STAR LETTER
Supporting role
As a regular contributor to the Painters-Online gallery I recently mentioned that I'd painted over something, therefore re-using the canvas. I'm doing this more often now, instead of storing, especially as it's harder to get hold of art materials quickly. It's easy to do with a canvas or rigid support but It's also possible to use gesso or acrylic over paper. But there's another reason – it stops me being precious and I haven't wasted anything.
It's very freeing to leave the previous image there while you map out the new one. You can decide whether to leave anything to show through, which can be interesting. If I take a photo before I start, I still have a record of what I've previously painted. One thing I no longer do is constantly revisit a painting. That's too restrictive, like redecorating around one item in a room. Far better to start anew with the thought that I'm just having fun and that future generations might discover an intriguing image beneath the surface.
Marjorie Firth, by email
Art as therapy
I was saddened to read about artist Steve Griggs' dog Sadie (March 2021 issue) but pleased that he got some comfort in painting a man and his dog.
Isn't it encouraging that painting and other forms of art can be so therapeutic in helping people through difficult times!
Jamie Clabby, by email
Pastel dust
Thank you for Paul Riley’s inspiring article (March 2021 issue). It's uncanny how the right articles come just as I am thinking about the same problem.
At the moment I am using my pastels for the first time in ages. Having seen the health warnings about pastel dust I've concluded that the high Velux window in my studio does not provide ideal ventilation. Would a vacuum cleaner hose on low suction, draped over the top of artwork, be just the ticket? Carol Wade, by email
We contacted pastellist Cheryl Culver for her advice (see Cheryl's article in our April 2021 issue).
‘Although I am not qualified to comment on the health risk of pastel dust, I think it is inadvisable to inhale dust of any sort in quantity. I find it helpful to wear a dust mask – these are available from builders’ merchants or hardware stores (I would wear one if I were sanding down the paintwork on a door or clearing out a dusty attic).
They are inexpensive and we are all used to wearing masks now. Extraction units are expensive and tend to suck out your heating along with the dust. They also tend to be noisy (even the quiet ones are intrusive). Dangling hoses attached to extraction can be a nuisance and never seem to be in the right place. One final point, make sure your studio is carpet-free. A washable floor is a must and regular vacuuming and swabbing down will help to remove residues of dust.’
Inspired and informed
I was introduced to The Artist by my late grandfather when I was a small child. Grandpapa was from England and an artist in his spare time. Unfortunately, due to South Africa's political policy
The Artist was one of many imported goods that we were unable to receive. In 1992 I was again able to buy copies and collected the magazine until 2019, when the rand/pound exchange rate made it too expensive.
During the lockdown I found some days very challenging but my art helped to keep me busy. I am an amateur wildlife artist but paint and draw anything that interests me. I was looking for inspiration when I decided to look through my back copies of The Artist, which led to a week of absolute joy. I revisited articles on wildlife by Chris Rose, Darren Rees and Bruce Pearson. I found a wonderful article by Scott Burdick and Alyona Nickelsen's article on coloured pencil techniques in a portrait of a child. The Masterclasses were an inspiration, as were Geoff Hunt's watercolours and Anne Cotterill's wild flowers painted in oils.
Graphite pencil is my first love and I have carried this on in colour with Caran d'Ache and Derwent watercolour pencils. Unfortunately Caran d'Ache pencils are no longer available here, due to price, but it is interesting to read what the new Luminance pencils offer re workability.
I love the articles on the legalities of art and how to sell on the internet, set up your own website, price your work, copyright and arranging your own exhibitions. It's all very valuable information that we require in this changing world.
I consider The Artist my go-to library for any information or techniques I need to know. It was through The Artist I got to know of Ray Campbell Smith's book on watercolours – for the first time I did not have mud and now enjoy the challenge of watercolours.
Beth van Eeden, by email