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THE PRACTICAL MAGAZINE FOR ARTISTS BY ARTISTS – SINCE 1931
artist
9 770004 387155
April 2016 £3.99
  
Capture an
urban scene
THINK INK!
MIX YOUR MEDIA
FOR IMPACT
PAINT FROM
MARK MAKING
EXPRESS LIGHT
TALKING
TECHNIQUES
MEMORY TO
DEVELOP
YOUR SKILLS
TO HELP
IMPROVE YOUR
WATERCOLOURS
& WEATHER
EFFECTS
IN OILS
04>
READER HOLIDAY
WILDLIFE PAINTING
SAFARI
with Hazel Soan
South Luangwa, Zambia
October 5 to 17, 2016
Watercolour elephant sketch
by Hazel Soan
Images – Robin Pope Safaris & Bushcamp Company
are a splash of colour and brilliantly
capture people’s emotions. Hazel has a
warm and generous spirit, and travelling
with her in Africa is very special.
This is a pioneering painting safari to
South Luangwa.
The park is densely
populated with a diversity of wildlife.
You should see pods of hippos and plenty
of crocodiles, lots of antelope species,
hartebeest, reedbuck, wildebeest,
waterbuck, giraffe, zebra, buffalo, lion,
wild dog, leopard and elephant. The
opportunities for painting wildlife are
outstanding, particularly at this time of
year, which is just before the rains when
animals congregate at ox-bow lakes.
Your luxury safari lodge is located inside
the park by the main gate. It is a perfect
base for a painting safari, because it is
located in the area of the highest
concentration of wildlife in the park
and you can paint wildlife from your
own verandah. All 18 cottages either
overlook a frequented ox-bow lake
or the hippo pool. You are also very
likely to encounter wild elephants
plodding through the lobby at this
time of year in search of fruit from
a large mango tree!
Price per person
£5,995
Single supplement
£500
Number of students
8 to 12
Price includes
scheduled and safari
flights (23kgs bags), 10 nights in your
luxury safari lodge, all meals, park
fees, safari activities, guest artist
and a Spencer Scott Travel escort
01825 714310 art@spencerscott.co.uk www.spencerscotttravel.com
The Artist
and
Leisure Painter
magazines have been offering overseas painting holidays led by renowned artists and tutors since 1990.
These holidays are organised by fully licensed operator Spencer Scott Travel Services Ltd. CAA ATOL 3471
t
t
his is an
instructional painting safari
with the aim of capturing the earthy
tones and essence of wild Africa in
evocative paintings and sketches. Hazel will
be with you every day, assisting you with
your paintings as appropriate. You will be
able to sketch from the safari vehicles and
also complete small paintings on game
drives as you gain confidence. Hazel will
then give demonstrations and workshops
back at the lodge to help you translate your
experiences into paintings. We also hope to
provide the opportunity to paint portraits
of local people. Hazel will be working in
watercolour, but all media are welcome.
Hazel Soan
is a versatile and talented
artist, an excellent teacher and her
enthusiasm and love of Africa are
infectious. Her wildlife paintings capture
the dust and heat on the plains and the
movement of animals. Her African portraits
T
Watercolour lion sketch
by Hazel Soan
incorporating ART & ARTISTS
First established 1931
ISSN 0004-3877
Vol 131 No.4
ISSUE 1027
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ccording to a journalist who interviewed Claude Monet in 1897, the artist read ‘more
catalogues and horticultural price lists than articles on aesthetics.’ Who knew? I studied
Impressionism for my history of art masters’ degree but don’t recall our lectures about
Monet highlighting the extent of the significance that gardens, and gardening as a serious
horticultural interest, had on the development of his painting.
So it was a real eye-opener, literally, to view the truly stunning, blockbuster exhibition
Painting
the Modern Garden: Monet to Matisse,
on show at the Royal Academy until April 20, 2016. The
touchstone of the exhibition is clearly Monet, and the enormous impact gardens and gardening
had on his work, and ultimately on the rise of modernism and abstract expressionism in the 1950s.
But beyond Monet, there are many other fabulous artists included from this period, whose
chromatic compositions of cactus dahlias (popular at this time), chrysanthemums, roses, sunflowers
and myriad other exotic species, will dazzle your senses. And there’s more; the exhibition includes
all kinds of interesting horticultural facts about everything from hybridisation to the irrigation of
Giverny, which means garden enthusiasts as well as art lovers will love this show.
The exhibition takes as its premise Monet’s statement that ‘I perhaps owe it to flowers that I
became a painter.’ And what a painter. Although the exhibition is arranged thematically, I enjoyed
the chronological arrangement of Monet’s work throughout the exhibition, which enables the
visitor to study his artistic development. In the first gallery
Spring Flowers,
1864, reveals Monet’s
pre-Impressionist and already intense focus on flowers; moving through the galleries you come
across the flattened perspective and beautiful
Chrysanthemums,
1897, and his early Giverny square-
format paintings of the garden, pond and Japanese bridge, then his later Giverny larger-format,
more gestural water-landscape compositions that pre-date the work of the 1950s American
abstract expressionists, to the final, tour de force and magnificent display of the Agapanthus
triptych c1915-26. These three 14-foot long panels have never been seen together in Europe before
and to stand in front of these massive veils of coloured light, enlivened by gestural flicks, swirls and
calligraphic brush marks based on Monet’s interpretation of his lily ponds, is intensely emotional.
Monet’s aim to create this encircling panorama to envelop the viewer and restore a sense of peace
and harmony at a time of war has left us with a timeless, inspirational experience.
It would be hard to argue with the belief of one of the show’s curators that Monet represents the
greatest painter of gardens in the history of modern art, and from the evidence presented so
creatively in this exhibition, I can’t think of any other artist who has combined both interests to the
depth that he did.
Do see it if you can before it closes on April 20; the riot of colour certainly lifted my spirits on the
grey, dismal day in January when I visited.
A
Best wishes
THIS MONTH’S COVER ARTIST
Sally Bulgin
Editor
PS
Readers who love painting gardens will be interested in our Reader Holiday led by Pamela Kay
NEAC, RBA, RWS, ARWS, to paint the gardens and chateaux of the Loire and Monet’s garden at
Giverny from June 2 to 10, 2016, organised on our behalf by Spencer Scott Travel Services Ltd. For
more details and how to book email art@spencerscott.co.uk, or call 01825 714310.
Glyn Macey,
City Streets, New York,
acrylic, 10 14in (25.5 35.5cm)
See pages 26 to 29
Let us know what you think at
• theartistletters@tapc.co.uk • www.painters-online.co.uk/forum
• www.facebook.com/paintersonline • twitter.com/artpublishing
artist
April 2016
3
14 36
CONTENTS
FEATURES
14 Falling for art
MASTERCLASS Michele Del Campo
talks about his latest series
of narrative oil paintings
PRACTICALS
23 Paint from memory
Kelly Medford’s
exercises will help to improve your
plein-air
paintings
26 60-minute painting challenge
FC
Glyn Macey
demonstrates a busy city street in acrylics
30 Think ink!
FC
In the last of his series on drawing with different media,
Robert
Dutton
explains why ink is so versatile
19 Roger St Barbe
IN CONVERSATION Roger St Barbe
explains to Caroline
Saunders how he combines watercolour and aquatint with the
traditional etching process
33 Outdoors with pastel and watercolour
Kevin Scully
likes soft pastels for their immediacy in
alla prima
painting
19
36 Improve your oils
Martin Kinnear
reveals how to achieve special light effects in
oils in the second of his new four-part series
39 Explore acrylics
Paul Talbot-Greaves
explains how to tackle the values and
colours within the general shapes of your scene, plus this
month’s exercise
42 Mark making in watercolour
Judi Whitton’s
advice will help you to improve your
watercolour mark-making techniques
46 Good lookers with great potential
Winsor & Newton’s new Pigment Markers are put to the test by
Ian Sidaway
48 End points
Richard Pikesley
concludes his
plein-air
reference gathering
adventures
51 An upward journey
FC
Stephen King
describes his oil painting process and the
subjects that inspire him
www.painters-online.co.uk
NEXT MONTH
IN
FEATURES

MASTERCLASS
42
54 Dream roles
Joe Simpson
paints Michael Sheen in character in a role
he has never played, but has always dreamed of doing

IN
Tom Wood,
well known
for his portrait of HRH
The Prince of Wales,
discusses his use of a
combination of
traditional techniques
and computer skills to
create his celebrated
contemporary images
CONVERSATION
56 The finer
points of
Nitram
Nitram’s new baton and
petits mignonettes charcoal are
highly recommended, says
Robert Dutton
Winner of
The Artist
Award in last
year’s Society of Women Artists
exhibition,
Rebecca Fontaine-Wood
reveals the thoughts and methods
behind her mixed-media portraits
58 The A-Z of colour
Julie Collins’
series continues. This month: D is for dark
61 The musings of a professional artist
New series from
Charles Williams
on the ups and downs
and ins and outs of being a professional artist
66 Cost-effective ideas for artists
Katherine Tyrrell
advises on how to keep the costs down
when exhibiting
PLUS

Aine Divine
advises on
PLUS
6 Your views 11 The Art World
60 Opportunities 62 Exhibitions
PRACTICALS
how to capture the vitality of
flowers in oils over an acrylic
underpainting
Jason
Bowyer,
past president of the New English Art Club, explains his
approach to painting self-portraits and other people in oils
Follow this month’s challenge by
Glyn Macey
to paint water cascading
down a rocky stream in 60 minutes in acrylics
How to avoid washed-out watercolours by being brave with tone by
Paul Weaver
Martin Kinnear
explains how to exploit the translucent properties of
oils to paint effective seascapes
Loosen up in acrylics and try the exercise set by
Paul Talbot-Greaves
EDITORIAL CONSULTANTS
Ken Howard OBE, RA
studied at Hornsey
School of Art and the
Royal College of Art. He
is a member of the
NEAC, ROI, RWS, RWA
and RBA. He exhibits
extensively and has
won numerous awards.
Jason Bowyer NEAC,
RP, PS
studied at Camberwell
School of Art and the
Royal Academy Schools.
He is the founder of the
NEAC Drawing School
and exhibits his work
widely.
Bernard Dunstan RA
studied at Byam Shaw
School of Art and the
Slade School. He taught at
the Camberwell and Byam
Shaw Schools of Art
among others. He exhibits
widely including in the
annual exhibitions of the
NEAC, of which he is a
member, and RA.
David Curtis ROI,
RSMA
has won many awards
for his
en plein air
and
figurative paintings in
both oils and
watercolours. He has had
several books published
on his work as well as
DVD films, and exhibits
his work extensively.
PLUS
Deborah Walker
demonstrates how she tackles painting water in
watercolour
Helpful ideas for the cost-conscious artist from
Katherine Tyrrell
on
selling your work online
And much more! Don’t miss out: our May issue
is on sale from March 25
artist
April 2016
5

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