August 2016 £3.99www.painters-online.co.uk

THE PRACTICAL MAGAZINE FOR ARTISTS BY ARTISTS – S INCE 1931

How to createlight & shadein your pastellandscapes

Develop your pure watercolourtechniques

PLUSWHY & HOW TO USE COBRA WATER-MIXABLE OILS l PAINT A DAILYSTILL LIFE WITH PENNY GERMANl SCOTTISH ARTIST CHARLES JAMIESONEXPLAINS HIS WORKING METHODS l CHOOSE THE RIGHT SKETCHBOOK lSKETCHING ON THE MOVE l IMPROVE YOUR FIGURE PAINTING l BRUSH UPON YOUR OIL PAINTING SKILLS l ABSTRACT PAINTING DE-MYSTIFIED

artist

Simplify & masterperspectivewith Jo Quigley

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www.painters-online.co.uk

FEATURES12 A world in his head MASTERCLASS Charles Jamieson tellsCaroline Saunders how his imaginativepaintings take form

57 Art Club of the Year We announce this year’s competitionwinners

59 The musings of aprofessional artistCharles Williams considers the value ofstoring your unsold and unresolved work

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PRACTICALS17 The art of daily paintingImprove your observational and paintingskills with a daily oil painting, says Penny German

20 Papers for sketchingGlen Scouller advises on papers andsketchbooks for watercolour sketching

24 Perspective demystifiedJo Quigley explains what you need to knowabout perspective and puts her ideas intopractice in a demonstration of a street scene

28 StraightforwardwatercolourIan Sidaway demonstrates simplewatercolour techniques

30 Hot and cold, light andshadeRobert Dutton shows how to achievestrong, dynamic paintings

33 Stylizing still lifeColour and style take Laura Reiter on anadventure in her semi-abstract still lifes

36 The true value of a sketchDavid Parfitt confirms why sketches,made from life or memory, whatever themedium, are so valuable to the artist

40 The primaries: yellowsSoraya French examines the primarycolours in her new three-part series

CONTENTSFC

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Bernard Dunstan RAstudied at Byam ShawSchool of Art and theSlade School. He taught atthe Camberwell and ByamShaw Schools of Artamong others. He exhibitswidely including in theannual exhibitions of theNEAC, of which he is amember, and RA.

Jason Bowyer NEAC,RP, PSstudied at CamberwellSchool of Art and theRoyal Academy Schools.He is the founder of theNEAC Drawing Schooland exhibits his workwidely.

David Curtis ROI,RSMAhas won many awardsfor his en plein air andfigurative paintings inboth oils andwatercolours. He has hadseveral books publishedon his work as well asDVD films, and exhibitshis work extensively.

Ken Howard OBE, RAstudied at HornseySchool of Art and theRoyal College of Art. Heis a member of theNEAC, ROI, RWS, RWAand RBA. He exhibitsextensively and haswon numerous awards.

EDITORIAL CONSULTANTS

PRACTICALSl Should I avoid putting people in my paintings? Jo Quigley

reassures artists uncertain about their figure painting skills

l How finished is finished? Haidee-Jo Summers offers her tipsand advice

l Try using oil pastels with other media to create expressivelandscapes with Robert Dutton

l Paint wet-in-wet skies in watercolour with Winston Ohl Jake Winkle shows how to paint lively figures and portraits in

watercolour

l What is colour composition and why is it important? Paul Riley has the answers

August 2016 5artist

And much more! Don’t miss out:our September issue is on sale from August 12

t We showcase someof the prize-winningpaintings in The Artist’sannual open competitionand exhibition atPatchings Art Centre

NEXT MONTHIN

PLUSl Katherine Tyrrell advises on tax issues for artists and how todeal with HMRC

l Hannah Ivory Baker puts Jackson’s Artists’ Oils to the test

u Reportage illustratorGeorge Butler shares hismaterials and methods for acommission to record someof the refugee camps acrossEurope in pen and ink

FEATURES

SPECIAL

PLUS

6 Your views 9 The Art World60 Exhibitions 63 Opportunities

PLUS

42 Get acquainted with oilsAdebanji Alade shares his oil painting techniques, withtips and a demonstration painting

47 Improve your figure paintingA new six-part series from Ann Witheridge begins withadvice on working from life and choosing your model

50 Keep it pureDavid Poxon demonstrates a painting in pure watercolour

52 The A–Z of colourI is for Intensity. Julie Collins continues her series

54 Oil and water do mixMax Hale is a fan of Talens’ Cobra water-mixable oils

66 Cost-effective ideas for artistsKatherine Tyrrell advises on how to limit your losses whencreating prints of your artwork

42

u MASTERCLASSRoyal Society of MarineArtists past-president Geoff Hunt revealshow he painted acommission to featurethe clipper ship SeaWitch, the largest oilpainting he has evertackled

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12 www.painters-online.co.ukAugust 2016artist

Charles Jamieson incorporates a love of two-tone daffodilsand decorative textiles, and plays with colour in an emotional response

to the subject in his paintings, as Caroline Saunders discovers

Charles Jamieson has learnt to trusthis instincts. ‘Paintings arederived from imagery floating

around in my head, coupled with pencilsketches from my sketchbooks. I findcreating imperfect drawings quiteexciting as opposed to what might beconsidered dull perfection.’Charles works on a still life over aperiod of about six months, in betweenlandscapes and seascapes. ‘When I

want to say something but I don’t reallyknow what or how to get there I start bysketching on the canvas.’ He placesobjects, which often end up movingaround, until his eye is satisfied withthe composition. ‘If I need to movesomething one inch to the left and up abit I will, even if it means painting overa bit that has worked really well. Theseare not easy decisions but I have to bebrave enough to push forwards and

trust in my own ability to get to asatisfactory point. Often mistakes orunintended moments kick off adirection.’

InspirationNew and unfamiliar destinations are ahuge inspiration. Sometimes it’s thevegetation that catches his eye, or thebuildings, the clothes or the colours.Occasionally richly decorative fabrics

A world in his head

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are a basis for a painting – Charlespicks the parts he likes best and altersthe colours accordingly. Other resourcesinclude a Mexican tin angel, materialtorn from magazines, photographs ofexotic flowers and favourite vases keptin the studio. With his love of daffodilsthere is a fair chance that these sunnygolden flowers will be the central partof a painting. The background colourdepends on whether Charles has a

www.painters-online.co.uk August 2016 13artist

t Daffodils in New Haven, oil on linen,38�36in (96.5�91.5cm).‘I had an underpainting of pinky reds in thetop part of the painting (cadmium red, yellowochre and titanium white). I started bymarking out the level of the imaginarywindowsill on a large canvas, sketching in thevase and flowers with a light yellow ochrethen I sketched in the background, moving itaround. I applied the paint to the two reddishbuildings from a mixture of Venetian red,yellow ochre and white. A little Frenchultramarine was used in the windows, mixedwith the Venetian red and a touch of white. Imoved those buildings left and right a fewtimes until they settled. Lastly I painted thewater, which is a simple French ultramarineand white.’

u Lizard Table, New Mexico, oil on linen,38�36in (96.5�91.5cm).‘I started with the table with its wonderfulcloth, drawing in charcoal and dusting it offto leave only a faint outline. Happy with theway it was sitting on the canvas I began topaint using yellow ochre and cadmiumyellow, with a little white for the main clotharea. Ochre, cobalt blue, French ultramarine,cadmium red and lots of zinc white made upthe greys. Following this I sketched in the restof the painting lightly, being heavier with theflowers. For the reddish purple I usedultramarine red with a little spot of cobaltblue and some white. The sky consists of twoor three sketchy layers of French ultramarineand cobalt blue with a tiny bit of themanganese violet. The greens are sap greenmixed with cadmium yellows, yellow ochreand white.’

u Thai Textile with Lilies, oil on canvas,24�26in (61�66cm).‘I started by sketching in the flowers and vasevery lightly with a light ochre, then thepattern in the fabric. The composition justseemed to happen. I painted in the details onthe fabric using yellow ochre, zinc white,phthalo green, sap green, cadmium yellows,magenta, red and French ultramarine. Then Ipainted the vase and flowers with the greensand yellows. I saved painting the redbackground until last, as I knew it would bevery exciting.’

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30 www.painters-online.co.ukAugust 2016artist

Robert Dutton explains why good observation of colour and tonewill help you to produce strong, dynamic paintings

Hot and cold, light and shade

There is no doubt that colour helpsto give your composition a greaterthree-dimensional effect. Close

observation of the hue, colour andtone, within shadows in particular, isvital to make them become part of thepainting and not look like they havebeen an afterthought.

Light and weatherLight changes throughout the day,being cooler at sunrise and warmer atsunset. The angle of the sun at differenttimes of the year and at your locationalso plays a key part in determiningcolours. The heat of the sun in a drieratmosphere (as in the Mediterranean)will create a diffused light effect, due to

all the dust present in the atmosphere.In the UK at the same time of year youcould still have diffused light, but it willbe much cooler, owing to thegeographical position of the UK.

So what’s my point? Simply this – noselect range of colours is a ‘quick fix’ forall – there are distinct and subtledifferences from area to area andlocation to location, which must beobserved to create an accurate renditionof colour, to create a convincing painting.

Hazy days can produce weak,transparent colours, especially in theshadows. The softer tones can create areally gentle calming effect in yourpaintings and work in a similar way tothe light on overcast days when

shadows may not even appear at all.However, with close observation of hueand tone, every element will still havea dark and light side, helping to createstructure and three-dimensional shapesin your painting.

Flat light is one of my favouritelighting effects for many reasons,especially by the coast – sea fret anddiffused misty light on overcast dayscan create paintings with real ambience.Flat or diffused, weaker light can befound on foggy mornings – wherecolours blend and merge into oneanother to create some very appealinglost-and-found shapes, soft moodytones and compositions with sereneambience.

Midday light in full sun produces thestarkest contrasts in colour and tone.Shadows are often strong and cool indark tone (low key), whilst saturatedbright sunlit areas are very bright andlight (high key tone). This can make verydramatic painting subjects, as in A Restin the Shade – Tuileries Gardens, Paris (left).

When you paint with the sun directlyin front of you – contre-jour (against thelight) – shadows can stretch towardsyou and colours can be quite intense.Towards Monaco (top right) was paintedmid-morning; the hot Mediterraneansun had risen quite quickly, creating amass of highlights with wonderful huesand tones in the colours. At the end ofthe day with the light behind me thiswas a completely different scene –totally saturated in colour.

The colour of shadows Shadows tend to be thought of in termsof just light and dark but shadowscontain lots of subtle colours. If youpaint your shadows black or dark greyyou run the risk of creating areas inyour picture that look dull and lackunity with the rest of the painting. Byobserving the actual object the lighthits, most likely that object will refractcolour into the shadow, thus addingcolour to it.

p A Rest in the Shade – Tuileries Gardens, Paris, pastel on P500 glass paper, 18�22in(45.5�56cm).The passage of light and dappled sunlight and shade in this scene was enchanting andinspirational. The light and shade allows the eye to move back and forth between bright areasand dark areas throughout, holding your attention

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Depth of tone in the shadow areas ofa painting can also be determined byobserving the surface on which theshadow falls. For example, in A Rest inthe Shade – Tuileries Gardens, Paris (left),the shadows cast by the trees onto theground are slightly lighter than thosecast on the red awnings. The actualcolours present within the objects orsurfaces on which the shadows fall havea bearing on the colour tones you see.

In Light through the Wool Souks –Marrakesh (right), light passing throughthe thinner overhanging colouredmaterial casts a tint of that colour ontothe dry earth. In comparison, the heavythicker overhanging material absorbsthe sun’s rays and produces a darkertoned shadow on the sandy earth. In

www.painters-online.co.uk August 2016 31artist

p Towards Monaco, South of France, pastelon P500 Hermes paper, 24�24in (61�61cm).The focus of attention is on Monaco in thetop part of the composition. By placing ahigh horizon above most of the trees, the eyeis immediately drawn to the distant scene.The eye then returns, down the pine trunks,and begins to explore the rest of thepainting. The scene radiates bright earlymorning light and the already shorteningshadows suggest a quickly rising sun

p Light through the Wool Souks – Marrakesh, pastel on Sanfix board, 18�18 in (45.5�45.5cm).Dominant red colours in the overhanging carpets and bright cloth determined the colour of theboard on which to work. By allowing the red colour of the support to appear through my appliedpastel strokes helped to unify all areas in the painting and create a warm glow

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