Petula’s materials
•Paints
Lemon Yellow (Nickel Titanate), Alizarin Crimson, French Ultramarine, Cobalt Turquoise, Naples Yellow, Burnt Sienna and Neutral Tint, all Winsor & Newton Professional Watercolour; Undersea Green, Daniel Smith Extra Fine Watercolor; Permanent White, Winsor & Newton Designer’s Gouache
•Brushes Winsor & Newton Pure Squirrel pointed wash brush, size 1; Raphaël Series 8404 Kolinsky sable brushes, sizes 0, 2 and 6; Raphaël Series 8711 synthetic chisel brush, size 12
•Paper Saunders Waterford 300gsm HP watercolour paper, 41x30cm •
Masking fluid
•Tracing paper
•Graphite transfer paper
•Putty rubber
•4H pencil
•White pencil crayon
Flowers have always been a great source of inspiration for me, offering such wonderful shapes and colours to play with. The large waxy blooms of magnolias are quite spectacular and make a beautiful subject for painting.
By depicting them against a dark-coloured background as I have done in the demonstration below, I was better able to capture the shapes of the flowers and their almost luminous colour.
I decided to work from photos as the flowering season was practically over. Experience tells me that even if you are working from live material, it is always a good idea to take a few photos for reference. Flowers can wilt or stems move, so a reference image is useful.
Bu hikaye Artists & Illustrators dergisinin October 2020 sayısından alınmıştır.
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Bu hikaye Artists & Illustrators dergisinin October 2020 sayısından alınmıştır.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
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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
