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Paint & Draw Collection - Vol.3

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25 Articles

Welcome to Paint & Draw COLLECTION

Creating a piece of art is a rewarding, challenging and very personal endeavour, –the Paint & Draw Collection Volume 3 is here to take you through that journey from start to finish. Art is subjective, and many artists tend to stick to one medium. Whether you are interested in oil painting, watercolours, pencil sketching or pastel work, there’s something for you. From quick tips to in-depth tutorials that will guide you from initial sketch to finished piece, learn how to develop your skills and produce your best work yet. You’ll be able to experiment with an unfamiliar medium thanks to the step-by-step workshops that cover everything from essential pencil shading techniques to getting the most out of plein air painting. Over the course of the book you’ll gain inspiration from…

Welcome to Paint & Draw COLLECTION

Master metallic reflections About TONY HOGAN Cornwall, UK After art college, Tony embarked on a career in commercial art, and returned to painting in the‘70s. He is a demonstrator and also runs art holidays in the UK, Italy and Spain. www.hoganart.co.uk WHEN LIGHT STRIKES a metallic object, it can reflect back onto any nearby object in an unusual way. Normally, light hitting a primary and secondary object gives varying degrees of light, shadow and cast shadows, but reflective light also happens under these circumstances, and will need to be shown in your artwork. To show how this works, I have produced the images above, working with a dark charcoal pencil and an eraser. Follow these steps… 1 I select two interesting objects – a highly polished metallic teapot and a…

Depict a luminous harbour scene at dusk

About ABIGAIL Bristol, England Growing up in Italy, Canada and Dorset, Abigail has always been inspired by the beauty of the landscape. Watercolour is her favourite medium and she is focusing more and more on painting water scenes. www.abigailmcdougall.com I am going to talk about light, tone, colour and creating interesting brushstrokes. I always love to paint outdoors whenever I can, especially at dawn or dusk. The light changes fast, so you have to learn to work quickly and spontaneously. I am always out on my bike looking for subject matter to paint, I treat it as an adventure. I take sketches, colour studies and photos to make sure I have enough reference in case I want to make a larger painting in the studio. Choosing a subject matter at these…

Depict a luminous harbour scene at dusk

Experiment with colour for dynamic oil portraits

About GREG Bristol, England Greg is predominantly an oil painter who specialises in the human figure (with the occasional watercolour and drawing thrown in). He exhibits across the country, welcomes commissions from individuals and organisations, does painting demonstrations and also teaches. Materials Greg uses a 40x30cm canvas board, a variety of synthetic and hoghair brushes, as well as palette knives of varying sizes. He primarily uses oil paints as he enjoys the variety of texture you can create with them as well as the vibrancy of the colours. www.greg-artist.com In this portrait in oils tutorial, I want to open the door for you to start mindfully introducing arbitrary colours and exciting gestures with a variety of tools. A basic understanding of the colour wheel and complementary colours would be useful,…

Experiment with colour for dynamic oil portraits

Five simple tips for beautiful skies

Materials The brushes Valérie uses combine the silkiness of traditional synthetic brushes with the firmer feel of hog bristles. The rounded edges offer a softer application. The primed boards have a good absorbency for the style she works in. □ Winsor & Newton Artisan Water Mixable oil colours □ Brushes: Rosemary & Co Ivory Filberts (0,1,2,3,4,7) and Riggers (0,2) □ MDF board primed with three coats of Winsor & Newton acrylic gesso About VALÉRIE Bath, UK Originally from Belgium, Valérie has lived in the UK for the past 11 years. She works mainly in oils and enjoys working plein air. See more of her paintings at www.valeriepirlot.com Skies are one of the most beautiful things you can witness in nature, and are often a great source of inspiration. However, artists…

Five simple tips for beautiful skies

Paint miniature masterpieces

Materials □ Thin hardboard or MDF board cut to size (3x3.75in) □ Daler Rowney Simply Acrylic Gesso □ Fine sandpaper □ Pro Arte Connoisseur brushes, sizes 000, 0,2,4 □ Pro Arte Connoisseur flat brush, size 3/8in □ Two small old oil bristle brushes □ Daler Rowney System 3 Acrylics: Titanium White, Mars black, Ultramarine, Sap Green, Lemon Yellow, Yellow Ochre, Burnt Sienna, Raw Umber, Cadmium Red, Crimson □ HB Pencil □ Tracing Paper □ Magnifying glass (optional) □ Winsor & Newton Professional Satin or Gloss Varnish About ALISON Tenterden, Kent Alison’s love of working in great detail lead her towards painting miniatures. She is a member of the RMS, has won many prestigious awards and teaches miniature art classes at her Maidstone studio. The origin of miniature painting stretches far…

Paint miniature masterpieces

Draw better hands using negative space

Materials □ HB & 3B Graphite pencil □ Sharpener □ Eraser About JAKE Brighton, UK Jake is an artist, author of a bestselling series of how to draw books and head tutor of independent drawing school Draw. He uses drawing as a tool for communication. www.jakespicerart.co.uk Here, we’ll look at shape and how a seemingly complex subject can be simplified to create a foundation for your drawing, as well as introducing the idea of negative and positive spaces. The exercise outlined in the following steps is one that you can try at home, drawing from your own hand. It could just as easily be applied to a chair, a plant or anything that presents trapped shapes and negative spaces. It will help you to exercise one of the most helpful…

Draw better hands using negative space

Make a free and expressive still life in acrylics

About SYLVIA Dovercourt, Essex Sylvia exhibits in galleries across the UK and her work has been in open exhibitions at the Mall Galleries and the Royal Academy Summer Exhibition. She also held two solo exhibitions in Japan. www.sylviapaul.com Materials □ Winsor & Newton Professional Acrylic: Titanium White, Payne’s Grey, Lemon Yellow, Cadmium Orange, Cadmium Yellow Medium, Cobalt Green Deep, Cobalt Blue, Ultramarine Violet, Ultramarine Blue, Cerulean Blue, Cadmium Red, Quinacridone Magenta □ Impasto Gell Matt Medium □ MDF Board 56x76cm; primed with gesso □ 2in and 1.5in decorator’s brushes □ Palette knives The acrylic paint dries quickly allowing lots of layers. The impasto medium extends the paint while keeping the thick consistency. The large brushes help apply the paint without detail. Still life isn’t everybody’s cup of tea, but for…

Make a free and expressive still life in acrylics

Bring the outdoors in, with ink & watercolour

About TONY Bedfordshire, UK Tony specialises in line and wash and is a regular contributor to art publications. He prefers to work en plein air and favours buildings. Not surprisingly, he’s a keen urban sketcher. tonyunderhill@me.com I love to sketch outside in pen and watercolour, travelling as light as possible. I aim to capture the character of the scene in front of me rather than worrying too much about accuracy and detail. This helps me work quickly using a simple, easily repeatable process that delivers the spontaneity I like. But working indoors with more time and equipment available (as well as a self-imposed expectation to produce better results), it’s easy for our paintings to become overthought and overworked. To avoid this, I bring my outdoor process inside, and try to…

Bring the outdoors in, with ink & watercolour

Flamingo painting and the power of ‘negative shapes’

About MARIE Westcliff-on-Sea, Essex Marie is well-known for her unique depictions of wildlife, which have earned her numerous awards and accolades. Marie is a great champion of acrylics and her paintings are part of many private collections. www.marieantoniou.com As a full-time artist, one of the things I often think about is standing out from the crowd. I realise that the interpretation of a subject is just as important as the subject itself. You can convey so much by adding that little extra to your painting, which keeps the painting process exciting for me and hopefully interesting for the viewer too. I love painting wildlife and I’m excited by how I can interpret this popular subject rather than going for a more traditional approach, which might be a photographic interpretation. For…

Flamingo painting and the power of ‘negative shapes’

Get started in pencil drawing

About JAKE Brighton, UK Jake is an artist, author of a bestselling series of how to draw books and head tutor of independent drawing school Draw. He uses drawing as a tool for communication. www.jakespicerart.co.uk The humble pencil is a ubiquitous and versatile drawing tool. Over the next few pages, I will be exploring the potential of graphite as a drawing medium, introducing you to fun and simple exercises and techniques to help you really get the most out of your pencil. In this tutorial, we start with some important considerations when picking your pencils, followed by an introduction to the most fundamental unit of drawing – line. This will provide you with a sound foundation for novices and some really useful reminders for the more experienced artists. Materials □…

Get started in pencil drawing

Use blocks of colour to paint Bath

About VALÉRIE Bath, England Originally from Belgium, Valérie has lived in the UK for the past 11 years. She works mainly in oils and enjoys working plein air. See more of her paintings at www.valeriepirlot.com Breathtaking views, stunning skylines and beautiful cityscapes make great photographs, but can be rather daunting from the artist’s point of view. The amount of details can be overwhelming and it is difficult to know where to start… or where to finish! My advice is to view the scene in an abstract way, as a series of shapes and colours, or patches of light and shadows. Squinting is one of the best things you can do to break down a busy scene. In this step by step, I’ll show you how to simplify a complex cityscape…

Use blocks of colour to paint Bath

Fun tips for painting ammonites

Beside my studio desk I have a collection of ammonite fossils, whose various textures, in addition to their spiralling form, are always an appealing distraction. I decided to paint them in the style of traditional botanical art, which takes a scientific, very detailed and faithful approach, while also maintaining a simple compositional aesthetic. To select which fossils I wanted to paint, I went through my collection, touching each fossil and making my selection based on contrast of texture. I also looked at colour and chose the fossils with the most visual interest. I settled on three subjects arranged in a roughly triangular formation. The first is a Perisphinctes ammonite and has an ivory coloured shell with sharply delineated ridges, and a fine webwork of cracks along parts of the surface.…

Fun tips for painting ammonites

Add texture with primers

In this tutorial on pastels, I want to share the different ways to create surfaces using pastel primers. Using primers means you can have a more textured surface to work on than paper, which holds more layers of pastel. Primers also allow you to vary that texture. For me, the most exciting thing about them is the way that I can create an underpainting to work over, which gets my paintings off to a lively start, and takes away that ‘fear of the blank canvas’. By underpainting first, you combine painting and drawing skills even more than before, and inject a mixed media feel into your work. This can lead to unexpected developments and unplanned outcomes, keeping the experience fresh and exciting. So read on to breathe life into your…

Add texture with primers

Evoke memories with a seascape

If you’ve ever been on a boat or ship at sea, you might recall the smell of the sea air, the salty spray on your lips and the physical effort required to compensate for the rolling and pitching motion. For this workshop, I decided to recreate these sensations in the studio using a combination of sketches and photo references, but mostly drawing upon my own vivid memories of what it feels like to be at sea. For me, capturing feeling and energy is more important than ‘photographic’ visual accuracy. I’m interested in recreating the emotions that the original experience unleashed. I never sit down to paint, this enables me to use my whole upper body to inject more energy. I also step back frequently to get a more objective view.…

Evoke memories with a seascape

Use thin layers to get vibrant colours

About MARJOLEIN Amersfoort, The Netherlands Marjolein has two art degrees and has written two books on painting animals. Herpet portraits are in great demand after several TV appearances. www.marjoleinkruijt.com Painting in oils means I can capture bright colours by gradually building the painting up in multiple layers. This technique is perfect for painting sunny roses. I was inspired to create this image after seeing a gorgeous wren sitting in my garden, its song lighting up the early morning. My roses weren’t in bloom yet, but this magic moment inspired me to design a painting depicting them. I always start the painting process by sketching ideas. I place various elements together to create my personal unique designs. I doodle compositions and choice of colour (see the photos of my sketchbook, above…

Use thin layers to get vibrant colours

Produce striking contrast with pastels

Materials For this workshop, Kaz used Anthracite Pastelmat 360 gsm, measuring 50x38 cm. This media is lightfast and acid free, and the velvety surface holds many layers without being abrasive on the fingers. Kaz also used Winsor & Newton Artists’ Soft Pastels for the background, plus a range of hard Conté sticks for the underpainting. The tiger’s detail was worked using a number of pastel pencils including Derwent, Faber-Castell and Caran D’ache, while Conté 630 White – a pencil made from oil and clay – was the ideal solution for the animal’s sharp white whiskers. About KAZ TURNER Wrexham, Wales After studying illustration for children’s publishing at university in Wales, Kaz now specialises in wildlife art and pet portraits. www.kazturner.com During this workshop, I hope to demonstrate how versatile the…

Produce striking contrast with pastels

Five secrets to get harmonious colours

Materials Valérie mainly uses Winsor & Newton’s Artisan Water Mixable Oil Colours, which means no solvents are needed. For brushes, she prefers Rosemary & Co Ivory Filberts (Sizes: 0, 1, 2, 3, 4, 7) and Riggers (Sizes: 0, 2). These combine the silkiness of synthetic brushes with the firmness of hog bristles. She paints on primed MDF boards, as they have the correct absorbency for her painting style. She primes each with three coats of acrylic gesso. Picture the scene. You have found the perfect subject to paint. Your base drawing is great, your composition strong, and your values are correct. But somehow, at the end of the process, your painting looks wrong, as if all the elements lack that ‘magical glue’ that binds them together. This situation is pretty…

Five secrets to get harmonious colours

Be bold with shapes & colours

This landscape, between Minnis Bay and Reculver on the Kent coast, is one that I’ve now made many studies of. I walk and take lots of photographs, as well as sketch some really basic line drawings. I have so many photos of the surfaces of the sand and water. I love the patterns of sand and rock left by the sea, which are best viewed from the cliff top or promenade. I often wait for low tide to find the best patterns and textures. Then I try to add these shapes into the paintings, so they’re not a direct representation of the place, but give a feel of the coastline that people will recognise. I try to sketch fast and with just a few marks to catch the main lines…

Be bold with shapes & colours

Bring an Eastern magic to your art

About REBECCA Exeter, England Rebecca specialises in pastels, producing lively and energetic work. She teaches around the UK and in Italy, and co-founded The New Pastel School. http://bit.ly/pad_rdm I trained as a theatre designer, perhaps because I’ve always been drawn to the beauty and intensity of stage lighting. Rembrandt and Caravaggio are among my favourite artists. I just love a bit of drama and intensity. Pastels are a wonderful medium to capture this, particularly as you can work lights over darks, so that your subject emerges from deep shadows. Good quality pastels have rich, moody colours as well as luscious, soft lights, so high contrasts can be achieved. In this workshop I’m using a still life with shiny objects to show how to lay down layers of dark under-colours, then gradually…

Bring an Eastern magic to your art

Simplify detail in your scenes using shapes

Ever since moving to Berlin, I’ve wanted to paint the Kaiser Wilhelm Memorial Church. After being bombed in WWII, it remained untouched as a testimony to the barbarism and sacrifice of war. It has always managed to catch my eye and soul. When painting from life, it is important to find a comfortable spot from which to paint. In the case of this church that proved to be a difficult task, because it is in a part of the city popular with tourists, and at the time of painting, it was the freezing Berlin winter. I actually prefer to paint it in winter, because the weather and light conditions are more dramatic and gloomy. However, it does pose challenges, namely the changing weather and light conditions, and the shortness of…

Simplify detail in your scenes using shapes

Painter Rob Lunn, reveals how Vincent van Gogh’s Irises inspires him to carry on when things get tough and he needs motivation When most people think of flower paintings by 19-century post-impressionist painter, Vincent van Gogh, they think of his radiant sunflowers. But for me, Irises is his real smash hit. It was painted while van Gogh was voluntarily admitted to an asylum, at a time when his life was unravelling around him. Yet adversely, I believe it shows him in complete command of his faculties and control of his brush. Is this a simple painting of irises in an asylum garden, or is it a defiant cry, lashing out in paint at his recent tormentors? Is this in fact a portrait of van Gogh himself? Irises was painted in…

David Cobley discusses his favourite work of art by another artist, the masterpiece by Pieter Bruegel the Elder (1525-1569) The title is a bit misleading. Instead of a real fight between Carnival, the potbellied character in red, blue and green sitting astride a barrel, and Lent, the gaunt, dowdy figure dressed in a long grey robe on the cart opposite, it’s actually just a mock battle with a roasting spit and baker’s shovel. Carnival has a pie on his head and Lent a beehive on hers, and neither looks vaguely interested in, or capable of, fighting. Carnival is too drunk and Lent is too emaciated. Despite all the action, the fight is more of a philosophical one. Ironically, as angels aren’t real, Bruegel’s The Fall Of The Rebel Angels is much…

Rebecca de Mendonça reveals why the drama of The Supper at Emmaus by Michelangelo Merisi da Caravaggio has always been an inspiration Out of all of the paintings I have seen over the years, the one that I still marvel at is The Supper at Emmaus, which was painted by Michelangelo Merisi da Caravaggio in 1601. I first saw this painting on a school trip to the National Gallery when I was 18, and I was blown away by it. It gave me the feeling that I was there, in that room in the picture. The figures seem to be moving, and we, the viewers, become caught up in the excitement of this moment.. This painting was commissioned by the Roman nobleman, Ciriaco Mattei, and Caravaggio painted it in oil…

Painter Sylvia Paul talks of how Claude Monet’s use of light and colour in Water Lilies has inspired her for over 30 years As a young student, I gradually became aware of the Impressionist painters and in particular Claude Monet’s later works. I was drawn to the colour and freedom of these paintings, and when I visited Paris for the first time in 1982, I particularly wanted to see some of this work. The Orangerie Museum was unfortunately closed for refurbishment at this time, so I was unable to see the huge panels of water lily paintings and sought out another museum where I could see some similar work. The Marmottan Monet Museum, which is not so well-known, houses the largest collection of Monet’s paintings in the world, which were…

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