LEARN ABOUT LINO Printing

lino print of fox

  • At Bransbury Studio, nr Winchester with HAMPSHIRE ART studio
  • 30th January, 10.00am – 4.00pm
  • £80.00/person
  • tea, coffee and biscuits available all day. Please bring your own lunch

Lino printing is a simple form of fine art printmaking. 

Traditionally lino is used like a printing plate partly because it is cheap, and also it leaves no texture of its own. You will be experimenting with a few materials that can be easier to cut into. The lino/plate is then inked, a piece of paper placed over it, and pressure applied by hand, press or back of spoon to transfer the ink to the paper. The result, a linocut print. This is quite a simple process with often dramatic results.

 BOOK YOUR PLACE NOW

The easiest style of lino print is a single-color print. You cut the design once, and print it using one colour only. You often see black used because of its strong contrast to white paper. In this workshop you will explore different tools and different marks. AND produce a linocut print. 

You will need to buy the basic introduction lino kit, and some cartridge paper. Then you will be ready to Learn About Lino

Once you have used this workshop to learn about lino you can progress to more complicated approaches.

The CASS art kit is on offer reduced from £29.99 to £19.95

https://www.cassart.co.uk/essdee-lino-cutting-and-printing-kit.htm?trackterm=lino

If you have any questions about this course please contact me.

#walktosee

I don’t know if you are Instagram followers, users or enthusiasts. If you are take a look at #walktosee – a total pleasure. I can’t offer enticing pictures, just this strong recommendation.

I would love to hear about other sites, people or # that you follow.

Gauguin, Gormley, Schjerfbeck

Three exhibitions in as many hours is uplifting and very tiring, thrilling and inspiring. If you don’t live near these exhibitions you have to suck it up, exhaust yourself and wallow in the pleasure of it all. You can rest when you get home.

Gauguin and Schjerfbeck offer colours to reflect their surroundings, age and mood and interesting compositions. I was moved by Gauguin’s portraits (sin) of omission, and Schjerfbeck’s slowly aging self portrait series. Antony Gormley thrills with space and tension, through time. Plus drawings, drawings drawings – even the sculpture draws.

  • Helene Schjerfbeck, RA until 27th October
  • Antony Gormley, RA until 3rd December
  • Gauguin Portraits, National Gallery, until 26th January, 2020

Life, Drawing, Life Drawing

I love drawing.

It is totally absorbing whilst you are in the act of drawing. It appeals to me physically as I lose myself in creating line, tone, marks. Drawing allows you to experiment, investigate, record, explore. It is thought provoking, challenging, frustrating, exciting. It is instinctive, expressive and purposeful.

As birthday, or Christmas, or anytime presents I give large paintbrushes or sketchbooks to anyone I think will enjoy them. This is in the hope that they will get as much pleasure from them as I do.

Charcoal life drawing by Matisse

Join me for a drawing class on Thursday 26th September, morning, or a Life Drawing Class on Thursday afternoon.

This week both classes will be looking at line, weight of line, and economy of line. The work of Matisse will be used as a reference. Please bring charcoal, paper, any pencils you can lay your hand on.

Have a look at HAMPSHIRE ART studio for more information and to book the classes

What next for Art Draw Paint?

Over the last few years I have been running Art Draw Paint as a vehicle for my classes, blogs about materials connected painting, drawing, and exhibitions. Occasionally I have mentioned other artists and other things going on.

All this is going to continue – so what is new?

Classes are going to continue but under the banner of HAMPSHIRE ART studio. There are going to be more classes with some new tutors, classes at new sites, sculpture, a look at art and wellbeing, and masterclasses.

If you go to the website you can see classes for this coming term. Shortly there will be classes added for the Spring term, and occasional pop-up classes. I think it is very exciting.

Art Draw Paint will continue with posts about my classes and as my blog. It will be a personal view with my suggestions. I will be teaching classes with HAMPSHIRE ART studio.

AND

Come to The Studio, Bransbury for Hampshire Open Studio 2019. The work of the Wednesday Group of 9 is on display with one or two intruders.

Art Draw Paint with HAMPSHIRE ART studio

Sign up and you will be the first to hear what is happening.

HAMPSHIRE ART studio

Borrowed blog about being a life model

Jackson’s Art are an excellent online shop for art materials. Their site is the closest thing to an online sweet shop that I know. In addition they have a regular blog covering a variety of subjects of interest to artists.

This borrowed blog is about being a model. If it whets your appetite have a look at the autumn courses for 5 new life classes at Hampshire Art studio.

How many of you have stepped foot in a life drawing class? Have you ever wondered what it’s like to be a life model? After years of interviewing artists for the Jackson’s Art Blog, I thought it was high time I interview one of London’s best life models. Dominic Blake has posed in most of the UK’s art colleges as well as in many of London’s major art galleries and museums. These include the Royal Academy, The National Gallery, The Courtauld Institute of Arts, The Wallace Collection and the Art Academy. Here’s our interview with Dominic Blake – an insight into life as an artist’s model.

Lisa Takahashi has been a contributor to the Jackson’s Art Blog for the past 7 years, writing artist interviews, and features on oil, watercolour and print. Alongside this she has worked as a painter and printmaker, exhibiting her work regularly at the Mall Galleries and the Royal Academy Summer Exhibition. In 2018 she reached the semi-final of Sky Arts Landscape Artist of the Year.

Dominic Blake posing at the National Gallery in 2017 (photo by Karly Allen)


Lisa: How did you first get into life modelling?

Dominic Blake: I was always interested in figurative art. I fell in love with portraiture and sculpture when I was very young. Trips to London’s galleries and museums and my Great Uncle’s work as a portrait painter made a re impression on me.

I later built a career as an Administrator and Press Office Assistant at the V&A, British Museum and Royal Museums Greenwich. These roles placed me in close proximity to some of my favourite works of art, including Rodin’s, Giambologna’s and the Parthenon sculptures.

Although I didn’t have any plans to become a Life Model, I longed to find work that was meaningful. I wanted to find work where I could express myself creatively and also offer inspiration for other people to produce works of art.

About three years ago a friend asked me to pose nude for a painting she hoped to make. I initially rejected the idea, telling her that she was crazy. When I finally decided to work with her my life profoundly changed; I discovered a way of being that possessed great emotional meaning, through which results were tangible and immediate (in the form of drawings, paintings or sculptures).

I learnt quickly that I was quite flexible and could create complex and dynamic gestural poses that were interesting to draw and fun to improvise. And I realised I could sustain them for extended periods of time.

At a point pretty early on in my journey as a Life Model, I realised I loved my work with all my heart. I decided to dedicate my life to it. I now work with almost all art colleges and many galleries, museums and Life Drawing groups in London and beyond.

In the Life Room at The Royal Academy (photo by Mary Ealden)


Lisa: Do you study a lot of paintings to get inspiration for your poses? If so are there any painters out there who are the greatest source of inspiration?

Dominic Blake: My inspiration for poses is filtered through myriad sources including, but not restricted to, painting. I take inspiration from all forms of figurative and abstract art. There’s inspiration to be found in the urban and natural world too: the buildings I walk past on my way to studios, music, literature, the branches in the trees. Pretty much anything can inspire a pose!

If I am booked to undertake classical poses within an atelier, I will usually think about the work of Michelangelo, Da Vinci or of Ancient Greek and Roman sculpture. However, where my poses are influenced by painting it tends to be the colours and geometric forms that excite me. Kandinsky’s work makes me think of complex and dynamic, often strange and beautiful poses that are interesting to draw.

Beyond painting, I am influenced directly by the energy of the studio itself. Studios are charged with an infinitely positive creative energy, limited only by the imaginations of those people who inhabit them.

Finally, I am constantly inspired by some of the other truly incredible Life Models working in London and beyond.

Two minute pose inspired by Kandinsky’s Composition VIII, at Hampstead School of Art 2017 (Photo by Derek Ogbourne)


Lisa: What makes a good pose?

In essence, a good pose is one that is interesting to draw. It needs to make sense within the context of the class, session or artist’s studio you are working within. However, that probably means as many things to as many different people out there drawing from life! So there are certain rules that I think about when creating a pose:

Ideally, a pose will take into consideration negative spaces, light and shade, and twists that accentuate the body’s musculature structure. More often than not artists in classes will be arranged in a either a 180 or 360 degree circle around the life model. So it’s very important to consider how a pose would look in the round, from every viewing position.

I most enjoy improvising short, dynamic gestural poses. Moving organically from one pose to the next, with each pose influencing the one that follows it, and never knowing quite where you will end up can be really exciting.

A room of Dominics!


Lisa: Are you ever surprised by the work that is made in response to your modelling? If so what’s been the biggest surprise?

Dominic: I’m often pleasantly surprised by the work made in response to my modelling. There are as many different approaches to drawing from Life as there people out there! Since no two drawings, paintings or sculptures will ever look the same, I find the way people interpret me endlessly fascinating. Wandering around an art class viewing students’ work is one of the greatest pleasures I know as a Life Model.

Knowing that I am inspiring artists to create works of art is an amazing feeling. I feel that my work is symbiotic in nature; I engage in a creative and collaborative exchange with the artists who draw, sculpt and paint me every day.

Posing in front of Caravaggio’s ‘Salome with the Head of John the Baptist’ at The National Gallery, 2017 (photo by Karly Allen)


Lisa: Where has been the most enjoyable place to pose as a life model?

Dominic: I am fortunate enough to have Life Modelled in some incredible places. I’ve modelled in front of a Caravaggio at The National Gallery as well as next to some of Henry Moore’s sculptures at The Courtauld Institute.

My favourite place to pose, however, will always remain the Life Room at the Royal Academy.

The RA’s historic Life Room dates back over 250 years. Constable, Reynolds, Stubbs and Turner all sat at the benches there. The seats are arranged on three levels in concentric semi-circular arcs, surrounded by original study objects on shelves including busts, statues and even a flayed horse.

The Life Drawing workshops and courses are delivered at the Royal Academy via the Academic Programmes department. I’ve worked within courses focusing on Anatomy, Historical Approaches to Life Drawing and Digital Drawing, among others. Mary Ealden, the RA’s Academic Programmes Manager, curates all the RA’s Life Drawing events. She has an enviable reputation within the London art community for delivering visionary and exciting journeys through drawing.

There is something magical about the RA’s Life Room; every time I work within it I feel that I’m contributing in some small way to the space’s cultural memory and history.

I also love working within the studios at The Art Academy, Hampstead School of Art (HSOA) and Putney School of Art and Design (PSAD). The Art Academy is an inspiring place to Life Model. I have worked there within courses led by artists including Tai Shan Shierenberg, Robin Lee Hall (RP), David Caldwell (RP), Andrew James (RP), Susanne Du Toit and many other artists.

There are countless amazing Life Drawing groups in London; I really enjoy working within figurative artist Dan Whiteson’s epic ‘Freeform Life Drawing’ classes. Also the events staged by Art Macabre, ‘Drawing the Star’, run by Catherine Hall and the Hesketh Hubbard Society at the Mall Galleries’.

At the famous Life Room at The Royal Academy of Arts

At the famous Life Room at The Royal Academy of Arts


Lisa: Why do you think drawing and painting from life models continues to be so important to artists?

Dominic: I can’t think of another subject as endlessly complex, fascinating and interesting to draw than the human form. I think artists will always seek to draw from life in order to hone their observational drawing skills.

Drawing from life is a uniquely human experience. Beyond the form itself, which is of course of central importance, it’s also interesting to appreciate that Life Models are emotional beings. At their best a Life Class can explore the human condition as much as the human form. There is no other more intimate and beautiful artistic context than the Life Class.

‘Caroline Wong’s blind contour drawing of me through which she channeled the energy of Frank Auerbach. This work emerged within a class at The Art Academy in 2018’


Lisa: You must have listened to so many life drawing lessons! What’s the best advice you’ve heard given in an art class?

Dominic: The best advice I have heard in an art class is ‘… Let go of your preconceived notions of what a hand, foot, arm, look like. Draw shape, not subject’. It’s often too easy to draw what we ‘think’ we are looking at, rather than the thing itself. You think you know what a hand looks like. But you don’t really, unless you really, really look!

Seven minute pose at Village Underground, Shoreditch, 2017 within Dan Whiteson’s Freeform Life Drawing session (Photo by Didier Cuzzolin)


Lisa: For anyone considering trying out life modelling, what advice would you give?

Dominic: Life Modelling is the most rewarding career imaginable.. You will work with interesting people and be able to challenge yourself creatively every day. However, I think there are some important points to consider before you start Life Modelling.

You should actively want to learn your craft, which could become a lifelong process. In that way think its really useful to attend a life drawing classes as an artist, to experience things from the other side of the easel. By doing that, you can quickly find out what kinds of poses artists enjoy sketching, and also you might spot ways that you can improve as a model.

Life Modelling is also physically very demanding, so I would also recommend models take up yoga, or learn some good stretching exercises. These are useful before, during and after sessions, to minimise chances of injury.

Finally, don’t give up, and enjoy your journey!

‘One of my favourite interpretations of one of my poses, by figurative artist Dan Whiteson’


Lisa: What plans do you have coming up?

Dominic: I will continue Life Modelling in many of London’s art colleges, galleries and museums throughout the year. Fortunately 2018 has been great so far –  in April I worked in New York, Chicago, Los Angeles and Paris. In June I was really lucky to have the opportunity to work with Maggi Hambling at Morley College.

Dominic Blake by Gina Tawn. Gina is a student of Sam Dalby’s


Lisa: If people want to find out more about your work or how to book you, how should they contact you?

Dominic: If you want to learn more about my work, or contact me, you can check out my website www.dominicblakelifemodel.co.uk and Instagram. These present portfolios of my work to date as a Life and Portrait Model.

You can also find me in the recently published ‘From Life’ book, accompanying the Royal Academy’s exhibition of the same name, as well as in the ‘A Little History of The Royal Academy‘ book.

‘This painting is by Royal Society of Portrait Painters artist Sam Dalby (RP) for demonstration purposes for his students. He painted it really quickly, which kind of blew everyone away… I spent the weekend working with him in his beautiful home and studio in Settle, North Yorkshire, a couple of weeks ago’

Extend your Summer…

complementary landscape

It is pouring with rain outside – hurrah, in many ways. After the excitement of Wimbledon (in the sun) and the World Cup Cricket I rather want the summer to go on and on. If you want to extend your summer into autumn come to Casa Rosa in Andalucia and enjoy the October sun in Spain.

If you want to discuss options contact me Kate Measham

Sun and shadows on the front door at Casa Rosa


Sunday 29th September – Sunday 6thOctober, 2019

Full Board and tuition, £1,550 per person, no single supplement, own room and en suite bathroom.


“Andalucia is one of the most beautiful corners of Europe, where the excesses of modern life do not seem to have taken root and travellers are welcomed as honoured guests. Beloved by Orson Welles and Ernest Hemingway, it is the Spain of Carmen, Figaro and Flamenco. Rich with the legacies of the Moors and Romans its charm and serenity will captivate you.” Sunday Times

Casa Rosa in the autumn, made for artists

In late September join us for art and culture in the Axarquía, the mountainous area to the north east of Malaga. The hills and orchards of Andalucía will be ripe with autumn fruit. Casa Rosa, nestling into the surrounding hills, will have pomegranates, garden flowers and persimmon fruit growing in their orchards and gardens. 

If you join us at Casa Rosa you can expect a week with an intensive painting and drawing program, a week of delicious, healthy food made from local produce, and a week in one of the most delightful, comfy, luxurious houses in southern Spain.

For an inclusive fee of £1,550, all meals will be provided, together with drinks and snacks, as well as transport to and from Casa Rosa. No hidden extras.

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The road winds to and fro, taking you to and from Casa Rosa

Kate Measham, an experienced artist and teacher, will tutor the group from the exquisite setting of Casa Rosa ( do look at the website to see more about the buildings and the estate) with our host, Rosie Tatham welcoming you to her home.

Rad.ish in the shape of Jessica Tatham will delight you with her delicious and beautiful food.

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A Rad.ish salad – beautiful AND delicious

For more information Autumn in Andalucia

If you want to discuss options contact me Kate Measham

Beginners Oil Painting courses I and II with Kate Measham


If you are new to oil painting, it has been a very long time since you picked up a brush, or you need a reminder to boost your confidence these are the classes for you. Join me, Kate Measham at Hampshire Art studio to learn the basics on this Beginners Oil Painting I and II.

Follow this link to HAMPSHIRE ART.studio for more information and to buy the courses directly online.

Course I
Thursday 5th September, 10.00am – 4.30pm
£110/day, to include all materials and a light lunch.


Course II
Monday 9th – Tuesday 10th September, 10am – 4.30pm
£195/course. To include a light lunch each day.


The Basics, Course I

Beginners Oil Painting course I will cover your first steps with oils.

There is a mystique about oil painting. I think it is more forgiving than both watercolour and acrylic painting with endless options. It is a bit like driving a car – when you start you can not believe you will ever master hill starts and changing gear. Once you have mastered the basics of painting with oils there will be no stopping you.

You will learn about the different bits of equipment: supports, paints, mediums, solvents, palettes and palette knives, brushes, and how to use them. This day will be about basic mixing and tonal work. You will start the day with charcoal drawing and then paint the same picture with oils.

I will provide the equipment for this course. If you could bring an apron, and some rags.

A delicious light lunch will be provided, and essential coffee and tea throughout the day.

The Next Step, Course II

Once you have been introduced to oil painting with the very basics of course I, your dilemma is what to do next. Course II will cover two entirely different approaches.

The first of the two days will be a painting using a very restricted palette. You will learn about mixing to create new colours.

Day two will be a painting thinking about the tones of different colours. This is an exciting and surprising day with you thinking about your own palette.

You will need your own equipment for these two days. We work with CASS Art to develop a basket of equipment for the course. click here BASKET. If you have any of the items please feel free to remove them from the basket. Equally, if you fancy a few other things add them in. You will receive a 10% discount on whatever you buy in this basket. You will find it is applied automatically – you don’t have to add a code.

A delicious light lunch will be provided, and essential coffee and tea throughout the day.

Oil painting for beginners
Spanish Biscuits, Casa Rosa

For more information, or to book a place on this course contact@hampshireart.studio

Ivon Hitchens: Space through Colour

Pallant House Gallery, Chichester

29 June – 13 October 2019


Ivon Hitchens (1893 – 1979) is much-loved for his landscape paintings featuring swathes of bright colour, many painted in the open air surrounding his secluded Sussex home. Yet there is more to the artist than the post-war work for which he is best known. This exhibition, the largest on Hitchens since 1989, considers the whole scope of the British painter’s career, which spanned a remarkable six decades.

Hitchens was a progressive artist in the 1920s and ‘30s. He was one of the earliest members of the experimental Seven and Five Society alongside Ben Nicholson, Henry Moore and Barbara Hepworth. He also tapped into what was happening on the continent, particularly in France. Whilst looking to Cèzanne and Matisse in particular, Hitchens chose to focus on the subject matter right in front of him – the landscapes of Sussex, as well as flower paintings, interiors and studies of the nude and of family members.

For Hitchens colour is light and light is space.

Patrick Heron

His retreat from London to Sussex at the outset of the Second World War gave rise to an extraordinary body of paintings that were international in spirit despite being rooted in the English landscape. During this time he painted repeatedly at his home near Petworth, and at surrounding locations in the South Downs – Heyshott, Didling and Iping Common in particular. The last decade of his life saw a heightening of his palette, as he spent more and more time at his holiday coastal cottage at Selsey.

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This exhibition of over 70 works provides a once in a generation opportunity to consider one of Britain’s most enduringly popular modern painters in a whole new light.

Curated by Anne Goodchild in partnership with Pallant House Gallery.