From Being Kind to Your Brushes to Picking the Perfect Colour Palet Te, Artist James Gillick Answers Your Queries to Help You Get Great Results
How important is a painting’s background to creating a successful still-life scene?
Backgrounds are important, but the decision artists need to make about them is simple. It is: do you want a context for your subject or don’t you? A background that contextualises your subject places it in a set location and time; a background that does not contextualise elevates the subject of a painting into a type of sacred object.
Are there brushes you would recommend?
Brushes should match your brushstroke and your medium. A longer-hair for a long stroke and a short-hair brush for a strong, stubby stroke. For sable brushes, I would opt for Rosemary & Co: you get quick, economical delivery of an excellent range of sables from a great catalogue. For hog hair, I use Pro Arte Series A long filberts.
What colour palette do you use?
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Denne historien er fra Summer 2017-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
