Siân's materials
•Paints
Lemon Yellow, Gamboge Hue, Permanent Rose and Sap Green, all Daler-Rowney Artists’ Watercolours; Cobalt Blue and French Ultramarine, both Daniel Smith Extra Fine Watercolours
•Brushes Rosemary and Co. Series 33 round, size 10; Da Vinci Series 35 round, size 4
•Paper 300gsm watercolour paper
•Masking fluid
•Ruling pen
•Colour shaper, size 2
1 Mask your drawing
Masking fluid is often used to simply prevent the paint from reaching a section of the paper, whereas I believe it should be firmly seen as a medium that can be expressive in its own right.
I began by drawing up the main flowers, but only marked roughly where the grasses would go. I wanted to retain the white paper for the daisies and clover later, so I painted them with masking fluid.
I placed a small drop of masking fluid on each petal with the colour shaper and then used the tip to pull it across the area to be preserved. I took care to manipulate the fluid from the top of the meniscus and not allow the colour shaper to touch the paper.
2 Lay down colour
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Denne historien er fra September 2021-utgaven av Artists & Illustrators.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
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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 Academy’s 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 month’s focus is on capturing hands
Vincent van Gogh
To celebrate The Courtauld’s forthcoming landmark display of the troubled Dutch master’s 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 London’s 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