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incorporating ART & ARTISTS
First established 1931
ISSN 0004-3877
Vol 131 No.6
ISSUE 1029
Managing Editor:
Sally Bulgin
PhD Hon VPRBSA
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Deborah Wanstall
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W
riting this month’s welcome coincided with the closing date and behind-the-
scenes preparations for judging the entries to our annual open competition, and
Art Club of the Year competition, both organised in partnership with Patchings Art
Centre. It got me thinking about how vulnerable artists make themselves when creating
work and submitting it for judgement by a selection committee, for possible acceptance for
a final exhibition created from an open competition send-in, or for any kind of public
exposure for that matter, whether simply showing work in a local art club exhibition, or a
commercial gallery for sale.
But by making ourselves vulnerable we open ourselves to innovation, creativity and
change, and it is surely this kind of vulnerability that draws people to drawing and
painting – as an expression of themselves – and a means of connecting with others.
Being an artist can make us feel intensely exposed. We are putting something of ourselves
in front of the world and it can take courage and conviction to submit our drawings and
paintings to be judged by others and for all to see. We risk our work being rejected by
judges whose opinions we value, or by the public, and we risk receiving feedback that may
be negative as well as positive. Art is a risky business but, by taking risks, we also open
ourselves to further development. If we want to improve, we must keep pushing the
boundaries and trying new skills, techniques and ideas learnt from others.
Sometimes the first challenge is to be honest with ourselves and our reasons for drawing
and painting something in the first place, before sharing it with anyone else. Are we drawing
or painting our chosen subject with passionate conviction – does it speak to us and can we
reveal something about it to others? Then once we are ready to take the risk and share our
work, we must be prepared to accept the judgements that others will inevitably make about
it with the understanding that art is a subjective business and work that is admired by some
will be rejected by others. But perhaps it’s the personal victory that matters most and
getting to the point when we are comfortable to risk everything and show our work to the
world – after all what is there to lose?
I commend all the artists who sent in work for our open competitions. You were brave to
take the risk and we recognise the passion and commitment that went in to every work
entered, thank you.
Best wishes
artist
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THIS MONTH’S COVER ARTIST
Sally Bulgin
Managing Editor
Barry Freeman
View from the Terrace –
Sorrento,
oil on board, 29 27in
(73.5 68.5cm). See pages 50 to 52
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
June 2016
3
14 39
CONTENTS
FEATURES
14
Practice makes perfect
MASTERCLASS Ross Paterson
shares his
wet-in-wet watercolour technique for on
location and studio work
39
Explore acrylics
Paul Talbot-Greaves
winds up his series
by reviewing the key points covered, and
sets the final exercise
PRACTICALS
23
Light-filled landscapes
Andy Lee
shares his tips for light-filled
atmospheric watercolours
42
Jackson’s Acrylic and Oil
brushes
Max Hale
tries out Jackson’s own-brand
brushes and concludes what’s not to like?
19
Whatever the weather
FC
IN CONVERSATION David Smith
explains
why he varies the medium he uses
according to the weather – and what he
feels like doing
26
60-minute painting
challenge
Glyn Macey’s
series comes to a close with
an invitation for you to paint a woodland
scene in acrylic
44
How to play fast and
loose
Whatever medium you use
Paul Riley’s
tips will help you to loosen up
47
Gilding the image
Marc Alexander
demonstrates his
technique for using gold leaf in an oil
painting
30
Glorious graphite
30
Add graphite to your drawing materials
for exciting results, urges
Robert Dutton
33
What to leave out
36
Improve your oils
50
Painting on a white
ground
FC
Add luminosity to your oil, pastel and
acrylic paintings by working on a white
ground, says
Barry Freeman
FC
Hazel Soan
begins her new three-part
series on ‘less is more’ in watercolour
Martin Kinnear
concludes his series on
glazing techniques with an exercise for
you to try
54
A dotty way to paint
flowers
Winston Oh’s
technique for quick, loose
watercolours of flowers and gardens
42
54
4
artist
June 2016
www.painters-online.co.uk
NEXT MONTH
IN
FEATURES
44

MASTERCLASS
Martin Kinnear
of the Norfolk
Painting School discusses his
garden-inspired oil paintings
and techniques

IN
CONVERSATION
56
56
The A-Z of colour
Julie Collins’
series continues.
This month: F is for flowers
Mari French
shares her
vigorous oil painting methods
and describes how she creates
her semi-abstract compositions
PLUS

Ken Howard
66
Cost-effective ideas for artists
Katherine Tyrrell’s
advice will help you to
protect your work from copyright infringement
OBE RA
follows in
the footsteps of
JMW Turner and
paints Switzerland
PLUS
6
Your views
11
The Art World
58
Opportunities
60
Exhibitions
62
Art shop directory
63
Art Box
PRACTICALS

ollow
Lucy Willis’
example by putting away your
F
EDITORIAL CONSULTANTS
watercolours and changing to pastels to help stimulate a new
body of work
Hazel Soan
encourages you to use a limited palette in the
2nd of her 3-part series on less is more in watercolour
Experiment with new mark-making techniques with
Ann
Blockley
What colours do I need to paint skies?
Paul Riley
has some
answers
Paint street scenes
en plein air
in pastel with
Benjamin Hope
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
Jean Haines
suggests watercolour exercises to try to refresh
your work and create a sense of well-being
How to save time and money when posting and shipping
your work by
Katherine Tyrrell
And much more! Don’t miss out: our July
issue is on sale from May 20
artist
June 2016
5

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