Leisure Painter offers artistic inspiration, guidance, tuition and encouragement for all beginners and amateur artists. Full of step-by-step painting and drawing demonstrations and packed with advice on ways to progress your drawing and painting in all art media. With features written by experienced and popular tutors including David Bellamy, Ray Campbell Smith, Tim Fisher and Tony Paul, each practical article describes working methods, the art materials used and also offers practical hints and tips to assist you in completing the art project.
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Add texture to your watercolours with DAVID BELLAMY SUMMER’S COMING! A colourful garden scene step by step How to use warm blues in your work PASTEL PENCIL Inspired by wildlife Paper choices to transform your paintings THE UK’S BEST-SELLING ART MAGAZINE TRY PASTEL for animal studies ! Paint water in water-soluble media TRY THIS! Great results from painting fast and loose Take on boats, buildings, water and foliage – in one scene Be creative with new brushmarkers Confident watercolour with Arnold Lowrey JULY 2016 £3.99
Transcript
Add texture to yourwatercolours withDAVID BELLAMY
SUMMER’S COMING!A colourful gardenscene step by step
How to use warmblues in your work
PASTEL PENCIL Inspired by wildlife
Paper choices to transform your paintings
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
TRY PASTEL for animal studies
Paint water inwater-solublemedia
TRY THIS!Great resultsfrom paintingfast and loose
Take on boats,buildings, waterand foliage –in one scene
8 ExhibitionsSome of the best shows around the country
10 LettersYour tips, suggestions, ideas and questions
25 All about paperPart 3 Tony Paul offers a brief history of Daler-Rowney then tests four of its popular watercolour papers
30 Water in the landscapeMake the most of a variety of media,advises Carole Massey, as she depictswater and reflections in pastel pencil,water-soluble pencil and watercolour
33 Animal magicFollow Emma Colbert as she discussesthe materials and techniques she uses to paint her characterful pet and wildlife portraits in soft pastel
36 The primary factor Practise colour-mixing techniques on paper with Stephen Coates as he discusses how to use a limitedwatercolour palette
40 Tulip timeJoin Gwen Scott as she paints a scene step by step in watercolour from two photographs of the famous garden at Hidcote
44 Understanding colourPart 7 Warm blues. Tony Paul discussesthe properties of three popular warmblues and suggests colour mixes
58 Art clubsNews, profiles, exhibition listingsand ‘best in show’ gallery
61 Books Some of the best practical art books are reviewed
66 Online galleryJane Stroud chooses twopaintings from PaintersOnline
FEATURES15 Inspired by paper
Advice, techniques andinspiration to help you enhanceyour watercolour landscapes with decorative Japanese papers,by David Bellamy
20 Arnold Lowrey’s secrets of successFollow Arnold Lowrey’swatercolour advice as you learn to capture in 90 minuteswhat you feel about flowers, not just what you see
ContentsJULY 2016
50
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On the coverArnold Lowrey Sunlight on Whites,watercolour, 20x30in. (51x76cm). Learn the secrets of flower painting in watercolour on pages 20 to 23
47 Tranquil settingsBuild your watercolour repertoire with Charles Evans asyou paint boats, buildings, water and foliage with him
50 Painting projectPart 2 Bob Elcock completes his study of a white tiger from a photograph using pastel pencils
54 Test reportBritish fashion illustrator, Hayden Williams reports on a set of new Brushmarkers from Winsor & Newton
56 What shall I paint?Linda Birch offers tips for loosening up and paintingquick studies on the move. Plus make sense of summergreens and how to add figures to your landscapes
JULY 2016 5
Pamela Kay Giverny in June, oil, 16x20in. (40.5x51cm) t
Steve Strode Bloom, Cobra WaterMixable Oils, 91⁄2x8in. (24x20cm).Begin your journey into water-mixable oils in next month’s issue
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ON SALE 17 JUNE
n Inspired by Monet’sgarden at Giverny,Pamela Kay offersadvice and ideas for painting stronggarden compositions
n How to translate theshapes and patterns of water into semi-abstract work
n Enhance lacklustrewatercolours with a dash of acrylic
n Understanding colourand how to work withcool blues
n Ready to try paintingoutdoors? David Webbleads the way
n Draw animals usingcoloured pencils
n How manycompositions can youpaint from one scene?
n Tested! Water-mixableoils from Cobra
n Plus projects, demosand exercises
LEISURE PAINTER ON-SALE DATESIssue On saleSummer 17 JuneAugust 15 JulySeptember 12 AugustOctober 9 SeptemberNovember 7 OctoberDecember 4 November
NEWS, HOLIDAYS & SPECIAL OFFERS2 Receive a free set of Sennelier watercolours,
worth £29.95, when you take advantage of a specialsubscription offer to Leisure Painter this month
12 The latest news from Patchings Art, Craft & Photography Festival in June
39 Win a set of books published by Pavilion Books
62 Join Hazel Soan for a painting holiday amongwildlife in Zambia
67 Improve your painting in Essaouira on a paintingholiday with artist and tutor, Glyn Macey
Coming next monthEnjoy a summer of drawing and painting with your favourite practical art magazine. Here are just a few Summer issue highlights
How to produce textural effects using Japanese papers and watercolour. David Bellamy advises on where to start with materials and techniques – the rest is up to you!
Inspired by paper
JULY 2016 15www.painters-online.co.uk
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When I began painting seriously a great many summers ago,collage seemed mainly based
on sticking bits of torn coloured papersonto a surface to form shapes and colours.These days, however, some excitingartwork is being developed with themedium. I sometimes use collage in largesketchbooks to add interest to expeditionwork, but recently have beenexperimenting with its potential increating textured grounds in watercolourpainting with oriental decorative papers. The technique can produce fascinatingresults for many types of subjects, buthere I shall concentrate on its use inlandscape paintings.
Japanese decorative papersThe papers I use in these paintings are fine handmade Japanese decorativepapers, most of which are flimsy, butsurprisingly tough. They vary from smooth
to strongly textured. Some papers areopaque, some translucent, with strongfibre content, which makes them difficultto tear. Most of them are absorbent. Apart from the obvious benefit ofcreating visually stimulating passages in a composition, there are two furtheradvantages. First, if you are unhappy with a certain part of the painting, or wish to hide a mistake in otherwiseexcellent work, then applying collageover the offending area and reworkingwith watercolour can often save thepainting. Secondly, this process will openup your creativity and help to loosen up your style. For those who encounterproblems in creating foregrounds, it isalso an excellent method of introducingsemi-abstract effects into an area.
Applying the papersYou need a sturdy surface as a ground for the collage. Normally I use 300lb
Saunders Waterford paper, althoughmountboard or watercolour boards can also be effective. You may also like to try 200lb watercolour paper.Beginning with a thumbnail sketch todetermine how the composition willappear is always good practice andwhen using these oriental papers youwill find it helpful to include on thethumbnail sketch where they will occur within the composition. I draw my composition with a softpencil in the usual manner then glue the collage papers where I want thetexture to appear. Choosing whichpapers to use is an individual matter. I prefer to tear the papers rather than cut them with a knife or scissors. Thiscreates a ragged edge rather than anabrupt, precisely cut one, unless I need a hard edge, such as a rock or tree-trunk.As many of the papers are flimsy, ithelps to mix a little water into the glue.
Cottages near St Davids, collage on Waterford NOT 300lb paper, 83⁄4x111⁄2in. (22x29cm) t
These are the three papers used in the paintings, althoughthere are many others. In theWatermark Kingin White (1) the gold and silver flecks arevisible, as are many fibres. The Watermark Unryu White (2)is less ostentatious, but its fibresstand out well. The opaqueHakone Unryu (3) is more likenormal paper; its charactermore prominent once a washhas been applied.
Watermark Kingin Whitet
Watermark Unryu Whitet Hakone Unryut
JAPANESE DECORATIVE PAPERS
16 JULY 2016 www.painters-online.co.uk
Brush the glue over the painting’s surface and stick down small pieces of the oriental paper then brush over the top to flatten them out.
Apply small pieces of the paper, as large ones can become unwieldy. Thisunwieldiness reaches comic proportions if you try applying the glue to the collagepapers instead of the surface ground.Overlap the papers in places and tryvarying them. Once glued down, I leavethem to dry completely before beginningthe painting. Sometimes I add gesso with a painting knife, especially at the edges of the glued papers. This can create aninteresting transition and add furthertexture, but it’s worth experimenting with different materials once you’ve gained experience.
Watercolour washesExperiment with weak and strongapplications of colour and try using a brushon its side across the collaged areas toachieve a more broken colour effect. Don’tuse expensive new sables over the orientalpapers as brushes tend to wear out quickerbecause of the roughness of the surface.
These papers have the potential for some really creative responses, soapproach this aspect of painting with an open mind and enjoy the results.
InspirationFor Cottages near St Davids (page 15) I stuck Watermark Unryu White paper onto the foreground area with the aim ofsuggesting plant textures. The pronouncedfibres of the paper make it an excellentchoice for suggesting stalks, branches and interesting linear forms as can be seen in the immediate foreground.
The work was completed with Daniel Smith watercolours using amethystgenuine laid over the hills, in parts withquinacridone deep gold. Later amethystgenuine was brought down over the skyand hills. The lower half of the paintingwas painted mainly with German greenishraw umber and zoisite genuine, with a touch of transparent red oxide to warm up a few places.
In my next painting, Trees nearTilberthwaite, Cumbria (above right) I wanted to create abstract foregroundtexture to left and right, with someboulders in the centre, and extend thetextural qualities of the oriental paper with the striking fibre effect into the trees.In those parts of the composition I stuckon Watermark Kingin White. This approach can be useful where you wish to add interest in a foreground without defining a specific feature.
Change of surfaceFor Moody Day Abereiddi (page 18),mountboard provided a sturdy ground on which to stick the oriental papers, withits smooth surface acting as an interestingcontrast to the textural nature of thecollaged parts. Small sections of WatermarkKingin White paper were applied to theforeground vegetation areas, leaving thetrack clear apart from the very bottom.
Caribou Beneath a Glacier Face, collage on Waterford NOT 300lb, 8x9in. (20.5x23cm).Solid flanks of glacier ice can have the appearance of rock surfaces and in this smallwatercolour I used Watermark Kingin White just on the glacier face. This paper containssporadic flecks of gold and silver. In places I scrubbed the brush across the paper on its side to increase the textural effect, and in others drew into it with a fine brush to suggest crevices as those just in front of the caribou.
Last month the preparatorydrawing for the white tiger wascompleted and now I will begin
adding colour, working from the top
left of the tiger. This avoids smudgingthe pastel as I work, but if you areleft-handed it is better to start at thetop right.
50 JULY 2016 www.painters-online.co.uk
Part 2 Follow Bob Elcock step by step as he completes his pastel pencil drawing of a white tiger
Painting project
Step 11 Use Van Dyke brown to show the outer
edges of the ear and begin the inner shadowby adding a little black to darken. Althoughthe original photograph appears to show thestripes of the tiger as black, if you look closelyyou will see that they are generally a darkbrown. Add a little more black into the insideof the ear and rub in gently with your finger.
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2 Add the hairs with zinc white, wiping thetip of the pencil after each stroke to clean it.Flick the hairs to make them look natural,altering the thickness along their lengths.
t 3 Add the white fur on the headclose to the ear then draw the stripeson the left-side of the head gentlyusing Van Dyke brown.
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You will needn Surfacel Daler-Rowney Ingres mountboard 15213 sea breeze 101⁄2x8in. (27x20.5cm)
n Cretacolor Fine Art Pastel Pencils
l Zinc white 102l Black 250l Van Dyke brown 220
l Sanguine light 207l Blue grey 237l Light grey 230l Glacier blue 151l Dark grey 235l Old rose dark 136l Ivory 201
The photograph of a white tiger that introduced last month’s projectt
The finished drawing, completedlast monthusing the grid method
Step 41 To add the first eye begin with a black ringaround the ball of the eye then fill the eye withsmyrna blue and add glacier blue over the top. 2 For the pupil use black as solidly as possible with
a dot of zinc white to finish.3 To create a shadow underthe top eyelid gently applyblack then add zinc whiteline over the top of the Van Dyke brown around theedge of the eye.
t Step 5Using the photograph as reference, beginadding the fur in stripes down the leftside of the picture. The head on the leftof the picture is the lighter side of theanimal, but there are still quite a numberof shadowy patches to contend with. Usezinc white for the base and individualhairs, Van Dyke brown for the stripes, alittle black to darken the stripes and asmall amount of sanguine dark for theshadowy stripe on the far left of the face.
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Step 2 1 Before moving on, I increased thedepth of the stripesby applying VanDyke brown a littleheavier and added a small amount ofblack to deepen partof the stripes. 2 Add zinc whitewhere shown and a little blue grey inthe shadowed areas.If areas look a littlemuddy, add morezinc white.
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Step 3Where shadow is required, apply lightgrey gently. Blend at the edges into thewhite using your finger or a blendervery gently.
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Step 6To add the ear on the right of the picture begin by applying a lineof Van Dyke brown around the outside of the ear. Apply zinc whiteon the top left of the ear and add a solid black centre. Carefullyrub in and, by dragging with your finger, make the start of theshadow on the ear, ready for the zinc white hairs.
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Step 7 1 Finish the secondear by adding finehair using zincwhite. Don’t forgetto touch the ends ofthe hairs gently tofade them into theshadow.2 I then made someadjustments on thestripes under the earas I noticed I hadmade one or two a bit too long. Butthat’s the joy ofthese pastel pencils –alterations can bemade very easilywith them.
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
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WHAT’S INSIDEPAMELA KAY’SSKETCHBOOKS?
STEP-BY-STEPspring blossom
FROM LIFE ORPHOTOGRAPHS How to keep your paintingsfreshBuild confidence with pen & wash HOW DO I PAINT…the effects of light and heat?
Develop yourcolour-mixingskills
How to drawan owl froma photograph
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How to paint water
in watercolour
NEW SERIESMake the best
paper choices
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Glaze acrylic
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and build your
mixed-media skills
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
How toadd lightto yourlandscapes
3 APPROACHES
to painting from
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Choose the rightpaper to enhanceyour workYOUR CHALLENGE How to producethree paintingsfrom one photo
