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Exploring the visible

My set up

Having spent most of my life painting in rooms with conventional windows, I now have a cosy studio in an attic with skylights. Above the principal skylight there are three spotlights, which enable me to continue working when I need additional light. These skylights face south, but I find this more cheerful than the more traditional but bleaker north light and, if the sun is too bright, there is a white translucent blind that reduces glare.

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About The Artist

Welcome to our December issue, packed with inspirational workshop-style features from our team of top professional artists and tutors. This month David Curtis demonstrates an oil painting of a corner of his garden, Graham Webber shows how to paint boats in the landscape, Judi Whitton shares her 'creepy crawly' drawing methods to help you produce unique sketches without a viewfinder and Penny German reveals her tips for setting up and lighting a still-life subject. Watercolourists will love learning how Claire Harkess paints her prizewinning wildlife paintings, and how to paint a successful botanical subject using just three primary colours following Jarnie Godwin's advice. Writer, broadcaster and painter Andrew Marr discusses his thoughts about abstraction with reference to the development of one of his own compositions, as well as much more to keep you inspired, informed and, of course, drawing and painting!

Other Articles in this Issue


The Artist
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
NEWS, VIEWS, INFORMATION AND SPECIAL EVENTS IN THE ART WORLD
Helen Allingham was an artist ahead of her time. By
EDITOR’S GALLERY CHOICE
India is the inspiration for Patrick Cullen’s new exhibition
Brighton’s Artists Open House Xmas Festival will see
Peter Graham has been busy over the summer. Catch him
Letters, emails and comments
Check out the latest competitions to enter and make a note of important deadlines
FEATURES
Susie Hodge talks to Claire Harkess, winner of the David Shepherd Wildlife Foundation’s 2017 Wildlife Artist of the Year and The Artist Award, about her passions for watercolour and wildlife
Andrew Marr shares his thoughts on abstraction and the picture-making process as he analyses how ‘the subject’ is represented in paint
If people appreciate your work enough to want to hang it on their wall, they are likely to be prepared to pay you for it. John Roland suggests ways in which you can turn your art into an income
Support your specialist art retailer by purchasing your materials from the shops listed here
Choose the ideal gift for yourself or an artistic loved one this Christmas with our selection of ideas
There are many chapters to the life of Roger Hilton.
7 FREE exchange to our sister title Leisure Painter
GALLERY OPENING TIMES AND EXHIBITION DATES CAN VARY; IF IN DOUBT, PHONE TO AVOID DISAPPOINTMENT
Follow Jarnie Godwin as she paints an artichoke in watercolour. You’ll achieve a high level of tonal variation, complex, natural colours, deep shadows, and lots of detail using just three primary colours
Susie Hodge reviews this important exhibition of Cézanne’s portraits at the National Portrait Gallery in London
Adebanji Alade’s final tip is simple: make sure you are making art in some way or another – keep it going, keep it showing and keep it glowing – just do it!
PRACTICALS
David Curtis describes how he raced against the light and the heat as made an alla-prima contre-jour oil painting of a picturesque corner of his garden
A project to paint and draw trees across London is quite an undertaking. Ian Sidaway describes how he achieved this – from making made both pen and watercolour sketches on site to selecting subjects to work up into finished paintings
As he concludes his three-part series, Peter Burgess describes the processes he uses to create a finished painting, having made choices about the composition and materials
Concluding her two-year long monthly series on colour, Julie Collins looks at some watercolours that weren’t included in any of her previous colour articles – Daniel Smith’s luminescent range
Understanding the subject is the first challenge of any painting, says Graham Webber, who continues his series by showing you how to understand and paint structure in the landscape, using boats as his example
Judi Whitton describes how to use her creepy-crawling drawing method to produce a unique and interesting depiction of your subject, without using a viewfinder
In her new series Adele Wagstaff helps you to understand the proportions and forms of the figure by looking at what the artist needs to know about anatomy
Light is a critical element of a still-life painting. Penny German shares her tips on setting up and lighting a still-life composition