Leisure Painter - UK (2019-06)

68 JUNE 2019 http://www.painters-online.co.uk

ENTER NOW

For your chance to win

please visit:

http://www.painters-online.co.uk

the online home of Leisure Painter

and The Artistmagazines, and

click on the links to competitions.

Closing date for entries is

May 17, 2019.

Winners will be

selected at random from

all online entries.

When completing your details please make sure

you opt in to receive our great regular email

newsletters so that we can keep you up to date

with what’s new at PaintersOnline, including

the latest features, images in the galleries, new

competitions and other great offers.

PAINTERSONLINE

and National Gallery Competition

To celebrate the first UK exhibition of Sorolla in over a century,

PaintersOnline, the online home of Leisure Painterand The Artist, has

teamed up with the National Galleryto offer you the chance to win a pair

of tickets to view the exhibition Sorolla: Spanish Master of Light, enjoy

afternoon tea for two, plus receive a Sorolla catalogue and tote bag.

Five runners-up will also win tickets to the exhibition.

Sorolla: Spanish Master of Lightis the first UK

exhibition of Spain’s Impressionist, Sorolla,

in over a century and is on show at the

National Galleryuntil July 7, 2019. Known

as the ‘master of light’ for his iridescent

canvases, this is a rare opportunity to see

the most complete exhibition of Joaquín

Sorolla y Bastida’s (1863-1923) paintings

outside Spain. From the vivid seascapes,

garden views and bather scenes for which

he is most renowned, to portraits,

landscapes and genre scenes of Spanish

life, the exhibition features 58 works

spanning Sorolla’s career – many of

which are travelling from private collections

and from afar. For more information visit

http://www.nationalgallery.org.uk

JUNEThis month Geoff Huntpaints three plein-air

watercolours at the coast – one in the UK and two inthe US – and has a cautionary tale about tides

O UT AND ABOUT WITH GEOFF HUNT: 3RD OF 10

Arches Not, 10Mystic Seaport possesses a major fully-functioningwooden shipbuilding yard (where they areA Working Shipyard, Mystic, 14in (25.535.5cm).watercolour on

currently rebuilding the replica Mayflower of 1957);it’s a fascinating place chock-full of characters,sheds, timber, machinery and all kinds of marinejunk, to which I kept returning. I used pen and line

quite a lot since this technique seemed to suit allthe intricate detail of the timber yard, just as itdoes for architecture. The distant sail visible overthe iron roof was a gift – it really happened, as the

Seaport's tourist-carrying 'catboat' sailed slowly band I added it to my painting in a few secondsy,

I'd decided to join the annual 9 had been promising myself to make this date for several years. So finally there I was one12in (23The Seafood Shack, Shaffer's Marina, Mason's Island, 30.5cm).plein-airpainting week at Mystic Seaport, Connecticut – Iwatercolour on Arches Rough,

Tuesday morning, with the urgent prospect before me in two or three days, all of which had to be framed by the Friday and on the gallery wallthe next day. No pressure, then. I so often think of Mystic as being sunny that it hadn'toccurred to me that it might rain, but on two of the days it did so, cutting down my timeof painting five decent pictures

even further; still, as usual, rain or not, it was wmore. Knowing the area so well paid dividends; I was up very early on the first morning,still running on UK time, and was able to go straight to a location I'd earmarked on aprevious trip: Shaffer's Marina. Really I was plannionderful to be at Mystic Seaport onceng to paint this as a warm-up exercise,

just to get acclimatised, so I was finished with it before 9am, but it went well enough tobecome one of my framed works in the end-of-week show, where it sold almost at once

is a past president of the Royal Society ofMarine Artists and the current chairmanof the Wapping Group of Artists.Geoff Hunt

32 http://www.painters-online.c

artistJune 2019 o.uk

DEMONSTRATIONBluebells in Everdon Stubbs

cerulPrusMethodsian blue and black.ean, and I pick up the shadow with

It is diffwet oil, asmix. Fine linesicult worki the c are also diolour will inevitablyng with wet oifficult tol onto

achievit iswhich that y surprisou can go overe iwill takn oiling howe ab. It helps to tell yourselfout f close you c it wour dayhen isat’. However,s dry –n get in

one session. I often like there to besome evidenpaintwhite.ings – in this case the sky isce of sky in these ‘enclo a psed’ure

Smallif you do not move them too much. Thiscan abrushstrokes carefso give texture if you consl dabs of pure colour willully. Painting i stay putider thes a

contiprocess, backwards and fHaving establnual addition and cished the composorrecorwards.tionition I

start at the top left-handpainting and wright-hato riht, untilgnd corner. W arrivingork in s at the bottomhen pections f corner of theainting therom left

bluebdab is abof blue aluebelell bluebell. To as you can use dl areand white remembering eachs I sometimes addcownward dabshieve the li purehterg

day, whiwhite on top ofofI cten have two or three canvases on theovered the whole surch wa the bs eight hours’ work,lue.ace in onef and

go at one tioverpaint i the ps toucaminting after one day be. Ih-dry after ft is possibourle to paint days. ut the

of finish and icmoment wIn this wovered with pay of paintihen the wat isnt t possibiholo a cerng there ie surfle to see ttain ds acae isegreehe

piWcannot be. Arrivicture representihile there is still canvas showing thisng the wholng at this point ise scene.

signiareas that wilThe finishficant and there will be obviousl be underworked.

enough to paintstarted at the top left-hand cornerAfter a fpainting light ovew days over. Once again I the per dark, raint weshaas dryping and,

remodelliwdtrees, cork on the bluebbas of light and leariss-cng, going back across therossing branches, addingellves. The addis in the very neartional

foregroundsubseqfinifocused on single stalks and flowers. Allsh – any work that improves theuent w seemed endlork brings tesshe pic as Iture to a

detrimental, or yachieved your itimepainti to stop wng is, of course,hen the wnitiou feel you haa worth doing. It i vislork ision. A finishedves

oil paintproperly fing shouldor at least s not be vaix months.rnished

areasI drew the STAGE ONE with turps scene tin penco create the lightsil on the pre-prepared canvas and then wpied^ back

BELOW The STAGE TWOfirst leaLEFT ves of the year are often much lighter and more yellow than the

mature letouches STAGE THREEof caveserulean, of summFrench ultramarier. I therefore used touches one and white to f legive some bodymo^ nyellow mixed with

uWosing French addrking doitional ceruleawn,ur I begaltn famaor n parine with whitthe leinting veathe bluebells. These and^ Winsor V elusiolet foive color a puurr was achieveple hint, andd

TA

Since 1931 The Artisthas been created by artists, for artists.

Published every four weeks, each issue is packed with new

ideas, expert advice and insight into the work of professional

artists, covering all subject matter and media, to inspire,

inform and guide your technical and creative development

SUBSCRIBE TODAY

with a special introductory offer of your first 5 issues for £5*.

Your subscription will continue at only £9.99 by quarterly

Direct Debit, making a regular 30% saving. There is no

minimum subscription period.

* Direct Debit only

http://www.painters-online.co.uk artistJune 2019 33

I continued with the bluebells, and started painting the path usingraw sienna, Vandyke brown and white. The fine lines oSTAGE FOUR f thin branches

were achieved using the tip of the finest brush, sometimes with thepaint thinned slightly more

Bluebells in Everdon Stubbs,After a few days the paint was dry enough to paint over. Again,FINISHED PAINTINGoil on canvas, 108in (2520cm).

starting at the top left-hand corner of the picture, I painted lightover dark, going back across the criss-crossing branches, addingdabs of light and leaves. The additional work of the bluebells in

the very near foreground seemed endless as I focused on singlestalks and flowers

The fine lines of the close foreground grasses were achieved inmuch the same way as the fine branches of the trees. Any workSTAGE FIVE

with this much detail needs patience, although the end result isoften very satisfying. For the bluebells I used downward dabs ofblue and white, remembering that each dab was a bluebell. Thebluebells in the foreground were painted in more detail, whereas

the more distant ones are a mass of colour.yellow ochre and Vandyke brown and, in places, olive I again used the tip and side of the brush to work fine lines up andThe colour of the tree trunks was a mix of white with black,green.

down the trunks to describe the texture of the bark. White wasused as the lightest and brightest tone

Martin Taylorstudied at Wimbledon School ofArt and University of London

Goldsmiths College. He hasexhibited widely; he is currentlyrepresented by Gladwell &

Patterson, 5 Beauchamp Place,London SW3 1NG.www.gladwellpatterson.comwww.martintaylorartist.com

with artist

Stretch your painting skills

PLUS



!

OILS

Paint a seasonal bluebell wood

step-by-step

WATERCOLOUR

Hazel Soanhow to control yourexplains

brushwork

WATER-MIXABLE OILS

Discover the benefits of painting with this

versatile medium

Learn when & how tovarnish your paintings


How to express themovement of waves in

acrylic coastal scenes



Paint faces in watercolourUse your sketchbooks

wherever you go



Capture the light

& colours of your

garden with

Haidee-Jo Summers

http://www.painters-online.co.uk JUNE 2019 £4.50

THE PRACTICAL MAGAZINE FOR ARTISTS BY ARTISTS – SINCE 1931

artist

80 PAGES OF INSPIRATION, TIPS & TECHNIQUES FOR ALL ARTISTS

Go to http://www.painters-online.co.uk/storeand enter code

LPTA1906 or telephone 01580 763315 and quote code LPTA1906

• This is a Direct Debit only promotion. 









   



*

5 £5

• 
  

INTRODUCTORY OFFER OF

ISSUES

FOR