Liew Choong Ching Introduces New Concept

Love: 40" x 60" Artist Liew Choong Ching, who has just tied the knot, has informed switched to concept art. Leading this is his Button series, in various sizes and done in oil. Kingdom, 60" by 60" If you recall, Liew debuted with his very interesting Balinese series and later his frangipanni and mangosteen, before moving to Penang and established himself there with his abstract portraitures, which exhibited to much success last year. Happiness, 56" by 56"

In May's Leisure Painter

As usual, we in Malaysia get it late. The May edition arrive at the bookstores on May 24. But better late than never! Okay, let's look at what this month's feature carry. As you can see from the above, there are plenty as usual to learn from across a wide variety of media. Watercolour still rules here. If you have been following the last issue's back to basic, you should buy this month's edition because Brian Ryder continues with Part 2: Add Colour To Ink Drawings. Here Ryder shows how to use both water-soluble ink as well as non-water-soluble ones. I especially liked the free strokes in this, as you can see from the last picture on a harbour - Binham, North Norfolk in pen and wash. If you want to know how to achieve looseness and spontaneity in pen and wash, check Ryder out. Other interesting issues this month is the Lesson in the Landscape by Kari McGowan. Follow step-by-step how McGowan recreate a painting of Dartmoor, fast and loose in watercolour. There is also a section on painting the face and one on how to draw tulips.

A Marvellous Instructional Piece In Splashing Paint

I have not seen a longer running instructional DVD than I had with John Lovett's Splashing Paint. And having gone through over 120 minutes of 'personal instruction' by Australia's leading artist, in 16 thoughtfully prepared, very detailed lessons, I am quite convinced that every beginner can benefit from it. established painters may also find some gems within. Why? Because Lovett takes you right from the basics to the many advanced techniques that he uses in his very striking watercolour pieces, loose and simple. For AUD77, I think it is quite a steal, and the good thing about this DVD (as with other DVD learning tools) is that you can go back to it at any time you wish, as many times you want, and get as many refresher courses as you like. Simple Palm Tree - John Lovett In the introductory chapters, Lovett covers the basics, talkling about materials and techniques, swiftly. Then he shows how watercolour can be painted simply and loosely - trademarks of his art works. I love the jazzy background music that accompanies each instruction as i do the little notes that are presented as the artist show you the behind-the-scene work on each piece, takling subjects from simple skies to more complicated street scene and outdoor panorama. Atmosperic Skies - John Lovett Whether it is using a one-inch brush or types of paint colour, each session is presented clearly in ways you can quite easily understand - and put to practice. And you learn by simply following his work and, hopefully, come up with something you can be proud to hang on your wall. I have always wondered how Lovett created the misty air around his pieces, the atmospheric effects that exudes mystery. I found it in this DVD - his secret: gesso and gouache and rubbed in with a hake brush! This was revealed in the chapter Taking Risks, in which Lovett transformed a finished painting into an even better one with loose introduction of gesso and gouache, and detailing the subject to bring it out to the viewer's attention. Can anything can get more complicated than this? John Lovett's harbour scene. Another section I find extremely useful is the one on how to simplify the subject. If taking on a full-coloured scenery is daunting, Lovett shows how, by grouping objects of similar values and colours, can help you approach complicated subjects more confidently. The artist spent quite some time on water and reflections although there is already a specific chapter on reflections alone. If you are sharp, you will be able to see his secrets unveiled as he dabs the paints and splashes them to give impressions of reflections of subjects such as boats on water. The DVD ends with Lovett teaching you how to set up your studio, from arranging the working table and tapping hte best of natural light to setting framing tables and using artificial light. All these are sensible applications which could easily be overlooked but because they are presented as one of the many tips in Splashing Paint, you would be reminded to give them some thought when you are rearranging your work space for optimum productivity and pleasant painting session. Splashing Paint can be obtained at www.splashingpaint.com.

Leisure Painter April - Drawing Children's Faces

One of the most interesting articles in April's edition (yes, we in Malaysia are a deprived lot, receiving the month's edition at month's end mostly!) is that by Juliette Dodd on painting children's faces - one of the most difficult subjects to draw. In this issue, Dodd shows the way of how to proportion the face in seven steps. Not only are you taught to draw front profiles, but side as well, and these are requirements if you ever hope to draw portraits well and not doing Mickey Mice or Potato Heads! Another interesting feature I find in this issue is David Bellamy's tips on making your watercolours sparkle. If you are wondering how Bellamy makes his subjects stand out via hilights, this issue will show you how. And oh, there is also an exciting version on keeping sketchbooks - everything all of us aspire to do but never quite get down to it.

Can't Malaysian Paper Manufacturers Produce Good Watercolour Paper?

Most of the watercolour papers we see today are that from the West. Not that they are no good but the exchange rates are certainly not in our favour. According to my sources, the price of paper across the board will be up by at least 30 per cent next year. Some of the good brands are already up by at least 20 per cent if you were to frequent art shops. Paper is something you cannot stock and if we know little of how to store it, then it will be investment down the drain as the paper yellows and loses its fine quality. There are several Malaysian companies which produce good drawing blocks. Over the past three years, many ventured into acid free paper which is quite suitable for watercolour work. The grammage, too, is good at 300gsm. Right now, the only market leader is Chee Wah Corporation which goes by the brand name CAMPAP. Others produce mediocre blocks for use in schools, which is quite a lucrative market. Chee Wah also produce good watercolour, oil and acrylic paper and boards. However, what little stock the have are usually sold out and it is quite tough to source for them, even in Kuala Lumpur. For the sake of watercolour art and future of watercolourists, I hope there is a manufacturer who will be willing to produce good paper. Afterall, the material is right here under our noses in the orient.

Derwent's Wash Pencils

I found these at the local art store - Derwent watercolour pencils for washes. I had earlier last year found its watersoluble graphite pencils but found them to be too dark and smudgy. These however are more forgiving and produce pretty good and even washes. I only found Medium and Light grades, but I suspect there are other grades. Too bad the art store did not have a catalogue - old stock I think. As you can see, I did a sketch on an old tyre on the deck of a wooden boat, alternating between light and medium grades in areas of contrast. For deeper values, I go over the first lines of medium grades to produce really dark areas (value 8?). Oh, they cost about RM2.50 Malaysian each.

Leisure Painter March

As usual, in Malaysia, you get UK magazines of the month in the middle of the month, sometimes even at month's end. This month's Leisure Painter is must read for drawing enthusiasts for Ray Campbell Smith teaches Part 3 of his Drawing Matters section. I especially like the section on how to correct compositional errors (see picture below). I think if you start right in composing a picture, then the rest will sort of fall into place. Other interesting sections include loosening your watercolour landscapes and for beginners, easy colour mixing tips. By the way, this month's issue also carries a Painting Courses catalogue and if you are interested in planning a painting holiday, check it out.

Malacca Watercolour Exhibition

Cheong Lam San's Malacca - 83cm x61cm - RM2,000 I was in Malacca recently for a holiday and was pleasantly surprised by the exhibition on Malacca by various artists, featuring work both in oil, watercolour and Chinese paintings. This exhibition, held at the Bastion House, which is beside the Formosa, was held to commemorate the 50th Merdeka. The exhibition was supposed to end on Aug 18 but was extended for obvious reasons. There were quite a number of interesting watercolour works, participated by various artists - both who were born in Malacca as well as those from other states. What interested me most were the watercolour works, priced from RM300 to over RM1,000. Some were quite good, others so-so. Ong Keng Hong's Trishaw Peddler (78cm x 60cm ) - RM1,000 A chat with the person put in charge of the show revealed a sad response. There were some buyers. However, I did not see the number red spots - an indication that a painting has been reserved or purchased. What happened? I asked the chap. I was told that although there were lots of visitors, most of them were only browsers - interested to look, but not to purchase. What could be wrong? Some of the watercolour works are a bargain - going from as low as RM300. Of course, the oils are also not cheap. Some went for RM6,000 and some were really good, although quite a few were seemingly ambitious in the pricing. Perhaps the market in Malacca is not ready. I don't know. Maybe purchasing power for art is low? Who knows. Faizal Zainal's Evening Light in Umbai (15 x 22 inches) - RM1,750

Batik Watercolour Painting?

If have done batik, chances are that you would intend it to be the traditional form - as a fabric for an attire or accessories such as scarves. This piece, believe it or not, is batik being promoted as a painting. To be exact, it is a semi abstract piece showing a traditional house. I spotted it during a visit to a craft bazaar.

Drawing Landscape in Pencil

This book's title is self explanatory. But the fact that it was a reprint of the original by Frank Rines made it special. I don;t know why anyone would want to reprint a book published twenty over years ago is quite mind boggling unless it is a very good book. And I found out that it indeed is. Landscape Drawing in Pencil by Frank Rines is a must read if you want to find out how the old masters do it. The book starts off with the types of pencils to use and how you should handle each. Rines even teaches you how to sharpen the pencils and what strokes to use (see below) to create what texture that possibly best represents your subject matter. From there on, there are pages and pages of drawings the artist did and you will learn from keen observation how he handle landscape - from trees to water, and quite a number of marine drawings as well. If you are a beginning artist, I think you will need to draw well before you can even paint well. Well, this is the book you should check out. Landscape Drawing in Pencil (Dover Books on Art Instruction) is available from Amazon.

The Colour Wheel - An Indispensible Tool

I was looking for this for quite close to a year having read about it in the foreign painting magazine. Found it recently at one of the local art stores. This one has the different colour combination as well as a tonal value chart. What you do is turn the wheel around for the colour of choice and it will show you presets of what colours to mix to get it. Real useful when on site and wondering what shade a particular colour is. The tonal chart is also extremely useful. Held at eye-level, it's all you need to capture the nuances of light and shade in different colours.

Sketching with Bruynzeel Pencils - Seaside scene

This is the scene I promised earlier - made using the Bruynzeel Pencils. Three grades were used, 2B, 4B and 8B for their respective ascending tonal values. Included is a digital picture of the scene (below).

Derwent Charcoal Pencils

These are interesting tools for sketchers. I said yesterday that the Bruynzeel sketch pencils are a boon to have and they indeed are. But for those who solely concentrate on sketching, particularly portraits and other mono-works, these are interesting too. They have been here for a long time, Derwent's. I bought three for outdoor charcoal sketching - light, medium and dark. These three tones are suited for distant, middle ground and forground sketching. They are fat and quite easy to hold. Only problem is to shave them once the charcoal runs blunt. I prefer to use pen-knives and shave them into a wedge, gives the tips some consistency. I will also sketch using these and will show you the work soon.

Bruynzeel Sketch Pencils - New Kids On The Block

I was browsing at the art store for sketching pencils when I was introduced to this at Nanyang (Kuala Lumpur). According to the proprietor, the pencils (from Holland) have just been introduced to the Malaysian market. What makes them good is that, I was told, there are no air bubbles in the lead which gives you a consistent tone. That means when you are sketching, the lead doesn't break off in bits and pieces to give you a consistent shade - something sketchers value very much. These pencils come in various hardness. I purchased 2B, 4B and 8B which sort of cover all the needs for sketchwork. The 2B for distant (low tonal value), 4B for mid-tones and the 8B for the high tones. I have tried them and I believe they are what the art shop chap said they were. I hope to post some of my sketches here in the next few days.

Leisure Painter - April Issue

This month's Leisure Painter is something you should not miss if you are looking for tips in painting realistic water using watercolour. I was very impressed by the Ask The Tutor piece by Tony Cowlinshaw (see below) where the writer focussed on waves. Ask any watercolour painter, drawing water is tough enough. But waves? How do you capture the nuances created by the wind or wakes caused by passing boats realistically? Well, there are some useful tips here and I would be letting the fun out of the bag if I elaborate too much. Suffice to say, the author also touches on use of masking fluids to capture the intricate part of the waves as well as using 's-strokes' using a loaded brush. Meanwhile, in the Landscape section, Robert Newcombe touches on the importance of tonal contrast in landscape painting (and this applies to others in case you are wondering). Newcombe introduces the Tonal Plan method where he stress the importance of having a tonal plan of colours before you even start. I think this is important and believe you me, it is not that easy. You could arm yourself with a tonal chart but that would take out the fun of the spontaneity of painting. Read more in April's edition. I won't touch on the other sections of this issue because I am more interested in the watercolour tips. As usual, Leisure Painter is full of surprises again.

Malaysian Watercolours Organisation 2007 Show

I almost missed this exhibition had I not been trawling art gallery sites and came across NN Gallery's which is holding this exhibition till next week. It was quite easy finding the location of the gallery which is just beside the MRR2. I only need to rely on the very well drawn out map on their website. The Friday morning was perfect as there were no visitors at the gallery and the works featured at this exhibition are a feast to the senses, especially if you love watercolour works - just as most of MWO's shows in you recall. Remember its landmark watercolour competition entitled "Enchanted Land, Colourful Life", held last year at the National Art Gallery? The works at this show are highly interesting. Several pieces stood up and one I must mention is Sharifah Zuriah's piece on a hillscape which looks an interesting blend of Chinese brush and watercolour mix. It features a granite outcrop with a blue sky as background. This artist never fails to amaze me. Rafiee Abdul Rahman's piece, A Street in Nepal, was also another interesting one although I liked his seaside scenes (with the characteristic coconut trees with its palm fronds flaying in the wind) better. (Although I had my camera with me, I did not take any shots to show you people here. Otherwise it would have been wonderful. The picture above: After the Storm by Ooi Aik Ceong was from NN's website) Other works included those by Dr Wong Seng Tong (he did a Balinese piece), Cheah Yew Saik (with his clouds scene, well executed on this particular art paper), Calvin Chua (with two large pieces of morning glories vines on old bicycles) and of course, the bicycle expert himself, Chow Chin Chuan. You have until April 4 to enjoy the exhibition and I suggest you go take a look. I was a little disappointed because MWO did not produce a catalogue for this one. It would have been an interesting souvenir to purchase!

Chang Fee Ming - the Terengganu boy who made it big

YEAR 2000, SO WHAT? 1998-99 (56 x 76 cm) - One of Fee Ming's more famous works. I met Chang Fee Ming several times in my quest for artistic knowledge and one of these was his show at the Petronas Gallery - of the Mekong series. Another was during one of the Class Art sessions at the same gallery back in 2002. Not many artists have gone the distance Fee Ming has, whether in Malaysia or around the world. In fact, a lot can be attributed to him when we talk of Malaysian watercolours. His works have elevated that of Malaysian watercolours and the recognitions he received out there have inspired many to follow his path. This self-taught artist in watercolour has shown how much determination and pure hard work can make a whole world of difference. His works, some of which are displayed at his site www.changfeeming.net, gives an insight into the artist's perception of life itself, particularly the fabric of Malaysian society in his earlier works. What makes Fee Ming special is his technique and often my friends who are non-artists mistaken his work for oil or even acrylic until I pointed out Fee Ming's works are purely in watercolours. If you like Fee Ming's works, he has a gallery shop in Kuala Terengganu named Teratai, along Kampung China, the main thoroughfare of this coastal town. His prints in the form of postcards are available at the Petronas Gallery's art shoppe. So are some of Fee Ming's catalogue of his previous exhibitions.

Leisure Painter January Issue

This month's Leisure Painter has a very interesting Watercolour Masterclass by Ray Campbell Smith. It marks the start of a series of 'occasional' articles by this prominent artist and you should take a look. Smith starts off on how to paint atmosphere in watercolour; I won't tell you more so you will have to check it out. There is also an interesting piece on how to start a leisure diary - how sketching can help you improve your strokes. Check it out.

A Very Functional Brush Bag Indeed

It started when I discovered how difficult it is to carry a load of brushes while painting outdoors. First I tried the traditional bamboo mat brush holders but soon found out that it was not practical. Wet watercolour brushes and bamboo is a bad combination. Moulds grow and destroy expensive brush hairs. Then I tried using plastic tube brush holders. They were functional - until I started misplacing the cap and losing them. Of course, when I dump wet brushes into them and locked the cap (and forgot to take them out again to dry first before storage), water percolates within the tube. And the brush hair again gets damaged. So, out of frustration and having tried so many brush holders, not to mention the money spent, I decided to make this from a special waterproof canvas. The outer side is canvas and the inside waterproof rubber-plastic kind of material. I made it with pockets for individual brushes and depending on the number of brushes I need. It can be folded or rolled, at your convenience with a nice velcro strap to boot. Because the brushes are not locked within, there is always a constant flow of air through the bag, reducing the risk of fungal/mould growth. The waterproof material, tough as well, has allowed me more than five years of punishing use. And it has been a great invention - one which I have made for friends and they have introduced it to their artist friends all over. This has been a very functional brush bag indeed! But the nice thing about this invention is that it is handy and you can keep quite a lot of brushes within - more than you will ever need when painting outdoors.

Book Review: Painting from Photographs

Cameras have become a necessary equipment in an artist's bag and photos have become quite an indispensible tool especially when climatic conditions do not allow one to complete one's paintings outdoors. Although I know many artists do not like to use photographs for their paintings, I think this "evil" should be accepted as part of technology and the evolution of art form. In this book Patrick Seslar has shown how one can paint from photographs. Quite interesting are how he captures the lights and shade, including several pieces of good advice on flowers as well. This is one of the few books which I think can help you understand the nuances of watercolour medium, especially if you paint quite a bit from photographs. Whether the photos serve as your references from stard till finish or as a complement to complete your outdoor sessions.

Book Review: Painting Weathered Buildings in Pen Ink & Watercolour

This is one great book for beginning artists to painting pen and wash techniques. When you are not painting, and one rainy days, get hold of this book and read it cover to cover. Claudia Nice shows you the various means of painting watercolour using the pen and wash techniques, from old barns to light houses; from old barn doors to moss-filled masonry. The author covers her subject well, teaching the simple techniques like scratching the paper to show highlights to mixing dark washes to depict the building storm by the sea. Nice also mentions quite a bit on brushes as well as the colours used. Best of all, she covers the subject of wooden subjects, from broken barn doors to timber fencing and aged wooden shakes. She teaches you how to paint the grey undercoat (and how to mix the colours) to inking the lines to depict wood grains. I especially like the stonework part - a subject many of us painters would find difficult to paint. Here the author shows how easy it can be by obeying some simple rules. This book can be obtained from local bookstores but is rare. However, there are two versions. Mine is the hardcover one which costs quite a bit. If you can't afford it, go for the softcover one.

Refreshing Watercolours by Calvin Chua

In his preface to the catalogue of artist Calvin Chua Cheng Koon’s solo, currently being at the Balai Berita (NST) in Jalan Riong, the chairman of the Malaysian Watercolour Organisation Dr Wong Seng Tong described the artist as “the most talented, takes art seriously, works deligently and participates actively in the art scene.” And it is not difficult to see why at Chua’s exhibition. One marvels at the almost realistic images of buffaloes, logs, old structures, statues and nature Chua has managed to capture in both oil and watercolour. While both his oil works and watercolour pieces are equally striking, one cannot help being drawn to the latter. Chua is truly a master (he taught at his alma-mater the Kuala Lumpur College of Art before going professional) when it comes to rendering the subjects he sees around him – from old vases to morning glories. His strokes are confident and bold, and his subjects are captured to the finest detail, almost to perfection. Note: Calvin Chua was born in 1961 in Kedah and received training at the KLCA, graduating with a Dip. in Fine Art. He is now a full-time artist and member of various watercolour organisations including the Singapore Watercolour Society. Since 1982, he has participated in various exhibitions in Malaysia and abroad, for practically almost every year. He collections have been collected within the country and abroad.

Can you learn watercolours via CD?

Can you learn watercolour via CDs? Well I think you can. Not in the old days when lessons take ages to arrive and the pictures come static, ie from photos and drawings. Today you can. With the advancement of technology spurred by Internet growth, softwares allow tutors to record "live instructions" in CDs or live-streaming via various computer-friendly softwares. You may be a thousand mile away and it makes no difference as you can learn almost anything - as if you are right there beside the teacher as the art class unflod before your eyes, in full motion picture format. And on the Internet, you get plenty of CDs offering to teach you about painting, but where watercolours are concerned, I can recommend one which is really unique and offers great value for money. If you are a beginner to watercolour (or someone who wants to go back to it), check out Peter Saw's Interactive Watercolour website. Veteran watercolourist Peter Saw's Interactive Watercolour CD offers various levels of learning experience - from beginners to medium-advanced learners who seek to master this fluid medium. The trees in the picture are among the lessons - doodles and actually painting - in Peter's Interactive Watercolour. I have seen this CD, used it and recommend it to anyone seeking to learn the finer strokes of British watercolour. For beginners, especially, I think it is a good value for money. Peter takes you through a whole series of painting several objects in various styles. What is interesting is that Peter uses movie files to get his lessons across. And in watercolour, this is priceless. Being shown how a painting is done, or errors corrected, helps a lot in the learning process and progressing from that. One thing that makes Peter's CD offering unique is the lively forum which he has set up for his "students" - you learn from the CD and you meet other users . You get to ask questions - including directing them to the master himself. And he answers them! Perhaps the most fantastic thing about this arrangement is that you can show your works to your peers who are your critiques. And here in lies the uniqueness of this programme - with each stroke you learn from Peter's instruction, you gain self-confidence by analysing your work and allowing others to analys