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Leisure Painter magazine - April 13 preview

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We have another packed issue this month covering watercolours, acrylics, pastels, pencils and more. In our full issue you can read: - We show beginners how to improve their watercolours - Paint from photographs including flowers & gardens, water, and horses - Read our 10 top tips for pastels artists - Follow our step-by-step colour pencil demonstration - Explore oil painting with a limited palette - WIN £250 worth of art materials - And we show you how to protect your artwork
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Find your own style 9 770024 071133 04 THE UK’S BEST-SELLING LEARN-TO-PAINT MAGAZINE APRIL 2013 £3.70 Try new drawing media www.painters-online.co.uk BEGINNERS How to improve your watercolours PAINT FROM PHOTOGRAPHS Flowers & gardens Water Horses ACRYLIC TECHNIQUES for successful landscapes 10 top tips for pastel artists WIN £250 worth of art materials see page 6 STEP-BY-STEP coloured pencils How to protect your artwork Explore oil painting with a limited palette
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Page 1: Leisure Painter magazine - April 13 preview

Find yourown style

9770024

0711

33

04

T H E U K ’ S B E S T - S E L L I N G L E A R N - T O - P A I N T M A G A Z I N E

APRIL 2013 £3.70

Try newdrawingmedia

www.painters-online.co.uk

BEGINNERSHow to improveyour watercolours

PAINT FROMPHOTOGRAPHS� Flowers &gardens � Water� Horses

ACRYLICTECHNIQUES for successfullandscapes

10 top tips for pastelartists

WIN£250 worth

of artmaterials

see page 6

STEP-BY-STEPcoloured pencils How to

protectyour

artworkExplore

oil paintingwith a limited

palette

LP04 1 Cover:LP04 COVER 2i 15/2/13 16:06 Page 1

Page 2: Leisure Painter magazine - April 13 preview

4 APRIL 2013

Editor:Ingrid Lyon

Contributing Editor:Jane Stroud

Consultant Editor:Irene A. Briers

Editorial Consultants:Diana Armfield, RA, NEAC (Hon), RWSRay Campbell Smith, FRSA, FRSP, BWSTony Paul, STP

Advertising Manager:Sarah Hubbard (Tel: 01778 392048)

Advertising copy:Sue Woodgates (Tel: 01778 392062)([email protected])

Financial Director:Andy Tapley

Accounts:Caroline Harris (Tel: 01778 391023)

Events Manager:Caroline Griffiths

Subscriptions, Sales & Marketing Manager:Steven Barkess

Subscriptions:Penni Pierce & Liza Kitney(Tel: 01580 763315/763673)

Website co-ordinator:Dawn Farley

Designer:Alison Tumer

Leisure Painter is publishedevery four weeks by: The Artists’ Publishing CompanyLimited, Caxton House,63-65 High Street, Tenterden, Kent TN30 6BDTel:Tenterden (01580) 763315

Managing Director:Dr. Sally Bulgin, Hon VPRBSA

We would like readers to notethat the statements made bycontributors are not always representative of the publisher’s opinion.

Annual subscription rates:UK £32.50 (includes Northern Ireland); USA $80;Canada $92; EC member countries€67; all other countries (sterling rate) £45.

Foreign currency prices includebank charges. Payments made bycredit card are taken in sterling at the rate of £45.

Printed by Headley Brothers Ltd., Ashford, Kent.Newstrade distribution by Warners Group Publications plc.Telephone 01778 391000.

Incorporating Leisure Painterand Craftsman and Creative Crafts

VOLUME 47/4ISSUE 506

www.leisurepainter.co.uk

www.painters-online.co.uk

ISSN 0024-0710

APRIL 2013

CONTENTS6 This month’s

contributorsHow to contact your favourite tutors

10 Your month starts hereDates for your diary

12 Say farewell to muddy coloursRos RowellBeginners, how to paintwatercolours that burst with colour and life

16 Painting project phase 1Jane WardJane introduces thismonth’s painting from a photograph: an Italian lake scene

18 Painting project phase 2Rosalind Jelbert-IngramFollow Ros as she draws aholiday scene in coloured pencil

22 IndividualstyleBarry CoombsHow an artist findsand developes hisown style of painting

26 Study in greyPaul BrownPaul demonstratesthe making of two oil paintings ofLondon using alimited palette

www.painters-online.co.uk

29 Tony Paul’s 10 top tips1: PastelsTony advises on materials andtechniques for novice pastellists

32 Movement in waterJoe Hush

Explore colour mixing and technique for paintingmoving and still water, foliage and reflections

36 Today’s artistsRobin CaponAlistair Makinson talks about his working life as a landscape painter

40 WinteropportunitiesJudith MilneDispel those winterblues by paintingflowers and gardensfrom photographsand life

43 Waiting to shineElena ParashkoHow to paint horses using oil

36

32

48

LP04 4-5 Contents:Layout 1 19/2/13 11:45 Page 4

Page 3: Leisure Painter magazine - April 13 preview

www.painters-online.co.uk APRIL 2013 5

COVERBarry Coombs The Study,watercolour, 16x12in. (40.5x30.5cm).Find out more about developingyour own style on page 22

46 Dr. Ph. Martin’sliquid coloursTim FisherTim reports on a variety of vibrantliquid colours –and shows how to use them

48 Derwent’snew drawingmediaLinda BirchLinda puts new

XL graphite andcharcoal blocksthrough their paces

50 Patchings 2013Entry details for this year’spopular exhibition/competition of readers’ work

53 New publicationsThe latest art books and DVDs are reviewed

56 How to protect and preserve your artwork

Elena ParashkoHints & tips for looking afteryour finished paintings

62 Art clubsNews, exhibition listings and ‘best in show’ gallery

66 Art club businessJohn GrantThe importance of keeping records

FOR SUBSCRIPTIONS& BACK COPIES

Telephone Penni or Liza on 01580 763315/01580 763673

SUBSCRIPTION OFFER See pages 20-21

SUBSCRIBE ONLINE AT www.painters-online.co.uk

JOIN US ON HOLIDAY WITH11 Glyn Macey in Venice65 David Bellamy in the

Canadian Rockies

AND AT WORKSHOPS39 Angela Gaughan:

Animals in Inktense54 Workshops at Patchings

with Haidee-Jo Summersand Chris Forsey

LP ON-SALE DATES 2013

ISSUES ON SALEMay 28 MarchJune 26 AprilJuly 24 MaySummer 21 JuneAugust 19 JulySeptember 16 AugustOctober 13 SeptemberNovember 11 OctoberDecember 8 November

TESTREPORT

TESTREPORT

46

12

40

16

29

LP04 4-5 Contents:Layout 1 19/2/13 11:45 Page 5

Page 4: Leisure Painter magazine - April 13 preview

18 APRIL 2013 www.painters-online.co.uk

COLOURED PENCIL

In last month’s issue I introduced my camper van,Dolly. It had been a dream

of mine for many years to own an old camper van, so when the opportunity arose last year I jumped at the chance. The van has opened up a new

life for the family. We jump onboard with no set plan of wherewe will end up. This means thescenery is ever changing and often inspires me to take out mysketchbook. I like to include thevan where possible in my sketches,as it adds an extra dimension andinteresting focal point. This is how I completed my

coloured pencil drawing of Dolly.

Rosalind Jelbert-Ingram completes the drawing of her much-loved camper van

Phase 2PAINTING PROJECT

DEMONSTRATION Dolly

Step 1First, sketch theoutline onto thepaper. This can bedone freehand orusing the traditionalgrid method.

Colours�

Kingfisherblue

Spectrumblue

Prussianblue

Ivoryblack

Mineralgreen

Vandykebrown

Deepvermilion red

Lemoncadmium

Deepcadmium

Grassgreen

Cedargreen

You will need� Surface� Daler-Rowney

heavyweight paper111⁄4x161⁄2in. (28.5x42cm)

� Derwent Artists’ coloured pencilsSee colours (left)

� Miscellaneous � Graphite pencil� Sharpener� Eraser� Fine-tipped

drawing pen

Thephotographsthat set lastmonth’s project

LP04 18-19 PP2:Layout 1 15/2/13 12:41 Page 18

Page 5: Leisure Painter magazine - April 13 preview

APRIL 2013 19www.painters-online.co.uk

Ros’s Top Tips� Cut the eraser at an angle so you can

rub out small areas to enhance highlights.

� Keep your pencils nice and sharp for those fine details.

� Why not encourage your children or grandchildren to draw the camper van. Kids love them, too!

You can see my six-year-old daughter, Lily’s picture on LP’s website, Painters-Online, along with all the photographs I took for this project. Go to

www.painters-online.co.uk and follow the links.

Step 2 1 To start, use kingfisher blueto add the first suggestion ofthe distant sea, softening thedrawn horizon line. 2 Apply spectrum blue as thefirst layer of colour to Dolly. 3 Add Prussian blue for theshadows to the paintwork. 4 Use ivory black for the tyres. 5 Apply mineral green for thefirst suggestions of bushes anddistant grasslands.

Step 41 Use mineral green forthe darker grass areas,and start to add darkershadows on the campervan using gunmetal.2 Apply more deepvermilion red to theflowers, as these helpbrighten up the wholepicture.3 Enhance the shadowsfurther with dark blue.Apply grass green to the areas in shadow.4 Finally, add subtleoutlines to the pictureusing the pen. This helpslift out the finer details,especially on Dolly.

TechniqueI generally use a diagonal stroke to apply colourwith coloured pencils, but for areas like grass it

helps to imply texture and depth by using verticalstrokes on top. Adjust the pressure for darker areas.

TipThe shapes and

shadows reflected in Dolly’s paintworkreally help to make

the picture moreinteresting.

Step 3 1 Use cedar green for the large shadowed area next toDolly. Now start to add the darker shadow detailsthroughout. Use Vandyke brown to darken areas on thedistance cliffs.2 Put in the lovely colourful flowers with deep vermilionred, lemon cadmium and deep cadmium. This may takesome time as you’re using differing pressure to adddifferent tones. Building the layers up really helps to add depth in coloured pencil work. 3 Add grass green for the grass between the flowers.4 Add even darker shadows on the cliff with ivory black.

Dolly, colouredpencil, 111⁄4x161⁄2in.(28.5x42cm)

LP04 18-19 PP2:Layout 1 15/2/13 12:41 Page 19

Page 6: Leisure Painter magazine - April 13 preview

24 APRIL 2013 www.painters-online.co.uk

WHAT IS CUBISM?The Cubist period began in the early 20th century. PabloPicasso, Georges Braque and other artists reduced naturalforms to basic volumes such as cubes, spheres and cones.Everyday objects were fragmented into geometric planes.

TipElevate the top

of your board orwatercolour block

with a thick book orblock of wood. Your

washes will flowdown and allow

you more control.

TipAlways draw freehand and

never use a ruler or a straightedge. It’s difficult at first butbecomes easier with practice.

New workThe Study (left) was completed in my studio in preparation for anexhibition. Its process is almostidentical to that of Blue Cheese, butwithout the preliminary wash. Thecomposition was done from memoryand imagination. I decided on ared/green complementary systemand created a dynamic pattern withthe whites and blacks. I painted Swallowtail Light (below)

with an audience of children inmind. I always try to make mywatercolours colourful and playful,and I wanted this one to have an almost fairy-tale quality. TheSwallowtail Lighthouse is a famousfeature of Grand Manan Island,which is located in the easternCanadian province of NewBrunswick and often called theQueen of the Fundy Isles. The highviewpoint in the painting is from thetop of a footbridge that crosses achasm between the main island andthe peninsula. The process used inSwallowtail Light is very similar tothat of Blue Cheese except I didn’temploy a preliminary wash or anyresist materials.

ChallengesRoss Island Light (above), anotherGrand Manan attraction, has falleninto sad disrepair over the years.I’ve sketched and painted it manytimes. One must hike out over aland bridge exposed only at low

The Study,watercolour on Arches 140lbNOT watercolourpaper, 16x12in.(40.5x30.5cm)

Swallowtail Light, watercolouron Arches 300lbNOT watercolourpaper, 181⁄4x271/4in.(46.5x69cm)

LP04 22-25 Coombs:Layout 1 15/2/13 12:51 Page 24

Page 7: Leisure Painter magazine - April 13 preview

tide in order to reach this remote spot. The whites were a challenge. Some of the whiteshapes were painted with waterbefore adding a darker value.Others were started with a subtle,and very light, cool or warmwash.

McCormick Standard (belowright) depicts an abandonedtractor in a rural Ontario setting. Icompleted several sketches while

APRIL 2013 25www.painters-online.co.uk

sitting in a field. I wanted to studythe complex parts carefully anddidn’t think that photo referencewould suffice. Sometimes, detailsare lost in the shadows of aphotograph. A preliminary wash,similar to that of Blue Cheese, wasused here. I used my primarycolours and lamp black.I’m always trying something new

with watercolour painting. Myteaching practice is based on the

traditional fundamentals that I learned at art college, but I like to mix it up with ideasfrom art history andexperimental projects. Cubismhas enhanced my work andtaught me many good thingsabout design andsimplification. Most of all, it’sgiven me the confidence topaint in a manner that I trulyenjoy! LP

TipA plane changeequals a value

change. Two walls of a building should

be painted in twodistinct values toensure a three-

dimensional look.

TipWhen injecting dark into light (see diagram,

below), mix both washes in your palettebefore painting a single shape. Check thevalue of your dark wash on a test sheet.What looks dark in your palette may not

be as dark as you think it is! If there is toomuch water in your dark wash, you will

make a back-run or blossom. Timing is veryimportant and improves with practice.

Ross IslandLight, watercolouron Arches 140lbNOT watercolourpaper, 12x16in.(30.5x40.5cm)

McCormick Standard, watercolour on Arches 140lb NOT watercolour paper, 12x16in. (30.5x40.5cm) �

How to inject dark into light I call this technique‘injecting’. A and B are completely dry before I paint

the lighter redwash in C. Mybrush is loadedwith a darker washof cobalt bluemixed with a littlebit of rose madderquinacridone. I touch it into C,which is still wet,and allow it tospread.

LP04 22-25 Coombs:Layout 1 15/2/13 12:51 Page 25

Page 8: Leisure Painter magazine - April 13 preview

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All 68 pages of this issue are available in print throughleading retailers and supermarkets including WHSmith,Tesco, Waitrose, Sainsbury’s and through art shops,independent newsagents and travel points

We hope you have enjoyed these sample pagesof which is published everyfour weeks in print and digital

You can now buy each issuedigitally – click on your preferreddevice below for options includingdigital subscription rates

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Back page of sample mag_Layout 1 22/02/2013 10:17 Page 1


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