Download - Leisure Painter June 2016
Paint betterpastels
JUNE 2016 £3.99
T H E U K ’ S B E S T - S E L L I N G A R T M A G A Z I N E
Detail in watercolourmade easy
BUILD YOURCONFIDENCEStep-by-stepacrylics with texture mediums
How to make yourpaintings sparkle
Choose the rightpaper to enhanceyour work
YOUR CHALLENGE How to producethree paintingsfrom one photo
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HOW DO I…Use the splattermethod?
PAINTREFLECTIONSand STILL
WATER usingwatercolourtechniques
TRY THIS!Exercises,tips andideas todevelopyour skills
LP06 1 Cover_3.99_Layout 1 08/04/2016 16:05 Page 1
4 JUNE 2016 www.painters-online.co.uk
IN EVERY ISSUE
7 DiaryThings to do this month
8 ExhibitionsSome of the best shows around the country
10 LettersYour tips, suggestions, ideas and questions
23 All about paperPart 2 Tony Paul discusses four top-quality watercolour papers byHahnemühle and explains what they can do for your work
27 Accurate renditionsFrom tips on photographing yoursubject to adding the final detail, Sarah Jane Humphrey takes you through the stages of painting abotanical subject
31 Summer at lastFollow Graham Cox as he captures a tree in the landscape step by step using pastels
34 Water in the landscapePart 2 Carole Massey discusses thematerials and techniques she uses topaint still water and reflections
36 Understanding colourPart 6 How to make the most of coolreds in your paintings, and how to mixand choose the right reds for you, with Tony Paul
40 Product reportBecky Samuelson puts a set of Jackson’sStudio synthetic watercolour brushesthrough its paces
56 Art clubsNews, profiles, exhibition listingsand ‘best in show’ gallery
65 Books Some of the best practical artbooks are reviewed
66 Online galleryJane Stroud choses twopaintings from PaintersOnline
FEATURES12 The spring landscape
Join Christine Pybus as she paintsa variety of landscapes thatcapture fleeting spring light
16 Painting projectPart 2 Tony Underhill takes youthrough three approaches topainting from one photograph
20 Painting projectPart 1 Bob Elcock introduces you to this month’s project: awhite tiger
ContentsJUNE 2016
34
12
On the coverGraham Cox Summer at Last, pastel,81⁄4x91⁄2in. (21x24cm). Follow Grahamstep by step as he paints a tree in a summer landscape on pages 31 to 33
54
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www.painters-online.co.uk
43 Free and easy watercolourDevelop your splattering technique as you paint a bluebellwood in watercolour with Ian Pethers
46 Three steps to successPart 3 Anne Kerr discusses the difference between warm and cool colours and how to use them in the landscape
51 Movement and textureTony Hogan demonstrates how to use gesso primer andmodelling paste to create impasto effects with acrylics
54 What shall I paint?June Try different media, ideas and effects to paint detailsand the wider picture, with Linda Birch this month
JUNE 2016 5
David Bellamy Moody Day, Abereiddi, collage and watercolour,6x11in. (15x28cm)
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Gwen Scott Tulips at HidcoteGarden, watercolour, 131⁄2x10in.(31.5x25.5cm)
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ON SALE 20 MAY
n Try textural collagetechniques usingoriental papers with David Bellamy
n Step-by-step gardenscene in watercolour
n Water and reflectionsusing water-solublemedia
n Understanding colour:how to mix and usewarm blues in yourpalette
n Step-by-step estuaryscene in watercolour
n How to paint fromphotographs
n Arnold Lowrey’ssecrets of success:flowers in watercolour
n Tips and techniques to paint with pastelpencils
n Tested! Reports onwatercolour paperand new brushmarkers
LEISURE PAINTER ON-SALE DATESIssue On saleJuly 20 MaySummer 17 JuneAugust 15 JulySeptember 12 AugustOctober 9 SeptemberNovember 7 October
NEWS, WORKSHOPS & OFFERS11 Receive a free set of Sennelier watercolours, worth
£29.95, when you take advantage of a Direct Debitsubscription offer to Leisure Painter this month
48 The latest news from Patchings Art, Craft & Photography Festival in June
50 Win paper from Canson worth £55, plus how to make a subscription to Leisure Painter’s digital issues
67 Master stormy skies in pastel with Les Darlowon a Leisure Painter workshop in Lancashire this July
Coming next monthLandscapes, water, boats, flowers, gardens and wildlife are all covered in the July issue.
Enjoy your summer of painting!
16
46
LP05 4-5 Contents_News 1st 11/04/2016 13:52 Page 5
9770024
0711
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02
Paint from
photographs with
Terry Harrison
FEBRUARY 2016 £3.99
Be more creative
with composition
WATERCOLOUR
Colour mixing
ideas for flowers
and seascapes
Back to basics
with perspective
How to paint your
best outdoors
OILS MADE EASY
Have fun with oils
and mixed media
Problem solved!
How to blend and
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T H E U K ’S B E S T -
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24-page art courses& holidaysguide 2016
Inspirational
FREE
STEP-BY-STEP PROJECTS for you to try
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20 TOP TIPS to
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TESTED!Watercolour
and the latestacrylics
Paint betterpastels
JUNE 2016 £3.99
T H E U K ’ S B E S T - S E LL I N G A R T M A G A Z I N E
Detail in watercolour
made easy
BUILD YOUR
CONFIDENCE
Step-by-stepacrylics with
texture mediums
How to make your
paintings sparkle
Choose the right
paper to enhance
your work
YOUR CHALLENGE
How to produce
three paintings
from one photo
770024 0711579
06>
HOW DO I…Use the splatt
er
method?PAINT
REFLECTIONSand STILLWATER using
watercolourtechniques
TRY THIS!Exercises,tips andideas todevelopyour skills
Order online at www.painters-online.co.uk/store and enter code LP0616Call 01580 763315 and quote code LP0616
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Try pen & wash with Anthony Nield
HOW DO I…Add depth to my landscapes?STEP UP THE HEATPaint a sunset in watercolourBUILD YOURPASTEL SKILLSBackgrounds for portraits
T H E U K ’ S B E S T - S E L L I N G A R T M A G A Z I N E
Paint animals,clouds, flowersand more!
Creative ideas to fillyour sketchbook
MARCH 2016 £3.99
DAVID BELLAMYHow to paintsuccessfulwatercolours
How to mix anduse cool yellows
STEP-BY-STEP LANDSCAPES in watercolour, oils and acrylics
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How to paint
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WHAT’S INSIDE
PAMELA KAY’S
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STEP-BY-STEP
spring blossom
FROM LIFE OR
PHOTOGRAPHS
How to keep
your paintings
fresh
Build confidence
with pen & wash
HOW DO I PAINT…
the effects of
light and heat?
Develop your
colour-mixing
skills
How to draw
an owl froma photograph
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Use red to bringdrama to your work
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PAMELA KAYPAINTS SKIES INWATERCOLOUR
How to paint waterin watercolour
NEW SERIESMake the bestpaper choices for youHOW DO I...Glaze acryliclandscapes? PAINT VENICE and build yourmixed-media skills
T H E U K ’ S B E S T - S E L L I N G A R T M A G A Z I N E
How toadd lightto yourlandscapes
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BEGINNERS Quick ways with oils
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Paint along with LP
Your subjectEverything about this tiger appeals to me: the blue eyes, the subtle lightchanges across the face, and the almostethereal grasses around its body. Thiswill be a real challenge; it will be veryeasy to make the picture muddy sodelicacy at all stages will be important.As usual, I will be using my favourite
Cretacolor Fine Art Pastel Pencils on aDaler-Rowney Ingres mountboard in thecolour sea breeze. This board is perfectfor pastel pencils and usually found atyour local picture framers, but Daler-Rowney Murano Ingres paper is goodalso and this can be purchased at anyart supplies shop.
Sizing the subjectWe will start as usual with a drawingusing zinc white pastel pencil and thetried-and-trusted grid method, whichshould give you an accurate start to the picture.This photograph is approximately
8x8in. (20.5x20.5cm) so I will attach a1in. acetate grid to the picture and drawa grid on my board 11⁄4in. each square,making my picture a quarter as largeagain as the photograph. Use the sameformula to enlarge your painting to yourpreferred size. If you decide you wouldlike to keep the picture the same sizeyou should draw a 1in. grid on yourboard or paper using the zinc white
pastel pencil.The whole of the tiger
has now been drawn (below right). I altered thephotograph to black andwhite (above right) to showthe drawing in more detail.The stripes are shown and I have used a single linethrough the middle of thestripe to avoid cluttering the drawing too much. It isuseful to note the tiger’s headis turned very slightly to theleft of the picture. LP
What I find particularlyinteresting about this tiger(below) is that it lives in
South Africa at an extraordinary tigersanctuary in a place called TigerCanyons. The conservationist andfilmmaker, John Varty, who has apassion for big cats, established anAfrican sanctuary for them at TigerCanyons, which is outside the littleKaroo town of Philippolis in the Free State. I would give so much to be able
to visit this place, but will have to make do with reading about it instead – and painting one of its amazinginhabitants.
20 JUNE 2016 www.painters-online.co.uk
Part 1 Bob Elcock introduces a portrait of a white tiger as this month’s painting project from a photograph and helps you to prepare for painting it
Painting project
You will needn Surfacel Daler-Rowney Ingresmountboard, sea breezeNo. 15213, 101⁄4x10in.(26x25.5cm)
n Cretacolor Fine Art Pastel Pencils
l Zinc white 102l Black 250l Van Dyke brown 220l Sanguine light 207l Blue grey 237l Light grey 230l Glacier blue 151l Dark grey 235l Old rose dark 136
This month’s subject from a photograph: a white tigert
Prin
ted
cour
tesy
of G
etty
Imag
es
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JUNE 2016 21www.painters-online.co.uk
Bob ElcockMeet Bob at Patchings Art, Craft & Photography Festival in June (see pages 48 and 49 for details), where you will also be able to seehis finished portrait of this project. See right for details of Cretacolor.
The finished drawing, ready for colour next montht
Clip the acetate grid to the photograph to stop it moving whendrawing. At this stage, I am concentrating on the tiger only.
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www.elcockpastelpencils.com
0 1 9 0 2 3 3 9 1 6 0
Order your set today from
or telephone
Pastel Pencil Sets List Price Bob’s PriceCR-470-12 12 x Assorted £17.95 £12.95CR-470-24 24 x Assorted £34.95 £25.99CR-470-36 36 x Assorted £49.95 £39.99CR-470-72 72 x Assorted £99.95 £79.99
Bob Elcock, professionalpastel pencil artist
“ Having worked with many differentbrands of pencil, in my opinion these are
the best pastel pencils on the market ”
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Mixed media
The inspiration for the botanicalillustration, Hydrangea (right), came from a lovely late summer
walk around one of the National Trust Estate Gardens in Cornwall. Thereason to visit this garden was to takephotographs of its collection ofhydrangeas and I was fortunate to haveprofessional photographer, Tom Benn,with me. Tom taught me how to usenatural backlighting when photographingflowers and plants for my referencematerial (see page 28). Natural sunlight behind the subject
creates a delicate glow and transparencythrough the flowers or foliage. It is also a powerful way to separate the subjectmatter from the background, whichmakes the reproduction of the artwork so much easier back in the studio. Byisolating the plant, it becomes far quickerto make the initial line drawing, withoutlots of foliage and potentially other plants confusing the final illustration.I always like to work from a
combination of photographs and life
From tips on photographing your subject to adding the final touches, here’s how to illustrate a true likeness in mixed media
by botanical illustrator, Sarah Jane Humphrey
Accurate renditions
You will needn Surfacel Hot-pressed 300gsmwatercolour paper (Arches and Fabriano are both good)22x15in. (56x38cm)
n Gouache or watercolourl Cadmium yellowl Sap greenl Indanthrene bluel Payne’s greyl Permanent whitel Burnt umberl Quinacridone magenta
n Tombow Irojiten coloured pencils
l Maroon, chestnut brown, lapislazuli, verd’gris, olive yellow,maple sugar, moss green,lettuce green, chartreus green, cactus green
n Miscellaneousl Round brushes, Nos. 0 and 6 l SLR camera to takephotographs or a high-qualitysmartphone
l Low-tack masking tapel Lightbox
The finished illustration Hydrangea, mixed media, 22x15in. (56x38cm)t
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Mixed media
28 JUNE 2016 www.painters-online.co.uk
where possible, although it’s not alwayseasy to find my chosen specimen inbloom or with suitable foliage. Whenthis is the case, I refer to reference books and research online.
Your subjectFor this botanical illustration, thephotograph (above) was my mainreference since the chosen flower was growing in a private estate and I was unable to take a cutting. I chose to illustrate this specimen, as it is a stunning example of a lace capmacrophylla. With so many diversetextures and colours, it makes a trulywonderful study. Whether you choose a perfect
specimen to illustrate or one with slightdefects is up to you. I love the wayleaves and petals deteriorate and changecolour, and these effects add moreinteresting marks and character to thefinished artwork. It also is welcomedparticularly if you have a larger numberof leaves and petals to focus on.
Reference materialsWhen a photograph is the main pointof reference, I either work from imagesthat I have uploaded onto mycomputer and draw straight from thescreen, or I work from a print of thephotograph. Most printers will enlargeyour photos to the desired size. I likemy photographs enlarged to the exactproportions of my final artwork. It makes measuring and transferringvarious points of the subject a lotquicker without having to worry aboutrescaling the image. To save time I use a lightbox for
almost all of my illustrations. It’s anabsolute asset to have in the studio,giving me an accurate start to the initialline drawings from which I work.
Using a lightboxIf you are fortunate enough to have a lightbox or want to give it a try, thisis how I use mine. 1 Print the reference photograph to the size of your finished artwork.
2 Lay the print on top of the lightbox. I usually use a low-tack masking tapeto hold both the print and drawingpaper in place. If you don’t have yourdrawing paper held securely in place,it tends to slide around and it’s thenhard to get the image drawnaccurately. 3 Place your paper on top of the print,turn on the lightbox and the imageshould be clearly visible.
Line drawingBefore you begin tracing, you need a sharp neutral-coloured pencil that is fairly pale in colour. I use a colouredpencil rather than regular graphite, asit’s far easier to blend the colours andit will certainly achieve a cleaner result.At the tracing stage, I don’t go intoevery detail, as it is far too time-consuming. I will include all theoutlines of my subject, in the case of the leaves, all the prominent veinsand perhaps the details of the stemsconnecting to the stalks.I find this is a useful way to create
clear points of reference on thedrawing when you begin filling in the tone and details.
Underpainting1 Once the line drawing is complete,transfer it to your drawing board and you’re ready to begin theunderpainting. For this, I use gouacheas I prefer the opacity, but watercolourwill also work with this technique.Carefully study the paler colours on the photograph and observe the tone.For this leaf, other than the areas ofshine, the lightest colours are limegreen. 2 Lay down a fairly translucent lime
Step 1 Be cautious in keeping exactlywithin the lines you have drawn and coverthe whole illustration gently with the wash,taking care to observe all the lightest colours.My preference is to mix my own colours; Iused here cadmium yellow and sap greenwith a touch of titanium white.
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By carefully pulling your chosen flower away from the main plant, you can takea good photograph of your subject in isolation without any need to take cuttings.
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