http://www.painters-online.co.uk artistMay 2020 3W
elcome to our May issue, in which I’m excited to present the paintings and
working methods of our cover artist Michael Sole (pages 16 to 19). Michael’s
approach resonates with me for very personal reasons. The methodology behind
his powerful seascapes of dripping and pouring paint, working on the studio
fl oor, attacking and shaking his canvases and letting the paint take its course, reminds me
of the experimental approach I was encouraged to embrace as a fi ne art student at Reading
University, under the tutelage of artists such as Terry Frost and Mali Morris, in the late 1970s. It’s
an exciting and intuitive way to make paintings. As he explains to our interviewer Susie Hodge,
big seas off er the ideal subject matter for this kind of experimentation as they benefi t from
‘energetic, physical and confi dent painting’.
Michael calls his approach ‘Involuntarylism’, by which he means that he works instinctively
and intuitively, reacting as much to the way his materials and colours behave, and in relation
to each other as he applies them, as to the original subject matter or inspiration. A painting is
allowed to have a life of its own, and what better subject matter for this kind of approach than
the forces of nature as a basis for experimentation. Michael’s creative ideas and approach may
not be for everyone, of course, although if you are looking for ways to loosen up or overcome
an unwelcome period of artist’s block, trying some of his methods may help to unlock a new
direction for your work.
I’m also delighted to welcome back the ever-popular Hazel Soan, whose fi rst article in her
new 2020 Vision three-part series starts on pages 24 to 27 with the aim to help you hone your
artist’s vision and see with artistic clarity for the rest of 2020 and beyond. Hazel is an erudite
and inspirational artist, tutor and writer, with an innate skill for decoding and explaining the
complexities behind a successful professional artist’s skills. To help put her ideas into working
practice and train your artistic vision, Hazel also off ers an accompanying practical exercise to
try each month.
As we look forward to spring and better weather, amongst the many other practical features
in this issue, we also turn our attention to the benefi ts of sketching and painting outdoors. For
example Graham Webber (pages 28 to 31) demonstrates how to capture atmosphere and a
sense of place in oils; Brian Smith shows how to paint fi gures in watercolour alla prima (pages
33 to 35); Richard Suckling explains why pastels are great for painting outdoors at home and
abroad (36 to 38); while on pages 61 to 63 Clare Bowen suggests what to pack for your next oil-
painting expedition or holiday. Finally, to ensure the usual variety of subject matter, media and
techniques we aim to bring to you in every issue, I’m also grateful to Andrew Newton for his
insightful guide on to how to paint a hyperrealist-style portrait in oils, step by step, on pages
46 to 49.
It’s great, and exciting, to see a similar breadth of subject matter, media and approaches
in the entries coming in to our annual TALPOpen competition. With the fi nal closing date of
April 9, 2020, looming, please don’t miss the opportunity to enter, see your work exhibited,
published and win one of over 45 prizes worth over £18,000. See pages 14 to 15 for full details
and how to enter.WELCOME
from the editorWant to comment on something you’ve read, or seen?
Email me at [email protected] or visit our
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http://www.painters-online.co.ukartistartistTHIS MONTH’S COVERSally Bulgin Publishing EditorLet us know what you think at- [email protected]
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Michael Sole North Westerly No. 5, oil and acrylic
on canvas, 80¼ 42½ in (204 108cm).
See pages16 to 19