Tabla de contenidos para Paint & Draw Collection - Vol.3 en Paint & Draw Collection

Creating a piece of art is a rewarding, challenging and very personal endeavour, –the Paint & Draw Collection Volume 3 is here to take you through that journey from start to finish. Art is subjective, and many artists tend to stick to one medium. Whether you are interested in oil painting, watercolours, pencil sketching or pastel work, there’s something for you. From quick tips to in-depth tutorials that will guide you from initial sketch to finished piece, learn how to develop your skills and produce your best work yet. You’ll be able to experiment with an unfamiliar medium thanks to the step-by-step workshops that cover everything from essential pencil shading techniques to getting the most out of plein air painting. Over the course of the book you’ll gain inspiration from…

Beside my studio desk I have a collection of ammonite fossils, whose various textures, in addition to their spiralling form, are always an appealing distraction. I decided to paint them in the style of traditional botanical art, which takes a scientific, very detailed and faithful approach, while also maintaining a simple compositional aesthetic. To select which fossils I wanted to paint, I went through my collection, touching each fossil and making my selection based on contrast of texture. I also looked at colour and chose the fossils with the most visual interest. I settled on three subjects arranged in a roughly triangular formation. The first is a Perisphinctes ammonite and has an ivory coloured shell with sharply delineated ridges, and a fine webwork of cracks along parts of the surface.…

This landscape, between Minnis Bay and Reculver on the Kent coast, is one that I’ve now made many studies of. I walk and take lots of photographs, as well as sketch some really basic line drawings. I have so many photos of the surfaces of the sand and water. I love the patterns of sand and rock left by the sea, which are best viewed from the cliff top or promenade. I often wait for low tide to find the best patterns and textures. Then I try to add these shapes into the paintings, so they’re not a direct representation of the place, but give a feel of the coastline that people will recognise. I try to sketch fast and with just a few marks to catch the main lines…

Painter Rob Lunn, reveals how Vincent van Gogh’s Irises inspires him to carry on when things get tough and he needs motivation When most people think of flower paintings by 19-century post-impressionist painter, Vincent van Gogh, they think of his radiant sunflowers. But for me, Irises is his real smash hit. It was painted while van Gogh was voluntarily admitted to an asylum, at a time when his life was unravelling around him. Yet adversely, I believe it shows him in complete command of his faculties and control of his brush. Is this a simple painting of irises in an asylum garden, or is it a defiant cry, lashing out in paint at his recent tormentors? Is this in fact a portrait of van Gogh himself? Irises was painted in…

Painter Sylvia Paul talks of how Claude Monet’s use of light and colour in Water Lilies has inspired her for over 30 years As a young student, I gradually became aware of the Impressionist painters and in particular Claude Monet’s later works. I was drawn to the colour and freedom of these paintings, and when I visited Paris for the first time in 1982, I particularly wanted to see some of this work. The Orangerie Museum was unfortunately closed for refurbishment at this time, so I was unable to see the huge panels of water lily paintings and sought out another museum where I could see some similar work. The Marmottan Monet Museum, which is not so well-known, houses the largest collection of Monet’s paintings in the world, which were…

Master metallic reflections About TONY HOGAN Cornwall, UK After art college, Tony embarked on a career in commercial art, and returned to painting in the‘70s. He is a demonstrator and also runs art holidays in the UK, Italy and Spain. www.hoganart.co.uk WHEN LIGHT STRIKES a metallic object, it can reflect back onto any nearby object in an unusual way. Normally, light hitting a primary and secondary object gives varying degrees of light, shadow and cast shadows, but reflective light also happens under these circumstances, and will need to be shown in your artwork. To show how this works, I have produced the images above, working with a dark charcoal pencil and an eraser. Follow these steps… 1 I select two interesting objects – a highly polished metallic teapot and a…

About SYLVIA Dovercourt, Essex Sylvia exhibits in galleries across the UK and her work has been in open exhibitions at the Mall Galleries and the Royal Academy Summer Exhibition. She also held two solo exhibitions in Japan. www.sylviapaul.com Materials □ Winsor & Newton Professional Acrylic: Titanium White, Payne’s Grey, Lemon Yellow, Cadmium Orange, Cadmium Yellow Medium, Cobalt Green Deep, Cobalt Blue, Ultramarine Violet, Ultramarine Blue, Cerulean Blue, Cadmium Red, Quinacridone Magenta □ Impasto Gell Matt Medium □ MDF Board 56x76cm; primed with gesso □ 2in and 1.5in decorator’s brushes □ Palette knives The acrylic paint dries quickly allowing lots of layers. The impasto medium extends the paint while keeping the thick consistency. The large brushes help apply the paint without detail. Still life isn’t everybody’s cup of tea, but for…

About REBECCA Exeter, England Rebecca specialises in pastels, producing lively and energetic work. She teaches around the UK and in Italy, and co-founded The New Pastel School. http://bit.ly/pad_rdm I trained as a theatre designer, perhaps because I’ve always been drawn to the beauty and intensity of stage lighting. Rembrandt and Caravaggio are among my favourite artists. I just love a bit of drama and intensity. Pastels are a wonderful medium to capture this, particularly as you can work lights over darks, so that your subject emerges from deep shadows. Good quality pastels have rich, moody colours as well as luscious, soft lights, so high contrasts can be achieved. In this workshop I’m using a still life with shiny objects to show how to lay down layers of dark under-colours, then gradually…

David Cobley discusses his favourite work of art by another artist, the masterpiece by Pieter Bruegel the Elder (1525-1569) The title is a bit misleading. Instead of a real fight between Carnival, the potbellied character in red, blue and green sitting astride a barrel, and Lent, the gaunt, dowdy figure dressed in a long grey robe on the cart opposite, it’s actually just a mock battle with a roasting spit and baker’s shovel. Carnival has a pie on his head and Lent a beehive on hers, and neither looks vaguely interested in, or capable of, fighting. Carnival is too drunk and Lent is too emaciated. Despite all the action, the fight is more of a philosophical one. Ironically, as angels aren’t real, Bruegel’s The Fall Of The Rebel Angels is much…

About ABIGAIL Bristol, England Growing up in Italy, Canada and Dorset, Abigail has always been inspired by the beauty of the landscape. Watercolour is her favourite medium and she is focusing more and more on painting water scenes. www.abigailmcdougall.com I am going to talk about light, tone, colour and creating interesting brushstrokes. I always love to paint outdoors whenever I can, especially at dawn or dusk. The light changes fast, so you have to learn to work quickly and spontaneously. I am always out on my bike looking for subject matter to paint, I treat it as an adventure. I take sketches, colour studies and photos to make sure I have enough reference in case I want to make a larger painting in the studio. Choosing a subject matter at these…

Materials □ Thin hardboard or MDF board cut to size (3x3.75in) □ Daler Rowney Simply Acrylic Gesso □ Fine sandpaper □ Pro Arte Connoisseur brushes, sizes 000, 0,2,4 □ Pro Arte Connoisseur flat brush, size 3/8in □ Two small old oil bristle brushes □ Daler Rowney System 3 Acrylics: Titanium White, Mars black, Ultramarine, Sap Green, Lemon Yellow, Yellow Ochre, Burnt Sienna, Raw Umber, Cadmium Red, Crimson □ HB Pencil □ Tracing Paper □ Magnifying glass (optional) □ Winsor & Newton Professional Satin or Gloss Varnish About ALISON Tenterden, Kent Alison’s love of working in great detail lead her towards painting miniatures. She is a member of the RMS, has won many prestigious awards and teaches miniature art classes at her Maidstone studio. The origin of miniature painting stretches far…

About VALÉRIE Bath, England Originally from Belgium, Valérie has lived in the UK for the past 11 years. She works mainly in oils and enjoys working plein air. See more of her paintings at www.valeriepirlot.com Breathtaking views, stunning skylines and beautiful cityscapes make great photographs, but can be rather daunting from the artist’s point of view. The amount of details can be overwhelming and it is difficult to know where to start… or where to finish! My advice is to view the scene in an abstract way, as a series of shapes and colours, or patches of light and shadows. Squinting is one of the best things you can do to break down a busy scene. In this step by step, I’ll show you how to simplify a complex cityscape…

If you’ve ever been on a boat or ship at sea, you might recall the smell of the sea air, the salty spray on your lips and the physical effort required to compensate for the rolling and pitching motion. For this workshop, I decided to recreate these sensations in the studio using a combination of sketches and photo references, but mostly drawing upon my own vivid memories of what it feels like to be at sea. For me, capturing feeling and energy is more important than ‘photographic’ visual accuracy. I’m interested in recreating the emotions that the original experience unleashed. I never sit down to paint, this enables me to use my whole upper body to inject more energy. I also step back frequently to get a more objective view.…

Rebecca de Mendonça reveals why the drama of The Supper at Emmaus by Michelangelo Merisi da Caravaggio has always been an inspiration Out of all of the paintings I have seen over the years, the one that I still marvel at is The Supper at Emmaus, which was painted by Michelangelo Merisi da Caravaggio in 1601. I first saw this painting on a school trip to the National Gallery when I was 18, and I was blown away by it. It gave me the feeling that I was there, in that room in the picture. The figures seem to be moving, and we, the viewers, become caught up in the excitement of this moment.. This painting was commissioned by the Roman nobleman, Ciriaco Mattei, and Caravaggio painted it in oil…