Inks and watercolors

One of four paintings for a calendar, unpublished 15xl2(38cm x30cm) Ian Miller trained as a fine artist and slowly developed from an oil painter to one who uses inks and watercolors extensively. Although his ideas have great freedom of expression, the detail within each picture is carefully resolved. His images come almost entirely from memory - they are stored details of the observed world which he can recall and build on. He seldom uses photographic or technical source 1 Ian dampened a sheet...

Establishing the images

4 George uses a photographic projector to transfer his studies onto canvas left). This method enables him to paint the tonal areas directly onto the surface without the presence of outlines and construction marks. You can use a home transparency projector and transfer your pictures onto the wall against which you have placed your work surface. 5 George begins with the dark areas of the cave to establish the composition. He then projects his drawing of the dragon into the central area. Using...

Building up the detail

Sutton Alaska

The dark areas were slowly built up to form the major structures of the composition (a), and, within these structures, textures were established by dabbing the wet surface with pieces of kitchen roll (b) (detail right, actual size). This technique is excellent for natural surfaces, but requires great care as you are unable to repeat or revise the results if they are unsatisfactory. During the painting, the highlights (c) are worked back into the picture by using thicker, opaque colors. Detail...

Applying selfadhesive film

Using this method you will have strong, black containing lines with a variety of textures. Avoid using tones of either type over large areas. 2 Lay part of the texture sheet (with the backing sheet still attached) over your work. Using a scalpel, cut out roughly, but not wastefully, the area required. Remove the backing sheet and the unused pieces of tone with care. Put the shaped area of tone over your work and rub down in the centre only to keep the piece in place. 3 Carefully cut around the...

Progressing a painting

Robert Chapman began the painting far right) by producing a careful pencil sketch of the idea. He worked with a hard pencil on tracing paper using templates to construct accurately the ovals of the major parts of the design. 1 He then transferred-down onto finely-grained cartridge board the major elements of the design, subsequently covering the board with a film of clear masking material. 2 He then removed the outer areas having first cut a very careful line around the central object using an...

Shadow effect

Nick cut separate masks to reveal the shadow areas and reworked the shadows over the initial drawing (i). When the design was complete he began to rework all the areas, and particularly the edges of the masked surfaces using wax crayons, pastels and colored pencils to fuse the elements into one cohesive design. Finally he removed the central area of the small object held by the skeleton and completed the copy of the Van Eyck figures (j).

Surface accidents

The watercolour painting (right) is by Victor Hugo, the French 19th century novelist. While out sketching he often rubbed substances such as cofffee grounds and cigar ash into the surface. He also used a type of pencil which produced soluble marks to deepen and dramatize the tonal effect. However these techniques should be used with caution as they can destroy the surface of your work. Shape accidents The 18th century artist Alexander Cozens developed an idea based on making landscapes from...

Pencils and watercolors

Maurice Wilson worked for over fifty years producing delicate studies of real and imaginary creatures and plants. He was renowned for his ability to portray creatures using very little reference material to aid the task, sometimes reconstructing long-dead creatures with only a few surviving bones as a guide. He worked mainly with water solvent inks, adding highlights in acrylic paints. After planning his pictures he usually began painting the dark areas, building up the main elements in...

Childrens fiction

Carroll, Anderson, Kipling and Potter and the lesser-known authors of Pinocchio, Goldilocks, Red Ridinghood and Mother Goose have created magic worlds. 1 Gulliver's Travels, offers giants, dwarfs and horses that talk. Adult literature The horror stories of Poe, Shelley, Lovecraft and Stoker or the fantasy of Burroughs, Conan Doyle, Wells, Verne and Tolkien all provide strange and bizarre images. 2 Mary Shelley's novel Frankenstein has spawned hundreds of pictures and portrayals on TV and film.

The human form

Chinese Goddess Costume

Either as costumes or statues, ancient and primitive societies used the human form as a starting point for the depiction of the unimaginable. Their Gods are transformed into variations of the human figure. 7 Chinese carving of a female deity 8 Classical Greek fertility goddess In the mind of a master artist images float to the surface of his consciousness and are captured for eternity in his art. You should never be embarrassed about copying their discoveries for your own use. They, too, have...

Planning

Giovanni produced a pencil sketch of the composition so that he could build up all the elements required within one grouping. He used a soft lead pencil on tracing paper, and worked to the size of the final painting. Tracing down After working out all the major details, and possibly reserving particular areas independently on separate sheets, he transferred the composition to the board using a hard pencil. This left a fine groove in the surface which does not appear in reproductions, but which...

Art

A picture produced from the images within the mind can be a more accurate portrayal of human perceptions than one based entirely on observations. When we look at the work of a fantasy artist we can respond to the mystery on a number of levels the source of the ideas, the constituent parts, and the subject matter of the picture. The construction of the composition, its use of the elements of light and shade, and its depictions of imaginary forms are all...