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A master of his genre


While still studying at the Slade School of Art in London during the 1940s when he was in his 20s, Eric Rimmington was commissioned to paint a large mural at the Trafalgar Institute in Portsmouth, his home town. In 1950 he was chosen to exhibit in the Young Contemporaries annual exhibition – David Hockney famously rose to fame when he exhibited in the Young Contemporaries as a student in 1960.

After 30 years of teaching in art schools, Eric became a full-time artist, first producing abstract works that were often constructions made out of driftwood and debris. In the mid-1970s, he took a teaching job in America for a year where, he says: ‘I was taken away from the cushioning and comforts of habit. You could do all sorts of things that were not fashionable in Britain, and what might be thought of here as naiveté could also be seen as a lack of inhibition. On my return I felt the need to produce things that were complete, integral within themselves. The American experience gave me permission to simply look at the room I was in…’

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About The Artist

Water-based media enthusiasts will find huge inspiration and masses of great advice from professional artists Hazel Soan, Jake Winkle, Cheryl Culver, Paul Weaver and Marie Antoniou this month. Hazel explains how to translate tones into watercolour on paper to maximise the effects of light and shade in your paintings; Jake reveals the watercolour techniques he recommends to paint texture and patterns in animals; Cheryl demonstrates a coastal scene in acrylics; Paul urges you to try quick studies in line and wash to keep your en plein air skills in tip top condition while Marie demonstrates how to use tube black to best effect in your acrylic paintings! Learn more from Adele Wagstaff about the structure of the lower limbs and feet to help improve your figure painting, and the colours to use for skin tones for your coloured pencil portraits from Alyona Nicklesen. With more features on pastel painting, detailed still lifes, a new technique to try and oil painting demonstrations from Peter Graham and Bob Brandt, whatever your favourite subject matter or medium you're bound to find loads to inspire you in this month's issue!

Other Articles in this Issue

The Artist
Want to comment on something you’ve read, or seen? Email me at, or visit our website at
Letters, emails and comments
There was a time when the question asked by the title
Support your specialist art retailer by purchasing your materials from the shops listed here
Art products to help you develop your skills
Check out the latest competitions to enter and make a note of important deadlines
Susie Hodge talks to Eric Rimmington about a long career that saw him move from abstraction to detailed still lifes of simple, everyday objects, painted in oils
Peter Graham describes how a quintessential English scene inspired him to adopt an Impressionist approach with vivid colour and pointillist-style mark-making
As Open Studios season approaches, Amanda Cooper offers her advice on holding your own exhibition as part of the big event
Mark David Hatwood firmly believes that artists and their galleries should harness the power of social media to work closely for their mutual benefit
I saw this young man gliding past us as we sat, en
Last month Hazel Soan explained how to train your eye to interpret the correct tones for your painting; the next stage is to translate this to your paper
Alyona Nicklesen shows you how to master skin tones for both light and dark human skin for coloured pencil portraits, with tips for colours and layering techniques
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Animals and wildlife offer the watercolourist the opportunity to have fun with colour and mark making. Jake Winkle reveals the techniques he uses to obtain different textures and patterns
Richard Suckling is convinced that working en plein air is the best way to capture an outdoor scene, and finds soft pastels particularly suited to the task
After many years working solely with pastel, past president of the Pastel Society Cheryl Culver felt the time had come for a change and a new challenge with acrylics. She demonstrates her progress with this coastal scene
Quick still-life studies in the studio are a great way of keeping skills sharp for plein-air painting. Paul Weaver shares his approach, focusing on sketching in pen and wash
Marie Antoniou demonstrates when and how the use of black can create impact in your acrylic paintings
Bob Brandt returns again and again to Trafalgar Square to record what, for him, captures its true essence. With the sequence of paintings shown here he reveals how this process develops
Light coming in through a window provides a fantastic painting opportunity says Max Hale, who challenges you to find inspiration from window light for your next painting
Adele Wagstaff concludes her series on anatomy to inform your figure drawing and painting with a look at the structures and muscles of the legs and feet
Follow Oliver Lovley’s demonstration as he builds layers of texture and acrylic to create an interesting and original painting