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A master of his genre

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

Cambridge reflections

Peter Graham describes how a quintessential English scene inspired him to adopt an Impressionist approach with vivid colour and pointillist-style mark-making

THE PATH TO YOUR DOOR – AND YOUR ART

As Open Studios season approaches, Amanda Cooper offers her advice on holding your own exhibition as part of the big event

How can a gallery and artist work together to maximise publicity and sales?

Mark David Hatwood firmly believes that artists and their galleries should harness the power of social media to work closely for their mutual benefit

Charles Williams’ musings VENICE

I saw this young man gliding past us as we sat, en

Game of tones

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

Luminous skin tones

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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Animal designs

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

Pastels en plein air

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

An acrylic adventure

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

Exercises in line and wash

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

Make a statement with black

Marie Antoniou demonstrates when and how the use of black can create impact in your acrylic paintings

Returning to the scene

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

Make the most of window light

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

The lower limbs and feet

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

Paint a tree in acrylic, pencil and walnut

Follow Oliver Lovley’s demonstration as he builds layers of texture and acrylic to create an interesting and original painting