Artists & Illustrators May 2022

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Hockney and Van Gogh Seeing the extra in the ordinary

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LIFE DRAWING WITH SOFT PASTEL

God’s own country

Yorkshire: an art lover’s paradise British portrait painters A new exhibition opens in London

Nicola McBride The hyperrealist pen artist

Technique: Paint alla prima

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Draw animals

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Artists & I L L U S T R A T O R S

EDITORIAL Editor Niki Browes Art Editor Stuart Selner Assistant Editor Rebecca Bradbury Contributors Martha Alexander, Laura Boswell, Adrian Mourby, Chris Robinson, Terence Clarke, Al Gury, Laura Smith, Jake Spicer ADVERTISING Advertising Manager David Huntington (020) 7349 3702 david.huntington@ chelseamagazines.com Group Sales Director Catherine Chapman Advertising Production www.allpointsmedia.co.uk MANAGEMENT & PUBLISHING Chairman Paul Dobson Managing Director James Dobson Publisher Simon Temlett Chief Financial Officer Vicki Gavin EA to Chairman Sarah Porter Subs Marketing Manager Bret Weekes Group Digital Manager Ben Iskander ONLINE ENQUIRIES support@artistsandillustrators.co.uk BACK ISSUES www.chelseamagazines.com/shop ISSN NO. 1473-4729 Artists & Illustrators, The Chelsea Magazine Company Ltd., Jubilee House, 2 Jubilee Place, London SW3 3TQ Tel: (020) 7349 3700 www.artistsandillustrators.co.uk

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Artists &

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Vadimlipskykh @Vadimlipskykh Slava Shults @shultslava_art

Vadim Suvorov @Vadimsuvorov

Solidarity As we see the devastating events unfold in the Ukraine, it’s hard to feel anything other than helpless. What can we do to help our fellow Ukrainian artists? Ann Witheridge, the founder of London Fine Art Studios, has been researching Ukrainian art and architecture, discovering rare and beautiful talent among them, four of whose work is shown above. Please do follow these artists – and London Fine Arts who will be posting more about Ukrainian artists – on social media to show your support.

Meanwhile, the Artist Support Pledge founder Matthew Burrows MBE and gallery director Zavier Ellis have come together to launch the Ukraine Support Pledge. They are inviting artists to offer work and collectors to acquire for just £200.

All proceeds will go to Global Giving’s Ukraine Crisis Relief Fund. Artists and collectors can participate by posting and following using the hashtags #ukrainesupportpledge and #artistsupportpledge. For full information please follow @ukrainesupportpledge and @artistsupportpledge In this issue, we’ve got plenty of inspirational art to distract you from troubling headlines.

Highlights include a feature on Yorkshire. True,

Jaroslav Leonets @jaroslavleonetsart

the biggest county in the UK might not be London, but it’s giving the capital a run for its money by boasting some of the most exciting art establishments in the country (page 30). Van Gough and David Hockney are from different eras, but Adrian Mourby explores a book that looks at how the two artists shared a love of finding excitement in the ordinary (page 46). Then, we profile six talented artists who are part of the Contemporary British Portrait Painters collective (page 28) whilst The Big Interview focuses in on artist Nicola McBride who makes hyper-realistic work using BIC Biro pens. Meanwhile, Jake Spicer is back with his second instalment on life drawing, this time with soft pastels, and Laura Smith signs off the final chapter of her drawing workshop.

Finally, I’d like to say a huge thank you to Laura Boswell, the Artists & Illustrators columnist of the past seven years, as her page in this issue is to be her last. She will, however, still be contributing to future issues of the magazine. What’s to follow will be revealed in the next issue, which promises to reveal lots more exciting and visually indulgent ideas. See you there.

Niki Browes Editor

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Seeing the extra in the ordinary

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LIFE DRAWING WITH SOFT PASTEL

Hockney and Van Gogh

God’s own country

WRITE TO US!

Yorkshire: an art lover’s paradise

British portrait painters A new exhibition opens in London

Send us your latest paintings, tips or artistic discoveries and you could win a £50 voucher:

Nicola McBride The hyperrealist pen artist

Technique: Paint alla prima 001_Cover_1.indd 1

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Draw animals

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COVER ARTWORK TRACY GOLDFINCH ELSON

info@artistsandillustrators.co.uk

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Contents 14

34

Nicola McBride's incredible BIC biro paintings

20 You don't need to know anything about portraiture to still get an enormous amount out of it – TOM CROF T, PAGE 28

REGULARS 5 Sketchbook Quick tips, ideas and inspiration, plus the UK's top art shows in May

20 How I Paint

58 Drawing Workshop

With our columnist Laura Boswell

Tracy Goldfinch Elson shares her modern take on classical art

Laura Smith looks at how animals were painted in four masterpieces

13 Prize Draw

28 Exhibition

62 Masterclass

Win a year's worth of art tuition

Six exhibiting CBPP members on why they love painting portraits

Brave the elements and tackle a plein air painting in watercolour with this step-by-step guide

12 The Working Artist

26 We Present...

New work from Portfolio Plus

79 Letters Win a £50 Atlantis Art voucher

82 Meet the Artist With oil painter Peter Kuhfeld

INSPIRATION 14 In The Studio Back from painting a live volcano, extreme artist Max Denison-Pender invites us to his London studio 4 Artists

& Illustrators

34 The Big Inter view With biro artist Nicola McBride

40 Galleries

68 Demo

Why Yorkshire is a go-to art hub

Learn how to paint an alla prima interior scene with Al Gury

46 Art Histor y

72 Technique

David Hockney and Vincent van Gogh's shared love of nature

Terence Clarke shares his free and lively approach to painting still life

TECHNIQUES 52 In Depth Jake Spicer draws with pastels

76 Social media Hyperrealist artist and TikTok sensation Gabriella Anouk offers tips on making an impact online

Disc th e ar over tw o b s e s o r l d 's w ith p s i o n aint anim a in g ls – page 58

ED ITED BY REBECC A BR AD BURY

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BOOK OF THE MONTH Nonconformers: A New History of Self-Taught Artists

by Lisa Slominski Hilma af Klint, the woman behind this abstract 1907 painting, is just one art outsider who gets a more nuanced reappraisal in this fascinating new book. Discover how selftaught artists factored into key movements of the 20th century – af Klint, for example, is said to have produced breathtaking abstract art before even Kandinsky or Mondrian. Plus, contemporary practitioners working outside of traditional studios also feature.

Yale University Press, £35. yalebooks.co.uk

Artists & Illustrators 5

AUTORITRATTO

“Autoritratto” 18” × 26”, Nitram charcoal and white chalk on toned paper

WITH NITRAM CHARCOAL ”I was introduced to Nitram charcoal during my academic training and continue to choose it for its texture, grade range, and flexibility. I love that using Nitram charcoal brings me closer to the sensitivity and precision I strive to create in my work.

“Autoritratto” is a self-portrait drawn from life. I strove to capture my inner energy without using colour or brushwork. Nitram charcoal allowed me to create a quiet composition with delicate halftones, and rich blacks.” ~ Erica Arcudi

The Nitram Starter Kit contains: 1 x 5mm H, 1 x 5mm HB, 1 x 5mm B and 1 x 6mm B+ charcoal, and 1 Limited Edition Sharpening Bloc with 1 set of replacement pads Erica Arcudi is a full-time painter from Raleigh, NC. After graduating from University of North Carolina in Chapel Hill in 2014, Erica traveled to Florence, Italy to study the craft of traditional drawing and oil painting at the Florence Academy of Art. In 2018 she joined the academy's faculty as a principal instructor. Erica recently relocated to Raleigh where she now paints in her private studio.

Erica’s work has been shown in juried exhibitions both in the US and internationally, and her work is in private collections in the US and Europe. Always working from life, she aspires to convey the spirit of her subjects through the textural beauty inherent in the materials she uses. @ericaarcudifineart

www.nitramcharcoal.com

STYLE ICON Fashion illustrator FRANCESCO LO IACONO shows how to recreate f ive challenging f abric s in watercolour

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FURS To create the first layer of texture, apply the paint quite loosely with the tip of a mop brush. Use different shades of brown and ochre to create shape and volume, thinking about how the light hits the surface. Next, work the details with a small round brush, adding individual hairs little by little. Create a soft outline for the coat with more small strokes. Be careful not to overdo it, keeping the sketch as fresh as possible.

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FEATHERS Just like fur, you can’t describe every single feather, so it’s important to create a sort of rhythm, working up lighter and darker areas. I recreate the sense of movement by having some of the feathers pop out from the silhouette.

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KNITS Knits are soft yet quite structured at the same time.

When recreating this fabric, use a slightly dry brush for the first layer to begin to build this sense of structure. With a small round brush and a darker mix, describe the details of the cable braids, typical of certain knits. Small dots and fine lines also help replicate the texture.

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WOOLS I use the tip of a quite wet mop brush to recreate woollen fabrics, building it up with bold strokes while leaving small areas white to create space. This way there are no outlines, resulting in an overall soft vibe.

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PVC Garments made from PVC require strong, neat, precise brush strokes. It’s vital to think about the light and identify the highlights straight away. Start with the mid-tone, then add the dark tones. Round brushes are perfect for reproducing these sharp surfaces.

This is an edited extract from Francesco’s new book, Watercolour Fashion Illustration, published by David & Charles. davidandcharles.com

Artists & Illustrators 7

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Rejecting the abstraction in vogue at the time, Cyril Mann was on a mission to revitalise the figure, something he arguably achieved with the likes of the artwork to the left. Notice how the dynamic effects of light and shadow have been captured in real time, directly and at speed, with thick impasto and dramatic brushstrokes. Telling more about these techniques, as well as his struggles as an artist, is the new book The Girl in the Green Jumper: My Life with the Artist Cyril Mann by his second wife, Renske Mann.

Pimpernel Press, £30. pimpernelpress.com

1 MAY Championing female artists, the Holly Bush Emerging Woman Painter Prize is inviting submissions for its annual London exhibition before midnight tonight. hollybushpaintingprize.com 15 MAY Entry into the inaugural Brixton Art Prize closes today. Submit your art on the theme of conflict and integration and it could be shortlisted for the group show. brixtonartprize.com 31 MAY Today is your last chance to enter the 2022 Scottish Portrait Awards, offering a first prize of £5,000 and other cash prizes. scottishportraitawards.com

We’ve teamed up with Cass Art to bring you an exclusive offer!

Get an extra 15% off all Derwent Lightfast products online until midnight on 30th April. Derwent’s most premium pencil is 100% lightfast, the revolutionary core is resistant to prolonged colour change ensuring your artwork will not fade for 100 years under museum conditions. To redeem this offer, simply visit cassart.co.uk/lighfast and use code LIGHT15 at the online checkout. *Terms & Conditions apply.

THINGS WE LOVE...

We can always rely on the Derwent Art Prize to bring incredible works in pencil to our attention – and this year is no different. Awarded First Prize for his charcoal and graphite drawing, Insecure, is Nigerian artist Femi Ikotun.

The exhibition will be touring to Paris this summer, going on show from 8 to 11 June at 35 rue Debelleyme in the Le Marais district of the city. derwentartprize-exhibition.com

Our new look website is now live!

With a fresher, more contemporary feel, it remains one of the biggest resources for artists on the internet, packed with competitions, interviews and practical advice. artistsandillustrators.co.uk

Artists & Illustrators 9

ILLUSTRATION: BETT NORRIS

*TERMS & CONDITIONS: OFFER IS VALID ON ALL DERWENT LIGHTFAST PRODUCTS AVAILABLE ONLINE AT CASSART.CO.UK ONLY. NOT VALID IN-STORE. OFFER CANNOT BE USED IN CONJUNCTION WITH ANY OTHER OFFER. ONE USE PER PERSON. OFFER EXPIRES 23:59:59 ON 30TH APRIL 2022.

EXCLUSIVE!

Exhibitions MAY’S BEST ART SHOWS

DAVID REMFRY: WATERCOLOUR 12 May to 30 July You'd be hard pushed to name a modern-day watercolourist as esteemed as David Remfry MBE. This makes the Royal Academician the ideal subject for the first exhibition at the new Royal Watercolour Society Gallery in London.

Although Remfry doesn’t regard himself as a watercolourist per se, he has achieved 10 Artists & Illustrators

a command of the medium unlike any other of his peers. With works ranging from his large-scale nightclub scenes, such as What The Night Tells Me [above] to his portraits of famous faces, including Stella McCartney and Alan Cumming, the retrospective suitably celebrates the artist in his 80th year.

Royal Watercolour Society Gallery, London. royalwatercoloursociety.co.uk

© SUCCESSION PICASSO / DACS, LONDON 2021. PHOTO: TATE

© DAVID REMFRY

REFRAMED: THE WOMAN IN THE WINDOW 4 May to 4 September From empathy to voyeurism, the enigmatic motif of the ‘woman in the window’ has been used by artists for hundreds of years to elicit different kinds of responses from the viewer.

For the first time, a collection of paintings, prints and photographs will delve into what the motif can reveal about issues of gender and visibility experienced throughout history.

Highlights include Rembrandt’s Girl at a Window, Pablo Piscasso's La Femme à la fenêtre [below] and My Blue Sky by Louise Bourgeois – the French-American artist who used the concept as a site for connection, communication and inspiration.

The Dulwich Picture Gallery, London. dulwichpicturegallery.org.uk

artists, such as Ben Nicholson and David Jones. She was brave enough to support modern art at a time when it was frowned upon by the establishment. This exhibition with work from the likes of Piet Mondrian will explore the 20th century through the lens of the pioneering yet undervalued art patron.

Maltings, Berwick. maltingsberwick.co.uk

© DAVID HOCKNEY

© ANGELA VERREN TAUNT. ALL RIGHTS RESERVED, DACS 2021 BOWERMAN CHARITABLE TRUST

TRUTH AND BEAUTY: THE 20TH CENTURY BRITISH ART OF PIONEERING COLLECTOR HELEN SUTHERLAND 21 May to 9 October Little is known about art collector Helen Sutherland, which is surprising given the part she played in the career of modern

LOVE LIFE: DAVID HOCKNEY’S DRAWINGS 27 May to 18 September There are many things to love about the artistic output of David Hockney, but an area he particularly triumphs in is finding the beauty in the most ordinary of subjects.

Through his remarkable power of observation, he can render a place, person, or object with the utmost economy, and you can witness this magic for yourself in this new exhibition of his drawings, made from the late-1960s to ‘70s. Expect to see work in pencil, coloured crayon, pen and ink.

Holburne Museum, Bath. holburne.org

WALTER LANGLEY 25 May to 1 October Although dubbed the ‘pioneer of the Newlyn School’, Walter Langley did not originally benefit from the movement’s burgeoning fame in the 1880s. This was partly because of his working-class origins (and subjects), and partly because he painted in watercolour, rather than the more prestigious medium of oils.

Thankfully his mastery of the medium is recognised today, with this retrospective of his large-scale works of everyday fishing scenes going on show to celebrate the centenary of his death.

Penlee House, Penzance. penleehouse.org.uk

Artists & Illustrators

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It’s been a huge privilege and writing this column has often helped me to clarify my own path through tricky decisions

COLUMNIST

The working

artist

In her final column for Artists & Illustrators, LAURA BOSWELL looks back on her highlights whilst writing for the title

ABOVE Laura Boswell, Sunset, flooded field, linocut, 30x45cm

12 Artists

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his is a bittersweet column to write as it will be my last, but it’s high time for a change and I am leaving you in excellent hands.

You can expect a brand new approach to this part of the magazine and I am looking forward to reading articles

& Illustrators

from a wide variety of new contributing artists.

This column began in a place many of you will recognise; summoning up the self-confidence and nerve to pitch a new idea. It took me three long days to find the bravery to call the editor. I’m

glad I did: I have written this column for seven years! A good example that it pays to believe in yourself as a creative – even if it does take a little while to build up the courage.

From the start I wanted to talk about all those little niggles and questions that artists encounter but may not have the chance to discuss or like to ask. Thanks to the faith of my editors over the years, I’ve had the freedom to explore an astonishingly wide range of topics. It’s been a huge privilege and writing this column has often helped me to clarify my own path through tricky decisions.

A quick look back through my articles and I see plenty of writing about the practical side of making a living, or at least a little income, from making art. Straight talking about pricing work, marketing, finding an audience and selling doesn’t always come easy to us as creatives and I have been glad to share those subjects with you. It’s been fun to delve into the kind of detail that helps to make creative life a little easier: what to pack for a successful first art fair, pacing a demonstration or talk, and how to photograph work well.

We’ve also tacked all kinds of creativity from successful sketching to creating a consistent body of work.

Perhaps my favourite columns have explored things I’ve found challenging.

Topics like imposter syndrome, handling awkward moments with grace, recognising the difference between supportive criticism and the kind best to ignore. Writing for you has been a marvellous experience and though it’s time for me to move on and the column to change, it’s not goodbye. You’ll certainly see me back among these pages from time to time. lauraboswell.co.uk

P R I Z E D R AW

P R I Z E D R AW

and Ink is also available to a third-place winner, chosen at random. Materials are included with each course.

HOW TO ENTER

£1,000 OF BOTANICAL ART TUITION Finesse your florals and perfect your plant paintings by winning a trio of online art courses from the ROYAL BOTANIC GARDENS, KEW

N

o art form draws your attention to the natural world and its astonishing variety quite like botanical painting. Mastering the meditative style is easier than you might think too, thanks to the distance learning programme run by the Royal Botanic Gardens, Kew. Home to over 50,000 living plants, Kew Gardens are certainly not short of interesting specimens to paint from. Plus, with an archive of 200,000 botanical illustrations, it is a world-leader in the genre. That’s why we’ve teamed up with them to offer three readers of Artists & Illustrators the chance to win some online botanical art classes.

These home-based courses excel in their line-up of specialist tutors, too. All boast long-standing relationships with Kew and range from botanical illustrator Hazel Wilks to fine artist Trevor Waugh. Plus, included in the price of the course are all the materials required to paint along at home, which are delivered directly to each student. Expect to find the likes of paper, watercolour paints,

brushes, pencils, and erasers among the kit.

Whether showing how to paint a stargazer lily or revealing the techniques required to realistically render a red pepper, each course is broken down into manageable chunks. For 180 days, students will be able to refer to the two-hour-long video lesson, pausing, rewinding, or fast-forwarding as many times as required. Alongside the video tutorials are other downloadable resources available for students to keep.

To find out more about the online courses available at the Royal Botanic Gardens, Kew, visit kewonlinecourses.com.

Enter by noon on 12 May 2022, either at artistsandillustrators.co.uk/competitions or by filling in the form below and posting it to: Kew’s Online Courses Prize Draw, Artists & Illustrators, Chelsea Magazine Company Ltd., 2 Jubilee Place, London SW3 3TQ.

TERMS AND CONDITIONS Prize is non-transferable. No cash alternatives are available. For full terms and conditions, visit chelseamagazine.com/terms

KEW’S ONLINE ART COURSES PRIZE DRAW Name: Address:

THE PRIZE Two winners, chosen at random, will each receive the following online courses: • Capturing the Inner Beauty of Flowers in Pen and Ink (worth £125) • Painting Expressive Roses in Watercolour (worth £185) • Introduction to Botanical Painting – Vegetables (worth £125) Capturing the Inner Beauty of Flowers in Pen

Postcode: Email: Telephone: The closing date for entries is noon on 12 May 2022.

Please tick if you are happy to receive relevant information from The Chelsea Magazine Company Ltd. via email , post or phone or the Royal Botanic Gardens, Kew via email

Artists & Illustrators 13

IN THE STUDIO

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HOW I WORK | IN THE STUDIO

DenisonPender

Before jetting off on his next adventure, the 23-year-old oil painter invites REBECCA BRADBURY into his London studio to talk about painting erupting volcanoes, sparring with Anthony Joshua and following a five-year plan

F

or 15 days, Max Denison-Pender braved ferocious winds, freezing temperatures and lashings of snow and hail to paint Iceland’s Fargradalsfjall volcano. But the painter did not just have severe weather conditions and a two-hour uphill trek with a full-size easel slung over his shoulder to contend with.

Being mid-way through its six-month-long eruption, there was also a steady stream of molten lava and deadly gases to negotiate.

14 Artists

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“It was hardcore,” Max says. “You didn’t have to worry about the carbon monoxide, as it seeps in slowly. But the sulphur monoxide blows in with the wind… You could see the smoke clouds changing direction and coming towards you, then it felt like you had pepper in your eyes and your throat stung. The alarms would go off and everybody was like, ‘GET OFF THE MOUNTAIN!’” Few people can say they’ve risked their life for a painting, but then Max is not your

Finchley ABC, oil on canvas, 130x175cm

average artist. Born in Santiago, Chili, with stints growing up in Wiltshire and Barcelona, the painter was 13 years old when he became hooked by extreme art, a concept he describes as “getting out into the elements and painting things that are seen as impossible to paint”. At 16, he even pitched the idea as a TV show to Sky Arts.

But after being told they didn’t have the budget, the artist – and a team of two video editors, one being his younger brother,

HOW I WORK | IN THE STUDIO

Charlie – are now forging ahead with the footage themselves, aiming to eventually launch it on Max’s own YouTube channel.

The trip to Iceland in 2021 also involved using a drone to drop an artwork into the volcano’s crater to create an NFT. But despite these more unconventional and cutting-edge pursuits, Max is a classically trained artist. At the core of his practice are the traditional techniques he learnt in his late teens when, at 16, he abandoned

A Levels in favour of studying at the London Atelier of Representational Art (LARA).

“I can now literally paint whatever I want,” he explains, and his portfolio is proof of this versatility. When not painting volcanoes last year, he was working on another hazardous subject as an official Team GB artist – painting the Olympic boxing hero Anthony Joshua. Up on the ropes as the athlete sparred, Max wasn’t dodging lava this time, but the swings of a heavyweight champion.

“When painting boxing, you’ve got to stay present in the moment and present on your painting,” he says. “It’s very easy as an artist to get lost in your work and forget what’s going on around you. But if you do that, you might get hit… I almost got thumped in the face by AJ because his partner ducked!” The result is a selection of on-the-ground oil sketches, painted with confident and dynamic brush strokes that translate the speed, power, and control of

Artists & Illustrators 15

Where the Snow Melts, oil on panel, 81x71cm

Olives, oil on panel, 41x58cm

Anthony Joshua 1, oil on panel, 31x20cm

16 Artists

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HOW I WORK | IN THE STUDIO

On London Bridge, oil on canvas, 102x76cm

Painting teaches you a lot about life.

Something I’ve had to overcome is keeping optimistic

a world-class boxer. There is also Finchley ABC – a huge canvas of the athlete training alone, with his coaches looking on and a busy gym beyond. It creates a sense of isolation that Max can relate to himself when working alone at his easel, despite sharing his studio with a small team of video editors. But the scene also tells a story, and this narrative element is the artist’s favourite thing to paint.

Most of the time, Max will capture his chosen subject in situ, rendering the likeness with oil on small panels, whether it’s deer grazing in Richmond Park or chefs at work in Marcus Wareing’s kitchen. He will then return to his studio to paint the piece on a larger support, relying solely on his oil sketch (never photographs) as a reference.

Yet there are some exceptions, like when he returned to the same spot every night for three months to paint the metre-wide On London Bridge, making friends with a homeless man who agreed to sit for him.

The artist’s preference, however, is to paint alla prima. “It shows your skill if you’re able to paint it in a quick time,” he says, jumping up eagerly and grabbing a primed panel to give a demo. His enthusiasm is contagious as he paints with swift, precise brush strokes, working from a bunch of

Artists & Illustrators 17

HOW I WORK | IN THE STUDIO

She’s Called India 2, oil on panel, 36x36cm

5 Hertford Street Library, oil on panel, 58x42cm

Petta reddast, oil on panel, 31x43cm

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sunflowers currently in his studio for an upcoming exhibition of florals to go on show at London’s Richard Green gallery in May. Flowers are a subject at odds with Max’s appetite for danger, but he saw the request from his gallery as a chance to take a much-needed break. “It got very intense at the end of last year and my health was declining,” he says. “I’m taking a breather.

When I’ve had my break, I’m going to shoot off to South America and go again.”

Max’s next big adventure is to paint the jaguars which live along the banks of the Pantanal in Brazil. The pieces will go on show in December in Hot – just one of the shows scheduled into the artist’s five-year plan, written in permanent marker across a wall in his studio, located down a cobbled mews in Kennington. “Some people think it’s a bit obsessive,” he admits, “but a large painting takes six months, so if you do two, that’s a year’s plan already.”

Every Monday morning, a new weekly schedule goes up on an adjourning wall too, proving Max has the focus, dedication and ambition to match his unwavering artistic prowess and ingenuity. Also admirable is his glass half-full attitude. “Painting teaches you a lot about life,” he says. “You learn how to make hard decisions and how to keep calm under pressure. Something I’ve had to overcome is keeping optimistic as sometimes being an artist can be brutal…

There are so many ups and downs.”

Such a wise attitude belies the artist’s age, but he’s already achieved so much.

We’ve not even mentioned his sell-out solo show, his beguiling portraits, his interiors of 10 Downing Street and how his attempt to get a ticket on one of Elon Musk’s SpaceX missions went viral. “Somebody has to be the first artist on the moon,” he adds, “it’s genuinely possible and I still have it in mind.” Watch this space… denisonpender.com

Tuscany in the Frame All-inclusive Painting Holidays for all abilities. A team of well-respected Artist/Tutors that we have worked with for over 17 years.

List of all Workshops 2020 APRIL 23 - 30 Sicily - Lana Ballot - Pastel .....................................................€1895 MAY 4 - 14 Lake Como - Janet Knight - Pastel, watercolor, oils................ €2995 15 - 25 Tuscany - Liz Fusco - Watercolor ............................................ €2595 25 - 4. June Tuscany - Ivana Melosevic - Mixed Media ........................ €2595 JUNE 8 - 15 Lake District UK - Phil Hobbs - Watercolor ............................... €2095 15 - 22 Lake District UK - Caleb Stone - Watercolor, oils..................... €2095 22 - 29 Cotswolds UK - Phil Hobbs - Watercolor ................................. €2195 29 - 6. July Cotswolds UK - Anne Gunthner - Watercolor, oils....... €2195 SEPTEMBER 10 - 17 Tuscany - Thaddeus B Kubis - Photography.............................. €1995 20 - 30 Lake Como - Sakoto Motouji - Watercolor............................... €2695 30 - 10 October Lake Como - Margaret Evans - Watercolor, pastels.... €2995 OCTOBER 13 - 20 Amalfi Coast - James Willis - Watercolor.................................. FULL! 12 - 28 Sicily - James Willis - Watercolor.............................................. FULL! 28 - 6. November - Sicily - Janet Knight - Watercolor, pastels, Oils....... €2495 NOVEMBER 7 - 14 Malta - Janet Knight - Watercolor, pastels, oils .......................... €2195 All locations will have a single supplement of €200 to 250. The above prices are all inclusive flights) locations • Tuition by top artists • Excursions & airport transfers • Quality accommodation • All meals & wine(excluding • Inspirational

We offer locations such as Lake District UK, Venice, Lake Como, Sardinia, Tuscany, Amalfi Coast, Basilicata/Matera, Puglia, Sicily & Malta • Quality accommodation • All meals & winepersonally • Inspirational locations the • Tuition by top artiststhroughout • Excursions & and airport Nobile, founder Tuscany in the researches painting Italy nowtransfers also Malta.

WeRaffaele offer locations such as of Lake District UK,Frame Venice, Lake Como, Sardinia,all Tuscany, Amalfilocations Coast, Basilicata/Matera, Puglia, Sicily & Malta

Payments in currency’s other than € will be calculated at the rate the payment is made. Please do not hesitate to contact us for any questions you may have

Raffaele Nobile, founder of Tuscany in the Frame personally researches all the painting locations throughout Italy and now also Malta.

For more information, contact Raffaele Nobile For more information, Raffaele Italy +39 3342191885 | contact Mobile +39 339Nobile 825 6617 Italy +39 3342191885.

Mobile +39 339 825 6617 raffaele.villanobile@gmail.com | www.tuscanyintheframe.com | www.villanobilecortona.com Email: raffaele.villanobile@gmail.com Website: www.tuscanyintheframe.com

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H O W I W O R K | H O W I PA I N T

Tracy

Goldfinch Elson The artist and art photographer is fascinated by the light and shadow as captured in the paintings of the old masters.

Here she tells NIKI BROWES how she gets it done

Drawing has been a passion of mine since early childhood. An early memory is of me drawing a portrait of one of my classmates at primary school. I remember it attracted quite the crowd of watchers, including my 20 Artists

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teachers. I was very shy but very able and clearly had a talent to nurture. I come from very humble beginnings and being one of six children, this unfortunately did not give me the opportunity for formal art training. Still, my passion has always been present throughout my life and has always been simmering away in the background.

I’ve always been mesmerised by the paintings of so many of the old masters such as Caravaggio, Rembrandt and Vermeer. The way they were able to capture light, shadow and texture is a huge source of fascination to me. Many of their works, literally, make my heart quicken and chest tighten. It’s an intensity of feeling that I try to harness and apply to my own work.

I totally rely on my instinct when I’m working, whether this is applied to my photography

FRAMED BY LIPHOOK ART & FRAMING

S

urrey-based Tracy Goldfinch Elson was eight years old and drawing a school friend’s portrait when she discovered her artistic talent. Self-taught, a central theme to all her work is family – her husband and two daughters often sit for her paintings – still life and femininity.

Mostly working in oils, she also uses photography as an outlet for her artistic expression. Making the most of Instagram as a platform to sell her work, she recently collaborated with The Royal Ballet to create the Royal Ballet Renaissance series of prints and postcards.

H O W I W O R K | H O W I PA I N T

Poppy and Fruit, oil on board, 12.7x12.7cm

H O W I W O R K | H O W I PA I N T

I work with oils, watercolour, drawing and photography to keep myself motivated

ABOVE LEFT Clementine, oil on board, 12.7x12.7cm LEFT Cherries in a Bowl, oil on board, 23x30cm

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LEFT Silver & Nectarine, oil on aluminium, 12.7x12.7cm BELOW Red Onion, oil on board, 12.7x18cm

or painting. I’m always striving to capture the atmosphere and feeling these paintings convey. I created my own photographic version of Caravaggio’s Boy Bitten by a Lizard, with my eldest daughter Megan, along with a homage to Van Eyck’s Portrait of a Man. Whilst photography has been a dominant factor in the last few years, I’ve naturally drifted back to focusing on my painting and drawing. I had countless portrait drawing commissions before I had my two children, Megan 13 and Poppy 10. It fitted alongside my day job, working in a school, and required a lot of intense focus and time. After my girls arrived, I naturally became devoted to their care, which left very little time for me to satisfy my own creative needs. It was then that I accidentally discovered my love for photography, my pictures which I post on Instagram. With a growing number of followers [at the time of writing, over 21,000] and with it being such a supportive community, it was difficult not to get hooked.

It has become a great ‘quick fix’ creative outlet, which does not require the prolonged, intense hours needed for painting and drawing.

I’m always on the lookout for interesting props to use in my still life compositions.

I have an eclectic taste and love scouring charity shops for treasure. I have a growing collection of antique glass bottles and adore aqua glass and vintage cutlery. They’re little pieces of history to include in my watercolour paintings, along with natural elements collected on a beach or forest walk.

As any parent knows, the hours between school runs are short so I try to work as much as I can whilst the girls are there.

I like to keep things as varied as possible, working between oils, watercolour and drawing, as well as photography, to keep myself motivated, which is not always easy when working alone.

Along with the masters, I’m continually inspired by my favourite artists. I love the work of Paul Stone. I’m lucky enough to own one of his paintings, bought during the first lockdown as part of the Artist Support Pledge. His work has inspired me to include reflective elements in my compositions, such as a silver jug or a copper tankard. I’m also a huge fan of Robert Walker. I remember discovering his work several years ago in a gallery, on one of many trips to Bath and being blown away by his way of capturing

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Poppy, oil on board, 41x51cm

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H O W I W O R K | H O W I PA I N T LEFT Vintage Spoons and Aqua Glass, watercolour on hot pressed paper, 35x25cm RIGHT Pears on White Linen, oil on board, 21x21cm ABOVE Single Plum, oil on board, 13x13cm

light and shadow. I was delighted to find him on Instagram. Alexander Debenham’s still life paintings are also simply amazing; I’ve found so many artists to admire and connect with through this little app. I love to immerse myself in the work of my favourites. I think this immersion has been key to my painting development. I’m always learning, improving and aspiring.

Whilst most of my paintings tend to be still life, portraiture is always present in the background. I don’t paint them very often, as I like to build myself up to the challenge. With so many portrait drawing commissions behind me, I must admit it did dampen my love for the subject for a while, but it has slowly been returning. I always have willing models at home; my amazingly supportive husband Rob and my two girls have all sat for me.

I’ve never settled on a particular subject or medium in my drawing and painting.

Maybe I never will. I used to see this as a failing or a negative as an artist, but I’m coming to accept that, right now, it keeps things fresh for me. I love to experiment

and try new styles and mediums and there is still so much to discover and learn along the way.

My work tends to include family or feminine elements, which I’m sure conveys much of my personality. I’ve never really stopped to look too deeply. I want to enjoy drawing and painting subjects that move me and try to stay true to myself.

Living in a modest sized home, I don’t have a separate studio. Instead, I have a dedicated corner in the conservatory with my easel and everything I need for those precious few hours where it’s always well-lit and allows me to work and be around the children at the same time. Juggling the children and painting can be a hectic mix but it also allows me to have the best of both worlds. A typical day starts with the manic rush of getting the girls organised for their day, then cramming as much work in as I can, or fitting in a trip to my local framers (Liphook Art and Framing) before I pick them up again. I usually find myself finishing pieces at weekends to keep the flow going.

I have a lovely, supportive following on Instagram, which I’ve always been grateful for. I’m pretty active on there and tend to sell work directly from it. For me, it’s easier to manage than having a website. It acts as a sort of live portfolio of my work. It’s also a wonderful place to connect with like-minded creatives. Most of my creative opportunities have come from these connections. A favourite and memorable experience came after connecting with Rachel Hollings, the Artistic Administrator for The Royal Ballet.

Together, we worked on a series of Renaissance inspired photographs, featuring several of the dancers, to create prints and notecards sold in the Royal Opera House shop. A small collection of my photographic limited editions are also sold through online galleries, such as Richard Quartley Art and the Punk and Thunder gallery. It’s just the beginning for me.

First and foremost I’m a dedicated mother.

However, as my children grow and become more independent, I will be able to devote more time to my work and my journey as an artist. But for now, I’m enjoying the ride.

Instagram: @goldfinchelson.art

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Portfolio Plus member DARIIA MANDZIUK

V

Dariia Mandziuk, Something Wonderful, oil, 60x60cm

incent van Gogh had his sunflowers.

Claude Monet had his waterlilies and Georgia O’Keefe had her poppies. As for Portfolio member Dariia Mandziuk, her trademark flower is the tulip, bringing the bloom to life with carefully considered, soft, buttery strokes using a rainbow-load of cheerful pigments.

But just like her floral-painting predecessors, the Ukrainian-born, London-based artist is not content to stick with just one signature bud.

Browsing through her work reveals violas so joyful they are almost smiling, iridescent irises dancing in the late-afternoon sunshine and pink roses resplendent in their delicate beauty.

Each flower Dariia paints comes complete with its own personality, and this fits with her aim to evoke a particular emotion, as well as to draw attention to the astonishing wonders of the natural world that unfortunately pass many of us by. “I want to show people that even an ordinary flower in your grandmother’s garden can look very beautiful,” she says. “I want the painting to convey the mood of the flowers.”

Indeed, the oil painter proves a much deeper appreciation of nature can be achieved by

simply observing forms and hues a little closer. “Every time I look at a tree or flower, I thoroughly observe the colour and the shape,” she explains. “My eyes see more shades. For me, the tree is not just brown, and the foliage is not just green.”

Colour is an essential component of any artwork for Dariia, whether painting flowers, landscapes, or street scenes. In her planning stages, a colour sketch is crucial to finesse the composition. Light strokes of charcoal are then used to jot down the outline on the canvas before layers of paint are added, always working from light to dark.

As any artist understands, it’s not always a smooth process from start to finish. When a creative block emerges mid-way through a painting, Dariia suggests stepping away from the easel and letting your mind wander. “I leave it for a few hours, sometimes more,” she says.

“Sooner or later, the inspiration returns. And that’s the most pleasant feeling – when you do a couple of strokes, and you realise the picture is finished. portfolio.artistsandillustrators.co.uk/ dariiamandziuk

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EXHIBITION

FACE TIME The Contemporary British Portrait Painters are holding a major group exhibition in London in June. We put the spotlight on six talented exhibiting members

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Ian Goldsmith About: A British portrait artist, Ian’s work explores the interplay of light and colour, utilising what he says is an “almost scientific fascination with the elements that make an image, particuarly the study of colour”.

Being part of the CBPP: “Many of the members are now good friends and we hope we promote that social attitude among the group. We try to support and encourage one another and work together to promote what we do. It’s more like a team perhaps than a conventional society and, being originally based in social media, it is inherently immediate and social. I love that.”

On portraits: “I love everything about them. The lines, the shapes and the range of colours are just so appealing to me personally, but there’s also the valuable social record that they are, or how a portrait can connect with your emotions in such a direct way. It’s also quite a responsibility if you think about it. The portrait painter after all has the power in that brush to make the subject look however they choose, for good or ill.

People are the most fascinating and important thing in all our lives. So when it comes to why do I paint them, well I love landscapes, but who wants to paint the stage when you can paint the players?”

THE EXHIBITION IS GENEROUSLY SPONSORED BY THE SINCLAIR GALLERY, THE NET GALLERY AND CASS ART

F

ounded in 2018, The Contemporary British Portrait Painters (the CBPP) draws together some of Britain’s most prominent contemporary portrait and figurative painters, exploring what it means to represent people in art today.

This dynamic, not-for-profit collective was set up to foster connections between artists, and promote the intensely fascinating, timeless act of painting people in an era of disposable digital media.

Members include some of Britain’s foremost portrait painters holding the highest accolades in the genre, ranging from prize winners of the National Portrait Gallery’s BP Portrait Award to Sky Arts' Portrait Artist of the Year. As they prepare for their group exhibition featuring the work of over 45 members this June at The Department Store in Brixton, we caught up with founder and artist Ian Goldsmith and a selection of the collective to find out more about their practice.

Sausage (Dylan Sara), oil on cradled panel, 60x79cm

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Ange Bell About: With work in private collections worldwide, Ange's work focuses on the themes of origins and belonging. Whether collecting and working from found photographs or – as in recent months – working from selfies taken by Instagram users.

Being part of the CBPP: “We see the CBPP as a progressive and inclusive collective, open to a variety of styles, backgrounds and artists at different stages of their career. While working in isolation in the studio is preferable it can be a very lonely occupation.

Establishing lines of communication with my

contemporaries has been hugely beneficial not only on a personal, sociable level but also having the opportunity to discuss our practice and tapping into the wealth of knowledge and experience that is available.

I am genuinely excited by the work that is currently being created in portraiture and being part of the CBPP enables me to be a part of that conversation.”

On portraits: “I create detailed studies in oil, and through a process of working back into the surface and exploring mark making techniques, I distort, eliminate and manipulate the image to create a visual language.

I aim to create a portrait that not only captures a likeness but also has a vibrancy and depth to it.”

Anthony, charcoal conte gouache on gessoed paper, 43x33cm

Miriam Escofet About: Winner of the BP Portrait Award 2018, the unifying message in all of Miriam’s paintings is a sense of space, volume, atmosphere and detail, arriving at a hyper real expression of the subject matter. In 2019, the Queen sat for her portrait by Miriam.

Being part of the CBPP: “I am a very recent member and this will be my first time exhibiting with them and getting to know the fellow members. Creating an artist’s collective, free to set their own agenda and organise themselves in any way they wish, is a great initiative. I am very happy to be in their company and eager to see how it all develops.”

On portraits: “Ultimately all portraits are a process of self-examination, for the artist and the viewer. Painting a portrait is an incredibly intimate process, even when the sitter is mostly absent. The hours, weeks, months, spent minutely studying every aspect of someone’s physiognomy, the way they sit or stand, the way they hold themselves, the tension or lack of it in the pose, build up to a very personal and intimate understanding of someone’s essence.”

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Agnes, oil, 15x20cm

EXHIBITION

Looking back, oil on canvas, 50x40cm

Tom Croft

Jan van Eyck, The Annunciation, 1434/1436, oil on canvas, 90.2x34.1cm

About: A classically trained portrait painter, Tom started #portraitsfornhsheroes by offering a free portrait to the first NHS key worker to contact him on Instagram. He then encouraged other portrait artists to do the same and it grew into a global initiative. In 2021, he was awarded a British Empire Medal for services to the arts and charity during the Covid-19 response.

Being part of the CBPP: “It’s a huge honour to be part of whilst I definitely have a strong sense of imposter syndrome in such talented company. We have the National Portrait Gallery's BP Portrait Award winners, three Sky Arts Portrait Artist of The Year winners and lots of other phenomenal, critically-aclaimed artists.”

On portraits: “We all love people watching and can recognise and relate to expressions and poses that give us a human connection. Sometimes it’s interesting to see the artist's technical skill or energy of paint application, how light and composition can be used to give a particular narrative, or you might just like to spot some well-known figures and see how the artist has described them. This show is a rare chance to stare at people. In fact, it’s positively encouraged. One of the best things about portraiture is that you don’t need to know anything about it at point of access to still get an enormous amount out of it.”

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Self Portrait as Working Class Hero – A Tribute to John Lennon, oil on panel, 20.8x29.6cm

EXHIBITION

Liesel Thomas About: A graduate from the Slade School of Fine Art, Liesel has exhibited in the BP Portrait Award and the Self-Portrait Prize. She has shown internationally within group shows in Edinburgh, London and Berlin.

On being part of the CBPP: “Painting can be quite a solitary pursuit. The CBPP has allowed me to connect with other portrait artists and make great friendships. It’s wonderful to share thoughts, ideas, advice and generally offer each other support. It was especially valuable to be part of the collective during the various lockdowns when feeling connected was more important than ever. The members have such a wealth of experience, their work is incredible and it’s a pleasure to be part of the group.”

On portraits: “There’s something unique about capturing a person in paint, and for the sitter, there is something special about seeing yourself through another’s eyes.

People are multifaceted, we are constantly changing, not only in appearance as we age, but we have different emotions, interests, relationships, values and so on.

Choosing how to represent someone in a single image is a compelling challenge. Likeness aside, deciding what’s most important and how to represent that through pose, lighting, clothing or composition, means there are a myriad of decisions to be made in the process.”

High Noon, oil on canvas board, 30.5cmx40.6cm

Samira Addo About: A self-taught portrait artist, Samira’s style is considered as contemporary realism.

She has had experience studying under artists such as Nathan Ford and Ilaria Rosselli Del Turco at The Art Academy.

In 2018, she was the winner of Sky Arts' Portrait Artist of the Year and was commissioned for a portrait of the actor Kim Cattrall, now hanging in the Walker Art Gallery in Liverpool.

On being part of the CBPP: “For me, it means being part of a community of artists.

As my journey into contemporary portraiture hasn’t been the traditional route, it is a collective that gives me peers in the art world, which I very much value.”

On portraits: “I’ve tried a few landscape paintings but portraits definitely have my heart and I get inspired seeing people and postures. I’m drawn to faces and facial expressions. There’s a part of me that’s always trying to read expressions and body language and this heavily features in the whole portrait painting process.”

The Contemporary British Portrait Painters 2022 exhibition is on display downstairs at the Department Store, 248 Ferndale Road, London, SW9 8FR, 10-5pm, 11th-18th June.

Admission is free. thecbpp.org Instagram: @thecbpp

GRAHAME BOOTH WATERCOLOUR PAINTING IN PROVENCE 23 - 30 April and 30 April - 7 May Provence is a beautiful area for painting with the wonderfully atmospheric towns and villages surrounded by the gentle countryside. We stay at Le Vieux Murier, a converted old stone farmhouse and dairy in the hamlet of Les Salettes, just over an hour from Nice. The cost St. Tropez en plein air includes bed, breakfast, some lunches and all dinners with wine or soft drinks. Transfers from Nice airport and travel to the painting locations each day are also included. There is also a private swimming pool. Flights are not included and must be organised by each participant. There are regular flights to Nice from airports throughout Europe. During your stay we visit Lorgues market, one of the biggest in the region and we will paint in a variety of towns and villages, each offering countless subjects for the watercolour painter.

“I just wanted to thank you, Graham, Judith and my fellow guests for such a happy week painting in Provence. I’ve been telling everyone what a great week I had, with lovely people, great tuition and support and the most beautiful area to inspire us. I feel I learnt so much and really hope my future paintings reflect this, but the company I was with made it such a very easy and happy week - it went by far too quickly!” Liz Neal Cornwall.

Contact jeff.monaghan@btinternet.com for details

big sky art Luxury residential art breaks in North Norfolk with superb tutors book with confidence - deposits fully refundable based at The White House near Burnham Market situated in beautiful countryside fabulous food inspirational coastal locations airy onsite studio non-painting partners welcome

bigskyartcourses.com +44 (0) 7785 439727

Painting In Italy • Fully organised painting holidays including airport transfers, tuition, excellent accommodation, dinners/lunches with wine and excursions.

• Destinations include Tuscany, Umbria, Lake Garda, Sicily, Florence and Venice.

• Professional tutors teaching all levels of ability and in all media.

• Perfect holiday for solo travellers. All guests occupy a comfortable double room (no sharing) with en-suite facilities. No single supplement charged.

• Non-painting partners welcome. Cooking tuition available on some locations.

“Excellent sums it up. This was one of my best ever holidays.

The painting tuition was fantastic. Thank you for organising every detail. It was splendid...!” - Sicily

paintinginitaly.com • Freephone: 0808 1185 729 • Email: info@paintinginitaly.com Artists & Illustrators 33

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THE BIG INTERVIEW

McBride

Since her childhood visiting the supermarket with her family, the Scottish artist has always been interested by labels and graphics. Today, she painstakingly recreates brands using BIC biro pens, an unforgiving medium that allows for zero mistakes, finds NIKI BROWES The Perth-based artist has long had a fascination in the cross over between advertising and art and how branding can be developed as a subject matter. Labels from her childhood feature heavily in her work, whose hyper-realistic finish is created using a mix of BIC crystal original ballpoint pens in just nine colours. She is also interested in having elements of humour, irony and satire in her work which has been exhibited in galleries across the UK and in France.

She currently works part time as

head of the art department at Perth High School but, if everything goes according to plan, she intends to reduce her teaching hours to spend more time as a practicing artist.

The student’s loss will be the artworld’s gain.

I can’t exactly remember when I started drawing. I guess it was just always there. I do remember my Gran and Grandad buying me my first easel when I was nine years old.

It is still used in my studio today.

ABOVE: Beanz Meanz Heinz, 2021, biro pen on paper with acrylic background, 21x29cm LEFT: Teacake Reflections, 2021, biro pen on paper with acrylic background, 42.5x42.5cm

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THE B I G INTERVIE W

ABOVE: A Two Plyer Game, 2022, biro pen on paper with acrylic background, 24.5x42.5cm ABOVE RIGHT: Cream of Roses, 2022, biro pen on paper with acrylic background, 28.5x43.5cm RIGHT: The Bru Triple, 2021, biro pen on paper with acrylic background, 122x61cm

36 Artists

My art teachers at Rockwell High secondary school were a massive influence. I was never far from the art department and, due to their constant encouragement, I made the department my second home. Mrs. Morocco in particular opened my eyes to contemporary art, and I am forever grateful for her driving me to Gray’s School of Art to drop off my portfolio.

The central aim of my artworks is to spark memories in the viewer and help them form connections and relationships from their own childhood. I come from a family which is very proud of its Scottish heritage, as am I. Consequently, I always strive to promote products from Scotland.

Along with branding and graphics, I have always been fascinated by the reflections from glass bottles and cans. I think this goes back to when I was a child and often in the pubs my mum and dad ran. I remember being constantly fascinated with the colours which emanated from the optics and the strong branding which stood as a direct contrast.

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I have always been fascinated by the refelctions from glass bottles

I graduated from Gray’s School of Art, Aberdeen, with a degree in drawing and painting. I am originally from Dundee and now work from my studio in Perth and use BIC biro pens to develop artworks of iconic images. My subject matter changes frequently but focuses primarily on objects which surround me, sparked by my childhood memories. I experiment using a range of surfaces from antique ordinance maps to old, recycled envelopes and newspapers.

I carefully layer the colour and tones aiming to achieve a bold, colourful and hyperrealist style.

Initially, I focused on abstract figurative art but, after having a break to raise a family, I decided to try something different and began drawing using BIC biro pens.

With limited space at home, this was an ideal medium for me to experiment with as you don't need loads of equipment. Drawing has always been one of my passions and it was by happily doodling in my spare time that I discovered the possibilities the pens allowed me.

I first became aware of the really quite extraordinary finish which can be achieved with the pens after discovering the American artist Nicolas Sanchez who uses the medium to develop small, scaled portraits. I also admired artist Mark Powell’s biro pen monotone compositions on antique surfaces. Another major influence, who has helped me develop my particular style, includes the contemporary artist Sarah Graham whose energetic, vivid exploration of light, colour and use of retro objects have impressed me for many years.

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I became fascinated by both the mark making the ballpoint pens achieved and the challenge of trying to control an unforgiving medium.

Working with biro pens is different to working with other media such as paint. Mistakes cannot be rectified, and I need to carefully build layers slowly and faintly to achieve the correct colour. Due to the nature of the pens, any graphics and lettering need to be inserted at the beginning of a composition with the background being blocked in later.

There are several pitfalls with using biro pens; one of the key ones is that they occasionally bleed. I have to constantly clean the nibs with tissues to make sure their application is consistent. It can be incredibly frustrating at times when I perfect an area only for the pen to bleed and smudge, requiring me to start again – from scratch! In my drawings, I am restricted to eight colours plus black and relentlessly practice layering different permutations to establish my realistic finish. Colour has always been a large feature in my work, even at a young age. I always strive to push the biro pens as much as I can to achieve an intense vibrancy of colour.

From early childhood, I have been particularly interested in Tunnock’s merchandise. Teacakes were like medals in my house and only given out on special occasions. The Dark Side Triple is one of my larger scaled pieces. This piece was the most challenging for me to complete due to the monumental scale of the teacakes and the difficulty in replicating the vivid metallic finish of the gold foil. Over 25 biro pens and an entire month of daily work were required to complete this piece. My work has won the approval of the Uddingston-based sweet-maker and I am now able to trade as an official Tunnock’s merchandiser after signing an agreement with the firm in 2021.

I constantly visit galleries, both traditional and contemporary, to help spark off ideas. I never go without my sketchbook. I also gain a lot of inspiration from the pupils I teach. Becoming a professional artist is not an overnight

achievement. A lot of my time has involved researching potential galleries that could display and sell my work. I have also invested a considerable amount of time promoting my work on social media, helping me to gradually create an audience of loyal followers including buyers and collectors. I think it is vital to locate and form partnerships with galleries which have an established clientele that is likely to be interested in your work. Hence, I tend to veer towards galleries that exhibit contemporary pieces.

I have spent years trying to find a subject matter which I enjoy and I am comfortable with. It's really important to experiment and have fun and not be overly concerned about the final product. Overall, I hope the enjoyment I feel shines through in my work.

Instagram: @nicolamcbridebiropenartist Twitter: @nicolamcbride4 Etsy: etsy.com/uk/shop/biropenart

ABOVE: The Dark side Triple, 2021, biro pen on paper with acrylic background, 122x61cm ABOVE: Ringing Tunnock's, 2022, biro pen on paper with acrylic background, 37.5x29.5cm ABOVE: Vintage Roller, 2021, biro pen on paper with acrylic background, 42x59cm

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Yorkshire An Art Lover's Paradise

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t’s all too easy to buy into the idea that all the best or most important art is always found in or attached to big urban enclaves. In the UK we’re a little guilty of being London-centric when it comes to culture. Yorkshire might evoke images of sheep, puddings and flat caps; an unspoilt idyll of green and pleasant land. And while all of this is valid, the largest

county in the UK is also gaining quite the reputation for being an exciting artistic hub, boasting world-class galleries showing works from some of the most exciting and celebrated artists of all time. Not only this but there is a wealth of courses for amateur artists of all disciplines to learn and improve. Here are some of the best things for art lovers to see and do in Yorkshire.

IMAGES COURTESY OF YORKSHIRE SCULPTURE PARK. PHOTO BY JONTY WILDE

God’s own country is fast becoming a go-to art hub, showcasing work by world-renowned artists whilst also offering learning spaces for artists of all abilities, says Martha Alexander

GALLERIES

Henry Moore, Two Large Forms, 1969, courtsey of the Henry Moore Foundation

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Taking its name from Barbara Hepworth, who was born and raised in the city, The Hepworth Wakefield, which opened in 2011, is extraordinarily striking, both inside and out.

The exterior has a brutalist and geometrically inspired aesthetic (above) and is clad in concrete while the interiors are flooded with natural light.

The gallery’s permanent collection consists of more than 5,000 works. Some of the most significant are, unsurprisingly, pieces by Barbara Hepworth and Henry Moore, who was also born in Wakefield, as well as pieces by Eileen Agar and Ben Nicholson.

One of the most special aspects of the permanent display is The Hepworth Family Gift – a group of 44 prototypes in plaster, aluminium and wood, as well as drawings, lithographs and screen prints all of which were used in the planning processes of Hepworth’s bronze of aluminium works. These objects, which can be seen by appointment only, provide deep insight into the sculptor’s process – and it is such a privilege to be able to see what comes before the finished, polished works.

This spring will see the launch of a major Shelia Hicks exhibition, whose sculptures are made primarily from textile and are always tactile, colourful and surprising. hepworthwakefield.org

IMAGES COUTESY OF HEPWORTH WAKEFIELD

The Hepworth Wakefield

Barbara Hepworth, Mother and Child, 1934

Bowes Museum

IMAGES COUTESY OF THE BOWES MUSEUM

Canaletto, The Bucintoro Returning to the Molo on Ascension Day after the Ceremony of Wedding the Adriatic, Venice, Italy, c. 1730

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The geographically savvy will notice that the Bowes Museum is technically in County Durham and not North Yorkshire, but we are taking the liberty of including it here because it is right on the border and is an absolute treasure trove of artistic bounty.

Standout pieces in the Bowes Museum's permanent collection include two paintings from the 1730s by Canaletto – both colourful canal scenes of pomp and pageantry.

The temporary exhibitions are delightfully varied in subject matter, including abstract paintings. In the autumn, the museum will stage a retrospective of Raymond Briggs, the illustrator behind iconic book The Snowman. thebowesmuseum.org.uk

GALLERIES

Leeds Art Gallery

ABOVE: Lother Götz, Zanadu, 1963

ABOVE: Eileen Agar, Angel of Mercy, 1934

Teapot from the Yorkshire Tea Ceremony BELOW: Japanese print exhibition

IMAGES COUTESY OF LEEDS MUSEUMS AND GALLERIES

LEFT: Damien Hirst, Black sheep with Golden Horns, 2009

Spread over three floors, Leeds Art Gallery – right in the city centre (above) – is a seriously impressive and thoughtfullycurated space boasting a variety of different paintings from bucolic Victorian vistas to sculpture by Anthony Gormley.

As well as having one of the country’s most impressive collections of 20th-century art by the likes of Bridget Riley and Paula Rego, Leeds Art Gallery is also notable for its The Lives of Others exhibition in the West Gallery which showcases the diversity and power of portraiture. museumsandgalleries.leeds.gov.uk

Pottery from the Yorkshire Tea Ceremony

IMAGES COUTESY OF YORK MUSEUMS TRUST

York Art Gallery A stone’s throw from York Minster is York Art Gallery, home to a remarkable collection of some 1,000 paintings spanning over 600 years of European art including Dutch masters, Victorian narratives and landscapes on paper by JMW Turner.

However the gallery’s ceramics collection is one of the country’s most impressive thanks to donations and loans from the likes of Henry Rothschild. The Yorkshire Tea Ceremony is one of the current exhibitions – and it is as charming as it is impressive.

The pieces are all from the collection of the late WA Ismay MBE, who was considered the most prolific collector of post-war British pottery. He had over 3,600 pieces by the time of his death in 2001. yorkartgallery.org.uk

ABOVE: William Etty, The Wood Children, 1845

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IMAGES COUTESY OF CARTWRIGHT HALL

GALLERIES

The David Hockney Gallery at Cartwright Hall

Thirsk Hall

Yorkshire Sculpture Park

ABOVE: Emily Young, Still Dancer, 1951

The 500 acres of gently undulating hills on the Bretton Hall estate, which is home to the Yorkshire Sculpture Park, is naturally impressive even if it didn’t include works from some of the world’s most celebrated artists.

Both parkland and landscaped gardens provide exciting backdrops for site-specific sculptures and temporary exhibitions. Currently Damien Hirst has four sculptures on site until summer 2023, while this month sees the opening of Robert Indiana’s first major UK exhibition of works from his 60-year career.

One of the most exciting permanent fixtures is Barbara Hepworth’s The Family Of Man which has been at YSP since 1980, while Henry Moore is almost synonymous with the park thanks to how many of his figures are there.

Look out for Andy Goldsworthy’s work – always thoughtful responses to the natural landscape and historic practises of local farmers and makers.

There is also a fabulous indoor space which has temporary exhibitions from both local and internationally renowned artists. ysp.org.uk

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Henry Moore, Two Large Forms, 1969, courtsey of the Henry Moore Foundation

IMAGES COURTESY OF YORKSHIRE SCULPTURE PARK. PHOTO BY JONTY WILDE

It seems fitting that Cartwright Hall (left) created a dedicated gallery of David Hockney’s work to celebrate his 80th birthday, given how inspirational the museum was to him from so early on in his life. “I used to love going to Cartwright Hall as a kid, it was the only place in Bradford I could see real paintings,” Hockney has said. The works on display are his early paintings from the start of his career in Bradford as well as footage of him at work in his Bridlington studio. bradfordmuseums.org

Touted as a country home to the arts, Thirsk Hall opened its grounds to visitors for the first time in almost 300 years in 2021 with a sculpture garden teeming with vibrant pieces from the likes of Michael Lyons. Run and managed by husband-andwife duo Willoughby Gerrish, an art dealer and art consultant, and Daisy Bell, who also live there (Thirsk Hall is Bell’s ancestral home). The couple are open about their ambitious plans to put Yorkshire and Thirsk – an unassuming market town – on the cultural map.

The gardens, beautifully landscaped and maintained, will reopen in May, and provide the perfect space not only to showcase sculpture but for visitors to relax, stroll and even picnic.

This year will also see Thirsk Hall hosting its first eponymous festival (19-21 August) celebrating food, culture and art while a brand new indoor contemporary gallery space is set to host some exciting works. thirskhall.com

Where to learn • Not far from the diminutive city of Ripon, Old Slen Art is based in the stable block of the idyllic Sleningford Hall gardens and students can enjoy drawing and painting classes on a weekly basis.

• Located in the centre of Bingley, West Yorkshire, The Craft House offers a ground floor café serving delicious food and treats while the upstairs studio hosts a rolling roster of different classes and workshops including acrylic for absolute beginners, lino printing and pet portraiture.

• Yorkshire Lavender in Terrington just outside York is, as the name suggests, a sea of Provence purple come summertime. Awardwinning artist Robert Dutton leads a day-long drawing and painting workshop there on 22 July.

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Artists & Illustrators 45

Two masters, one love

A recent book explores Vincent Van Gough and David Hockney’s love of nature and Van Gogh’s unmistakable impact on Hockney. By Adrian Mourby

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VAN GOGH MUSEUM

A R T H I S T O RY

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n 2019 an exhibition entitled Hockney-Van Gogh: The Joy of Nature was mounted at Amsterdam’s Van Gogh Museum.

Two years later the same exhibition opened in the Museum of Fine Arts, Houston. For both events there was no literal, picture-by-picture gallery catalogue. Instead there was an intelligent, discursive book written by the Dutch art critic and curator, Hans den Hartog Jager, who had previously published on Van Gogh.

Beautifully packaged by Thames & Hudson, Hockney-Van Gogh: The Joy of Nature is a rare tome that transcends the idea of an exhibition catalogue as mere souvenir. Instead, it is a timeless statement about the parallels between David Hockney’s later work (the early 2000s) and Van Gogh’s (late 1880s).

Hockney, in old age, has become so much more than a commercially successful artist. With huge colourful paintings like Arrival of Spring in Woldgate (2011) and More Felled Trees on Woldgate (2008) he has proved himself a visionary, sharing with us his powerful, highly idiosyncratic response to the natural world. And with gnomic statements like Spring Cannot be Cancelled

ABOVE Vincent van Gough, Wheatfield With Crows, 1890, oil on canvas, 50.2x103cm LEFT David Hockney, The Arrival of Spring in Woldgate, East Yorkshire, oil on canvas, 366x975cm

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VAN GOUGH MUSEUM

A R T H I S T O RY

(during a time of Covid lockdowns) he has become a prophet for our troubled times.

Hockney, who started his professional life as a trendy 1960s pop-artist, painting Hollywood’s swimming pools and boulevards, is ending his life as a champion of the natural world. As he himself has written, “We have lost touch with nature, rather foolishly as we are a part of it, not outside it.”

If that were not enough achievement, Hockney’s embrace of modern iPad technology has put him in the avant-garde of 21st-century art, an impressive achievement for a man who will turn 85 in July this year.

By contrast Vincent van Gogh, who ended his own life in the south of France in 1890 at the age of 37, believed his life’s work had been a failure. His tragic last words to his brother, Theo, were, “this sadness will last forever”.

Hans den Hartog Jager’s thesis – that Hockney’s work mirrors Van Gogh’s – is quickly established in the first 12 pages of the book, which juxtaposes (without any text) landscapes and drawings by Hockney and Van Gogh. Though they are separated by over 120 years, it is not always possible, at least at first

glance, to discern who did what. A few paintings could be by either artist.

Both men work with large slabs of colour, energetically presented, vivid and often completely unreal. This disdain for realism takes us, in both cases beyond mere reproduction to a powerful and very personal reaction to nature. Van Gogh uses swirling impasto. Hockney draws black outlines round his leaves and his raindrops are white scratch marks.

In a major conversation with Hockney – who collaborated with the original 2019 exhibition – the artist is quoted as telling Jager, “I’ve always found the world quite beautiful, looking at it. Just looking. And that’s an important thing I share with Vincent van Gogh; we both really enjoyed looking at the world.”

Compare Van Gogh’s Wheatfield with Partridge (1887) and Hockney’s Wheat Field off Woldgate (2006) and you can see the same brash joy of colour and the same interest in the movement of the crops. Hockney adds power cables and a horizon, but the two pictures could have been painted on the same afternoon looking at the same view.

David Hockney never set out to replicate Van Gogh (although he did cheekily paint Vincent’s Chair and

ABOVE David Hockney, Wheat Field off Woldgate, 2006, oil on canvas, 91x122cm LEFT Vincent van Gogh, Wheatfield with Partridge, oil on canvas, 54x66cm

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RIGHT Vincent van Gogh, Starry Night, 1889, oil paint, 74x92cm

MUSEUM OF MODERN ART

BELOW David Hockney, May Blossom on the Roman Road, 2008, oil on canvas, 183x488cm

ABOVE LEFT La escuchamos callar, 1957 THIS IMAGE The Messenger, 1941

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A R T H I S T O RY

doors in Arles using the same tools – charcoal, pen and ink – that had been employed by artists for centuries before him. By contrast Hockney in his 70s discovered a whole new artistic life using iPad technology. Indeed David Hockney has become such a pioneer and proponent for the modern iPad that special electronic “brushes” have been created for him to his own specification so that he can continually push further what iPad technology can achieve when modifying photographs.

And the fate of the two men was very different too. Van Gogh took his own life at an early age. Hockney, now in his 80s, is hugely successful and wealthy, an international treasure in his big round, schoolboy glasses.

Nevertheless, like Van Gogh, Hockney is effortlessly questing and always the innovator, with fresh ideas.

At the end of the book there is the text of an extended interview that Hockney gave Jager in 2018 where he describes his first encounter with Van Gogh’s paintings in 1955. “We went on a bus to Manchester City Art Gallery”. What struck the young Hockney was Van Gogh’s use of blue: “I remember thinking he must have been quite a rich artist. He could use two whole tubes of blue to paint the sky in one painting. Blue was expensive, not even my teachers at art school could afford that.”

Actually, Van Gogh was very poor and subsidised by his brother, but he painted what he could not help but see. He could not help it and Hockney could not help but be fascinated by the visual potential of an iPad. He risked derision from purists but instead Hockney’s printed landscapes ended up forging an even closer link between him and Vincent van Gogh.

Hockney-Van Gogh: The Joy of Nature by Hans den Hartog Jager (Thames & Hudson) is available online and from all good bookstores

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Pipe in 1988); nevertheless, values similar to Van Gogh’s inform his work.

Jager sums these up well: “Both men seek to show us a world that is not naturalistic, that does not follow the laws of nature, but which nevertheless represents a perspective on the world that is true.”

This book presents us with Van Gogh’s famous Starry Night (1889), hypnotic but far from realistic in the way each star is surrounded by whorls of yellow light. One-hundred-andtwenty years later we are shown Hockney’s May Blossom on the Roman Road (2009) with similar lush whorls of pink and light blue in its sky.

Both pictures are subjectively true.

Each represents what Jager calls a “unique, individual world that is in effect the essence of romanticism”.

The two men worked very differently. Van Gogh in his late 30s was sketching and painting out of

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LIFE DRAWING IN SOFT PASTEL IN-DEPTH

In the second instalment of his series on life drawing in pastel, JAKE SPICER shares his top tips for using the most common pastel medium: soft pastel

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fresh box of soft pastels is a treasure chest of raw colour; the crumbly sticks of bound pigment provide an accessible solution to anybody wanting to bring more colour into their figure drawings without the practical challenges of paint. The dry, powdery texture of soft pastels gives them similar properties to their monochromatic counter parts – charcoal and chalk – with which they can be sympathetically combined.

Marks made in soft pastel are easily blurred and smoothed, making sustained pastel drawings susceptible to soft-focus sentimentality, but the timed environment of the life drawing class will encourage an urgency of mark making that will help keep your drawings dynamic and exciting. If you’re picking up soft pastels for the first time, there’s no harm in starting with cheaper materials. While more expensive, hand rolled pastels are richly pigmented and come in a wider range of colours, you might find you prefer the shape and texture of cheaper, machine-made alternatives. jakespicerart.co.uk

Supports and fixatives A pastel drawing is a kind of frottage, picking up the texture of the surface to which it is applied; the tooth of the paper holds the powdery medium on that surface, while the weight of paper plays a much less significant role. Soft pastels are opaque and express themselves differently on the wide range of coloured pastel papers available, so you should think as carefully about the support you select for a pastel drawing as the palette of pastel colours you draw with. In the swatches above you’ll see a Yellow Ochre pastel used on a sandpaper-like pastel board; the heavy tooth holds a dense block of colour, which appears light in the context of the dark grey support. Next to it the same pastel almost disappears on a midtone grey while the white paper at the end makes the pastel appear darker in context, picking up a widely spaced surface texture. Finished pastel drawings are notoriously fragile and, while they can be partially preserved with a good quality spray-on fixative, the fixative can dull some colours. A practical solution for transporting pastel drawings back from a life class is to keep them in a flat folder, protected with a flap of clean paper, hinged with masking tape.

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IN-DEPTH

ADVICE FOR WORKING IN SOFT PASTEL 1. Pick the right surface Your choice of paper is integral to the outcome of a drawing, influencing how much pastel can be applied to the drawing and the colour that shows through between marks. Rather than using an off-the-shelf paper for my drawing, I primed a large piece of heavy cartridge paper with a single layer of acrylic gesso to give it a fine tooth, then washed dilute watercolour over the top to tint it. I let the paper show through for the light midtones of the skin and the negative space around the figure.

2.Work from midtone, to dark, to light

Midtones

Chromatic darks

Darkest darks

Lightest lights

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Applying pastel colours in a coherent order will help you to maintain the expression of each individual colour and stop them mixing to a midtone brown. I like to add midtones first, using dark, saturated colours to create chromatic shadows, followed by the darkest darks with the lightest lights added at the very last stages. Avoid using black in your shadow shapes, saving it for the hair and the features of the face.

IN-DEPTH

Using a stump for blending

Using an eraser for dragging

3.Get to know your blending tools Pastel marks apply pigment to the surface of your paper, but the following ‘after-marks’ that move that pigment around are just as important. You can use your hand or a piece of cloth for sweeping gestures, paper tortillons and stumps for precise blending, and erasers for removing and dragging soft pastel. It is easy to become lazy with the after-marks, pushing the pigment apologetically around the page, so make sure those marks are made with as much intention, energy and focus as the pastel marks which applied the pigment to the paper in the first place.

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Corner of the pastel used for line

End of the pastel used for small blocks of colour

End of the pastel rolled for a calligraphic mark

4. Consider the purpose of each mark Pastel translates the movement of the artist’s body into a visible mark on the page. A firm mark will manifest in the dense application of pigment, while a gentle touch will bring out the texture of a paper. As both timed life drawing and the soft pastel medium reward efficiency of mark-making, it is important to look hard at your subject and consider the purpose of each mark as you make it, angling your pastel to suit the element of the subject that it seeks to record. In the early stages of a longer drawing, that might mean making fast, light marks from the shoulder to rough out the major shapes of the body, while areas of concentrated colour might best be applied in broad strokes, using the end or side of the pastel.

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Side of the pastel used for covering large areas

IN-DEPTH

10-MINUTE PASTEL POSE Working in soft pastel can help you to reduce your reliance on line, helping you to transition from contour-led drawing to a shape-led process. For this exercise, make drawings in response to poses of between 3-10 minutes that establish shapes of dark, light and colour in broad, confident marks.

Stage 1: Tonal shapes

Stage 2: Colour

Start off by using a pastel that is darker than your paper.

Separate your model into shapes of three broad categories: light shapes which we’ll deal with later; midtones which are already represented by the paper; and darker tones, often created by shadows and hair. Block in those darker shapes with the side of the pastel, avoiding both detail and outlines.

For the second stage, bring selective colour into the drawing.

I have chosen to use dark, desaturated red and yellow pastels, applied to both accentuate the darker creases of the body and to bring colour into warmer areas of skin.

Stage 3: The aftermark

Stage 4: Light

Holding a plastic eraser edge on to the paper, in a similar fashion to the pastels, drag the existing pigment across the page.

First make vertical sweeps across the whole drawing, then horizontal passes. Finally use the eraser to energetically rub into the marks, creating sharp edges where they are needed, and cleaning up areas that are reserved for highlights.

Finally, notice where the lightest lights present themselves and make those marks first. Then using that extreme as a reference for how much pressure to apply, selectively add sweeps of light, leaving the midtone paper showing through where needed.

Next month: Figure Drawing in Pastel Pencil

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D R A W I N G I N D E TA I L

Part 4: Animals

In the final instalment of her four-part series, LAURA SMITH approaches a subject that has been popular in artwork ever since it was first recorded: animals 58 Artists

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T

ry to think of the very oldest painting you can. What does it depict? It might be a human being, or a cluster of hands, but chances are it is an animal.

Palaeolithic cave paintings are some of the earliest surviving works of art and are full of animals. The cave system of Lascaux was transformed into the mesmerising display it is in 17,000 B.C. and is packed with representations of horses, cattle, bears and even unicorns. I have a wonderful book published by Phaidon

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called 30,000 Years of Art and there are animals in paintings, sculptures, painted vases, pieces of silver throughout, including Egyptian geese, Assyrian reliefs of lions, Venetian calves, small ink drawings by Dürer, right up to Jeff Koons’ giant Puppy.

One of the most striking things about flicking through the book, looking at all the depictions of animals is how varied the styles are. I wonder if the reason this diverse range feels particularly pronounced is because animals themselves are so vastly

different from each other. A kitten and a whale could hardly be more opposite. It could be because every culture around the world and throughout time is fascinated by animals and depends on them for food, clothing, companionship or exercise. Animals are worked, loved and sometimes even worshipped.

This means we have thousands of years of depictions of animals from every corner of the world. Many of them place the animal front and centre. However, animals feature in

works of every genre, sometimes hiding where you least expect them; a cat in Manet’s Olympia, a horse in Picasso’s Guernica, a dog in Constable’s The Hay Wain. Whatever your medium, and whether you paint still life, landscapes, portraits or dreamscapes, it might be worth considering including animals.

Sometimes they can add a dynamic element similar to a figure but leave you feeling freer to be inventive.

When it comes to the practicalities of painting animals, there are some

Rosa Bonheur, The Horse Fair, 1852-1855, oil on canvas, 244.5x506.7cm

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Fra Angelico and Fra Filippo, The Adoration of the Magi, 1440, 137.3cm in diameter

LEF: NGA WASHINGTON. RIGHT: THE METROPOLITAN MUSEUM OF ART

Fragonard, A Woman With a Dog, 1769, oil on canvas, 81.3x65.4cm

THE METROPOLITAN MUSEUM OF ART

Manet, Young Lady in 1866, oil on canvas, 185.1 x 128.6cm

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things to consider. A sleeping lion at the zoo might actually be easier than your manic, little terrier. Dead animals decay. Think about all those glistening depictions of fish in paintings by Velázquez or Chardin.

They would not have had long to work on them before the subjects began to smell. Stuffed animals may be perfectly preserved but how do you bring one to life if you want it to look alive in the painting?

Now let’s think about the textures: fluffy feathers, shiny scales, a fine coat of fur over rippling muscles, a long set of whiskers, wide open jaws.

I expect that the animals in these paintings have mostly been painted from studies of some kind, be they drawings or quick oil paintings. You might want to take photographs or make drawings in preparation for your paintings. Make sure you remember that it is your personal experience of the animal that you want to convey.

The representations of animals we are looking at here are stylistically in keeping with the overall paintings.

As Picasso said, “Why should I copy this owl, this sea urchin? Why should I try to imitate nature? I might just as well try to trace a perfect circle.” He was rejecting naturalism in favour of expression. laura-smith.com

Questions to consider •How long is your animal going to stay still?

•Do you want to use photos?

•What kind of texture is the fur or skin?

•Could you include an animal in a painting even if it is not the main subject?

•How can you relate the animal to their surroundings?

•Do you want to give a sense of movement with your marks?

D R AW I N G I N D E TA I L

EXERCISE I used charcoal for these drawings. This allowed me to work quite quickly and also helped me to focus on the areas of light and dark and the rhythms running through the forms without feeling I had to get into intricacies.

Make four drawings of these details in a soft drawing material that can be easily rubbed out, like charcoal, a graphite stick or simply a blunt pencil so that you keep the drawings loose. Think about the speed of your mark and how each detail in turn alters it.

Drawing 1. Fra Angelico and Fra Filippo Lippi The peacock in The Adoration of the Magi jumped out at me as a beautiful example of simple geometry, dazzling colour and a crisp profile. The details of the feathers are delicately worked but also stylised. Notice how the groups of differently sized and shaped feathers have been translated into different patterns of straight, curved or wavy lines. The bird has been placed in relation to the architecture, and its colours relate to those in the surrounding buildings and mountains so try to connect it with its environment.

Drawing 2. Fragonard The little dog in A Woman with a Dog is being held up by a pair of hands, the fingers of which seamlessly follow the curls of fur. The bow in the ribbon is treated in a similar way to the dog’s ear, giving everything a light, bubbling energy. Respond to the rippling rhythms and let your hand move with the flow.

Drawing 3. Manet The parrot in Young Lady in 1866 could be symbolising hearing in a painting showcasing the five senses. The seemingly parted beak indeedJan seems to beThe mid squark. The beady eye looks directly at us. van Eyck, You might almost feel like you are drawing from a real bird. Enjoy the Annunciation, softness of the brush marks and try to capture something of the 1434/1436, oil on weightcanvas, of the body underneath the feathers.

90.2x34.1cm

Drawing 4. Bonheur The horse’s head in The Horse Fair is turned towards us, giving us a foreshortened view. Look at how the dramatic contrast in light and dark gives the head such a strong physicality. Pay close attention to the precise shapes of those tones.

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ORIGINAL SCENE

MASTERCL ASS

CH R I S R O B I NSO N RIBA likes the unpredictability of the weather, light and atmosphere.

Here, he paints Oliver’s Island at Strand on the Green near his home in London

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his is a view close to where I live. It is Strand on the Green on the River Thames, and the subject is Oliver’s Island. The island, or ‘ait’ to be precise, took its name from a story that Oliver Cromwell once took refuge there. A myth, of course.

I liked the cloud reflections in the Thames, which you don’t get so often downstream. The river is tidal so the scene will change, but that was the message I wanted when I set up my easel. I try to simplify everything I paint and complete the painting in one session. This view seemed an obvious choice.

I paint outdoors because I love to be surrounded by nature. I chose a spot away from the noise of nearby traffic. The quietness helps to focus one’s mind, though you do get the occasional comments from passers-by.

I like watercolour because of its luminosity. There is also a kind of innocence when painting en plein air.

It looks, to the untrained, so simple. Yet it is like walking a tightrope; you never know when you are going to fall. It’s exciting and frustrating. There is little time for technical gymnastics and laborious detailing.

You need to plan ahead, keep to what you know, and go for it. For the professional artist it displays a freshness that comes with painting en plein air, which is why I use watercolour most of the time.

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Chris's materials • Paper Watercolour on Saunders Waterford ROUGH 140lb in a block, 12 x 16” size • Paints Watercolours: Cobalt Blue, Burnt Umber, French Ultramarine, Indian Red, Raw Sienna, Cadmium Yellow White Gouache • Brushes Large mop brush, Escoda Perla no. 12 synthetic brush, dry stiff brush • 2B pencil • Knife

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The background and bend in the river were next, with the group of trees on the island. I mixed a green by adding Cadmium Yellow to the grey mix I had in my palette and added a bit more red. I used dry brush strokes with an Escoda Perla no. 12 synthetic brush to suggest the trees. It is important not to get too detailed with trees, as they tend to become overworked if you try to paint every leaf. When the first green wash was applied, I added a stiffer darker mix to give the trees a bit more punch.

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1

I sketched the broad outlines of the horizon and the centre of focus – the group of trees – in a 2B pencil. I set about creating the sky, by wetting the paper first using a large mop brush, and then adding Cobalt Blue followed by a grey mix of Burnt Umber and French Ultramarine. I then added a darker grey, with the same mix, to give the clouds a bit of depth. The wash is allowed to run freely down to the horizon and then over the riverbank to the left. Whilst the sky was drying, I continued with the same method for the water. Water is a gift for the watercolour artist as it blends nicely when using the wet-in-wet technique.

Again, I used the same mix of colours, but added a touch of Indian Red and Raw Sienna. I tend to paint with the paper almost vertical. In watercolour this has its drawbacks, but it keeps the painting dynamic. I also paint standing up as I like to stand back and observe my progress.

I worked from the horizon down the page. I left the horizon almost untouched because, by thickening the mix as you work down the paper, it gives the painting a sense of distance. A darker stiffer mix was added for the cloud reflections. The painting was then left to dry.

MASTERCLASS

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The reflections were the same mix as the trees, but with less yellow. I wanted to emphasise the verticality of what was a very horizontal painting. To do this the reflections of the island bled into the trees as they were still damp from the previous wash. The same principle applied to the right-hand bank of trees, again with a strong emphasis on the verticality of the reflections.

I needed to connect the shapes so the island reflections merged into the cloud reflections and unified the painting. It is these small details that can make all the difference.

MASTERCLASS

4

Finally, the left-hand bank was brought into focus by using a warmer mix of colour for the sky and broad brush strokes, leaving white gaps to indicate stones and water. When the paint is still damp, you can lift areas of paint with a dry stiff brush, to suggest large stones, which are common on the banks of the Thames.

Small details were indicated by adding stiffer darker mixes to the bank. You need to have a good point on your brush when painting details, otherwise they could get lost in the background.

5

I had reached an important final stage: to pull the painting together. To bring the foreground into focus and give the painting a sense of distance, I laid a final wash over the river at the bottom of the paper and added some ripple marks. Small touches of white, using the end of the knife and white gouache, gave the

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water a bit more sparkle. When painting plein air the view and light often changes so that is usually a good time to stop. Yes, a few touches maybe in the studio later, but your eyes need to rest to keep the painting ‘on message'. Sometimes it works, sometimes it doesn’t. That’s the beauty of watercolour. chrisrobinsonwatercolours.com

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Artists & Illustrators 67

Wet, wet, wet

The goal of this alla prima interior is to capture the qualities of composition, depth, colour and creative adjustments that will enhance the outcome of the image. By A L GU RY

ORIGINAL SCENE

T

he painting of interiors has been a perennial topic for painters since Roman times. Seventeenth-century Dutch interiors created a vogue for views through rooms organised around the structure of both geometric and aerial perspective. The subtlety of colour changes in the fall of light in a room became a favorite subject for the French Impressionists. The modern world saw the interior growing as a subject for artists exploring flat patterns, and the interaction of colour shapes.

For the student of art, as well as for the practising painter, small alla prima studies of the interior and its potential for capturing light, depth and expression continues to be a challenging and creative subject. It is an excellent way to improve the use of composition, colour, tonality and depth.

This painting presents a direct and useful way to approach the subject of the interior.

Doing the painting in a step-by-step set of layers, from general to particular and thinner to thicker paint, will maximise the outcome and the painter’s confidence with the subject.

The photograph of the interior provides the basic compositional elements. Photos rarely provide nuances of colour in the environment but can provide a template for the artist to make educated and creative choices about colour, value, composition and depth.

These aesthetic edits and additions should be thought through and planned before starting . The basically white and brown interior will benefit from variations in the tints and values of the white walls from warmer to cooler. The dark wood trim will also have slight variations from reddish to purple. Also, the illusions of aerial perspective via edge and brush stroke differences need to be thought through beforehand. All of this planning would be true even if the painting was done on site from observation. The goal?

To create the feeling of the space rather than just copy it. algury.com

DEMO

Al's materials Paints Titanium White, Yellow Ochre, Raw Umber, Burnt Sienna, Ivory Black, Cadmium Yellow Light, Cadmium Orange, Cadmium Red, Permanent Rose, Ultramarine Blue Brushes Two bristle Filberts, one small, pointed brush Support 25.4X20.32cm panel, Linseed oil, odorless Gamso

Artists & Illustrators 69

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1

2

5

6

3

1

A preparatory sketch in graphite and white chalk has been made to organise the basic composition and areas of light.

The sketch is the same size as the panel to facilitate the translation of the design to the panel.

2

The compositional guidelines have been lightly sketched in with graphite and have been gone over with Raw Umber oil paint to establish a strong map for the painting and the addition of colour.

3

The first colour choices are blocked in with direct paint. No thinners or oils have been added. True to the pre-planning, the colour choices create an immediate quality of variety that the photo reference did not show.

The cooler ones are a mixture of Raw Umber, Ultramarine Blue and White. The greenish ones are a mixture of Raw Umber, Yellow Ochre and White.

4

The basic colours of the walls and subtle interactions between blue grays and green grays have been blocked in to create colour interaction within a close harmony.

Colour areas in the same light value create a sense of visual movement as the eye moves through the composition.

5

The colours of the floors, mixed with Burnt Sienna, Yellow Ochre and White have been blocked in. The distant wall segments and cast shadows on the floor are a mixture of Raw Umber and Permanent Rose. The cabinet is Yellow Ochre and White, while the light in the windows is Cadmium Yellow and White.

6

All remaining areas of the composition have been blocked in. Now the task is to add adjustments to colour reflections, darks, and details in the rug, window, floors and aerial perspective. This all creates variety, visual interest and the strong qualities of brushwork and simplicity, typical of an alla prima study. Rather than add any medium to the top layer of brushstrokes, thicker paint is applied with the tip of the brush.

This allows thicker strokes to glide over the lower layers without the top strokes blending in or creating a muddy effect. Layering of thicker paint over less thick paint without any medium added is a traditional strategy in small, quick alla prima paintings.

Enhancements in the strength of colours in the windows, reflections on the floors, edges and the foreground have been added to complete the visual balance, colour harmony and depth throughout the painting.

4

Al's advice • Choose an interior or photo reference that is simple and clear without too much complexity • Prepare the composition in advance in a thumbnail sketch to think through potential problems of composition and value • Make colour choices that may require interpretations or additions of colours to enhance the original and make it more interesting • Choose a small format to do alla prima studies of the original reference where one can work out visual and expressive qualities quickly • A larger version will use basically the same steps, just use larger brushes and more paint

Artists & Illustrators 71

TECHNIQUE

POP

TE RE NCE C L A RKE adopts a free and open process as he paints this lively picture of a jug and flowers in acr ylic

T

hough most paintings have a subject, at least half of the content of a painting is the way it is painted. We might look at a painting of a railway bridge by Monet, but it’s not only about the bridge, it’s about the light and the way it is expressed in paint. In this painting I tried to let the paint play across the surface, emphasising the abstract qualities of the composition and letting the freedom of the brushwork define the feel of the picture. I’ve incorporated splashes and drips and even a bit of wonky drawing into the painting so that the process is as much a part of the subject matter as the jug of flowers. Although it looks like it was dashed off, it took a lot of work to get it right.

I used a drawing as a starting point like Bonnard used to do, then used the structure to play with paint and colour. Matisse also used a ‘motif’ as a starting point and then developed his paintings in an extemporary way. I don’t always work with this method but it’s a great way to refresh your painting technique. The result is hopefully a dynamic and visually exciting painting that engages the viewer.

Instagram: @terence_clarke_paintings

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Terence's materials Paints Golden Open Acrylic: Quinacridone Magenta, Ultramarine Blue, Lemon Yellow, Pthalo Green, Vermillion Red Winsor & Newton Acrylic: Black, Heavy body Titanium White, Cerulean Blue, Yellow Ochre, Prussian Blue Brushes Rosemary Ivory Brushes, numbers 2,4,6. Hog hair priming brush. Size 5 Support Gerstaeker linen canvas 40x40 cm

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Artists & Illustrators 73

TECHNIQUE

Step 1: Using a wide hog hair brush I put a very light ground down on the white canvas using Vermillion and Yellow Ochre mixed as a wash. This takes the harshness of the white canvas away and serves as a kind of loosening up process before starting to paint. Once the canvas is dry those easy free marks almost invite you to get painting.

Step 3 : The first bold areas of paint and colour are blocked in. At this point I’m trying to explore the whole of the surface and move the painting along in a unified way. The brush marks are very gestural and, in some ways, define the forms. The use of pure black at this point opens up the space and enlivens the colour and sense of light.

Step 2 : I mixed some Prussian Blue acrylic into a fairly thin inky consistency and started to draw in freely. The main structure is there with some initial tonal areas to explore the space behind the chair and jug.

Any drips and splashes at this point did not matter as I was trying to keep my process free and relaxed. I know I’m going to make adjustments and changes later.

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Step 4 : Working very freely with the

Step 5 : Now all areas of the painting are

brush, it’s even not a bad thing to misregister the odd mark or dash of paint.

This is very much part of the process of painting and there’s no need to worry because the drawing and definition of forms will become clearer as the process of painting develops. Readjusting the drawing is an essential part of any painting.

involved in the development of the image.

I’m still trying to be a bit reckless, employing a kind of controlled carelessness. I enter into a dialogue with what’s happening in front of me. In a sense, every mark and splash of paint is telling me what to do next and how to develop the image. It’s about using your intuition and experience.

Step 6 : This shows one of the areas of purely abstract structure. Parts of the original drawing have been superimposed and adjusted with areas of Ultramarine Blue, Quinacridone Magenta and a mix of Pthalo Green and Turquoise. Abstraction is a by-product of the process of painting and liberates the colour. It makes sense visually, despite such a free and open technique.

St ep 7: Here you can see I am overlaying different thicknesses of acrylic. The original pink wash on the chair has been overlaid with thicker red orange paint. You can also see the rhythm of the brush marks which is creating a sense of form. I tried to keep them lively and spontaneous so that they energise the image. I even liked the little drip of black paint creating an accent of spontaneity in the midst of the flurry of brush strokes.

Step 9 : At the conclusion of the painting,

Step 8 : It’s worth mentioning how important the use of black is in this painting. As well as generating a bold drawing it reacts with the colour to enhance its vividness. It also creates a strong light in the painting, through the use of extreme contrast. Matisse was the great master of black used as a colour in his early Fauve paintings. Also notice the use of tiny accents of colour here throughout the painting.

I’m using the heavy body Titanium White to emphasise the white areas. Whites always need a thick application to register properly on the canvas surface. I generally use heavy body Titanium White acrylic with the rest of my acrylic colour. It carries greater opacity than ordinary acrylic and also creates much better impasto effects.

Artists & Illustrators 75

Peachy, coloured pencil on paper, 60.8x91.8cm

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SOCIAL MEDIA

TICK TOCK With a TikTok following of over 430 thousand, 27-year-old artist GABRIELLA ANOUK has found a whole new audience to engage with.

Here are her tips for making an impact

T

ikTok is an exciting, candid style video-based platform in which you can share short videos of everyday life. I was first attracted to the site in lockdown, April 2021. It was my only real connection to the outside world. I started to post my process videos, which involved dipping objects in paint or dripping slime over avocados; people seemed to really engage with it, more than I had ever experienced on platforms like Instagram, Twitter and Facebook.

Video content offers fresh possibilities compared with word-based or image-led media because it takes you on a journey.

It’s a form of storytelling and you are the author. It is an especially useful tool for someone like me who struggles with dyslexia. In a 15-second video I can take someone on a journey through my art process from start to finish and explain my entire process a hundred times better than if I tried to type it out or explain it in person.

With around 690 million active users, TikTok has a very high engagement rate.

Some of my videos have upwards of 30,000 comments with one video reaching over 17 million views. This kind of engagement is incredible and the feedback is hugely encouraging. It has become a driving force

Artists & Illustrators 77

SOCIAL MEDIA

in my practice, sparking creativity in many unusual ways.

My artworks take up to 200 hours of detailed drawing but I like to emphasise that it’s not all about the final product. To me the process is just as important, rewarding and interesting. If you scroll through my TikTok videos you’ll see all kinds of things, such as how I photograph my subjects before I draw them, how I make slime from scratch in my kitchen, what supplies I use and how I organise my studio.

It still surprises me that everyday stuff – that might seem boring to me – is something thousands of people want to watch. In return it gives value to those moments I may have taken for granted. For example, I posted a video in which I shared an artist’s hack on how to remove sticky tape without damaging your paper using a hairdryer and it got over 250,000 views.

One of the craziest times I’ve had on the platform was when I uploaded the process video for Peachy, a drawing from my new Slime Series. I gained over 100,000 followers in just one week. Again, this was hugely encouraging as I was exploring this entirely new medium while simultaneously getting positive feedback from thousands of people online. You get a real sense of community and it’s a pretty special kind of feeling, especially in the past couple of years, in what has been a strange and isolating time for many.

If you’re an artist reading this and you want to start posting on TikTok but don’t know where to start, my advice would be to just do it. Don’t overthink it. Keep in mind that TikTok isn’t like Instagram. In my opinion, it’s the exact opposite. The rawer and more unedited your videos are on TikTok the better. Instagram, in comparison, is like a heavily filtered highlight reel of all your best moments in life whereas TikTok is off the cuff and candid. Pick up your phone and start recording even if you’ve got paint in your hair and you’re still in your pyjamas.

I love using TikTok and I hope my videos inspire people. My dream is that when visitors visit my TikTok page, they engage with the content and are inspired to draw or to do something creative with their time.

Since sharing with TikTok, I’ve become a more confident artist, created an incredible community of followers, had cool collaboration opportunities and hosted my first solo exhibition. So, don’t be afraid to put yourself and your art out there and step out of your comfort zone. It’ll open up a whole new world. gabriellaanouk.com 78 Artists

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Banana Blue, coloured pencil on paper, 60.8x91.8cm

WHAT TO BE AWARE OF WHEN USING TIKTOK

• Show your process. All of it. Even the parts you don’t find interesting.

I guarantee someone else will

• Keep trying new things. Keep it fresh and challenge yourself. Try a new medium and document its success/failure/what you learnt through the process

• Be aware of sharing content that makes you feel uncomfortable. Never feel like you have to do something crazy in order to ‘go viral’. Once you upload something to the internet, it will never go away. Remember this

• Worry if it’s not perfect. Be real.

If your studio is messy, it’s more relatable and truthful

• Let negative comments or criticism get you down. The likelihood is that for every negative comment there are 100 good ones; do your best to ignore the bad. Also, never reply to negative comments.

Trolls will be trolls

• Feel daunted and give up

ABOVE Avocado Dali, coloured pencil on paper, 60.8x91.8cm BELOW Aubergine Fetish, coloured pencil on paper, 60.8x91.8cm

You tell us MESSAGE OF THE MONTH

keeping the paper clean, and protecting the finished picture?

Alison: Jake answers this very question on page 53!

NICOLA SLATTERY RBA I took part in a fantastic art fair in Manchester in November last year, thankfully just before Omnicom.

I think there must have been over 5,000 visitors over the three days.

Sales were great and these have kept the wolf from my studio door over the winter! It was the first time in decades that I have been to Manchester and I was massively impressed with everything: from the general vibe, the Manchester Central venue, the art fair itself and the lovely people. I didn’t hesitate booking again for this year and I’m really looking forward to it.

SUSAN DAWES

YASEMIN GUL My 13-year-old daughter, Melisa, recently received her first issue.

Artists and Illustrators is her first subscription magazine. She took it to her room, read it thoroughly and then came up to me and declared “Mummy, I want to work on an art magazine when I grow up.” She loves art and reading and so has concluded that working for an art title would be her dream job. This painting is by her. Thank you for being an inspiration for my daughter.

ALISON BYRNE As a lockdown amateur artist in my mid-fifties I have rediscovered my absolute joy in drawing and painting, something I haven’t done since GCSE art in the eighties.

I started my journey joining Zoom classes, which have now translated into weekly art classes along with avid reading of my monthly subscription to Artists & Illustrators.

Via the magazine, one of the things I have found particularly

rewarding is being encouraged to work outside my comfort zone and try new materials and different techniques. Having read Jake Spicer’s first article about pastels and following the exercise and tips, I think I have found a new love.

My only problem is I don’t know how to save and protect a couple of pieces I’m really pleased with. I’ve struggled with keeping the paper smudge free around the edges of my images. Do you have any tips or product recommendations for

Working as a sub-postmistress for 15 years gave me very little time to do much art. I did, however, teach myself watercolours and found it very enjoyable.

I have just retired and can now work on my art full-time. It’s marvellous. My partner Ed and I converted our old shop premises into a studio, where I paint and he creates ceramic sculptures.

I have built myself a website – aisforart.studio – which I launched at the end of January.

I have also been trying new (to me) mediums and found great pleasure in working with oil pastels. I’m also experimenting with surface textures and acrylics. It’s wonderful, like being back at college. A new-found freedom indeed.

Send your letter or email to the addresses below: POST: Your Letters, Artists & Illustrators, The Chelsea Magazine Company Ltd., Jubilee House, 2 Jubilee Place, London SW3 3TQ EMAIL: info@artists andillustrators.co.uk The writer of our “letter of the month” will receive a £50 gift voucher to spend with Atlantis Art, the UK’s largest art materials store. www.atlantisart.co.uk

Share your stories and get a daily dose of Artists & Illustrators tips, advice and inspiration by following us on our social media channels... @AandImagazine ArtistsAndIllustrators AandImagazine AandImagazine Artists & Illustrators 79

THE CLASSIFIED DIRECTORY ARTISTS MATERIALS

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To advertise here please call 020 7349 3702

The first thing I remember painting was our cat sitting on the windowsill. When I was growing up, you could get these cardboard boxes with oil paints and brushes in, and my aunt bought one for me. I always remember the smell of linseed oil from this time.

When I was a student at the Royal Academy, I went to the National Gallery every Friday afternoon. There are two paintings of Mrs Trip there by Rembrandt and I would go and copy one of them. It took me over a year to finish. The rules of the gallery are that your copy can’t be the size of the original; it must be at least an inch smaller.

MEET THE ARTIST

KUHFELD

The acclaimed artist on painting for the royal family, copying Rembrandt and why he loves Italy.

Interview: REBECCA BRADBURY

ABOVE: The floods at Wye after the rain, evening, oil on panel, 43x56cm 82 Artists

& Illustrators

ABOVE: The Giants’ Stairs in the Inner Courtyard of the Doges Palace, Venice, morning, oil on panel, 46x53cm

© PETER KUHFELD

You can’t beat taking yourself off to a gallery and seeing the real thing. When I was doing my copy of Mrs Trip, I was painting right next to the original, which is a wonderful thing for a student to do. It’s very hard to come across good reproductions of drawings and paintings.

My favourite place to paint is Italy. I love the light and I love the architecture, and the combination of the two is absolutely wonderful.

You could drop me from a helicopter anywhere in Italy and I’d be quite happy.

Winsor & Newton Artists’ Oil Colours are my go-to paints. I set my palette up from left to right, with black, blue, two greens, one brown, ochre, two whites, Cadmium Yellow, Cadmium Red and Alizarin Crimson. Whether I’m painting landscapes or portraits, it doesn’t really change.

Painting the Duke and Duchess of Cambridge’s wedding came with enormous challenges.

I was there on the day at Westminster Abbey and had to look at it all very carefully to make sure I got the small, nuanced details of them right – the way they stood and the shape of them. My aim was to capture what it felt like to be there.

Prince Charles recently asked me to paint Holocaust survivor Anita Lasker-Wallfisch.

She was in the Woman’s Orchestra of Auschwitz, which saved her life. The amazing thing is how she managed to survive and come out the other side and go back to normality. I can’t imagine what that must have been like. She’s a remarkable woman.

There’s no such thing as a dream sitter.

Everybody has their own qualities. Everybody is singular. Everybody has something that makes them that person. I just look as carefully as I can at the person who is in front of me, and I put it down as clearly and as simply as I can.

Peter’s solo show will run at the Jerram Gallery in Dorset from 2 to 20 April.

Creative study that fits around you...

With Open College of the Arts you can study short courses, foundation courses and BA (hons) degrees from home.

Creative Writing, Garden Design, Interior Design, Music, Textiles and more...

Explore our courses at: www.oca.ac.uk Flexible, open access, distanced learning experts Open College of the Arts

the distance learning arm of

Open College of the Arts

BEGINNER OR EXPERT, IMPROVE YOUR ART SKILLS BY ATTENDING OUR WORLD-FAMOUS WORKSHOPS HOSTED BY LEADING ARTISTS IN OUR COTSWOLD STUDIO.

LIMITED PLACES

SOFIA WELCH LEARN A STRUCTURED, REPRODUCIBLE APPROACH FROM LIFE IN OILS INCLUDING MIXING COLOURS AND PAINTING REALISTIC FLESH TONES.

13-15 APRIL —

£350 / 3 DAYS

FIGURE DRAWING IN CHARCOAL AND CHALK FROM START TO FINISH – LEARN THE IMPORTANCE OF GESTURE, ANATOMY, PRINCIPLES AND VALUES.

ANASTASIA POLLARD PORTRAIT PAINTING IN OILS FROM LIFE WITH THIS BP PORTRAIT AWARD FEATURED ARTIST.

19-22

7-8

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APRIL

£360 / 4 DAYS

M AY

TAKE YOUR OIL PAINTING TO THE NEXT LEVEL WITH THIS IN-DEPTH 4 DAY FIGURE PAINTING COURSE. SUITABLE FOR ALL LEVELS.

24-27 M AY —

£480 / 4 DAYS

£200 / 2 DAYS TO FIND OUT MORE

LYDIA CECIL

LUCA INDRACCOLO

SCAN ME

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