T H E

N E W S L E T T E R

O F

T H E

S A A

SAA at Your Service

The perfect Christmas gift

A Question of Art
Put your artistic
knowledge to the test

Flooded Fields
Capture the atmosphere of a damp
winters morning with Rachel McNaughton
w w w. s a a . c o . u k

NOVEMBER 2011

WELCOME

Welcome
to your November issue of Paint!
In this issue you will find articles to
inspire and entertain you, with
tuition and advice from leading
artists on everything from wintery
watercolour landscapes to basic
pastel animal sketches.
Dont miss
The final selection of your entries for this years
SAA Challenge on page 3. We have so enjoyed
seeing your wonderful self portraits this year,
and there are many more on the SAA website. A
new Challenge follows in the next issue.
This issues Members Gallery also includes
some beautiful work on the theme of The
Power of Love. Turn to page 24 to see the
entries picked for Paint, and dont forget that,
again, you can see many more paintings from
fellow members on the website. The theme for
January is Endurance and you have until 9th
November to submit an entry.
This issue is packed with fantastic
competitions. We have a painting holiday with
Art Holidays in Dorset to offer one lucky reader
turn to page 37 to find out how to take part
and on page 31 we are offering you the chance
to put your own interpretation on a photo weve
taken. You can paint or draw in any medium,
using as much artistic license as you like - the
winning entry will be included in a future issue
of Paint, with the artist receiving 40 worth of
materials from SAA Home Shop.

Were featuring our Christmas anagram

competition again this year: hunt down the
Santas in your enclosed Home Shop catalogue
and be in with a chance of winning a prize by
deciphering the anagram find your clue on
page 15. There is also the chance to win
a wonderful artistic goody bag in What
Could be New for You? on page 43.
Once youve entered all the competitions,
you may even have time to follow some
of the inspiring tuition articles in this
issue! Try your Hand at Gently Falling
Leaves with Sue Ellen Wilder on page 8,
be encouraged to experiment with
coloured pencils with Malcolm Cudmore
on page 12, and put aside your fears about
painting people in watercolour with some
helpful advice from Trevor Waugh on page
22.
Finally, if youre in search of inspiration for your
art club, our Club Together pages on page 44
and 45 feature news and events from art clubs
across the country, and the artists featured in
the Introducing pages are happy to be
contacted by clubs looking for demonstrators.
Similarly, our Professionally Speaking pages,
which start on page 34, feature local art clubs
looking for professional artists to run
demonstrations or workshops, and on page 36
the subject of this issues In the Picture is Geoff
Kersey, who tells us all about his artistic
journey.

The SAA
PO Box 50, Newark, Notts, NG23 5GY
Tel 08458 770 775 Fax 08453 007 753
Overseas +44 1636 643 500
email: saa@saa.co.uk
www.saa.co.uk

Last but by no means least, page 19 carries

some exciting news about plans for Its all
about Art 2012 see if we are coming to a
town near you and make sure you pop the dates
in your diary!
Until next time, Happy Christmas, Happy New
Year and, above all, Happy Painting and dont
forget to keep in touch!

Chandy Rodgers

Keep in touch by e-mailing:

paint@saa.co.uk or write to or telephone
Head Office
Chandy
Rodgers

Sarah
Edghill

Kate
Mincher

Publishing
Editor

Assistant
Editor

Contributing
Editor

Advertising booking and enquiries:

Telephone 08458 770 771
or email advertising@saa.co.uk

Some other great ways to chat to other members, and see what is happening in the SAA include:
Facebook: www.facebook.com/SocietyForAllArtists Twitter: www.twitter.com/The_SAA Blog: http://blog.saa.co.uk

12

22

Contents

Front Cover Picture

10

by Paul Knight (75417), Always By

Your Side, pastel, 46 x 38cm

11

12

Ask the Experts

Some tips for tackling animal
portraits

28
2

PAINT November 2011

32

The Results ...

See how you fared painting A
Summertime Puffin with David Hyde

Getting to the Point

Malcolm Cudmore illustrates what
can be achieved with coloured pencils

An interview with Paul Knight

Art Helps
Meet two of this years SAA Bursary
winners

SAA Challenge 2011

Front Cover Artist

SAA at Your Service

The perfect Christmas gift

Self Portraits

Try Your Hand at

Gently Falling Leaves with Sue Ellen
Wilder

15

A Question of Art
Put your artistic knowledge to the test

16

Artists Library
Join Henry Malt for an update on
some of the latest art instruction
must haves

This Years SAA Challenge

Self Portraits
As we draw to the end of this years
Challenge, we have been
overwhelmed by the number of
fantastic entries, and have so
enjoyed seeing all your
portraits. Sadly we can only
feature a few here, but do visit
the website (click on the
Competitions tab) to see many
more of your fantastic
paintings
Several readers have been
encouraged to complete self
portraits with the support of
others at their art clubs,
including Tricia Burton, who
joined a club in Milton
Keynes last year and is
delighted to have discovered
pastels.
Ian Stevenson took our
Challenge along to his art
group, Swansea Artists Circle,
and made it the subject of
one of the sessions. We
decided the self portrait had
to be doing something, so it
had an amusing slant, he
says. Some members were
painted combing their hair
or putting on make-up. Mine
is entitled Showtime Ian, in
which Im shaving!
June Norman also gave her
self portrait an unusual slant.
Is this even considered a
self portrait? she asks. Or
is it really a still life of a
bathroom mirror I just
happen to be standing in
front of?

18

Tricia Burton

Ian Stevenson

Artistic License On Show

Its all about Art

26

Artist of the Year

More winners from 2011 and
launching The Artist of the Year
2012

22

Painting People in
Watercolour
Trevor Waugh shows how to
put realistic figures into your
paintings

24

Paint Gallery
The Power of Love

Phil Watson

Oils for Beginners

28

Pastels for Beginners

Vic Bearcroft takes us back to basics

30

My Favourite Colour
Find out why Wendy Jelbert
couldnt be without Olive Green

31

32

Our Photo, Your Painting

Alma Doyle attempted her portrait in

charcoal and chalk on a grey Ingres
pastel paper. I
decided to draw head
on with a strong light
coming from one side
so that I would have
lots of shadows, she
explains. I left it in
the kitchen so that I
could look at it, and
found it a good idea
to do a bit of
Hoovering and
dusting, then add to
the portrait, then do
Alma Doyle
some gardening! Each
time I came back to
draw I could see what
I needed to do next.
Thank you for the
challenge!
Last, but by no means
least, is Tony Pearce,
whose wonderful
portrait was done in
pastel.
Unfortunately, he
admits. My colour
really does get this
high!

Tony Pearce

Our thanks to everyone who took part

in this years Challenge. As always well
send an arty gift to those whose work
weve been able to feature, and dont
miss details of the 2012 SAA Challenge
in the next issue.

34-37 Professionally Speaking

Alix Baker discusses pricing your work 34
Art Clubs Need You! 35
In the Picture Geoff Kersey 36

Paul Apps looks at how to compose

a painting that works

On the road for 2012!

20

Phil Watson sent us two self portraits,

one in watercolour (featured here) and
one in soft pastel. I am self taught
and approach my work in an
unconventional way, he says. The
portraits
from start to
finish only
took about
45 minutes:
speed for me
is important,
it makes the
painting
more
enjoyable,
less stressful,
and makes me
more positive

June Norman

Three members of the SAA

share their interpretation of a
favourite scene

19

Lies
Lies Parrish
Parrish
started painting
in Summer 2007,
and attempted
her first portrait
two years ago.
The SAA
Challenge has
inspired me to do
a self portrait
after Id only been
painting my own
family, she says.
This is Artisan Oils on canvas, and I
used my photo as a reference for the
composition. But I used artistic license
to change the colour of the clothing
and a mirror to study my face. I am
pleased with the likeness.

and less fussy. But I always go through

an unsure period with a portrait, where
I seem to push blues, reds, purples,
siennas and ochres into the painting in
the hope that things will go smoothly,
plus too much water, which results in
plenty of runs, lifting out colour and
frantic drying sessions. But in the end
it all seems to work.

38

Of Course You Can

More reasons why you should consider
taking a painting holiday!

40

Dates for Your Diary

Whats happening and where?

42

Lets Reflect
Letters and more

Show us how youll interpret this

photograph

43

Flooded Fields

44

Capture the atmosphere of a damp

winters morning with Rachel
McNaughton

46

What Could be New for You?

A special Christmas stocking

Club Together
Whats happening at a club near you?

Introducing
Some SAA top tutors

Teaching Art Ltd. Registered in England No. 1976314. Registered Office: 2nd Floor, 27 The Crescent, King Street, Leicester LE1 6RX. Designed and reproduced by DigitalStone, Unit 1, Sleaford Road Industrial Estate, Bracebridge Heath, Lincoln LN4 2ND Tel: 01522 800816

November 2011 PAINT

PROFILED

Front Cover Artist

Name:
Age:
Lives:
Medium:
Cover Picture:

Paul Knight
46
Mansfield, Nottingham
Pastels
Always by your Side

Are you an amateur or

professional artist?
Im an amateur, but as a mature art
student Im studying Fine Art - I have
set myself a goal to develop into a
professional artist. I am also doing a
project that aims to show my
development as an artist over a period
of time, and Im recording details of this
in a journal that will feature on my
website and show my progress in
'Astarvinartists guide to becoming an
artist', showing pitfalls and successes as
they happen.

What generally inspires

you to paint?
I have always had a keen
interest in art history and two
critics, art historians, writers and
TV presenters - Andrew GrahamDixon and Waldemar Januszczak
- have given me a great insight
into the hidden meanings and
development of art. Through
their experience and knowledge I
have learned to look at and read
paintings in a deeper way. I hope
to develop my language of
expression from the lessons and
techniques of former artists and to give
a deeper emotional representation of my
subject rather than just a visual
representation.

When did you start painting?

I have always painted or drawn, mainly
in doodle form to relax. About four years
ago a friend told me about an
international art magazine that holds
online entries. I produced 'The Man from
the Land Down Under', and to my
surprise almost two months later I
received an email stating that the piece

Arabian Knight, 30cm x 40cm

was one of the finalists and would be

entered into a future edition. However,
that never happened and I realised that
without accreditation some people do
not see you as having any credibility, so
that gave me the incentive to achieve an
art qualification.

Who is the spaniel in Always

by your Side?
Always by
your Side,
38cm x 46cm,
on this issues
front cover

Two friends had Chester, a springer

spaniel who was around 18 months old.
He suddenly developed an acute
abdominal problem similar to several
other dogs that had been possibly
poisoned (by man or by natural fungal
toxins) in a nearby wood. Unfortunately
Chester had to be put to sleep. Neil and
Jo were aware that I painted and asked
if I would do a portrait, which I was
happy to do, but knowing how upset
they were it somehow seemed more
difficult than a regular piece. I decided
to attempt a more expressive piece,
rather than a realistic portrayal. I had
recently done a piece using the colours
Pan 51cm x 40cm

I'm Hungry 25cm x 20cm

PAINT November 2011

For My Sake 25cm x 33cm

of Michelangelo's sky scene in the

Sistine Chapel as an expression of Spirit
and an earth brown to represent the
body in 'The Man from the Land Down
Under' and thought I'd attempt the same
in this piece. Although not as obvious, I
believe it successfully carries Chester's
spirit within the strokes of colour whilst
retaining a portrayal of him from life.

What is your favourite

medium?
All my pictures here are pastel, but my
favourite medium changes from oils,
pencil, charcoal, and currently acrylic.
It's like my favourite artist: one day its
Caravaggio the next it's Sir Kyffin
Williams.

Do you paint in situ or work

from memory or photographs?
Mostly I work from photographs as I find
I always need reference to achieve a
good likeness. However I am currently
setting up a large piece which is totally
original and developed from numerous
imagined ideas, and I hope to enter this
The Man From the Land Down
Under 35cm x 46cm

ASK THE EXPERTS

professional artist who would like to

approach the local council with the
suggestion of using one of the many
empty town centre shops as a gallery
and art group to support and promote
local interest and talent.

Do you exhibit and sell your

work?
I sell my artwork on a regular basis to
build up my materials, learning aids and
to fund my degree course. I mainly sell
online or privately but have sold in
several galleries.

Have you always loved painting

portraits?

Cobain Derwent pastel pencil,

25cm x 31cm

into the 2012 RA Summer Open in an

attempt to raise my profile.

How and where do you work

best?
I work best in the early morning in my
makeshift studio, which is only small but
has a large window which allows in
plenty of natural daylight without any
strong sunlight until late afternoon. A
cup of strong coffee, first morning light
and the Radio 3 breakfast show seem to
work every time.

Do you belong to an art group?

At the moment no, but it is something I
am interested in. Im in discussion with a

I've always painted portraits of people

or animals as I am interested in
expressions given by facial features they can give so much more feeling than
an inanimate object. And I believe I am
more successful as an artist in these
categories than I would be in still life or
landscape.

How long have you been a

member of the SAA?
I was keen to have a resource that
provided me with a full range of
materials, learning sources and tools at
a price that helped me keep costs low
and the SAA ticked those boxes and a
lot more. It also provided me with free
postage, and Paint is a fantastic source
of inspiration and gives a great sense of
belonging to the Society of All Artists. So
it was a no brainer: I signed up to basic
membership in 2009 and within a year I
became a Gold member.
Here There be
Ghosts 40cm
x 35cm

Spanish Heat
51cm x 40cm

Ask the Experts

There is often no right or wrong answer to a
question about art all artists will find their
own way to tackle a problem. Here we ask
some of our Professional Associates to use
their experience and knowledge to suggest
ways to solve your artistic dilemmas
Q I would love to be able to sketch and paint my dogs (a
spaniel and a labrador) but I struggle to get the perspective
right. Any basic tips to help me get started with animal
portraits?
Keith Brown
Julie Nash believes that Keith is having problems because of his
choice of angle and viewpoint. Many people make the mistake
of looking down on their dog when taking photographs, but this
gives an unnatural perspective. Get down to the same level as
your pet so you can look them in the eye. It is quite difficult to
draw animals from life as they will not pose for you, so try to do
quick sketches aimed at capturing the essence of the pose, then
use photographic reference for more detailed work.
www.lickychickstudio.co.uk
Susan Neale believes the key to success is visualising the
image as basic geometric shapes. A labrador's head can be
seen as a series of squares or boxes, especially the ears, muzzle
and nose. Measure distances from one area to another using a
ruler or pencil; for example, measure the distance between the
eyes, then the width of each eye, then the distance between the
eyes and the ears. Once the proportions, basic shapes and
angles have been established, you can 'relax' the drawing and
draw more fluidly.
www.thehayloftstudio.com
Evelyn Rowland always tells her students to draw with one eye
shut! By doing this you flatten out the shapes and remove all
confusion over where which line meets what.
www.evelynrowland.co.uk
Liz Allen recommends giving careful consideration to the
animals pose. I like to take several photographs from different
angles. I then ask myself questions like, are the eyes clear and
evenly set? I find it works best if I start my drawing from the
eyes then work my sketch around them. You might find it easier
to draw the head side-on because its hard to get perspective
right when the dogs nose is foreshortened as it is when looking
straight on to the face. There is a stage by stage example of one
of my dog paintings on my website that you might find useful.
www.paintingbreaks.co.uk
Victoria Parsons says that getting the tones right can make all
the difference. The play of light tones against dark tones will
produce distance. I always start with light, medium and dark
tones to set up the form, increasing the strength and variety of
tone around the muzzle and the eyes, following the animals
bone structure; this will produce a three dimensional effect.
Placing shadow in an open mouth will produce depth. I like to
apply a dark tone to the background as well, as this brings the
face forward.
www.victoriaparsons.co.uk
Michele Field believes its vital to take the right photograph. I
try to get a picture of the dog with his mouth closed and tongue
in, with his ears up and looking intelligent, and take an extra
close-up of the head if you intend to paint the whole dog. Start
with the nose and then work out; draw some guide lines on your
photo and use a ruler to line the eyes up as there is nothing
worse than one eye half way up the forehead. Painting a dog
portrait for me is a very slow process, using acrylic paints, and I
usually end up using a fine 0 brush and add in almost every hair
I can see until gradually the dog takes shape.
www.saa.co.uk/art/michele
Thank you to our PAs for their advice, do take a look at
their websites to see examples of their work. If you
have a question about art, get in touch with us at Head
Office (marking your letter Ask the Experts) or email
sarah@saa.co.uk

November 2011 PAINT

PRACTICE RESULTS

Try Your Hand at...

A Summertime Puffin
You tried and here are some of the results
Evelyn Pugh
Your choice of paint, working from
what was available in your palette,
works perfectly.
The blue background works very well.
You are right with your observation
that the body is a little elongated a
charming picture none the less.

David Hydes picture featured

in the July issue

Thank you for submitting your

paintings of a Summertime Puffin
following David Hydes
demonstration in the July issue of
Paint. Here is a small selection with
comments from David

Mary-Anne Boudreau
A really charming picture.
Your fresh, simple style works very
well indeed.
Your puffin has a lot of character and
strength.
Great tonal contrast. You husband
was right persuading you to send it
in. We look forward to seeing more of
your work.

Thank you to all of you who sent in your puffins

- I was overwhelmed by the response to this
demonstration and am sorry that I am not able to
show more of your paintings here

Bobbie Glen
A really charming picture.
Your strong, colourful style works very
well indeed.
Your puffin has a lot of character and
strength.
The picture has good tonal contrast.
You have cropped to a different
proportion very successfully.
Very well done.

Colin Keyser

Carole Oldfield
A very competent painting. Lovely strong
background. The rock looks a little formal
but extremely well painted. The square
format works very well. It is a charming
picture and any problems you feel you had
with the painting are certainly not
apparent here!

PAINT November 2011

A competent watercolour, but I agree

with your comments that it is a little
overworked in some areas,
particularly the background. None the
less, a charming picture.
Practice is the answer, as you suggest,
which will serve to increase your
confidence. Dont be afraid to crop a
little tighter, a squarer format works
well with this painting.

George MacGregor
Your choice of colours works
perfectly, a charming painting of the
puffin. The head is a wee bit large
but it adds to the character of the
bird. The rock looks a little formal
but is nicely painted.
Dont be afraid to crop a little
tighter, a squarer format works well
with this picture.

Jean Treanor
A charming painting of the puffin.
The head is a wee bit small but the
painting has good tonal strength and
contrast.
Dont be afraid to crop a little
tighter, a squarer format works well
with this picture.
I hope you will enter some more of
your work in the future.

Kathryn West
A very competent watercolour.
Lovely strong background and I like the
darkening to the rock. The puffins head looks a
little small, otherwise great.

Ann England
A lovely picture, well painted.
Slightly flattened drawing of the
puffin has added considerable charm
to your painting. I also like the less
busy treatment to the rock and
background, great crop, suits the
image really well.
I was interested to hear that you
painted most of this painting in Gozo
in 40 C you seem to have
overcome any difficulties caused by
your watercolour drying too fast.

Loretta Oliver
Margrit Perrin
A really charming
picture.
Your strong,
colourful style works
very well indeed.
Your puffin has a lot
of character and
strength.
Good tonal contrast.
An out of the
ordinary painting
which is one of the
best submitted.

A very competent painting with a lovely

background. The rock looks a little formal but
is extremely well painted.
Well drawn, good tone and colour balance.
I like the 'portrait' format, the only one I've
seen so far.

To enjoy more of Davids work and for

information on Saturday workshops in
Cambridge, or holiday breaks, and to book
him for a workshop or demonstration for
your art club, visit www.davidhyde.org.uk

November 2011 PAINT

TRY YOUR HAND AT

Try Your Hand at...

Gently falling leaves with PA Sue Ellen Wilder
In this article Sue
Ellen Wilder takes
you on a gentle
wet-into-wet stroll
kicking up
beautiful autumn leaves
With summer a distant memory we can
still take great pleasure in the beauty all
around us as we home in on our
observations of the subtle changes and
sumptious colours in autumn foliage. As
you increase your sensitivity to your
surroundings you will find so many
beautiful things to paint; lovely patterns
and changing shades in everything
around you from doorways to clouds,
patterns on fabric or flowers and foliage
created by nature. And dont forget your
artistic license you cannot do it wrong
- this is your own artistic interpretation
not a photo.

Wet into wet

Autumn leaves provide the perfect
subject to allow wet paint to kiss wet
paper. Allow the water and paint to
flow and smile as things go their own
way. In other words, leave the paint
alone and let the water conduct it. One
of the most common mistakes I notice in
my students is their going back to the
same small area again and again. Try
giving yourself (and the paper) a break
and remember that space can lead to
freshness and vitality.

Materials
SAA Brushes:
2, 5, 8, 12 rounds
8 or 10 Filbert
SAA
watercolours:
Cadmium
Yellow
Cadmium
Orange
Burnt Sienna
Raw Sienna
Alizarin
Crimson
Light Red
Burnt Umber
Burnt Umber
Dark
Paper:
140lb Rough
Also:
Bamboo tool for
veins

All available
from the SAA
Home Shop
online at
www.saa.co.uk

Tip: When using more water for wet-intowet more paint is necessary. Try it on
scrap paper to get the right ratio and
consistency and to see how the colours
dry. Wet your paper first and pat it
gently to help the flow.
Try picking up two colours on the side of
your brush dont mix them up
completely allowing the different shades
to show, yet blend.

Draw a light broken pencil line

sketch of your leaf. This does not
want to be solid, dark or heavy.

Lay in a light wash of Cadmium

Yellow with a no 10 or 12 brush.
Allow breathing spaces of white paper
to twinkle through and give sparkle.
Resist the temptation to go over the
same spot again. Using the side of the
brush will give good coverage. Note
that some areas will have more or less
paint or darker or lighter Cadmium.

3
8

PAINT November 2011

Float on some Cadmium Orange

while still damp with the side of your

brush as in step two, and let one area

blend into another. The yellow can shine
through from underneath.
When the shine starts to go, do an
overlay while it is still damp, with
Burnt Sienna, Alizarin Crimson and or
Light Red. If you have a no. 10 or 12
filbert brush it is perfect to use. Let the
paint flow. Dont worry if the darker
areas are not exactly in the same place
as on the leaf you are looking at.
Smooth in with a small about of water
(shake your brush twice so that it is not
too wet). Try moving and tilting the
paper to help the watercolour flow.

5
4

While still damp, float on any

combination of Burnt Umber, Burnt
Umber Dark, or Warm Sepia. Usually
leaves tend to be darker towards the
centre. Try two colours together on your
brush. You could also add a touch of
Sap Green to one corner. Again try to
retain small areas of yellow or white
paper. With a bamboo tool or stick,
scrape in the veins of your leaf. If the
paint is quite wet you will get a darker
line. If it is slightly drier the veins will
come out lighter. The veins will not
work if the paper is completely dry.
Loose any edges by touching a damp

If you would like your painting to be

one of a small selection to be
considered for inclusion in Paint, with
a brief critique by Sue Ellen, please
send your work as a good quality
photo, copy or digital image (300dpi,
minimum 8cmx8cm) by email to
paint@saa.co.uk marked Autumn
Leaf. The closing date is 12th
December. We are sorry but we are
unable to return your paintings so
please do not send originals if you
need them to be returned.

Join Sue Ellen for an uplifting

creative workshop with individual
advice in her lovely garden
conservatory in NW London with
free parking - all levels welcome.
21st January, 18th February and
17th March.
Contact 0208 8307755
Sue.ellenwilder@virgin.net
www.sueellenwilder.co.uk
Sue Ellens DVD Flowers For All
Seasons available from
www.saa.co.uk

no. 5 brush to a damp edge of the leaf.

The water will conduct the paint
outwards just touch the edge gently
once dont go back to it. Add a stem
with a no. 2 brush (damp the area first)
with Raw Sienna and touch into some of
edges around the leaf with Burnt Umber
in just a few important places. Soften
the edge with a small amount of water
if necessary.

Try a leaf with a turned edge

Create a harder definition at the top of
a turned edge when the edge is
completely dry, shade in the damp
turned area with a light tone with only
one or two strokes with the side of the
brush.
Make sure you give yourself a relaxing
enjoyable time with this freedom
painting and a willingness to
experiment. We actually learn more from
our mistakes and can benefit from the
growth that can occur even if you are
outside your comfort zone. Keep in mind
the lightness of touch, not trying too
hard and no gritted teeth! Creative art
is uplifting so just let it happen and
enjoy the journey.

Leaf vein detail

A leaf with a turned edge

November 2011 PAINT

AT YOUR SERVICE

Give the gift of

SAA membership
this Christmas

A gift that lasts all year, creating

memories to treasure

More practical than socks and a hundred times

more exciting, SAA membership makes the
perfect present for everyone from complete
beginners to those with a passion for art.
Perhaps youve a friend you feel would really
enjoy painting and the sense of satisfaction it
brings, but hasnt yet given it proper thought.
Or maybe a relative has never considered
picking up a brush and yet they would really
benefit from the relaxation it offers, giving them
time for themselves. From just 37.50 for a
years membership it makes the perfect
Christmas gift.
As a member yourself, you will already know
about the many benefits you enjoy why not
let someone else enjoy the same benefits and
privileges with your compliments? Better still,
well give you 10 worth of SAA Loyalty Points
free as a thank you.
SAA membership is a gift that gives back all
year round, allowing members access to an
exclusive range of great value benefits
including:

The bi-monthly PAINT newsletter

Huge savings and discounts in the Home
Shop

Free UK delivery on all orders (UK

mainland only)

Plus we offer unbeatable service coupled with

our price promise that means if you find an
identical product cheaper anywhere else, we
will match the price. And don't forget that when
you spend more than 15 with the SAA, you
also earn SAA Loyalty Points.

Gift membership starts the day you make the

purchase and is valid until Christmas Day 2012
so the earlier you buy the more value you get!
You can also choose to either receive the
membership pack to present the gift yourself, or
we can send it direct to the recipient.

Free exhibition insurance

Free unlimited entries to the SAA Artist
of the Year competition

The sense of belonging to a worldwide

family of artists

...and so much more!

10

PAINT November 2011

th
10 wor when you buy
s
t
friend
Poin
ip for a
h
s
r
e
b
ly)
mem
bers on
em
(SAA m

See the leaflet in this issue of Paint

Call 08458 770 775 and quote CG11

Free gifts: new members will receive a

welcome pack including a free
watercolour book and 'paint your own'
postcards

A FREE u
o
gift foofrSAyA Loyalty

Whats more, its so simple to buy gift

membership and you dont even have to brave
the high street.

So for a hassle free, great value Christmas

present idea that definitely wont end up in the
recycling box the week after Christmas, look no
further than the SAAs range of memberships:

ART HELPS

Art Helps
The SAA Bursary scheme has now
been running for six years, and this
year there were so many wonderful
entries that it was decided to award
250 Bursaries to four worthy
winners. Here we tell you about the
inspirational work of two of them

Val Littlewood and bumblebee

Valerie Littlewood also won a 250 Bursary

for her Bee Inspired project. For the last two
years I have been drawing bees, firstly just one
in tribute to my dad, who was a beekeeper, then
a commission to paint a set of 16 bees, she
explains. During the research I learnt more
about these endearing creatures and got
hooked!

Janet Heard applied for a Bursary on behalf of

the Braintree Rethink Support Group, where she
has set up a successful art class for people with
mental health problems. Having painted since
childhood, Jans art became very important to
her a few years ago when she underwent two
serious operations. Having realised how much
art had helped me cope, I felt I would like to
help others in similar situations, she says. At
about this time I saw a small advert in our local
paper asking if anyone would be interested in
helping Braintree Rethink Support Group start
an art class for people with mental health
problems, such as schizophrenia, Bi-polar,
personality disorder and depression.

Last year Valerie, who lives in Grafham,

Cambridgeshire, held an exhibition in London,
Buzz A celebration of British Bees, and has
since set up a series of travelling shows
whereby she demonstrates her technique for
painting bees while encouraging people to look
at and learn from the natural world, hoping her
work will encourage them appreciate it.

She attended the inaugural meeting, met Trina

Wittaker the Chairman of the local Rethink
Carers Group, and immediately knew she
wanted to be involved. Three years later the
group is thriving, and in June Jan was delighted
to hear that her application for an SAA Bursary
had been successful.
The quality of work that some of our members
achieve is wonderful. We have held several
exhibitions and some members have even sold
pictures, she says. We are not a normal type
of class, where a teacher can instruct. Our
members have a range of mental problems and
they all need a different approach. Some have
ability and only require guidance, but some
have great hope with little ability and have to
be shown each step of the way. Some cannot
take instruction, but careful suggestion might
influence their work.

An exhibition by the Braintree Rethink

Support Group

Artwork by members of the Braintree

Rethink Support Group

The group currently has 18 members, but 44

people have attended over the years, and
students have even been referred to it by local
doctors and health workers.

I now want to start doing workshops and take

Bee Inspired to art groups, schools or
gardening clubs, wildlife societies or any group
interested in art and wildlife conservation,
explains Valerie. The response from people at
my shows has been wonderful and enthusiastic,
both in their wish to know more about the
technique and their wish to understand more
about the bees. Its a jumping off point for so
many discussions about art and life!
In the next issue well be featuring the other two
winners of our 2011 Bursaries and hearing how
their work and art inspired our judges

I deal with the art side and Trina deals with

everything else, which includes
running the group, fundraising
and social trips, says Janet. We
have had a Christmas dinner, a
trip to the National Gallery,
visits to Parliament and
Colchester Zoo.
Although the group is affiliated
to the mental health charity
Rethink, it has to raise all its
own funds, so Jan and Trina are
delighted with the 250 worth
of quality art materials they
will now receive, and hope
these will help members
improve their standard of
work. Its wonderful to see
the difference that art has
made to many of them, says Jan. They have
much more confidence, have made good friends
and really enjoy achieving.

One of Val Littlewood's bumblebees

How to enter
If youd like to apply for one of the 2012
Bursary awards, the scheme is open to all
SAA members whose goal is to inspire and
teach others to paint. To find out more, visit
www.saa.co.uk or call 0800 980 1123.

November 2011 PAINT

11

COLOURED PENCIL

Getting to the Point...

with coloured pencils
PA Malcolm
Cudmore extols the
virtues of coloured
pencils

Often dismissed as a serious fine art

tool, youd be surprised at just how
good the quality of modern coloured
pencils is and what fantastic results can
be produced with them - especially if
youve not used them since childhood.
Most CP (Coloured Pencil) artists work
by building layers of distinct colour and
tone using a variety of techniques
including scribbling, stippling and cross
hatching, using both the point and the
side of the coloured core of the
sharpened pencil. There are additional
techniques for blending and burnishing
the applied colour and some CP artists
also use solvents, brushes and heat to
aid the process. There are many
products available in a very wide range
of colours and shades. The pigments
used in the artist quality ranges are of
very high quality and, combined with
the use of archival papers and other
supports, are entirely suitable for serious
work that will not fade over time.
Personally, I prefer to use CP dry without
solvents. I usually work on smooth
papers or wooden panels which are
prepared with a hard, smooth surface
made up with several layers of gesso.
Whatever the support, I apply several
distinct layers of colour applied in a

12

Materials
Derwent
Artists Pencils
Canson Bristol
Board A3 (a
very smooth
surface)
Soft erasers
Electric
erasers
Soft brush for
removing
eraser debris
from paper
All available
from the SAA
Home Shop
online at
www.saa.co.uk

1
Grid and under drawing

loose, scribbling manner. I rely on

optical mixing in the eye of the viewer
for the final effect. The size of the
scribbling marks is determined by the
size of the piece Im working on. I want
the marks to be apparent but not to
dominate!

Good Luck Cork

The composition was originally planned
as an image for a change of address
card following our recent re-location to
Suffolk from Lancashire. It is based on
our familys habit of keeping champagne

corks for luck. Although I love to draw

and paint from life, CP can be very time
consuming. For practical reasons, CP
artists often work from photographs.
However, I only work from my own
photos and habitually use the
viewfinder as a compositional tool.
Once I was happy with the composition
and lighting, I transferred the basic
image by eye from a photo to the
drawing surface with a simple grid using
a graphite pencil. I erased the grid and
under drawing bit by bit as I worked. In
this case, I started on the cork and wire

First layers of colour on cork and wire

Background begun and some of my tools

PAINT November 2011

4
Background developing

first. Although I use colour, I really

consider myself a tonal painter. As
with paint, I have learned that certain
colour combinations will give me useful
grey colours - I also rely on these
combinations with CP. With Derwent
Artists Pencils, I usually start with Burnt
Umber and Ultramarine and then use
Bottle Green and Crimson Lake to build
up the essential tonal values. A
combination of all four gives me a
deeper tone which can be adjusted for
colour and temperature at a later stage.
For example, most of the silver effect
on the coin is achieved using Burnt
Umber and Ultramarine. It is the tonal
values that do the work. I generally
work with a limited range of colours as I
think this can give coherence to the
finished look of a piece.
Although it is possible to work with
great precision in CP, I try to avoid the
danger of too many hard edges in my
work. Therefore, I aim to keep my marks
as loose as possible and dont worry too
much about boundaries or the

The completed picture

colouring in of precise shapes. I keep

the scribbling of each successive layer
of colour as directionless as possible and
am always more concerned with getting
the tonal balance right - knowing that I
can always adjust and tighten things up
at the end. I do a lot of squinting at my
work and the subject to help me judge
the tones. Working dry on a smooth
surface has some advantages over
working on more textured paper; it is
very easy to remove marks using erasers,
in fact, my various electric and other
erasers are indispensable tools and
almost as important as the actual
pencils themselves. I adjust constantly,
making marks and modifying them with
the eraser paying very close attention to
where I need soft or hard edges or to
show subtle reflected lights.
Turn to page 20 of your Christmas SAA
Home Shop catalogue for details of
the new range of Artists Coloured
Pencils from Derwent.

About the artist

Although art was Malcolms
favourite subject at school, he went
on to train and have a varied career
in the performing arts, only to rediscover his love of art at the end of
the 1990s - starting firstly with an
adult education course and then
enrolling at Stafford Art College to
do a Foundation Course and then an
HND in Fine Art. He became the
resident Fine Art Practitioner there
and, later, became a tutor. Malcolm
and his wife have recently re-located
to the Waveney Valley on the
Suffolk/Norfolk borders where they
aim to establish home studios on the
outskirts of Bungay. Although he
still works as an entertainer from
time to time, Malcolm concentrates
on his artwork and is available to
teach traditional observational
drawing and painting techniques.
For more information visit
www.saa.co.uk/art/malcolmcudmore
or www.malcolm-cudmore.com
Malcolm is also the editor of
Talking Point, the quarterly
magazine of the UK Coloured Pencil
Society (UKCPS) - celebrating its
10th anniversary this year. With
over 500 members in the UK and
abroad, it aims to support coloured
pencil artists and promote the use of
coloured pencil as a fine art medium
- visit www.ukcps.co.uk to find out
more.

Ashness
Bridge as
featured on
the new
packaging of
the Derwent
Artists Range
of coloured
pencils.

November 2011 PAINT

13

QUIZ

A Question of Art
A Christmas quiz with an artistic slant for you to tackle from the
comfort of your home, or for the competitive amongst you, why not
take it along to your art club or society and set your fellow members a
challenge!
1 Who am I?

4 Infamous Artists

Unscramble these muddled artists!

a) Racoon Invalided
b) A aspic bloops
c) A hauling pug
d) Salad Overlaid

a) Which well known artist was the first

President of the Royal Acadamy?
b) Which English poet, painter and
engraver was one of the earliest and
greatest figures of Romanticism?
c) Which artist created quite a stir with
his 6 x 9 portrait of Queen
Elizabeth II?
d) Which artist might be considered by
some a genius by others a vandal,
who creates mystery through his
anonymity?

2 Colour Conundrums
a) What two colours make up the
complementary colour to red?
b) Which artist shares his name with a colour
of hair?
c) Historically what rather unusual ingredient
was used to create Indian Yellow?
d) What pigment has almost ceased being
used due to its health risks and from what
mineral was it made?

3 What am I made of?

a) What is the vehicle for pigment in
watercolour?
b) What animal family does sable come
from?
c) What is traditionally mixed with pigment
to create oil paint?
d) What kitchen ingredient would be found in
a Tempera painting?

6 A Source of inspiration
a) Which artist inspired the song Starry
Starry Night by Don McLean?
b) George Stubbs is best known for his
paintings of which animals?
c) Name two films inspired by painted
ladies?
d) The nightlife of the Montmartre district of
Paris provided inspiration for which 19th
Century artist?

7 Hide and seek

Where would you find these famous
works of art?
a) The Birth of Venus by Sandro Botticelli
b) The Laughing Cavalier by Frans Hals
c) The Fighting Temeraire by JMW Turner
d) The Last Supper by Leonardo da Vinci

5 Partners in crime
a) Which artistic movement was founded
by Georges Braque and Pablo
Picasso?
b) Name two artists at the forefront of
Fauvism?
c) Name two artists who advocated
painting en plein air?
d) For what unusual style of painting
were Seurat, Signac and Cross best
known?

We hope you enjoy answering these

questions. Please dont send in your
answers we will publish them in the
January issue of Paint. If you want
them early if for instance you are
using the quiz at your Christmas party,
e-mail us at paint@saa.co.uk
(subject A Question of Art) and we will
send them to you.

Christmas Anagram Competition

Take part in our Christmas Anagram Competition and you could win a mystery prize. All you have to do is hunt for ALL the
secret Santas hiding in your enclosed SAA Home Shop catalogue. Each one will be holding a letter; collect all the letters
and work out the anagram. You can email your answer to paint@saa.co.uk or write to SAA,PO Box 50 Newark, Notts,
NG23 5GY (marked Secret Santas). Please state your name, membership number and postcode. Happy hunting!

Clue: An impressionist artist whose work is replicated in a new book from the Ready to Paint series.
November 2011 PAINT

15

IN REVIEW

Artists Library
Book-wise, this is one of the strongest times of the year and there are some
really interesting and exciting new choices on offer. Whether you regard
yourself as a beginner or an intermediate painter, youre bound to find
something here in Henry Malts review to get those creative juices flowing!

You know how it is when you see something announced

and you think, Wow, thats got to be the best thing
ever! and then, as you wait for it, the doubts start to
creep in. Can it really be that good? Have I over-egged
my expectations and am I just bound to be
disappointed, however good it is really? Well, thats
how its been with Claudia Nices new book. I first
saw it in a catalogue a few months ago and thats
pretty much how my conversation with myself went.

Drawing &
Painting Trees
in the
Landscape
By Claudia Nice

So, now its here, how was it for me? Well, I can
safely say I havent been disappointed. Claudias use
of pen, ink and wash is perfectly suited to capturing
the textures and shapes of trees as they appear in a
landscape rather than merely as subjects in their
own right. And that approach is important because I
dont think anyone sits down and paints a tree in the same
way they do a flower. Trees are an essential part of any landscape and its
important to get them right because they have easily-identifiable forms and
anything wrong here means the whole pictures kaput.
As with all of Claudias books, this is led by its illustrations, with the text
commenting, guiding and directing you. Theres a nice progression too,
beginning with a very clear introduction to techniques with pencil and pen,
showing you how to capture the textures of bark and the outlines of the main
tree types, all simply but exquisitely done. From here, Claudia moves on to
foliage colours, showing you how to get the overall affect of the crown rather
than trying to paint each leaf individually. The third chapter deals with the
textures and colours of trunks and then, finally, there are chapters covering tree
types, flowers, and autumn and winter colours.
Books on trees are fairly thin on the ground and tend to be quite basic. This is
as generous and comprehensive as youd expect from Claudia Nice and is pretty
much guaranteed to please.
Published by Northlight Books and is available on page 4 of your Christmas catalogue.

The Ready to Paint series from Search Press has been taking some interesting
directions lately and this addition from Fiona Peart is a great deal more than
the colouring-in-the-outlines format that you might expect.
Yes, of course you get the pre-printed
tracings and the extended
demonstrations, but flowers arent just
about blocks of colour, but also tints,
shading and even granulation, and
Fiona has managed to work all this into
an ostensibly basic guide.

Ready to Paint
Tulips
By Fiona Peart

So, does this make it inaccessible for

the beginner? Well, if this is your first
attempt at flower painting, yes, you
might feel a little overwhelmed but, if
you have some experience already, this
could be the key to realism that youre
looking for.
Published by Search Press and is available on page 4 of your Christmas catalogue

16

PAINT November 2011

Im rather taken with this refreshing and

original approach to the process of getting
started with painting. Constructed as a cross
between an encyclopaedia and a course, Robin
Berrys book offers a logical progression of
hints, tips and general wisdom thats designed
to be worked through rather than dipped into at
random. At 176 pages, it also gives itself room
to breathe and the sections that can be handled
in a single page are given just that much, while
things that need more explanation, and maybe a
demonstration, get three or four pages.

If I say that with Terrys latest offering

were on familiar ground, I believe thats a
sigh of contentment I can hear! All the
subjects here are ones youd associate
with him: open fields, woodlands and
flower meadows, streams and traditional
buildings. In truth, theyre landscapes of
the imagination but, at the same time,
theyre also classically English, the
countryside as it ought to be.

Ready to Paint
Country
Landscapes in
Watercolour
by Terry Harrison

As with all of the books in this series, you

get five full demonstrations with a predrawn tracing for each, as well as a bonus
tracing for you to have a go at the
(undemonstrated) frontispiece.
And so probably all I need to say is that, if
this is what you want to paint, Terry will
lead you patiently by the hand through
the processes of doing so. One of the best
teachers there is, follow Terry and youre
pretty much guaranteed a good result.

Compendium of
Watercolour
Techniques
by Robin Berry

Published by Search Press and is

available on page 5 of your Christmas
Catalogue

Having dealt with the basics, Robin looks at a

range of subjects, including landscapes, water,
flowers and figures, with hundreds of example
paintings from a variety of artists. The
concluding section of the book deals with
techniques you can use to enhance the look and
appeal of your work, such as spattering, liftingout and glazing.
Its very much a book for the beginner and starts
from basics, dealing with what sort of paints to
buy, how to select colours (and, later, the basics
of mixing) and also a very useful section on
papers - surfaces, weights and the different
merits of sheets, pads and blocks. Most books
cover this stuff, but its all particularly clearly
laid out here.
Published by Search Press and is available
on page 5 of your Christmas Catalogue.

Personally, Ive always had my doubts about

this series, but Noel Gregory has done rather
well here, choosing to interpret the works of
one of the greatest Impressionists rather
than copy them slavishly. Five very different
subjects including landscape, figure and still
life are featured, and there are tracings and
detailed step-by-step demonstrations for
each of them, as well as a bonus tracing for
the frontispiece, Lady With Parasol, a subtle
study in shades of blue.

Ready to Paint
The Masters:
Renoir
By Noel Gregory

If youd like to explore the way these fathers

of modern painting worked, this is as good a
way to do it as any, and better than most.
Published by Search Press and is
available on page 4 of your Christmas
Catalogue.

November 2011 PAINT

17

COMPOSITION

Sharing Your
Artistic License
In the July issue we invited you to share your artistic license
with us for the chance to win a one day workshop with
Matthew Palmer. Thank you to all of you who sent in your
entries we hope you find the winning selection inspiring.
Wendy Ford painted The Wreck of the Helvetia
on Rhosilli Beach in the Gower, South Wales. I
decided to play down the dominance of the
Worms Head in the background and make the
prow beam my focal point this was a little too
central so moved it to the right. I moved the
background cliffs, lowered them and, as they were
sloping in the photo, straightened them up. This
exercise was thought provoking and good practice
in an area where I often struggle. I found spending
the time in the planning paid dividends.
John Mosley painted a scene from Langton Beck near Appleby in the Lake District. I
used the wooden bridge and tree as my focal point and opened up the landscape and
river in order to show the background hills. I also put in a walker to give the scene a bit
of life and perspective plus some rocks in the river and bank. I felt there was too much
green in the photo so changed the weather conditions to a stormy day and added some
extra colour.

David Webster has made full use of his artistic license to add character to his
pen and wash painting of Squeezy Belly Alley, Port Isaac, Cornwall. I began by
reducing the width of the composition to accentuate the narrowness of the
alley. As this alley is in a small working fishing harbour I wanted to give
marine atmosphere to the painting, hence the seagulls, lobster pots, floats and
some casually placed oars!
In the photo the wall in the left foreground is
completely empty of detail, so I reduced its
height, showed more of the roof and added
two make-believe windows and some pink
foliage. I gave the gutters and down-pipes
character by drawing them bent and wobbly
and removed the hanging basket and metal
wall bracket as they looked out of place. I
replaced the cracked cement floor with slabs
of different shapes intentionally arranged to
draw the eye along the alley. Finally I
engineered the direction of the sun and
hence the fall of the shadows to give
substance to the wall on the left, placing the
alley in shadow with the exit in full sun. The
wobbly shadows to the bent gutters and
down-pipes, all add character and depth to
the composition!

18

PAINT November 2011

Our Photo - Your Painting!

Turn to page 31 for a new
competition for SAA members
based on the idea of artistic
license.

For details of Matthews

workshops please visit
www.mattartist.co.uk or
telephone 01623 742567
A Winter Snowy
Landscape in Watercolour
- Saturday 4th Dec or 14th
Jan (25 10am - 3pm),
Mansfield, Notts or at
Southam, Warwickshire on
Saturday 10th March (35
10am 3.30pm)
A Spring Woodland Scene
in Watercolour - Saturday
11th Feb (40 10am
3.30pm) Compton, Surrey

l
a
n
o
i
g
e
r
s
e
go
for 2012!
Join us for the most inspirational dates in the summer art calendar,
coming to three great venues...

Bristol

Brunels Old Station

29-30th June

Manchester Peterborough
EventCity
27-28th July

Q 10 artists at each show

Q FREE demonstrations

Exec
14-15th September

Q FREE workshops
Q Home Shop live

Tickets now on sale from just 8

Book today - call 0800 980 1123
or visit www.saa.co.uk

AOY

The Bridge by
Robin Storey.
Winner of 2010
Artist of the Year

The Artist of the Year 2012

First prize

Entry is for everyone!

Beginner or professional you could be...
The SAA Artist of the Year 2012
The Artist of the Year 2012
will win 2000 to include 1000 cash
and 1000 worth of art materials, an
engraved crystal goblet AND 500 worth
of art materials for the art club, group or
school of your choice.
It could be you previous winners have
included artists right across the board,
from beginners, to juniors and
professionals!

Sector awards
Prizes of 100 worth of art materials, and
an engraved goblet, will also be awarded
to the painting judged to be the best in
the following sectors:
Professional
Amateur
Beginner June Atherton award
(painting for less than two years)
Young (16 to 25 years old at the time of
entry)
Junior (up to 16 at the time of entry)

Category awards
100 worth of art materials will be
awarded to the following category
winners:
Best Portrait or Figure
Best Abstract or Experimental Art
Best Still Life
Best Flowers or Gardens
Best Landscape or Woodland Scene
Best Waterscape, Boats or Seascape
Best Animal or Wildlife

SAA 20th Anniversary Award!

2000

Entry made
simpler for
2012

entry
F re e A A
f o r S e rs
b
mem

To enter online,
simply sign in to
your account at
www.saa.co.uk
and click on the Artist
of the Year 2012 tab, then follow
the instructions for entering and
uploading your paintings.
Dont forget, entry is free for
members and there is no limit to the
number of paintings you can submit.
If you do not have access to the
internet you can still enter the
competition simply send a SAE to:
AOY 2012 Entry Form, SAA, PO Box 50,
Newark, Notts, NG23 5GY and we will
pop an entry form in the post to
you.

Open to everyone...
irrespective of age, ability, medium
or subject matter. You dont have to
be a professional artist or have
years of painting experience to
enter all you need is a passion for
painting!
It does take courage to enter a
painting competition, but it is a
brilliant way to spur yourself on to
paint the very best that you can in
the company of fellow SAA
members.

Artist of the
This years Artist of the Year
competition attracted an
incredible 6,000 entries, from
beginners through to
professionals, and artists
ranging in age from 12 to 80
were delighted to see their
pictures hanging at Its all
about Art last July.
Visitors to the show were given the
chance to vote for their favourite
painting, and David McEwens Manon
II emerged as the overall winner. Manon
II received a Highly Commended in the
Portrait or Figure category and David, a
professional artist for more than 20
years, painted this stunning painting
from photographs by Rosalie OConnor,
showing dancers Allessandro Ferri and
Julio Boca.
I wanted the final painting to have no
background apart from some shadows
that unified and anchored the dancers,
he explains. They are separated from us
all and in a world of their own. Manon I
a print of which is owned by Darcey
Bussell was a study in reds, pinks and
some blues. Manon II however is blues
and some reds and it records endings
and exhaustion. From a distance I
wanted it to seem gentle and finely
finished, but as the viewer gets closer
they realise that this version has been
painted with broad dabs of colours and
symbolises the brutality of the moment.
The wonderful thing about the Artist of
the Year competition is that any SAA
member, whatever his or her level of
experience, may find their own work
hanging alongside that of respected
professionals like David.

2012 marks 20 years of the SAA. In

celebration of this we have 20 extra
awards for the best interpretations of 20.
The best 20 entries will each receive 200
worth of art materials!

On Show
All winning entries will be exhibited on the
SAA website and in Paint magazine. This
year original paintings will not be required
for exhibition.

Abby
by Sue
Jones,
2010
June
Atherton
Award

Autumn Reach by Katie Cross,

2010 Junior Artist of the Year

20

Manon II by David McEwan

Zebra Boots
by Clare
Johnson,
Mixed media

Year 2011
one of my favourite pairs of boots, a
zebra print pair of Dr Martens with
bright pink laces, she explains. I
enjoyed doing this and am very pleased
with the final result, but it was difficult
to draw, and getting the zebra pattern
right took a long time.
Clare suffers from chronic fatigue
syndrome, and now that she is unable to
work full time she uses art as a form of
therapy. It gives me a sense of
achievement, and drawing and painting
is a very important part of my recovery,
she says.
Another new talent whose painting was
Highly Commended in the Building,
Townscape and Industrial Scene
category, is Jocelyn Affleck. At just 15,
Jocelyn chose to paint a bustling,
beautiful cityscape of her home town.

Clare Johnsons mixed media painting,

Zebra Boots, was Highly Commended in
the Still Life category, but Clare
describes herself as a beginner, and,
although she took A level at school, had
done no art until a couple of years ago.
The inspiration behind this piece was

I took inspiration from all of my

favourite places in Bath, where Ive had
memorable moments, she says. Before
I started painting I went around taking
pictures and then let my imagination
take over and used different colours to
express how I felt about each important
part of the city. I merged all these
pictures together on my canvas with the
use of rain to create a more magical
scene, where the reds and oranges are
reflected off the typical Bath flagstones.
I have never used a palette knife before,
but used the side of one here to create
the splash of raindrops on the stone.
Jocelyn studied art at GCSE, and spends
hours drawing and exploring different
media to see what she can achieve. I
have only really taken painting to a
higher standard in the last three years or
so, she says. At school the artistic flair
of one particular teacher, Mrs Grandon,
has made me see art in a different way,
not just as a school subject, but as a way
of expressing myself.

A Rainy Day on the Streets of Bath by Jocelyn Affleck

Cupcake
Pile-up by
Sarah Bent

Finally, another popular painting among

visitors to this years exhibition was
Cupcake Pile-up by Sarah Bent. Sarah is
a professional artist who has lived in
Hong Kong for 34 years, and who says
that still life is one of her favourite
subjects. During university holiday
times I have a houseful of teenagers and
the inspiration for this painting came
after Id baked a batch of cupcakes with
eye-catching icing and sprinkles, she
remembers. Piling them up one on top
of the other gave a very interesting
composition. This work captured a
moment in time when my family were
around me, enjoying eating as much as I
enjoy baking and painting!

November 2011 PAINT

21

PEOPLE

Painting People
in Watercolour
Trevor Waugh helps us
eliminate some of our
fears of adding people to
our watercolours
Many years ago, when I was studying at art
college, my tutors would often advise me to add
some figures to my paintings to make them
more interesting... and when I did, invariably,
their comments were; The heads are too big.
This is a common error which can be corrected
by a simple study of human proportions and
watercolour practice sheets. I always try to keep
my hand in, with plenty of silhouettes in
watercolour and I advise my students to do the
same, besides, it's great fun. Proportions are
the thing - the relative size of the head to the
body is imperative to start with. Once this is in
place the rest comes naturally. Remember...the
heads are too big - a statement that is indelibly
stamped into my artistic mind!

Learning by mistakes
This is the natural realm of the watercolourist .
For me, shape, tone and colour are the greatest
allies in this quest for control, after all accidents
will happen in this medium, and rightly so.
Brush control comes after many hours of mark
making and unfortunately there's no way
around this practice.

And on to people
Most of us are people watchers - I know I am,
and I try to paint what I observe. I keep
countless sketchbooks of personal observations
and sketches. Television can provide an almost
unlimited library of people to study and line and
wash is a great medium to start with; once you
have become familiar with your subject, drop
the line and just use the brush to determine
shapes. This will give a looser feel for movement
and overall shape, making your figures merge
with their environment.

22

PAINT November 2011

Let your colours merge naturally together in your

shapes, this will give you the excitement that
happy accidents provide. Quick sketches make
brilliant paintings in watercolour - no one likes to
see effects too laboured in this medium.
Thumbnail value or tonal studies are incredibly
useful at getting to an idea of what is needed. All
of this limbering up process is essential in the
making of a finished result. In fact, these days all
I seem to do is limber up, preferring this process
over finished up! Watercolour does have its
limits, so make sure you stop before you think
you've finished.
When grouping people in watercolour I like them
to merge together in places and will often tie
them together using shadows or colours or tones.
Knowing how to use lost and found edges gives
a painting signature characteristics. I especially
like darker values for this, always trying to find
that pathway through a watercolour and never let
an opportunity pass by without dropping in that
extra colour into a patch of wet paint - the
excitement is in the risk!
Trapping light on your figures is largely about
what you don't paint or rather what you leave
out, so reversing out is an important procedure.
Following what the shadows do when you paint is
the game for success here. Make yourself into a
shadow painter and study what they do. Shadow
play will give your people three-dimensional
qualities and a sense of realism. Sometimes if you
just paint the shadows over and around your
subject the person will miraculously appear from
this. Just try to keep juggling those shapes and
proportions. Of course lighting conditions are
important and I sometimes sacrifice everything to
capture this. Knowing what is happening with the
light is imperative, then you are halfway to
including it in your painting. Observe what is
happening with shadows and you will have a
better understanding of this. Observation is the
best tool in the box.

Dispelling some of the

watercolour myths
You've got to get it right first
time, or else !
Untrue - additions or corrections can be
made at any time as your watercolour
evolves.

Painting people in watercolour is

the hardest thing!
Not so - they are just as easy or hard as any
other object, it just depends on your
thinking.

The colours black and white

should never be used!
Rubbish. If Turner had thought this then the
wonderful wealth of his watercolour works
would have been sadly depleted.

To enjoy more paintings by Trevor and to

find out about his workshops and
demonstrations visit
www.trevorwaugh.com
His work can also be seen at
www.youtube.com and facebook.com
For details of books and DVDs including his
book 30 Minute People in Watercolour
published by Collins, visit the SAA Home
Shop at www.saa.co.uk

Simple people shapes

Simple blob like shapes are all that are required in most
watercolours. These types of sketch sheets help loosen you up
and keep more movement in your figures.
To start, try painting in one colour, say Burnt Umber, and
establish rough proportions. You should aim at your figures
being about seven to seven and a half heads high and about
three heads wide. There are exceptions such as children or
babies which are less. The silhouette shape is useful in cutting
out details. Start with the size of the head and then work down
to the feet keeping a watchful eye on the relative sizes. Work
freely with your brush using plenty of paint; I use an SAA
Worker brush which comes to a fine tip.

When you are certain about the proportions, move

on to using colours. Let your colours merge freely in
the shapes without restricting them too much. Here I
have used simple primaries to denote flesh tones and
clothing. You will want to practise this many times
before putting people in your watercolours, so make
your figures about one to two inches in overall height.
Note that a seated figure is measured at roughly five
and a half heads, two heads being taken up by the
length of the upper leg from knee to hip in this
position. Try to paint figures in all different poses
standing, running, leaning, bending down, kneeling on
one leg etc. Follow the action with your brush and all
will be well!

November 2011 PAINT

23

Members Gallery
NOVEMBER
The Power of Love
1 Veladani Moodley
Mother Theresa a Symbol of Love Oil, 41 x 45cm
2 Marian Harris
Australian Love Birds Watercolour, 27 x 20cm
3 Sani Odonnell
Love Spans the World Acrylic, 51 x 41cm
4 Margaret Ellis
In Safe Hands Oil, 40 x 50cm
5 Joy Dickens
The Power of Love Watercolour, 25 x 36cm
6 Jean Stevenson
Unconditional Pastels, 30 x 42cm
7 Debbie Peaty
St. John the Evangelist Palmers Green
Watercolour, 35 x 25cm
8 Gail Cuthbert
LOL Acrylic, 60 x 76cm
9 Daphne Macowan
Sophie, My Husbands Other Best Friend!
Watercolour, 30 x 40cm
10 Tanya Patey
The Love of Someone Old Keeps You Pencil, 20 x 25cm
11 Emma Horsfield
Away With the Fairies Oils, 50 x 60cm
12 Alison Perkins
Maternal Bond Pencil, 25 x 18.5cm
13 Steph Kerby
Yasmin Watercolour, 15 x 10cm
14 Christine Cross
Puppy Love Pastel pencil on velour, 30 x 20cm
15 Christopher Anniwell
The Bouquet Watercolour, 36 x 23cm
16 Peter Baker
She Loves me She Loves me Not Coloured pencil, 18 x 24cm
17 Sharon Herbert
Mountain and Moorland III Pastel, Size unspecified
18 Pamela J Fitzsimmons
Mother Love Pastels, 43 x 29cm
19 Carol Kibble
The Power of Love Pastel, 25 x 15cm
20 Doreen Stokes
The Taj Mahal Watercolour, 24 x 17cm
21 Allan C McIntosh
Love of Buddha Acrylic, 56 x 46cm
22 Pollyanna Pickering
Eternity Gouache, Size unspecified
23 Satu Vartiainen
Love at First Sight Acrylic, 50 x 50cm
24 Hilda Kirkman
'Unity' Acrylics, 30 x 20cm
25 Ruth Dolan
Untitled Taken from a photograph from the International Fund
for Animal Welfare Pastel, Size unspecified
26 Sidney Jarrett
Gone With the Wind Acrylic, 61 x 46cm

THEMES AND CLOSING DATES FOR

MEMBERS GALLERY
New for 2012
January (9th November)
Endurance
March (9th January)
After the Rain
May (10th March)
Compassion

July (9th May)

Every Picture Tells a Tale
September (7th July)
Home Sweet Home
November (8th September)
Brave New World

10

11

HOW TO ENTER
As we are unable to showcase all the Gallery entries in Paint we
have now made it possible for you to enjoy many more by visiting
www.saa.co.uk under the Competitions tab. If you would like
to showcase your entries for future galleries alongside those of
fellow SAA members please visit the website, sign in, click on the
Competitions tab and follow the instructions for the relevant
competition or gallery.
Alternatively you can send good quality photographs or
photocopies by post to Head Office marked Members Gallery
stating title, medium, size (cm) plus your name and
membership number.
Note: Please ensure that any work you submit is your own;
if you have used another artists painting, tuition or
photograph as your inspiration please be sure to credit
them accordingly.

24

PAINT November 2011

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November 2011 PAINT

25

BEGINNERS CORNER

Consider your composition

Oils for Beginners

Paul Apps
concludes this series
with a quick look at
structure within a
painting, or
composition by
another name
Structure will dictate whether your
painting will work or not. All I have said
about colour, drawing, mixing and
materials, amount to little if due
consideration has not been paid to the
way your work will look.
Most of you know all about the
importance of the rule of thirds or
Golden Mean. By putting the focal
point of interest in those key positions,
the eye will be drawn in and the image
by default will be stronger and more
pleasing. Another aspect closely
associated with the rule of thirds, is the
forming of triangles within the structure
- use natural arrangements of these
crucial elements to form invisible
triangular shapes. They create pleasant
and unconscious reactions to help the
viewer enjoy the work.
Try hard when arranging these elements
within the structure of the painting to
keep the eye circulating around the
whole canvas. Be aware of any aspect
that starts to lead the eye away or even
out of the canvas.
It goes beyond this: other factors play
vital roles in the decision making.
Certain numbers of key elements for
instance a wildlife painting of four zebra
would look better had there been five.
Many say that odd numbers are easier
on the eye, as it is harder to settle on an
even number.
Make sure that, even if there are several
animals or figures in the painting, one is
in a dominant position over those that
remain. It creates impact and forms a
focal point from which all else radiates.
Edges are so important. Hard or sharp
edges will direct the viewers eye to that
point in the work. Softer, even lost edges
will be seen, but the eye will pay little
regard to their importance. Adding high
key values to sharp edges will only serve
to strengthen the rules I have outlined.
All these factors, when considered
together, will help create a better
painting. Although it is not essential to
observe them all, all of the time, with
practice they will benefit your next
masterpiece.

26

PAINT November 2011

I used Burnt Umber mixed with

Liquin and a no. 2 round brush to
loosely draw in the areas that are
important. The lines were designed to
lead the eye up to the focal point in the
thirds top left. The high horizon holds
the viewer locked into the image. The
first mix was the sky, in three bands of
colour. The topmost blue is Cobalt with a
tiny hint of Lemon and White, then a
warmer mix of Cobalt, Light red and
Lemon with White. Finally I placed a mix
of Ultramarine and Alizarin at the
horizon.
I then haphazardly blended the three,
giving the appearance of late sky and
fading light.
The sea was mixed with a darker
Ultramarine and Alizarin with Cadmium
Yellow; splashes of Red were placed to
break up the uniform colour of the sea.
Lastly I blurred and diffused the horizon
line, giving lost edges. This way the eye
sees the horizon, but less importance is
given, saving it for the focal point in the
work. Some Whites were laid into the
sea creating rough waves, and a lighter
Cobalt value against the rocks helping
them to stand out.
Areas of blue shadow and warmer
blocks of colour were added to the
foreground.
White was added to the crests of the
waves, as these denote the lightest
areas of the work.
The rocks were added in deep
Ultramarine, Alizarin and a hint of

Materials
Paints:
Burnt Umber
Cobalt Blue
Ultramarine
Blue
Cadmium
Yellow Light
Cadmium
Lemon Yellow
Cadmium
Light Red
Alizarin
Titanium
White
Brushes:
No 2 round
No 4 filbert
Rigger
Also:
12 x 16
linen canvas
Liquin
All available
from SAA
Home Shop at
members
prices:
www.saa.co.uk

I have chosen a subject very close to my

heart: the sea, and in particular the
coast in Hythe, Kent. It is painted on a
natural linen canvas, but please paint on
any canvas or board you desire.

3
4

3
Cadmium Yellow to give a deep black,
and warmed in places with lighter
values.
Looking at the reference I added
various blues and warmer red browns
with a no. 4 filbert, using the brush on
the flat and its edge to change the
marks. Some muted violets in the
foreground were also included. There
was an element of Lemon added to the
blues as it added to the cool mood.
Lastly White and a tiny amount of
Cadmium Yellow and Cadmium Red were
mixed to the tops of the waves and
surge against the rocks. This mix is the
brightest colour you can achieve and is
saved for that all important focal point
of the surge.
I placed complementary marks of
opposing colour values to add
interest to each part of the wave and
then focused on the ebb and flow of the
wave structure; these also include areas
in highlight and shade. Very warm
almost pure oranges were added to the
wave height on the right.
To finish the work I added highlights
to the swells and waves at the base
of the rocks using a rigger with a fluid
solution of pigment and liquin, using my
brightest values. I also added this to the
tops of the waves with small flicks
indicating spray.
After a few more additions to the
foreground wave, I felt the painting
was finished.

7
8

4
I hope that this series has removed some
of your concerns about working in oils;
drying times, issues relating to health,
and so on and that I have tempted you
to experiment with this exciting medium
please do let us know how you have
got on and show us some of the results
(email paint@saa.co.uk). Many of the
techniques covered in this series can be
achieved just as well using Artisan water
soluble oils, or acrylics as alternatives.
Various solutions added to these
mediums will give them characteristics
similar to oils without any of the issues
you may wish to avoid.
I have really enjoyed writing these
articles and should you have any
questions please email me at
paul@paulapps.com

Paul is planning workshops and

teaching days for 2012. He is also
starting a weekly Monday class from
October 2011 for up to 12 students,
in Hythe, Kent. For further
information on this and other
coaching opportunities please visit
Pauls new website on
http://paulappsfineart.weebly.com

November 2011 PAINT

27

BEGINNERS CORNER

A Beginner Guide to

Pastel Painting
In his final article in
this series, Vic
Bearcroft takes us
back in time to some
of the first methods
of painting and drawing

Fruit

Back to the Beginning

In this series on pastels, we have looked
at different pastel supports; laid paper
(Ingres, Mi-Teintes), velour paper,
pastelmat, and their suitability for
different types of pastel sketching and
painting.
Of course, all are interchangeable; a
portrait, for example, can be painted on
any of the previously mentioned
supports with equal validity, even
though the look and finish of each
portrait would be slightly, if not greatly
different. In art, there is really no right
or wrong. Yes, you can learn an awful lot
from attending classes, reading books
and articles, like this one. In the end,
there is only one way to discover if a
particular medium and support works for
you, and that is to try it. Even now, I still
love the excitement of experimenting,
especially with pastels and different
supports.
For the first part of this, the final article
in this series, lets go back to the
beginning. Pastels are one of the oldest
and, perhaps, one of the most versatile
of all media, being both line and colour
at the same time.
We are all familiar with the wonderful
red-brown sketches with white chalk
highlights on toned paper, produced by

1
Materials
Paper:
Fabriano Ingres
pastel paper
Hannemhle
velour pastel
paper
Cont crayons:
Sanguine
White
Also:
Tortillion (paper
blending tool)
All available
from SAA Home
Shop at
members
prices:
www.saa.co.uk

Leonardo da Vinci, among others. Most

of these, of course, were preparatory
sketches for completed paintings.
Sometimes the Sanguine pastel sketch
would be enhanced with a little
additional soft pastel colour to see how
the finished painting might look.
This method of using limited colour;
Sanguine and White, is a great way to
practise using pastels, to get the feel of
them, before committing to more
complex coloured work. The word feel
is important, as most of what appears
on your paper comes from what you feel
through your fingers and into your pastel
stick. What it also allows is for you to
concentrate on shading, basic tonal
values and highlights, without the
additional clutter of colour.

28

PAINT November 2011

For the first exercise, we are going to

sketch a simple still life study using
Cont Sanguine and White pastel sticks
on a sand-coloured Fabriano Ingres
pastel paper. This combination is very
close to the sketches that da Vinci
among others would have used.
First of all, sketch out the outline of
the apple and grapes with the
Sanguine crayon. Then sketch in
shadows and texture using cross hatch
strokes. Try to follow the contours of the
fruit with the hatching lines, and keep
the lines closer together for darker
areas, looser for lighter shades.
Either with your finger or a paper
blending tool (tortillion) or both,
gently smudge the shadows and texture
to achieve a smooth, soft finish.
Finally, add the highlights with the
White crayon. These can be gently
blended for a soft highlight, as with the
grapes, or left unblended to create a
sharper reflection on a shiny surface like
the skin of the apple.

Native American
As you may remember from earlier
articles, pastels have been used to paint
portraits for centuries. During the 18th
Century, particularly in France, pastels
were the most popular medium for
portrait painting. However, as the title of
this article suggests, we are going back
in time again to sketch a portrait study
using our Cont pastel sticks. I have
chosen a Native American as our subject,
working from an old sepia photograph.
However, once you have tried this, why
not apply the same technique to
sketching a friend or family member; you

will achieve a really interesting,

classic style in the portrait, as well as
looking for and practising important
tonal values.
As before, sketch the outlines and
shapes before cross hatching the
shadows and mid-tones. Note that
there is not too much detailed
drawing at this stage, most of the
detail will be obtained with shadows
and highlights.
I have used a tortillion blender for
this one, as it allows for more
precise blending, especially the details
in the face and hair. Use the point of
the tortillion for the detailed blending,
and the angled side for larger areas.
Most of the highlights were added
using the sharp corners of the
white Cont crayon. Again, this allows
you to be more precise in highlighting
creases, wrinkles and hair.

1
2
3
1

Tiger
For the final exercise in this article
and the series, we will go back to the
beginning, using red-brown pigment
to sketch an animal. It is also fitting
for me to finish on my favourite
subject, wildlife, and my favourite
support, velour paper. Im reasonably
certain that Leonardo da Vinci never
sketched or painted a tiger; but if he
had, Im sure that he would have
sketched one using toned paper,
Sanguine and White pastel sticks.
Sketch the outline of the tiger onto
a sheet of sand-coloured velour
paper, using the Sanguine Cont
crayon. Concentrate on the striped
markings in particular; this will help
you to achieve the overall shape and
form of the animal. At this point I
have included some foreground
grasses.
Use the flat side of the Sanguine
Cont crayon to establish mid-tone
values and darker shadows. As
blending on velour is not an option,
try to keep these tones as soft as
possible. Build the layers up from light
to the darkest values.
With the White crayon, add the
highlights. Again, keep the
highlights soft, as there are no hard,
shiny surfaces on a tiger.

2
3

And there we are! We have come full

circle in this series on pastels, and I
hope youve enjoyed reading it as
much as I have writing it.
We would very much like to see some
of your work, especially using the
methods described in this article; so
why not have a go at your own still
life, portrait or animal in the classic
style.
You can keep in touch and share your
paintings with us by emailing
paint@saa.co.uk
Good luck, and happy painting.

For more information on Vics work,

workshops and tuition, visit
www.vicbearcroft.co.uk or email
vicbearcroft@tiscali.co.uk

See page 21 of your

Christmas Home
Shop catalogue
for details of Vics
Velour Pad and
Deluxe and Basic
Pastel Sets.

November 2011 PAINT

29

COLOUR

My Favourite Colour

Olive Green
Every artist has a
favourite colour a shade
they use all the time, and
which features strongly in
their work. Here Wendy
Jelbert explains why she couldnt be
without Olive Green

In nature greens never clash, but in our

paintings they often jar and become
uncomfortable to bear. This presents a real
challenge, especially to beginners, but we just
cant escape from greens: they seem to crop up
everywhere! So we have to embrace the
problem, and be able to mix the required hues
accurately and with confidence.

As a painter, I find all colours intriguing, as

each has its place in the artists palette and
comes into its own in the right situation. I love
greens because they celebrate growth and
peace, and if I had to choose one it would be
Olive Green. This is a darkish colour, not too
bright and garish, with a depth and basic
natural and safe feel, and when mixed with
other colours it can form a wide range of
essential greens.

Olive Green, resembling the colour of growing

grass, is an excellent mixing green, creating
many lovely convincing shades. When mixed
with yellows, ochres and cadmiums, it is ideal
for sunny foliage. Adding Cerulean Blue it forms
a good shadowy green, also useful for distant
plants; when mixed with Prussian or
Ultramarine blues or Violet, it creates deeper,
richer shades. A little Burnt Sienna with Olive is
also useful for softer greys and muted greens.

Looking up the origins of Olive Green, I read

that it was originally created using Glauconite,
an iron potassium mineral with a distinctive
green colour, which was used in Europe as a
pigmentation agent for artist oil paint,
especially in Russian icon paintings and in wall
paintings from ancient Rome.

When I choose an olive green I usually buy a

Winsor & Newton, but Daler-Rowney or other
makes are equally as good. Just remember that
all makes vary: every colour you choose will
have this variation, so if you need the exact
match, bring along the empty pan or tube for
safety.

Passion Flower'
This illustrates different greens: Olive is
the basic mix, but using the opposites
within the greens - violet and yellow - this
highlights that other colours are vital,
even in small doses, to make the greens
acceptable.

New Forest woodland scene

This encapsulates the basic elements of mixing greens. After doing watercolour washes
using Olive Green neat, and mixing with yellows for the lovely sun-filled foliage, I added
blues and Sienna into the darker, more shaded leaves. Whilst still wet, I sprinkled salt into
the foliage area and let it dry, rubbing it off later. Where there are several greens try
adding a little contrasting colour to make the colours react and become more exciting;
using the opposites in the colour wheel is the best solution - here Ive used Burnt Sienna in
the tree trunks and some of the branches (red and green contrasts).

30

PAINT November 2011

Wendy's latest book from Search Press and

tie in DVD from Teaching Art are available
on page 8 of your Christmas Home Shop
catalogue. See www.wendyjelbert.co.uk
for details of her exhibitions, brushes,
DVDs and courses in the UK and abroad, or
call 01794 518211 or email
art@wendyjelbert.co.uk

NEW COMPETITION

Our Photo
your paintingyour title

ou
can y
Wh a t i t h t h i s
d o w g ra p h ?
o
phot
ur
us yo
w
o
Sh s and you
t
re s u l u l d w i n !
co

Win a

30

SAA Home Sh
op
Voucher

How will you interpret this

photograph?
The English coastline has for
centuries been a source of
inspiration for artists. This
particular shot was taken between
showers on a rather dull day in
early September. Though not a
particularly inspiring photograph,
it captured a memory of the day.
Our challenge to you is to use this
photograph as inspiration for a
painting, thinking about
composition, atmosphere, and
artistic license decide what to
leave out and perhaps what to add
in take ownership of it! And
finally, give it a title that will
inspire the viewer.
If your painting is published in
Paint you will also receive a 30
SAA Home Shop voucher.

How to enter
1 Get busy planning and sketching
2 Paint your picture
3 Tell us what you liked and disliked
about the photo and how your
finished painting came about

You can enter online at www.saa.co.uk by signing in, and then clicking the
competitions tab and following the directions. Alternatively, send your painting
and comments by email to paint@saa.co.uk or by post to SAA, PO Box 50,
Newark Notts, NG23 5GY, marked Your photo, my painting. Please include
your name, membership number and postcode closing date 20th December.

The South
Devon
Coast near
Dartmouth

November 2011 PAINT

31

TUITION

Flooded Fields
awash with watercolour
PA Rachel
McNaughton
captures the
damp morning
atmosphere in this
wintery landscape
Draw the horizon keeping it low and
horizontal. Then just put in the main
trunks and branches of the trees. There is
no need to draw in all the branches as
these can be done with paint directly
onto the paper.

Now mix three washes of the following:a thinnish, predominantly blue mixture
of Ultramarine and Light Red; then a
thicker and greyer mix of Ultramarine
and Light Red and finally a thin wash of
Raw Sienna.
Once you have the washes ready wet all
the paper from the horizon upwards to
the top of the sky, leaving diagonal,
rough edged, dry white paper at the top.
Use the largest brush you have. The SAA
Whopper is ideal. If you use the side of
the brush rather than the tip and allow
the brush to carry less water you will
find this easier to achieve. Let the
texture of the paper give the rough
edge.
Starting from the top of the paper paint
Ultramarine and Light Red (the thin,
blueish mix) into dry white areas leaving
ragged white edges (again use the SIDE
of the brush rather than the tip to help
the paint break up on the paper texture

2
Only go on to this stage when
everything is completely dry. Using
the thin blue mix again block in the
background trees leaving spaces for
adding branches as you go while the
paint is still wet.

and dont over fill the brush with

colour).
Drop Raw Sienna into the lower wet part
of the sky but leave some wet white
paper as well to indicate clouds and
then, before the paper has time to dry,
use the thicker, greyer mix of
Ultramarine and Light Red to suggest
tree shapes (wet in wet) in the lower
part of the sky.
Try to avoid solid shapes and allow some
of the sky to show through the trees.

Dont try to put in too much detail. These

need to be misty outlines as they are in
the distance. Keep the details for the
foreground trees.
Let things dry.
While the distant trees are drying mix
a slightly stronger (thicker) mix of
Ultramarine and Burnt Umber and paint
the two trees in the middle distance.
Start with a larger brush and move on to
the rigger for the smaller twigs. Paint
one tree at a time so that you can paint
the branches while the trunk is still wet.
Scuff* in the haze of twigs using the
side of a round brush. You can suggest
ivy in a similar fashion.

Now mix up another even stronger mix

of Ultramarine and Burnt Umber for the
foreground tree and paint this in a
similar way once the middle trees are
dry.
* Scuffing - Use the side of a
paintbrush rather than the point and
have only a small amount of paint on the
brush. Glance it delicately over the
surface of the paper to catch the texture
with short straight strokes in an inward
direction towards the main tree trunk.

32

PAINT November 2011

Materials
Colours (in
tubes):
Ultramarine
Blue
Burnt Umber
Light Red
Raw Sienna
White
gouache
Paper:
Watercolour
paper (140 lb
not)
SAA Brushes:
Whopper
Round (size
12)
Rigger
Extras:
2B pencil
Putty rubber
Board
Masking tape
Palette
Water jar
Paint rag
All available
from SAA
Home Shop at
members
prices:
www.saa.co.uk

Now for the bare earth. Using

strong mixes of earth shades (Burnt
Umber, Burnt Umber and Ultramarine,
Raw Sienna etc) paint in the foreground
with a fairly dry brush to create lots of
ragged textures to represent rough
ground. Keep changing the colour on
your brush and allow colours to merge
where they touch but try to avoid too
much painting over previously painted
areas - this is a sure way to end up with
a solid muddy mass rather than an
impression of rough ground. It is good to
have a few little flecks of white among
the earth colours so dont feel you have
to cover every inch of paper. Allow the
colour to break up on the roughness of
the paper to create texture and interest.
But remember to leave an area
completely unpainted white for the
water.

Add some fencing with Burnt Umber and

Ultramarine in appropriate places. This
will depend on how your painting turns
out but try to place the fencing so that it
reflects in the water.
Now you can add the reflections but
remember that reflections are a mirror
image of the object and occur directly
below. They do not change with the
direction of the light as shadows do.
Use the same colours as before and give
the shapes of the reflected trunk and
fencing a slightly wiggly edge. This
implies a rippled surface on the water.
Leave the rest of the water as clean
white paper.

Finally

4
Completed picture

You can add some birds if necessary. I

put mine in with white gouache over
darker areas and with Burnt Umber and
Ultramarine on the lighter bits. The best
way to suggest a bird is with a sort of
flattened tick, done with a fine rigger.
Try to avoid wings that are too curved.

Rachel McNaughton runs regular

weekly watercolour classes near
Wetherby (north of Leeds) and her
two DVDs Putting Colour into
Watercolour and From Flower to
Watercolour can be found in the
SAA Home Shop at
www.saa.co.uk
Rachel also runs workshops for local
art groups.
Visit www.artbyrachel.co.uk for
further information on classes or
ring Rachel on 01937 574124

November 2011 PAINT

33

PROFESSIONALLY SPEAKING

The Professionally Speaking pages are aimed primarily at our PAs, Professional
Associates. However, we are sure they will be of interest to all SAA members,
with articles by and about PAs, looking at all aspects of their work. As always
we welcome your feedback. Do get in touch if theres an issue youd like to see
discussed or if you have any experiences relating to becoming a professional
artist. Email sarah@saa.co.uk or write to us at Head Office

The Price is Right

As a respected military artist, Alix
Bakers paintings flew off the easel.
But when the market declined she
had to rethink the way she worked
and in particular how to price her
work
Much of my painting career has been official
military work, and of four artists working in a
similar genre and regarded as the top in the
country, I was the only woman. Work poured in,
prices were good and specialist shows were
money spinners.
However, all this changed after the recession
and the worldwide interest in military art
greatly declined. Now I paint predominantly
civilian pictures, see things through fresh eyes
and have done a lot of research into pricing,
trends and markets. Buyers have become more
discerning and contemporary in recent years
and artists now need to take this into account.
Although pricing your art can be a minefield,
there are some basic rules of thumb that can be
used. One way is to set an hourly rate for what
you do. Dont include coffee breaks or unrelated
tasks, but do add in the cost of the materials,
including framing. Remember that the slower
you work, the higher the price of your paintings
until your speed improves.

You can also price a picture according to size,

which I call the square inch approach. Measure
your average-sized piece (unframed) and find its
total square inches, then divide the price by the
number of square inches. Perhaps you sell a
16x12 for 275? Thats 275 divided by 192
square inches, making 1.43 per square inch.
So, a painting 18 x 20 (360 square inches)
would be priced at 514. This is a good method,
particularly if you tend to stick to just a few
sizes, because customers get to know your
going rate.
Then theres the Internet. Decide on your main
outlet: a local art society, larger exhibitions,
mainstream open exhibitions or galleries. If you
want to sell through an art club search for
others in the local area and look at prices. A
societys website may not show them but there
will be artists whose work and standard is like
yours. Is there a link to the artists own
website? Are prices shown, or links to other
places where they exhibit giving prices? Drop
their name into a search engine such as Google
and add artist painter to avoid dubious artistes
and decorators! This can be a slow business but
it is the best.

Where are you trying to sell?

This is vital and must be decided at the outset.
Dont rely on the local art society exhibition,
hoping that someone will love your work.
Whether you pitch yourself there or at open

Alix with the Prince of Wales at the Mall Galleries

34

PAINT November 2011

Aber Draw, Pembrokeshire - the

experimental one that hit the spot

studios or a gallery, you must market you and

the event. Never rely on the organizers. Ensure
people know youre exhibiting; invite past
purchasers; print off leaflets; shove cards into
hands. Give friends flyers and a few stamped
envelopes and ask them to push them out to
suitable acquaintances. If using email, ask
friends to forward your message to, say, five

Royal Military School of Music Kneller Hall

Art Clubs Need You!

Below are some adverts from art groups hoping to find new tutors to hold
workshops or demonstrations. If youre a teaching artist do contact them to
offer your services, including information about yourself, examples of your
work and an idea of your charges. To have your clubs details included in a
future issue email sarah@saa.co.uk or write to Head Office
Across the river

others. Have a look at http://mailchimp.com a

free email marketing service where you can set
up mailing lists, or design your mailshot or
newsletter.
To sell through a gallery, research well and
approach those that are right for you and your
market. They will raise your prices if you sell
well. They really do earn their large
commissions and are great sources of advice.
Dont be put off if the first isnt interested: they
all have their preferences and in a recession
some wont take on new artists.
You could also think about approaching your
local bookshop, library or restaurant to show
your work there: get a group together to do this
and provide fresh work on a regular basis.
But prices in all venues are fickle. I once had a
display in a smart bookshop. They told me about
someones artwork that just would not sell for
weeks. The artist went to remove it but the shop
suggested sticking a nought on the end of the
price. The picture sold in a week!
Works that win prizes might not sell for ages,
while an experimental one might hit the spot.
Recently, I showed a gallery some paintings I
was about to submit to a major London
exhibition and threw in an experimental one of
the same size and frame. The London-bound
paintings were ignored and the gallery owner
fell with rapture upon the odd one out!
Another gallery might do the reverse - or
neither!
So, what price? Start reasonable and, once
youve had a good year, consider putting up
your prices for the next year by 10-15%.
Eventually the market will let you know your
worth. And in a recession? If you lower your
prices your overheads certainly arent dropping
so take care and research current prices even
more diligently. A number of exhibitions are
still selling well, others barely at all. Some
galleries have closed down, others flourish.
Perhaps a new strategy may be called for. Set up
an exhibition with a couple of others, pool
databases, share the publicity. If it works well,
consider repeating it, or moving to another
place with a good potential market. Remember,
a customers money earns virtually nothing on
deposit, but an art purchase gives a return for
years.

You can see more of Alix Bakers work on

www.alixbaker.com or contact her on
art@alixbaker.com or 01264 720715.

CAMBRIDGESHIRE
FORDHAM ART GROUP
c/o The Community Room, 44 Withers Place,
Fordham, CB7 5LG
Contact: Lizzie Hartwell
07813 816541
lizzie4458@gmail.com
10 - 12 members
Looking for: Workshop or demonstration
Dates: Classes are held on second Tuesday of
the month from 7-9pm and last Saturday of
the month, 1.30-4pm. Either day considered,
but with a preference for Saturday, full or
half day.
CORNWALL
BUDE ART SOCIETY
c/o Beaches, Efford Down Park, Bude
EX23 8SE
Contact: Patricia Burgess
01288 350725
60 members
Oils, watercolour or acrylic preferred
Looking for: Workshop
Dates: Any Thursday - afternoon or full day
in 2012.
GREATER MANCHESTER
ART TO ART
c/o Sunshine House, Scholes, Wigan
WN1 1SN
Contact: Barbara Nettleton
barbaranettleton@ymail.com
01942 515519
15 members
Looking for: Art to Art runs a full weekly
timetable of classes for beginners through to
more advanced artists. Special one-off
sessions are also organised where tutors are
invited to run workshops or demonstrations.
Dates: Either the second or third Sunday of
every month, from 10am-4pm.
NORFOLK
HUNSTANTON ART GROUP
c/o 3 Magnolia Gardens, Snettisham, Kings
Lynn, PE31 7UN
Contact: Peter Dawson
peterdawson123@btinternet.com
01485 543435
28 members
All mediums considered but particularly
interested in Chinese ink or watercolour
Looking for: Tutors for demonstrations and
workshops
Dates: Initially for a session before the end
of December 2011 and then at threemonthly intervals through 2012. Wednesday
mornings from 9am to noon.

They booked, he taught!

When the Gadebridge Watercolour
Group advertised through our Book a
Tutor scheme, organizer Peter Roake
was delighted to receive six responses,
and he booked Tony Jackson
(www.tonyspaintings.co.uk) for a
demonstration.
"The members of the group found the
demonstration extremely useful, says
Peter. We especially enjoyed Tonys
technique of painting in acrylic on an
easel, then drawing the same
composition in pastels, providing an
interesting method of comprehending
the subject - in our case a landscape.
The members have requested that Tony
come back to carry out a workshop so
that he can teach us his techniques."
Tony Jackson was also delighted that he
was able to make contact with the
group through Art Clubs Need You!
"I very much enjoyed my visit to the
Gadebridge Watercolour society. They
are a responsive friendly group meeting
in a pleasant venue, he says. Im
looking forward to demonstrating or
giving workshops to them in the
future."

Tony Jackson during his

demonstration at Gadebridge
Watercolours

November 2011 PAINT

35

PROFESSIONALLY SPEAKING

In the Picture
Geoff Kersey
In this issue we step into the studio
of artist Geoff Kersey as he talks
about his artistic journey
When Im chatting to people I meet at art clubs,
teaching venues and the various painting
related events I attend, the most common
question they ask me is How long have you
been painting? and I usually answer by saying
that I cant remember when I didnt paint or
draw. In fact a few years ago, when my Mum
was stripping the wallpaper off the lounge wall
of the home I was brought up in, she revealed a
collection of drawings of Huckleberry Hound
and Yogi bear that Id drawn onto the bare wall
as a child, and I remember, aged 13, winning a
competition with similar drawings using felt tip
pens.
When I left school I went to Granville College in
Sheffield to study graphic design for three
years, which led to a career in marketing, with
painting very much a hobby. It was during this
time that I joined an art group in Sheffield, and
I distinctly remember entering some work into
one of their exhibitions in spring 1990. I had
submitted the full allocation of nine paintings,
and duly turned up on the Sunday afternoon to
collect unsold work. I was expecting to sell two
or three originals at most, so was thrilled to be
told that I had sold all nine. This set the idea in
my mind that I could one day do this for a
living. I have never managed to repeat this
100% record again, but still get a thrill from
selling original paintings; its not just the
money, though of course that is important, but
the best compliment anyone can pay your work
is to part with hard earned cash for it.
While I was still pursuing a career in marketing,

36

PAINT November 2011

I did venture into doing painting

demonstrations in the evenings. The first one
was for a small local art group, which seemed
to go well, but the one that really sticks in my
mind was organized by Sheffield Newspapers,
in a large hall in the town centre, with around
200 people. I was sharing the bill with a well
known local artist, Joe Scarborough, who was a
seasoned, very relaxed speaker who peppered
his talk with anecdotes that had the audience
in fits of laughter. I went on after him and I
distinctly remembered waiting my turn,
listening to Joe, while getting more and more
nervous, thinking Why on earth am I doing
this? But, as often happens when one dares to
come out of ones comfort zone, it went very
well.
The chance to take up painting professionally
came in 1998 when I had the opportunity to

take redundancy. I had the idea that I would

spend most of my time painting, with a few
classes and demonstrations, to supplement the
income from sales of the paintings. I totally
under-estimated the demand there would be
from people wanting to learn watercolour, and I
now have the dilemma - which I know is shared
by many of my colleagues of finding enough
time to just paint, for its own sake. This year
alone I am doing two painting holidays, 36
demonstrations, and 31 one-day workshops. I
dont consider the paintings I produce at
demonstrations and workshops to be good
enough to put into exhibitions, so time set
aside just for painting is important to me.
One of the best things we did was to move
from Sheffield to the Derbyshire Dales with our
two sons - it was my wife Florences idea as she
is a Derbyshire girl. I was reluctant at first but

really pleased now that I let her persuade me,

as I am never far away from inspirational
subjects. My latest project is a new book for
Search Press on the subject of Trees, Woodlands
and Forests, so I have spent a lot of time
recently searching for and painting subjects
related to this theme, some of which are
illustrated here.
In 2002 we had a studio/gallery built onto the
house, which has given me a large, airy,
purpose built room to work in, full of natural
light. I can also hold regular exhibitions here (I
try to do at least one if not two shows per year)
and there is hanging space for 40 to 50
paintings. Prior to the studio being built I used
to work in one of the bedrooms which wasnt
ideal as inevitably stuff used to spill out into
other parts of the house. Now I have a good
working environment which is separate from
our living space. I always recommend people try
and establish a space they can work where they
can just walk away from it, and go back to it,
without clearing up and setting everything up
again.
I do value time spent working on my own in the
studio painting, and find listening to Radio 4
and more recently Radio 4 Extra, an aid to
concentration. I also enjoy listening to music
while I work. More often than not I work from
photographs, (often taking several shots of the
same scene) which I dont see as a problem as I
have learnt over the years to use the photo as a

source of information and a reference rather

than something to copy carefully; indeed I often
find as the painting progresses that I am
looking at the photo less and less, instead using
my intuition, experience and feelings to build
the picture. I try to have my camera with me at
all times, as you never know when you will
come across a painting subject, or something
that can be used as an element within a
painting. If the light is right, sometimes the
most unlikely subject or location can make a
painting; I often think one of the main
differences between a professional and amateur
artist is this vision, which can take a few years
of practice to develop.
My philosophy is that you never stop learning
and I am an avid collector of books on the
subject of painting (both by and about the
numerous artists both past and present that I
admire), from which I have learnt a lot over the
years.

You can get details of Geoffs 2012

programme of exhibitions, courses and
workshops from his website
www.geoffkersey.co.uk.
Geoff can be contacted on
info@geoffkersey.co.uk
Turn to page 2 of your Christmas SAA
Home Shop catalogue to find out about
Geoffs new Watercolour Blocks, Palettes
and Postcard Pads.

November 2011 PAINT

37

PAINTING HOLIDAYS

Of Course You Can!

Following a competition in the
November 2010 issue of Paint, to win
a painting break with Cheddar
Painting Holidays we catch up with
Norman Brett who won a painting
course tutored by Tony Slater
Although the prize was for a three day holiday,
Norman chose to extend this to a five day
course and brought his wife Ellen who was a
non-painter. Norman made everyone chuckle
when he arrived, saying When the call came
through to say that I had won a holiday, I
thought it was a joke. I thought that it must be
for a time share and that I would be asked to
send off 100 which I would never see again!
Having been on several in the past he wasnt at
all nervous and made the most of every minute,
painting two to three paintings each day. I love

to paint in a quick, colourful,

loose style that captures the
mood of the scene whilst still
accurately recording it.
The Webbington Hotel, which
was the base for the holiday
was, according to Norman, first
class with comfortable en-suite
rooms and equipped with a spa
adjoining the hotel including a
stunning swimming pool, gym and sauna.
The week was well organised with a variety of
venues surrounding the hotel and the world
famous Cheddar Gorge where, amongst other
things, I painted the lake, bridge and the
original Cheddar Cheese shop adds Norman.
Matthew and Gill, the owners of Cheddar
Painting Holidays were present every day to
convoy us to the Days Scene and were ever
ready to supply easels, boards and chairs all
the bulky things we didnt want to bring or
carry around. The party that
enrolled consisted of 14
people including nonpainting partners, all from
different parts of the country
and with different abilities,
but all with the same aim, to
improve our painting and have
a happy holiday in a beautiful

setting. It wasnt all painting,

as one night Norman and Ellen
taught everyone to play a card
game called in the Ship
which they played every night
as a group after dinner and had lots of laughs!
When asked what he had gained from the
course Norman replied; you can never stop
learning and I certainly picked up many tips
from Tony who was always on hand to guide
myself and the others. He showed me many
things that I hadnt even thought of doing in
that way. He was a first class instructor,
talented, cheerful and instructive. To confirm
what a brilliant time he had, Norman concludes
that if you have an inclination towards a
painting holiday do not hesitate to contact
Cheddar Painting Holiday for excellent
instruction, comfort and fun.

To find out more visit

www.cheddargallery.co.uk or call
01934 744188

tony hogan
art break yorkshire
4x1

Would you
like to
promote your
services to over
45,000 SAA
members?
Contact Ashley Huntly-Rugg
Tel: 08458 770 771
Email: advertising@saa.co.uk
38

PAINT November 2011

Christine Manuel at Art

Holidays in Dorset hopes to
put you in the picture
Anyone reading this should already
know what an uplifting pastime
painting can be: it keeps your brain
cells working, inspires creativity, is
totally absorbing and most of the
time is very relaxing with the
minimum of equipment you can be
up and running in minutes. For
some, painting is a solitary pastime
but, for many more it offers an
opportunity to make new friends
through an art class or club. But the
greatest fun comes when you
finally pluck up the courage to go
on a painting holiday and find
yourself in the company of people
with a similar interest. No more
awkward small talk on the first
evening people who are
interested in art are seldom lost for
words and only too ready to swap
ideas and tips.

What do you want?

Christine draws our attention to
some of the things to consider
when choosing a painting holiday:
Studio-based course
If you are an absolute beginner, this
may be the best introduction to a
painting holiday. Learning to draw
or paint out of doors with your
paper flapping, your paint water
tipping over and passers-by peering
over your shoulder could be
intimidating to start with,
leaving you frustrated and
disappointed.
Studio and on location
Some courses offer a bit of
both with trips to painting
locations so that you can get
the feel of the immediacy of
working straight from nature,
returning to the studio to
complete your work.

Number of students
10 or 12 is the ideal number to
enable your tutor to give adequate
attention and support to you all.
More than this and you may not
get the individual attention you
need.
Research the tutor
See examples of the tutors work
and preferably a video of them
teaching or demonstrating. A tutor
might be an excellent artist but
lack teaching skills, and vice versa an experienced and successful tutor
will avoid neglecting his painters
and respond carefully and kindly to
each students requirements.
Accommodation requirements
The facilities will vary between
holidays make sure you know
what you are getting and what is
important to you
Is accommodation included in the
price?
Are the bedrooms ensuite?
Are meals included?
Is there a single supplement?
Can you bring a non-painting
companion?
Are there any leisure facilities?
Not all of these are essential to
everyone but they might be to
you!

Win a two
night painting
holiday

Painting Holiday
Competition

at the Boscom
be
Spa Hotel in
Dorset

Art Holidays in Dorset is offering one lucky SAA

member the opportunity to win a two night
painting holiday at The Boscombe Spa Hotel
in Dorset.
Nothing is too much trouble to ensure that
your art break with us is enjoyable and
successful. Our class numbers are limited, our
tutors are all professional painters and
teachers, accommodation is all en suite and
there is no single supplement. Our studio is
well equipped and Johns cooking is
scrumptious and theres lots of it! writes Christine. Enter this
competition for your chance to discover this for yourself.
For your copy of their new brochure call 01202 393234 and ask for
John or Christine or visit www.boscombespahotel.co.uk.
Alternatively write to Art Holidays in Dorset, The Studio, Boscombe
Spa Hotel, 4 Glen Road, Boscombe Manor, Nr Bournemouth, Dorset
BH5 1HR.
For your chance to win simply complete the following
statement in no more than 80 words:
The most important things to me on a painting holiday are
Send your entry, along with your name, membership number and
postcode to paint@saa.co.uk or to Head Office, marked Boscombe
painting holiday competition. Closing date 10th December.

November 2011 PAINT

39

DIARY DATES

Exhibitions and Dates for Diaries

BIRMINGHAM:
Nov 11th-13th. Hall Green Art
Society exhibition and sale at the
Woodbridge Gallery, Woodbridge
Road, Moseley. Open Fri 11am5pm, Sat and Sun 10am-5pm.
Nov 7th-19th. Sutton Coldfield
Society of Artists Autumn /
Winter Exhibition at Sutton
Coldfield Town Hall. Open 9am5pm daily.
BRISTOL:
Nov 7th-12th. The Whitchurch
Art Club Winter Exhibition at
Broadwalk Arts in the Broadwalk
Shopping Centre, Knowle. Open
10am-4pm.
CAMBRIDGESHIRE:
Nov 9th 19th. Peterborough
Art Society, Annual Exhibition at
St Johns Church, Cathedral Square,
Peterborough. Open 10am-4pm.
www.peterboroughartsociety.org.uk
Nov 19th. Peterborough U3A
Friday Watercolour Group
Annual Art Exhibition at St
Andrews Church Hall, Ledbury Rd,
Peterborough PE3 6RF. Open 10am4pm, refreshments available, car
park and disabled access,
admission 1 towards Alzheimers /
Church. Contact 01733 551931.
Nov 19th 20th. Hemingford
Art Club Exhibition in the
Hemingford Abbots Village Hall,
near Huntingdon. Open 10.30am4pm, free admission and parking.
Refreshments on sale, wheelchair
access.
Nov 26th-27th. Fordham Art
Groups 1st Exhibition at the
Community Room, Fordham, CB7
5LG. 10am-4pm daily, refreshments

40

PAINT November 2011

available, some proceeds to Help

for Heroes. Wheelchair access,
ample parking. Contact: Lizzie
07813 816541 or
lizzie4458@gmail.com
DERBYSHIRE:
Nov 5th Jan 14th. Buxton &
High Peak Art Society Annual
Exhibition at the Buxton Museum &
Art Gallery. Open Tues Sat
9.30am 5pm. Free admission.
Contact: Museum 01298 24658
Art society: 01663 750489.
Nov 12th. Willington Art & Craft
Group Exhibition. 10am-4pm
Village Hall, Twyford Road, DE65
6DE. Free Admission. Donation to
Help for Heroes. Contact: 01283
707230.
Nov 3rd 5th. Breaston Art
Group 16th Annual Exhibition at
the Methodist Church Hall, Blind
Lane, Breaston. Opening hours:
Thurs 2-5pm, Fri 10am-5pm and Sat
10am-4pm. Artists at work,
refreshments available, free
admission. Donations to East
Midlands Air Ambulance.
DEVON:
Dec 10th-21st. Winter Solstice
Exhibition. A diverse collection of
work from Devon artists. East
Devon Art Academy, Old Fore
Street, Sidmouth, EX10 8RB.
Contact: 01395 516284 or visit
www.eastdevonart.co.uk
DORSET:
Nov 18th-20th. Wimborne Art
Club Autumn Exhibition at
Pamphill Village Hall, nr Wimborne,
open Fri 1-4.30pm, Sat and Sun
10am-4.30pm.
Nov 18th-19th. Art Exhibition
raising funds for Lewis Manning
Hospice, Poole. Margaret Hasted

and Joan Scott. Framed paintings,

portfolio work and cards.
Refreshments. Entry by donation to
Lewis Manning. Church House,
Wimborne open 10am-5pm.
Nov 4th-21st. The 91st
Bournemouth Arts Club Annual
Exhibition, The Peacock Gallery,
Upton Country Park, Poole BH17
7BJ. Open 10am-3.45pm daily. Free
admission and parking, full
disabled access, tea rooms.
Contact:
bournemouthartsclub@googlemail.com
EAST SUSSEX:
Nov 15th-19th. Newhaven Art
Club Annual Exhibition, the
Meridian Centre, Peacehaven. Free
entry, disabled access, car parking.
Contact: Dawn Wells 01273
516792 or dawna@quayview.net
ESSEX:
Nov 19th 20th. The Fifth
Exhibition by Pauline Grove in
aid of Southend Hospital Breast
Unit at IPECO Building 5, Aviation
Way, nr Southend Airport, SS2 6UN.
Free admission and parking. Easy
access for disabled. Refreshments
available. 10am-4pm daily. Contact:
Pauline 01702 525686 or
Pauline.grove.artist@gmail.com
Nov 26th. Art Exhibition at
Theydon Bois Golf Club, Theydon
Road, Epping. 10am-5pm,
admission 1, children free. Ample
free parking, licenced bar, snacks,
coffee etc. Also craft fair and
photography.
Contact: Alan 020 8508 6306
Nov 26th. Chelmsford Art
Society Christmas Sale, 10am4pm. 50p entry. Great Baddow
Parish Hall, Maldon Road, Great
Baddow, CM2 7DW. No
refreshments, but shops pubs and a
coffee shop in the village.
GLOUCESTERSHIRE:
Nov 26th Dec 18th. Rain,
Steam & Speed Exhibition at
The Mariana-Art Gallery, East
Street, St.Briavels, GL15 6TQ.
Featuring train artist Michael J.
Tunnicliffe and new work by
Mariana Robinson. Hornby trains
and memorabilia from the 1930s1950s in "O" Gauge by
Christopher Robinson. Free entry,
free parking,10.30am - 5pm daily
(closed Wednesdays).
Contact: Mariana 01594 530484
www.mariana-art.co.uk
Dec 2nd-4th. Claire Failes Open
Studio, 11am-4pm.
Gloucestershire landscapes and
more. Admission, tea and coffee
free. Parking available. 1 Weavers
Cottage, Millend, North Nibley,
GL11 6ED.

Contact: Claire 01453 519181

Claire@drawingonreality.co.uk
www.drawingonreality.co.uk
HAMPSHIRE:
Nov 8th Dec 2nd. Oaklands Art
Club Exhibition, Hanger Farm Arts
Centre, Aikman Lane, Totton,
Southampton, SO40 8FT. Open Mon
10am-3pm, Tues and Thurs 10am4.30pm and Fri noon 4.30pm.
Free admission and parking,
disabled access.
Nov 12th. One Day Exhibition at
The Three Score Club, Library Road
(off Salisbury Road for parking)
Totton. 10am-4pm. Admission free.
KENT:
Nov 10th. Ashford Art Club
demonstration evening. Edwin
Cripps in Acrylic. Doors open at
7.30pm, 3 fee for non members,
all welcome.
Contact: Kate 01932 889494.
Nov 4th-30th. Beka Smith and
John Eveleigh Stories Exhibition,
as part of the Folkstone Book
Festival. All portraits are people
associated with the literary world:
writers, readers, even publishers.
Stories The Cube, Tontine Street,
Folkstone, CT20 1JR. Private view
Nov 3rd 6-8.30pm. Monday
Friday 9am-7pm. Free admission.
LANCASHIRE:
Nov 19th Jan. 17th Blackpool
Art Society Exhibition, Blackpool
Grundy Art Gallery. Open 10am5pm daily except Sundays. Pay car
park next door with spaces for
disabled. Refreshments available in
the Library. A variety of work
including demonstrations.
LINCOLNSHIRE:
Oct 22nd Jan 8th. Lincolnshire
Artists Society Autumn
Exhibition. The Usher Gallery,
Danes Terrace, Lincoln, LN2 1LP.
Free admission, open 10am-4pm
daily but closed 24th 26th Dec
and 31st Dec 1st Jan.
Contact: 01522 550990
www.thecollection.lincoln.museum
Nov 27th. Open Arts Exhibition
in aid of the Deepings Arts Project,
Oddfellows Hall, Church Street,
Market Deeping. 10am-4pm. Free
entry, but donations gratefully
accepted. Tea and Coffee available.
Contact: 01778 346117
www.deepingsarts.org.uk.
LIVERPOOL:
Nov 19th 20th. Maghull Art
Group Exhibition at Deyes High
School, Deyes Lane, Maghull, L31
6DE. 10.30am-5pm daily. Free
admission and parking.
Refreshments and a raffle in aid of
local charity.
Contact: Di Pearson 0151
5263411

LONDON:
Nov 14th-20th. Exhibition of
new paintings by Alex Roch at
54 The Gallery, Shepherd Market,
Mayfair, W1J 7QX. Daily 10am-6pm
Contact: www.alexroch.co.uk
Nov 14th 26th. The Croydon
Art Society 122nd Annual
Exhibition in the Sun Lounge,
Fairfields Hall, Croydon. Open
11am-10.30pm daily (first day
opens at 3.30pm, final day closes
at 6pm.) Visitors are always
advised to confirm with Fairfields
Halls that the Halls will be open
020 8688 9291. Free entry.
Contact: 020 8777 9206
afniven@freenetname.co.uk
MANCHESTER:
Dec 3rd Jan 7th. Rochdale
Artists Annual Winter Exhibition at
The Coach House, Lodge Street,
Littleborough, OL15 9AE. Open
Mon Sat 11am 4pm. Free
admission, free parking, on site
restaurant, disabled access.
Contact: Veronica Swinden
01706 640567
vswinden@hotmail.co.uk
www.rochdaleartists.com
MIDDLESEX:
Nov 12th-24th. Wembley Art
Society Autumn Exhibition,
Stanmore Library, 8 Stanmore Hill,
Stanmore HA7 3BQ. Free admission
during library hours, limited
parking plus public car parks and
meters. Stanmore station (Jubilee
line) half a mile.
Contact: 020 8904 7574
NORFOLK:
Nov 10th 12th. Downham Art
Circle Exhibition. Upstairs in the
Town Hall, Downham Market.
10am-5pm daily. Free admission
and disabled access. Contact:
01366 501466
NORTH YORKSHIRE:
Nov 19th 20th. Harrogate and
Nidderdale Art Club Autumn Art
Exhibition, Ripley Town Hall, Ripley,
near Harrogate HG3 3AX. Open
daily 10am-5pm and admission
free.
Contact: www.handnart.co.uk
Nov 19th. Priory Art Society of
Guisborough Exhibition,
Sunnyfield House, Westgate,
Guisborough. Open 10am-4pm.
Free entry, refreshments available
10am-1pm only.
Contact: Val 01642 485951
www.communigate.co.uk/ne/prioryarts
NOTTINGHAMSHIRE:
Nov 19th 26th. Worksop
Society of Artists Winter
Exhibition at the new Worksop
Library, Memorial Avenue, S80 2BP.
Open daily during library hours.
Ample parking, lift and disabled
access. Free admission.
Contact: Angela Kilroe
01909 481220
worksopsofa@aol.com

OXFORDSHIRE:
Nov 17th 19th. Banbury &
District Art Society Autumn
Exhibition,The Methodist Centre,
Marlborough Road, Banbury. 10am4pm, admission free. Refreshments
available.
Contact: 01295 263131
STAFFORDSHIRE:
Nov 25th 26th. Stafford Art
Group Oddfellows Exhibition,
Oddfellows Hall, Greengate Street,
Stafford. Free Entry.
Nov 12th - 13th. Rosemary
Hales Art Groups Open Weekend
and Exhibition. 10am - 4pm,
Derrington Village Hall, Derrington,
near Stafford. Admission free.
Demonstrations and mini
workshops by Rosemary.
Refreshments available. Some car
parking and disabled access.
SURREY:
Dec 3rd 4th. Pirbright Art Club
Annual Exhibition, Lord Pirbrights
Hall, Pirbright, GU24 0JL. Ample
free car parking, free entry and
refreshments. Contact: Maggie
Read 01483 232205 or
pirbrightartclub@btconnect.com
Nov 18th-20th. Tadworth Art
Group Winter Exhibition at St
Johns Chruch Hall, Tadworth, KT20
5AB (opposite the station). Fri
6.30-10pm, Sat 10am-6.30pm and
Sun 10am-5pm. Canaps and a
glass of wine on Friday evening.
Contact: 01737 362404
Nov 26th Dec 4th. Richmond
Art Societys Autumn Exhibition,
The Vestry House, Paradise Road,
Richmond. 11am-7pm daily except
final Sunday 11am-6pm. Admission
free. Parking in multi-storey next
door in Paradise Road.
Visit:
www.richmondartsociety.com
WARWICKSHIRE:
Nov 27th. Barby and Kilsby Art
Groups Joint Exhibition, Barby
Village Hall, Kilsby Road, Rugby,
CV23 8TT. 10am 4pm, free
admission and parking.
Refreshments, and disabled access.
Raffle in aid of local charity.
Contact: Helen Armitt-Warnes
01788 510443
Nov 19th-20th. Wellesbourne
Art Group Annual Exhibition,
10.30am - 4.30pm at The Fire
Station, Loxley Road, Wellesbourne.
Free admission and parking.
Refreshments available.
Contact: Audrey Sibert 01789
840146
WEST MIDLANDS:
Nov 26th Jan 7th. Dudley
Society of Artists Exhibition, The
Dudley Museum & Art Gallery, St
James Road, Dudley, DY1 1EJ. Close
disabled parking and other parking
available. Artists there on

Saturdays. Monday to Saturday

10am - 4pm. Free entry.
Contact: Rozie
rozie@rozebelly.co.uk or
www.dudleysocietyofartists.co.uk
Dec 9th Jan 15th. Walsall
Society of Artists Annual
Exhibition,4th floor of the New Art
Gallery, Gallery Square, Walsall
WS2 8LG. 10am - 4.30pm except
Mondays and Sundays and
Christmas week. Artists painting
and chatting to visitors. Free
admission.
Contact: Ann Baggott
walsallsocietyofartists@talktalk.net
WEST YORKSHIRE:
Nov 5th-7th. Birstall and
District Art Society 17th Annual
Exhibition, Village Hall, School
Lane, Birstall. Sat and Sun 9am5pm and Mon 9am-3pm. Admission
free. Catalogue 1. Refreshments
available. Free car parking on
school land behind the hall.
Nov 12th 13th. Menston Arts
Club Exhibition, Kirklands
Community Centre, Main Street,
Menston, Leeds LS29 6HT,
10.30am-5pm (4.30pm on Sunday).
Admission free, refreshments
available, disabled access and
ample parking.
WORCESTERSHIRE:
Nov 18th 20th. Hagley Art
Clubs 22nd Annual Art Exhibition,
Hagley Community Centre,

Worcester Road, Hagley. Fri 7-9pm,

Sat and Sun 10am-4pm.
Contact: Maree Brown 01902
670177
Wales
SOUTH WALES:
Nov 12th-15th. Tondu & District
Art Society Winter Exhibition,The
Len Evans Centre, Aberkenfig,
Bridgend (1 mile from Jct 36 M4).
10am-6pm, 11am-4pm on Sunday.
Free admission, light refreshments.
CARMARTHENSHIRE:
Nov 12th-13th, 19th-20th, 26th27th. Dec 3rd-4th, 10th-11th,
17th-18th. Julie Ann Sheriden
Reframed Dereliction at The Last
Gallery, Llangadog, SA19 9BR.
Contact: 01550 777933

Please dont forget, if youre

organising an exhibition or
competition, do let us know well in
advance if you would like the
information included in Paint. Ideally
we need information at least three
months prior to publication, for
example if your exhibition is in
December, it would need to be
featured in the November issue and
we would therefore need details by
the beginning of August. Please supply
concise information to include the
date, name of event, full address
(including county and postcode) and
contact name and number. Please also
indicate if there is parking, disabled
access, refreshments and an entry fee.
Space is limited and will be allocated
on a first come first served basis.

November 2011 PAINT

41

LETTERS & NEWS

Please keep in touch. If your letter

is published as the Star Letter of
this issue, you will receive a 30
SAA Home Shop voucher
Keep going

A sketch a day

I decided to see what the art group at my local

church was all about and went along taking a
box of childrens paints and a drawing pad
writes SAA member Margaret Betts. Having
never picked up a brush before, I was a little
apprehensive. That was a year ago and I now go
along weekly and really enjoy the pleasure of
painting and drawing I am still very much a
beginner but I can see I have improved and
intend to keep going (I did buy some better
paints).

Tricia Rowe was inspired by her seven year

old grandson; His reading has progressed
rapidly and it occurred to me that he
practises every day, and maybe my
sketching would improve if I took a leaf
out of his book. I have now resolved to
sketch something every day, no matter
what! So, since April 2011, I have done
just that. Sometimes I only do one sketch
in a day and at other times several, but
always at least one. I carried my sketch
book everywhere on The Isles of Scilly on a
recent holiday and no one took any notice
- if you set up an easel and all the gear Im
sure that it would draw a crowd but a
pencil and sketchbook, no way. These are
very basic sketches, but I am so pleased
with them because I am improving slowly
and they are building into a visual diary.
Every time we look at them it brings back
the atmosphere of that holiday and we can
say: Yes, we were there!

Developing a passion for pastels

Shaun Leahy has been drawing animal portraits
in graphite for a while but has always struggled
to get to grips with using colour. He wrote to tell
us how excited he was when he saw Vic
Bearcrofts pastel article in the September issue
of Paint; I had previously bought Vic's DVD set
from the SAA shop which included a velour pad
and some pastels, so decided to have a go. I
didn't have the exact colours used in the
demonstration
and I had a
struggle to get
the finer detail
using the pastel
sticks and used
pastel pencils to
help me out.
But overall I am
surprised and
excited by the
final outcome
and will
certainly be
pursuing
pastel
painting some
more.

Marley by Shaun Leahy

All at sea
I recently purchased a set of SAA Seascape
Watercolours in preparation for a holiday by the
sea, writes SAA member Sally Evans. It was my
partners 50th this year and we took a once in a
lifetime trip to Hawaii - what better place to try
out my new paints? Its the first time I've
attempted seascapes even though I've been
painting on and off for over 30 years and I found
it really rewarding. I love the Ocean Blue paint!
Since joining the SAA I have been inspired to
study watercolours and enjoy the constant
challenge.

Bedtime reading?
Susan Corcoran has recently returned to
painting; back in the 1960s, she writes, I
completed a foundation course at Southport Art
School from which I studied advertising design,
followed by careers in retail design and
embroidery. My main influence was my muchmissed late father, John Corcoran, who was a
talented watercolour and pastel painter He
started me off in art by replacing bedtime stories
when I was very small with a pad of scrap paper
and a big box of coloured pencils by my bed.
Each night I came up with a subject and we both
did a drawing; not many artists would be able to
conjure up a very convincing elephant or
rhinoceros from memory, but he did!

Painting the pain

Several years ago SAA member Joyce
Stananought was taken ill with an intense pain
in her head. She recalls that as it began to
diminish she had an urge to draw the areas and
shapes of the pain; it was very tiring to do, and
I could only manage a pencil and not paints.
Each day I drew one image - with my eyes
closed. When I returned to my art degree course
and showed my tutor she suggested I looked at
the work of Frida
Kahlo, who had
painted herself in
her pain after a
tragic accident.
Has anyone else
tried this
approach?

Welcome to some of our newer members we hope you enjoy being part of the SAA
1 Carol Pigott
Sweet Pea Pen and wash
2 Mellony Cliff
Poppies in the Field
Watercolour and pen

3 Beryl Janes
The Great Tit Watercolour
4 Edward OHara
My Bowl of Fruit
Medium unspecified

5 Ruth Gray
Hartington Hillside, Derbyshire
Watercolour pencil and pen
6 Pearl Porteous
Poppy Watercolour

New members will find some blank postcards in their membership pack simply paint us a picture and
post it to us at Head Office with your name and membership number for your chance to be featured here.
If you prefer, you can now upload your entry onto the SAA website simply sign in, click on the
Competitions tab and follow the instructions good luck.

42

PAINT November 2011

What could be
new for you...
...for Christmas?

Win

All three of
these amazing
products!

NEW FOR YOU

miss
t

n
o
D
e
chanc
your in!
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Three lucky readers could find themselves

well equipped for the New Year with this
enticing collection:
A Sketch a Day
Firstly we just had to include the new Hahnemhle A5
Sketch Diary which will inspire any artist to record their
travels and daily findings. It makes such sense having
somewhere to store your sketches and thoughts The left
hand pages are ruled for personal notes and pages on the
right are blank, just waiting for your sketches. What better
way to encourage you to sketch on a daily basis?

The Sketch Diary has 160 pages and is available in A6, A5

and A4 sizes
See page 1 (front cover) of the Christmas Catalogue for full
details.

Totally irresistible
We also found this NEW Cont Carrs gift box set
totally irresistible. It holds an array of 18 vibrantly
coloured Cont Carrs in petite drawers with satin ribbon
drawer pulls and measures just 19cm square x 5cm high.
The assorted colours are of a similar palette to that of
Degas!

More information can be found on page 6 of the Christmas

Catalogue.

To Complete the Picture

This stylish Cont Sketching Studio Box set has
everything you could need for your sketching sessions or
drawing class. It contains 12 sketching Cont Carrs, three
drawing pencils (Pierre Noire, Sanguine and White), a
tortillon, stump and putty eraser.
Turn to page 1 (front cover) of the Christmas Catalogue for
further details

For your chance to win this lovely box of tricks simply

solve the following anagram:
Boaster Vino
Clue: every artist should be good at this
Send your answer to paint@saa.co.uk or to Head Office
by post marked Boaster Vino anagram. Closing date is
15th December.

November 2011 PAINT

43

CLUB TOGETHER

Art Club News

Blazing a Trail
Putting on an exhibition can be hard
work and a terrifying prospect if
youve never done it before, but its
also hugely satisfying
SAA member Pam Pearce had always wanted to
put on an exhibition, but had no idea how to go
about it. However she had heard
about the New Forest Art Trail, an
open studio event, and knew that
her friend, and fellow member of
Waterside Art Group, Elizabeth
Field had taken part before. So
she asked Elizabeth if shed be
interested in joining forces and
offered her house in Hythe as the
venue.
I agreed to help her set it up
with her son Paul, says
Elizabeth. All three of us are
amateur artists. We paint what
we like and get pleasure out of
it. Id had an exhibition before
so could advise on what was
needed.
The group applied to the New Forest Art Trail,
asking to be included in its brochure. They were
sent a banner and direction arrows to guide

visitors to their event,

and a huge number of
brochures which they
could distribute in the
local area. We could
also make our own
posters, explains
Elizabeth. The idea was
that anyone could pick
up a brochure and either
visit one or two venues
that they chose, or make
a day of it and 'follow
the trail' and visit art venues listed in the
brochure as they went.
Pam, Elizabeth and Paul built four large screens
of pegboard to display the paintings, and some

of Pams furniture had to be re-homed for the

ten days they were open so that visitors had
clear access.
We opened each day between 10am and
4.30pm and approximately 60 visitors came to
view our work, says Elizabeth. Four paintings
sold along with cards and some homemade
jams and chutney. Donations also went to the
Hampshire and Isle of Wight Air Ambulance.
Having enjoyed the experience, they will
definitely do it again. We were very happy
with the attendance figures and sales for our
first exhibition, says Elizabeth. We had a
comments book available for visitors to leave
feedback, so we could use it next time to make
the exhibition better, or just see how much
people had enjoyed it.

THE GALLERY
Stowmarket Art Club
To celebrate its 50th anniversary, Stowmarket
Art Club produced a wonderful booklet, The
First Fifty Years covering the history of the
club, mentioning the committee members
who worked so hard for it and featuring
anecdotes from over the years. This thriving
and successful club held its first exhibition in
the bar of the local pub, The Royal Oak, in
1961, and thereafter members exhibited in

Greek Corner by
Steve Williams

44

PAINT November 2011

local halls and eventually started using the

United Reformed Church. From the very
beginning demonstrators were invited along to
inspire club members, and nowadays
professionals such as Hashim Akib visit once a
month, with two weekly meetings held in local
venues. Subscriptions started out at 10/- per
year, and even today members only pay 12 a
year with a small charge for each meeting.

Only Three More

Sleeps by Chris Giles

A Mediaeval Doorway
by Dave Goldsmith

Autumn by Jackie Bilner

Over the years members have taken part in

carnival processions, been awarded trophies
for their work and have even exhibited in
Verneuil-sur-Avre, Stowmarkets twin town.
Celebrations for the 50th anniversary itself
included a trip to the Fitzwilliam Gallery in
Cambridge and a trip to the Gaugin Exhibition
at the Tate Modern. At the annual exhibition
in May, where more than 300 paintings were
on display, a large celebration cake was made
for the private view evening, which was
attended by Stowmarkets Mayor and other
local dignitaries.
If youd like us to feature work by your art
group in these pages, do get in touch and tell
us about yourselves and your painting. Email
sarah@saa.co.uk or write to us at Head Office.

Rewarding
Artists of
the Future
Ludlow Art Societys 65th
annual summer show took
place in the Hartley Centre in
late August, and as part of the
celebrations LAS set up a
special competition and invited
entries from children at SmART,
a Saturday morning childrens
arts and crafts club run by
Tanish Kinton at Ludlow
Assembly Rooms. The 17 entries
were judged by artist Claire
Spencer and the Societys
Chairman, Alan Hobbs,
presented awards to the
winners.
One of the happiest young
artists was ten year-old Rose
Gifford, who not only took a
Highly Commended award for
her Dancing Flowers entry, but
also sold her Colour Strands
painting to one of the 877
visitors to the summer show
during the ten days it was
open.
LAS is a thriving art society,
formed in 1946, whose
members exhibit, paint en plein
air and get together for
monthly meetings.
For more information visit
www.ludlowartsociety.org.uk

Club Corner
The following art clubs are keen to hear from new members. Do get in touch with
them directly if youd like to find out more about what they have to offer
BRISTOL
Hanham Art Club is a friendly, sociable group,
meeting every Thursday from 7-9pm at Hanham
Community Centre. There is a resident tutor and
members work in all mediums and at all levels.
Beginners very welcome as help will be provided.
Fees are 20 per term. Contact Hilary Bailey on
0117 9324067 or tweenUK2003@yahoo.com
BUCKINGHAMSHIRE
The Chilterns Art Group meets every Monday
from 7-9pm at St Marys Hall, Princes Risborough,
with demonstrations, workshops and an annual art
show and sale. This friendly group enjoys its
painting and welcomes new members of all
abilities. For more information please call 01844
216882 or email bob@theetchells.co.uk
CAMBRIDGESHIRE
Fordham Art Group is a watercolour group that
meets in Fordham, near Soham, on the last
Saturday of the month. The group was only formed
recently but hopes to have visiting tutors soon. It
costs 5 to join, plus 2.50 per session. Contact
Lizzie on 07813 816541 or
lizzie4458@gmail.com
ESSEX
The new but growing Expressive Art Group
meets Mondays, 1-4pm, and Fridays, 10am12.30pm, at the Quaker Meeting House, Granville
Road, Clacton-on-Sea. Both meetings are tutored
and exercises exploring pastels, acrylics and
watercolours are set if required. All levels of
experience welcome. Call 01255 820854.
GREATER MANCHESTER
Rochdale Artists Group meets on Tuesday
evenings 7-9pm at Castleton Community Centre.
This is a lively and friendly group of all abilities,
which has a varied programme, including
demonstrations, talks, appraisal evenings, life
drawing and free painting nights. New members
welcome. Membership 10 per year; weekly fees
1 including a drink. Visit
www.rochdaleartists.com or contact Veronica on
01706 640567 or email
vswinden@hotmail.co.uk

Award-winning Rose Gifford

LAS members Alan Hobbs

and Ruth Tune with SmART
youngsters at the award
presentation

An SAA group meets at the Simpson Memorial

Hall, Moston every other Friday, 1-3pm. The group
holds exhibitions and has organised painting
holidays and new members are always welcome.
Contact local RSC Janice O'Grady on 07530
079275.
HAMPSHIRE
Ringwood Art Society meets at Greyfriars
Community Centre every third Monday in the
month, 7.30-9.30pm. Regular demonstrations, a
society newsletter and three major exhibitions
held annually. Visit
www.ringwoodartsociety.org or email
chairman@ringwoodartsociety.org

NORTH YORKSHIRE
The Catterick Group of Artists meets in Catterick
near Richmond on Tuesdays and membership is 22.
New members welcome, contact Pat Bradshaw on
01748 810699 or email patbrad@tesco.net
OXFORDSHIRE
Banbury & District Art Society meets on the first
Thursday of the month in The Methodist Centre,
Marlborough Road, Banbury 7.30-9.30pm. Friendly
demos, lectures, workshops, painting days and two
annual exhibitions. Visitors welcome; 3 which
includes coffee. Contact the secretary on 01295
263131.
SOMERSET
The members of Weston Monday Art Group meet
to encourage, support and inspire each other at St
Saviour's Church Hall, Locking Road, Weston-superMare. All mediums and abilities welcome; 2.50 per
session. Contact 01934 514127.
WEST SUSSEX
Adur Art Group is a friendly club that welcomes
anyone of any ability who paints in any medium.
Meets twice weekly in Shoreham Community
Centre, Shoreham-by-Sea; annual subscription 40,
for which members can attend as many meetings,
workshops and demos as they like. Full details on
www.aartc.webs.com or email
annemaplesden@yahoo.co.uk or call 01903
207455.
WEST YORKSHIRE
KIPPAX ART GROUP is a self-help group, formed
less than a year ago whose members range from
beginners to experienced artists, working in a
variety of mediums. Meets on Wednesday evenings
at Gibson Lane Community Centre, Kippax, with an
annual fee of 60 and trial membership for one
month 5. For details contact Jacky on 0113
2867286 or jackymt@gmail.com
Scotland
INVERNESS-SHIRE
The SAA Beauly group meets on Wednesdays at
7pm in Patches Workshop. For more details contact
Cath Hill on 01463 741433.
Wales
SWANSEA
Swansea Artists
Circle was
established last year
and has an active
membership of 35,
who meet every
Friday afternoon.
Sessions are well
structured, with
themed subjects
organised each
week for those who want to participate, and
regular exhibitions of members work. For details
contact Barbara Bevan on
barbarabev@btinternet.com

November 2011 PAINT

45

CLUB TOGETHER

Introducing
look at it in a mirror. Because youre
looking at it from a completely different
way, for some bizarre reason the mistake
jumps out at you! This tip works every
time for me when something is not
sitting well within a painting.

Tiffany Budd

In each issue we introduce you

to three of the SAAs most
talented professionals and pass
on their top tips for aspiring
artists. These PAs are all
available to come and run
workshops or demonstrations
at art clubs

You can call Tiffany on 07870

293424, contact her by email on
tiffanydowling@wall-power.co.uk or
visit her website
www.tiffanybudd.co,uk

Tiffany Budd
I am inspired by
literally everything
around me, be it
colours, textures or
views. I like to
reinterpret those
images, put them in
my sketchbook and
then get them down onto canvas.
However, there are also times when I
dont know what I am going to paint
until I hit the blank canvas, and I love
the freedom and excitement that feeling
brings.

Sally Pearce

home I got out my sketchbook and

started some ideas. The Russian
Constructivists themselves were inspired
by the Cubists but reinterpreted the style
into something more tangible and
recognizable, and this is what I was
aiming for. I named my style of work
Fractured, because it looks as though
the image has been shattered, like glass,
then put together again.

After a visit to the Tate Gallery where

The Russian Constructivists were
exhibiting, I was blown away by their
paintings and drawings. Something was
triggered off in my brain, and when I got

I focus on perspective and light,

enhancing those elements with different
tones and depth of colour. I work in
chalk, pastel, acrylic and coloured
pencils, which I believe are a really
underrated medium.
As well as using the Fractured technique,
I also produce Contemporary Florals,
using mixed media and acrylics, inspired
by Georgia O Keefe. I undertake
demonstrations in both these styles, and
try to make the session as enjoyable and
informative as I can. I love it when the
group asks lots of questions and keeps
me on my toes! From the feedback I
received from demonstrations I know
that people are inspired and want to
have a go themselves.
TOP TIP:
When youre creating a painting and
youre not completely satisfied with it,

When young I
decided that
painting was my
greatest pleasure,
but, like many
people of my
generation, going
to art college was a
no no. Instead I
was sent to work in
a drawing office and train as a
mechanical engineer. After marrying my
husband we lived and worked in many
places including Pakistan, Scotland and
Yorkshire; after bringing up children then
opting out of industry to farm and make
cheese for nearly 20 years, we retired
with elderly relatives in tow. Then I
decided to enjoy my long-held desire to
paint.
I went to a local college to refresh my
memory of techniques, and after a few
years of short courses I decided I needed
time to do my own thing and havent
looked back. I exhibit with local societies
and at other venues by invitation, and
Cardigan Open Studios is a very
interesting time.
My work and style is varied. Everything I
see gives me ideas and, when these
have persisted for a while, a painting
emerges. Each painting dictates its own
medium, whether it is a distant lake or a
flower petal enlarged out of all realism.
At present I am enjoying acrylic inks
linked mainly to floral depictions. Using
them loosely and very wet is a challenge
and can be so luminous.

46

Tiffany Budd

Tiffany Budd

A few years ago a neighbour wanted to

know about acrylics and came along to
play. This was the start of two groups
who meet in my cabin to paint
fortnightly, with other groups visiting for
workshops or me travelling to their
venues.

PAINT November 2011

I enjoy passing on information and

seeing the thrill when something
beautiful appears and its creator is
amazed. Everyone has ability but at the
start some find it difficult to allow

TOP TIP:
Enjoy the journey - dont expect a
masterpiece every time, just love what
you do, and always use the best of
everything - paper, paints, brushes. A
single good one costs less than dozens
of poor ones and the results are so much
better.

When I was a child

I dreamed of
dragons and their
hoards of jewels.
Now, as an adult, I
paint the dragons
and make the
jewels! Magic
entered my life when I was very young:
my grandmother was a mystical lady and
had a story for every occasion. I was
taught to believe that fairies lived under
the leaves and flowers in our garden and
consequently I had a respect for all
things growing. In the 1970s I fell in
love with the vinyl album art of Roger
Dean and fabulous artists like Boris
Vallejo, often buying records for the
covers and collecting art books,
promising myself that one day I would
paint like my heroes. However, life took
over, a family arrived and I became a
taxi service and head chef, and my art
went out of the window.
Then in 2003 I was diagnosed with
cancer, and my wonderful easy life just
stopped. Once we were all over the
initial shock, I realised that my family
would survive without me, but the thing
I regretted the most was all those
pictures I had lined up in my head those paintings that I intended to do but
never found the time for.
In those months when I thought that I
was going to die - and on the days when
I was so ill that I hoped I that I would - I
couldn't get my pictures out of my head.
My Mum bought me a beautiful spiral
bound book of cartridge paper and I
went away and painted the colours of
the chemotherapy that they were
pumping in to me and the black pit of
misery that I felt I was often sitting in
alone; when my hair fell out, I made a
very angry collage.

But I found hope again, and my art had

made this amazing transformation
possible.
I made the decision that I wasn't going
to play at art any more, I was going to
live it. I had a talent and a huge
enthusiasm for painting and I was going
to share it and encourage others to use
their gifts in any way that they can. I
teach and do demonstrations, and now
paint for that rare moment when I put
the brush to the painting and something
clicks and goes right. My heart speeds
up with the excitement and I just know
that its exactly what I saw in my minds
eye.
For me fantasy is a dream made reality.
It is a wish or desire transported onto
the paper from within your minds eye. It
is only as narrow or as broad as your
imagination. All of my paintings have a
story. Once I can intrigue an audience
with the storytelling and guide them
around the clues in the picture, it is
generally no time at all before folk are
looking at a pose in a photo and start
creating their own fairytale.
TOP TIP:
For the beginner drawing figures can be
a terrible stumbling block and will often
prevent a student even trying. Use
photographs of people you know,
particularly teenage models - most of us
have access to our own children or
grandchildren. And dont be afraid of
using Tracedown to get the figure down
on the paper, so you can at least make a
start.
You can contact Sharon on 01730
892662 or 07941 322562. You can
also visit her website at
www.sharonhurst.co.uk or email her
on sharon@sharonhurst.co.uk

Sally Pearce

Sharon Hurst

Contact Sally Pearce at

sallyepearce@gmail.com or 01559
363491. Visit her website at
www.sallypearce.co.uk

Sharon Hurst

Sharon Hurst
Sally Pearce
Sally Pearce

themselves to experiment for sheer

enjoyment rather than a finished
product.

Sharon Hurst

November 2011 PAINT

47