As Britain’s art schools gear up for the new term in September, our eight-page special is packed with practical advice to help you get the most out of your next class
OVERCOMING FEARS
Despite being prospective exhibitors, artists can be surprisingly shy when it comes to performing their practice – and it’s understandable why. Having a group of strangers admire your finished masterpiece in Mall Galleries is an entirely different experience to a room of onlookers observing as you commit that first mark to paper or canvas, which perhaps explains why many are so hesitant to dive in with an art class. The intimate nature of hands-on workshops can feel like baring your soul to a group of strangers, but the principles for attending an art class with confidence are much like walking into a gym for the first time. Here are five tips to bear in mind for overcoming those fears.
1. NOBODY IS LOOKING AT YOU
It’s easy to get self-conscious when performing under pressure and feel as though all eyes are on you. Perhaps you’re in a life drawing class and finding yourself still finding shapes in the figure meanwhile your next-easel neighbour has already progressed to the finer details of the face? Your mind may well convince you that your fellow artists are whispering fervently about your lack of progress, but the reality is nobody cares. They’re too busy focusing on their own work.
2. IT’S NOT A COMPETITION
Attendance to an art class doesn’t require you to be an established professional, and an openness to learn can, in fact, put you ahead in the long run. Less experienced artists are a dab hand at learning new tricks too – a lack of knowledge means you aren’t tied up in old habits just yet.
3. YOU ARE WORKING TO YOUR OWN GOAL
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Still life IN 3 HOURS
Former BP Portrait Award runner-up FELICIA FORTE guides you through a simple, structured approach to painting alla prima that tackles dark, average and light colours in turn
Movement in composition
Through an analysis of three masterworks, landscape painter and noted author MITCHELL ALBALA shows how you can animate landscape composition with movement
Shane Berkery
The Irish-Japanese artist talks to REBECCA BRADBURY about the innovative concepts and original colour combinations he brings to his figurative oil paintings from his Dublin garden studio
The Working Artist
Something old, something new... Our columnist LAURA BOSWELL has expert advice for balancing fresh ideas with completing half-finished work
Washes AND GLAZES
Art Academyâs ROB PEPPER introduces an in-depth guide to incorporating various techniques into your next masterpiece. Artwork by STAN MILLER, CHRIS ROBINSON and MICHELE ILLING
Hands
LAURA SMITH continues her new four-part series, which encourages you to draw elements of old master paintings, and this monthâs focus is on capturing hands
Vincent van Gogh
To celebrate The Courtauldâs forthcoming landmark display of the troubled Dutch masterâs self-portraits, STEVE PILL looks at the stories behind 10 of the most dramatic works on display
BRING THE drama
Join international watercolour maestro ALVARO CASTAGNET in Londonâs West End to paint a dramatic street scene
Serena Rowe
The Scottish painter tells STEVE PILL why time is precious, why emotional responses to colour are useful, and how she finds focus every day with the help of her studio wall
Bill Jacklin
Chatting over Zoom as he recovers from appendicitis, the Royal Academician tells STEVE PILL about classic scrapes in New York and his recent experiments with illustration