The_Artist_Summer_2018 (1)

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THE PRACTICAL MAGAZINE FOR ARTISTS BY ARTISTS – SINCE 1931
Chris Rose demonstrates
how to paint sparkling
sunlight
artist
www.painters-online.co.uk SUMMER ISSUE 2018 £4.40
Use an extended
palette to paint a
portrait in oils
Tips & advice from 
Ian Sidaway on painting
summer trees
80 PAGES OF IDEAS & INSPIRATION FROM TOP ARTISTS 
ACRYLICS COLOUR MIXING WATERCOLOUR
CAPTURE MOVING
FIGURES IN
WATERCOLOUR
l Discover how painting contre jour
can bring your subject matter to life
l Go back to basics & make your own
colour wheel
l Be inspired to paint in the style of
Stanhope Forbes
l Paint a coastal scene in 3 easy parts
with Paul Talbot-Greaves
AND MUCH MORE!
Improve your skills with guidance
from Jake Winkle
PLUS
TASI_£4.40 OS FINAL_TA12 Front cover 22/05/2018 09:39 Page 1
T
he judges met recently in London to select the final 70 works for exhibition in this
year’s The Artist Open Competition, organised in partnership with Patchings Art Centre.
It’s one of the highlights of our year and we never fail to be impressed by the amazing
talent amongst our artist-entrants, all competing for acceptance into an open
exhibition and validation of the quality and appreciation for their work. The judges will meet
again to select the many well-deserving award winners the day before the final exhibition
opens to the public on the first day of the Patchings Art, Craft & Design Festival on July 12.
The festival (from July 12 to 15) draws many thousands of enthusiastic and knowledgeable
art-loving visitors, many of whom have told us that The Artist exhibition is an important
reason for their visit, making the competition even more satisfying for everyone involved. 
See pages 50 to 51 for more details about the festival. The Artist exhibition continues to be
open to the public until August 12. You will also be able to see some of the award-winning
works and learn more about the successful artists in a later issue of the magazine.
Another highlight in our art calendar is the Royal Academy Summer Exhibition, which this
year will be extra special as 2018 represents its 250th year; plus it will be spread across the
new, extended and refurbished RA. To mark this momentous milestone the exhibition is
coordinated this year by Grayson Perry RA. Held every year since 1769 it is the world’s longest-
running annual exhibition of contemporary art by a mix of internationally renowned
professional artists and amateur painters selected from the open submission. To celebrate its
esteemed history the RA is holding The Great Spectacle: 250 Years of the Summer Exhibition
to coincide with the Summer Exhibition (from June 12 to August 19), featuring over 80 works
from the first Summer Exhibition to the present day by artists such as Sir Joshua Reynolds,
Angelica Kauffman, Elizabeth Butler, Thomas Gainsborough, John Constable, JMW Turner,
John Singer Sargent, Peter Blake, Tracey Emin, David Hockney, amongst many others.
I enjoy combining my visit to the RA Summer Exhibition with a viewing of the New English
Art Club’s annual exhibition in the nearby Mall Galleries, now that their dates have moved to
become another established fixture of the London art summer season. It’s a great opportunity
to see and compare the works on display in the RA Summer Exhibition with those in the
NEAC’s annual exhibition of drawing and painting made from direct observation (from June
15 to 23; mention The Artist at the front desk and enjoy free entry for two people, normally £4
each). Historically the NEAC was of course founded by a group of artists dissatisfied with the
entrenched attitudes of the RA at the time, mounting their first exhibition in 1886 including
work by Clausen, Sickert and Stanhope Forbes (see pages 47 to 49 for Glyn Macey’s
demonstration following in this Cornish master’s footsteps). Today the NEAC increasingly
attracts younger artists and the style of figurative work on display is rich and diverse. Like a
trip to the Patchings Art, Craft & Design Festival and The Artist exhibition, it makes another
great summer’s day out full of artistic visual treats.
from the editor
WELCOME
Want to comment on something you’ve read, or seen?
Email me at theartistletters@tapc.co.uk, or visit our website at www.painters-online.co.uk/forum
Best wishes
Summer issue 2018 3artist
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www.painters-online.co.uk
incorporating ART & ARTISTS
First established 1931
ISSN 0004-3877
Vol133 No.8
ISSUE 1057
artist
artist
THIS MONTH’S COVER 
Sally Bulgin Publishing Editor
Jake Winkle The Cricket Match,
watercolour on Arches 140lb (300gsm)
Rough, 93⁄4�181⁄2in (25�47cm).
See pages 20 to 23
TASI_p3_5_Contents_TA04p3_4_Contents 22/05/2018 09:46 Page 5
www.painters-online.co.uk
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Jason Bowyer NEAC, RP, PS
studied at Camberwell School
of Art and the Royal Academy
Schools. He is the founder of
the NEAC Drawing School and
exhibits his work widely.
David Curtis ROI, RSMA
has won many awards for his
en plein air and figurative
paintings in both oils and
watercolours. He has had
several books published on
his work as well as DVD
films, and exhibits his work
extensively.
Ken Howard OBE, RA
studied at Hornsey School of
Art and the Royal College of
Art. He is a member of the
NEAC, ROI, RWS, RWA and
RBA. He exhibits extensively
and has won numerous
awards.
EDITORIAL
CONSULTANTS
4 Summer issue 2018artist
FEATURES
12 John Blockley 1921–2002
MASTERCLASS Ann Blockley talks
about the ground-breaking practices of
her late father, and their relevance to
today’s artists
16 Abstraction in painting
John Sprakes reveals the process by
which he translates the natural world
into a mixed-media abstract painting,
and encourages you to consider making
your own abstractwork
77 Charles Williams’ musings
Ben Rothery
PRACTICALS
20 Enliven your paintings with
figures
Add scale, depth and movement to your
watercolour paintings by adding moving
figures, with advice from Jake Winkle
24 The contre-jour effect
Jo Quigley shows you how to achieve
this effect in your painting 
28 Coastal subjects
Paul Talbot-Greaves demonstrates how to paint a
coastal scene in acrylics, in just three main steps 
30 Plan your painting
A new series on watercolour techniques by Robert
Brindley begins with advice on using various types of
reference and choosing materials
34 The extended oil palette portrait
Ann Witheridge suggests moving from a limited to
an extended palette, and Archie Wardlaw explains
how to do this effectively 
38 Sparkles and silver light
Chris Rose demonstrates how he achieved the
sparkle of silver light in an acrylic painting of gulls on
a tidal stream 
43 The trees of spring and summer
Ian Sidaway shares his preferred method for painting
blossom and his recipe for mixing greens in
watercolour
47 Stanhope Forbes
Glyn Macey begins a new six-part series in which
every month he encourages you to paint in the style
of a great artist, and invites you to share your work
with us
53 Painting After Sunrise
John Scott Martin demonstrates a watercolour and
gouache painting of boats on an estuary, with
information about selecting and combining reference
material for an exciting composition
12 24
CONTENTS
FC
l Create your own portfolio of artworks in our FREE online gallery
l Give and receive comments, feedback and constructive criticism
l Chat with other artists on a wide range of art-related topics
l Connect with art tutors and art clubs
l Find details of art courses, art shops, galleries, framers and more
l Be inspired by practical painting and drawing demonstrations
l Enter our competitions with great prizes up for grabs
Register today at 
www.painters-online.co.uk
JOIN OUR FRIENDLY ART COMMUNITY ON
PAINTERSONLINE
77
FC
FC
FC
TASI_p3_5_Contents_TA04p3_4_Contents 22/05/2018 09:46 Page 6
l Paint skies and sunsets inspired by JMW Turner
under the guidance of Glyn Macey 
l How to tackle a three-quarter or full-length
portrait by Ann Witheridge
l Try painting acrylics the watercolour way with
Barry Herniman
l Julie Collins suggests colours and colour
combinations for capturing trees
Summer issue 2018 5artist
And much more! Don’t miss out: 
our August issue is on sale from July 13 
NEXT MONTH
IN 
PLUS
l How to incorporate the use of spray paints in your
work for creative results with advice from Robert
Dutton 
l Paul Riley suggests different ways of painting with
water-soluble oils on paper 
PRACTICALS
u 
IN CONVERSATION
Vivienne Cawson
discusses the materials
and techniques she uses
to create her large-scale
watercolour flower
paintings
t Geoff Hunt explains
his tactics for painting
watercolours against
the odds, en plein air, on
hot sunny days
7 The Art World 10 Your views
69 Art books 73 Opportunities
74 Exhibitions
PLUS
u How to develop a
narrative in your
paintings using figures,
by Jo Quigley 
56
56 Tricks and fixes
Amanda Hyatt reveals her tricks and fixes for
producing a work of art in watercolour, and sets some
exercises to help you on your way
61 Pigments and the colour wheel
In a brand new series on the language of colour, 
Julie Collins takes you back to basics with a look at
colour theory and pigments
64 Re-assess your style
Martin Kinnear writes from personal experience
when he says you should endeavour to keep your
work fresh and reveals the steps you can take to
achieve this
42 Review this month’s contributor video clips on
PaintersOnline
46 Win £50 worth of vouchers to spend on art
materials with GreatArt by entering this month’s
sketching challenge from Adebanji Alade
50 Save money by booking your early bird tickets
for this year’s Patchings Art, Craft & Design
Festival from July 12 to 15
67 Subscribe to The Artist, save money, and enjoy
free delivery direct to your door
68 Save money on discounted practical art
books from our online bookshop
71 Win a tutorial DVD or Video on Demand with
Joseph Zbukvic in this month’s PaintersOnline
competition
76 Enter our Art Club of the Year 2018
competition and win prizes from Jackson’s Art
Supplies
COMPETITIONS, NEWS 
& OFFERS
TASI_p3_5_Contents_TA04p3_4_Contents 22/05/2018 09:46 Page 7
"The new Stylus by Nitram is so practical and useful, that I wonder why it wasn't invented
before. Its light weight makes me forget I am holding it; it becomes the medium itself.
The color coded caps at the end are a practical accent to mark the grade of the 
charcoal it holds. The stainless steel and polycarbonate materials makes it very elegant 
and echoes its durability. But for me, the most valuable aspect of the stylus is that it 
keeps my hands and drawing area clean from unwanted smudges.”
PRACTICAL. USEFUL. TIMELY.
Cesar Santos’ art education is worldly, and his work has been seen around the globe. From the Annigoni 
Museum in Italy, the Beijing Museum in China, to Chelsea, NY, Santos’ work reflects both classical and modern 
interpretations juxtaposed within one painting. His influences range from the Renaissance to the Masters of the 
nineteenth century to Contemporary Art. With superb technique, he infuses a harmony between the natural and 
the conceptual to create works that are provocative and dramatic. www.santocesar.com
Page 6 (Quincy) by Cesar Santos – Nitram Charcoal and Oil on linen, 7' x 6'
NITRAMTMMC
FINE ART CHARCOALwww.nitramstylus.com
The Nitram Stylus is designed to hold Nitram H, HB, B or 6mm Round Charcoal.
The package includes a Nitram Charcoal Assortment and a set of 
4 color coded end caps to identify which charcoal is in the holder.
NEW NITRAM STYLUS
p06_tasum18.indd 1 01/06/2018 14:44:31
www.painters-online.co.uk
NEWS, VIEWS, INFORMATION AND SPECIAL EVENTS IN THE ART WORLD
compiled by Jane Stroud
THE ARTWORLD
p John Everett Millais Isabella, 1849, oil on
canvas, 401⁄2�561⁄4in (103�142.8cm)
The world’s longest running annual
exhibition of contemporary art, The
Royal Academy’s Summer Exhibition
has been held in London every year,
without exception, since 1769. The story
of this historic show is brought to life in
a special exhibition to mark its 250th
anniversary. The Great Spectacle: 250
Years of the Summer Exhibition will
include over 80 paintings, sculptures,
drawings and prints spanning the past
250 years by such great names as
Gainsborough, Constable, Turner, Singer
Sargent, Blake and Hockney. Arranged
chronologically, the exhibition focuses
on significant moments within the art
world as well as on pictures that
experienced particular success or failure
on the crowded walls of the Royal
Academy. John Singer Sargent’s portrait
of the author Henry James, for example,
was famously slashed with a meat
cleaver by the suffragette, Mary Wood in
the Summer Exhibition of 1914. Mary’s
protest against the lack of political
representation for women led her to
attack the Royal Academy and its
association with an artistic male elite.
There is also an opportunity to see Sir
Winston Churchill’s Winter Sunshine,
Chartwell, submitted in 1947 under the
pseudonym David Winter.
The Great Spectacle: 250 Years of the
Summer Exhibition can be seen in the
John Madejski Fine Rooms, Weston
Rooms, Galleries I and II at the Royal
Academy of Arts, Piccadilly, London W1.
Tickets, £16, available from the Royal
Academy on 020 7300 8027 or online at
www.royalacademy.org.uk
Summer issue 2018 7
Summer 18 TAW tweaked_Layout 1 23/05/2018 13:39 Page 9
8 Summer issue 2018 www.painters-online.co.uk
q Alan Hunt This Way Son, acrylic, 26�393⁄4in
(66�101cm), winner of The Artist Magazine
Award at the David Shepherd Wildlife
Foundation’s Wildlife Artist of the Year 2018 
WILDLIFE
artist of the year
t Helen Hanson Gigha Shore, ink and coloured pencil, 43⁄4�43⁄4in
(12�12cm), at this year’s summer school at Missenden Abbey
Summer School
p Radka KirbyPeaceful Place, oil on canvas,
55�63in (140�160cm), 2018 Wildlife Artist of the
Year
Founded by the late wildlife artist, David Shepherd, theWildlife Artist of the Year
competition showcases work by artists from around the world, with proceeds from
the sales helping to support the David Shepherd Wildlife Foundation’s charity work
to protect endangered species and to engage with local communities across Africa
and Asia. This year’s winning work, featuring a flock of birds on a sub-Saharan lake
(right) went to Radka Kirby, who wins the top prize of £10,000. The Artist Magazine
Award went to Alan Hunt for his painting, This Way Son (below). Dr Sally Bulgin,
editor of The Artist was particularly taken by the ‘extraordinary detail in this work
and in all of Alan’s entries in the competition’. Alan will be featured in a forthcoming
issue of The Artist. To find out more about the work of the David Shepherd Wildlife
Foundation visit www.davidshepherd.org
Brush up on your painting and drawing techniques this summer
in the creative environment of a summer school. The Missenden
School of Creative Arts at Missenden Abbey in Hertfordshire will
be running a two-week summer school from August 6 to 17, with
a wide range of courses on offer. Choose from Loose Watercolours
with Jackie Devereux, Botanical Painting Using Coloured Pencils
with Roger Reynolds, or High Summer Landscapes in Ink and
Coloured Pencils with Helen Hanson. Or try something completely
different with William Cai’s Chinese Brush Painting course. For full
details of all the classes on offer go to the Missenden School of
Creative Arts; www.missendenschoolofcreativearts.co.uk
Summer 18 TAW tweaked_Layout 1 23/05/2018 13:39 Page 10
www.painters-online.co.uk 9Summer issue 2018
www.painters-online.co.ukTo upload images of your own work and receive valuable feedback, go to our website and click on the link to the gallery. This is a free service.
This month’s website gallery image is by Carson Cooper who writes: 
‘I live in Astoria, NY; a small neighbourhood in Queens
and a borough outside of Manhattan. I spend most of
my time before work walking around my
neighbourhood looking for interesting colours and
buildings that look unusual. I especially love how light
in the morning creates shadows that seem to bend and
break on all types of surfaces. I found this building in
just the same way and thought I had to paint it. I
initially drove past in the middle of winter on a rainy
day. Later, I drove back with my wife in the beginning of
spring, and stood on the roof of our car to take a bunch
of reference photos to work with. I thought the pink
building in the foreground would be the primary focus
of the piece, but standing in front of the building I
became fixated with the overgrown bushes on the roof
and the apartment complex in the background. 
‘I work from seven colours of acrylic paint: burnt
umber, Mars black, titanium white, buff white,
ultramarine blue, cadmium yellow and quinacridone
crimson. I sketched this piece with pencil prior to
painting, then blocked in colour, object by object. I try
to work from the background to the foreground, but
that isn’t always the case. I always keep a photo
reference handy while painting and typically pick and
choose items in the reference photo that I’d like to keep
in the painting. There are some large buildings to the
left-hand side of the photo reference that I chose not to
paint. I also like to tweak the colours slightly to match
how I feel the painting should look.’ 
p Carson Cooper Spring, 45th Road, acrylic on canvas, 16�20in
(40.5�51cm). On show in our online gallery at www.painters-online.co.uk
EDITOR’S GALLERY CHOICE
p Matthew Alexander Barges on the Seine, Paris, oil on board, 15�20in (38�51cm). Matthew
will be showing new work inspired by his travels to Scotland, France and Italy as well as the
landscapes of the south east of England. The exhibition can be seen at his gallery, The Barn
Studio, Canterbury Road, Monkton, Kent CT12 4LH, until June 30; www.alexandersgallery.co.uk
l Meet over 250 artists and craft
makers selling and demonstrating
their work at this year’s Patchings
Festival. Supported by The Artist and
Leisure Painter magazines, the four-
day event, from July 12 to 15, in 60
acres of Nottinghamshire
countryside, is packed full with
things to do – with hands-on
workshops, demonstrations,
exhibitions and art materials offers.
Tickets are available at special pre-
show prices. Telephone 0115 965
3479; www.patchingsfestival.co.uk
l Watch artists at work in the
grounds of Sculpture by the Lakes
in Dorset as the 26-acre sculpture
park forms the backdrop for special
plein-air painting events on
Sunday July 22 and Saturday
September 29, 10am to 4pm;
www.sculpturebythelakes.co.uk 
DAYS OUT
Summer 18 TAW tweaked_Layout 1 23/05/2018 13:39 Page 11
10
think it might be better expressed as
semi-opaque). Zinc white may be suitable
for glazes but it is known to cause brittle
paint films within a short time, as
explained by Mecklenburg and Tumosa
from their 28-year study – see
www.naturalpigments.com/blog/?p=3
Paul Hollingsworth, by email
Paul Brown replies: ‘I have had a lot of
feedback from the article, some of which
has been very thought provoking. The
original article was written some time ago,
so the plan is to write a follow-up article at
some point in the near future, in which I will
discuss the discoveries I have made since I
wrote the original limited palette article. I
shall certainly mention the points you have
raised.’
Informative read
I have recently come across your excellent
magazine and have found it very
informative. I have learnt about materials I
had previously been unaware of, as well
as techniques and subject matter. The
Artist is much better than other
publications I have seen!
B Mousley, Birmingham
Storage solution 
I refer to Valerie Hansen’s letter about how
to store articles of interest (The Artist, June
2018 issue). Having recently had a major
downsize in moving from a house to an
apartment, with the need to dispose of all
uneccessary paperwork, I found the
easiest way to retain an occasional article
from The Artist is to photograph the pages
(with an iPad in my case), and then
transfer the images to my computer,
where they can be titled and placed in
named files. 
I prefix my files with the author’s name,
followed by a description. It is then a
simple procedure to recall any file, and
expand the images to read the contents.
It is helpful to ensure good natural light
when capturing the images, although
some tweaking can be done with photo-
editing software.
James Thomas, by email
www.painters-online.co.ukSummer issue 2018artist
Letters, emails and comments
YOUR
VIEWS
Subscribe at www.painters-online.co.uk or telephone 01580 763673
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Follow us on Twitter @artpublishing
Email theartistletters@tapc.co.uk or write to The Editor,
The Artist, 63/65 High Street, Tenterden, Kent TN30 6BD
This month’s star letter writer will receive a £50 gift card,
courtesy of GreatArt, to spend on over 50,000 available
products. Gift cards can be redeemed in-store at GreatArt
Shoreditch, 41-49 Kingsland Road, London E2 8AG, telephone
08433 571 572, and online at www.greatart.co.uk
Desaturation bias
Whilst I appreciate the general approach
of Paul Brown's article in the June 2018
issue and his desire to achieve more with
fewer tubes of paint, there are some
important considerations that are not
mentioned. Firstly, his choice of palette
with respect to opacity. Michael Harding
ultramarine blue is transparent; cadmium
red and barium yellow are opaque; raw
umber and yellow ochre are semi-
transparent. The ochre is quite
desaturated and the umber is very
desaturated – consequently the gamut
that can be achieved with such a palette
is very biased towards desaturation. There
are not many absolutes in oil painting but
it is not possible to increase the saturation
of a hue or, to put it another way, you
cannot work outsidethe gamut plotted
on a colour wheel that shows saturation.
This is not a great palette for any work
where working translucently is required. 
Finally, Robert Gamblin's zinc white is
described as semi-transparent (although I
XX STAR LETTER
Landscape colours
Although I have been painting for
decades I lack the knowledge that will
help me to improve. This morning,
however, I see a glimmer of hope – I am
so excited by Paul Brown’s article on
colour mixing in oil (Take six colours, The
Artist June 2018 issue). I have already cut
out the article and pinned it onto a board
by my painting table. I have tended in the
past to use brighter colours in landscapes,
as I live in Provence. However it is possible
that, at the great age of 77, it is now time
to move towards subtlety of colour.
Despite the popular image and local style
of saleable landscape painting, the sun
does not always shine in Provence!
Valerie Stones, by email
Revelation
I have really enjoyed using Paul Brown's
limited palette (The Artist June 2018), it
has been quite a revelation to find how
much you can achieve from so little. 
Richard Ironside, by email
Colour theory 
James Thomas' letter in the June issue of The Artist and Paul Talbot-Greaves'
comprehensive answer on mixing greens brought my thoughts to colour mixing in
general. 
As a long-time tutor I have found colour mixing to be on the whole rarely taught
and frequently lost amongst those who are learning to paint. Whether novice or
intermediate, painters are very rarely able to mix paint successfully and yet are
taught other techniques and tricks before this vital exercise. Frustrated painters
who just cannot get the colour, or who are not taught the theory, can give up or
use the nearest they can make.
Colour theory, then expansion into practice using the colour wheel for reference,
is absolutely vital in understanding how to build a painting. So I encourage every
painter to find a local tutor or enrol on a course to gain insight into this fascinating
and fundamental element of the painting process. 
Max Hale, by email
Readers can learn about colour properties and colour mixing in Julie Collins’ new six-
part series, which starts this month on page 61. Ed
Summer letters_Layout 1 04/06/2018 14:10 Page 1
E: Jane@norfolkpaintingschool.com T: 01485 528588 W: norfolkpaintingschool.com
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12
M A S T E R C L A S S
www.painters-online.co.ukSummer issue 2018artist
Ann Blockley provides an insight into the ground-breaking
working practices of her late father, the painter John Blockley RI PPPS RWA
NEAC, and their relevance for today’s artists
John Blockley 
1921–2002
J
ohn Blockley was a progressive and
visionary painter known for his
books and ground-breaking
approach to watercolour. He was
twice president of the Pastel Society in
the 1980s and played a huge role in
helping to revive both the society and
the medium. He was a member of the
Royal Institute of Painters in Water
Colours and the Royal Watercolour
Society at different times, the New
English Art Club and the Royal West of
England Academy. 
A way of looking
G John Blockley was born on the border
of Wales in 1921. His paintings of the
Welsh landscape were later to become
iconic representations of this land
although he had received no formal art
training. This fact initially embarrassed
p Pennines, c2001, mixed media, 181⁄2�21in
(47�53cm).
Accents of pastel added on top of the acrylic
make these colours really sing 
TASIp12_15_Masterclass_Layout 1 22/05/2018 12:18 Page 12
him but later he realised that teaching
himself to paint had contributed to the
development of his unique voice – one
that was free to question the traditions
and conventions of his time and lead to
his innovative search for a personal,
painterly vision. John only began to
paint full time when he was 52. He said
that his life began at that point. He was
a trained draughtsman and this skill
was closely linked with the painting.
His style developed and changed, as
did his choice of medium and subject
over several decades. However, his
daily practice of drawing and sketching
was the crucial backbone to all his
varied artwork, from the early
representational watercolours to his
later more abstract mixed-media
paintings.
John wrote many books about his
paintings, which influenced an
international audience. However, they
were not ‘technique’ books in the usual
sense. The emphasis was on the
‘thinking leading to the pictures’. His
concern was the basic motivating idea
and the aim was to encourage a way of
looking at the world with a painter’s
eye. He explored the thought that in
order to identify closely with the
subject being painted, you must
explore it in depth and look at the
possibilities of interpreting it in
different ways. John was not interested
in a photographic likeness of the
subject. His interest was in seeking out
some special quality. The relative
emphasis that he gave to each element
such as light, colour, texture and design
determined the overall mood of the
finished interpretation. He would rather
start again than finish a painting that
did not fulfil the original intention.
Even though it may still have been an
attractive picture, in his eyes it was a
failure if the intended statement was
not resolved.
Watercolour and pastel 
He began using watercolour as a purist
but soon questioned the ‘rules’ and
decided to see what would happen if
they were adapted. He found it difficult
to capture the textures that interested
him using the traditional methods he
had learnt. His quest was to find ways
www.painters-online.co.uk Summer issue 2018 13artist
p Cottage Window, c1982, watercolour, 8�7in (20�18cm)
u Snowdonia, c1996, acrylic.
In John’s later work he used vibrant colours
and details were distilled to simple shapes.
He still enjoyed using painterly textures but
achieved them in new ways. This
interpretation is painted in acrylic on a
textured gesso-covered board
TASIp12_15_Masterclass_Layout 1 22/05/2018 12:18 Page 13
14
that would most eloquently capture his
emotional response to a subject as well
as the tactile qualities of the landscape.
He used masking fluid, wax resist and
ink – anything to suggest the surface
qualities that interested him. He
invented a technique that combined
watercolour with waterproof Indian ink
to make abstract granular patterns. He
also used gouache if the picture
required an opaque feel. He drew into,
or lifted off colour with a stick, added
lines with a dip pen or stick of graphite. 
Many of the methods were based on
experience in assessing critical degrees
of consistency or wetness. These were
not accidents – every experimental
process relied on the same kinds of
judgement and mastery as the pure
watercolour techniques on which they
were based. It was a pursuit of control
but not in the usual sense. For
example, he would deliberately go
back into a damp wash and introduce
new pigment, which broke the
conventional rules about timing. He
wanted the process to have a nail-
biting edge to it. Paint was allowed to
partly dry whilst he carefully assessed
when to pour water into it. Sometimes,
watercolours were submerged in water
and left to saturate and soften to a very
particular stage at which it was judged
ready to be manipulated,blotted,
smudged and drawn into. Many artists
and students are fascinated by John’s
techniques but he was always wary that
these were not superficial ‘slick tricks
for quick effect‘. His purposeful
methodology evolved from reactions to
the mood and nature of the subject.
Texture was used judiciously as a way
to interpret this specific idea rather
than adjusting the subject to suit
rehearsed methods.
John was equally experimental in his
use of pastel. He started in a traditional
way but as his watercolour
developed in new directions, so did
his pastel work. He was inspired by
the way Degas had exploited the
special properties of the medium using
a range of applications. Like Degas,
John experimented with new
techniques, combining pastel with
other media on different surfaces in
inventive painterly ways.For example.
he applied pastels over paper
prepared with watercolour so that the
initial ground was multi coloured and
not the usual one tone. He also used
different kinds of surfaces and applied
the pastel in a range of techniques from
soft and smudged to lively, quick
dashes and dots which allowed the
colours underneath to show through.
Acrylics and mixed media
‘I no longer paint the landscape; my
paint is the landscape.’
In 1995 John changed the way he
painted almost overnight. He stopped
using watercolour and began to
experiment instead with acrylic and
mixed media. Everything changed. The
colours he used became brighter and
stronger. Detail became minimal,
information was distilled and a more
abstract approach evolved. Drawing
still underpinned this later more
contemporary and progressive style but
he now felt free of the need to explain
the details, concentrating on the bigger
shapes and patterns. 
John’s considerable background
knowledge underpinned his paintings,
which he now created using different
kinds of textures. The paintings were
often built from luminous layers of
paint on board, primed with three-
dimensional applications of gesso or
primer. Sometimes sand was added to
the gesso for extra texture.
Alternatively, thin
paint or acrylic ink
was applied in wet-
on-wet washes
combined with
layering of thicker
buttery acrylics. He
applied dashes and
accents of vivid
pastel on top of
acrylics. Paintings
were worked and
reworked, surfaces
vigorously scratched,
scraped and sanded.
He manoeuvred
M A S T E R C L A S S
www.painters-online.co.ukSummer issue 2018artist
t Cottage Textures, c1989, pastel.
This pastel painting demonstrates John’s
interest in the almost abstract qualities of his
foregrounds, which served as a contrast to
the more hard-edged and representational
buildings
Cotswold Farm Buildings, compositional
sketches, each 11�143⁄4in (28�37.5cm).
This series of sketches shows the thinking
behind the composition of a picture
TASIp12_15_Masterclass_Layout 1 22/05/2018 12:18 Page 14
paint, lifting and adding; glazing
transparent colour over colour. The
process was one of great activity and
energy. Discarded pictures were
painted over using the old acrylic paint
as a base layer. It was a search to
achieve balance through colour or tone
rather than literal factors. 
Drawing and sketching
Throughout the decades of changes in
his choice of subject matter, medium
and method John never wavered from
his compulsion to draw and sketch.
Sometimes the sketches were quick
and crude, other times he spent longer
on a more detailed drawing. He used
any paper or drawing tool to hand and
worked in a chaotic way. Sketchbooks
were seized and opened at any page or
direction to draw on; to work in an
ordered fashion would have spoilt the
impulse of the moment. Sketches were
rained on outside and trodden on in
the studio! In the early days John
scorned the idea of painting indoors
www.painters-online.co.uk Summer issue 2018 15artist
Ann Blockley
is a member of the Society of Women
Artists, the Arborealists and has
recently been elected a full member of
the Royal Institute of Painters in Water
Colours. She exhibits widely and is a
popular tutor and demonstrator. 
Her four DVDs and four books are
available from her website
http://annblockley.com
Ann’s latest book Ann Blockley’s
Watercolour Workshop is available from
our online bookstore at the special
price of £17.99; see page 68 for details. 
and was strict in his determination to
paint outside in all weathers.
Eventually, he noticed that painting
directly from a scene often resulted in
more representational work that was
less expressive of his feelings. At this
point he decided to work in his studio
using the sketches made en plein air for
reference, combined with an uncanny
photographic memory.
Inspiration and interpretation
John drew inspiration from a vast array
of subjects but his intensely personal
magic could always be recognised and
his artist’s voice remained distinct. He
could move from boats and harbours to
mountain and coast, flowers to
farmhouse, town to figures because
whatever he painted was always based
on the same elements – observation
and drawing and the desire to fulfil a
particular statement. Everything was
linked by a different, intensely visual
way of looking. The images illustrated
here have been chosen to display the
Ann Blockley’s book about her father, G John Blockley – A
Retrospective, will be published by Batsford on July 5.
There will be an informal exhibition of John’s paintings and
drawings for sale at Ann Blockley’s studio, Church View,
Todenham Gloucestershire GL56 9PF from September 8–15
(closed Monday 10), from 11am to 4pm or by appointment at
ann@annblockley.com. For full details visit
www.annblockley.com or www.johnblockley.com
p Cotswold Farm, c1998, mixed media
echoes and differences between media
and styles over a period of time
through just one of his favourite
subjects – the building in the landscape
– but John was interested in painting
and drawing everything he saw. TA
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16 www.painters-online.co.ukSummer issue 2018artist
John Sprakes reveals how he translates what he observes in the natural
world into a mixed-media abstract painting, with a project to inspire
you to create your own abstract work
Abstraction in
painting
A
lthough abstraction is one of
the most significant movements
of 20th-century art, we are
frequently challenged by the
meaning of this genre. Sometimes the
visual language employed by the artist
appears incomprehensible – what is it
supposed to be? The answer may well
be that it all depends where you start
analytical observation into abstract
visual language through a progressive
selection and rejection of various
processes. 
The seeds of abstraction can also be
found in the earlier painting
movements of Impressionism and
Expressionism. The Impressionists’
direct method of catching immediacy
through colour, light and atmosphere
showed that technique could be
explored, thus allowing the painter to
pursue a personal vision that was full of
movement, colour, paint and gesture.
These elements became a major
feature in abstract painting and are
very important in my approach to both
derivative and abstract painting.
Abstraction uses shape, colour, texture
and line independent from visual
associations seen in the natural world.
My inspiration
In the landscape, whether looking down
from a high vantage point or up towards
the sky, I watch movement, changing
tonal values and the structure of the
clouds. I observe the changing light
across the mountains and valleys, the
fragmented textures, patterns and
shapes on hillside and fields. The
undulations of the landscape are an
important element in the construction
of my abstract painting. Other elements
I look for include the pitted coarseness
of a lichen-covered grey stone wall, the
rippling movement of moorland grass,
the structured moss climbing up the
surface of a standing tree, and the deep
reflections in an icy pond or lake, which
challenge the seeing eye. All these
constantly feed my imagination. 
Importance of drawing
I have always paid a great deal ofattention to drawing, it’s a very
important part of my research, helping
me to discover and understand the
seen and natural world. I use
‘Of all the arts abstract painting is the most difficult, it all
depends that you know how to draw well, that you have a
heightened sensitivity to drawing and colour, and that you are a
true poet.The last is essential.’ Wassily Kandinsky
p Crab Boats, Cromer, acrylic on canvas, 233⁄4�311⁄2in (60�80cm)
from, and where you want to go!
Abstraction developed from a number
of sources, notably a movement that
sought to break away from the
traditional analytical representation of
physical objects and vistas. Abstract
painting can develop from other
sources; it’s basically a derivative
approach where the artist distills
TASIp16_19_John_Layout 1 29/05/2018 09:44 Page 16
sketchbooks of various sizes and paper
surfaces, so that I can respond to things
seen – I do not set out with any
particular image in mind. I define
drawing as an act of mark making with
any implement or media. It is possible
to make marks with almost anything –
pencil, pieces of card, pen, sharpened
sticks, wire, crayon, charcoal, even
lipstick – as long as the means justify
the end.
I use this research to develop my
visual vocabulary and feed it into my
various canvases and larger collage
drawings. I sometimes use photographs
but not very often; they can at best be
a further source of information to
refresh the memory. I have worked on
many different grounds, including
gesso, tempera and acrylic, and used
different tonal surfaces, although I
much prefer a white ground as it can
illuminate the paint surface. If I need to
make any corrections I often repaint the
www.painters-online.co.uk Summer issue 2018 17artist
tt
ground white on the top of the area I
wish to change, so that I can keep the
vibrant freshness of the colour. I also
work back into the canvases with
collage and pastel, fixing the pastel
areas with a matt fixative.
On rare occasions I have used gold
and silver leaf to enhance some
particular aspect of the painting. I use
‘Abstraction uses shape, colour, texture and line independent from
visual associations seen in the natural world’
p Hadrian’s Wall above Steek Rig, acrylic on
canvas, 551⁄4�551⁄4in (140�140cm)
TASIp16_19_John_Layout 1 29/05/2018 09:44 Page 17
18 www.painters-online.co.ukSummer issue 2018artist
If you want to change a part of your picture,
stick a piece of paper over the area you wish to
erase then work on top of the new surface. You
can also use white paint to obliterate anything
you don’t want. Use objects to make marks on
your piece of work with liquid ink or paint, such
as card, wood, wire, sponges, bits of cloth, wax
crayon to create a resist. Build up your collage
with shapes and textures, keep working into
your picture, enjoy the experience.
You can create several pictures or just one piece
of work.
You can also work on several pictures at the
same time moving from one image to another.
If you belong to an art society it may help to
have a discussion with your colleagues about
the work you have produced.
Project: attempt an abstract approach to a piece of work
p Northumberland Landscape, collage,
acrylic, tissue paper, graphite pencils, ink on
canvas, 391⁄2�61in (100�155cm)
Liquitex acrylic as well as other acrylic
media. I often thicken the paint, which I
put on in a thin layer, depending on the
texture I want. I also often use coloured
materials, which I fix to the canvas with
Copydex.
Shapes and rhythms
I use a wide range of brushes from 3in
to various riggers. I also use rollers to
layer the paint on the surface and will
sometimes draw back into the surface
areas with various mixed media. This
allows me to create broken areas of
colour, which enable flecks of colour to
break through the under surface.
I am very interested in the way
shapes and forms can move in and out
of the picture plane – I have never felt
the restrictions of the edge of the
canvas. For me the painting always
goes beyond the edges.
I have also been interested in the
rhythms and movement of shapes –
how passive and active areas can
interact to enhance the dynamics of a
picture composition. Colour has been a
constant source of inspiration to me
and I have spent a great deal of time
Your aim 
To create a picture image that uses
a wide selection of materials that
can be put on to any surface of your
choice.
Your objectives 
l Use colour, pattern and texture on
your piece of work.
l Consider placing lots of small
areas of colour in one particular
area.
l Use different colours that have
the same tonal values.
l Pick a particular colour that has
different tonal values: light to dark,
warm to cold.
l Try to include passive areas, such
as large areas of one single colour,
either texturally or tonally
modulated.
l Have areas that have fractured
colours, small pieces of bright and
dark, or anything else you can think
of to develop your image. Do not be
afraid to use your imagination. 
These artists may give
you inspiration:
Paul Klee, Wassily Kandinsky, Kurt
Schwitters, Mondrian Jasper Johns,
John Hoyland, Patrick Heron, Ivon
Hitchens, Mark Rothko, Frank Kline,
Victor Pasmore, Joseph Albers.
TASIp16_19_John_Layout 1 29/05/2018 09:44 Page 18
observing its changing elements in
both natural and man-made forms. I
have spent a great deal of time with
notebooks and sketch pads observing
infinite changes occurring in the world
around me. Intense observation and
study have enabled me to be inspired
by the magic of light, shade and colour
in all its forms and, as my eyesight
becomes a little weaker, the colours
around me seem to become more
intense and softer at the edges.
Anything goes
I work on large canvases using a wide
range of materials – almost anything is
of use – coloured paper, pastels, paint,
fine gesso plaster, cloth, gold leaf,
string or torn material. I build the
surface on the canvas, overlaying and
underpainting, attaching the materials
to the canvas with acrylic glue,
wallpaper paste (of various thicknesses),
allowing some of the underpainting to
www.painters-online.co.uk Summer issue 2018 19artist
John Sprakes
is a member of the Royal Institute
of Oil Painters, the Royal Society of
British Artists and the Manchester
Academy of Fine Arts. He has
exhibited widely and won many
awards for his work. John is one
of the judges of The Artist
Open Competition. To see 
more of John’s work visit
https://johnsprakes.wordpress.com
show through or leaving paint in thick
areas to emphasise texture. I often work
back into images, scribing linear marks
with a variety of objects such as charcoal,
pen and ink, sponges, card, wire, or
sharpened pieces of wood. Or I scrape
back into the work with a sharp blade, a
technique that can expose areas that
have been previously overlaid or stuck
down. Virtually anything goes that will
make a statement on the canvas. To
make a correction, I use white gesso to
blank out areas that I need to reconsider.
Reversing the image in a mirror helps
me to check the overall balance of the
composition, and putting the painting
on the studio wall also helps me to
decide what needs to be repositioned
in the composition. All kinds of media
can be considered and different areas
of the picture can be worked on several
times. The random collection of objects
often provide further stimulus and can
inspire the imagination. TA
p Flight of the Seed Head, acrylic, pastel and collage on canvas, 471⁄4�471⁄4in (120�120cm)
TASIp16_19_John_Layout 1 29/05/2018 09:44 Page 19
20 www.painters-online.co.ukSummer issue 2018artist
Jake Winkle shows you how to paint moving
figures in watercolour to add scale, depth and
movement to your watercolours 
A
painting may be about figures,
or it may be about a place
populated with figures. To
capture figures in movement,
we artists have to detach ourselves
from the knowledge of what we are
painting and concentrate instead on
the shapes that we are making.
The essence of the figure
When I look around Isee a lot of
abstract shape and colour rather than
detail, unless I consciously focus on a
specific area, in which case I notice that
the area in clear focus is actually very
small. So, most of the time I am aware
of objects that I don’t see clearly,
unless I focus on them in the small area
in the centre of my field of vision.
Focusing in this way is useful when it
comes to capturing the essence or
gesture of the figure. 
I am a painter of light and movement
and to do this I like to paint the
u FINISHED PAINTING
Athletes, watercolour on Arches 140lb
(300gsm) Rough, 121⁄2�181⁄2in (32�47cm).
I continued with more of the same,
fragmenting the figures into light and shade
and hard and soft edges, with dynamic
splashes of pure intense colour to fragment
the image further and give the figures a
sense of presence
Enliven your
paintings with
figures
t STAGE ONE
Colour and brushstrokes were carefully considered to maximise the
sense of light and movement – each stroke had to count. See how the
brushstrokes fragment into dry brush on the lower legs of both
figures and how white paper was left untouched for highlights to
fragment the image further. If I had painted the figures more fully
they would have become leaden instead of light footed. The colours
were mixed on the paper, cool running into warm to add luminosity
as well as hard and soft edges
p Study One, watercolour on Arches 140lb
Rough, 93⁄4�93⁄4in (25�25cm).
Painting figures by painting the shadows
reveals the lights
shadows, connecting shapes wherever
possible and making use of a variety of
marks to create interesting hard and
soft edges. I like to make use of simple
slabs of colour to depict the shape of
people close to me, and those further
in the distance. I am more interested in
the way the figures interlock as shapes
than I am in showing facial detail or
hands and feet. Study One (above left)
concentrates on overall shapes but also
takes into account the shadow shapes;
DEMONSTRATION Athletes
TASIp20_23_Jake_Layout 1 18/05/2018 13:09 Page 20
www.painters-online.co.uk
PRACTICAL
Summer issue 2018 21artist
in this way I can give the viewer more
information but still only imply rather
than overstate. Notice how the different
shadow shapes connect on the paper to
create a tonal pathway that simplifies
the image into lost-and-found edges.
Fragmentation of the image 
In the painting Athletes (left) I have
taken the gestural painting a step
further, fragmenting the figures to
increase the sense of light and
movement. Still making use of sunlight
and shadow to simplify, I introduced
the suggestion of muscle tone and
composure of the face. Without details
as such you get a feel for the attitude:
the eyes set in sunken hollows, the face
set looking straight ahead. The figures
should read like the letters in a word:
one figure alone gives limited
information but the abstracted shape of
the group of runners suddenly tells us
about a race taking place outside, in
bright sunlight.
In Taking to the Water (above) I have
included a little more information
about the location of my figures. Again
through shadows I show their posture
and attitude, and I have included some
props. The bucket, body board and
t Taking to the Water, watercolour on
Arches 140lb (300gsm) Rough, 133⁄4�93⁄4in
(35�25cm).
The introduction of reflection shapes is
enough to show the figures are in water.
Economy of brushstrokes was particularly
relevant in the reflections, which are made up
of simple but effective shapes. Reflections
and cast shadows should rarely dominate a
painting, they are there to enhance what is
already going on in the picture
reflections allow me to tell a more
complete story but I have kept the
focus on the people – they could be
anywhere in the world but we know
they are in the sea. I like to leave room
for the viewer to add their own bits to
the story, such as a memory of a
seaside holiday. 
Figures in a scene
So far I have talked about figures as the
sole subject, but putting people in a
scene can also add depth and
movement. The Square, Dinan (above) is
a marriage between the figures and the
street scene; they both have equal
importance and one could not survive
q The Square, Dinan, watercolour on Arches
140lb (300gsm) Rough 71⁄2�10in (20�25cm).
The figures in the foreground are as
important as the architectural shapes of the
buildings, so neither has been given more
importance. The figures were rendered as
simple uncluttered gestures – one leg longer
than the other is all that is needed to make
them move, whilst the buildings were
depicted largely as shapes of light and shade,
broken up by limited details such as windows
and timbers
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22
W AT E R C O L O U R
www.painters-online.co.ukSummer issue 2018artist
DEMONSTRATION
The Cricket Match
u STAGE ONE
Having sketched the scene in pencil I dashed
in a cobalt blue sky, leaving unpainted a little
summer cloud. Once this was dry I started
with the main large tree using the side of the
brush to lightly scrub down the mass shape
of the foliage. I wetted a few areas first to
encourage soft edges in places. It was
important to get this tree right because the
rest of the distance was much simpler and
abstract. The main purpose of the dark trees
was to reveal the lighter shapes in front
t STAGE TWO
Next I painted the cricket
pitch in muted warm
summer greens, almost
brown-green in places,
and I was careful not to
mix too much of a bright
processed green for this.
As this was a large area in
the picture I broke up the
shape in the foreground,
leaving an area unpainted
without the other. Dinan is a walled
Breton town dating from the 13th
century, with fabulous rooflines and
half-timbered buildings, and it is
frequented by a large number of
visitors. The inclusion of people and
cars gives the scene a sense of being
busy but informal. 
Donkey Trippers, Weymouth (right) is
another example of a relationship
between the figures and the town in
the background. The painting has a
semi-abstract feel because the
buildings and people have been
painted as dramatic shadows and cast
shadows, with just occasional detail. I
wanted to balance the composition by
using dark, cool or muted colours in the
background contrasted with intense
warm colours in the foreground. Both
the buildings and the figures were
created from shadows; during the
painting process I was very aware that
each shadow shape reveals a negative
of white and it is often these important
negatives that tell the story. 
p Donkey Trippers, Weymouth, watercolour on Arches 140lb Rough, 121⁄2�181⁄2in (32�47cm). 
Cool colours in the background contrast with warm colours to the fore. The painting has a
gestural, almost ‘daubed’ feel to it, as I concentrated on getting the colour on wet and fast to
give the most clarity possible. The donkeys were simplified into dark shapes with occasional
white highlights – it is the accents of white paper and pale colour in the foreground sand that
give the painting contrast and brillianceTA
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www.painters-online.co.uk Summer issue 2018 23artist
p FINISHED PAINTING
The Cricket Match, watercolour on Arches
140lb (300gsm) Rough, 93⁄4�181⁄2in
(25�47cm).
Lastly I added the figures and the
background buildings. The shadow tones on
the players had to be treated carefully – 
I wanted them darker than the pitch but
lighter than the background trees
p STAGE THREE
Once this was dry I painted a dark shadow in the foreground. I wanted the shape to enhance the summer feel by
creating a little dappled light through the shadow shape of a nearby tree
Jake’s work can be seen in various galleries
including The Wykeham Gallery in Stockbridge,
Hampshire. Jake uses the Luxartis range of
kolinsky sable brushes, available from
www.luxartis.biz. His book Light and
Movement in Watercolour is available from
Batsford Books and he has a range of
instructional DVDs available from Town House
Films. www.winkleart.com
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24 www.painters-online.co.ukSummer issue 2018artist
Jo Quigley explains the term contre-jour, and
demonstrates why you should consider using this
technique in your painting 
The contre-jour effect
T
he term contre-jour originates from
the early 20th-century French
expression meaning ‘against
daylight’, in which the main
subject is positioned directly in front of
the light source. First used as a way to
describe a photographic technique, it
was subsequently adopted as a term
for paintings that employ the same use
of backlighting. It was a popular
technique amongst post-Impressionist
painters as well as artists painting in
England at a similar time. Two of the
earliest examples attributed to this
method are Pierre Bonnard’s Nu à
contre-jour painted in 1908 and Walter
Sickert’s Mornington Crescent Nude, contre-
jour, completed just a year earlier. In
both paintings the artist placed the
subject, a female nude, against the
light coming through a window, creating
a silhouette effect. Whilst the subject of
these two paintings may appear similar
at first, each artist used backlighting to
convey a different mood.
Why paint contre-jour? 
Images produced using the contre-jour
method often appear striking in their
simplicity yet have the power to
captivate the viewer. I have been drawn
to images produced in this way, but it
wasn’t until I started writing this article
that I realised just how often I use this
technique in my own work. As a painter
my aim is to create bold compositions
based on shapes and patterns, with an
emphasis on tone as opposed to
colour. I believe a strong backlight adds
to the sense of drama in my work.
Any artist will be aware of the
importance of good lighting; we often
try to illuminate our subjects to
enhance form and colour, so it may
seem counterintuitive to position the
subject against the light, thereby
flattening and weakening colours.
However, there are many reasons why
you might want to consider it,
including:
l To create mood and atmosphere –
in the same way that low-key or
chiaroscuro works create drama through
the use of strong tonal contrasts, so too
can a contre-jour or backlit painting.
Alternatively, diffused light such as that
seen through a net curtain, or through
trees, can create a more romantic or
mysterious feel.
l To enhance depth – whereas
chiaroscuro effects can be used to
enhance three-dimensional forms, the
effects of contre-jour tend to enhance
depth and perspective. Backlighting
creates strong dark shapes, often with
glowing edges, providing greater
ACRYL I C S : 5 TH O F 6
Jo Quigley 
studied at Winchester School of Art
and Kingston University, and taught
painting before turning professional. Jo
demonstrates to art societies across the
south east of England – for more details
see www.quigleyarts.co.uk
t Autumn Afternoon, Trafalgar Square,
acrylic, 153⁄4�153⁄4in (40�40cm)
TASIp24_27_Jo Quigley_Layout 1 18/05/2018 13:12 Page 24
separation of the subject from the
background. 
l To simplify and abstract – the
silhouette effect of using backlighting
places the emphasis on shapes and
edges as opposed to details, allowing
you to see your subject in a more
abstract form. This can be beneficial for
both artist and viewer. It encourages
the viewer to use the imagination in
order to fill in the blanks, keeping them
engaged for longer, and stops the artist
getting bogged down in unnecessary or
fussy details.
l To create greater unity – as shapes
and tones are simplified, areas of light
and shadows become connected,
creating passages of light and shade
that allow the eye to move across the
picture surface. The weakening of
colours also results in a more coherent
and harmonious image.
Subjects for contre-jour
Almost any subject can be painted
contre-jour but if you want to use it to
maximum effect it is worth choosing
your subject carefully. If you are after a
strong graphic quality, objects with
interesting silhouettes that have bold
shapes and clear outlines will work
best. If your preference is for images
with a gentler, more mystical feel,
objects with softer outlines, such as hair
or fur may be more suitable. This works
particularly well if you want to add to
the narrative content. Finally, the contre-
jour effect works particularly well for
translucent objects, such as leaves and
flower petals. Unlike opaque objects, in
which colours and details are
diminished, here colours and textures
can be enhanced, creating a jewel-like
effect. 
The challenges of painting
contre-jour
Whilst painting this way can certainly
produce some stunning effects, it can
present a number of practical and
technical challenges for any artist.
Whether your preference is to work en
plein air or from photographs, there are
some issues you should consider. 
If painting on location, it is likely that
your best opportunity will be at either
the beginning or the end of the day,
although you will have just a short
window in which to capture your
subject as light conditions can change
very quickly. Being organised with your
equipment and working quickly can
help, but you may still need to return
to the same location on another day to
finish off. 
Likewise, taking photos in these
www.painters-online.co.uk
PRACTICAL
Summer issue 2018 25artist
tt
Examples of how
the contre-jour
effect can be
applied to
different subjects
p This photo shows how the unifying
effects of backlighting help to simplify
what is a very busy scene. The effect of
backlighting on translucent objects
can also be seen here in the apparent
illumination of some of the lanterns
conditions can be equally problematic,
unless you are an expert photographer.
Even in the brightest sunshine the eye
is able to detect some details in the
shadows, whereas in photography the
darks tend to come out black. In this
case I recommend taking several
photos, some directly into the shadows,
to ensure you have some additional
information when you return to the
studio. Whichever your preferred
method of working, in order to produce
a successful contre-jour good
observational skills are essential. So, if
you are looking to test your skills or
you just want to see your subject in a
different light, why not consider
painting contre-jour?
u Here light filters through
autumn trees, creating a
mystical feel. With subtle
shadows extending forward, the
eye is led gently into the picture
u In this end-of-day
shot, figures appear
silhouetted against
the light sparkling on
the water. With stark
contrast between
lights and darks, this
almost monochrome
image creates quite a
sense of drama
p A halo effect, created by an object with
soft edges (my cat) in front of light through
a window, separates the subject from the
background, enhancing a sense of depth.
Notice also how the colours and details on
the cat appear greatly reduced
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26
ACRYL I C S
www.painters-online.co.ukSummer issue 2018artist
DEMONSTRATION Trafalgar Square,
contre-jour
For this painting I referenced several photographs of Trafalgar
Square taken during a day trip to London. With the light
obscured by Nelson’s Column, I felt the silhouetted figures and
their long shadows created a striking abstract pattern, a quality 
I often look for in my subjects 
p STAGE ONE
I began with a light, warm underpainting mixed from titanium white,
Naples yellow and light portrait pink. Rather than drawing out the
whole composition, I blocked in large areas using a generalised tone
and colour – a mid-tone grey made from cobalt blue and burnt
sienna for the buildings and a mix of light blue and titanium white
for the water
t STAGE TWO
Some of darkest tones were blocked in, including the lions and some
silhouetted figures. Starting in the foreground, I ensured that the
scale of each figure was consistent with others on a similar plane. For
ease, the shadows at this point were painted as flat shapes with the
same mid-tone used for the buildings
p STAGE THREE
Continuing with the samelimited palette, I returned to the background,
further dividing larger shapes using warm and cool colours together with
subtle tonal variations, providing some separation between buildings.
Having established the main areas and tones, I returned to the background
p STAGE FOUR
Further details were added, including windows, a bus
and a suggestion of distant figures. As the scene is
backlit, I was cautious not to alter the overall tonal value;
instead I concentrated on subtle colour variations
TASIp24_27_Jo Quigley_Layout 1 18/05/2018 13:12 Page 26
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PRACTICAL
Summer issue 2018 27artist
q FINISHED PAINTING
Trafalgar Square, contre-jour, acrylic, 30�30in (76�76cm).
Finally I darkened the shadows nearest the figures, creating a
greater sense of gravity and depth. At the same time I added
a glaze of titanium white to the lightest areas to enhance the
feeling of light. I added some highlights and the painting was
complete
t STAGE FIVE
I added minimal colour and detail to the foreground figures.
As the figures where initially painted as dark silhouettes it
was easy to add a touch of colour without altering the overall
tone. Further people were added to the middle distance
although these required far less detail
Next month: Narrative painting
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28
T H R E E - P A R T P A I N T I N G S
www.painters-online.co.ukSummer issue 2018artist
The coastline can pose a number of challenges for
the painter, says Paul Talbot-Greaves, who demonstrates how to paint
a coastal scene in just three main parts, using acrylics
Coastal subjects
A
view out to sea with a straight
line dividing either two-thirds
land to one-third sky or vice
versa seldom yields strong
design and interest. Many vantage points
are from cliff-top paths looking
downwards or out to sea, which again
can look awkward and lack contrast. In
order to seek out the more interesting
subjects I generally prefer to place myself
on the beach or amongst the rocks.
Rugged coastlines are full of varied
shapes and textures, and cliffs can make
great backdrops, lending support or dark
value contrast to a focus. 
Features I look for include rock pools, as
they often shine light against dark when
they reflect the sky, and can make
interesting focal points. Figures, boats and
buildings are the obvious alternatives to
straightforward landscapes or simple
compositions. Figures and boats
especially can really add life and interest
to a coastal painting or even become the
main subject. These could be painted or
photographed in situ or added in to a
composition at a later stage.
Using layers
My composition here is about capturing
the feel of the light on the rocks on the
shore. I love the textures and colours on
marine rocks and, to capture that look, 
I used creamy paint applied in a short
series of layers, allowing the brushmarks
to remain. This helped to create
movement and direction along with a
sense of reality. I generally use Winsor &
Newton Professional acrylics, which are
extremely opaque, so to allow the
previous layers to show through, I created
some transparency by adding matt
medium and a little water to the paint as 
I worked. I used an acrylic paper, which is
quite impervious, so it is important when
diluting colour with water to add a
medium such as matt medium, otherwise
the paint will not adhere properly. TA
DEMONSTRATION Low Tide
p PART ONE
On a piece of Winsor & Newton Galeria acrylic paper, I blocked in
some very rough initial colours. Using a size 18 short bright,
sable/synthetic brush, I freely applied cerulean blue, sap green,
cadmium yellow pale, burnt sienna and French ultramarine. I diluted
the colours slightly with water and added a little matt medium. The
matt medium adds some transparency to the colour and helps to
adhere the pigment to the surface. I splashed some of the water into
the paint to add a bit of interest then let it dry
p PART TWO
Continuing with the large chisel-shaped size 18 brush, I marked in the
blocks of the bigger elements. I didn’t work on the finished painting at
this stage, instead I just mapped out the relationships of the shapes.
As I had no drawing to work with, this blocking in was more about the
placement of forms and objects than refining any kind of detailed
picture – that came later. I used French ultramarine and burnt sienna
with a tiny amount of white added for the large, dark cliff in the
background. I also applied some of the dark foreground rock shapes
with the same mix. I placed the small area of sea on the right with
cerulean blue, white and some of the grey cliff colour. Once again, I
mixed all the colours with a little water and matt medium. This
method helps the layers to show through, otherwise each paint
application obliterates the last
TASIp28_29_PTG_Layout 1 18/05/2018 13:13 Page 28
www.painters-online.co.uk Summer issue 2018 29artist
Paul Talbot-Greaves
has been painting for over 20 years and
teaches watercolour and acrylic painting,
in workshops and demonstrations to art
societies throughout the Midlands and
the north of England. He has received
many accolades and was awarded The
Artist Award and the Canson Award at
Patchings Art Festival 2017. He can be
contacted by email: information@talbot-
greaves.co.uk or through his website: 
www.talbot-greaves.co.uk
You can watch Paul in action in this 
short video as he finds a great design for a
watercolour painting:
https://painte.rs/2IqjYiv
u PART THREE
Working with short, positive brushmarks, I
built up the feel of the brighter foreground.
Each part became progressively shaped until
the scene began to emerge. In some places I
used neat cadmium yellow pale, permanent
sap green and titanium white to punch in a
solid, bright colour. I worked the painting in
its entirety, as opposed to concentrating on
completing only a small element at a time.
This usually helps to give the painting a
looser feel and a better balance 
p Low Tide, acrylic on Winsor & Newton Galeria canvas paper 140lb (300gsm), 9�9in (23�23cm).
I gradually built up the lighter elements, ending with titanium white with no water added for the
most reflective parts
Materials
I used a few simple materials for the painting,
including Winsor & Newton Professional
acrylic and matt medium
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30
WATERCOLOUR T E CHN IQUES : 1 s t o f 3
www.painters-online.co.ukSummer issue 2018artist
In the first of three articles, Robert Brindley demonstrates
the importance of planning a watercolour landscape painting using
reference sketches, photographs and a painting of the same
subject made in a different medium
Plan your painting
W
atercolour’s fluidity and
transparency allow the artist
to interpret a range of
subject matter. Scenes
where the light is hazy make perfect
subjects. The ability to capture mood
and atmosphere is vital to the success
of any painting – observe how detail
and colour are reduced, the masses
simplified and the tones invariably
have little contrast. Diffusion, achieved
by working wet-into-wet, creates
atmosphere and helps to eliminate
detail. The edges may also appear to
be generally soft, although it is
beneficial to make the edges in and
around the focal point a little sharper. 
Drawing and composition
Good drawing is essential for the
success of any painting, especially for
more structured subject matter such as
boats and city/street scenes, where
perspective also comes into play. The
compositional arrangement determines
the focus of the painting, and results in
a harmonious design that is both
aesthetically appealing and
communicates with the viewer. A strong
focal point is essential.
The selection of the best position to
paint from can have a strong influence
on the elements within the picture. It
can also influence the viewer's
interpretation of the subject. Consider
painting from elevated positions or
lower viewpoints and be aware that in
some instances a subject and focal
point can carry moredrama when it fills
the frame. 
Lighting as a
compositional element
Light is an important consideration, and
the interplay of light and shadow is of
particular value – it can make a
considerable difference to the message
you convey. Full sunlight can highlight
texture or interesting features; strong,
low light creates long shadows and
wonderful opportunities for design and
composition. Winter light also produces
long shadows that will invariably be
more subtle in terms of tone and
intensity of colour than summer
shadows.
Major shapes and tones
A sound use of major shapes and tonal
areas underlies all successful paintings.
These forms are more easily assessed
by squinting your eyes to eliminate
some detail, colour and texture, thus
reducing the subject to a series of
abstract shapes and tonal changes. The
tonal changes and important shapes
will subsequently become more
apparent. In time, this process will
become almost second nature.
p This sketch considered composition, tonal arrangement
and the elimination of all unnecessary detail for the painting 
u This plein-air oil was painted with a limited palette of
colours and proved extremely useful as a reference
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PRACTICAL
Summer issue 2018 31artist
DEMONSTRATION Autumn, River Esk
MATERIALS
l Arches 300lb Not watercolour paper
l Escoda Perla Nos. 6, 8 and 12 rounds, Pro Arte
Acrylix series 203 No. 2 rigger
l Winsor & Newton, Daniel Smith and Holbein
artist-quality tubes colours: raw sienna, raw
umber, burnt sienna, cobalt violet, cobalt blue,
cerulean, ultramarine blue, permanent
magenta and viridian
l Masking fluid, 2B pencil
This river scene was painted from sketches and a
plein-air oil (page 30), painted on a beautiful,
hazy autumn afternoon. The ability to portray
water convincingly is no easy matter, but when
achieved successfully the rewards are great. My
inspiration came from the warm, autumn colours,
the light on the water and the strong focal point
centring on the illuminated, riverside house
p STAGE ONE
Using a 2B pencil, I drew the composition paying
particular attention to the buildings in order to ensure
correct placement of colour and tones when applying
the wash. Using an old Pro Arte Acrylix No. 2 brush, I
applied the masking fluid accurately to the highlights
and also the mid-tones, which are surrounded by darks
u STAGE TWO
I prepared five or six warm and cool colour pools – my
first guess for the initial diffused wash – and
introduced the colours as quickly as possible, generally
from light to dark, working as wet as possible. Don’t
worry about the washes diffusing into each other as
this creates the underlying looseness and atmosphere.
When the paper was thoroughly dry I removed the
masking fluid. I used these mixes for the entire
painting, with only minor adjustments: cerulean plus
aureolin; cerulean plus raw sienna; cobalt blue plus raw
sienna; cobalt blue plus raw umber; burnt sienna plus
cobalt blue and cobalt blue plus permanent magenta
(used for buildings). I also introduced neat cobalt violet
into the wet washes to add variety
It's worth remembering that, after
composition, tone is all-important. You
can be slightly adrift with the use of
colour, but never with tone.
Observation and reference
I recommend painting en plein air on a
regular basis; by doing so you will
develop an aptitude for making more
accurate observations than by working
from photographs alone. Photographs
are a useful source of information but
should be treated generally as memory
joggers, as they can be extremely
misleading in terms of tone, colour and
recession. When painting from
photographs you may also find it
beneficial to use a preparatory sketch,
or tonal thumbnail sketch that has at
least three values. 
I have stopped making preparatory
sketches as, with experience, I seem to
be able to make decisions as I paint,
which I could never have done years
ago. But until you feel confident
enough, my advice would always be to
sketch and plan first.
When information gathering outdoors,
analyse the subject; look carefully into
shadows, and be aware of the subtle
changes of warm and cool colour, which
is often overlooked. Also, be wary of
superfluous detail, which you may need
to eliminate in order to achieve a
simpler subject. By understanding the
many problems encountered when
painting from photographs, their use
becomes more valid.
Choice of materials
The paper you use can have a strong
bearing on the success of your painting.
Broadly speaking, each manufacturer
produces paper in three quite different
finishes, so it is important to select the
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32 www.painters-online.co.ukSummer issue 2018artist
q STAGE FIVE
I painted the grasses/reeds and weir, using
mixes of cobalt blue, permanent magenta,
cobalt violet and raw sienna. Once again, I
took care to achieve variety of colour,
together with soft and hard/lost and found
edges. Some of the hard edges from the
masking fluid were softened with a clean,
damp brush. Harsh lights, also created by
using masking fluid, were carefully painted
over with a transparent glaze of cobalt blue
plus a touch of raw sienna
u STAGE FOUR
I painted the large, left-hand tree using mixes
of cobalt blue, ultramarine blue, permanent
magenta and raw sienna. I took extra care to
achieve a variety of soft and hard/lost and
found edges
t STAGE THREE
I developed the buildings and main areas of
foliage. I strengthened the original mixes
where necessary and created variety by
placing warm against cool colour. Before
taking the painting any further, with great
care, I softened some of the hard, unwanted
edges created by the masking fluid using a
damp brush
right one for the job in hand. I favour
either Arches or Saunders Waterford,
Rough or Not, depending on the
subject. I never use HP as I find it too
smooth for my technique. I
occasionally use a grey or buff-tinted
paper made by Two Rivers, which is
superb for achieving moody,
atmospheric subjects. 
Brushes are available in a vast array
of types, sizes and shapes for different
techniques and individual styles, so
selection is very much a personal
matter. I favour small, round brushes
and use Escoda Perla Nos. 6, 8 and 12.
In addition I have a Pro Arte Acrylix
series 203 No. 2 rigger and a 15mm
squirrel mop.
Price can be major consideration
when considering the purchase of
pigments. However, the intensity and
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www.painters-online.co.uk Summer issue 2018 33artist
p FINISHED PAINTING
Autumn, River Esk, oil on board, 93⁄4�133⁄4in
(25�35cm).
The foreground grasses/reeds were painted
as before and transparent glazes of cobalt
blue plus permanent magenta were applied
to the shadowy areas of water. Very
transparent glazes of pure cobalt blue, cobalt
violet and raw sienna were applied to the
entire background, diffusing the previously
applied washes and creating a hazy
atmosphere. Finally, all the small details such
as branches, twigs etc were added
Robert Brindley demonstrates his techniques as
he captures the sparkling light on Venice’s
Grand Canal in this short video clip:
https://painte.rs/2IqjYiv
Next month: Develop your wash and
glazing techniques
Robert Brindley
is a member of the Royal Society of
Marine Artists and is the current archivist
for the society. As well as the RSMA he
has exhibited with the Royal Institute of
Oil Painters and the Guild of Aviation
Artists. He holds an annual exhibition in
Whitby, gives demonstrations and tutors
workshops for art clubs. Robert has
written three books, including Painting
Landscapes in Oils published by Crowood
Press, www.crowood.com and has four
DVDS, available from Town House Films,
telephone 01603 782888;
www.townhousefilms.co.uk
robertbrindley.com
permanence of artist-quality paints is
far superior to the student-quality
colours. I use artist-quality tube colours
by Winsor & Newton, Daniel Smith,
Holbein and ShinHan.