New Artist Summer 2016

Welcome! We're very happy to be combining our two favourite pastimes-being outdoors and painting- in this second issue. With the summer months ahead of us, now is the time to try en piein air painting; allow nature's light, colour, sights and sounds to seep into your artworks while you relax into your creative flow. We look at portraits and still life too, and enjoy the convenience of the subject matter with a range of artists working in different mediums. Beginners, 'don't go anywhere without your sketchbook' is this month's mantra; take them on holidays, walks and weekends away. And take inspiration from the beautiful, detailed examples featured on our pages, then find your own way of recording the elements that connect with you. Have fun! Editor/Art Editor…

1 Cap, sunhat, sunshade… Don’t forget your sunhat! Having travelled to your spot and anticipated a fine session painting, you don’t want to wilt in the heat. 2 Painting board A clipboard is useful to keep your paper in place. Artist Jem Bowden made this one using a plastic board and bulldog clips. 3 Carrying case for your paints Store your tubes of paint and pencils (and rubber and sharpener) in a pencil case style container. If it’s see-through it’ll be easier when you’re rummaging around to find a particular colour. 4 Portfolio Protect your artwork in a portfolio. A cheap plastic one will do the trick, get one with a handle if you want to carry it separately, and make sure it’s big enough to take your painting board…

MATERIALS • Bockingford 425gsm NOT paper, half imperial size, 38 x 56cm • Winsor & Newton Professional Watercolours: Winsor Blue (Red Shade), French Ultramarine, Light Red, Indian Red, Raw Umber, Burnt Umber, Cobalt Turquoise • Medium/large squirrel mop brush, and medium Chinese goat and rabbit hairbrush • Palette with large mixing areas • Easel – Reeves’ Sheffield field easel Before I start to paint, I use a cheap camera as my ‘sketchpad’. On arriving at a location I explore, having a good look from various vantage points and considering the practicalities of painting from each. I take photos, using the camera viewfinder to compose with. Among other things, I often look for distinct foreground, mid-ground and distance so the composition will have depth. I then review the photos to find…

Painting outdoors on location, or ‘en plein air’ can be one of the most inspiring and rewarding experiences for an artist. As a landscape artist and tutor I always encourage people to try it, because to me it is invaluable, as well as being my greatest pleasure. For those new to it, however, the prospect of taking your painting gear outside, and working in public view can be quite daunting. Luckily there are a number of things you can do to help ease yourself into a situation where you will soon be seeing the benefits to your painting, as well as thoroughly enjoying yourself. Enjoying the process Some artists paint outdoors as often as possible, and others never. Some use it to make ‘studies’ for more finished work undertaken at…

BATSFORD We’ve teamed up with Batsford to offer all New Artist readers a 20% discount across a fantastic selection of new art books! From painting and drawing for beginners, through mastering specific professional techniques, to colouring-in and collage, there is a book in the range to suit most people. For further details visit www.batsford.com. Then call the telephone number below and quote the special offer code BATSFORDNA20 for your discount on any of the books. Call 0844 576 8122 and quote offer code BATSFORDNA20 Colour Your Own Monet & the Impressionists (ISBN 9781910904756) £9.99 Learn Drawing Quickly By Sharon Finmark (ISBN 9781849943109) £9.99 Collage Carnival By Lizzie Lees (ISBN 9781849943086) £12.99 Colour Your Own Dutch Masters (ISBN 9781910904398) £9.99 Learn Oils Quickly By Hazel Soan (ISBN 9781849943116) £9.99 Colour Your…

Indian Daily Life: a step-by-step guide Implying the background structure will allow the viewer to form their own interpretation. I had this reference photo of two women struggling with a heavy sack. Using sketches and photos on the trip I start to develop my composition. MATERIALS • Arches NOT surface paper 300g (140lb) • Artist watercolours in tubes • Brushes – 1.25 Flat, 5, 8 & 12 Round, 1 Swordfish • Framer’s tape • Old butter knife • Atomiser As artists we have to decide what subjects make us want to put paint to paper to capture our vision. We need to show the viewer why we chose this particular theme. Tip: it’s best to avoid painting subjects you know nothing about as this will be obvious in the result!…