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40 MIN LESEZEIT

Alla-prima oils

Hyacinth and Cupcake, oil, 10X8in (25.5X20.5cm).

This still life was painted in 30 minutes: I used a timer to make sure I didn’t go over my time limit. I think it has a delightful freshness that would have been lost if I had continued to work on it. I find that the earliest marks made in a painting are often the most useful, concise and descriptive

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The Artist
Oct-17
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The Artist
WELCOME from 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
ART BOOKS & DVDS
Al Gury Watson Guptill books are always good value
EXHIBITIONS
GALLERY OPENING TIMES AND EXHIBITION DATES CAN VARY; IF IN DOUBT, PHONE TO AVOID DISAPPOINTMENT
OPPORTUNITIES & COMPETITIONS
Check out the latest competitions to enter and make a note of important deadlines
FEATURES
Exploring the visible
In the first of a new three-part series, Peter Burgess shares his approach to composition, including using the Golden Section, and tonal structure
Paint with‘Our man in Havana’ Peter BrownNEAC ROI
Don’t miss this fabulous opportunity to work alongside ‘Pete the Street’, a highly respected figurative painter, in one of the most colourful and atmospheric cities in the world, before it loses its time-warped appeal
The Horse’s Arse
When this book came out I got hold of a copy as soon
The Artist 2017 Open Competition
Be inspired by the excellence of some of the winners of this year’s open competition and exhibition, organised in partnership with Patchings Art Centre
Slow down
Haste is the artist’s worst enemy says Adebanji Alade. This month he advises you to take your time – it will help you to produce better paintings
The artist CONTRIBUTOR VIDEOS
Check out these inspirational videos by some of this month’s contributors for additional informative online demonstrations
Top Courses Top Tutors
Select from some of the best art courses in the UK and abroad
PRACTICALS
Celebrating the rose
Colourist Peter Graham describes how he uses roses to create atmosphere in his light-filled still-life oil paintings
A touch of body colour
Judi Whitton explains how to introduce opaque media to your watercolours to ‘produce timeless, subtle and harmonious’ paintings
Beach views
Mike Barr reveals the secrets to successful beachscapes, with tips on colours, composition and perspective
The city in perspective
Robert Dutton continues his series with advice on how to use the rules of one-, two- and three-point perspective with exciting viewpoints to create dynamic cityscapes
Smooth, strong colour
‘Firm, velvety-smooth, intensely coloured and reliably lightfast’ is how Susie Hodge describes Derwent’s new Procolour pencils
Mess versus finesse
In the last of his six-part series Paul Talbot-Greaves urges you to loosen up and allow yourself to start with mess – it really will end in success!
Still life with violin
Adele Wagstaff says that musical instruments make a beautiful subject, and demonstrates a still life of her violin
Jackson’s linen boards
Max Hale loves painting on Jackson’s ‘clever’ linen boards. They’re available in a wide range of textures and weights that should meet every artist’s needs
Mixed-media water colours
Paul Riley suggests introducing other media to your watercolours, with advice on the best way to do this. It’s all down to good planning…
How to paint edges
Michael Jules Lang explains, with examples, how to create a variety of edges, and why this will help you to achieve subtle, more sophisticated paintings
THE A-Z OF COLOUR
Some colours should be used with caution, advises Julie Collins, so much so that if mix your own you’ll obtain a better result
Sketching on the move
Seasoned traveller and plein-air sketcher Barry Herniman reveals what he packs in his lightweight sketching kit – the one he takes on his walking holidays. Our Art Courses & Holidays supplement, supplied free with this issue, has more ideas to inspire you!
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