Tabla de contenidos para March 2026 en Leisure Painter

You will learn Painting winter light effectively Applying texture using tools Balancing variety with clarity The painting Morning Light at Marple Locks was born from one of those early winter mornings that seem to hold the world in a moment of magical stillness. With a move from our beloved Yorkshire on the horizon, we had begun exploring areas west over the Pennines as a possible new beginning. One early winter morning, while staying locally to Marple and seeing the weather forecast ahead, I knew that I had to go out to explore the next morning. Reassured that my little car is safely snowed in and I will not make it anywhere unless I walk, I was out to see Marple Canal Locks with the first light, driven by curiosity and…

You will learn That setbacks are part of the creative journey How to use them as learning opportunities To build confidence via achievable challenges All artists, regardless of skill level, experience disappointments and failures. It’s how they respond that differs. One mindset is ‘I’m no good at this, so I might as well give up’; whereas a far more constructive reaction is ‘What lessons can I learn from this and how can I use them to improve?’ So rather than letting your setbacks get you down, here are some tips and suggestions for using them as stepping stones to take your work to the next level and beyond. And I’ll also show you practical examples of how I used them to reset after recent ‘disappointments’ of my own. Top tips…

Best in show Don’t forget to invite visitors to your exhibitions to vote for their favourite painting in the show. Send us details and a high-resolution image of the winning painting and we will publish it in a future issue of Leisure Painter. Send the details to artclubs@painters-online.co.uk Thanks and congratulations, to this ‘Best in Show’ artwork. Exhibitions ■ Whitstable Art Society Spring 2026 Exhibition – Shore Thing Wednesday 11th March 2026 to Monday 23rd March 2026. Horsebridge Arts Centre, Whitstable. whitstableartsociety.co.uk ■ Colchester Art Society at 80 17 January to 12 April 2026. Firstsite, Lewis Gardens, Colchester, CO1 1JH. More than 30 of the very best paintings, prints, drawings, and mixed media works made by members. colchesterartsociety.co.uk ■ The 47th Cumbria Local Arts Exhibition 3rd April to 12th April 2026,…

DEALING IN SPLENDOUR A History of the European Art Market Liechtenstein Garden Palace 30 January to 6 April 2026 The Liechtenstein Garden Palace presents “Dealing in Splendour: A History of the European Art Market” (30 Jan–6 Apr 2026), a groundbreaking exhibition exploring the forces that shaped art trade over centuries. Featuring loans from international collections alongside works from the Princely Collections—including Titian, Rembrandt, Monet, Klimt, Brueghel, and Van Dyck—the show traces the European art market from Hellenistic Greece and Renaissance Florence to the Dutch Golden Age and 19th-century global trade. It highlights the rise of auctions, dealers, and innovative exhibition strategies, revealing how market demand, patronage, and commercial practices have historically influenced artistic recognition, distribution, and the development of art history itself. Admission is free and special guided tours of…

Mike Barr is a Fellow of the Royal South Australian Society of Arts. He has won over 80 awards, including 17 first prizes. You can find more of Mike’s work at mikebarrfineart.com These days a lot of emphasis is placed on paintings needing a story, however, there is more than one story when it comes to a painting, and most artists will recognise them when I list them. Story one: First, there is the intent of the artist before the brush touches paint. It can range from a place, thing or person of great importance to the artist. Or it can be something as simple as the artist seeing something they think could make a great painting, either one of their own photos or someone else’s. Story two: The second…

Attending a short workshop or holiday in the UK is a good way to build up confidence and there are plenty to choose from. A painting holiday abroad might be something you consider once you have already sampled a UK-based experience, once you have started to gain in confidence. Often painting holidays are attended by like-minded people who are travelling alone, which makes for great social interactions and the building of potentially long-term friendships. To enable you to get the very most from your holiday experience whether this be based in the UK or abroad, it is a really good idea to decide on your aims. Perhaps you hope to produce a number of finished paintings during the holiday. Maybe you see yourself as exploring and discovering new approaches to…

Plenty of clothing has been sacrificed in the name of art. I have known people fill their entire hold allowance with equipment and bring clothes in hand luggage. The trick is to dedicate time to the planning for your packing. Some airlines are more forgiving than others, so research can also come in handy. Tempting though it is to take that wooden box/easel combo that your grandchildren gave you for Christmas - don’t! Or maybe that new set of acrylics you wanted to try? I have seen quite a few people arrive on painting holidays with a brand-new medium, unknown to them and often to me. If you discover that you don’t like acrylics, you’re absolutely stuck. Painting holiday suitcase strategy • Bottom of suitcase; make sure that you have…

Drawings that take minutes or even seconds to accomplish can give any artist invaluable practice. Quick execution, or gesture sketching, is a great way of developing our drawing skills. It takes practice, as the temptation to create a finished piece can be hard to resist, but not every drawing needs to be a lengthy piece of work. All you need is a pocket-sized pad and a pencil. Or try different drawing implements. I would recommend the ink pen, as it removes the temptation to erase or modify the image. Gesture sketching is about catching the essential lines of a subject. Rather than a careful study, it is more concerned with the essence. While you’re drawing so quickly you will spend more time looking at the subject and not at the…

Tip 1: Paints For small sketches, all you will need is some basic colours in pans. Preferably a pan with a lid. For painting larger pictures, you can squeeze small tubes of colour into the wells of a closeable watercolour palette before you travel or leave for the day. You can then re-energise these by wetting them when you are ready to use them. The colours you choose need to be determined by your own personal style and preferences, the type of destination you are going to and the subjects you will be painting – landscapes, seascapes, buildings etc. Tip 2: Brushes Ideally you would want to take a large sky wash brush, a larger square wash brush, a squirrel mop, a swordliner, a large sable and a rigger. You…

Tip 1: Travelling It is a common misrepresentation that you cannot travel with oils. You can, you just need to take a few extra steps… Take them as check-in luggage Print out any relevant SDS (Safety Data Sheets) and pop these into your paint box. It might also be a good idea to email your airline. Let them know that you are a travelling artist and wish to take your oils with you. Print out the reply and pop this into your paint box along with the SDS information. And for transporting your ‘still wet’ paintings home? There are numerous methods, but the main thing is to collate your paintings into same size pairs, separate them from each other (I find channelled wood works perfectly), tape around them, seal them…

Being an art tutor is inseparable from my own practice as a painter. Teaching forces me to articulate instinctive decisions, to slow down and really consider how and why an image works. When that teaching takes place on an art holiday, something even more meaningful happens: art, place and people come together in a way that feels both natural and transformative. Art holidays create a unique environment for learning. Away from the distractions of everyday life, people arrive open, curious and often slightly vulnerable, which is a wonderful place from which to begin. Whether students are experienced artists or picking up a brush with fresh enthusiasm, my role is not to impose a style, but to help each person find their own response to what they see. I see myself…

Art Fund, the national charity for museums and galleries, is awarding £1.3 million to drive innovative collections work in museums and galleries across the UK in the final round of its Reimagine funding programme. The funding will support ambitious projects ranging from a pioneering new model for the care and treatment of ancestral remains at Horniman Museum and Gardens, to the first major redisplay of Britain’s second-oldest museum at Spalding Gentlemen’s Society, and an immersive revival of early electric light at Cragside. A total of 29 museums and galleries across all four UK nations will share £1.2 million, with a further £100,000 distributed through Museum Development England, Northern Ireland Museums Council and Museums Galleries Scotland to provide microgrants for smaller organisations, ensuring support reaches museums of every size. Launched in…

You will learn How to produce a clear gel print Tools and tricks to create interesting patterns More creative options to experiment with Talking to a fellow artist one day, we got onto the subject of monotypes, or one-off prints. He introduced me to gel plates, which allow such prints to be created with ease. I was intrigued and ordered my gel plates immediately. It was all true; suddenly, printing was quick and easy. “You are limited only by your imagination and the materials to hand.” The possibilities are endless. You are limited only by your imagination and the materials to hand. In the main, acrylic paints are used, but you can try, for example, oil pastels, dry pastels, inks, pens, etc. TOP TIP The paper you print on can…

You will learn Using a restricted palette Breaking your pastel for sharp lines Highlighting areas for a moonlit effect You will need Surface: ● Sennelier La Carte pastel card, 7×5in (18×13cm) Pastel colours: ● Blues, greys, purples and white Pencils: ● Pastel/charcoal pencil Surface and palette We shall be using Sennelier La Carte pastel card and a fairly restricted palette of blues, greys, purples and white. You might also find a pastel/charcoal pencil useful for the twiggy undergrowth beneath the trees. Step 1 Draw the trees Draw the three tree trunks, taking them up to and off the top of the paper. Make sure they are unevenly spread and have a little character rather than being dead straight. Draw the horizon with an undulating line and use a small circular…

Paul Talbot-Greaves teaches watercolour and acrylic painting in workshops and demonstrations to art societies throughout the UK. Paul is a member of the Royal Institute of Painters in Water Colours and has received many accolades and awards, including The Artist Award in 2017 and 2021 at the Patchings Art Festival, and The Chaoshan Watercolour Award at the 2021 RI watercolour exhibition. He can be contacted by email info@talbot-greaves.com or through his website www.talbot-greaves.com I love oil paint, the painting method of it, the way it can be manipulated, blended, and removed, and the softness of edges that it yields. Unfortunately, I am one of those many people who don’t tolerate solvent well. Working with turpentine, especially in a studio environment is an absolute no for me. The power of the…

Barry Herniman organises and tutors painting holidays and breaks at home and abroad. He is also available for workshops, demonstrations and Zoom sessions to art groups and societies. His newest book ‘Sketching Outdoors’ is available to purchase at £14.99 with free postage. It has 144 pages in full colour and is full of tips, techniques and demonstrations. To go on his mailing list for future events email: bazherrflick@gmail.com I’ve always loved steam locomotives from a young age when I took my trusty Ian Allen train spotters’ book to our local station to tick off all the engines that passed through. The sight and the smell of those great rumbling giants was very emotive and to this day it still evokes a feeling of nostalgia when in the presence of a…

Committing to a painting holiday or art course can be intimidating if you have never done it before. Below are some key questions you should ask to ensure you have the very best of experiences… Courses Duration: Art and painting courses vary in duration from a few days to a few months. If you are fairly new to painting it might be better to choose a shorter course first, give it a go and see how you get on. Location: Courses may also be held in different locations. Some may be fully studio based, others a mixture of studio and plein-air or perhaps even fully based out of doors. And don’t forget that there are also plenty of options on-line for distance learning art courses. Mobility: If the course is…

Painting holidays can be a truly magical experience, offering you the chance to relax, learn new skills and paint in beautiful surroundings in the company of like-minded people. By painting regularly over several days, there’s a real opportunity to develop your work and you’ll soon discover the rewards of being away from everyday routines and distractions. There’s also the added security of working alongside other artists, and a confident, experienced tutor to call on when painting in unfamiliar surroundings. Established holiday providers have a proven track record of delivering painting holidays and employing experienced tutors, who know how to inspire the best from their students. They will also have a good knowledge of the local area and what it offers, as well as an understanding of which spots offer the…

In 2026, Field Studies Council is offering a range of art and craft courses at Flatford Mill that support this sense of exploration, providing space to learn, experiment and develop creatively. About Flatford Mill Flatford Mill is located amidst the quintessentially English countryside of the Dedham Vale. The Mill and Willys Lott are instantly recognisable as they feature in many paintings by John Constable (location of his Haywain painting). Today, this setting continues to encourage creative flair and the opportunity to learn a new art, whether through drawing, painting or other creative outlets. The relationship between place and practice remains central to the experience of learning here. As an environmental education charity, Field Studies Council works to create outstanding opportunities for everyone to learn about nature. Art and craft courses…

Dependant on the details of the holiday you are booking, you may be required to take all your materials with you. It’s always best to double check exactly what you will need and what (if anything) will be provided. Most tutors will be happy to answer any queries you have regarding this and some may be able to provide a comprehensive materials list, if relevant to the overall theme of the holiday. Because of the individuality of each holiday (or on-location courses) it’s not feasible to give a definitive list but hopefully the below will give you a good idea of where to start. You can then tweak this to suit the specific holiday requirements, or indeed just your own preferences. Standard equipment Pens – for sketching and also pen…

Freddy Paske’s paintings are charged with movement, atmosphere and a strong sense of lived experience. A former British Army officer, Paske came to painting through an unconventional route, bringing with him an acute awareness of environment, action and human presence. His work, whether depicting sporting life, wildlife or moments drawn from active service, is less concerned with literal description than with capturing energy and emotion through bold colour, expressive mark-making and considered abstraction. In this interview, Freddy Paske reflects on his journey into art, the influences that continue to shape his work, and the decisions behind the dynamic visual language that has earned him growing recognition. How do you decide what to suggest and what to leave to the viewer’s imagination? I’m always conscious that a painting shouldn’t explain everything.…

Art holidays and creative courses give you a chance to immerse yourself in your art while connecting with like-minded individuals and skilled tutors. Yet, one of the most valuable, and sometimes most challenging, aspects is receiving constructive criticism. Learning to accept feedback gracefully can transform not only your artwork but also your confidence. It’s important to remember that constructive criticism is not a personal attack. It’s an opportunity for growth. On an art holiday, tutors and peers often share observations designed to help you see your work from new perspectives. Art is deeply personal, so it’s natural to feel protective of your creations. However, shifting your mindset from ‘defending’ your art to ‘learning’ from others can make the experience much more rewarding. When someone offers feedback, resist the urge to…

When I first started painting with watercolour I encountered an ongoing problem: how to keep the paints moist. I used everything from a wet sponge in the palette to wrapping in clingfilm, but nothing really worked. If the sponge was left too long, mould formed on it, and the clingfilm just became covered in pigment. Once the pigments dried, they became as hard as rock and it was difficult to rejuvenate them, if at all! Trying to find a suitable paintbox containing a compartment for my squeezed tube paints, which also included some deep mixing wells, proved impossible. All fell short in one way or another, and none had deep wells. I ended up purchasing a handmade paintbox… but it was quite pricey! Here are some top tips! If your…

Tip 1: Travelling Ensure all your paints, mediums and any other ‘liquids’ are securely bagged and stored in your hold luggage if you are flying. As added security (and to save everything else in your luggage), tighten and tape the lids of any jars, bottles and tubes of paint. All items need to be in their original containers. Printing out the relevant MSDS (Material Security Data sheet) will also be super helpful if there are any issues at check in/out. It’s also an idea to pop a note in your kit bag… something like ‘water-based art supplies’. Tip 2: Paints When using acrylics en plein air in a warm climate you will have to adopt delaying tactics. Even a gentle, warm breeze can accelerate the drying times. You can slow…

Obviously, a lot of the below will only be relevant to certain art holiday destinations. If you are travelling to your holiday break in your own car, in your own country, this makes everything so much easier… if however, you are relying on public transport and particularly if you are travelling overseas, then you may need to spend longer preparing to ensure your works of art are not damaged on the way. Watercolour, pencil sketches and acrylics If you paint in watercolour or acrylics, transport is unlikely to be an issue. You can simply pack your finished paintings in the same way as your blank paper was transported for the outward journey. Since your art works will be dry and not ‘smudgeable’ this does make these two media the perfect…

One for the memories Marking 40 years of The Jolly Postman, The Postal Museum’s new exhibition opens 14 February 2026 (London), celebrating the artistic world behind Janet and Allan Ahlberg’s beloved book. Visitors can explore rarely seen original artwork, early sketches, prototypes and design concepts, offering an intimate look at the creative process that brought the story to life. Find out more at postalmuseum.org Leaving a legacy Tate has announced that Maria Balshaw, Director since 2017, will step down in Spring 2026 after nine years of leadership. She expanded Tate’s reach through landmark exhibitions, including Year 3, Women in Revolt, and shows by Cornelia Parker and Yoko Ono, diversified the collection, and grew the world’s largest arts membership. Applications are open! Sky Arts Portrait Artist of the Year is one…

You will learn Using fountain pen inks creatively Developing a striking chromatic processs Using bleach for highlights For the last 10 years, I have been deconstructing fountain inks to see if I can reimagine them as more than just a handwriting fluid for fountain pens. My aim has been to help them defy the onslaught of digital visual software and discover a new purpose within analogue traditions as a genuine art medium. When a single dye base fountain ink is applied to water on a high-quality watercolour paper, the coloured dyes that make up that ink may be released from solution, so although you are using one ink, it may appear that several colours are in play. The chromatic process is not only visually dramatic but very much serendipity-led, and…

Patrick Haughton Was born in Devonport in 1942 and educated in Barnstaple, Devon. Patrick was headteacher of Kennall Vale School, Cornwall before becoming a full-time professional artist. Patrick now works from his studio overlooking the Penryn River, Cornwall. He has exhibited in many solo and group exhibitions nationally and internationally including shows in Italy for the Newlyn Society of Artists (NSA). Patrick has been represented as a permanent artist by the Porthminster Gallery St Ives since 2004. Election to the Southwest Academy has enabled regular showing at the academy’s base in Devon as well as gallery exhibitions in the West Country and London. Associate membership of the Penwith Society offers three major exhibition opportunities in St. Ives each year. The National Acrylic Painters Association, of which he has been an…

Put simply, tone helps the viewer decode what is in a painting by delineating shapes and describing surfaces by the amount of light reflected from them. A variety of tone can be interesting and create drama. It can also lead a viewer to the most important features in a painting, its ‘focal point’, when these features are edited to stand out against each other in contrasting shades. Dark tone is harder to achieve than light tone in watercolours as the paint is naturally translucent. Also diluted watercolours tend to dry lighter and more muted as the wet gloss dries off them. Their surface can appear matt, sometimes even slightly powdery, so it becomes necessary to build up deep tone to guard against these lightening and dulling effects. Why learn to…

Most paintings are based on an idea which is reduced to a pattern of lines, filled in with colours. Each element is dependent on the others, but because we see the real world in colour, the pigments we use not only describe physical objects and their setting but also provide the atmosphere and feeling of the work. As a young man, Wassily Kandinsky the Russian modernist (1866-94) learned to play the cello and piano. Later he described the link between art and music when he wrote: “Colour is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul.” As Kandinsky implies, specific colours are associated with different…

I’m Bonny Snowdon, a coloured pencil artist and teacher from Yorkshire. But for most of my life, I wasn’t doing anything creative at all. I worked full-time in the corporate world, teaching leadership and coaching in boardrooms rather than drawing at a desk. It was a good career, but deep down, something was missing. I’d always wanted to be an artist, but when I was seventeen, I was told I wasn’t good enough to make it. I believed it. So, like so many people do, I tucked that dream away and got on with life. Then one Christmas, my daughter gave me a colouring book and a small tin of pencils. It wasn’t meant to be life-changing - just something to help me unwind. But that Christmas Day, I sat…

The personal touch At Alpha Painting Holidays we work very hard behind the scenes and during the holiday to make sure that your experience is thoroughly enjoyable and unforgettable! We research all the destinations, hotels and painting locations personally to ensure that whatever itinerary you choose, all the necessary facilities will be available to you. You will be looked after by us, as we are on hand at all times dealing with the day-to-day organising. We now have a team of seven ‘Alpha Reps’, all dedicated to ensuring your experience is the very best. With no distractions from the day-to-day practicalities, your tutor can concentrate their focus and energy on tutoring you, ensuring you get the very most out of your holiday. All our tutors are amongst the top tutors…

Painting workshops and holidays are a lot of fun; however, the more prepared you are the more you will enjoy your experience. If it’s an outdoor session, make sure you’re well equipped for the outdoors and I’m not just talking about art materials. Hopefully, your instructor will have given you a list of what materials to bring; if not, it would definitely be worth asking. But you also need to consider the weather; it’s your responsibility, not the instructor’s. Turn to page 24, where we look at what general art materials you might need. You will also find tips for travelling with watercolour on page 41, acrylics on page 46, pastels on page 44 and oils on page 45. Be ready for the weather Below are some essential items that…

Every Dermot Cavanagh holiday is conceived from this acclaimed BBC TV artist, tutor and broadcaster’s own personal experience, his painting holidays elevate the getaway by combining masterful instruction and mindfulness with immersion in some of Europe’s most enchanting destinations. “Travelling as an artist allows you to experience a place more deeply, you slow down, become more observant, you notice colour, atmosphere, and light. I’ll help you capture memories that stay with you long after your journey ends” says Dermot. “Painting on location transforms travel into an unforgettable experience, every brushstroke forms part of the journal of your journey.” What sets these painting holidays apart is Dermot’s years of experience and local knowledge of the places he visits, he has thoughtfully designed and crafted painting excursions that are sure to inspire…

Taking time away from daily life to immerse yourself in creativity can be one of the most enriching things you do. Whether it’s a weekend workshop or a two-week art holiday in a new country, these experiences offer more than just skill-building. The secret ingredient to getting the most out of these experiences is simple: open-mindedness. Being open-minded on an art holiday means letting go of expectations; of yourself, your abilities, and even your usual artistic style. It’s about giving yourself permission to explore, to experiment, and, most importantly, to fail. Many artists, both beginners and seasoned professionals, fall into the trap of sticking to what feels comfortable. But true growth happens when you step beyond that comfort zone. Trying a new medium, for instance, can completely change the way…

Tip 1: Travelling It’s advised to travel with broken down pastels, as opposed to whole sticks. This helps to reduce the overall weight and also ensures they look a lot less like threatening items, all lined up in a row, when they are scanned at the airport. Having said that you can often get away with carrying your pastels in your hand luggage rather than them having to go in the hold – depends how protective of them you are. If you are putting your pastels in the hold – make sure you have secured the container, then secure this in a sealable bag, maybe two bags – pastel dust gets everywhere! Tip 2: Pastels The challenge when travelling with pastels is the choice of colours. It’s worth giving thought…

How often do you find yourself attracted to the sketchbooks in an exhibition? Their immediacy speak to us; those initial thoughts from the horse’s mouth. They are the direct point of contact with the subject, and the human connection in a world of snapchat and Instagrams. If you have ever kept any kind of sketchbook or diary then you will know that a drawing, however basic, will give you instant recall of who you were with and what you were doing. For some reason photography just does not do this for us in the same way. One shutter click and the image is forever pasted into some dusty album in your brain along with what could have been a far more illuminating experience. If you accompany a mental exercise with…