Indholdsfortegnelse for July 2025 i Artists & Illustrators

ARTISTS & ILLUSTRATORS Phone: +44 (0)1858 438789 Email: artists@subscription.co.uk Online: subscription.co.uk/chelsea/solo Post: Artists & Illustrators, Subscriptions Department, Chelsea Magazines, Tower House, Sovereign Park, Lathkill Street, Market Harborough, LE16 9EF Renew: subscription.co.uk/chelsea/solo Annual subscription rates UK: £77.87, US: $105, RoW: £144 BECOME A MEMBER TODAY! Our fabulous website for showcasing and selling your art GO TO BRITISHARTCLUB.CO.UK…

GARDEN TO CANVAS: CEDRIC MORRIS & BENTON END 20 May to 18 June 2025 This exhibition brings together Cedric Morris’ vibrant flower paintings that inspired the restoration of his historic Suffolk garden. Guest-curated by James Horner, Head Gardener at Benton End, it celebrates the rediscovery of plants once cultivated by Morris and now reintroduced into the garden. The exhibition offers a dialogue between art and horticulture, documenting the garden’s renewal over the past two years. Philip Mould & Company, 16 Pall Mall, London SW1Y 5LU. philipmould.com FINE LADIES AND GENTLE MEN Until 19 October 2025 This is the first solo museum show for Brixton-based printmaker and artist Katherine Jones, RA. Featuring a range of prints and small panel paintings, this exhibition draws inspiration from Thomas Gainsborough’s iconic 18th-century portraits, blending…

A Liverpudlian by birth, Sarah Fosse grew up in Jersey in the Channel Islands. She travelled all over the world before settling in the Docklands in London, which is one of the main inspirations for her paintings, along with New York, Hong Kong and Paris, all her favourite cities. Having always lived near water, be it coastal or on the river, Sarah has a fascination with its movement, reflections and energy, which has also inspired her truly unique and energetic style, sometimes described as ‘wobble.’ Favouring acrylics, her passion for Fauvism and Expressionism is unmistakably conveyed by her bold, vibrant colour palette and the manner in which she deconstructs and distorts the urban landscape. She can boast private and corporate collectors across Europe, North America, Africa, Asia and Australia. sarahfosse.com…

EVERYTHING YOU NEED TO PAINT AND CREATE 1 Use layers Coloured pencil is a very slow medium to work with, but I think that makes it relaxing. If you want to create depth in your drawings, build up the colours slowly with lots of layers, and as you add new elements to the drawing, go back and look at the areas you have already done and see if the colours need to be changed as you go along. 2 Ask for advice As an artist, I’m always learning, and other artists are generally very happy to share their working processes and ideas. Visit local art exhibitions and speak to the artist exhibiting. You could also join a community like the UK Coloured Pencil Society, full of like-minded artists happy to…

Working as an editorial illustrator, I work in steps and layers to assure good communication with my clients. This includes sending gestural concept sketches, colour tests, a tight final sketch and the final watercolour painting, requiring a good amount of visual problem solving. I live in glorious Paris which is an eternal source of inspiration. I love mashing up two ideas, exaggerating the scale of one of the elements to inspire a fresh idea. To celebrate the long-anticipated arrival of summer, I will turn a Haussmanian corner building into a vase for gigantic summer flowers. But I encourage you to interpret this exercise with the architecture and greenery of wherever your home may be. jessiekanelosweiner.net 1 STARTING OUT: SKETCH WITH COLOUR Before I begin, I like to think through my visual…

MESSAGE OF THE MONTH Ken White I left school when I was 15 and went straight into the Great Western Railways, following my Grandad, father and brother. I then became a signwriter. Unfortunately, I did not enjoy it very much, so it is surprising that I did a series of four-foot square paintings inspired by the railways, which I think came out fairly well. Pauline Davidson Your magazine has been a godsend for me. I went to art school when I was younger but couldn’t do painting as there was no space in the painting department. So, I pursued illustration instead. Fortunately, many well-known artists were teaching at Camberwell just after the War. For instance, I had Michael Rothenstein, who encouraged me, and Martin Bloch in Life Drawing. We did…

In this action-packed issue, we’ve got a final, practical watercolour story, by the legendary Alvaro Castagnet who demonstrates the importance of edges in your paintings. Then, Jessie Kanelos Wiener shows you how she paints an iconic Parisian scene in a similar method. A fan of coloured pencil? We have two artists, working in very different styles, but with the same subject. Then, watercolour expert David Bellamy shares his secrets to exploring in gouache, which he makes look so much fun. Give it a go. Playing around with different instruments and methods is so enjoyable. But if you’re a fan of acrylic, we’ve got Susannah Bleasby in the How I Paint slot showcasing her fabulous florals and landscapes along with this month’s cover star, Sarah Fosse, whose cityscapes are simply showstopping.…

23 MAY Submit your work for the Gilchrist-Fisher Award, open to artists under 30 working in any media and exploring landscape. First prize: £6,000. Free. gilchristfisheraward.co.uk 23 MAY Enter the Lumen Prize and win up to $12,000 for digital art that engages with technology. Categories include Still Image, AI, XR and more. Open to all. lumenprize.com 11 JUNE Textile artists, apply to the Fine Art Textiles Award for a chance to exhibit at the Festival of Quilts and win from a £9,000 prize pot. Entry from £22. thefestivalofquilts.co.uk 22 JUNE Scotland-based artists working in water-based mediums can enter the RSA William Littlejohn Award for £2,000 and an RSA exhibition. No entry fee. royalscottishacademy.org…

Growing up, I was always encouraged to embrace my creativity. My mother, who has always been creatively inclined, and my aunty, an artist throughout much of my life, provided a constant source of inspiration and exposure to the world of art. I always had something I’d be creating in my own time but, education-wise, it was consistently a subject I chose, continuing to study it until my A levels. In addition to my family influences, I was also heavily impacted by the world of film, which further shaped my artistic vision and passion. All of these experiences combined, I feel, have promoted a deep, lasting connection to the world of art, guiding me throughout my personal and academic journey. Although I enjoyed science and maths at school, and was good…

Edges are the unsung heroes of watercolour. They help create a dynamic and rhythmic painting, and it is paramount to manipulate them well because edges can create so many different effects. In this step-by-step demonstration, I will show you how to bring the scene of a bustling Parisian street to life, using edges to blend, separate and emphasise key elements. We explore how to combine sharp and soft edges in harmony to create a dynamic and flowing rhythm in the painting. alvarocastagnet.net 1 SKETCHING THE SCENE Start with a loose 4B pencil sketch to outline the major shapes and establish a sense of scale in the composition. Pay special attention to defining the cupolas, the kiosk and the figures with umbrellas, which will later become focal points. The sketch provides the…

As a child, I remember running through a garden full of flowers, chasing and watching the butterflies. These floaty, delicate insects, flitting from flower to flower in the sunshine, sipping nectar, collecting pollen and pollinating as they go, are so important and should be valued. I live in Southern England among the wonderful chalk downlands. I have always enjoyed drawing and studying it technically at school. Then cartography at work led me to drawing in pen and ink before moving to include watercolour. I was persuaded to teach, and I have never stopped learning and teaching since. This tutorial describes my drawing and painting process for a Comma Butterfly on Wild Marjoram. I used both water-soluble and dry coloured pencils for the butterfly, and then added a watercolour wash background,…

TAYLOR TYNES An oil painter based in Western North Carolina, Taylor studied at the Hein Atelier in Utah. She has since been exhibiting all over the world. Taylor draws influence from her day-to-day life and is interested in continually exploring the relationship between representational art and abstract design. STEVE PYATT Steve’s passion for art began at school where he achieved a distinction in advanced GNVQ Art and Design. He is delighted to now combine this enthusiasm for art with his marketing knowledge, which uniquely positions himtohelp businesses run effective advertising campaigns. SARAH FOSSE Sarah is a professional artist who has been painting from her London-based studio for over 12 years. With a kaleidoscope of colour, her style captures the dynamic energy of the urban landscape. She is represented by galleries…

SAVING 66%* SUBSCRIBE NOW! Order online at www.chelseamagazines.com/CA0725 Or phone 01858 438 789‡ and quote CA0725 TERMS AND CONDITIONS: This offer is open to UK customers only when paying by Direct Debit or Continuous Credit Card. Offer ends on the 31st of August 2025. You will pay £12.00 for 6 issues, renewing every 6 issues thereafter. *All percentage savings are calculated from the usual shop price. For our privacy policy, visit: chelseamagazines.com/privacy-notice. Lines open Weekdays 8am-9:30pm; Saturdays 8am-4pm. ‡ Calls are charged at your standard network rate.…

Victor Hugo looms over 19th-century French literature in the fashion of a true Colossus. Yet, despite such huge literary talent, poet Charles Baudelaire was no less enthusiastic about Hugo’s artistic ability when he exalted this lesser-known aspect of the famous writer’s craft, vividly hailing, “the magnificent imagination that flows through Victor Hugo’s drawings like mysteries in the sky.” Art was something for which Hugo clearly retained deep affection, confiding to a friend late in life, “I would have liked to be; indeed I should have been, a second Rembrandt.” His ink and wash visions of fantasy castles, seascapes and monsters amongst other esoteric subjects are, as the Royal Academy attests, fundamentally as “poetic as his writing, yet rarely seen in public.” Now redressing this, the Academy is staging a show…