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Digital Subscriptions > The Artist > May-17 > WELCOME from the editor

WELCOME from the editor

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Iwonder how many readers remember their very first experience in an art class, or who originally inspired them to take up drawing and painting? My initial interest in art was ignited more than 40 years ago by a wonderful art teacher in my sixth form at my local secondary school. Mrs Lloyd (Pamela) was a breath of fresh air in an otherwise highly academic environment. She had graduated in fine art from Newcastle University and opened my eyes to new and unfamiliar ways of looking at the world. She helped me to distinguish my own reactions to potential subject matter, media and techniques from the very traditional ideas I had about art, and which had acted as a barrier to my enjoyment of the subject. She showed me that although I didn’t have much confidence in my own creativity, once we had peeled away the conventions, I was free to explore the processes of making images and artwork in a spirit of discovery. The most precious gift she gave me was a passion for art, both practical and historical, which has remained with me for a lifetime and enabled me to spend my professional career doing a job I adore, working with the inspirational professional artists and tutors you will find every month in this magazine.

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About The Artist

Follow cover artist Henrietta Graham's example and set yourself a challenging project to create a series of paintings on a particular subject matter, or why not try something different from your usual practice to keep your creativity flowing? Our professional artist/tutors offer plenty of ideas this month, from how to paint loose watercolour landscapes by Lea Nixon, unusual compositions from a high viewpoint by Jo Quigley, and how to use pattern to dramatic effect in your still lifes by Penny German. Hazel Soan demonstrates how to paint a lively self-portrait in watercolour, Glyn Macey shows what you can discover by studying Rauschenberg's work and techniques plus we include articles on understanding the structure of the head and how to measure and see more objectively to help improve your figure work. Oil painters will love Martin Kinnear's new series on oil techniques, starting with the importance of value and chiaroscuro, while Charles Williams takes a thought-provoking look at the age-old issue of 'when is a painting finished?' With more besides, you won't be short of inspiration and helpful advice in this month's issue!