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March 18
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March 18
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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
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ART BOOKS & DVDs
There was a time when the question asked by the title
UK ART SHOPS
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ARTBOX
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OPPORTUNITIES & COMPETITIONS
Check out the latest competitions to enter and make a note of important deadlines
EXHIBITIONS
GALLERY OPENING TIMES AND EXHIBITION DATES CAN VARY; IF IN DOUBT, PHONE TO AVOID DISAPPOINTMENT
FEATURES
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
PRACTICALS
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
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
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