his ground-breaking
paintings and sculptures helped to establish a
new direction in the art world.
Royal Academy of Arts, London.
www.royalacademy.org.uk

WILLIAM COLDSTREAM, GIRL REFLECTING, 1977, OIL ON CANVAS, PALLANT HOUSE GALLERY,
CHICHESTER (WILSON FAMILY LOAN, 2006) THE ESTATE OF SIR WILLIAM COLDSTREAM
william Coldstream:
measuring reality
Until 1 October 2017
A display of paintings and drawings by the English
realist artist from the significant collection of
Professor Colin St John Wilson. Commissioned
portraits, intimate figure studies, and architectural
and urban landscapes give a fascinating insight
into his focused and highly personal engagement
with his subject matter.
Pallant House Gallery, Chichester.
www.pallant.org.uk
GF Watts: Englands Michelangelo Stanhope Forbes: Father of the Newlyn School A private collection of many of the best
Until 26 November 2017 Until 9 September 2017 20th-century British artists.
Explore the major themes of the artists work: See 70 key works from an artist who helped National Museum Cardiff.
colour, cosmos and celebrity. develop a British art movement. www.museum.wales/cardiff
Watts Gallery and Artists Village, Guildford. Penlee House Gallery & Museum, Penzance.
www.wattsgallery.org.uk www.penleehouse.org.uk Journeys and Visions:
Twentieth-Century Artist Series
Power and Portraiture: Painting at SCOTLAND Until 15 October 2018
the Court of Elizabeth I Museography: Calum Colvin Reflects on A collection display ranging from Barbara
Until 29 October 2017 The McManus Collections Hepworth and Ben Nicholson to Picassos The
Images of Elizabeth I and courtiers demonstrate Until 29 October 2017 Artists Studio on loan from Tate.
how portraits can to inform public opinion. A series of strategically placed interventions Glynn Vivian, Swansea. www.swansea.gov.uk
Waddesdon Manor, Buckinghamshire. of intriguing photographic artworks.
www.waddesdon.org.uk The McManus, Dundees Art Gallery and Museum. Margaret Foreman
www.mcmanus.co.uk Until 16 September 2017
Take Five Still lifes depicting household items from
4 to 30 September 2017 Beyond Caravaggio the Goldsmiths-trained artist.
Work from five West Country artists including Until 24 September 2017 MOMA, Machynlleth.
acrylics, watercolours, mixed-media and sculpture. See works by the Italian master alongside www.moma.machynlleth.org.uk
Ilminster Arts Centre. www.themeetinghouse.org.uk those of his followers.
Scottish National Gallery, Edinburgh. IRELAND
The Art School: Group Show www.nationalgalleries.org Vermeer and the Masters of Genre Painting:
15 September to 11 October 2017 Inspiration and Rivalry
Celebrating painters and ceramists who have Looking Good: The Male Gaze from Until 17 September 2017
graduated from Falmouth University. Van Dyck to Lucian Freud Gain insight into the fascinating network of
Beside the Wave, Falmouth. Until 1 October 2017 relationships between Vermeer and Dutch genre
www.beside-the-wave.co.uk A selection of portraits on the theme of the painters from 1650 to 1675.
male image and identity. The National Gallery of Ireland, Dublin.
Seurat to Riley: The Art of Perception Scottish National Portrait Gallery, Edinburgh. www.nationalgallery.ie
Until 1 October 2017 www.nationalgalleries.org
Featuring 90 works spanning painting, sculpture, Looking at Landscape
light-based, prints and drawings produced over a WALES Until 11 February 2018
150-year period. Bacon to Doig: Modern Masterpieces Atmospheric works going well beyond the familiar
Compton Verney, Warwickshire. from a Private Collection portrayal of the natural world.
www.comptonverney.org.uk Until 28 January 2018 Ulster Museum, Belfast. www.nmni.com

INSP IRING NEW ART WORKS, STRAIGHT
OFF THE EASEL
ENDR RODER
Being born in Budapest in 1933 and studying at Malta
School of Art before moving to England in 1949 has given
this figurative painter a distinctive style. Emotive memories
of place and culture combine with a personal passion for
colour, decoration and composition to create a dreamworld
the artist says is based on a sort of mythical idea of a
mythical country vaguely in the Mediterranean.
Although inspired by the landscapes of his youth, Endrs
paintings are wrought entirely from his imagination. The
painter almost always goes straight in on the canvas: I
start with an arrangement of shapes and colours, and carry
on from there, he says. In Cynthia, a female figure inhabits
this land where a Mediterranean milieu is conjured in the
background as pears and flowers suggest the warming sun.
Bold brushstrokes and Endrs limited palette of bright
colours keeps this sense of passion building on the canvas.
And while he works from his head to create idealised
depictions of feminine beauty, theres a sense in which the
artists muse is constant. Every painting I do is my wife.
Weve been married for more than 60 years, he says.
Trained as a draughtsman and architect, the artist was
drawn back to his youthful love of art. He quit his career to
study painting in the 1960s, going on to teach the subject
before becoming a full-time artist in 1988. And the
freedom found in Cynthia is a testament to his continuing
exploratory approach. I always change direction, he says.
A painting isnt fully developed until you find something in
it that you want to collect. Its adjusting and readjusting.
Endr Roder: New Work is on display at Bath Contemporary
from 21 August to 2 September 2017. Endrs work is available RIGHT Cynthia,
from Quarr Gallery, Swanage. www.bathcontemporary.com; oil on canvas,
www.quarrgallery.com; www.endreroder.com > 45x55cm

M A S T ER C L A S S

SARAH SPACKMAN sumptuous tabletop scenes. The Euston Road School style
The subtleties of colour and a preoccupation with form that dominated at Camberwell suited Sarah and shes
pervade Sarah Spackmans work. In Centred, the deep, worked in a similar way ever since, constantly honing her
rich cherries seem to bleed into their surroundings; the powers of observation. Over the years, my compositions
paintings delicate, clean shapes are at once quiet and have simplified and the concentration has been on building
considered, yet also possess a bold energy derived from the structure of an object through colour, says the painter.
the artists careful creation of structure. Its no Centreds cool appearance is in part due to the board,
surprise then that, for the artist, painting is which the artist primed herself with gesso to give the
a way of understanding the world a chalky and absorbent surface she prefers.
way to really see.
to p tip Sarah is also particular about keeping her
This painting began from the colour-mixing clean. Although my paintings are
Ke ep the mi ddle of
cherries themselves, says Sarah. your palet te clean and calm, the colours need to sing and work
Often a work begins because I see mi x your paint s with together, she says. So I use a palette knife
something that catches my eye. I a palet te knife rather for mixing paint and then apply the paint to the
wanted the circular bowl to be the than a bru sh board with a clean brush.
centre and set it with pieces of paper And, as this painting shows, when you really take
and board that divide and give structure to the time to look, its more than possible for a scene to
the space around the bowl. be both quiet and powerful at the same time.
Trained at Byam Shaw School of Art and Camberwell Sarah Spackman and Linda Bloomfields exhibition Dialogues
ABOVE Centred, oil School of Art in London, the artist has painted still lifes is at Sarah Wiseman Gallery in Oxford from 9 to 30 September
on board, 25x30cm since school, after becoming enamoured of Czannes 2017. www.wisegal.com; www.sarahspackman.com >

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fresh paint
to p tip
Us e a fan bru sh
with a cir cular
motion to paint
flu ffy cloud s
PAUL NEWCASTLE a digital photo. With the smallest spots on the horizon line, ABOVE Sun King, oil
You dont have to wait for low tide, palette in hand, to this helped to produce the perspective he desired. on panel, 90x60cm
capture the beauty of a coastscape, as self-taught Portfolio Youll find similar marks forming the light that dances
Plus artist Paul Newcastle proves with his studio work Sun across the sea, created with varying
King. I dont live by the sea, but I love to look at it and shades of Daler-Rowney Titanium
painting it makes me feel closer to it, shares the artist, White, Lemon Yellow and Naples
who paints from his converted dining room in Staffordshire. Yellow. Where this streak of sunlight
An avid collector of sea photographs, Paul selected this meets the shoreline, the artist plays For your chance to feature in
view for its striking low eye-level perspective. He replicated with Titanium White, Colbalt Blue and Fresh Paint, sign up for your
this vantage point by concentrating on the angle of each Ultramarine Blue, applied at angles own personalised Portfolio Plus
brushstroke, continually stepping back from the painting relative to the perspective, to create page today. You can also:
and using a mirror to check the effects. the movement and texture of froth. Showcase and sell unlimited
To create a gradually darkening sky, he applied varying Its a combination of pale blue and artworks commission-free
amounts of blue, mixing the shades with a one-inch white, set off by the shadow line of Get your work seen across
stippling brush. Next, using a badger hair fan brush, the blue-brown-black, which allows the A&Is social media
paint was blended to form a smooth base on which to paint waterline to drive towards the viewer Submit art to online exhibitions
the clouds, wet on dry using a fan brush in a circular across the sand. In this painting, its Enjoy exclusive discounts
motion for fluffy formations. precision on a minute scale that brings and much more
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painting a series of fine dots, not dissimilar to the pixels of paulnewcastle register

United Society of Artists
94 Open Exhibition
th
The Menier Gallery, 51 Southwark Street

London SE1 1RU 5 9 September, 11am - 6pm
Artists working in all media are invited to enter up to 6 works at a submission fee of 12 per work.
Online submission deadline 10pm August 25th.
Full details available at www.the-ua.org.uk

DOWN TO
A FINE ART
We ask the winners of top painting
c omp etitions for the secrets to their
suc cess and disc over what winning
has meant for their art and careers
JORGE HERRERA
B P Port rai t Awar d 2 017

win n er: Benjam i n S ullivan
WORDS: NATALIE MILN E R
I
t wasnt actually conceived as a
breastfeeding painting thats
one of the really curious things. I
just wanted to do a picture of
them both, says artist Benjamin Sullivan of
his painting Breech!, which was selected from
2,580 entries across 87 countries to claim
first prize in the BP Portrait Award 2017.
Judges praised the work, which depicts his
wife Virginia nursing their young daughter
Edith at home, for its tenderness and
intimacy. Then eight months old, Edith would
wake up grumpy and Virginia would nurse her ABOVE Benjamin
to calm her down, so this was the pose that Sullivan with his
stuck, reveals the Grimsby-born artist, who wife Virginia and
now lives in Suffolk. The painter also says the daughter Edith at the
work depicts a time when a sense of calm BP Portrait Awards
descended after the usual period of RIGHT The All Souls
disarrangement that new parents face and Triptych, oil in linen,
captures the new love in their lives. And > 175x265cm

WINNER
S PECIA S
L
BENJAMIN IS NO STRANGER
TO THE BP PORTRAIT AWARD,
HAVING BEEN SELECTED 12 TIMES

there are echoes of Madonna and Child

paintings through the ages but, this time, the
father is present behind the canvas.
Benjamin is no stranger to the BP Portrait
Award having been selected a massive 12
times, coming third in 2016, but Breech! is
the first win for the Edinburgh College of
Art-trained painter. The work took more than
20 snatched sittings over three months at his
studio in the couples small cottage. At the
first sitting, Virginia happened to be wearing
Benjamins dressing gown. It suited the
palette he was after, and so the scene was
set. It would also act as a gentle reminder of
the father outside the frame.
I wanted the palette to be really
restrained and the flesh to sing. It was going
to be dark in the corner of my studio and that
dressing gown fitted in well, explains
Benjamin. He only used natural sunlight,
letting the skin tones shine alongside Ediths
ABOVE Breech!, oil golden hair. He knew the corner well, having
on canvas, 82x40cm painted many portraits there before.
TOP RIGHT Michel This attention to detail comes through in
Strauss, oil on linen, the portraits face, hands and feet. The
98x62cm former he finished very early on. My process

MORE WINNERS being very happy with the energy of it, and The resulting work will be displayed in the
FROM THE
wishing I could continue working on it. BP Portrait Award 2018 exhibition. For Jack
www.henrychristianslane.com (below right), he stood his nephew on a chair
BP PORTRAIT BP TRAVEL AWARD 2017
in his parents house, creating a moment
AWARD 2017
where he was in a familiar environment but
WINNER: CASPER WHITE experiencing it in a different way. By painting
Jack, oil on zinc, 40x30cm lightly and quickly on a zinc etching plate, he
Casper claimed this prize for a proposal to created an unconventional surface, hoping
BP YOUNG ARTIST WINNER: create works about music fans in Berlin and light would reflect through the transparent
HENRY CHRISTIAN-SLANE Mallorca, representing a subculture not paint to give the effect of a fleeting moment.
Gabi, oil on board, 25x20cm traditionally recorded in portrait paintings. www.casperwhite.com
In preparation for this painting, 26-year-old
Henry Christian-Slane asked his partner
Gabi to pose in a number of positions before
suggesting she close her eyes. It was a bold
move, but one that paid off. I liked how the
light fell over her face and the contemplative
but slightly frowning expression, which I
tried to preserve, says Henry. Painted en
plein air on the deck of his parents house in
Auckland, New Zealand, the black stain
fence and overcast weather created a
poignant mood. I was conscious of bias
couples have about each others
appearance, says Henry. I shift between
IN THE FIRST SITTING FOR BREECH!,

VIRGINIA HAPPENED TO BE WEARING
BENJAMINS DRESSING GOWN
is kind of disjointed, says Benjamin. I try to domestic and non-academic staff at All Souls experience was a moving one. I normally
work it all up at the same time but you cant College, Oxford. For The All Souls Triptych, remain very practical about Bens portraits of
help but get drawn into certain areas. I staff sat for him individually three or four me; after all, they are created to go and live a
always start with the head. times. He situated the figures in imagined life elsewhere, says Virginia. Breech!,
A sense of familiarity flows throughout his settings that borrowed motifs from the however, quickly felt deeply personal. I didnt
work, from the same restricted colour palette college and it helped that he lived and anticipate quite how intimate it would feel to
to the home environment, ritual sittings and worked there for 18 months. I was able to be settled in the studio together for great
Virginias relaxed pose. His wife has modelled observe members of staff at all times in an lengths of time as a new family.
for him a number of times the judges may unobtrusive way, taking account of Whether or not the artist set out to create
have recognised her from one of his previous idiosyncrasies and nuances of character, he a breastfeeding painting, its garnered plenty
submissions but Benjamins art is not explains. Benjamin wanted to give an of praise from parents for bringing the reality
always a family affair. account of peoples day-to-day activities: to of new parenthood on to the canvas. We may
The painters entry into the art world was celebrate them as individuals and elevate live in the age of social medias glamorised
relatively smooth. His degree show at their work. Its a direction not dissimilar to his projections of the family unit, but theres no
Edinburgh College of Art led to a couple of mother and child portrait, which juxtaposes doubt that the time and love behind this
commissions. He painted a distinguished scattered childrens building blocks with a painting will outlive a casual selfie.
local judge, whose colleagues saw the strong symbol of maternal bond, which See Breech! at the BP Portrait Award 2017
picture, and so the trail of work continued. helped make his winning portrait stand exhibition at the National Gallery, London,
But it was in 2008 that Benjamin took on his above the rest. As a viewer you are invading a until 24 September 2017. www.npg.org.uk;
biggest challenge yet a group portrait of the special, private moment. As a sitter, too, the www.benjaminsullivan.co.uk >

ERS
WINN AL
S PECI
BBC s T h e B ig Pai nti ng
Chal l enge wi nner :
Suman K aur
WORDS: Amanda Hod ges
S
erendipity seems the right word to
describe Suman Kaurs
participation in the BBCs The Big
Painting Challenge, which aired
earlier this year. She emerged triumphant
after tackling a diverse range of tasks, from
portraying the fluid movement of a ballerina
and a herd of elephants in motion to
capturing a city view while bobbing up and ABOVE Evan, acrylic on BELOW Suman Kaur
down on the Thames. Since winning the TV board, 39x41cm was crowned winner
show, shes been consolidating her success, LEFT Nan, acrylic on of the BBCs The Big
having recently been shortlisted for the board, 60x40.5cm Painting Challenge
Sunday Times Watercolour Competition.
How did you get involved in the And what made you decide to embrace
BBC programme? life as an artist?
I was having coffee with my best friend During my time in orthotics I met a lot of
James and mentioned I had just weeks left at people who had regretted not following their
work [Suman was then working in orthotics dreams as long-term illnesses stopped them
and prosthetics] and needed to think about continuing with hobbies, and this changed
progressing with my art. I told him that a my perception. Life is too short. I never want
friend had found BBC auditions and said I to take my life or talents for granted.
should be taking things more seriously and
researching opportunities. I sipped my coffee Were you always interested in art?
and looked up at James who was staring at The journey started when I was eight and told
me with his mouth half-open. He asked why the class at primary school I wanted to be an
wasnt I applying? We had a 20-minute artist when I grew up. Later, Id be on the
debate, which he won by handing me his train to work drawing passengers,
laptop and refusing to leave until I had filled approaching galleries clutching my portfolio
out the form. His reaction was priceless and being turned away. And I had to convince
when I got through and won. I really owe my parents I could reach my dream of being
him a beer. an artist. Ive always been passionate about
art, however it didnt occur to me then that
What led you into prosthetics and what did being an artist was a viable career choice.
you learn there that you use in your work?
In sixth form I was looking for a practical, And what was the filming experience like?
rewarding career where I could use The competition helped a lot with confidence.
problem-solving skills to improve peoples Before, Id done a handful of paintings but >
lives. I was advised I might prefer working
I WAS RELUCTANT TO
with patients for ongoing rehabilitation
needs. I learned much about people, the
PICK UP A BRUSH. THE

human spirit, movement, mechanics, and the
strength of people coping with loss of limbs
or illness affecting mobility. What I hope to
carry into my work is this sense of humanity, STAGES FORCED ME TO
a spark of life. My experiences in healthcare
are an invaluable source of inspiration. PAINT AND I ENJOYED IT
LEFT Lady, coffee on
paper, 42x59cm
BELOW Man on Train,
pencil on paper,
14x10cm
was reluctant to pick up a brush, Id stick to Acrylics offer the flexibility to be gestural,
dry media. The stages forced me to paint quick, messy and to layer to create depth;
and I started enjoying this more. There were this vibrancy pushes me out of a boring
ups and downs, and it was challenging, but palette. I also have a soft spot for charcoal.
I am glad I was chosen. The crew became like When I worked in prosthetics, I was
a small family and I didnt notice their work constantly thinking of different materials and
while the challenges were occurring. how they would work in an artistic way. I have
tried everything, including shoe polish but SUMANS
Do you have a guiding philosophy as an that wouldnt have stood the test of time, TOP TIPS FOR
artist and who inspires you?
I would say that the driving force is a need to
so I moved on.
I love working with found materials and EMERGING
be heard. A few people told me no-one would making something beautiful from nothing. ARTISTS
care for the paintings of my nan but I carried I find figurative work rewarding because you
on, and now shes more famous than I am.
I want to present someones image on
material that is overlooked or discarded,
need a lot of skill to get it right. My work is
still developing but I would say that people
are at the centre of it. I just got added to a
1 Care about the quality of the work
that you produce.
I like the idea of making a stranger mean

something. I see a lot of discrimination
nowadays and want people to care about
list of figurative expressionists maybe
thats what I am. 2 Always question why you are making
something and what you want to say.
people again. Im inspired by Jenny Saville,

Caravaggio, Edgar Degas, Francis Bacon,
David Hockney, Lucian Freud, Michelangelo
And your plans ahead?
I dont just want to be the girl who won the
competition on telly. Id like to get to a point
3 Constantly work to improve your
skill whether that be painting,
drawing or printmaking.
and Jonathan Yeo any artist who pushes where Im addressing a critical audience,
skill or the realities of life in your face.
What medium do you most enjoy working in

creating work thats well-respected and
thought-provoking. People are interested in
my work, all I have to do is keep my head
4 Balance skill with effects.
Experimenting is good but dont
rely on it too much.
and why? focused on the most important thing:
I love acrylic; although I painted in oils on the
show I still need more practice with them.
creating the best art I can.
www.sumankaurart.com > 5 Dont be discouraged by failures.
They are the path to success.

Sky artS P or tr ai t Ar ti s t of t h e Ye ar WINNER
win n er: Gar eth R ei d S PECIA S
L
WORDS: Amanda Hod ges

YOURE ALWAYS TRYING TO GET
PEOPLE TO SEE YOUR WORK
LEFT Look Like a
Building, charcoal on
canvas, 70x105cm
RIGHT Portrait of
Graham Norton, oil on
canvas, 105x135cm
FAR LEFT Northern
Bather, oil and
charcoal on canvas,
49x60cm
PREVIOUS PAGE Justice
Cheema-Grubb,
charcoal and pastel
on canvas, 75x105cm
NATIONAL GALLERY OF IRELAND
W
hats the old adage? If at His experience as an art tutor meant working was definitely a very good thing because I
first you dont succeed, try, on the Sky TV series wasnt as daunting as it didnt feel much pressure.
try, try again. On his second could have been. I was used to working in Television has boosted his profile. As an
attempt Gareth Reid, an front of people from teaching portraiture and artist youre always trying to get people to
artist and art tutor from Glasgow, achieved doing demonstrations from life. see your work and thats the thing Portrait
the distinction of becoming Sky Arts Portrait Towards the programmes finale Gareth Artist of the Year has helped with the most.
Artist of the Year. The whole Sky experience discovered his last subject, Graham Norton, I now have a list of portraits well into 2018.
was great I miss it, he says enthusiastically. was actually a relative; the chance to paint His future philosophy is simple. I want to
It was stressful and exciting, but provided him for a permanent display in the National keep trying to do good work, getting
days that will live long in the memory. Gallery of Ireland being part of his prize. interesting sitters, travelling a bit and
Encouraged by his students, Gareth had Working out Graham and I were third hopefully have shows in London or further
entered the competition before, but hadnt cousins was a tad strange. There was so afield, he says. And who would he now like
progressed. I enjoyed the experience first much serendipity throughout and that was to paint? Hes keenly hoping it might be Andy
time around and, although I didnt get the pinnacle. He was given two months to Murray. A lifelong tennis fan, I have lived in
through, I was close. I decided if they did paint the portrait. I didnt think too much Scotland for over 20 years and he needs to
it again Id have another crack at it. about its destination or about how many be painted. It just makes perfect sense.
Perseverance paid off and he was crowned people would see it, says Gareth, which www.garethreid.co.uk
the winner after completing a number of
challenging assignments that included
portraits of TV presenter Adrian Chiles and
actor Tom Courtenay. GARETHS QUICK GUIDE
One of the things that distinguished
Gareths work was his choice of medium;
TO DRAWING PORTRAITS
hed often draw rather than paint during the
competition. I use mainly charcoal and often
pastel on canvas. I love it because of the
1 Stand back from your work to check for
accuracy and to compare it to the sitter.
Your mistakes will jump out at you.
4 Dont forget all the stuff in-between:
the eyes, nose, mouth and ears. These
make the portrait solid and believable.
feeling and variety of what can be achieved Look hard at the cheeks, brow, chin and
with such simple tools.
He adds: I knew Id be an artist from a
young age. I was always drawing so I suppose
2 Keep correcting and moving elements
until the end. Theres no point having a
polished, beautifully shaded drawing if the
temples, as well as the interlocking shapes
that they make. Remember youre not just
making a visual inventory of features
I just continued when most people stop. I heads badly proportioned and ill-observed. floating in space.
went to art school in Belfast then Glasgow,
with a brief stint in Florence for some
intensive atelier-style drawing. After I
graduated, I stayed on in Glasgow, got myself
3 Use a mirror to look at work for more
distance and perspective. You often
get too close to see problem areas and
5 Get involved in the drawing: rub out,
draw over, blur with your hand, make
marks. With less fear and preciousness,
a studio and started working on exhibitions. this is a great cheap tool that can help. a more interesting drawing will result.

Artists &
ARTISTS
I L L U S T R A T O R S
OF THE YEAR 2018

READY TO TAKE THE NEXT STEP WITH
YOUR ART? THIS MONTH, WE L AUNCH
OUR 10TH ANNUAL C OMPETITION
BRINGING YOU THE CHANCE TO WIN
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OWN
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O
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Illustrators the chance vouchers from STAEDTLER.
to gain national exposure for
their art. The overall winner will JUDGING
take home 1,000 cash and get Submissions close at noon on
a solo exhibition at Panter & 3 November 2017. A shortlist will
Halls London gallery. Situated be drawn up by our panel of
on Pall Mall, this prestigious judges, which includes Tiffany
gallery has a wonderful portfolio Panter and Matthew Hall of
of contemporary British talents. Panter & Hall and Artists &
Artists in second and third Illustrators editor Sally Hales.
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choice winner, will also claim vote for shortlisted works at www. TOP TO BOTTOM
great prizes. All 50 shortlisted artistsandillustrators.co.uk/aoty. Last years
artworks will be displayed at Mall winning painting
Galleries, London, from 18 to 24 HOW TO ENTER by Anna Perlin;
February 2018. Remember, if the 2017
you are a member of Portfolio 1. ONLINE exhibition at
Plus, you can enter unlimited Take a digital photo of your Mall Galleries
artworks free of charge. Visit artwork(s). Go to our website at
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little as 2.49 per month. Entries artwork, unless you are a
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A DV E R T I S I N G F E AT U R E
With 12 stores across the UK in vibrant and creative cities,

as well as an online store to offer artists an extended range
of materials, the retailer is committed to encouraging
everyone to realise their creativity. Working with the worlds
best suppliers, manufacturers and artists, it offers
best-quality materials at guaranteed lowest prices, to
make art accessible for all. The Cass Art Collection of
own-brand products offers artists pencils, pastels and an
award-winning paper range, born through a longstanding
partnership with Angus Hyland at Pentagram. This year,
Cass Art c ontinues its mission to it will expand the range into oil, acrylic and watercolour as
sup p ort artists by help ing to bring well as a new artists range of canvas.
our annual c omp etition to life Cass Art believes in the power of art, and knows the
freedom and joy it brings. The Cass family has supported
artists for more than 100 years Marks great uncle, Paul
Cassirer, championed the Impressionist movement in
For its 10th anniversary year, Cass Art will again be Europe and showcased the first exhibition of Van Gogh
supporting Artists of the Year. The UKs leading art paintings in Germany. Marks father, Wilfred Cass, founded
supplies retailer will be presenting the 1,000 overall the Cass Sculpture Foundation, a British charity devoted
winners prize on the evening. to the promotion of 21st-century British sculpture through
We are extremely proud to be first prize sponsor of public commissions and exhibitions.
Artists of the Year 2018 and to celebrate the 10th year of For more information on the Cass family history,
the competition, says the companys owner Mark Cass. visit www.cassart.co.uk/CassFamilyHistory
ABOVE Winner of Supporting artists is at the heart of everything we do at
the Artists of the Cass Art. Were excited to be part of one of the broadest
Year 2017 Anna call for entries today and the works chosen by Artist &
Perlin receiving Illustrators are no doubt going to make for a phenomenal THE CASS FAMILY
her Cass Art prize show again this year. I look forward to seeing the finalists HAS SUPPORTED
INSET Cass Arts debut solo show at Panter & Hall.
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ve visited art fairs featuring suppliers who
ARTIST
offer taster sessions for people to test the
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ART FAIRS CAN BE A GREAT RESOURCE IF YOU KNOW
My approach to taster classes is to be a
HOW TO APPROACH THEM, SAYS L AURA BOSWELL
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you are a beginner, a short taster can be a great
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booster if you havent picked up a pencil in
years. Remember they are aimed at selling
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You might pick up ideas that are useful, but
its your creativity thats important, not a clever
way with a particular medium. You may also
hear dos and donts about the materials. Where
these rules affect the physical durability of my
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Make the most of sales people. They are the
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and, believe me, working on a stand is more fun
when people ask tricky and unexpected
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Its worth having a notebook for jotting down
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HOME STYLE
Family life has
always fed
into Michaels
creative work
IN THE STUDIO Memories are at the

heart of what you draw.
MICHAEL
How do you bring them
to life on paper?
My memories are
FOREMAN almost always visual.

Magazines and
newspapers used to
THE AWARD-WINNING CHILDRENS send me to amazing places such as the Himalayas and the
South Pacific. I never took anything to read on the plane as
ILLUSTRATOR SHOWS US ROUND HIS
I didnt want to occupy my mind I daydreamed. I was
WORKSPACE AT HIS LONDON HOME.
inspired by the places I went, the people I saw and folk
INTERVIEW: NATALIE MILNER.
stories I heard. Now, I often leave a notebook by the bed.
PHOTOS: TOM DUNKLEY You dont often get enough from a dream, but sometimes
the notes join up over time like a jigsaw puzzle.
How long have you worked in your home studio in Putney?
Weve lived here for 10 years. The sun is on the studio all You studied decorative graphics at the Royal College of
day; its a nice place to be. My first Kensington studio was Art in the 1960s. What were your major influences?
brilliant. It was a real artist studio from the Victorian period, There was a student working on a small painting and I
which was perfect until we had a baby. asked him, How much? He grinned and said, a fiver.
I bought it. His name was David Hockney. He was
You have always worked from home. How has this helped
your work?
I think the family aspect was very fruitful. My children were
a fount of ideas. My book, War Boy, came about because I THOUGHT IT WAS VERY IMPORTANT
my sons were asking, What was it like when you were a
little boy? I started remembering things. Its like releasing TO LEARN HOW TO DRAW PROPERLY.
a cork from a bottle: each memory is like a bubble, you ITS THE BEDROCK OF EVERYTHING
write it down, it bursts, then another one bubbles up,
and soon theres a book.

IN THE STUDIO
SHELF LIFE
Translated
editions of the
illustrators
books line
the walls
hell set the story in the measure and point size, allowing
gaps. Then Ill draw it out full-size in watercolour.
Do you illustrate a book chronologically?

I try to, but its interesting that Michael Morpurgos stories
often jump back and forth in time. For example, in Lucky
Buttons, a book Im working on with the Foundling
Museum, the style varies throughout but I painted all the
muted drawings together and the brighter ones as a set.
Why do you also have a studio in Cornwall?

We live between the two. I had a wonderful studio there but
we downsized a year ago to a little cottage were doing up.
The top floor is my workspace: one end is all glass and
overlooks the whole of St Ives Bay. Its a magical place. I
go outdoors to draw and work on the paintings
inspirational as a person. Because I trained as a painter, back at the studio.
I gravitated towards the painting studio and the life-drawing
classes. I thought it was very important to learn how to Why do you think your long-term
draw properly. Its the bedrock of everything. collaboration, and friendship,
with author Michael Morpurgo
Theres a range of materials in your studio. Why do you works so well?
turn to watercolour for your illustrations? He writes great stories full of
I occasionally paint in oil for myself. People say wonderful pictures. He used to
watercolour is a tricky medium because you cant alter send them in an exercise book
your mistakes, but I cover them with pastel. The more and there was a very personal
pastel you see, the more mistakes Ive made. I use connection with this
bright white paper to illuminate the watercolours and fine handwritten work. He visits the
brushes, but I like the unpredictability of using nice big studio. I may make a comment on
ones with a lot of water for the sky. By putting one wet BRUSH WORK something in the story; he might
colour against another you can get interesting effects. Michael is see something in my rough sketch
a long-time that hell elaborate on in the text. I think
Can you talk us through your process? collaborator its special that while were working on one
I read through the manuscript and underline the bits that of childrens book were often talking about the next: theres
could be illustrated. They need to be evenly distributed writer Michael a collaboration before we even get to the book at all.
throughout the story. I then take preliminary thumbnail Morpurgo See more of Michaels illustrations in A Life in Pictures,
pencil sketches to the publisher, meet the designer and Pavilion, 20, and Travels with my Sketchbook, Templar, 17.99.

ALL IMAGES: OLIVER BEDEMAN/FINE ART SOCIETY
BACK TO
NATURE
BOY
drawing insp iration from
the masters and riffing
on his own work, Oliver
Bedeman is growing in
c onfidence ahead of
his first solo exhibition.
He talks c olour,
c omp osition and gl ass
painting with Steve Pill
U
nder the harsh fluorescent lights of
Oliver Bedemans boxy East London
studio, one portrait stares out from
the back wall and meets our gaze
as we enter. A male figure is sat, arms folded,
on what appears to be a tube train seat, albeit
STEVE PILL
one rendered suggestively, like the fragment
of a dream. Not even the canary yellow of the
woman beside this figure can distract from the
piercing stare and ambiguity of his expression. appears to enjoy riffing on old compositions. I always like ABOVE Oliver Bedeman
This is Nature Boy, one of a cast of characters and to have one painting Im working on with the Nature Boy pictured in his East
stories that recur throughout Bedemans portfolio. The theme, he explains. If I revisit it, I can hopefully do London studio
painting was inspired by the song of the same name, first different things and discover new ways of capturing the LEFT Nature Boy
recorded by Nat King Cole, which features lyrics about a intensity of his gaze. I need to think about those stories 2017, oil on canvas,
very strange, enchanted boy who was a little shy and or characters because otherwise the painting would 155x100cm
sad of eye, but very wise was he. become a bit dead.
Its a description that could easily be applied to Oliver Viewed up close, Olivers paintings are anything but
himself, a thoughtful, methodical and occasionally lifeless. The textures he achieves in his more traditional
seemingly preoccupied young artist who has been gaining canvas paintings are remarkable. Passages around the >
plaudits for his painterly yet graphically composed
portraits in oils. In 2016, he staged a successful show at
Norwichs Fairhurst Gallery and made the shortlist for the
Columbia Threadneedle Prize, which has a lead to a THE TEXTURES
forthcoming solo exhibition with the Fine Art Society on
Londons New Bond Street this September. HE ACHIEVES
The new Nature Boy is one of 28 works being readied
IN HIS CANVAS
PAINTINGS ARE
for that exhibition and the arrangement is similar to a
2014 version, which was first shown in the Fairhurst
Gallery. Much like the crooners who found new ways of
reinterpreting the Great American Songbook, Oliver REMARKABLE
I LIKE TO
FOCUS ON
A COUPLE
OF COLOURS
AND SEE
HOW THEY
WORK
TOGETHER
figures can appear almost like watercolours, such is the at Laventie in the Imperial War Museum. So time
fluid staining he achieves with thinned oil paints, yet the consuming was the process that the war artist famously
herringbone weave of the linen surface shows proudly claimed he had travelled some 500 miles while
through, adding a pleasing structure to wilder areas. stepping around the frame to view the front of the picture.
In contrast, his oil-on-glass works showcase his more Oliver uses standard sheets of glass pre-framed by the
meticulous side. Painting on glass means applying the Fairhurst Gallery. The glass is sanded and degreased
oils to the reverse of the support, so a greater degree of prior to applying the oil paint in thin layers. Gloves are
control and planning is needed. You paint the eyelashes worn to avoid unnecessary fingerprints, and colours are
first and then you work backwards, explains Oliver. The mixed without the addition of white spirits or turps. I try
outcome is the reverse to what you see as youre painting. to avoid applying too many layers because I worry that,
He was inspired to try this after seeing Eric if the oil is moving through the layers, they might crack.
Kenningtons epic 1915 glass painting The Kensingtons I keep it to one layer as much as possible.

FAR LEFT A Bar in Colour is an important aspect of Olivers practice.
France, oil on canvas, For a long time he shied away from it, producing almost
130x120cm entirely monochrome paintings for his degree show.
LEFT Lucy I, oil on Learning about his palette has been a slow process,
glass, 94x64cm he admits. I like focusing on a couple of colours and
BELOW Saint seeing how they work together. In recent years,
Augustine, oil on Phthalocyanine Blue and Cadmium Orange, the latter
canvas,122x96cm always from Michael Harding, have often been the two
dominant hues. I try to buy new colours but it takes me
a while to get used to them. Familiarity pays off and
allows him to create more nuanced shifts in colour.
Olivers growing confidence is evident in all aspects
of his approach. After years working from photos and
drawings, he is now painting from life using his brother,
wife and friends as models, even studying a human skull
given to him by his doctor grandfather. Compositionally
he is exercising increased control too, still working
sections of interesting patterns from clothes or fabrics
into his images, while leaving swathes of canvas more
suggestive. Given many artists struggle to put the brush
down and resist tinkering, I wonder if Oliver knows when
to stop? Yeah, I do, he says, surprisingly firmly, and then
laughs. I like to move on.
Oliver Bedeman Song of a Stranger runs from
12 to 29 September at Fine Art Society, London W1.
www.oliverbedeman.com; www.thefineartsociety.com
In the studio, the white of the walls aids the slight

transparency of the paintings, really making them pop,
but Oliver is anxious about how they will translate on the
darker walls of the Fine Art Society. The exhibition will be
on the first floor and they normally show 19th-century
paintings up there, he says. Ill have to put a backing
board of white behind them, because the white [wall of
his studio] acts like a primer. As soon as you see the
painting against a different colour, it changes the effect.
Oliver has spent much of his time in the company of
Old Masters. After completing a BA in Fine Art Painting at
the University of Brighton and a postgraduate year at the
Princes Drawing School (now the Royal Drawing School),
he taught for a while and worked at Bonhams auction
house, before landing a job with fine art dealers Richard
Green. That was a real learning curve in art history, he
recalls. They had Monet painting and drawings, a few
Bonnards that were amazing, lots of old Dutch masters.
It was a very inspiring place to work.
In fact, it was only after the Fine Art Society offered
Oliver the exhibition last September that he was able to
turn to painting full-time. But he has since maintained
his nine-to-six work ethic and often references the Old
Masters in his compositions, from the affectionate
Rubens homage of Saint Augustine, to the bearded men
populating A Bar In France that echo those in Henri de
Toulouse-Lautrecs At the Moulin Rouge. Contemporary
influences include Yorkshire painter Ryan Mosley and
Lynette Yiadom-Boakye, who paints in a studio in the
same building as Oliver. I love the way her characters
work together in an exhibition. Sometimes the paintings
are repetitive three pictures of the same girl on a couch,
say but they just seem to be really having a
conversation. Shes very inspiring.

10 MINUTES WITH
ROSIE SANDERS
THE BOTANICAL ARTIST EXP L AINS HOW THE NATURAL
WORLD INSP IRES HER TO CREATE BEAUTIFUL ART WORKS.
INTERVIEW: SALLY HALES. P HOTO GRAP H: GUY HARROP
Youre mainly self-taught. How did you hone Youre also a keen gardener. Do you think
your watercolour skills? this feeds into your understanding of the
I did art at school and then spent a year at a subjects that you paint?
provincial art college near where I lived. It I like gardening and anything that means
was a very varied and rather general course, being outdoors. Gardening for me is quite
and I cant say I remember much about it. We a creative thing, and I like seeing how plants
did some photography, dress design, grow and relate to one another. I enjoy
life-drawing and sculpture. After that I got putting colours together. I think seeing
married and had my son, so my art career plants growing helps my understanding of
ceased for about 10 years. My skills, like any their characteristics and I prefer that to
other, have been honed by practice. using florists flowers.
What drew you to botanical subjects? Were You famously published a book featuring
they always your main focus? 144 varieties of apple. Is this kind of
I began to paint botanical subjects more for comprehensiveness typical of your process?
reasons of practicality than intent. I was I dont think so. I began the apple book in the
living in a small flat in Hampstead, London, late 1970s out of a feeling of loss and
and it was something I could do in a sadness at the disappearance and
restricted space with a small child to look destruction of all the old orchards and the
after. Having said that, I grew up in the wealth of history that went with them. All
country surrounded by plants and my mother those wonderful apples had been replaced
was a very keen gardener. I wasnt by a handful of tasteless travesties. This still
particularly passionate about flowers, it was applies somewhat, certainly as far as the
more landscape and nature generally. supermarkets are concerned, but thanks to
organisations such as Common Ground,
How do you keep finding fresh inspiration orchards have been replanted and interest
in your subject? has been renewed. It is the only project I
It isnt always easy. Sometimes I cant find have done in this way, and it is one of the
any at all, but I dont think it is a continuous best things I have achieved.
process: there are creative times and fallow
times. Inspiration can come unexpectedly Your new exhibition at Jonathan Cooper
by seeing something that triggers an idea. features work in charcoal. What drew you
For me, it is usually the play of light on to working with the medium?
something, or shapes and patterns. I have always liked monochrome images
photography, film, etchings and I like the
Many of your works are on a larger-than-life intense black that charcoal gives. If I could
scale. What in the subject do you think find something blacker I would use it.
demands the big size?
For me, the subject has to have a strength Are there flowers or plants or other
and presence that lends itself to being drawn subjects you would still like to paint?
on a very large scale. I dont feel delicate I am not drawn to paint something in this
things such as wild flowers necessarily work way, subject first. I dont think Oh I would
this way. I have always enjoyed like to paint a hellebore, and go and look
macrophotography, and been fascinated by for one. My subject could be anything, it
altering the scale of things. Being the size we just happens to be plants.
are, we see things on a certain scale but if Rosie Sanders exhibition Secret Letters
we were tiny insects, for instance, it would is on display at Jonathan Cooper, London,
look quite different. This fascinates me more SW10, from 23 September to 14 October 2017.
than just painting things large. I am saying to www.jonathancooper.co.uk;
the viewer, look at this in a different way. www.rosiesanders.com

INSPIRATION
CAN COME
UNEXPECTEDLY
BY SEEING
SOMETHING THAT
TRIGGERS AN IDEA
- USUALLY THE
PLAY OF LIGHT
sketchbook
september TIPS ADVICE IDEAS
BE SMALL BUT BOLD
Acrylic artist Terence Cl arke offers

his advice for painting with freedom
TERENCES TIPS FOR

USING ACRYLIC LAYERS
Because this medium dries quickly, you can
be outrageous and put layers of paint on
top of each other. Heres how:
Use a warm underpainting.
Dont completely cover the underpainting.
Let it harmonise with the top layers.
Play with cubistic shapes for the drawing.
Scratch into the surface.
Create dramatic contrasts by using black.
Work quickly so the painting comes
A STILL LIFE AT SPEED together unselfconsciously.
Quick, small paintings are an invaluable tool. As there is no
huge commitment in terms of scale, you can be free and
bold. This arrangement of objects (above) occurred
accidentally; it was the leftovers from another still life.
While its colourful, it uses greys to promote the bold
flashes. Acrylic greys are very clean unlike oil, which can
be muddy. Theres also a variety of tone and I used the
acrylic as a glaze around the pear and orange to soften
outlines. This quick study gave me ideas for a new painting.
www.terenceclarke.co.uk

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PORTRAIT OF DAVID TINDLE AS A BOY, OIL ON CANVAS,

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If your aim is subtlety, youll need more naturalistic. Its design is held together by a muted
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such as reflections in windows. SLEEPERS Portrait of David Tindle as a Boy is on display as part of
Blind contour drawing making These make good John Minton: A Centenary until 1 October at Pallant House
a continuous line drawing subjects, staying still and Gallery, Chichester. www.pallant.org.uk
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notebook
sketchbook
THROW IN
THE SPONGE
Liberate the humble sponge from
dishwashing duties and discover
its painterly potential. Use it like
a stamp with watercolour to add
CHRIS WARHAM / ALAMY STOCK PHOTO

texture or to moisten paper with
a dilute colour for more wash-like
effects. On a still-wet painting,
sponges can also help to remove
unwanted colour.
CAMILLE PISSARRO, A WASHERWOMAN AT RAGNY, OIL ON CANVAS, 45.7 X 38.1CM

GIFT OF MR AND MRS RICHARD RODGERS, 1964/METROPOLITAN MUSUEM OF ART
WHY NOT
MIX YOUR INK?
Colour is subjective and the search for a
WHAT IS POINTILLISM? perfect ready-mixed shade may be futile, so
dont be afraid to mix. Intaglio Printmaker
also did this in search of the perfect grey.
This technique has nothing to do continuous texture. The ambition The result was this graphite (above), which
with subject matter its all about was to produce a greater degree of works beautifully with a touch of black or
how you apply paint to a canvas. luminosity and brilliance as colours silver. Be brave when creating new colours:
Invented by George Seurat and Paul blend in the viewers eye rather you might be rewarded with a perfect print.
Signac in the 1880s, pointillism than on the canvas, as can be Intaglio Printmaker stocks a vast
consists of dabbing small quantities seen above in Camille Pissarros range of ink colourways.
of pure colour across an entire 1893 painting A Washerwoman www.intaglioprintmaker.com
canvas to achieve a uniform and at ragny.
ON THE BLOCK
Landscape artist Nic De Jesus never leaves the studio without his Nitram Sharpening Bloc
When I am working quickly due to weather conditions, I find a sharpening
block a versatile tool, says Nic. It doubles as a charcoal sharpener,
an eraser cleaning tool and I even dip brushes in the charcoal powder
left on the surface to add atmosphere to drawings.
www.nicdejesus.com; www.nitramcharcoal.com

To p t i p sy image
Fo r a b u ting
rconnec
with inte add
it pays to
shap e s , v oid
arly to a
colour e n
confusio

MASTERCL ASS
GLORIOUS
GARDEN GREENS
anne-Marie Butlin shows how she ap p roached c olour
Anne-
mixing to paint this naturalistic garden scene in oils Maries Chromium, Terre Verte,
materials Olive Green, Paynes
T
his year, I visited Chelsea Flower with the canvas filled with the intricate Gray, Davys Gray
Show and was drawn to the loose, pattern of leaves and flowers. OILS SUPPORT
naturalistic planting I saw. One very Working directly from the photographic Daler-Rowney: Sap Stretcher and primed
beautifully assembled artisan garden with its image on a computer, painting is a sort of Green. Winsor & linen from Bird &
rich yellows, coppers and greens was meditation. I become immersed in the tiny Newton: Titanium Davis, Southgate,
particularly appealing and I was keen to use nuances of shape and colour in a patch of White, Cadmium London
this unusual palette in a painting. stems and leaves, finding a way to translate it Yellow, Lemon Yellow BRUSHES
We are all familiar with the symbolism into paint. Ive realised I work most efficiently Hue, Naples Yellow Pro Arte White Nylon
surrounding the garden and the relationship when I almost switch off conscious thought Light, Permanent square edged
between the natural world and nurtured and become absorbed in listening to music or Magenta, Alizarin brushes, sizes 3/4,
spaces; I suppose these patches of safe the radio. Given my subject matter, I had Crimson, Cadmium 1/2, 3/8 (mostly),
enclosure are in some way a foil to the treated myself to a range of ready-mixed Red, Ultramarine, 3/16 and 3/10 round
increasingly difficult world we live in. I find greens, so this painting became a sort of Burnt Sienna, Prussian TURPENTINE,
myself zooming in closer to the plants and experiment in colour mixing. Green, Oxide of WHITE SPIRIT
I have been working on slices of gardens, www.anne-mariebutlin.com
1 PLACE STRONG LINES 3 EXPERIMENT WITH GREEN
I needed to indicate the strong lines in the Here I started to experiment with the
composition so, having covered the whole different greens. I have found the
canvas with a thin layer of Burnt Sienna, Daler-Rowney Sap Green is much richer for
I placed some darker lines indicating the deep shadows. Prussian Green has the same
direction of the foliage. I could see that the intensity with a rich blue tinge. Oxide of
focal point of the painting would need to be Chromium mixed with Naples Yellow Light
one yellow Geum, so I placed it slightly and White worked for lighter areas, and
top-right of centre. grassy greens were made with Terre Verte
and light and dark yellows. >
2 WORK OUTWARDS
The image was complicated and full of

interconnecting shapes. The best way to
begin seemed to be to start at the central
flower and work outwards. I felt I needed to
introduce colour at this early stage to avoid
confusion, so I was juggling around five
brushes, each with a different colour on, to
indicate the position of the elements.

4 ESTABLISH THE COMPOSITION 5 REFINE THE DRAWING 6 LEAVE THICK PAINT
Next I needed to get the canvas covered and I started refining the drawing of each I was keen to keep the image painterly, with
establish the rhythm of the composition in element. In some areas I used the dark areas of thick paint and brush marks showing.
terms of tone and colours. Touches of white/ background colour Indigo, Crimson and I mixed the green/browns of ferns using Olive
grey, yellow and corals were added over the Prussian Green in various combinations to Green and Cadmium Yellow, with the Burnt
surface, mostly with 3/8 brushes. I found define the leaves and stems. I tried to keep Sienna ground still wet enough to mingle with
myself simplifying and editing the image as I lots of Burnt Sienna ground showing to give applied paint. I refined leaf shapes and the
worked, rearranging and composing sections. the painting a glow and sense of unity. compositions horizontal and vertical lines.
7 COMBINE THE GREENS 8 EMPHASISE SHAPES
I experimented with the greens combined I was keen to emphasise the varying shapes
with White, Naples Yellow Light, Davys Gray and hues of the different leaves. I added the
and yellows to find the different shades. I fresh blue/green shades of the sweet pea
began to fill in gaps at the bottom with more leaves, using Terre Verte, Oxide of Chromium
of the dark background colour to establish a with Naples Yellow and Davys Gray. I used
feeling of depth. I also deepened some of the the square edge of the brush to mirror the
Deep Crimson/Magenta stems of the ferns. different directions of the leaves surfaces.

9 LET THE CANVAS SHOW 10 FIT ELEMENTS TOGETHER
Blotting with newspaper freshened up Fresh, grassy greens were made with Sap
some of the areas, which had become Green and Cadmium Yellow. I wanted the
overloaded with paint. This left the canvas surface to look like a tapestry of colour, and
texture showing through more as a nice foil the different elements began to fit together
to the thicker texture on other areas. I felt like a jigsaw puzzle. I tried to mix the rich
that the composition needed lifting with yolky yellows and lighter lemon yellows of the
more of the fresh light blue tones on the Geums, also finding the yellows in the foliage
left-hand side. to keep the colour bouncing.
11 REFINE THE DRAWING To p t i p

I f t he
image
bec om h
The image needed lightening. I added areas e o ve r a s
with p loaded
of white and grey, finer lines and highlights. aint , b
with n lot
I maintained depth by adding and redrawing ew s p a
fre s he per to
some interconnecting and overlapping leaves n thing
s up
and stems. I also looked hard at the ferns,
refining the drawing and establishing the
accuracy of darker tones and highlights.
12 BALANCE COLOUR
I used the edge of a brush to add thin stems

and refine the leaf shapes in this section. I
used the full range of greens to establish the
deep, rich blue-green shadows and greyish
highlights. I stopped when I had achieved the
balance of accurate colours, painterly rhythm
and strong drawing, which I had intended.

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LIGHTFASTNESS
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stunning p ortrait to try out
measured using the 1-8 Blue Wool Scale (six or above
Derwents new P ro c olour p encil
being considered highly lightfast and eight being most
I have returned to coloured pencils after a long period of stable). Values of six or higher will not fade under museum
being wedded to charcoal and graphite, so it has been a conditions for 100 or more years; three quarters of the
timely joy for Derwent to release new professional coloured range are rated five or above with 19 of the colours rating
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A FINE POINT WHAT MARKS OUT PROCOLOUR FROM

I use a lot of hatching and often find coloured pencils break OTHER PENCILS IN DERWENTS RANGE?
when sharpened to a fine point. Procolour holds almost as Procolour pencils are harder than the highly blendable
strong a point as graphite, while blending and layering Coloursoft pencils, and with a smoother laydown than the
smoothly. It seems to minimise the dust produced when Artists and Studio ranges, blending with the feel of an
building areas of colour, reducing the risk of smudging. oil-based pencil. They are the most highly pigmented
Derwent pencil so far, with new colours introduced into the
BLENDING AND LAYERING 72-colour range. They are my new favourite coloured pencil.
I prefer to keep a limited palette to maintain harmony and Derwent Procolour pencils are available individually for 2.04.
want coloured pencils to blend smoothly. Ive found Derwent Procolour 12- 24- 36- and 72-colours tins are available
Procolour allows around 12 to 14 layers of colour to be from 22.75. For further information or to download the
built up. Marks can be smoothed by burnishing or blended Procolour colour chart, visit www.derwentart.com/procolour

H OW T O
PAINT AN
EVENING
GLOW
GEOFF KERSEY SHARES HIS WATERC OLOUR TECHNIQUE
FOR CAPTURING THE DRAMA OF THE FADING SUNLIGHT
THE FINISHED SKY

ABOVE: Evening at Burnham Overy,
Norfolk, 41x25cm
The sky should not be seen as a separate
entity. This is best achieved by echoing
sky colours throughout to bring harmony
and consistency. In a low-light situation,
Prepare the following
thin washes before
working wet-in-wet:
1 Wet the paper
first with a sponge
and clean water. Use
the warm glow in the sky affects every Naples Yellow and a no 16 brush to
aspect of the landscape. Here, the Quinacridone Gold; paint the Naples
warm colour mixed from Quinacridone Cobalt Blue and Yellow and
Gold and Rose Madder is reflected in Rose Madder; Rose Quinacridone Gold
the wall, the roof on the left, and the Madder; Light Red; mix across the
sand and mud. The grey colour at the and Cobalt Blue and bottom of the sky.
top of the sky, made by adding a Rose Madder with a Sweep in the Cobalt
mixture of Cerulean Blue and Rose touch of Light Red. Blue and Rose
Madder, suffuses shadows and darks. www.geoffkersey.co.uk Madder mix at the
top of the sky.

WAT ER C O LO U R
geoffs materials
WATERCOLOURS
Naples Yellow, Quinacridone Gold,
Cobalt Blue, Rose Madder, Light Red
BRUSHES
No 16, no 12
2 Still working wet-in-wet, paint the Rose

Madder wash inbetween the yellow and
blue washes you have already laid down.
4 Use a no 12
brush and the
Light Red wash to
3 Add streaks of Light Red wash in the

yellow part of the sky.
drop in the clouds.
5 Add more
clouds using the
Light Red, making
smaller marks as
you come down
towards the horizon.
6 Pick up the grey

mix made from
Cobalt Blue, Rose
Madder and Light
Red, and drop in
darker clouds.
8 Use the tip of the brush to make smaller
marks lower down the sky.
Geoff Kerseys How to Paint Skies is published
by Search Press, 12.99. www.searchpress.com
7 Add even more grey clouds to the sky,

remembering to work quickly while using
the wet-in-wet technique.

d a te i n t
p
U our p a WEVE C OMPILED
THE L ATEST
y
RELEASES SO
YOU CAN FIND
THE PERFECT
PRODUCT FOR
YOUR ART WORK.
PHOTOS: LOUISE
HAGGER

ART MATERIALS
Emma Colbert has curated a set of pastels

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9 LIQUITEX PROFESSIONAL POURING INKS, QUINACRIDONE MAGENTA Explore new ink pouring techniques, 19.99 for a set of 3x30ml with medium, www.liquitex.com

T H E AT E L I E R M E T H O D
1 Grisaille
painting
IN OUR NEW SIX-PART SERIES, TUTOR JULIET TE ARISTIDES GUIDES YOU
THROUGH HER TECHNIQUES FOR HELP ING PAINTERS DEVELOP THEIR SKILLS
F
or most of art history, the practice of painting was The first-year atelier curriculum is devoted to learning
not taught in a classroom by a professor but in how to draw from a life model, plaster casts, copying
bustling artists studios. Studying in an atelier or masterworks in charcoal and graphite, and creating still-life
artists studio dates back to the days of apprenticeships compositions. Drawing is the backbone because it is how
when master painters brought in beginners to assist their the artists eye is cultivated. All elements of painting (with
work. Some of these assistants would develop skills to rival the exception of colour and paint handling) can be first
their mentors and, in turn, open their own studios. This tackled with a pencil: proportion, value, form and design.
practice continued until the end of the 19th century. When students make progress with drawing they move on
Since the turn of the millennium, this form of education ABOVE Summer, to painting, often starting with a monochrome palette.
has made an unlikely resurgence. I knew of only a handful oil on panel, Grisaille paintings, or paintings in greys, are finished
of ateliers in the early 1990s, now hundreds thrive. 66x107cm works mostly seen in altarpieces and embedded in

O I L PA I N T I N G
ANDREI KOZLOV
ANDREI KOZLOV
architecture. When I went to Italy last summer I saw
impressive grisaille work on walls, ceilings and over doors.
At times, it was impossible to tell what was made of stone
and what was created by paint. Artists were fantastically picture, which is also called value composition or value
creative when painting decorative molding, figures in pattern. A value pattern is abstract.
alcoves, constructing colonnades, archways and even The second quality of value is describing the kind, quality
friezes. The goal was to fool the eye and intensity of a light source. This aspect of tone shows
and mirror sculpture. VALUE REVEALS the depth of an object: is it a slow, gradated wrapping of
form as light hits across a white cup or a quick, high
ITS BLACK AND WHITE THE DEPTH AND contrast of a quick turn and steep angle such as we find on
Today, grisaille painting is rarely seen ORIENTATION the edge of a box. It shows how close our objects are to the
as an independent work of art. OF OBJECTS. IT light source and the intensity of the light.
However, understanding its role in An atelier student practises paint handling, form and
painting is invaluable. Mastering value SHOWS FORM value composition without the difficulty and distraction of
for contemporary painters is much like AND DISTINCTION, colour. Artists learn what makes for successful value
CREATING A
knife skills to a chef: it is a tool that is control and how many paintings fall apart because of
used in every representational painting. several common value challenges. Here are two value-
Value is the range of black and white SENSE OF SPACE related issues that arise in almost every painting.
that underlies all coloured objects
think of a black-and-white photograph. Value reveals the LARGE AND SMALL SHAPES
depth and spacial orientation of objects. It shows form and In my atelier, students practise grouping values into blocks
distinction, creating a sense of space and time of day. By that are as large and simple as possible. Notice
studying it, we understand two major components of any in the demonstration (next page) how the value thumbnail
given work. The first is how tones are distributed across a sketch simplifies his set up into a few big value shapes >

XXXXXXX
LEFT Jean Auguste Grisaille,

Dominique Ingres c.182434,
and Workshop, oil on canvas,
CATHARINE LORILLARD WOLFE COLLECTION, WOLFE FUND, 1938/METROPOLITAN MUSEUM OF ART

Odalisque in 83.2x109.2cm
WHEN SHAPES
STUDENT DEMO
ARE TOO SMALL Paul Rosiak, Teapot, oil on linen,
THE VALUES 23x38cm
ARE SCATTERED, 2
Aristides Atelier second-year
BREAKING UP student Paul Rosiak set up a
THE IMAGE simple composition to study how
to handle values and volume.
making the image easy to see although the drawing itself

1 Sketch A small study in
graphite is an opportunity to
look at how effective the value
is small. When shapes are too small and fragmented, the composition is before embarking
values are scattered into speckled lights and darks, on the final painting.
breaking up the image. This is caused by not making a
decision about what you want to convey early enough.
Squinting can help you more easily compare value.
2 Drawing A full-scale drawing
affords the chance to work
out proportion and composition
more fully so when he paints he
3
VALUE CONTRAST can be confident in the accuracy.
Before painting from the life model, students will often
paint a few quick studies of geometric objects, such as
spheres or eggs, with the goal of creating the illusion of
3 Underpainting This Raw
Umber wash underpainting
enables Paul to quickly get the
volume. In painting, a continuously curving surface requires white of the canvas covered and
changing the value slightly with every brushstroke. Many his values established before
students try to create eye-catching work by increasing the starting his final paint layer.
value contrast darkening the darks and lightening the
whites when, actually, it is the subtle mid-tones that
make an object appear to come forward in space.
4 Overpainting Starting from
the background, Paul tries to
bring the painting to a finish in
Students can run into trouble by not putting in enough this first pass of opaque paint. He
4
half-tone, which flattens and abstracts the subject, or moved to the ground plane, the
darkening the mid-tone too much, which drops the value of shadow of the teapot, saving the
the local colour. Creating value painting using still-life belly of the teapot until last. 5
objects, or simple geometric shapes, helps to strengthen
painting skills. You gain insight into how an image reads
from a distance, learn how to make more concise images
5 Finished work The final
painting brings together his
study, the drawing and the study
and create the illusion of volume. of value. Rendering volumes in
In the next part of The Atelier Method, Juliette tackles grisaille is good practice for later
warm and cool colours. www.aristidesarts.com work with the figure.

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YO U R Q U E S T I O N S
COLOURED
PENCIL
ARTIST AL AN WO OLLET T REVEALS THE
SECRETS BEHIND HIS BEAUTIFULLY DETAILED
DRAWINGS OF BIRDS IN THE WILD
C O LO U R ED P EN C I L
What materials do you use? that contain pencil work and paintings from
I stick to tried and trusted brands. My watching birds in different locations. I have ALANS BIRD ART TOP TIPS
graphite pencils are Mars Lumograph always been a keen photographer so have
(Staedtler) and a few Faber-Castell 9000s.
These give a truer range of grades across the
9H to 9B spectrum, but I rarely go softer than
lots of photos. Im not one to sit waiting
patiently for that perfect photo but, luckily,
I have a few friends who are and happily
1 Spend time watching birds and make
notes. You never know when the
information might be useful.
a 4B or 4H. My pencil of choice for colour grant me access to their excellent photos.
work is Faber-Castell Polychromos. They suit
my style, and I find the quality and cost
reasonable. In terms of paper, its again a
How can I capture the spark of life?
For me its about conviction and accuracy.
2 Its a good idea to take a sketchbook
to the park. Sit and watch the birds.
Try to sketch a few but dont be
case of sticking to what I know. I tend to use Have I captured the subjects character? frustrated. Birds move a lot and can be
Fabriano Artistico Hot Press Extra White Does it look realistic? I mean just realistic, tricky to draw. Patience is key.
watercolour paper because it has just not in a hyper-realism way. This is what Im
enough tooth for the pencil to blend well.
Other papers I use include the Strathmore
400 series Bristol (vellum) and Arches Hot
trying to convey along with the character.
Do you have any tips for creating

3 When it comes to drawing your first
masterpiece, keep it simple. Draw
what youre confident with and dont be
Pressed watercolour paper. realistic-looking feathers? too ambitious many a good idea can
Each bird has thousands of feathers. The end up in the bin because of it.
Are there any specific coloured pencils individual feathers give the bird bulk and
techniques you use for bird subjects? form. We can picture what a single feather
Most of my drawings use a watercolour looks like but, when we look at a bird, we see
technique. I work from light to dark, building a mass not single feathers. My advice is not
depth and form as I go. Adding colour on to focus on drawing each one. Try to
colour can be hit and miss, but I practise on concentrate on form and shape. Hint at the
scrap paper first. My layers are built carefully. detail by adding highlights and shadow.
I keep an eye on the overall drawing to avoid
too many. Its easier to add than remove. How do you use scale for effect? ABOVE RIGHT Pelican RIGHT Eagle Owl, pencil
In a perfect world, I would have a huge studio Study #3, pencil on on paper, 30x30cm
What reference materials do you work and be able to draw on huge pieces of paper, paper, 59x25.5cm PREVIOUS PAGE
from? Do you sketch from life? too. Im often frustrated by scale. I like to BELOW Blue Cheeked Flamingo study #2,
My reference material has always been a draw big and ideally my birds are life-size. Bee Eaters, pencil on pencil on paper,
mixed bag. I have a stack of sketchbooks But this is often unachievable, so I try to give paper, 53x33cm 28x43cm

PA S T EL
THE BEST WAY TO RECREATE

ANIMALS IN AN EXPRESSIVE WAY
IS TO STUDY THE SUBJECT HARD
THROUGH OBSERVATIONAL DRAWING
WE CAN PICTURE A SINGLE FEATHER BUT,

WHEN WE LOOK AT A BIRD, WE SEE A MASS.
TRY NOT TO FOCUS ON EACH ONE. INSTEAD
CONCENTRATE ON FORM AND SHAPE
the drawings impact by using colour,

composition and an element of drama.
Do you have any advice for creating a

work with multiple subjects?
In many of my works there can be multiple
images making up the picture. In some
subjects, the issue of scale is key. Are
all birds the same size? The bird in the
background would need to be smaller in
the same way that any foreground subject
would be larger. My advice would be to
play with composition first. When thats
satisfactory, start to draw, keeping in
mind small size differences.
What background should I use in

my own bird art?
It can be whatever you please, but if its
a detailed picture with the subject in full
background then authenticity is the key.
Do some research. Would the subject live
there? Is the picture in the drawing
convincing and authentic? Sometimes I dont
have a background if I feel it would detract
from the subject. But, at other times, its nice
to play around with elements of composition,
which include leaving areas of negative
space. It can make the difference between
a good picture and a great one.
Alan Woolletts Bird Art: Drawing Birds using
Graphite and Coloured Pencils is published by
Search Press, 17.99. www.searchpress.com

DEMO
PASTEL OVER MONOTYPE

ARTIST DAMIAN CALL AN
EXP LORES HOW TO CREATE
A UNIQUE MIXED-MEDIA
P RINT WITH THIS TECHNIQUE
LOVED BY ED GAR DEGAS
Degass enthusiasm for chalk pastels is well

known and combining them with a printed
under-drawing suited his desire to
experiment with mixed media. Monotypes
involve laying down a loose-printed
monochrome layer before refining the image
with chalk pastels. Its an excellent way to
experiment with composition and colour.
www.damiancallan.com
1 Spread water-based block printing ink

onto a palette or flat sheet. Coat an area
of your plate with a printmakers roller to
the size of the image you plan to make.
The advantage of using a Perspex sheet as
a plate is that you can hold it to the light to
check for an even coating.
2 Wipe away ink using rag stretched over a

fingertip. Look at the pattern of light in
the scene you are working from, and create a
good tonal range from very dark (where ink
has hardly been touched) through to cleaner,
light areas (of almost no ink). This is an
excellent opportunity to work with shapes
rather than outlines. Begin with larger
negative shapes. Consider textures too:
different tools will create a variety of marks.
3 Occasionally hold the plate up to the light

to assess the variety of tone and texture.
GRANGER HISTORICAL PICTURE ARCHIVE/ALAMY
While keeping a good tonal variation across

the image, also try to disrupt the ink, even
in the darkest areas. It can help to think in
terms of different directions of brushstrokes
and textures.
Reference ph
oto
damians materials
PALETTE KNIFE
PERSPEX SHEET (plate) BAREN (OR SPOON)
BLOCK PRINTING INK WILLOW CHARCOAL
PRINTMAKERS ROLLER FIXATIVE
RAGS CHALK PASTELS
CARD PAPER (NEWSPRINT OR CARTRIDGE)

PA S T EL
2
1 3
5
4 6
4 Take an imprint by laying a sheet of

newsprint over the plate and smoothing
the back with a baren. Lift the corner of the
paper to check the print has picked up
enough ink. If it isnt as dark as it could be,
lay the corner back down and press again.
5 Working with willow charcoal it is

possible to make corrections or
adjustments to the first imprint in a way that
maintains the atmosphere and subtlety of
the monotype. Its transluscent dark grey can
be integrated with the inky stage. The image
is a reversal of the original picture. Refining
can be done with the help of a reversed
photograph, or work intuitively.
6 Spray the charcoal with fixative so you

can build colour. Applying colour is best
done in a way that will exploit layering. Use
hatching or scribble with the tips of the
pastel sticks, or cover areas with the side of
the stick, to achieve a transluscent layer that To p t i p
allows some of the monotype to still be Make photo
copie s
visible. The art is in finding the minimum LEFT Edgar Degas, or print outs
of
amount required to help the image emerge Caf-Concert at the monoty
p e and
from the layers of ink, charcoal and pastel. experimen
Les Ambassadeurs, t with
colour sche
The more economical you are, the more c.1876-77, pastel on me s
atmospheric and intriguing the image. monotype, 37x26cm

BEQUEST OF ELIZA COE MOORE, 1959/METROPOLITAN MUSEUM OF ART
THE CANONS OF ART
4 Colour
i
Ann Witherid ge breaks t is often colour that draws us to a piece of artwork,
d own this crucial asp ect both visually and emotionally, while artistic style is ABOVE: Anders Zorn,
regularly defined by colour choices. Whatever our Mrs John Crosby
of painting to help you
taste, a little understanding of the construction of Brown, c.1900, oil on
create vibrant art works
colour can help our interpretation. It is the most canvas, 73.7x60.3cm.
subjective canon of art and, perhaps, this is because it The Swedish artist
is the most complex. The word colour alone does not mostly used
describe its many aspects. It can be broken down into a limited palette.
several specific elements.

1. HUE
This refers to the colour itself. Is it blue, red, yellow,
purple, green or orange? Think of the primary and
secondary colours. Tertiary colours are those that sit
between the secondary and primary colours.
Complementary colours are those that sit opposite
each other on the wheel: green and red, blue and
orange, yellow and purple. (If we mix complementary
colours together we get browns.)
2A
2. TEMPERATURE
This describes a colours warmth or coolness. On a
simplistic level, blues are cool, and red and yellows are
warm. But, of course, we get both warm blues such as
Cerulean, which leans to yellow, and cool reds such as
Alizarin, which leans to blue. I painted the same still life
sketch twice using different blues, as warm and cool.
THE WORD COLOUR

ALONE DOES NOT
DESCRIBE ITS MANY 2B
ASPECTS. IT CAN
BE BROKEN DOWN
INTO SEVERAL
SPECIFIC ELEMENTS
3. CHROMA
The Greek word for colour, this refers to the saturation
or intensity of the colour, a soft pale blue as opposed
to a strong vibrant blue. White and black are not on the
colour wheel but they can completely change the
chroma and value of a colour. We can decrease the
chroma by adding white and/or black. I have added
black on the outside and white on the inside of the
wheel. The colour is still as true.
4. VALUE 3
This is the light or dark in the colour. From deep Alizarin
to pale pink they are all still red. We can increase or
decrease the value by adding black or white. But pure
white or pure black are not the extremes of values.
Colour, or more specifically the chroma of the hue, can
make a black appear darker. Try adding Alizarin to
black or mixing Alizarin with Ultramarine Blue and
Viridian the black can appear much purer and,
therefore, darker. Likewise a touch of yellow or red in
your white can make the colour sing. I often add a hint
of colour to white in clouds. >

5. RELATIONSHIP
Colour, like value, is also relative. A colour can look
completely different depending on the colour that it
sits next to in a painting. In these three paintings of
tangerines I have changed the colour of the
background. In 5a, I used only warm colours, oranges
and reds. In 5b, I used the complementary blue to set
off the orange and, in 5c, I used the least chromatic
colour. In which of the three paintings is the orange
most vibrant?
5A
5B
5C
ANNS FIVE STEPS FOR

EFFECTIVE COLOUR ANALYSIS
Starting with the hue, think from one to five

to get accurate colour.
HUE: Decide what paint colour the image When moving on to colour from a charcoal drawing,
you are translating most resembles. we have two steps to take colour and oil paints.
TEMPERATURE: Does the red veer more To simplify this process, some people like to work with
towards blue or yellow, warm or cool? pastels first. I think it is better to start with oils, but as
CHROMA: How intense or chromatic is value paintings. Use one colour, such as Burnt Umber
the colour? or Burnt Sienna, so you can get comfortable with oil
VALUE: How dark or light is the colour? paint and brushes before extending your palette. You
RELATIONSHIP: What is the neighbouring can then add white and black to see how to mix colours
colour, in terms of the temperature, value and change values.
and chroma? Remember the painting process is sequential. When
we move on to values, we do not disregard the drawing.
We build the values into the drawing. Likewise when we
move on to colour we must establish the drawing and
values before colour. As a student it is easier to break
up the process to understand the sequence.

7A
7B
6 6. LIMITED PALETTE
Start with a limited palette. This includes black (or
Ultramarine Blue), red (Cadmium or Vermilion), Yellow
Ochre and white. In essence, these are the primary
colours with white added. We know from the colour
wheel we can mix primary colours to make secondary.
It is a good idea to see how much we can manipulate
primary colours before we extend our palette.
USE ONE COLOUR, SUCH AS BURNT
UMBER, SO YOU CAN GET COMFORTABLE
WITH OIL PAINT AND BRUSHES BEFORE
EXTENDING YOUR PALETTE 7C
7. EXTENDED PALETTE
We can extend our colour palette in many ways. I
have a different palette for portraits than landscapes.
The best option is to extend the temperatures of each
colour so that you have a warm and cool of each
primary: Cadmium Red to Alizarin Crimson; Ultramarine
Blue to Cerulean or Manganese; Yellow Ochre to
Cadmium Yellow. With figure painting the colour palette
we choose can vary according to the models skin
tones and the background.
Landscape paintings offer us such a range of
possibility with hue, chroma and temperature. The
weather will completely inform the palette and the
tonal contrasts in the painting. I have chosen three
landscape sketches that show a muted harmonious
palette (7a), a strong value contrast palette (7b) and
a strong chromatic palette (7c).
Ann Witheridge teaches at London Fine Art Studios.
www.londonfineartstudios.com; www.annwitheridge.com

H OW T O
PAINT FROM
YOUR IMAGINATION
Acrylic artist Hashim Akib takes the p lunge Doodling ideas can evoke interesting images, which
wi thout reference material to create an can develop into fully fledged paintings. The first
art work straight from his head painting I did (above) followed that line and is based on
stunning images I remember of overhead paddy fields
As a child I used to draw, paint or sculpt from my in China. The colours and shapes were striking but I felt
imagination all the time, without inhibitions. As an the technique less representational of my use of paint
adult and full-time artist, Im used to working from exposed brush marks and a sense of urgency.
reference material. This brings a new set of The second painting, which forms the step-by-step
circumstances to test the validity of the art you make. guide opposite, is much more personal. Creating a
Having something to judge against can be intimidating portrait from my head felt less restrictive. I work in
but also, without a guide, there is the issue of what to acrylic because it is fast-drying and allows paintings to
paint. When I look at art created from an artists head, be completed in one sitting. Before starting, I always
ethereal landscapes, skies, shifts of colours or random squeeze out plenty of heavy body acrylic, but keep
marks feature heavily; less is tangible in these scenes brushes to just one or two, which means there is more
or, when they are, the drawing suffers through lack of fluidity and connection with the painting.
source material. This predictability can look generic. www.hashimakib.com

AC RY L I C
2 I dive in with a multitude of large

blocky marks, varying the angles
and introducing cooler or darker shifts
of colour to the same brush as I go. No
drawing allows for free-flowing brush
strokes and, with a rough idea of an old
mans face, I can begin to sculpt a head
out of the marks. As the colour becomes
flat, dull or requires lighter tints, I clean
the brush in water and reload pigment.
1 This initial load represents

everything I love about acrylics
and painting. Even before the image
appears, the loaded brush, the
colours used and how the first mark
plays out requires a certain amount
of imagination and confidence.
Using a large damp brush, I dab into
my palette lifting out at least five
colours, gently mixing them on my
tray. For a portrait, most of the
colours are warm with a hint of white.
3 The whole canvas is covered. A

beard provides an interesting facial
feature, while low light creates dramatic
hashims
tonal ranges. At this point, your
materials
imagination has more to work with and
ACRYLICS a picture in your mind emerges of what
I have a full assortment the image may eventually look like. I see
of warm and cool colours, something resembling a portrait from
with Yellow Ochre, Burnt Renaissance paintings melded with a
Sienna and Titanium figure from Greek mythology and even
White dominant the homeless man I see most days on
BRUSH my drive to the studio. >
2-inch long-handled
flat brush
SUPPORT
A 70x50cm canvas, with
a light green base colour

4 This is the tricky stage because
definition requires some
accuracy. My experience kicks in
with delicate highlights on the nose,
cheeks and forehead. These are
also applied with the large flat
brush, angling it to get the variety of
smaller marks. Ive learned to find
fleeting segments of information
and be less obsessed with detail.
To p t i p
Be b
sponta old and
neou s
t he te . Re sis
mp t at t
highlig ion to
ht de t
a sma ail wit
ll brus h
5 A lot of the initial marks and colours the beard should be resisted. This h
are left exposed and, hopefully, spontaneous form of painting relies on
there is enough clarity to create a what your subconscious has to offer
believable impression. The temptation is while in the throws of creativity. Try to
to do more and use a smaller brush to avoid becoming too logical go with
highlight eyes or add individual hairs to it and see what comes out.
SECOND
PORTRAIT
Having been excited by the old mans
portrait, I attempted a younger face,
again purely from my imagination.
I began blocking in the same way while
discovering the image. A meld of
different images emerged from my mind
including Art Deco photographs of old
film stars and paintings Ive seen of
George Bellows. Strong light creates
dynamism and my trademark blocks
of colours identify my style.

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A R T Y FAC T S
CHARLES TUNNICLIFFE
ANNE T T E WICK HAM E X P LOR ES T HE LIFE OF T HIS B IRD - LOVING ROYAL ACADE MICIAN
FEATHERED FRIENDS
He called the meticulous drawings he made of
dead birds feather maps. But he didnt kill
birds, instead he drew bodies he was given or
found on walks. In his sketchbooks, he made
rapid memory drawings of live birds and kept
PURCHASED FROM CHARLES TUNNICLIFFE, RA, 1944. PHOTO CREDIT: ROYAL ACADEMY OF ARTS, LONDON
FARMING both types of drawings in his studio to inform CALL OF THE BIRDS
VERSUS ART his finished paintings, prints and illustrations. He moved to Anglesey in
Renowned for his distinctive 1947. His neighbour, painter
etchings, wood-engravings ILLUSTRATING LIFE Kyffin Williams, wrote: His
and watercolours, Tunnicliffe HIS WORK WAS The etchings market slumped work was done for love: love
was an artist who grew up on SNAPPED UP after the Wall Street Crash of of birds and of animals, of the
a farm in Cheshire. From the Tunnicliffe was elected a 1929, and Tunnicliffe began wild flowers on the rocks
age of 14 he juggled farm Royal Academician in 1954. to explore wood-engraving. above the sea, of the wind, of
duties with his studies. At 19, He was a regular at its His first book illustration in the sun and of the changing
he had to choose between Summer Exhibition from 1932 was for Tarka the Otter season... Charles Tunnicliffe
farming and art his decision 1928 to 1979 where his by Henry Williamson, which just lived and worked.
was made when he was prints, watercolours and oils became a classic. He Annette Wickham is the RAs
accepted by the Royal were snapped up by buyers. enjoyed a flourishing career curator of works on paper.
College of Art in London, The academy bought three ABOVE Geese in illustration, specialising in Second Nature: The Art of
where he would study watercolours and also gave and Mallow, natural history themes such Charles Tunnicliffe is at the
alongside Edward Burra, the artist a solo show watercolour as Hemingways The Old Man Royal Academy of Arts, London
Barbara Hepworth, Henry featuring 300 of his bird over pencil, and the Sea and Ladybirds W1J until 8 October 2017.
Moore and Eric Ravilious. studies in 1974. 26.4x43cm What to Look For series. www.royalacademy.org.uk

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Artists &

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