IN WONDERLAND

THE ART WORLD

NEWS, INFORMATION AND ONLINE EVENTS IN THE ART WORLD

Opportunities & Competitions

Check out the latest competitions to enter and make a note of important deadlines

WELCOME from the editor

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YOUR VIEWS

LETTERS, EMAILS AND COMMENTS

Hope for the future

Caroline Saunders talks to Ophelia Redpath, winner of The Artist Award in the DSWF Wildlife Artist of the Year exhibition, about painting from the imagination, taking inspiration from her passion for conservation and natural history

Art in the interior

Sarah Edmonds talks to director of Art in Offices, Katie Henr y, and discovers that hanging art in office spaces can be completely transformative

THE POWER OF CALM

Artists have the power to spread calmness, beauty and awe through their works. Mike Barr urges you to use that power for good

Lessons in oils

In the first of a series of three articles, Andrew Field shows how to develop ideas in your sketchbooks for painting later in oils

Flower power

Hazel Soan offers inspiration for anyone unsure of what to paint next and provides the perfect solution in painting flowers in wet-in-wet watercolour

A sense of place

To conclude his four-part series on painting landscapes in pastel Steve Hall returns to Yorkshire to capture the beauty of the county and the often unexpected weather

Value

Paul Talbot-Greaves shares his five-value scale for adding impact to his work, ensuring his watercolours have light, contrast and depth

Inspiration on the Isles of Scilly

Carole Baker demonstrates her expressive seascapes, beaches and pebbles in acrylics

A personal vision

Don’t be controlled by your photographs warns Peter Cronin. Instead, use them alongside sketches to hone and simplify the scene before adding your watercolour washes

Light is everything

In the final part of his series of three articles on painting figures in oils, Peter Keegan demonstrates a painting of a young child, concentrating on the quality of light

Finishing touches

To conclude her four-part series on painting a floral portrait in oils, Rosso Emerald Crimson completes the background and adds the finishing touches

Moving into abstraction

Brian Steventon uses his sketchbook as the starting point for his abstract work, and shows how to develop these into a semi-abstract work using gouache and ink

Oystercatcher

In this abridged extract from her new book, Painting into the Light, Jenny Aitken demonstrates how to capture an oystercatcher in oils contre-jour

The transferred image

Lino-print artist, Gemma Curtis shows you how to design and print your own tote bag using readily available printmaking materials and fabric inks