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www.artistsandillustrators.co.uk Artists & I LLUSTRATORS 9 770269 469153 06 June 2014 £4.20 MONDRIAN The abstract artist's early landscapes FIND YOUR OWN STYLE Tips and inspiration to make your artworks stand out Win! Art materials and courses worth £1,400 Learn how to varnish for a professional gallery look Expert finish Step by step advice to paint sunsets, portraits and more Top projects

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  • www.artistsandillustrators.co.uk

    Artists&I L L U S T R A T O R S

    9770269

    469153

    06

    June 2014 4.20

    MOND

    RIAN

    The a

    bstra

    ctartist's

    early

    landscape

    s

    FIND YOUROWN STYLE

    Tips and inspiration to makeyour artworks stand out

    Win!Art materials and

    courses worth 1,400

    Learn how to varnish for aprofessional gallery look

    Expert nish

    Step by step advice to paintsunsets, portraits and more

    Top projects

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    Artists & IllustratorsThe Chelsea Magazine Company Ltd.Jubilee House, 2 Jubilee PlaceLondon SW3 3TQ

    Tel: (020) 7349 3700Fax: (020) 7349 3701www.artistsandillustrators.co.uk

    EDITORIALEditor Steve PillSenior Art Editor Chlo CollyerAssistant Editor Terri [email protected]

    With thanks to...Grahame Booth, Laura Boswell,Joe Francis Dowden, Rob Dudley,Ben Grafton, Hero Johnson, Craig Penny,Ian Rowlands and Louis Smith,Nicholas Usherwood and Jenny White

    ONLINEFor all website issues, please contact:[email protected]

    ADVERTISINGAdvertisement Manager Tom OByrne(020) 7349 [email protected]

    Group Advertisement ManagerLyndal Beeton(020) 7349 [email protected]

    Advertising Production allpointsmediawww.allpointsmedia.co.uk

    MANAGEMENT & PUBLISHINGManaging Director Paul DobsonDeputy Managing Director Steve RossPublisher Simon TemlettCommercial Director Vicki GavinHead of Marketing Will Delmont

    SUBSCRIPTIONS AND BACK ISSUESFor all enquiries, please contact:

    Artists & Illustrators,Subscriptions Department,800 Guillat Avenue, Kent Science ParkSittingbourne, Kent ME9 8GU

    [email protected](01795) 419838http://artists.subscribeonline.co.uk

    COVER IMAGENick Botting, Coffee at Bibendum,oil on canvas board, 46x41cm.Find out how Nick developed hisown painting style on page 19.

    Artists & Illustrators (ISSN 0269-4697) is published everyfour weeks. We cannot accept responsibility for loss of, ordamage to, unsolicited material. We reserve the right torefuse or suspend advertisements, and regret we cannotguarantee the bona des of advertisers. Readers shouldnote that statements by contributors are not alwaysrepresentative of the publishers or editors opinion.News Trade (UK and Rest of World):Seymour International Ltd.2 East Poultry Avenue, London, EC1A 9PTTel: (020) 7429 4000, Fax: (020) 7429 4001Email: [email protected] in the UK by Wyndeham HeronColour origination: allpointsmedia

    FEATURED CONTRIBUTOR

    CRAIG PENNYBorn in Victoria, Australia in 1961, Craig studied art at BallaratUniversity, before pursuing a successful career as an illustrator inthe advertising industry and becoming a member of the IllustratorsAssociation of Australia. Today he is recognised as one of Australiasleading art tutors, specialising in acrylics and watercolours.

    On page 74, Craig travels to West MacDonnell National Park todeliver a masterful demonstration of bright, colourful landscapepainting. See more of his work at www.craigpennyart.com.au

    Artists&I L L U S T R A T O R S

    We are stepping out in style this month:our cover feature, beginning on page 19,looks at ways in which you can developa personal style. Finding a unique voiceis a hugely important step in our

    development as artists and one that is often taken for granted.Stop for a minute to consider the last time you made a painting

    or drawing. I bet you spent a fair amount of time choosing whatyou were going to depict, but probably didnt give much thought tohow you were going to tackle it. Loose brushwork? Bright colours?Detailed drawings? All these elements dene your style so thinklong and hard about exactly what you want from them.

    On the subject of style, Ive been looking at the work of PietMondrian this month. The Dutch artists famous graphic works areinstantly recognisable and worth millions at auction but, as I soondiscovered, he took more than 25 years to arrive at this trademarkstyle. Ahead of two new exhibitions of his work opening in theUK, the Netherlands Board of Tourism invited me to explore hisearly roots in Holland and it revealed a passion for plein airlandscape painting and muted earth colours. Who knew?

    It just goes to show that even the worlds greatest painters tookyears before their style came to fruition, so why not grab yourbrush, enjoy the process and see where it takes you?

    Hello!

    Steve Pill, Editor

    HOW DID YOU DEVELOP YOUR OWN PAINTING STYLE?Wed love to hear your stories and see your work! Get in touch in one of these three ways:

    EMAIL [email protected] TWITTER @AandImagazine FACEBOOK ArtistsAndIllustrators

  • Swiss movement, English heart

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    Made in Switzerland / Sellita SW200-1 automatic movement with 38 hour power reserve /39mm, hand-polished, 316L stainless-steel case / Matt nish, optic white, one-piece dial,Anti-reective sapphire crystal / Italian leather strap with deployment clasp

  • Artists& Illustrators 5

    ISSUE 339 O WWW.ARTISTSANDILLUSTRATORS.CO.UK O JUNE 2014

    19 FIND YOUR STYLETop tips to develop a unique look 36 A NEW ANGLE?Discover Mondrians early works

    70 ALLA PRIMA STUDIESSimplifying detail in your portraits

    40 IN THE STUDIOPrintmaking in practice 46 TALKING TECHNIQUESAward-winning landscape advice

    58 RIVER AND SEASCAPESPutting the water into watercolour 64 SUNSET MASTERCLASSA step-by-step demonstration

    CONTENTS7 YOUR LETTERSWrite to us and win a 50 art voucher

    9 THE DIARYYour guide to the best art events this month

    17 COMPETITIONWin 1,000 of art materials and a painting course

    29 ON THE JOBMeet the founder of a unique art agency

    32 TIMELESS VISIONSThe imaginative work of Sonia Lawson RA

    42 PORTFOLIOA selection of great paintings from Portfolio Plus

    50 ANATOMY OF A PAINTINGIan Rowlands explains how and when to varnish

    54 FACE TO FACEPart two of our portrait painting challenge

    62 COLUMNISTLaura Boswell reveals an extra source of income

    63 HOW I MADE...Find out how to blend charcoal and watercolour

    68 FEARLESS DRAWINGTwo great exercises to loosen up your practice

    74 BRIGHTER LANDSCAPESCraig Penny takes us painting in the outback

    82MY LIFE IN ARTWith former Olympics artist Jeremy Houghton

  • Q It started with pigments......using colours no one had heard of Perinone, Indanthrone, CarbQuinacridone and Perylene. These little know synthetic pigments wextremely lightfast, beautifully transparent and revealed colours wenever seen. We knew we had something great.

    QColours from the pastAs our interest in pigments grew, we looked back through history resurrecting some of the classic pigments used by artists from antiqthrough the Renaissance. Azurite, Lapis Lazuli and Bohemian GreEarth were among some of the early colours made using natural m

    Next, we introduced the Hematite pigments and journeyed into thSouthwest for Sedona. In the last fteen years we have formulatednew pigments, all mined from unusual gemstones and minerals, soclassics and some previously unknown to watercolour.

    QWatercolour Tubes to SticksOur next big jump came with Watercolour Sticks, putting the powof our colours into a convenient, take anywhere stick format. Todamanufacture amazing colours that combine the best of drawingpainting. These beautiful handmade sticks have remarkably rich, vcolour and are truly like nothing else.

    QNow for something amazing...We bring you Watercolour Ground! Transparent watercolour has nbeen so versatile. You can turn just about anything into a watercolosurface. Watercolour Ground can be applied to wood, metal, stone(just about anything), taking watercolour off the paper and into thexciting world of mixed media.

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    CONTACT US AT WWW.FACEBOOK.COM/ARTISTSANDILLUSTRATORS OR TWEET VIA @AANDIMAGAZINE

    WRITE TO USSend a letter or email to the addresses belowfor the chance to win a 50 GreatArt voucher

    SRVWYour LettersArtists & IllustratorsThe Chelsea Magazine Company Ltd.Jubilee House2 Jubilee PlaceLondon SW3 3TQ

    [email protected]

    The writer of our letter of the month willreceive a 50 gift voucher from our partnerGreatArt, who offers the UKs largest range ofart materials with over 40,000 art suppliesand regular discountsand promotions.www.greatart.co.uk

    Your Letters

    I am always eagerto broaden myartistic horizonsand, after

    reading artist Frances Hatchs piece,I immediately enrolled on her ExploringPastels course at the amazing WestDean College in Chichester.

    I was not disappointed. The three-day course with Frances and decorativeartist Judith Weatherall (above) wasinformative, exciting, entertaining,inspiring and uplifting. We made gesso,learned about different papers, createdinteresting textured surfaces and rolledour very own pastels using earthpigments. We also burned raw siennaand raw umber to make burnt siennaand burnt umber. The earth pigmentsoffered a new way of working for meand have helped me make a shift in myartistic journey, plus I met somewonderful people on the course.Thank you Artists & Illustrators forfeaturing this artist.Lesley Birch, Yorkwww.lesleybirch.co.uk

    At new year, I promised myself I wouldbranch out and attempt some urbanlandscapes so I went out into my home cityof Nottingham with my camera with theintention of recreating them in pencil in thecomfort and security of my own home.

    Then I read your article on urban sketchingand, encouraged by the idea that if I sat in acaf to draw everyone would ignore me,

    I went into the central square with mysketchbook, perched myself on a windowstool in a well-known coffee chain andsketched my rst building. And you knowwhat? No one batted an eyelid! Best of all,it was warmer and much more comfortablethan plein air drawing.

    Thanks guys I am totallyconverted to guerrilla urbansketching and I might even becompetent by the end of thesummer. Attached is myresultant sketch ofNottingham CouncilHouse (see right).Lorraine Buckberry,via email

    THATS THE SPIRIT!I use white spirit to clean oilpaint off my brushes and havediscovered a method of making it last.

    When I have nished painting forthe day, I pour the fouled white spiritinto a spare jar and leave it to settle fora day or two. Its surprising how clearthe liquid becomes once the pigmentsettles to the bottom of the jar. Next timeI paint, I carefully pour the clear white spiritback into my brush jar leaving the pigmentin the spare jar.Joe Smart, via email

    SCRAPING BACK THE YEARSRE: Your Letters, Issue 338Jenny Dalleywaters letter about AmpersandsScratchboard reminded me of my ownearliest forays into art. Scraperboard wasa much-used medium in the 1950s forillustration and advertising (Radio Times hadmany examples in the form of columnheadings). I sold my rst picture at the ageof 14, a scraperboard drawing of CologneCathedral, but sadly I have kept only oneexample of this youthful period of my artisticlife (see below).

    Over the years painting and drawing havecontinued to be a source of both pleasure andincome. I look forward eagerly each month to

    my Artists & Illustrators,relishing its breadth ofcontent and inspiringone to try new ideas andmediums. Portfolio Plusis brilliant, too. Withinthe rst months ofsubscribing (for a verymodest fee!) I have hadsales as a direct result ofthis exposure. Bestwishes for the continuedsuccess of your magazine!

    David Jessup, via emailwww.artistsandillustrators.co.uk/davidjessup

    Were glad youre enjoying it! If you want to joinDavid (and more than 7,800 other artists) on ouronline Portfolio scheme, simply head towww.artistsandillustrators.co.uk/register

    CAF SKETCHESRE: Quick Draw, Issue 335Ive been drawing wildlife since I was a child.I love the natural lines and being able to hidea multitude of sins with feathers and fur.

    Last summer, I ventured in to a publicplace to paint for the rst time hoping no onewould notice me on a busy beach. After a fewminutes I became totally absorbed, andmaybe half an hour later I sensed to myhorror that I was not alone and turned in mychair to see half a dozen smiling faces!Everyone was very nice about my efforts(Turner I aint), but I hadnt drawn or paintedin a public place since.

    A SHIFT IN DIRECTIONRe: New Year, New Project, Issue 334

    ETTER OFHE MONTH

  • Artists& Illustrators 9

    FIND OUT MORE ABOUT COLOUR MIXING ONLINE AT WWW.ARTISTSANDILLUSTRATORS.CO.UK/HOW-TO

    Making Colour runs from18 June to 7 Septemberat the National Gallery,London WC2.www.nationalgallery.org.uk

    THE DIARYAn artists guide to the month ahead

    TH

    ENAT

    IONALGALL

    ERY,

    LONDON

    s",5% 7!3 ! ,58529For centuries, the colour blue was considered to bea luxury item. The purest, richest shade available topainters was natural ultramarine made from thesemi-precious stone lapis lazuli and the cost ofmining and importing it from Badakhshan made itmore expensive than gold.

    s "54 '/,$ COULD "% "%!4%.While gold may be absent from the traditional colourwheel, it played a fundamental role in many OldMaster paintings. But did you know that the gold yousee in many pictures was often beaten from coins?

    s-/$%2. 0)'-%.43 7%2% !. !##)$%.4The rst modern, totally synthetic pigment wasPrussian Blue and it was prepared by a Berlin

    ABOVE Hilaire-Germain-Edgar

    Degas, Combing the Hair,

    about 1896

    Here are ve surprising stories from the National Gallerys forthcoming Making Colour exhibition

    colourmaker between 1704 and 1710. It appearsto have been an accidental discovery though.

    s 6!. '/'( "2/+% 4(% 25,%3Van Goghs Sunowers is one of the worlds mostfamous and admired paintings but the Dutch masteractually broke all the rules of colour theory bypainting yellow sunowers on a yellow background,demonstrating that some rules are better broken.

    s 425% /2!.'% 7!3 0/)3/./53One of everyones rst discoveries in the artclassroom is that orange can be made by mixing redand yellow but nding a pure orange pigment is notas easy. In fact, one of the few sources of pureorange is a mineral called realgar, which containsa rather nasty and toxic substance: arsenic.

    KNOW YOUR PALETTE?

  • 10Artists& Illustrators

    the diary

    IN NEXT MONTHS ISSUE... KEN HOWARDS EXPERT ADVICE ON PAINTING LIGHT ON SALE 23 MAY 2014

    What was the starting point for the show?Adrian Glew: Reception, Rupture andReturn: The Model and the Life Room arosefrom a realisation that the rst archivaldisplay in the new suite of galleries shouldhighlight the sheer range and variety of itemsthat Tate Archive houses on a single subject.

    What can we expect to see?Hester R Westley: The display advanceschronologically from the 19th century totoday. Showing previously unseen letters,drawings and documents, it examines howeach historical moment, movement or schoolremade the life room in its own image. At thecentre of these movements remains themodel, whose voice we recover throughprivate correspondence.

    What can you tell about an artist from theirdifferent approaches to the same model?Glew: It is interesting that within EileenMayos archives we have letters from someof the artists, such as Dod Procter and LauraKnight, that she modelled for. They revealhow increasingly friendly they became. Eileenalmost becomes a member of their extendedfamily: they let her use their holiday homes,give advice about becoming an artist and aregenerally supportive. This is probably thereason why their depictions of Eileen are sointimate and genuine: there is a feeling inThe Orchard that the model has become partof the landscape. It is unlike some otherpaintings that incorporate life models wherethey appear as cyphers with little personality.

    When did life drawing become more thanjust an art school discipline?Westley: Before the mid-20th century, thelife room was central to an artists training,

    and our display works to illustrate thebelief that life drawing provided avisual grammar a way of observingand seeing essential for an artistspractice. However, the practice of lifedrawing became increasingly viewedas an obstacle to innovation. Oncethe heart of an art education, it wasusurped by the seminar room and theexperimental workshop. Life drawinghas continued to be important tomany artists, but guration is justnow one of many practices.Reception, Rupture and Return: TheModel and the Life Room runs from26 May to 12 October at Tate Britain,London SW1. www.tate.org.uk

    MODEL DISPLAYTate Britains new archive exhibition explores life drawing classesthrough the ages and reveals much about the artists involved

    Life drawing provided a visualgrammar a way of observingand seeing essential for an

    artists practice

    CLOCKWISE FROM ABOVE

    Dod Procter, The

    Orchard, 1934; a life

    drawing by Edna Clarke

    Hall, undated; Brighton

    Municipal School of

    Art, c.1905

  • Artists& Illustrators 11

    advertisement feature

    Mall Galleries presents three exciting opportunities for artists

    SOCIETY OFWILDLIFE ARTISTSThe Society of Wildlife Artists (SWLA) seekssubmissions of work that depicts wildlifesubjects and evokes the spirit of thenatural world.

    Through their exhibitions the SWLA aimsto further awareness of the importance ofconservation in order to maintain the varietyof the worlds ecosystems and its wildlife.

    Acceptable media:Painting, sculpture and original printsOnline submission opens:Thursday 22 May 2014, middaySubmission fee: 12 per artwork,6 per artwork for artists 35 or underFind out more: www.mallgalleries.org.uk

    THE THREADNEEDLEPRIZE: FIGURATIVEART TODAYArtists are encouraged to submit freshand intriguing works that are strongand topical observations orinterpretations on the world around us.First prize is 20,000 plus a solo showat Mall Galleries.

    Figurative art is more than ever atthe forefront of contemporary artpractice and is always a subject ofdebate. With many high -prole artprizes tending towards conceptual andabstract works, The Threadneedle Prizedeliberately sets out to examinegurative art today, producing acomprehensive current survey.

    Acceptable media: Painting, drawing,sculpture and original printsOnline submission closes:Thursday 3 July 2014, middaySubmission fee: 12 per artwork,10 per artwork for studentsFind out more:www.threadneedleprize.com

    ROYAL SOCIETY OFMARINE ARTISTSThe Royal Society of Marine Artists (RSMA)seeks submissions of painting and sculpturethat involve the sea and the marineenvironment, including harbours andshorelines, traditional craft and contemporaryshipping, creeks, beaches, wildlife in shortanything that involves tidal water.

    Acceptable media: Oil, acrylic, watercolour,original prints of any media, drawings,pastels or sculptureOnline submission closes:Thursday 24 July 2014, middaySubmission fee: 12 per artwork,6 per artwork for artists 35 or underFind out more: www.mallgalleries.org.uk

    David Curtis RSMA,

    Digging for Bait at Low Tide Staithe

    Lisa Wright,

    The Guiltys Gaze on the Innocent

    Matt Underwood SWLA,

    Kingsher

    CALL FOR ENTRIES

  • Artists& Illustrators 13

    the diary

    GET ALL THE LATEST NEWS ON ART SHOWS AND EVENTS AT WWW.ARTISTSANDILLUSTRATORS.CO.UK

    SW

    APA

    INTING:S

    UE

    HOW

    ELLS

    ,PEAKYBLINDERS

    PAINTHorses and Bulls

    Academy Studios Abroad hosts fabulous art holidays in thesouth of France, from beginners courses to this two-week

    equestrian art masterclass (23 June to 5 July). Book today atwww.academystudiosabroad.com

    VISITSWA Annual ExhibitionHRH Princess Michael of Kent will open theSociety of Women Artists 153rd show, whichruns from 26 June to 5 July at Londons MallGalleries. www.society-women-artists.org.uk

    READEdward BawdensKew GardensPublished this month, this delightfulbook (V&A, 20) collects together 60years worth of oral illustrations andprints made by the British artist.www.vandashop.com

    ENTERJules Destrooper Design ContestDraw, paint or illustrate a new tinfor Belgium biscuiteers JulesDestrooper for the chance towin 2,000 cash and see yourdesign go on sale acrossEurope. Entry details are atdesigncontest.destrooper.com

    WATCHPastel AlchemyAs a former Watercolour Challenge expert,Jason Bowyer (left) is no stranger to paintingon screen. In his new DVD, he shows how tomix pastel and ink to maximum effect.www.paintworklms.com

    ARTAGENDA

    Five things to see and do in June

  • 14Artists& Illustrators

    TELL US ABOUT YOUR NEXT SHOW OR EVENT! EMAIL DETAILS TO [email protected]

    Ok, heres a quick quiz for you.What do the National Gallery,Tate and St Marys Hospital inLondon all have in common?

    The rather remarkable answer isthat the artist Bridget Riley has createdsite-specic wall paintings for all threevenues. However, whereas the gallerymurals were all temporary, her latestcommission for the hospitals 10thoor is a permanent xture.

    The hospital corridors are different,said Riley, who is famous for herdisorienting Op Art paintings. Theyembrace the whole space: they aim tolift the spirits and to remind one of lifeoutside the hospital, while in no wayinterfering with its essential activities.

    At 56 metres, the new mural isthe artists largest work for more than25 years. It was commissioned byImperial College Healthcare CharityArt Collection to accompany twofurther works by the artist on separateoors of the hospital. It has drawncomparisons with Henri Matisseswork at Chapelle du Rosaire in Venice.

    VIE

    WPIC

    TURES;

    MARTIN

    FROY

    The work of Martin Froy will be celebrated in Leeds 60 years after hecompleted an art fellowship in the city. In 1954, the London-bornpainter took part in the Gregory Fellowship, designed to encourageartists to work in the North of England. His little-known abstractpaintings are colourful, lively and ripe for rediscovery.

    Martin Froy and the Figurative Tradition runs from 7 May to 2 Augustat The Stanley & Audrey Burton Gallery, Leeds. www.leeds.ac.uk

    The 10th instalment of Art on theStreet comes to Maidenhead on14 June with artists selling workcommission free. Book a spot atWWWARTONTHESTREETORGUK sPencil artists have until 9 Juneto submit work for the secondDerwent Art Prize. Enter online atwww.derwent-artprize.com forthe chance to win over 12,000IN PRIZES s 4HE $AVID 3HEPHERDWildlife Foundations WildlifeArtist of the Year 2014 runs from3-7 June at Londons Mall'ALLERIES s )T WILL BE CLOSELYfollowed on 10-21 June by thePastel Societys Annual ExhibitionAT THE SAME VENUE s !ND lNALLYthe Royal Birmingham Society ofArtists annual prize exhibitiontakes place at the citys RBSAGallery from 12 June to 12 July.The 1,000 rst prize winner willbe announced at the opening.

    COMING UPMore dates for the diary

    Froyreturns

    COLOURONTHEWARDA London hospital has been given a surprisingmakeover by a reclusive British art legend

  • 16 Artists & Illustrators

    David ShepherdWildlife Foundation

    WILDLIFEARTISTof theYEARMall Galleries - London SW1A 2BJJune 2-7Hundreds of original works of art for salesupporting endangered wildlife

    Wildlife Artist of theYear 2014Lead sponsor GcTimepieces

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    Serval2byAtsushiHarada

  • Artists& Illustrators 17

    TERMS AND CONDITIONS APPLY. FOR DETAILS, PLEASE VISIT WWW.CHELSEAMAGAZINES.COM/TERMS

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    Name:

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    Please tick here if you subscribe to Artists & IllustratorsThe closing date for all entries is 17 July 2014

    *Prize is non-transferable. Course must be taken before 30 June 2015.Please tick here if you prefer not to be contacted by Artists & Illustratorsor the competitions sponsor, Farncombe Estate .

    Farncombe Estate is a place to excite thesenses. Its 400 acres range across abeautiful Cotswold hillside withbreathtaking views over the Vale of Evesham the perfect venue for learning a new skill orimproving an old one.

    One lucky winner from this months prizedraw will win a place on a weekend course ofyour choice at Farncombe Estate, including

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    Enter online today for the chance to sharethis fantastic prize. Ten winners chosen atrandom will each win 100 worth of qualityproducts. Not only that, but everyone whoenters will receive a 5 voucher to spendat GreatArt, redeemable when you spend40 or more.

    GreatArt is the online home of more than50,000 art products available at fantasticprices. To browse the catalogue or place yourorder, simply visit www.greatart.co.uk

    HOW TO ENTERTo claim your 5 voucher and enter theGreatArt prize draw, please head towww.greatart.co.uk/prizedraw2014Closing date for all entries is 30 June 2014.

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    HOW TO ENTERFor the chance to win, enter online at:www.artistsandillustrators.co.uk/competitionsAlternatively, simply ll in the form oppositeand return it to the following address:Farncombe Prize Draw, Artists & Illustrators,Chelsea Magazine Company Ltd., JubileeHouse, 2 Jubilee Place, London SW3 3TQClosing date for all entries is 17 July 2014.The winner will be announced in theSeptember 2014 issue of Artists &Illustrators.

    Enter for the chance to win an arty weekend at Farncombe Estate

    WIN 1,000 of art materialsTen lucky winners will take

    home supplies worth 100each courtesy of GreatArt

  • Artists& Illustrators 19

    Find your style

    Developing a trademark subject or visual language is a key part of growing as an artist.Over the next nine pages, we reveal how three leading painters developed their distinctive

    styles and offer some inspiring ways to help you nd your own voiceWORDS: TERRI EATON

  • 20Artists& Illustrators

    find your style

    Theres something reassuring andaltogether pleasing about pinpointingplaces you recognise in a painting, likespotting a familiar face in a crowd ofstrangers. Whether its the cobbled high

    street of your hometown or an exotic destination youventured on holiday, you naturally begin to reminisceabout your experiences and your time there; eager todiscover whats changed, whats stayed the same andwhy an artist has chosen this place above all others topreserve on canvas.

    Its a very emotive approach to painting and onethat has proven advantageous for London-based artistNick Botting, whose sprightly plein air paintings ofstreet and caf scenes have proved a smash with thebuying public.

    I try to reect on an aspect of life as precisely andoptimistically as possible so that the scene has a senseof dj vu for the onlooker. I want people to feel like

    theyve been there, even if they havent, says Nick,who often cycles around the capital in search of a newperspective on the city.

    I dont create slavish representations of whats infront of me. After all, I want to nd a way of paintingit as economically as possible.

    Nick would rather produce a simple, fresh paintingthan one that has been over-thought and overworked.He doesnt concern himself too much with detail, butinstead uses punches of vibrant colour and a strongcomposition to catch your eye before luring you inwith a narrative, offering a valuable communion ofboth style and substance.

    His lively, uid gures are balanced perfectly withthe stillness of everything around them, though headmits it can be difcult to establish a harmonybetween the many elements in his works.

    There are instances when I have to remind myselfof the obvious unifying factors, such as the way light

    BELOW Bentleys I, oil on

    canvas, 46x51cm

    OPPOSITE PAGE Spring -

    London, Covent Garden,

    oil on canvas, 149x149cm

  • Artists& Illustrators 21

    find your style

    hits everything as an indistinguishable object,whether thats a person or a plant pot, he admits, butI like that I still feel challenged. Once youve reached acertain level of competence, that pressure is gone. Thekey to success is asking more of yourself every day.

    Nick began painting more than 30 years ago and hissole focus ever since has been to improve on histechnique to make him a better artist, rather thanmaking drastic changes to his Impressionist style.

    However, his priorities have altered drastically fromwhen he rst began putting oil to canvas, which keepsthe 51-year-old on his toes. Two decades ago, I wasbothered about getting the light and gures right,

    whereas nowadays Im more focused on the abstractstructure of painting manipulating the image topromote that alternative alignment, explains Nick,who looks to Richard Diebenkorn as a particularstylistic inuence. I want my paintings to be minimalbut they should still have a painterly surface, asI think that is what is most attractive about them.

    Nick acknowledges that he has always beenself-motivated, driven and passionate about his art.As an inquisitive young boy inspired by Rembrandtsbeautiful use of pen and ink, he would quietlyobserve from the middle of a busy street, caf, pubor anywhere else where locals would congregate to

    ABOVE Regent Street,

    Bright Morning, oil on

    canvas, 71x81cm

    I dont create slavish representations of whats infront of me I want to find a way of painting it

    as economically as possible

    >

  • 22Artists& Illustrators

    find your style

    Nick began painting 30 years ago and his sole focus eversince has been to improve on his technique: The key to

    success is asking more of yourself everyday

  • Artists& Illustrators 23

    share stories, endlessly drawing gures to featurein his pictures.

    As well as the world around him, Nick was inspiredby the attitude of his art teacher at WinchesterCollege, Graham Drew, where he studied from 1977to 1981. Graham made learning about art and arthistory a real pleasure. It wasnt just about sittingdown and painting the reections of broken bottles,recalls Nick, who expressed the same enthusiasmduring his own teaching days at Croydon College.He encouraged me to enjoy the world and take whatI needed from it.

    Nick was inspirited by his tutors positive mindsetand headed to the University of Kent in 1983 to studyVisual and Performed Arts, during which time hehosted his rst solo exhibition at CanterburysGulbenkian Theatre.

    Since graduating in 1986, the artist has staged afurther 15 solo exhibitions and featured in the BPPortrait Award, the Royal Institute of Oil Paintersannual exhibition, the New English Art Club annualexhibition and the Discerning Eye Exhibition.

    He also worked as the ofcial artist for the Englishcricket team during their 2000 tour of Pakistan, andthen for the Football Association in 2007 while hepainted the rst FA Cup Final to be played at thenew Wembley Stadium in London.

    I usually like to a capture a particular personsqualities rather than including a generic gure but Illadmit it was much harder to identify Didier Drogbas

    unique mannerisms while he was runningfull-throttle around the pitch, jokes Nick.

    At least with cricket, the players would essentiallyreform for every ball so I could study someones stanceprecisely but its good to put that demand onyourself, as Ive said before.

    Nick places tremendous demands on himself andgrabs any opportunity to test his creative process.Though there are certain places, such as Chelsea,Notting Hill and Covent Garden, which repeatedlycrop up in his portfolio, he insists he would neverproduce paintings of afuent areas purely for nancialbenet. Its critical to not knock out paintings just forthe sake of it because people can sense when theresno heart behind a picture. I still enjoy what I doimmensely and I think that shows, he explains.Ive got a canvas on my easel right now that could beconsidered to be nished. I could sell it, but I knowits not where I want it to be. Ill work diligently untilIm happy. I love that sense of satisfaction.

    Its incredible to think that Nick can push himselfso hard and yet produces paintings that appeareffortless and relaxed. His work is clean and nishedbut not in a manicured way, rather theres a senseof wholeness and balance that is a reection ofexperience. The scenes he captures are a hive ofpositivity and its a delight to see the worldthrough his eyes.Nick is represented by the Portland Gallery, London SW1.www.portlandgallery.com

    MAKINGYOUR MARK!Nicks top tipsfor developing apersonal style

    Look at the work ofother artistsIts not a good idea tocopy people too muchbecause youll become apuppet for someone elsesideas but pay attention toa diverse range of work even art you dontnecessarily like becauseyou see other ways ofbeing rather than sittingtoo comfortably.

    Be disciplined withyour techniqueLife classes areterrically valuable andshould be something youcontinue to practisethroughout your career,not just when yourestarting out in theclassroom. Anything thatrenes the way you see isan excellent discipline.

    Find a gallery thatis sympatheticIf a gallery is sellingsomething similar to whatyoure doing, its likelytheir client list is going tobe one youll need.However, a good gallery isalways going to be full soits important to buildrelationships with people.If you show interest anddetermination, youll headin the right direction.

    ABOVE LEFT Sloane Square,

    Spring, oil on canvas,

    61x76cm

    OPPOSITE PAGE The Builders

    Arms, Summer Evening,

    oil on canvas, 91x76cm

  • 24Artists& Illustrators

    Where in the world can you ndcanary yellow skies hoveringabove crimson cliff tops andmagenta elds? The answer lieswithin Caroline Baileys

    acclaimed semi-abstract pictures.A member of the Royal Scottish Society of Painters

    in Watercolour, Caroline takes the conventional tonesof coastal towns and turns them on their head,replacing them with a punchy palette of psychedelicproportions. Her attened images pave the way forcolour and texture to sing.

    When I paint, I want to capture the atmosphereof a place and how I felt while I was there. I dont in

    anyway profess to paint accurately, says the Cheshire-based artist, who cites the Isle of Skye and Whitbyamong her favourite places to paint. Whatever comesout of my hand is always me. Everything I do has gotmy ngerprints all over it, metaphorically speaking.

    Carolines honest way of working has granted herplenty of success throughout her career, includingnumerous awards with the Royal Watercolour Societyand the Royal Scottish Academy.

    However, Carolines style rst developed duringher time as a printed textile student at ManchesterPolytechnic in 1974. My degree course was heavilyorientated around colour and much of my textile workinvolved painting and drawing as much as anythingelse, she says. People would always gravitate towardsmy paintings when I showed them my range of workand its what they were most interested in so I made adecision in the 1980s to do more of it.

    Caroline sought inspiration in the style of certainScottish artists initially, such as Charles MacQueensability to evoke memories through his abstractcompositions and Sandy Murphys unique visualreaction to his local Ayrshire landscape, but she soon

    ABOVE Gladioli, Summer

    Morning Sun, mixed media,

    76x71cm

    Caroline BaileyThe Cheshire-based abstract artist reveals howa background in textiles and a playful approach tocolour helped her develop this bright, punchy style

  • Artists& Illustrators 25

    find your style

    established the condence to convey her love of landand sea in a unique way. Ive always been enchantedby colour but I wasnt as brave 25 years ago as I amnow. I can see that by simply looking through oldcatalogues, she explains. The biggest difference isthe way I use texture and how I underpaint. I like toadd strong, light colours on top of dark ones and workback to whats underneath.

    Caroline also relishes dabbling in the quietude ofstill life because she can play devils advocate withcolour and gain the sense of control over her subjectthat she sacrices when painting a wild, untamedlandscape. Its where she can make her practiceperfect or perhaps not.

    Im never 100% happy with my style, she says.Whatever I do, its never exactly what I want it to be,but whats the alternative to have a xed style andthats how its always going to be? Thats the mostdepressing thing I can think of. It does get harder toreinvent yourself as you get older but the biggest pieceof advice I can give to others is to be patient because itwill come around in time.www.carolinebailey.co.uk

    Rossettis ObsessionStriking muses inspired thePre-RaphaeliteBrotherhoods nest worksand none more so than JaneBurden Morris. The wife ofdesigner William Morrismodelled for a string ofDante Gabriel Rossettis latecharacter portraits(including Pandora, above),collected here a centuryafter her death.20 June to 21 September,Lady Lever Art Gallery,Liverpool. www.liverpoolmuseums.org.uk

    British Folk ArtCelebrating a particularstrain of homegrownpaintings, sculptures andtextiles, this charmingexhibition will focus on naveart through the ages, fromAlfred Walliss Cornishlandscape paintings toGeorge Smarts tailoredportraits of Kent townsfolk.10 June to 31 August,Tate Britain, London.www.tate.org.uk

    InternationalExchanges: ModernArt & St Ives 1915-65The many artists based inthe Cornish town of St Iveswere responsible for someof the most unique andstylised British abstractpaintings of the 20thcentury. Tate St Ivesre-opens this month with alook at the wider contextsinvolved in these works.17 May to 28 September,Tate St Ives, Cornwall.www.tate.org.uk

    A CLOSER LOOKThree exhibitions of stylistically diversepaintings to inspire you this summer

    LEFT Houses on the East

    Cliff, mixed media, 75x71cm

    NAT

    IONAL

    MUSEU

    MS

    LIVE

    RPOOL

  • 26Artists& Illustrators

    find your style

    Dan studied illustration and graphic design, butit was his love of screenprinting that ushered

    him toward a more painterly style

    Dan ParryJones Combining elements of graphic design, illustration,printmaking and painting helped this Bristol artist nda successful style and one that he is keen to change

  • From Bristols iconic Jamaica Street Studios,Dan Parry-Jones fashions his offbeat mixedmedia landscapes by combining a medleyof typography, screenprint and collage withlashings of bright impasto acrylic.

    The lone gures in the foreground of many of hispictures are intriguing: are they independent and freeor isolated and vulnerable? This conundrum in thenarrative is what draws the viewer in over and overagain, and is why Dan has successfully exhibited ingalleries across Europe, Asia and the US.

    However, a style like this doesnt appear out of thinair. Dans creative journey has many layers, much likehis pictures. He studied illustration and graphicdesign at Winchester and Derby schools of art beforegraduating in 1994 to pursue a career as an illustrator.However, it was his love of screenprinting thatinadvertently ushered him toward a more painterlystyle in 2008. I was printing on different surfaces Idid a few on copper and wood but then I had anidea of printing over an old existing painting, hereveals. I enjoyed how the atness of the printjuxtaposed the roughness of the background and Ideveloped it from there.

    Dan prefers the unpredictability and spontaneity ofa palette knife when applying paint, occasionallysanding down the surface or scraping back to allowthe print to sit properly. As with his mark making,Dan doesnt like to plan the message behind a piecetoo much, but rather focuses on the composition.

    He nds the inventiveness of American artist RobertRauschenberg a constant source of inspiration,particularly his favourable representations of everydaycircumstances and his clever use of collage. You cansee the effect this has had on Dans portfolio,especially his early works, where the gure, the coastand patchwork blocks of paint prevail. I owe a lot tomy beachscapes because they are what earned me myreputation as a painter, but Rauschenberg was alsovery experimental and for that reason among others,Im keen to push myself away from the safety of ahorizon line, says the Bristol-based artist. Imbecoming more interested in breaking up the pictureplane in terms of composition and achieving moreabstract and architectural themes.

    As such, Dan has recently abandoned the Cornishvillages to which his admirers are accustomed andreplaced them with structural scenes of Italy followinga trip to Siena last summer. The paintings Imcurrently developing have no screenprinting element,as I pursue an abstract style, he says. Texture hasalways been what drives me. Im expecting to bedoing lots of layering: destroying surfaces andbuilding them up again. Theres always the temptationto put a print on top but Im trying to restrain myself.

    Its a dicey move to change a commerciallysuccessful formula, but Dan possesses a keen artisticintuition that will undoubtedly reward his decision.He would much rather evolve than paint within hiscomfort zone. Thats just his style.www.danpj.co.uk

    ABOVE Sandcastle,

    mixed media on board

    OPPOSITE PAGE Girl in the

    Street, Siena, mixed media

    on board

    BELOW Flatford Winter II by

    OCA student Averil Wootton

    ON COURSEFive inspiring art courses to help you nd your style

    1Porthmeor Artists NowFour leading St Ives painters will open their studios inthis inspiring and rather unique four-day workshop. Discoverhow their styles developed via talks and demonstrations.16-19 June, St Ives School of Painting, Cornwall, 295.www.schoolofpainting.co.uk

    2Exploring ColourAvailable across either one-, three- or six-days, thisexperimental course allows you to either dabble in differentmedia or immerse yourself during a residential stay.Dates throughout 2014, Callington School of Art,Cornwall, from 50. www.callingtonartschool.com

    3Unlocking CreativityAn always-popular course at this excellent Dartmouthvenue, abstract artist Gerry Dudgeon encourages you todevelop self-expression and observation skills together.7-11 July or 11-15 August, Coombe Farm Studios,Devon, from 425. www.coombefarmstudios.com

    4Outdoor Creative PaintingStroll the banks of the Thames with tutor KatharinePrendergast on this urban landscape course. Over vedays, students will produce a series of works in variousstyles perfect for nding the one that best suits you.4-8 August, Art Academy, London SE1, 295.www.artacademy.org.uk

    5Printmaking: Developing Your StyleThe OCA allows artists to develop at their own pacehrough distance learning. This Level 2 courseequires some prior knowledge of techniques,but also encourages creativity and study ofother artists work as you develop your skills.Open College of the Arts, 1,280.www.oca-uk.com

  • DALVAROPAINTINGHOLIDAYS

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    With all inclusive accommodationin our villa, set in the Valenciancountryside amongst the olives,oranges and vineyards, withoutstanding views over thebeautiful Valle DAlbaida and the

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    One week painting holidays with expertinstruction in watercolour, acrylics, oilsor pastels.Plein air painting instruction, to stimulate the sensescapture the visual memory, followed by additional studiobased technique practice with Arnold Lowrey, Charles Evans,Sue Ford, Derek Oliver, Anne Maria Bourke, Les Darlow,Barry Herniman, Trevor Waugh, Margaret Evans,Dolores Alvaro, and moreContact: Loli Alvaro Spain - Email: [email protected]

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  • Artists& Illustrators 29

    on the job

    ON THE JOB

    What exactly is Art in Ofces?A company pays a set monthly fee and we provide arotation of artwork to hang in their ofces. The costincludes everything shipping, framing, insuranceand installation. The client doesnt have to worry atall, except for when I come in with a drill and startmaking a racket! At the moment, its on a bespokebasis. However, Im looking to develop more xedsubscriptions in the near future.

    How did you get Art in Ofces off the ground?I created a business model while studying a Mastersin arts management at Birkbeck, University of London.I then attended a free workshop called Web FuelledBusiness, which was run by Dragons Den entrepreneurDoug Richards, and it promised to teach you how torun your business for free using the Internet. It wasvery empowering. I did almost everything Dougsuggested simple things like getting business cards,starting my social media and building a website. Afterthat, it was just a question of nding some artists.

    How did you nd your rst artists?I started with three. My rst was a sculptor calledAishleen Lester, who was exhibiting at ImperialCollege London. The next artist was my mumscleaners niece, Charlotte Katsuno. I looked at herwork and her exhibition CV, and she was justamazing. The third artist was a friend of a friend whohad recently graduated from the Royal College of Art.

    How do you go about signing up a new artist?Usually, I approach artists that I like and ask them butI like it when artists approach me too. It shows thattheyre proactive. I have around 20 artists on mybooks at the moment. I also have original prints bythe likes of Picasso but I work with another art dealeron these. Pictures by certain dead artists are difcultto advertise because of Artists Resale Rights, Picassoin particular, so it helps to have an expert involved.

    Is it a risky business to work with famous artists?Its not if its under 900 because thats when theArtists Resale Rights come into play. The dealer Iwork with has been doing this for a very long timeand he is careful about what he buys. He always gets

    CAIA

    MAT

    HESON,E

    VENTHORIZON,O

    IL,P

    ASTE

    LSAND

    DYE

    SON

    CANVA

    S,1

    53X1

    50CM

    As founder of the Art in Ofces consultancy, Katie ison a mission to brighten up boardrooms across the UKINTERVIEW: TERRI EATON PHOTOS: STEVE PILL

    KatieHenry

    Founded in 2012, Art in

    Ofces is a consultancy

    that allows companies

    to buy or hire paintings,

    prints and sculpture

    for the workplace

    >

  • 30Artists& Illustrators

    CAIA

    MATH

    ESON,K

    EEPDANCIN

    G,O

    IL,PASTELS

    AND

    DYE

    SON

    CANVA

    S,1

    00X1

    50CM

    Katie handles prints by Miro and Picasso, as

    well as pieces by more than 20 contemporary

    talents, including former Brighton Artist of

    the Year Caia Matheson

    the provenance correct and the certicate ofauthenticity, so I trust him in that regard.

    What do you look for in an artist?There are plenty of people who are very good paintersbut they havent got the right temperament. I wantsomeone with that extra energy, extra drive, extracreativity and that ability to make good decisionsbased on advice from their peers critiques. I ndthose people are more successful.

    What do artists get out of the deal?If the company wishes to buy the artwork outright,then we act as a broker so the artist will receive theprot minus our commission. However, if its asubscription or hire purchase, theyll be paid inmonthly instalments. A lot of artists say they reallylike the idea. Its like getting a small monthly income.However, its different to selling your work through agallery because Im non-exclusive. Art in Ofces is astart-up business and I want to support the artists asmuch as possible to support themselves.

    Which styles are popular at the moment?Abstract landscapes, like those painted by CaiaMatheson. Ofce workers dont want to see anythingerotic or random people they dont know. Its got to beinteresting and colourful.

    Do you have an artistic background at all?Yes, I studied sculpture at Central Saint Martins.I loved it. We were one of the last batches of studentsto get the old-fashioned art school experience therewere no set targets, you basically just rented a studiospace for three years with lots of other like-mindedpeople. It denitely helped me to spot proper artists.

    Do you still have time to make your own artwork?Sadly, no. Any spare time is devoted to being with myfamily or running the business. Actually, you dont getany spare time when youre running your business even when youre off sick, your mind is ticking over!www.artinofces.co.uk

  • Artists & Illustrators 31

    Calendar Painting Competition 2015

    Become part of the Hahnemhle FineArt Calendar. Enter yourartwork for the 2015 edition with the theme CONTRASTS, all

    painting techniques welcome!

    Competition entries must be painted on Hahnemhle or Lana paper.

    Please contact us, visit www.hahnemuehle.com or scan the QR code for

    further details on how to enter.

    Visit Hahnemhle at the following shows:

    Patchings, Nottingham 5 - 8 June 2014

    Art in Action, Oxford 17 - 20 July 2014

    CordulaKerlikowski

    CALL FOR ENTRIES

    WATERCOLOUR COMPETITION 2014

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  • 32Artists& Illustrators

    Showing remarkably shrewdself-knowledge of thefundamental reason shepaints, Sonia Lawson onceobserved of herself: I am in

    painting like a sherman is part of thesea. The often distinctly unpredictabletwists and turns her art has taken overmore than half a century of intenseactivity have less to do with stylisticand artistic considerations andeverything to do with the emotional,the personal and her intense senseof the feminine.

    Her paintings are, in that way,her life; the activity of paintingrepresenting and expressing herresponses to her varied experiences,

    First World War and had been closefriends with the Modernist circlearound the great Jewish Expressionistpainter Jacob Kramer.

    As a consequence, a wide circle ofLeeds and London intelligentsia usedto visit Fred and Muriels cottage inthe remote Wensleydale village ofCastle Bolton the writer JB Priestley,the poet James Kirkup and the painterWilliam Roberts among them. Soniaremembers the time and place vividlyand with huge affection the oillamps and the gentle radiant warmththat bathed the room and, above all,the social circle that gathered there.

    Meanwhile it was on her uncle andaunts small farm in the nearby valleythat Sonia developed her lifelongpassion for animals their sculpturalform and their warmth were amazing that is still so much part of her worktoday. It was an extraordinary andexciting time generally for anobservant child; the small town mighthave been remote geographically butthis was wartime and not only was thehuge Catterick Camp nearby but alsosoldiers were on active training in thevalley while Italian and Germanprisoners-of-war worked on the land.

    On a more personal level, Soniabegan, aged 10, to keep scrapbooksof items, drawn from magazines andnewspapers, documenting theconcentration camps and theNuremberg trials.

    The idea that these horrors hadhappened while I was growing up freeand happy in the Yorkshire Dalesbecame an important driver for her

    her intellectual passions and herdeepest memories what she wouldterm her reality.

    She has always understood thatabout herself too, writing in 1973,I hope to retain a rawness that islike young blood, that is eager andunlaboured, depending on myrealisation, vision and feeling over thetyranny of appearances I like toturn things up, be like the seasons,exible but with order. Rouault said hewould like to have changed a bit butcould not because one thing wasexpected of him. Poor man.

    Such an approach represents whatart historians, with their love of neatlittle pigeonholes, would termExpressionism, a style which Englishartists have tended to give a wideberth to, even in 20th-century art. Butit does make the development of herwork, with all its dramatic shifts ofdirection, better seen as being as muchpart of a European tradition as asimply English visionary one asmuch Max Beckmann or EdvardMunch as Stanley Spencer or WilliamBlake. Though all of these artists havealways been of huge importance to herthroughout her career.

    Sonia Lawson was in painting fromthe day she was born on 2 June 1934 the only child of two professionalpainters: Fred Lawson, a much lovedand respected painter of the YorkshireDales landscape, and Muriel Metcalfe,a hugely gifted artist with a clearunderstanding of Fauvist innovationsand the works of Czanne. Fred hadtrained at Leeds Art School before the

    Timelessvisions

    As the Royal Academician Sonia Lawson turns 80 thismonth, biographer Nicholas Usherwood takes a look ather remarkable career so far, from the rawness of her

    early work to her later visionary scenes

    BELOW Figure at

    Dawn, 1966-67,

    oil on canvas,

    183x153cm

    TOP RIGHT Sonia in

    the studio, 1960

  • Artists& Illustrators 33

    paintings when she rst reachedartistic maturity.

    There had never been any questionabout Sonia becoming an artist and,after training rst at Worthing andthen Doncaster art schools she got intothe Royal College of Art in 1956.Initially her reaction on going therewas to abandon the kind of landscapeand gure painting she had practicedat Doncaster for a bold semi-abstraction based on still life andinteriors. It taught her about colour,abstract shapes, timeless forms outsidethe here and now.

    With the support and friendship ofthe professor there at the time, CarelWeight, she became something of astar, gaining a rst-class degree and atravelling scholarship. She graduallybegan to nd her voice as well with anastonishing series of paintings begunin 1966. Encompassing themes ofprisoners of conscience, the brutalising

    impact of war on men and womenslives and the abuse of children,paintings like Figure at Dawn, have aferocious, engaged energy and visceralpainting technique which, allied to apowerfully-controlled use of colourand a monumental formal structure,make them among the major artisticachievements of the period.

    The twists and turns that Sonias art has taken have lessto do with stylistic considerations and everything to do

    with the emotional, the personal and the feminine

    LEFT Still Life, 1969,

    oil on canvas,

    121x152cm

    >

  • 34Artists& Illustrators

    sonia lawson

    In a 1982 catalogue essay, Weightobserved of that painting: I dontbelieve Francis Bacon has doneanything more disturbing.

    When Sonia had started this seriesshe was living in London but, by thetime it gradually came to a conclusion,she had married and gone to live inBedfordshire. She also had a childduring that time, her only daughter,Zoe. She had not enjoyed living inLondon and never felt particularly partof any artistic grouping, preferringthen, as now, to follow her ownparticular artistic path. She had nocommercial gallery either and thusonly slowly began to gain an audience.In this she was fortunate, however, tohave the support of the annual RoyalAcademy Summer Exhibition, whichalways showed everything shesubmitted even prior to her electionto the RA in 1991.

    Meanwhile, by the end of the 1970s,Sonias life and art was changingagain. She had said what she neededto say about the world at large herdemons exorcised as she puts it

    more success and recognition,including election to the RoyalAcademy, major commissions andpublic gallery shows.

    Meanwhile, Sonias work was to gothrough two more major shifts of style.In the 1990s, she abandoned thecomplex narrative style for a bolderand more abstract way of working; thethemes, often of single women, beingpainted in erce blocks of oftenunmodulated colour, the formssimplied into more generalisedsymbolic shapes. Boats and SolitaryFigure is a good example of what shewas after. The paint [has] its ownindulgence; oil, pigments, colour,honed and wrought not just gesturalnotations, but something made andbuilt, growing and lling out like afed thing, she observed. If I amconcerned with the materialsthemselves and the applicationprocess, whilst at the same timedealing with expression and emotion(but free from unnecessaryembellishment), then a plump,vigorous minimalism is needed.

    In the mid-1990s she evolved a styleof working on a large scale that alsoallowed her to use drawing moredirectly in her paintings. Drawing hadalways been a key underpinning of herwork and at one point during thatperiod even became a majorexpressive outlet in its own right.

    Constructing her paintings out oflarge blocks of impasto abstractshapes, she began to incise gures nudes, horsemen, animals directly

    and now, spending an increasingamount of time each summer inWensleydale, where she and herhusband had bought a house, her arttook on an altogether more personaland celebratory turn. It was a time,above all, to reconsider her past, herrelationship to her mothers artisticand intellectual inheritance and out ofthat came a ood of autobiographicalmemory, of childhood, landscape,stories and histories, all broughttogether in an impressive sequence ofmajor paintings on a wide range ofnarrative themes.

    A 1981 return visit with her motherand daughter to the Bront ParsonageMuseum in Haworth, West Yorkshire,for example, inspired a series ofgurative paintings featuring theBront sisters.

    As always with Sonias work, thesewerent simply homages to writers sheread and admired, but became fusedwith more personal imagery as in1981s Night Writing: Homage to Emily

    Bront. The artists mother always readuntil late into the night, as Sonia did,and out of this series a further series ofcanvases and works on paper emergedthat continue to this day on the themeof night writing and reading. Duringthe 1980s Sonia also began to achieve

    As she approaches 80, Sonia has not lost any of herpower to conjure up powerful feelings within us, her

    subject being, as ever, the human condition

    ABOVE Homage to

    Emily Bront, Night

    Writing, 1981,

    oil on canvas,

    153x122cm

    RIGHT Lone Figure

    Looking Out to

    Sea, c.1995, oil on

    canvas, 53x70cm

  • Artists& Illustrators 35

    sonia lawson

    into the paint with the handle of thebrush or cut into the thick layers ofpigment with a palette knife. It provedthe perfect technique for what she nowwanted her painting to do: tacklethemes drawn from history,archaeology and even geology bydelving down to reveal somethingthat comes to the surface, likesomething that has held out againsttime and invites us into the circle.

    In her most recent works, like Nightin a Private Garden with its pair of

    kissing lovers set against a screen oftrees and pergolas alight with stars ina dark bluish sky, the form becomesever looser, the mood simply ecstatic.

    As she approaches 80, it reveals thatSonia has not lost any of her power toconjure up powerful feelings withinus, her subject being, as ever, thehuman condition.Nicholass forthcoming book, SoniaLawson: Passions and Alarms, will bepublished by Sansom & Company.www.sansomandcompany.co.uk

    ABOVE Sonia today

    LEFT Night in a

    Private Garden,

    2010, 128x100cm

  • 36Artists& Illustrators

    Piet Mondrians minimal abstract paintings may not be to everyones tastes but, 70 years after hisdeath, his unique contribution to art is ready to be reappraised as Steve Pill discovers

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  • Artists& Illustrators 37

    mondrian

    Awalk around the smallDutch city ofAmersfoort is acharming experience,all curving canals and

    cobbled streets like Bruges, onlywith less tourists. But if it werent forthe fact that the locals are so proud ofhim, youd never quite believe that thiswas the birthplace of Piet Mondrian.

    A giant of 20th century abstractpainting, he is best known for his laterworks careful compositionsconsisting of thick black lines andblocks of primary colours. Thesegraphic paintings were in tune withthe times, suggestive of US city gridsor modernist architecture rather thanthe quaint scenes of his hometown.Mondrian was a painter of traditionallandscapes from the Hague School butthen when he went travelling, rst toParis and later New York, he took a lotof inuences from the modern art inthe whole world, explains OnnoMaurer, acting head of AmersfoortsMondriaanhuis. It is a miracle thisman who was born in a traditionaltown developed into this worldfamous inventor of abstract art.

    That style is known as De Stijl.Formulated in the Netherlands duringthe First World War, it saw artists,designers and architects come togetherover a shared love for abstraction,asymmetry and simplicity. As such,Mondrian is often stereotyped as acool, detached character but nothingcould be further from the truth. Astwo forthcoming UK exhibitions running almost simultaneously at TateLiverpool and Margates TurnerContemporary are set to reveal, thereis far more to this popular Dutchmaster than clinical lines.

    Pieter CornelisMondriaan was born on 7March 1872 in an upstairsroom at the primaryschool on Kortegrachtwhere his father, aqualied drawing teacher, lived andworked. When the family moved eastto Winterswijk in 1880, the youngPieter would regularly join his uncleFrits for a spot of plein air paintingalong the river Gein.

    Suitably encouraged, he enrolled atAmsterdams Academy of Fine Art andbegun a series of landscapes thatirted with the distinctive styles ofMatisse, Seurat, Monet and others.

    These works, many of which will bedisplayed in Turner ContemporarysMondrian and Colour, reveal a lesser-known side to the artists portfolio.Working primarily with earth colours,he used umbers, siennas and ochres todepict windmills, canals and otherlocal subjects. The early signs ofabstraction were there, however, as hebegan to simplify elements and creategeometric patterns with tree branches.

    It was during this period thatMondrian simplied his surname anddropped the second A, frustrated bypeoples inability to pronounce itcorrectly (it is Peet Mon-dree-un).

    He also became interested intheosophy the wisdom of the Gods,a belief system based upon a mysticalinsight into the divine nature. Hejoined the Theosophical Society andset about trying to express thisnewfound spiritual outlook in his art.

    Nevertheless, a change of scenerywas soon required. A stint in Paris sawMondrian immerse himself in theCubist works of Picasso and Braque,

    It is a miracle this man who was bornin a traditional town developed into thisworld famous inventor of abstract art

    ABOVE Farmhouse

    with Wash on the

    Line, c.1897, oil

    on cardboard,

    31.5x37.5cm

    LEFT Oostzijdse

    Mill with Extended

    Blue, Yellow and

    Purple Sky, 1907-

    08, oil on canvas,

    67.5x117.5cm

    OPPOSITE PAGE

    Composition with

    Large Red Plane,

    Yellow, Black, Grey

    and Blue, 1921,

    oil on canvas,

    95.7x95.1cmCOLL

    ECTI

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    >

  • 38Artists& Illustrators

    mondrian

    Mondrian and Colour runs from24 May to 21 September at TurnerContemporary, Margate. Mondrian andhis Studios runs from 6 June to5 October at Tate Liverpool. For moreinformation on visiting Holland, headto www.holland.com

    before a brief visit home to Holland in1914 left him stranded for the durationof the First World War. He soughtsolace in the company of artist TheoVan Doesburg with whom he laid thegroundwork for the De Stijl manifesto.

    When the war ended, Mondrianheaded straight back to Paris. In hisstudio on the Rue du Dpart, heresolved to paint using only black,white and the three primaries, andbegan to decorate the walls with boldsquares of similar colours. It was inhis Paris studio that he decided notonly that his painting should be thisway but his entire life, says Maurer.

    Nevertheless, Mondrian enjoyed thetrappings of Parisian nightlife duringLes Annes Folles (the crazy years).When Louis Armstrong played afortnight-long residency in 1929, theDutch painter attended every night.

    Through jazz music, he developed abetter understanding of art. Whetherlistening to records at home on histrusted Linguaphone or dancing inNew York jazz clubs with artist LeeKrasner (the soon-to-be wife ofJackson Pollock), the Dutchman saw

    how he could enhance his own workwith tempo, rhythm and energy.

    Like the greatest jazz musicians,however, Mondrians skill lay in theway he put those elements together.Reproductions of his later works canmake the artists trademark style seemclinical and measured. See them inperson, however, and you can reallyappreciate the human element. This isreal painting, as Hans Janssen,curator of modern art at The HaguesGemeentemuseum, puts it succinctly.If it was design, it could have beenmade by machine.

    Mondrians hand-painted lineswobble occasionally or vary in size bya millimetre or two across the courseof a single canvas. That this is stillvisible in the end result is veryimportant, says Janssen. What yousee is something living.

    Perhaps the greatest lesson we canlearn from Mondrians work is how fara constant desire to experiment withpaint can take you. At every stage ofhis career, he absorbed new inuencesand pushed his own art forward.Seventy years after the artists death

    and with two fantasticshows on the horizon, thetime is ripe to investigatehis work further and readbetween those pulsingblack lines.

    MOREMONDRIANIf the two UK exhibitionsinspire you, head to Hollandfor the bigger picture

    GemeentemuseumWith 500,000 visitors each year,this is Hollands most popularmuseum outside of Amsterdam thanks in no small part to thelargest collection of Mondrians artin the world. An entire 750m2 wing isdedicated to De Stijl with the artistslast, unnished masterpiece,Victory Boogie Woogie, among themany highlights.Stadhouderslaan 41, 2517 HV TheHague. www.gemeentemuseum.nl

    MondriaanhuisFor a true Piet pilgrimage, head tohis birthplace in the pretty medievalcity of Amersfoort. The artist wasborn upstairs on 7 March 1872 andtoday it is home to early paintings,personal effects and a recreation ofhis Paris studio. Meanwhile, theupper oor contains temporaryexhibitions of work by artistsinspired by the man of the huis.Kortegracht 11, 3811 KGAmersfoort. www.mondriaanhuis.nl

    Villa MondriaanA second former home of theMondrian family was saved fromdemolition in 1984 and now formsone wing of this permanent tribute tothe artist. Opened in May 2013, theinaugural exhibition, Waar hetallemaal begon! (Where it allbegan!), featured early works thatthe artist painted in Winterswijk.Zonnebrink 4, 7101 NCWinterswijk. www.villamondriaan.nl

    This is real painting, says curatorHans Janssen. If it was design, it could

    have been made by machine

    RIGHT Composition

    with Yellow, Blue

    and Red, 1937-42,

    oil on canvas,

    72.7x69.2cm

    2013

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  • Artists & Illustrators 39

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  • 40Artists& Illustrators

    Youve made a living as an artist forover 30 years. Whats your secret?Ever since graduating Ive earned myliving with a paintbrush I was asingle mum with two kids so I had tokeep going all the time.

    After I trained I produced art by theyard. In the 1980s, I used to paint a lotof faux marble that is, paintingsurfaces to look exactly like marble,which was very popular at the time.Then I became a portrait painter,working in oils. On one occasion I wascommissioned to paint Neil Kinnockbut it never happened.

    You spent nine years living in Paris.How did that affect your style?There was no demand for portraitpainting in France so I startedproducing medieval-style paintedtapestries. Id studied late medievaland early Renaissance tapestries andcould paint any subject into the samestyle. I worked in special vinyl-based

    paint on thick linen canvas, whichId stretch to the wall.

    Did your work change when youmoved back to the UK?Yes, I embraced printmaking. Idalways wanted to be a printmaker andwhen I was in France Id had a chanceto go and work in the municipal printstudios and I just fell in love with it.When I moved here I was still makingprints and my partner Paul said it wastime to stop being an art tart and todo what I really wanted to do. Sincethen Ive never looked back Ivemade a living as a printmaker.

    Could you describe your processof making a new print?I go walking and make lots ofdrawings as well as taking a fewphotos as reminders. The drawingslead to the prints; Ill makepreliminary sketches that allowme to play around with the image,

    Julia is a passionate printmaker who was elected to theRoyal Society of Painter Printmakers last year. She isalso a member of Somerset Printmakers, The DevonGuild of Craftsmen and an associate member of the Societyof Wildlife. She sells greetings cards through a dedicatedwebsite, www.juliamanningcards.co.uk

    with JULIAMANNINGIn thestudio

    WORDS AND PHOTOS: JENNY WHITE

  • Artists& Illustrators 41

    in the studio

    and then Ill draw straight ontothe blocks and cut them. Thispreserves the dynamism ofthe drawing.

    Sometimes I take a slightlydifferent tack and blow drawings uponto tracing paper before transferringthem to the blocks. I tend to put a lotof colours into each plate, and Iusually use relief and intaglio withinthe same print. I learnt the basics ofprintmaking at college and havetaught myself since then. Life is full ofexperimentation and I havent nishedyet Ive got lots to learn.

    What made you settle in yourpresent studio?I bought the house because of theoutbuilding, which is now my studio.We think it may originally have beenan abattoir because it had a bigreplace there and strange drains.It needed a lot of work but, bit by bit,I did everything to it.

    How does your studio reect yourway of working?The area near the window is more theconception end. I use the easel, and adrawing board that belonged to myfather, who was an architect.

    The opposite end is my messy end its where I keep my ink and myrollers, and my most important item:my huge press. It was made for me byan engineering friend.

    Your studio is full of unusual objects.What role do they play in your work?I collect lots of nests and skulls. I dontagree with drawing from photographs.If at all possible I like to be able totouch the thing and understand how itworks. With this in mind, I also havequite a number of stuffed birds.

    What are you workingon at the moment?Ive been working on alarge-scale project with a groupof artists known as Pine Feroda.These big collaborative works

    are fabulous because everybody hassomething they bring to the table soits a great learning experience.

    How do you see your artworkdeveloping in the future?Im rather into geology and theessence of islands. Im going to begoing around from one island toanother and making work based onwhat I nd. My interest in plants andanimals and nature goes back tostudying A-level zoology and botany.Its what Ive always been interested inbut, as time goes on, it develops indifferent ways.

    Julias next exhibition runs from 1-28 August at Art Matters,Tenby, Pembrokeshire. www.artmatters.org.uk

  • 42Artists& Illustrators

    Portfolio A selection of the most creativeartworks made by our readers onPortfolioPLUS

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    HOWARD MASONNew CD, oil on canvas, 92x122cmI love to paint gurative work showingemotions and daily life experiences.I try to capture the mystery of innerdialogue outwardly expressed. I amfascinated by expressions and thecolours of skin. I mainly paint in oils asI love the texture. Nearly all the peoplein my work are people I know. Here itis friends and family passing aroundthe new CD.www.artistsandillustrators.co.uk/howardmason

  • Artists& Illustrators 43

    portfolio

    PortfolioPLUS 4'#6' ;174 190 9'$2#)' *19%#5' n 5'.. ;174 914-Portfolio Plus is the Artists & Illustratorsonline gallery that gives you the chanceto share, showcase and sell your workto the tens of thousands of visitors toour site every month. To sign up foryour own personalised Portfolio Plusaccount today, simply visit www.artistsandillustrators.co.uk/register

    In each issue, these pages willshowcase the best new artworksuploaded to Portfolio Plus everymonth. To have you work consideredfor inclusion, simply email [email protected] witha link to the latest additions to yourPortfolio Plus account and well printa new selection each month.

    Maggie Robinson, The Music of the Landscape Opus 18: The Longshaw Estate, Derbyshirewww.artistsandillustrators.co.uk/maggierobinson

    Ronald Haber, Bridlington Harbourwww.artistsandillustrators.co.uk/ronald-haber

  • 44 Artists & Illustrators

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  • 46Artists& Illustrators

    BELOW Catharine

    with The Craggs

    at Dawn (from

    Calton Hill) at the

    2014 Lynn Painter-

    Stainers exhibition

    Moving to Edinburgh has proved the catalyst for this Irish artists most inventive work to date.She shares her ever-evolving and award-winning landscape painting methods with Steve Pill

    CATHARINEDAVISONTALKING TECHNIQUESWITH

    The judging panel for this yearsLynn Painter-Stainers Prize,myself included, looked atseveral thousand artworks over thecourse of several days.

    The shortlist eventually settledupon was intended to show the creamof representational painting in the UKover the past 12 months, thoughwhen it came to selecting an overallwinner, there was only one work uponwhich we could all agree.

    Catharine Davisons The Craggs atDawn (from Calton Hill) was a thrilling

    piece of landscape painting thatexcited the artists in the room with itsinventive mark making and clever useof colour, while also pleasing the artcritics via its keen observations andrefreshing lack of obvious inuences.

    When the painting won the 15,000rst prize at the awards ceremony inMarch, it felt in many ways like theculmination of a major body of work.In actual fact, it was part of thefascinating and evolving style of anartist who really hit her stride aftermoving to Edinburgh seven years ago.

    As soon as I moved here, my workwas being recognised with variousawards and I think that was more todo with the integrity of the drawingcoming through in the work. I wasshortlisted for the Jolomo FoundationAward a year ago and I hadnt evendiscovered the glazing technique that Iused in The Craggs at Dawn (fromCalton Hill) at that point.

    It wasnt only her draughtsmanshipskills and painting methods that weregalvanised during this period. I fell inlove with the landscape from CaltonHill and Blackford Hill, explainsCatharine, who titled her recentexhibition at Edinburghs Open EyeGallery, This Land Ate My Heart.

    It was a really poignant momentwhere I realised I had found a subjectthat I wasnt aware had been fullyexplored or wasnt being fullyexplored. As a plein air painter, I knewthere was something there that I couldget to grips with and suddenly I saw alifetimes work in front of me.

    Born in 1970 in the small NorthernIrish market town of Kilkeel, Catharinewas a very visually aware child. For aslong as I can remember seeing hasplayed a part of who I am so evenwhen I was a child I remember beingreprimanded for staring in case I wasbeing rude. Actually I think my eyesare the way I make sense of the thingsand its that process then ofinterpreting what I am seeing throughmy work that makes me feel that I amengaging with the world. I dontnecessarily do it consciously either its just my way of living and being.

    Nevertheless, like many edglingpainters, Catharine was encouraged

  • Artists& Illustrators 47

    ABOVE Observations

    from Blackford

    Hill, oil on board,

    60x66cm

    down the science route at school andfought hard to pursue the idea ofbecoming an artist, even if she didntreally have a grasp on exactly whatthat entailed. All I knew was that theact of drawing really made sense and Ineeded to look at it further.

    A foundation year at ManchesterPolytechnic and a degree inillustration from Liverpool JohnMoores University followed. It washere that Catharines drawing tutor,Julia Midgley, encouraged her todevelop her location drawing skills.

    It resulted in a place atBuckinghamshire Chilterns University

    College for an MA inillustration and printmaking.During that time, Catharineundertook a major, two-yearproject at the Laphroaigwhisky distillery on the islandof Islay, which wassponsored by Allied DomecqWines and Spirits (and featuredin the July 1999 issue of Artists &Illustrators).

    On moving to Edinburgh fromBerkshire in 2007, Catharine wasencouraged to work in oils by herartist boyfriend Robbie Bushe and,being entirely self-taught in that

    medium, she has adapted theprintmakers approach of building animage in separate, pre-planned layers.

    Catharines recent oil paintings haveall begun with a rather thoroughpreparation of the painting surface inher studio prior to going out onlocation. Boards are rst covered >

    I FELL INLOVEWITHTHE LANDSCAPE FROMBLACKFORDHILLISUDDENLYSAWALIFETIMESWORKINFRONTOFME

  • 48Artists& Illustrators

    talking techniques

    BELOW The Craggs

    at Dawn (Calton

    Hill), oil on board,

    75x120cm

    with an oil-based undercoat to givethem a pleasing sheen before anexperimental layer of colour is applied.

    For this, the artist mixes oil paintswith Robersons Glazing Medium andturps in large Tupperware containers,before pouring or dripping the dilutecolour on to the boards surface toobliterate the white background with a

    series of thin, transient glazes.The palette of colours might come

    from a picture Ive seen in a magazineor a still from a piece of lm that Ivephotographed, she explains. I eventake photographs when Im watchingtelevision sometimes.

    Im trying to move away from thedirect colours I have in front of meand evoke something beyond theimmediate world. I might do a wholeseries of boards in one sitting and Ihave ideas of what they are for. I makeongoing lists of works that I want to

    so I had to get there before I had topay. Its not just about making thework sometimes, it is also aboutnegotiating these other factors.

    On the rst day, Catharine beganthe painting in the distance. I startedwith the sky, which dened the shapeof the crags on the left, leaving thenegative space. I mixed a black glazeafter that which went on the left-handside and that may have been it forthat rst sitting.

    Sessions would only last amaximum of three hours at a time andCatharine wouldnt always return thefollowing day if the light wasnt right.Nevertheless, layers of colour and linework would build the vast panoramaof the Scottish capital over the courseof later sittings.

    Similarly to her studio prep, shemixes glaze medium with pigment inTupperware pots on location. Bluish-white highlight lines picking outcertain buildings or details wereadded towards the end with a riggerbrush, as she acknowledged not onlythe sprawling landscape in front ofher, but also maps and other outsidereferences.

    One of the many distinctiveelements of The Craggs at Dawn

    make and they will be inspired bydifferent sources for different reasons.Then Ill just select a board dependingon the weather, the time of day, howmuch time I have on my hands, and Illgo out and Ive got something to workagainst straight away.

    The next step is to take theseboards out on location and familiarise

    herself with the subject.I spend quite a bit of timelooking and I might make afew thumbnails on the spotand I make a little plan likeyou would with printmaking,I plan how the image is goingto evolve in layers withwritten notes. Then I spend

    quite a lot of time with my palette,mixing the pigments to maintain quitea restrained colour palette.

    It may sound like quite a leisurelyapproach but Catharine is incrediblyregimented and organised in hermethods. For The Craggs at Dawn(from Calton Hill), she was up at 6amevery day for practical reasons asmuch as anything.

    I knew the location was plagued bytourists and the only way I would getpeace would be to get there rst, shesays. Also the parking was expensive,

    IMTRYINGTOMOVEAWAY FROMTHEDIRECTCOLOURS IHAVE IN FRONTOFMEANDEVOKESOMETHINGBEYONDTHAT

  • Artists& Illustrators 49

    talking techniques

    ABOVE The City

    (from Blackford

    Hill), oil on board,

    80x100cm

    (from Calton Hill) is the way in whichthe composition doesnt adhere to therule of thirds, a favourite of landscapepainters that says a horizon lineshould always be placed a third (ortwo-thirds) of the way down the image.

    Catharine doesnt ignore suchacademic guidelines but insteadprefers to be selective with when sheuses them. If you know the rules thenyou can break th