Aine’s materials
Brushes
Rosemary & Co Series 222 flat one-stroke brushes, sizes 1”, 1.5” and 2”; Royal & Langnickel Crafter’s Choice flat brushes, sizes 1/4”, 1/2” and 3/4
Paints
Alizarin Crimson, Cadmium Red, Cadmium Orange, Yellow Ochre, Viridian, Sap Green, Cerulean Blue, French Ultramarine, Burnt Sienna and Vandyke Brown, all Winsor & Newton Professional Water Colours
Paper
Bockingford 535gsm NOT watercolour paper, 38x56cm
THE BENEFITS
Seeing a face in an unusual position causes us to readjust our thinking and try to make sense of it in order for us to feel comfortable again. The tendency is there to straighten things up, to extract symmetry where it does not exist, and to push, coax and encourage things back to normal. By dropping the urge to do this, you will maintain aliveness and freshness when painting from observation.
THE PROCESS
This story is from the January 2021 edition of Artists & Illustrators.
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This story is from the January 2021 edition of Artists & Illustrators.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber? Sign In
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
