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It’s all in a name

I am always curious about the names other people give their paintings. I take the predictable route, for example ‘Bride on the Beach’. This is easy for me because I paint what I actually see, but what if your painting is not so obvious, or more abstract?

Sometimes the name jumps out at you, sometimes it’s there before you even paint it. But does it really matter – can you call your painting ‘7’ or ‘Tuesday’? Or ‘My Attempt at Smugglers’ Cove’ if you want to appear modest, or ‘Three People Jumping Skywards’ to be amusing or a bit whacky?

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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!
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