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39 MIN LESEZEIT

New directions

Swasky Three Heads, fountain pen and brush pen, 4x113⁄4in (10•30cm).

‘This double page was an exercise that I recommend as an ice-breaker. On the left I took my watercolour palette and tested my yellows and then I finished with the rest of my colours. On the right is an exercise for creating a pattern with watercolour.’

While we all know it can be a great idea to keep a sketchbook, there is, of course, no right or wrong way to use them. They can be whatever you want them to be to suit the way you work. They may embrace colour, or be relentlessly monochrome. Their pages may reveal images straight out of the imagination, or show scenes drawn from observation that are rooted to a time and specific place. But to view some work online it is easy to assume that the aim is to make sketchbooks filled from front to back with immaculate, perfect, social mediaready images.

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The Artist
January 19
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The Artist
WELCOMEfrom the editor
Want to comment on something you’ve read, or seen? Email me at theartistletters@tapc.co.uk, or visit our website at www.painters-online.co.uk/forum
PLUS
THE ARTWORLD
NEWS, VIEWS, INFORMATION AND SPECIAL EVENTS IN THE ART WORLD
YOUR VIEWS
Letters, emails and comments
EXHIBITION
GALLERY OPENING TIMES AND EXHIBITION DATES CAN VARY; IF IN DOUBT, PHONE TO AVOID DISAPPOINTMENT
The Artist guide open competitions & ExhibiTiONS 2019
The Artist guide open competitions & ExhibiTiONS
FEATURES
Instinctive responses
Caroline Saunders talks to David Remfry MBE RA, about his large-scale watercolours of dancers, his portraits and his links with the fashion industry
Artist, muse and poet
Susie Hodge reviews an exhibition at the Watts Gallery, the first for 25 years, dedicated to the art, poetry and life of Christina Rossetti
Marketing yourself – an overview
Mark David Hatwood introduces a new series in which he looks at the business side of being a professional artist
PRACTICALS
On the spot
Richard Pikesley explains why the constraints of time, changing light and limited painting gear can be a liberation when working in front of the subject
Portraits in watercolour
Jake Winkle debunks the myth that watercolour is a difficult medium for portraiture and demonstrates how to paint a self-portrait in his trademark style
Capture a moment in time
Award-winning botanical artist Julia Trickey demonstrates how to paint a faded rose in wetin- wet watercolour layers
Complex compositions
Yael Maimon concludes her series on composition by demonstrating how to design and paint a complex composition, with her ten top tips for success
Paint your first realist still life in acrylics
If you find the thought of painting your first realist still life a daunting prospect, Tim Gustard offers some encouraging advice as he talks you through the process
Coloured pencil techniques
Alyona Nickelsen explains how you can adapt painting methods and techniques for coloured pencil work whilst continuing to enjoy the amazing benefits of this dry medium
Develop a sense of proportion
Learn how to draw and paint animals with confidence in this new ten-part series from Ruth Buchanan. This month she explains how to develop a sense of proportion
Space and perspective in the landscape
Clare Bowen shares her colour-mixing ideas for achieving aerial perspective and creating a feeling of space in landscape painting
Dynamic surfaces for watercolour
Jane Betteridge shows you how to make your watercolour paintings more vibrant and more dynamic by using watercolour grounds
Yes you can paint from photos!
Bob Brandt shares his tips for using photographs as a visual prompt for your paintings
A subscription to The Artist makes a great gift
Give a gift subscription and you will receive a gift card to give to the lucky recipient. They’ll receive their first issue shortly after Christmas
Painters Online editor’s choice
Meet this month’s editor’s choice winner from our PaintersOnline gallery, who receives a £50 Jackson’s Art Supplies gift voucher