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Digital Subscriptions > The Artist > October 18 > Why do we make paintings?

Why do we make paintings?

CHARLES WILLIAMS’S MUS INGS

Three Gorgeous Gingers, oil on linen, 193⁄4x271⁄2in (50x70cm)

I am in the throes of a PhD at the moment. Anyone who works in higher education has to at least aspire to the right to put Dr as their title in passports, credit card applications and so on, and go through the rigmarole of jokes about prescribing and being let through on account of being one. It is a part-time PhD also, which means that it will take me at least five years to complete.

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About The Artist

Welcome to the October issue in which many of our top-class artists celebrate painting in a variety of locations in all kinds of weather, from Pete the Street Brown in Havana, to Geoff Hunt who shows how not to let an unpromising day spoil your painting. Our artist-tutors also offer help and advice on colour mixing in oils, how to improve your compositional awareness, use gouache to paint atmospheric landscapes, create luminosity in your paintings by combining cold wax and water-soluble oils, and develop your skills by working in monochrome. Paul Talbot-Greaves suggests a simple exercise to help you loosen up, Julie Collins shows how to mix the right greens for your watercolour paintings, while Glyn Macey invites you to learn from the painting style of Lamorna Birch by following this month's demonstration. Plus, be inspired as we introduce many of this year's The Artist Open Competition amazingly talented prizewinners!