6 December 2019 http://www.painters-online.co.ukLETTERS, EMAILS AND COMMENTS
STAR LETTER
Oil pastel attempt
I was particularly interested to
read the article by Ben Hope
about oil pastels (The Artist,
October 2019 issue) as I had
been given a rather expensive
set for Christmas. Sadly, they
languished in my studio as
I really couldn’t get to grips
with them. However, after
perusing Ben’s article and
having admired his sketches
(paintings?), I was determined to have another go at them. I love the free-style
‘scribble’ efect he produces!
I was really excited to try oil pastels, but I think it will take a bit more practice. My
irst efort was a portrait and everyone who saw it just fell about laughing! In the
landscape (above) I haven’t really employed the techniques I so admired in Ben’s
work – thick colours and a seeming abandonment whilst maintaining a disciplined
eye for balance, light and dark and composition. I also tried to do it quickly as I
noticed Ben gave the time he took to complete a sketch, which is indeed pertinent
to the impression of freedom. I admit to being frustrated by the lack of deinition
possible with thick pastels but do feel that it is only by trying a new technique that
you appreciate fully what is required or, in my case, lacking! In the meantime, I’m
sticking to the day job.
Kate Langley, by emailThis month’s star letter writer will receive a £50 gift card, courtesy of GreatArt,
to spend on over 50,000 available products. Gift Cards can be redeemed
in-store at GreatArt Shoreditch, 41–49 Kingsland Road, London E2 8AG,
telephone 08433 571 572, and online at http://www.greatart.co.uk. We will share the
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Follow us on Twitter @artpublishingCambridge Drawing Society
In the October 2019 issue Mary Springham
asked whether there is an art club older
than The Essex Art Club, which is 120 years
old this year. The Cambridge Drawing
Society was founded in 1882; we are
therefore 17 years older. Our members,
who are elected, have included Gwen
Raverat, Cecil Beaton, and Ronald Searle.
The name Cambridge Drawing Society
is now something of a misnomer; we
encourage and celebrate all forms of
painting, drawing, printmaking and
sculpture, and have two large exhibitions
each year. We have a long and proud
history. Is any local art society older than
ours? http://www.cambridgedrawingsociety.org
Colin Hayes, by emailOldest art club?
The Liver Sketching Club in Liverpool was
founded on May 11, 1872 and is now in its
148th year. It has been continuously active
in the city and now meets every day of the
week except Sunday – sometimes twice a
day. That is almost 40 meetings each month
and, in line with the founders’ ideals, we work
from live models.
We know of other long-standing
art clubs of a similar age, but they are
exhibiting groups and not clubs in which
members meet to draw and paint in their
own studio. I suspect ours may be the
oldest such club in England or Wales.
David Brown, secretary, by emailPerfect for acrylic
Not wanting to pack tubes for a recent
seven-day acrylic painting break, I
discovered and purchased a two-tier Oxo
Good Grips covered silicone ice-cube box,
measuring 7 353 2in. There are two trays,
each with 24 sections, which I illed with
acrylic paint and covered with dampened
kitchen towel before replacing the lid – as
long as the kitchen towel remains damp
the paint stays moist. This box, plus one
large tube of white, provided plenty of
paint for the seven days and beyond.
After three weeks the paint remains
workable, with no dried or wasted paint.
This box is ideal for those not wishing to
carry around large tubes of acrylic paint
and could also be useful for painting
en plein air.
Ruby Oliver, by emailComplementary colour
Why do we only seem to see things once
they’ve been pointed out? The concept
of complementary colours being an ideal
choice for light and shade was introduced
to me this year by my oil portrait tutor.
Prior to this I was totally ignorant of what
my eyes were showing me.
In the September 2019 issue, Sarah
Spackman used a subtle red outline on
the sepals in her oil painting Pale Pink
Peony, Jake Winkle chose purple for his
camel shadow against the orange sand
in Camel Trail, and Paul Talbot-Greaves
used alizarin crimson in the shadow side
of Pennine Cottages, the roof and lighter
walls having permanent sap green in the
mix. This reinforcement of what I had
learned added another dimension to the
value of your magazine. In the portrait
(right) I used alizarin crimson, raw umber
ultramarine, yellow ochre and titaniumwhite; the redder tones of the face
contrast with the greener shadow areas.
Fen D’Lucie, by emailMum – Looking out at Clematis, oil,
15¾ 3 11¾in (40 3 30cm)