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Digital Subscriptions > The Artist > Sep-17 > Shake-up your style with collage

Shake-up your style with collage

Liz Seward turns to collage whenever she wants to lift herself out of a rut, with still life the perfect subject matter – the possibilities are endless, she says, so why not give it a go?

During the course of a long career teaching painting and drawing I have spent a lot of time persuading students that the subject of still life can be as exciting as any other, with considerable advantages over many of them. It doesn’t move, the light source is usually constant, it can be as colourful as desired – or not, and it is personal to you and can have a story to tell. In addition, it will teach you all you need to know about drawing shapes, perspective, texture and composition– what’s not to like?

Banish the block

About 25 years ago I had a period of painter’s block. I was painting mostly in watercolour and selling well, but wanted to break out of the ‘safe’ and predictable rut I was in. An artist friend advised I change media and try working on textured surfaces, including collage. Although I had misgivings I gave it a go, with startling results. From that time I was hooked and although I paint in many forms of mixed media, whenever I need a bit of a shake-up I turn to collage and allow it to (partially) tell me what to do.

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About The Artist

Welcome to an inspiration-packed issue with great demonstrations to follow in all media to help practise and develop your skills, from Paul Riley's focus on how to depict glass and reflections in watercolour, Chris Forsey's mixed-media demonstration of a light-filled Australian coastal scene to Rob Wareing's feature on painting skin tones and portraits in oils. With an insight into up-and-coming Richard Burger's approach to portraiture and Richard Pikesley's use of studio objects as tabletop still lifes, we also step into the shoes of professional artists to see what motivates them and how they approach their work. Young artist Marie Antoniou urges you to express yourself in acrylics with just one brush, Robert Dutton explains the rules of perspective while Paul Talbot-Greaves shows how to achieve depth in landscape compositions, Barry Herniman paints boats and harbours, and Liz Seward suggests the perfect antidote to painter's block by turning to collage. For help with colour mixing, Julie Collins turns our attention to the variety of whites available, and Catherine Strong tells us how to keep our greens clean and vibrant. Enjoy the issue and email your feedback and comments to us at theartistletters@tapc.co.uk We love to hear from you!
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