Shopping Cart -

Your cart is currently empty.
Upgrade to today
for only an extra Cxx.xx

You get:

plus This issue of xxxxxxxxxxx.
plus Instant access to the latest issue of 320+ of our top selling titles.
plus Unlimited access to 28000+ back issues
plus No contract or commitment. If you decide that PocketmagsPlus is not for you, you can cancel your monthly subscription online at any time. Auto-renews at £9.99 per month, unless cancelled.
Upgrade Now for £9.99 Learn more
This website use cookies and similar technologies to improve the site and to provide customised content and advertising. By using this site, you agree to this use. To learn more, including how to change your cookie settings, please view our Cookie Policy
Pocketmags Digital Magazines
Pocketmags Digital Magazines
   You are currently viewing the United Kingdom version of the site.
Would you like to switch to your local site?
Read anywhere Read anywhere
Ways to pay Pocketmags Payment Types
Trusted site
At Pocketmags you get
Secure Billing
Great Offers
Web & App Reader
Gifting Options
Loyalty Points

Texture in context

Part 1 It is not as difficult to paint metal and glass as you think. Follow Steve Strode’s advice on shape, colour and tone, and you won’t look back

Oils and acrylics


How to paint effects in oil and acrylics

Develop your observational skills

Learn from the Old Masters

The American painter, Kevin McPherson, once recalled exhibiting a portrait painting called, Man with a Gold Tooth.

‘A woman at the exhibition asked me: ‘Did you use real gold paint for his tooth? Well I couldn’t let that go by. ‘Of course’, I said. The truth is the painting was done with a palette of only yellow, red, blue and white.’

In situations like this, where the surface texture is more obvious, we can sometimes be left doubting whether the paints we have are up to the job or not. If you think further about it, however, everything we paint has texture of some sort. It’s only when we are faced with what we perceive as the more difficult surfaces, such as water, metal or glass, we tend to overthink our response and run into problems.

One way of avoiding those problems is not to paint things at all, but just paint their shapes instead.

Purchase options below
Find the complete article and many more in this issue of Leisure Painter - Oct-18
If you own the issue, Login to read the full article now.
Single Digital Issue
This issue and other back issues are not included in a new Leisure Painter subscription. Subscriptions include the latest regular issue and new issues released during your subscription.
Annual Digital Subscription
Only £ 2.77 per issue
Monthly Digital Subscription
Only £ 2.76 per issue

View Issues

About Leisure Painter

Welcome to the October issue of Leisure Painter. We have a fantastic array of tutorials and techniques to try in this month's issue, from how to use masking fluid with watercolour and how to fill your sketchbook, to step-by-step demonstrations in water-mixable oils, oils, drawing media, acrylics, watercolour and coloured pencils. Learn how to paint animals in wet-in-wet watercolour, draw a detailed study of a badger with coloured pencils and paint wild animals en plein air. Understand how to paint the effects of aerial perspective and how to paint portraits in miniature. This month we also have great pleasure in publishing the award-winning work from this year's Leisure Painter Open Competition. Enjoy your month of painting.