Indholdsfortegnelse for January 2025 i Artists & Illustrators

WITH NITRAM CHARCOAL "Born into an artistic family and surrounded by the beauty and the richness of cultural heritage, I found myself captivated by the power of visual expression. As I grew, so too did my passion for art, driving me to explore its depths and possibilities. In many ways Nitram Charcoal resembles the medium of my artistic roots: the ink brush that I used for traditional ink wash painting and calligraphy. Both offer superb texture and surface interaction, infinite shading and tonal range, and unique qualities that suit different artistic styles and expressions. With Nitram Charcoal, my work reflects the culmination of these diverse influences—a harmonious fusion of Eastern and Western traditions, classical techniques, and contemporary vision. Each piece of work is a reflection of my personal journey, a…

Things we love… Artist Adam Dant revives the lost art of the ‘painter-stainer’ in his new exhibition Legends of Albion at Newlands House Gallery, Petworth. Known for his intricate pictorial maps and narrative ink drawings, Dant explores the myths, legends and rulers of ancient Britain through painted cloths, maps and tableaux. Fusing draftsmanship with imaginative vision, his works humorously blend historical motifs with contemporary culture. With accolades such as The Rome Scholarship and the Jerwood Drawing Prize, Dant’s latest exhibition traces the lineage of King Charles III back to the Greek god Zeus. From 22 November 2024 to 16 February 2025. newlandshouse.gallery…

2 DECEMBER Enter Wales Contemporary for a chance to win part of the £15,000+ prize fund. Open to global artists. Entry fee starts from £15. artopps.co.uk 8 JANUARY Submit your art, prints or sculptures for the Royal Society of British Artists Annual Exhibition. Prize fund totals over £18,000. Entry fee from £14. mallgalleries.org.uk 9 JANUARY Artists of all ages are invited to submit their art and design work to the David Gentleman Gallery Open Exhibition. It’s £5 to enter. thedavidgentlemangallery.co.uk 15 JANUARY Paint an image from Raw Umber Studios image library for the chance to win £1000. Open to all. Winner announced 22 January. rawumberstudios.com/image-prize…

SELF PORTRAIT IN GREEN T-SHIRT was created during a break between commissions. I find commissions mentally challenging – there’s pressure to please the client and worries about flattery and justification. In response, I created something intentionally unflattering – an image only I know about, free from concerns about likeness or approval. The angular shapes give my face a fragmented, yet cohesive, appearance. I consistently paint in this style, despite my face not being angular. The elevated eye line adds intrigue, creating a forlorn quality, with much of the figure in shadow. In school, I learned to draw in a structured manner, focusing on form. Cézanne and Degas also shaped my approach. We learned to describe subjects in planes, a method I still use, hence my ‘geometric’ style. I then pursued…

WHILE THE EYES AND MOUTH contribute the most to likeness and expression in a portrait, the structural features of the ears and nose support a good proportion. The ears, sitting at the top of the neck and marking the junction between the hairline and face, are a particularly important reference point for the placement of other features. While the ears’ relationship to the eyes, nose and mouth is not fixed, the lobe and the top of the ear can both provide a valuable point of reference to compare features, particular to each pose. The convolutions of the ear itself can intimidate less experienced portrait artists and they are the most regularly omitted feature of the face, hidden beneath a curtain of hair or hurriedly drawn with little attention given to…

IT WAS THE AMERICAN PAINTER and teacher Robert Henri who said, “Paint what you feel. Paint what you see. Paint what is real to you.” So, for this article I chose the proud, gentle and graceful Lurcher-Saluki cross called Mo. I walked with him and his owner regularly and have always enjoyed sketching and painting him. Sadly, he died a year ago but he’s still very real to me. I thought painting him, based on this photograph of him which shows different colours reflected in his fur, would be a fitting tribute. 1 SKETCH IT OUT I started with some quick sketches to familiarise myself with the subject and to decide on the proportions for the canvas and composition. Capturing the character of the subject is always as important to me…

Aimed at all painters, from the beginner to the more seasoned… this supplement special is your one-stop shop for all things acrylic. Kicking off with a unique Q&A section, expert painters solve all your acrylic conundrums. This is followed by six pages of advice on what supports to use, the best palettes, how to slow drying time and, crucially, what not to do when working with the medium. The rest of the issue features practical step-by-step stories to help you on your way. Learn how to paint a portrait from a photograph with Roger Deller and pick up tips on how to work best with this fast-drying medium. Aine Divine shows you how to be free and alive in your mark-making whilst composing a floral still life; you’ll see that…

One of the main concerns about acrylic is the drying time, which will seem too rapid for the uninitiated. On average, artist-quality acrylic paints take half an hour to dry completely if used in a thin layer. Thicker applications take one-to-two hours depending on the air temperature. Experience will help you understand these qualities but, in the meantime, you can use mediums such as retarders and slow-drying gels. Medium isn’t essential. You can use water to dilute acrylic but it will affect the pigment’s richness. As well as retarders, there are moulding pastes to thicken paint, gloss or satin varnishes to mimic an oil finish, and products to create flow with no colour shift once dry, such as flow-enhancer, glazing gel and matt or gloss medium. Thicker consistencies of acrylic…

I once painted at a local primary school to demonstrate how an artist works. One little girl, aged eight, watched me, glued to my side Towards the end, she said: “I get it. First you do it all roughly, then you resolve it.” I thought it was very profound for an eight year old. I treat a portrait as I would any subject: I let the subject find me. I end with some implied detail, but start by enjoying the exploration of the subject and paint. For this acrylic painting, I worked from a photograph of an old friend, trying to catch the warm winter light on his face. rogerdellar.com 1 BLOCK IN THE MID-TONE COLOUR I begin by mixing my paint with a palette knife, aiming for a neutral,…

GIFT WORTH £26.49 PLUS RECEIVE BONUS CARAN D’ACHE SWISSCOLOR WATER-SOLUBLE COLOUR PENCILS Order online at chelseamagazines.com/CSDPXM24 Or phone 01858 438 789‡ and quote CSDPXM24 Enjoy our fantastic subscriber benefits: + Save 40% when you subscribe*+ A wealth of art advice and fresh inspiration every month+ Never miss an issue with free delivery direct to your door+ Enjoy instant digital access to the latest issue upon subscribing TERMS AND CONDITIONS: THIS OFFER IS OPEN TO UK CUSTOMERS ONLY WHEN PAYING BY DIRECT DEBIT OR CONTINUOUS CREDIT CARD. OFFER ENDS ON 15TH JANUARY 2025. *ALL SAVINGS ARE CALCULATED AS A PERCENTAGE OF THE STANDARD SHOP PRICE. THE CARAN D’ACHE SWISSCOLOR WATER-SOLUBLE COLOUR PENCILS IS SUBJECT TO AVAILABILITY AND WHILE STOCKS LAST. WE RESERVE THE RIGHT TO FULFIL ALL SUBSEQUENT ORDERS WITH A PRODUCT OF…

It’s always exciting revealing the winners of our annual art competition, The British Art Prize. Judging this year’s entries was harder than ever before, not least because the standard was way up there. Which is why the input from my fellow judges was invaluable and so it’s a big thank you from me to Adebanji Alade, the Vice President of The Royal Institute of Oil Painters and Artist in Residence of The BBC’s The One Show, Alvaro Castagnet, the world-renowned watercolour master, Dr Amy Orrock, national curator for the National Trust, lecturer at The Arts Society and art historian and Alastair Sooke, writer, broadcaster and The Telegraph’s chief art critic. You can see the sensational results on pages 36-44. Elsewhere in the magazine, we’ve got lots to entertain and enthuse.…

With the new year upon us, it’s the perfect time to set fresh goals to enrich and enliven your artistic journey. Drawing on insights from artists at the top of their game, here are five resolutions to consider that could inspire new perspectives and techniques in your practice. 1 BUILD A SUPPORTIVE COMMUNITY Art is often a shared experience, and connecting with others can be invaluable. Portrait painter Simona Constantin notes, “Art thrives in connection with others.” Engage with fellow artists, join workshops or connect online to gain fresh perspectives and feedback. Being part of a creative community can provide motivation, insight and inspiration to drive your work forward. 2 EMBRACE NEW TECHNIQUES Shake up your routine by exploring new techniques and mediums. Renowned artist Jonathan Yeo encourages experimentation, saying,…

JOHN MACFARLANE AND THE ART OF THEATRICAL DESIGNS Until 20 April 2025 A new exhibition showcasing the dramatic and dark designs of John Macfarlane is open now at Gainsborough’s House. John Macfarlane and the Art of Theatrical Designs will feature 21 drawings from the renowned designer’s five-decade career, highlighting his unique style that has shaped major ballet and opera productions worldwide. From Swan Lake to Tosca, Macfarlane’s work defies traditional stage design with its bold, eerie tones, offering visitors a glimpse into the creative process behind these iconic performances. Gainsborough’s House, 46 Gainsborough St, Sudbury CO10 2EU. gainsborough.org PLANET OCEAN Until 27 April 2025 This show examines our crucial relationship with the sea, focusing on Plymouth, known as ‘Britain’s Ocean City.’ It delves into pivotal moments in history and the…

GROWING UP, all the kids wanted to hang out at Maja Lindberg’s house. Before introducing craft activities to her pupils, her mum, a preschool teacher, would often test them out on her daughter and her friends. So, after their school day, they’d be found at the kitchen table, sleeves rolled up, moulding papier mâché heads, making animals out of clay or painting and drawing. To this day, her two best childhood friends still reminisce about the fun they had at her home. Those early years of creativity were formative; they all ended up working in creative industries. Today, Maja is an in-demand illustrator, with clients all over the world. Not that this was the original intention. She trained as a ceramicist and then got an education in IT before starting…

PICTURE THE SCENE: the year is 1504 in Florence and young Michelangelo Buonarotti has been in the city for a couple of years working on an extraordinary commission. A huge block of marble has slowly been sculpted into the Biblical figure of David, a project just finished. Michelangelo, always happiest with chisel in hand, declared, “Every block of stone has a statue inside it and it is the task of the sculptor to discover it.” The gigantic figure, 17 feet high, was “very much seen as a metaphor for Florence, a small but grand Republic, fighting and winning,” according to Julien Domercq, curator of the Royal Academy’s new exhibition Michelangelo, Leonardo, Raphael 1504. “Big both in size and significance, a piece of propaganda,” the brilliance of David was realised immediately,…

TURN We see most of the ear when the head is turned in profile. As a head turns into a three-quarter profile it is the appearance of the second ear that tells us the head is closer to a front-on view. Once the head is facing straight at us, the ear remains the same height but is horizontally compacted, with the curve of the top of the helix becoming one of the most prominent shapes. BACK VIEW An image of the back of the head can be enigmatic and engaging, with the bumping line of the oblique profile telling us a surprising amount about the face and the character of the subject. In these turns the ear can be the most prominent feature with the curve of the helix prominent…

AFTER BEING GIFTED a watercolour set in my early teens, I remember becoming obsessed with drawing and painting buildings, which is a slight mystery as there’s no architects in my family. Fast forward to a few years later, when I’m a practicing actor in film and theatre, and the mantra “less is more” became ingrained into my psyche. I believe this can also be translated into paintings. The audience doesn’t want to be insulted by everything being spelt out when it can easily be said with just a brushstroke or two, leaving them to engage their imagination for a more pleasurable viewing experience. I believe paintings are a whole lot more interesting when everything isn’t spelt out, when just a beautifully crafted shape or stroke says it all, letting the…

Paint Winsor & Newton: Titanium White, Lemon Yellow and Artists Yellow Ochre Michael Harding: Brilliant Pink, Ultramarine Blue, Phthalocyanine Blue, Phthalo Blue, Titanium White C. Robersons & Co: Alizarin Crimson Winsor & Newton Galeria acrylic gesso: White Holbein acrylic gesso: Grey Brushes Rosemary & Co: Ivory long flat hog brushes size 8 and 10, Evergreen short flat brushes size 0, 4mm flat acrylic brush Support 40x40cm Belle Art MDF Fine Cotton Canvas Panel Palette knife Catalyst wedge Harris paint guard Mahl stick Kremer Shellsol T odourless thinner Linseed oilI…

How do you balance the realistic and stylistic in a painting? I like to combine realistic depictions of a landscape with stylistic flourishes that make it a personal vision. My imagery is a visual diary reflecting thoughts and experiences originating from places visited and the richness of country life. It is instinctive to work with shape, contour and colour, but within a landscape of my imagination. Formal composition is central to your work. How do you plan a scene? When I have thought of an idea for a painting, I begin by making small compositional sketches. First ideas and sketches are often visually strong and can sum up or capture the essence of the idea I am looking to explore. From here I may add more elements or simplify as…

I love Rohrer & Klingner acrylic inks. They’re made by hand and combine acrylic resin, which is resistant to yellowing and is lightfast, with highly pigmented colourants. Inks can be applied using a dip pen or brush, and made translucent by adding water. They’re permanent when dry. 1 Splash water onto a big sheet of paper and drop in ink while it is still wet. Enjoy the pigment strength and the way ink moves around. 2 Float a layer of ink onto a piece of paper and dry, then float a second colour on top. Unlike watercolour, inks won’t mix because the resin seals each layer as it dries creating a stained-glass effect. 3 These inks mix beautifully with any artist-quality watercolour so can be used in combination with, or even…

MAJA LINDBERG Our cover artist lives and works in Lomma, a seaside town in the south of Sweden, where she runs her own art company. Besides selling her prints and working on commissions, she has illustrated and co-authored several books, bringing her work to stories that captivate readers of all ages. SAMUEL OWUSU ACHIAW The winner of The British Art Prize is a pencil artist who specialises in hyperrealism. His background in medical anatomy drives his passion for portraiture. His artworks explore environmental themes around pollution and climate change and themes around African cultures. ELLY HADJIPATERAS Elly has been painting for 40 years and is self-taught. She has exhibited extensively in London including at The Royal Society of Portrait Painters, The Royal Society of British Artists and The Women in…

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With a proud heritage dating back to 1832, Derwent has been manufacturing pencils in the Lake District ever since. With over 190 years of know-how packed into every pencil and art tool, their creative and scientific minds never cease in their quest for new ideas. Obsessed with the highest quality of materials, Derwent is forever creating an ever-evolving and exceptional range to meet the requirements of every artist. Try the many Derwent pencil ranges; pencils, paint and accessories designed to meet every artist’s needs, and allow you to keep discovering. Derwent’s Chromaflow soft colour pencils transform ordinary into exciting with the rich and vibrant 150 colours. With a strong, smooth core that handles pressure, these pencils are perfect for easy blending and seamless layering. For a more enduring impact, their…

I learnt about crafts and practical techniques like sewing, painting and woodwork from my parents and aunts. I grew up in an era when looking after your things was more important than it is now. Skills spilled into problem-solving, but also generating creative ideas and making art. Using my hands to mend, tend or transform things and salvage found objects is something that still shapes my practice. My first artistic job was to assist a local illustrator who worked in an old-fashioned way. He did not rely much on the computer but mounted his work by hand, so I learned plenty about collage-making and composition from him. I also worked with animation and making costumes before studying fashion design. Subsequently, commissions within the fashion industry creating prints and textile designs influenced…

The British Art Prize 2024, in association with Raw Umber and Caran d’Ache, attracted entries by the thousands and quality paintings and drawings poured in from the UK and beyond. An esteemed judging panel made up of Adebanji Alade, the Vice President of The Royal Institute of Oil Painters and Artist in Residence of The BBC’s The One Show, Alvaro Castagnet, the world-renowned watercolour master, Dr Amy Orrock, national curator for the National Trust, lecturer at The Arts Society and art historian and Alastair Sooke, writer, broadcaster and The Telegraph’s chief art critic had the almost impossible task of choosing the winning entries. As the prize has a broad selection process – with no theme or medium constraints – the resulting shortlist is a fabulous smorgasbord of styles and subject…

I’VE ALWAYS WANTED to be an artist, and as a child, I drew on every surface I could find. Now, as a painter, I transfer my feelings, thoughts and perceptions of this world into my works with paint and brushes. The most inspiring part of painting a figure or portrait is capturing the essence of a human soul; emotions that are often hidden deep inside. It’s intimate, which is why I often depict my characters with a direct gaze, creating a non-verbal communication with the viewer that feels personal and sincere. I hope viewers feel this emotional connection and experience the strong feelings I aim to share. For me, emotions are a universal language that can unite people, crossing any borders. There is magic even in the process of painting…

1 Tint your canvas It’s overwhelming to start a painting on a white canvas and difficult to gauge the colours and tones. Apply a thin layer of neutral colour – Warm Sienna if your painting will be mainly greens, cooler Raw Umber if it’s a portrait. You can use watery acrylic for this tint or oil diluted with lots of thinner. Even it out with a rag and you’re ready to go. 2 Don’t be put off Oils are usually associated with more advanced artists but, in fact, they are the most forgiving of all mediums. You can rub off, scrape back or paint over any mistakes. And because they’re slow drying you can take your time leaving each layer to become touch dry before applying the next. If you’re…

SIZE AND SHAPE While all ears will share common elements, these forms will express themselves differently in different people, with differences in shape, size and tilt of the ear all affecting how they appear. These differences can extend into injuries, old piercings and hair growth that may even make the left ear different to the right on a single subject. JEWELLERY Ear piercings are one of the most common forms of body adornment, ranging from small studs to hoops and stretchers. While studs are relatively simple to draw, hoops can present a greater challenge. Notice the shape of the loop of metal in the pose you are drawing it, ensuring that it could rationally continue through the lobe in your drawing and being sensitive to how round it appears, or…

This painting is inspired by the Cosy Club in Bath. That day, when I walked in, I was struck by the beauty of this scene; a striking contrast between the warm tones of the interior and the cool tones of the light coming through the window. The large window, painted with bold brushstrokes and patches of colour, reminded me of church window mosaics. So, it conveys a sense of hope and the feeling that something grand and beautiful outside might be waiting for you. Light is at the centre of my work and remains an endless fascination. Pushing the limits to abstraction is a way of involving the viewer in the process. Not including every detail means the viewer can fill in the gaps and add their own story and…

Using acrylics on varnished surfaces will result in paint cracking and peeling. You may not notice this for a while but, if you are planning to paint a masterpiece, it might not stand the test of time. This also goes for previously used canvases painted with oils. The water-based acrylic will not adhere to the oil content on the surface. If you are applying acrylics on varnished wood, sand down the surface beforehand. KEEP IT SIMPLE There are plenty of straightforward supports available, including paper, boards, panels and canvas. There are also acrylic pads, which have a surface texture similar to canvas but are already primed so acrylic can glide nicely over it. You can use watercolour paper, but it’s unprimed so paint tends to drag and sink into the…

It’s hard to define what it is about a subject that makes you chose it as a starting point. This painting of a cat is an interesting example. Animals are not my usual subject matter but as soon as I saw this stray feline, I knew I had to paint her. I was on a walk when she stepped out on to the path. What was interesting was the purely abstract qualities of her unusual markings – there was a tremendous graphic punch to the black and white. The very form of the cat’s sleek body and almost comic-book markings on her face were very attractive elements for picture making. I made one or two very quick drawings then, obviously, took a couple of photos to capture the constantly moving…