Chelsea Magazine

Art & Architecture
Artists & Illustrators

Artists & Illustrators August 2020

Artists & Illustrators is the UK’s best-selling magazine for artists and art lovers, providing advice and inspiration every month. Published for almost 25 years, each issue of Artists & Illustrators contains a colourful palette of profiles and features, together with valuable practical ideas, expert technical advice and useful product tests. Whether you favour oils or watercolours, portraits or landscapes, abstract art or botanical illustration, Artists & Illustrators brings a refreshing blend of creativity and advice every four weeks throughout the year.

United Kingdom
Chelsea Magazine
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13 Issues

in this issue

1 min.

Dear reader, I think I need a holiday. I hadn't realised this until right towards the end of putting this issue together, but much of the subject matter you are about to read and hopefully enjoy has clearly been assembled with one eye on sunnier climes and new horizons. Blame it on more than three months of lockdown, we all needed a splash of colour in our lives and art is such a wonderful vehicle for this. Our cover and masterclass this month features Aine Divine's attempt to capture a little flamenco spirit in a life class, while Grahame Booth has used pen and wash to sketch out the perfect staycation in the Cotswolds. Even our choice of featured artists stretches a little further afield. Bryan Mark Taylor hails from the US…

2 min.

TOP CLASS I would just like to put on record how much I enjoyed the article by Terence Clarke [Masterclass, Issue 418]. It was a beautiful painting of a vase of flowers and following his instruction I managed to replicate it really well [below] and learnt some useful techniques. It would be good to have further articles by him. Dee Scott, via email ROCK SOLID IDEA I just read July’s letters page and thought you might like to hear how I am filling my lockdown time. I still work as a bank cashier but with greatly reduced hours. While I was walking in a local park with my dog in March, I noticed painted stones had been placed around the area and thought it was a lovely idea. On my next walk through the fields…

1 min.
the little things

Lockdown has been a time to delve into areas of artistic endeavours which may not have happened if it had not been for Covid-19 (not that anyone would wish it to have taken place). It has given us a break from normal day-to-day life. Hurray for Artists & Illustrators and the many splendid articles it has produced. During this period, I have returned to miniature painting. Although the articles in your magazine have proved to be beneficial, working in miniature has its challenges. Changing from working on 20x30cm canvases down to 2x3cm has been a different ball game in many respects. Scaling down and choosing what detail to leave out without spoiling the overall topic requires a lot of trial and error, but I had some success. Would it be possible in…

1 min.
what is counterchange?

A difference between adjacent tones on the picture plane helps to define spatial relationships, showing that features lie one in front of another. The pencil lines drawn for a composition usually demarcate where the eye discerns individual objects, a perception which is due largely to tonal register. In principle, therefore, there should be an exchange of relative tone either side of a pencil line. This lighter than/darker than counterchange sets up the illusion of space between objects overlapping on the picture plane. If your painting looks flat, the way to give it depth and contrast is to increase and even exaggerate the counterchange, darkening the tones against lighter tones and vice versa. Having established individual areas of tonal exchange, make sure the overall balance makes visual sense, with the tones in the…

4 min.

In this mosaic of alternating tones, light is contrasted against an adjacent darker tone and vice versa, so that the eye can clearly comprehend what lies in front and what lies behind. It can help to see features in the landscape as geometrical shapes one in front of the other. Here a pile of rocks similar to those in the painting below has been approximated to a wedge, hemispheres, a cube and a cylinder. View this painting from left to right to see how the relative tones of one rock beside the next enables us to believe that one is in front and another behind, even though we know the painting is a flat piece of paper. PACK IT IN Four of the best carry cases for artists 1. ARTCARE PREMIER PORTFOLIO This ring-bound case comes…

6 min.
fresh paint

June Collier Presence in figurative art is an underappreciated quality. It takes a certain skill to conjure the feeling that you’re not so much looking at a painting as simply viewing the real person through a veil daubed with pigment. Stand and stare at a Rembrandt portrait or one of Lucian Freud’s later works, for example, and one can’t escape the sensation that the subject is lurking somewhere behind the canvas, obscured from view by a few choice brushstrokes. The same could be said for June Collier’s work. Hers is a brand of figurative painting steeped in raw human emotion, so much so that if you stood close to one of her canvases, you’d swear you could hear them breathe. Portrait of Phil IV is one of at least nine finished oil…