We know the freedom and creative pleasure art brings. Here at Cass Art we want everyone to be able to afford to do it – and see it. We have partnered with some of the UK’s leading galleries and organisations to help inspire you.

When you shop in-store or online throughout November and December, you'll receive our exclusive Art Offers leaflet which includes discounts for major art galleries and brands from across the UK.

Read on to see what we have lined up this winter.



Picturehouse Cinemas - Mr. Turner

Get a free glass of wine (or beer or soft drink, if you'd prefer) when you go and see Mr. Turner at any Picturehouse Cinema, from 31st October 2014 to 1st January 2015. Mr. Turner is the new critically acclaimed film by BAFTA winning director Mike Leigh. Starring Timothy Spall, the film explores the life of great British painter J.M.W. Turner; his masterpieces, his relationships and the ways in which he revolutionised painting. To redeem this offer, simply present the Cass Art voucher alongside your Mr. Turner ticket stub at any Picturehouse Cinema. Find your local Picturehouse Cinema here.

 

The Royal Academy of Arts

Get £2 off tickets to the Anselm Kiefer exhibition at the RA, from 1st October to 14th December 2014. A testament to the career of an artist driven to confront himself and his viewers with complex issues, the exhibition has been labelled by The Guardian as "the most exciting show in Britain this autumn." Including painting, sculpture and monumental installations, Kiefer's work draws on history, literature and science, capturing the essence of human experience. To redeem this offer, present the Art Offers leaflet at the RA Ticket Desk. Read more about the Anselm Kiefer exhibition here. 

The Victoria & Albert Museum

Get £2 off tickets to Constable: The Making of a Master at the Victoria & Albert Museum, between 1st October 2014 and 11th January 2015. John Constable is one of Britain's best-loved artists, and this major exhibition explores his techniques and legacy, as well as the hidden stories behind some of his most famous paintings. To redeem this offer, present the Art Offers leaflet at the V&A exhibition ticket desk. Read more on the Constable exhibition here. 

Aesthetica

Get 20% off your subscription to Aesthetica Magazine, when you subscribe online up until 30th November. One of the top contemporary art magazines in the UK, Aesthetica combines dynamic content with compelling critical debate, and features recommended exhibitions and events. Redeem your offer on the Aesthetica website with the code written on the Art Offers leaflet. Find out more about Aesthetica Magazine here. 

 

The Photographer's Gallery

Sign up for annual membership at The Photographer's Gallery by 31st December and get 20% off. Your membership will include free unlimited entry to exhibitions, exclusive invites to Private Views, and priority booking for talks and events (plus discounts in the Bookshop and Café.) Upcoming exhibitions include the Edward Steichen and Viviane Sassen, so it's a great time to join this community. To redeem your offer, visit The Photographer's Gallery website here or call them on 020 7087 9300 and quote the code on the Art Offers leaflet. 

 

Picturehouse Cinemas - Hockney 

Another great offer from Picturehouse Cinemas: get £2 off tickets when you go to see Hockney at one of their cinemas. Opening on Friday 28th November, this film explores the iconic artist's life with contributions from the artist's personal archive, as well as snippets from those who know him best. Show your Art Offers leaflet to the Box Office at any Picturehouse Cinema to redeem this offer, valid from 28th November 2014 to 1st January 2015.

Design Museum 

Get 10% off tickets to Women Fashion Power at the Design Museum, from 29th October 2014 until 26th April 2015. This exhibition offers an unprecedented look at how princesses, models, CEOs, Dames and designers have used fashion to their advantage in the world - looking at pivotal figures like Princess Diana and Dame Zaha Hadid. Redeem your offer by presenting the Art Offers leaflet at the ticket desk, or book online and quote the promotional code in the leaflet. Read more about the exhibition here. 


Etsy

Start your online shop for free at Etsy, the world's largest online marketplace for handmade products. An excellent space for artists who want to make a living doing what they love, this offer will give you 20 free listings when you open your shop before 31st January 2015. Redeem your offer by heading to Etsy here and enter the code on the Art Offers leaflet.  
 

Feeling Inspired?

Shop online to receive these discounts in a pocket leaflet or visit any of our shops to receive them with every purchase.The Winter Art Offers leaflet expires 

Image credits: 

RA: Anselm Kiefer, Morgenthau Plan, 2013, Acrylic, emulsion, oil, sellac, metal, fragments of paint, plaster, gold leaf and sediment of electrolysis on photograph mounted on canvas, 330 x 560 x 45 cm. Private collection. © Anselm Kiefer. Photography: Charles Duprat

V&A: Study of cirrus clouds by John Constable, c. 1821-1822 Oil on paper © Victoria and Albert Museum, London

Aesthetica:  Imagery courtesy Aesthetica

The Photographers’ Gallery: Viviane Sassen, Gone with the Wind, Zuiderzee Museum, 2008 © Viviane Sassen. Courtesy of the artist and The Photographers’ Gallery.

Art Macabre have been running Drawing Salons at Cass Art for quite some time - spinning their deathly drawing techniques and inspiring many for years.

Recently they held a class at Cass Art Kingston, with another great reimagining of life drawing. Adding Morte Couture millinery and taxidermy props to add a sense of fashion to the event, they were honouring London Fashion Week. 

 But do you know exactly how their life drawing classes really pan out? Sian Dowell, a Student Ambassador, gives the low down here.

STUDENT AMBASSADOR REVIEW

We started with quick five-minute poses from the models, Jess and Lily, to get warmed up.

Using the Promarker pens, we were able to draw hasty fluid lines and get a rhythm to our sketching. The models were fantastic with their poses, with great variety to focus on different parts of the body. 

Nikki was our host and had adorned herself with the surreal hats, courtesy of Miss Ava’s Millinery. She introduced each new hat with a catwalk from the models. It was like being at London Fashion Week, except the models wore a little less clothing!



The models wore each hat for 10-15 minute poses, sketching the accessories quickly while trying to capture the detail and texture.

There were a range of magical hats and masks on display to sketch, such as taxidermy ravens and fox masks by Cecilia Lundqvist, which transformed the models into creatures, and bespoke detachable flask fascinators by Feather and Flask, to transport your every secret drink amongst an array of graceful feathers.  It was like a glance into Alice in Wonderland, especially with Mr. Pickles present, the resident taxidermy fox, but with a more sinister twist.

With only a limited colour palette to use, everyone developed their own interpretation and use of colour, which was great to see at the end with a quick show. Everyone had a great distinct style of drawing, and the range of angles drawn really helped show this off.  I hadn't attended a life drawing class myself for a long time, and it was great to get back into the swing of sketching with other art enthusiasts.

By Sian Dowell, Cass Art Student Ambassador


Feeling inspired?

To find out more about Art Macabre Drawing Salons visit their website.

Keep an eye out on the Cass Art Events Page for more Art Macabre workshops.  

Today's the day - Cass Art officially opens it's doors in Glasgow. Since Cass Art opened in Charing Cross in 1984, Glasgow is the first shop to open outside of London. Glasgow has a insatiable amount of artists we can support, as a city already so rich in art and culture.

The new Glasgow shop is on Queen Street, with over 6,000 square feet, including the Art Space that will be used for to support the local community of artists.

“We are thrilled to be opening in Glasgow”, says Mark Cass, CEO & Founder of Cass Art. “It is a city with a long cultural history, and today a thriving art community which we look forward to supporting as part of our mission, ‘Let’s Fill This Nation With Artists’."

To celebrate, we wanted to highlight some must-sees to visit if you're in the city:

TOP 5 ART & CULTURE SPOTS IN GLASGOW



1. The Kelvingrove 

A beautiful 19th century building in the West End of Glasgow, The Kelvingrove is a museum not to be missed. It houses art from all over the world, and artefacts and treasures that have been preserved and curated just for you. It's also free entry - even better.

2. Gallery of Modern Art (GOMA)

Located just down the road fro the new Cass Art, the Gallery of Modern Art is one of Scotland's most visited art galleries. It shows a variety of work, from painting to sculpture and installation, showcasing established artists from around the world. It hosts temporary exhibitions and workshops for both adults and children so you can get your creative hats on.

3. The Willow Tearooms

Tea and cake, we hear you cry? What's artistic about that? The Willow Tearooms were designed by Charles Rennie Mackintosh - the architect everyone's heard of, not least because he also designed the Mackintosh Building at The Glasgow School of Art. Decorated in Art Deco, the tea and cake is served on dainty ornate china - so make sure you stop off here in between your other cultural visits.



4. Centre of Contemporary Art (CCA)

The CCA is a true hub of creative activity, offering a year-round programme of exhibitions, music, film, spoken world, festivals and more. The champion their relationships with artists and generate new, exciting projects, as well as hosting six major exhibitions a year. Many exhibitions and events are free. 

5. House For An Art Lover

OK, so it's our second Mackintosh mention, but we think that's allowed. Designed in 1901 for a competition (though he was disqualified as he submitted it late), this house was built in 1996 close to the city centre. Labelled House For An Art Lover for a reason, it's a must-see for all art and architecture fans.

THE GLASGOW MIRACLE

What is this magical concept of which you speak? The words 'Glasgow Miracle' have been coined because of the number of artists who live, work and studied in Glasgow, who go onto become nominees or winners of The Turner Prize.



Douglas Gordon, Simon Starling, Martin Boyce, Martin Creed and Richard Wright are all Glasgow artists who have been crowned winners of the contemporary art prize. Not to mention Susan Philipsz, who won four years ago in 2010, for her haunting sound piece.

But that's not all - other nominees who live and work in Glasgow have included Lucy Skaer, Karla Black, Luke Fowler and David Shrigley, all Glasgow-based artists.
 

TELL A FRIEND

Know someone in Glasgow who would be happy to hear we've opened there? Then please Refer a Friend - we'd love to see them in our shop.


FEELING INSPIRED?

Find out more, including the exact location, of Cass Art Glasgow here. 

Image Credits:

Instagram
Martin Boyce, Do Words Have Voices, 2011 

It’s October, and for another year, the BP Portrait Award exhibition has closed its doors. But as we’re celebrating painting, championing colour and looking at light, we thought it was a good time to look back at some of the show-stoppers from the 2014 exhibition. 

We caught up with some of the artists who exhibited in the BP Portrait Award 2014, with a unique discussion of their artwork that was featured in The National Portrait Gallery this year.

The artists Lantian D, Melissa Scott-Miller and John Murphy-Woolford were also part of a panel discussion at Cass Art Islington Flagship on the 19^th September, with a BP Portrait Award Artist from 2013, Terri Anne Scoble. If you missed it, now’s the perfect time to catch up on what they had to say about their work.



Robert O’Brien

O’Brien’s work, Carolina, featured a young women’s profile, staring levelly out at the viewer, her brown fringe swept to the side and her mouth pursed in an uncertain line. The shadows on her face and freckles on her nose are dark and pronounced, her eyes large and almost sad.

Where do you look for inspiration?

It seems to be everywhere for me, not a day goes by when I don’t see someone whose face I could use for a painting. I’m very conscious that I stare at a lot of people, and myself drifting off into my own world where I’m subconsciously painting them, mixing the colours of their face in my mind.

 

What draws you specifically to portraiture, and do you make any other work?

Everything! I love it; it’s my every thought and my whole world. Some nights I can’t sleep because I can’t wait to get up and paint. Its interest is never-ending. I can’ say why, it’s just in my soul, in every cell of my body. In the last twelve years I don’t think I’ve painted anything else.

How would you describe your work?

Like marmite. Someone once asked me, “Why do you paint people like they have the plague?” I just try to make my work honest.

Melissa Scott-Miller
Scott –Miller’s portrait, My boy Adam, featured a young boy lounging on a chair, wearing socks and a hat and looking directly out the canvas. His surroundings sport just as much detail – other socks, hats and shoes taking up the radiator behind him, the patterned rug lying at his feet. A white dog sleeps soundly on the floor beside him, completing the natural stance of the scene.

 

Who or what has influenced your work most?

 Light. And my family and surroundings. I mostly paint urban landscapes.

Can you tell us about your method and art materials?

I draw first and then paint with oil, using really small brushes. I use Old Holland oil paint and Daler Rowney brushes. I buy my linen canvases readymade from Cass Art, and I couldn’t live without my Field Easel. It’s like a mobile studio.



Which colours are essential in your palette?

Titanium White, Burnt Umber, Ultramarine Blue, Cadmium Orange, Cadmium Yellow, Viridian and Yellow Ochre.

Lantian D

Lantian D’s painting, Passersby, depicts three scenes taken from a tube ride. Strangers sit in close proximity to one another, heads bent, avoiding eye contact, or else looking directly at who we can only assume is the painter.



How would you describe your piece?

Frankly speaking, I never enjoyed riding on the underground. A tube carriage can be very depressing fluorescent lights, a bleak interior, passengers trying to avoid each other by immersing themselves in their own silent activities. I sometimes have this apprehension that a train is like a time machine, roaring forward on the tracks of history, and all I’m doing is looking at my own reflection, a pale and insignificant face among the many others. So I force myself to look at the people around me. As I look closer, I find there are connections between everyone. Beneath the mundane façade and oppressive setting, there are fascinating nuances – people’s features, expressions, clothes and gestures. They all speak of stories that are happy and unhappy, alike and unalike. These are vivid tales of real life and it’s my job to tell these stories in my painting.

 

Could you tell us about your process?

Passersby started as a few quick sketches in my notebook on the underground carriage while I was commuting. It essentially started as a way of passing time. The more I observed, the more I became interested in the subtle dramas and relationships between people. Then the activity turned into a serious search for subjects and inspiration. I would spend 5 hours on the tube, with a pencil and a camera, and then I would compose my work at home based on my sketches and photos. Sometimes I add or delete figures to compose a drama, and modify elements to make the composition and colours work.

Do your art materials inform the work or vice versa?

The two depend on each other. We are no longer in the age of the Renaissance, so we should true to use better materials than what the divine masters had access to, at least in order to compensate for our lack of talent in comparison.

John Murphy-Woolford

Murphy Woolford’s portrait is a painterly depiction of a man’s profile, turned slightly so he is looking out of the side of the canvas. The background is dark, a similar shade to his hair and beard, his neck and shoulders bare.

 

Can you tell us about your work?

My paintings are always quite quiet and reduced, quite still. I don’t like distraction so everything there has a claim to its place. I’m interested in making paintings that are quite self-conscious – the image is a depiction, an illusion, but also reminds you that it’s a painting. I’m not interested in depicting photographically. This is a human process, and I have to see what I paint. I very rarely use source material; I paint what is in front of me and enjoy that exchange between myself and the subject.

And your working process?

I usually start by drawing, but hardly ever keep any drawings or prep work. It just gives me an initial prompt. Then I draw directly onto canvas or board, block out tone with raw umber and then add in deeper and lighter tones with cooler and warmer whites or blacks. Then I start with the blocks of colour. It’s quite a traditional process really. For much of the time, painting is doing something for 20% of the time, and then spending 80% trying to correct it, or figure our why the image isn’t succeeding. It only really comes into focus very near the end for me.

Tell us about your colour palette.

I don’t use many colours, and try to keep my palette as simple as possible. Raw Umber is important because it helps map out the start of a painting, dries quickly and makes a flexible black with Ultramarine Blue. Red Ochre is really important for my portraiture. I like Payne’s Grey and Naples Yellow. Yellow and Chrome Yellow. Cadmium and Crimson Alizarin for the reds, Ultramarine and Cerulean Blues. Zinc and Titanium White. Lamp Black. That’s the core of my palette.



Teri Anne Scoble

Though part of last year's BP Portrait Award, Teri Anne Scoble spoke with the other artists at Cass Art, and is in Sky Arts Portrait Artist of the Year 2014.

Her portrait from last year showed two women having their hair permed, mid-way through a conversation, a cup of tea and glass of water resting in front of them.

Where do you look for inspiration? 

All around. Was it Delacroix who said before he died that he had 40 more years of work in his head? Well, I also feel that I do not have enough years for all the ideas and paintings that I want to do.

Where did you grow up and where did you study? Did these places have an influence on your work? 

I grew up in London in an artistic creative household. I studied at Corona Stage School and have worked most of my life in the entertainment industry, painting portraits backstage in between shows. As a professional choreographer and dancer my skills and training have a huge effect on my work. As a dancer I’m able to physically feel emotions and understand the subtlety of movement, what’s going on underneath the skin. As a choreographer I’m used to unveiling emotions and feelings and transferring these into art, a statement.

 

What draws you to portraiture and do you make any other work? 

I love figurative work, painting people and faces, capturing a moment with emotion and expression. I also like to paint landscapes. Sometimes I feel I am just starting out and I want to try everything, seek new things, ideas, products and experiment.

Feeling inspired?

Visit each artist’s website by clicking on their name below.

Robert O’Brien, Melissa Scott-Miller, Lantian D, John Murphy-Woolford, Teri Anne Scoble

Our Paint Light Colour campaign is celebrating painting until the end of October. Find out more here. 

Read our other interviews with more BP Portrait Award artists here.

J.M.W Turner is one of Britain’s most beloved painters; famed for his use of light, the profound impact he had on landscape painting, and for his preface to Impressionism.

But he was also a controversial figure and rather eccentric character. The new film, Mr. Turner, can attest to that.

But as part of our Paint Light Colour campaign, we wanted to bring you some little-known facts about the painting genius: things that paint a better portrait of the man behind the masterpieces.

TOP TEN FACTS ABOUT TURNER

1. Turner started his studies at The Royal Academy of Art school when he was just 14 years old, and was accepted into the academy itself just a year later. He showed his first watercolour, A View of the Archbishop's Palace, Lambeth in the Royal Academy Summer Exhibition in 1790.

2. His father was one of his greatest friends, and was also his studio assistant, helping him to mix his paints. They lived together for 30 years. (N'aw.)

3. Turner never married but supposedly fathered two daughters with a widow named Sarah Danby – though he always denied that they were his own children.

4. Turner used pigments like carmine in his paintings, despite knowing that they wouldn’t last long. The colours would fade, and though contemporary experts told him so, he seemed indifferent – he claimed that he used materials that looked best when freshly applied.

5. During his life, he produced over 550 oil paintings, 2,000 watercolours, and 30,000 paper works. Art waits for nobody...



6. In 2006, his painting The Fighting Temeraire was voted the British people’s favourite painting.

7. Sometimes he would wipe tobacco juice and stale beer on his paintings – he was also known to even spit on them. All these little techniques apparently made them ‘look better.’

8. In his will, Turner left most of his £140,000 fortune to a charity for “decayed artists.” Unfortunately, after years of litigation, Turner’s distant relatives ended up with most of the money.

9. He is buried in St Paul’s Cathedral, London.

10. When Turner died, his lasts words were said to have been, “The Sun is God.” No wonder he was known as The Painter of Light.

Feeling inspired?

Our Paint Light Colour campaign is celebrating painting and Turner throughout the month of October - find out more here.

Read about the new critically-acclaimed film Mr. Turner and find out about our exclusive ticket offer here. 

Image Credits:

The Fighting Temeraire, Joseph Mallord William Turner, 1839

Here at Cass Art we’re struggling to contain our excitement for our latest store opening in the beautiful, buzzing city that is Bristol!

Saturday 15th November will see Cass Art open its doors on the sloping centre that is Park Street, inviting Bristolians to explore the store and browse the plentiful art materials for the first time.

But let's talk Bristol. You think of Bristol, you think of bridges. Of the harbour. Of the Arnolfini and Wallace and Gromit. But really, you put art and Bristol together and instantly the world's most infamous street artist comes to mind - it's the hometown of Banksy, the anonymous, provocative Graffiti artist. 

Seven times Banksy’s creative genius has put the biggest grin on our faces (not just in Bristol, we might add - he does the rounds) and we wanted to share seven of his spray-painted artworks with you. 

BANKSY'S STREET ART

Imagine a world where whatever you drew, came true…

If only all CCTV looked as cute as these two.



Proving once again, that ANYTHING can be your canvas.



Make that twice again.



It’s important to protect our creative explorations, new and old…and really really old.



For any graphic designers out there!



He’s always one step ahead of the authorities. (Here at Cass Art we don't condone breaking the law. But we do condone creative genius, we must admit.)

 

Practice your own Banksy techniques with Montana spray paints, or give your designs a trial run with Montana Chalk Spray (much less permanent) on your local legal surface!

TELL A FRIEND

Know someone in Bristol who would be happy to hear we've opened there? Then please Refer a Friend - we'd love to see them in our shop.

FEELING INSPIRED?

Find out more, including the exact location, of Cass Art Bristol here. 

Images all courtesy of Banksy's website.

It was yet another nail-biting heat as the second episode of Sky Arts Portrait Artist of the Year travlled to Edinburgh, in the National Museum of Scotland. Celebrity sitters this episode included Ronnie Ancona, Downton Abbey writer Lord Julian Fellowes, and Helena Kennedy QC.

This heat sees one artist painting on handmade paper, another imitating da Vinci's centuries-oil painting methods. But after another round of talented painters, someone had to be crowned the winner and given the chance to paint in the semi-final - and this week, it was Scottish-born artist Alan McGowan. Born in Glasgow, he went onto study at The Edinburgh College of Art, and this is his second time on the programme after he was shortlisted for the 2013 Sky Arts Portrait Artist of the Year.

But he was back this time, and more determined than ever. With a thick impasto and a smiling attitude, Alan's painterly depiction of Julian Fellowes secured him his place in the semi-final. 

We caught up with Alan about what it's like to paint in front of a camera, and to find out about his figurative painting influences.



Firstly, a huge well done on winning your heat! How did it feel?

Winning the heat was a mixture of happiness and sheer relief - I had been in the competition last year and, though I was shortlisted, went out at the heat stage and so to go back into the competition again was a bit of a gamble. I didn't want to go out at that stage again. It's never possible to know what the judges or anyone else will make of your work, so you place your fate in their hands a bit. When I was chosen I was very relieved.

Who was your sitter, and were you pleased with your final portrait?

The sitter for my heat was Julian Fellowes who (though I must admit I didn't know who he was!) was a very good sitter. I always think that a life painting is very much a collaboration between the artist and the sitter, and I felt that Julian really got that. He was very focused and committed. Sitting for such a long time is not easy if you're not a professional model and I thought he put in a very good effort, and matched the intensity of the artists trying to paint him. I am actually reasonably pleased with the result.

Was it strange being filmed whilst you painted? 

The process of being filmed definitely changes the painting process. It's not so much the cameras or the idea of television, but the practicalities of making a television programme just change the rhythm and flow of a normal painting - there is a certain amount of stopping and starting to allow for technical stuff - lights, sound, cameras and interviews etc. That has to be accepted and worked with as part of the process. It's challenging but your concentration has to be able to deal with it.



Who are your artistic influences? Your painterly style calls the work of Frank Auerbach and Jenny Saville to mind.

Influences would be a lot of artists - Francis Bacon, Lucian Freud, Giacometti, Rodin, Egon Schiele...Auerbach and Saville, yes, but also classical artists like Rubens, Rembrandt, Titian - anyone who is interested in the interaction between the figure and the materiality of the paint itself. 

What are you favourite art materials and why? 

 I mainly work with oil paints on board. I use board rather than canvas because I enjoy the resistance that it offers to the brush. I don't like the colours to be too stiff in consistency; I mainly use Winsor and Newton Artists oils, Zest-it as a solvent and Robersons glaze medium. I mix these with beeswax, Oilbars and oil pastels - either Sennelier or Daler Rowney.

If you could have one artist to dinner, who would you pick?

I'm not sure artists would necessarily provide the best dinner companions but for me it would have to be Leonardo da Vinci - just such a range of knowledge and such an inquiring mind, an endlessly fascinating genius, and as I also teach anatomy for artists he could give me a few tips I'm sure. 

Feeling inspired?

Catch Sky Arts Portrait Artist of the Year 2015 on Tuesdays, from 8-9pm on Sky Arts 1.

Hear from the judges and some of the heat winners at our Sky Arts Portrait Artist of the Year panel discussion on Tuesday 25th November - book your place here. 

Read our interview with the winner of last year’s Sky Arts Portrait Artist of the Year 2013, Nick Lord, here.

Stock up on your own painting supplies here to perfect your own portraiture painting, and browse our Oil Painting Mediums that Alan McGowan mentioned here.

Visit Alan McGowan's website here to explore his paintings further.

Printing isn't dead! We hear it time and time again, and we absolutely agree.

An all-rounder for art enthusiasts this November, Slade School of Fine Art’s fundraising initiative is celebrating printmaking in all its forms.

Now in its second year, Cass Art are proud to be supporting the Slade Print Fair, where visitors are offered the exclusive opportunity to purchase a print made by the acclaimed staff or by emerging artists at the school.

The event will also feature live printmaking and the latest Slade Edition by the artist Lisa Milroy.



There’s plenty to sink your creative teeth into and it's the perfect place to nab those Christmas presents, if you can bear to part with your print of choice!

Save the date: 26th to 28th November at the Slade School of Art in Woburn Square.

Visit their website for more information on opening times.

Feeling inspired?

Read about last year’s Print Fair here and stock up on your own printmaking supplies on the Cass Art website.

Art and technology have combined to bring you the most advanced stylus yet - and just in time for Christmas!

The Lynktec Rechargeable Apex 2.3 Fine Point Nib Stylus may be a mouthful to say, but it's the most stylish stylus around, with the perfect imitation of putting pen to paper.

Forget delays, forget glitches and freezes - the Lynktec Rechargeable Apex Stylus uses innovative circuitry to deliver a realistic pen-to-pad writing experience on your tablet screen.

Read on to find out more about what makes this the most premier tool for digital artists and note-takers alike. 

The Lynktec Rechargeable Apex Stylus uses more than 90% reduction in its fine point tip, compared to most other passive styluses, which means for the first time writing on a screen is as natural as writing on paper.

As it's not a pressure sensitive stylus, you don't need bluetooth or any other support software to be able to use it - just switch it on and start using it! It's really that easy.

It's perfectly compatible with all iPad devices, as well as most Android devices out there. 



It mimics a quality pen at a length of 6 inches, and this model includes a stylish metal pocket clip, instead of the plastic version on the previous model. It's also much lighter than the previous non-chargeable stylus, and sits at a comfortable 28.4 grams.

What's more, the surface will not show your fingerprints, so you can use it to your heart's content and it will still look brand new. 

It includes a durable replacement nib in the cap that covers the charging point, and also an automatic shut off feature which means you can't unintentionally drain the battery.

And if its smooth writing experience wasn't enough, it also comes with a built-in recharageable battery, so you won't ever need spend extra money on replacements.



Also, you can't argue that it looks great - available in satin chrome, it's a sleek, must-have tool for any digital artist this year. So whether you draw on your tablet or scrrible your ideas onto the scren, switch on your device, click on the stylus, and let your ideas flow right onto your device.

Feeling inspired?

Check out the new Lynktec Rechargeable Apex Stylus here. 

Prefer a paintbrush to a pen? Last year we celebrated digital art with the Sensu Digital Painting Brush and Stylus, which is now available in silver and a new matt black. 

Read our How To guide on digital painting here.  

Wilfred Cass, the Founder of the Cass Sculpture Foundation, has just celebrated his 90th birthday. 

In light of such an important birthday, and as he is the father of Mark Cass, Founder and CEO of Cass Art, we thought we'd take this opportunity to showcase all that Wilfred has contributed to the art world.

The Cass family has made contributions to the world of art for several generations - Paul Cassirer was an important art dealer and promoter of Impressionism in the 1920s, purchasing works by van Gogh and Cézanne. Wilfred himself moved to Britain when he was just 11 years old, starting his first enterprise fixing bikes whilst at school. He went on to make a success in the business world, starting Image Bank UK, and making an incredible turnaround of the arts supplier Reeves in the 1970s. 

Wilfred himself has said that he's certain "there's a little bit of artist pigment in our blood" - something we're inclined to agree with!

Most people approaching their seventies are probably thinking of settling down and retiring in peace. But Wilfred and his wife Jeannette had other ideas. They set up the Cass Sculpture Foundation on their own 13 acres of woodland, a charity that seeks out and supports talented artists working in the realms of sculpture.

 

In its twenty year history, the Cass Sculpture Foundation has commissioned over 400 works, including sculptures by artists like Sir Anthony Caro, Eva Rothschild and Marc Quinn. 

The charity also aims to give emerging artists a chance to shine, think big and make work that wouldn't otherwise be possible. They ask artists to "come up with their wildest dream", push their boundaries and make their ideas a reality. For eighteen years it focused on championing British sculpture, but in 2011 they commissioned their first sculpture for an international client: a Tony Cragg sculpture in Singapore.

The Cass Art Sculpture Foundation is located in Goodwood and is open to the public, allowing visitors to stroll through the grounds and experience the many sculptures for themselves.



Another major contribution that Wilfred has made for the arts has been his involvement with the Fourth Plinth in Trafalgar Square. The Culture Team from the Mayor's Office have summed it up beatifully:

"One of the brilliant ways Wilfred has contributed to London and to sculpture is as an enabler and catalyser of the Fourth Plinth in Trafalgar Square. Prue Leith initiated the conversation to make use of the plinth, but it was Wilfred's intervention at the alst moment commiting to funding the first three commissions, which allowed them to happen, thereby awakening the possibility of a rolling programme of contemporary art commissions in the minds of Londoners. Here we are, 15 years later, with one of the most successful public art commissioning programmes in the world."



His contribution to the art world was recgonised by the BBC with a dedicated feature on Inside Out South detailing his and Jeannette's work for British sculpture. If you'd like to hear more about the Foundation from Wilfed's point of view, his autobiography, Here Comes Mr Cass, was released earlier this year. Drawing on his family history and navigating the twists and turns of both art and business, it details his colourful career with humour, warmth and great insight. 

Wilfred Cass is quite a remarkable man, with an astounding career that has spanned over seven decades. And even though he's turned 90, he shows no signs of slowing his utter commitment to supporting the arts. We wish him a glorious 90th birthday and another fruitful year of commissioning ambitious sculpture.

Feeling inspired? 

You can buy a copy of Wilfred's autobiography in any Cass Art shop. 

Watch Inside Out South on BBC iplayer here. 

 Read about Cass Art's support of the Fourth Plinth School's award here. 

Cass Art is open for art in the glorious city of Bristol! And if you can’t tell from our countdown on social meda, we’re over the moon to have opened in such a cultural city.

The new Bristol shop is on 43-45 Park Street, book-ended by the stunning Bristol Cathedral at the bottom, and the Bristol Museum and Art gallery at the top, and shortlisted for the Great British High Street of the Year in 2014. Filled with funky clothing boutiques, music stores and great places to eat, it's also overseen by Cabot Tower, a great attraction with brilliant views.

Bristol has always been acknowledged as the creative hub outside of London, a city brimming with galleries, studios and inspiration at every turn. Among a vast repertoire of galleries - Arnolfini, Spike Island, the RWA to name but a few – Bristol is also home to emerging musicians, playwrights, designers and innovators of all sorts.

The infamous street artist Banksy, Nick Park (the creator of Wallace & Gromit), Massive Attack and Portishead are just some of the talented pioneers that call Bristol home. In addition, the new culture-orientated magazines, B24/7 and Lagom, have recently sprung out of the city, covering music, food & drink, lifestyle and more - we urge you to pick up your own copies.

So in a nut shell, where better for Cass Art to arrive to lend support to artists and celebrate creativity in all its forms?

In celebration of our opening, we've made our picks of the city for any creative visitor (including some of Banksy's artworks close by our new shop!)

 

BRISTOL PICK LIST

1. Take a trip to Spike Island

A floating centre for contemporary art and design (not the same Spike Island of Stone Roses fame) is the perfect spot to soak up exhibitions, spy in on artist studios, take in a talk or peruse a performance or two. Spike Island really is a must-see when visiting Bristol.

2. Lunch at The Canteen

Café, bar and music venue The Canteen covers all manner of tasty treats and creative clientele. Stop by for a quick bite and soak up the sustainable, ethical and delicious vibes!

 

3. Add the Arnolfini to your list

Established in 1975 on the harbour side, the Arnolfini gallery inspires its visitors with an array of workshops, exhibitions, films and programmes for artists of all ages. Young Arnolfini collaborations provide children and teens with the opportunity to develop and celebrate their creative passions – so go along and see the emerging artists of the future!

4. Have a laugh at Leftbank

With its jam-packed schedule, round off your day in the city with an even bigger smile on your face at the comedy club Leftbank. Sit down for their range of stand up, slam poetry, performance art and musical acts.

 

 5. Go Banksy-spotting

Start on Park Street and find your way to Frogmore Street, where one of Bankys's artworks is on the side of the health clinic. You can actually see it best from the small bridge at the bottom of Park Street that crosses over to Frogmore Street. Then head up the top of Park Street, crossing over to the right hand side to the entrance of the Bristol Museum and Art Gallery. Here you'll spot Banksy's Paint-Pot Angel - but keep your eyes peeled for many more! 

TELL A FRIEND

Know someone in Bristol who would be happy to hear we've opened there? Then please Refer a Friend - we'd love to see them in our shop.

FEELING INSPIRED?

Find out more, including the exact location, of Cass Art Bristol here. 

The third episode opf Sky Arts Portrait Artist of the Year was full of surprises! The search moved to the National Museum of Scotland where the judges faced their toughest decision yet - ending with two joint winners, for the first time in the programme's history.

Christian Hook and Laura Quinn were both crowned winners of the third heat, with a chance to paint in the semi-final.  Sitters this time round included This Life star Daniela Nardini, Spandau Ballet's Gart Kemp and Ashley Jensen. With forgotten glasses and alter-egos, this was one of the most tense and entertaining episodes so far, and the twist of two winners was certainly unexpected.

We're delighted, in light of our support of Sky Arts Portrait Artist of the Year 2014, to interview both Christian and Laura, joint winners of the third episode. What's more, you can catch some of the heat winners and the judges, including painter Tai Shan Schierenberg, at our talk at our Islington Flagship here. 

Christian Hook won for his bright portrait with abstracted brush strokes, whilst Laura's equally vivid portrait with a striking blue background tied in first place.



Hi Christian. Firstly, congratulations on winning your heat – and with a surprise joint win! How did that feel?

 Thanks, it was nerve racking. I’m not used to having cameras, a live audience, interviews and a group of artists shoulder to shoulder competing with me whist painting. But it was a great experience to share some time with other fellow artists. I hadn’t really worked with other artists since my days at university.

The joint win was great. I was too nervous to really think about it at the time, but in hindsight some of the other artists were very good. Although I was well aware that this was a competition at times it didn’t feel that way. The contestants were all really friendly and I was happy that someone I already knew would be joining me in another round. 

Your self-portrait was very bold and bright – is colour an integral part of your practice?

I’m not actually a fan of bright colours. I much prefer the subdued British palette to the fully saturated Mediterranean one. However, I needed the portrait to stand out in some way. I guess I had to think of ways of making the portrait multi-dimensional; something from this day and age, as striking and creative as possible. I wanted it to transmit an idea as well as a technical accomplishment so I tried to make it interesting in many different ways. I wanted it to have the movement that Francis Bacon captivates us with in his work but still retain my resemblance. I also wanted it to have the classical feel Velasquez has in his portraits and for it to be a conversation piece with some kind of narrative open to interpretation.

 Who was your sitter, and were you pleased with your portrait?

My sitter was Daniella Nardini. I was extremely nervous in the heat. They had this really brightly colored background behind the sitter that was really overpowering. I was very tempted to ignore it and work with a different palette. However, the background was an enlarged section of  Daniella’s favorite painting which made it an important feature so I felt I had to include it. At the end of the heat I was pretty disappointed with the result. I think I could have done a lot better if I had gone with my instinct and painted with my heart instead of my head, but it was a lesson learned.

What art materials do you use to paint? 

I use Liquitex Acrylic as a base for my work. I usually work on primed marine ply wooden board. I love the Winsor & Newton oil painting primer because it gives me a really flat finish when I need it.

I use a wide variety of synthetic brushes. Once I’ve covered the board with a burnt umber acrylic base I switch to water based oils. For this I use the Winsor and Newton Artisan series with turps. When I work on larger pieces I use Georgian oils.

I mix my paints with a palette knife and work on a 100 x 50cm frosted glass palette because it's very easy to clean. I occasionally varnish my work with exhibition varnish from Cass Art.



And Laura - a huge well done to you too! Was it a surprise when the judges announced you were a winner, too?

I was completely shocked when Frank announced that I was going through to the semi-final as well because that had never happened before! I was just so pleased that the judges liked my work enough to bend the rules and let me go through too!

Your portrait was so vivid and striking with its blue background – did it turn out as you’d hoped?

Yes I think so. If I’d had more time I would like to have done a bit more work on Ashley’s face, but I was happy with what I achieved in the timeframe. Some artists, and even Tai, were disappointed with the brightness of the blue backdrop, but I loved it! I was hoping to get a colourful set up since I was painting onto a dark grey ground and I wanted bright colours to contrast against it. And so I was thrilled that Ashley was wearing a colourful patterned dress and sitting against that wonderful blue wall.

 

You paint with alkyd instead of oil paints – why is this? What different effects can you achieve with it?

I like the way alkyds have a similar viscosity to oil paint and the same depth of colour, but dry much quicker, meaning I can work on a portrait one day and it is dry by the next. Since I like to build up layers of paint it's great that I am able to paint over what I have already done each day, making it particularly useful when I am working to tight deadlines. I use liquin light gel to improve fluidity of the paint when necessary, although I tend to use oils if I need to cover very large areas quickly as alkyd can sometimes dry out too fast.

Would you encourage other artists to enter the Sky Arts Portrait Artist of the Year next year?

I would encourage anyone who likes to paint portraits to enter Portrait Artist of the Year. I was convinced I wouldn’t be selected and only applied the night before the deadline when pushed to by my fiancée, so you never know what might happen! I’m so glad I did enter, it’s been a wonderful experience and it is truly fascinating to see what goes into the making of the show. Plus everyone behind the scenes is lovely,

Feeling inspired? 

Catch Sky Arts Portrait Artist of the Year 2015 on Tuesdays, from 8-9pm on Sky Arts 1.

Hear from the judges and some of the heat winners at our Sky Arts Portrait Artist of the Year panel discussion on Tuesday 25th November - book your place here. 

Read our interview with the winner of last year’s Sky Arts Portrait Artist of the Year 2013, Nick Lord, here.

Stock up on your own painting supplies here to perfect your own portraiture painting, and browse our Winsor & Newton painting materials here.

You can visit Christian Hook's website here and Laura Quinn's here to find out more about their painting.

Our first ever Glasgow-based Student Day is will be in full swing next Thursday 27th November! 

To celebrate the creativity of the Glasgow students, we'll be giving 20% discount off EVERYTHING at our Glasgow shop on Queen Street, for one day only. Open from 9am until 7pm, come on down and stock up on your art supplies for the year.

And of course, in true Student Day style, there will also be free food, entertainment, art goodie bags and local offers. 

If you have a Cobalt  Blue Student Card with us, make sure you bring it along, and if not, don't worry - you can sign up for one on the day! Just remember to bring along some valid Student ID. If you're studying Foundation or Portfolio Preparation courses and don't yet have an ID card, simply bring along a letter from your tutor on your institute's headed paper.



FREE GOODIE BAGS

The first 200 students through the door will receive a free goodie bag, worth £50 of artist's quality materials, once you spend £10. The art materials include Winsor & Netwon ink, Liquitex Spray Paint, a Promarker pen and Heavybody acrylic paint, but we don't want to give it all away - there are some other surprises in there too!

But if you're not one of the first 200 through the doors, don't worry - there will be Prussian Green goodie bags all day with an exclusive Open For Art in Glasgow sketchbook, our Winter Art Offers and an Aesthetica magazine.



ENTERTAINMENT AND OTHER OFFERS

A DJ, Mia K, will be in store all afternoon to bring the tunes your way while you shop for your art materials, 

You will also receive an edition of Aesthetica Magazine and free bags of Propercorn in case you get the munchies!

Tempo Tea Bar will also be dropping by to give out tasty treats, and a special 10% off discount offer.  

 

GET IN TOUCH

Spread the word about Glasgow Student Day on Twitter and Facebook so everyone can make the most of the Student Savings - it comes around but once a year!

Find out more about Cass Art in Glasgow here, including it's exact location and opening times.

Please tell us what you think on the day - whether you're in the shop, or once you're home and admiring your new art materials - wherever you are, we want to hear your thoughts! Use the hashtag #cassartstudentday and send us any photos you take.

For full terms and conditions visit this page here.  

A nude man, at ease in the middle of a swimming pool; a line of trees, colourful and bright and large. A photo collage, bending the rules of what a picture can be, and a splash captured in a single painted moment. You've guessed the artist behind all of those, and an exciting new documentary film, following the life of the unparalleled artist David Hockney, is set to be released in UK cinemas this month.

Hockney, directed by Randall Wright,  chronicles the artist's vast career, from his early start in Bradford to his move to sunny Hollywood. Through the hardships of the AIDS epidemic and his struggle with stereotypes such as 'queer', 'working class' and a 'figurative artist', Wright depicts a moving and unique view of the artist whose work has inspired so many people.

To celebrate the release of the highly-anticipated film, we're hosting an exclusive ticket offer with Picturehouse Cinemas, so you can get £2 off tickets whenever you buy something in-store or online at Cass Art. We're also hosting a Prize Draw worth over £400. But we also had the privilege of speaking to Randall Wright himself, to find out what it was like working with one of the great artists of our time. 

 

Hi Randall. You first met David Hockney when directing the Shock of the Old – did you know then and there that you wanted to make a film about him?

David is an extraordinary person. His enthusiasms are infectious; he’s mischievous and rebellious, like a naughty school boy actually. In that sense he’s a really loveable man. He’s not an easy guy, he can be tough and uncompromising, but he wants us to see the world for ourselves. He doesn’t want us to be tricked by films and photos and a televised version of life. So he was a character I wanted to capture – who wouldn’t want to make a film about him?

The first film I made about him, David Hockney: Secret Knowledge, focused on his idea of optical illusion, but this second film is about the man himself. He’s very playful and spontaneous, but it took a while for him to find a place as a gay man, and the majority of his friends died from AIDS. He’s made a choice that this life is about optimism, and a positive attitude.



And that joy and optimism is really reflected in his paintings, don’t you think?

Absolutely. We’re now in an era of irony and cynicism, and David is a very literal artist: what you see is what you get. He’s against the fake art where artists demonstrate wit but don’t give away what they really feel about something. In that way he’s unusual, because he paints what he finds beautiful and uplifting and fascinating – not many artists do that.

Lucian Freud, for example, who is one of my favourite painters, showed people as paint-made flesh. His sitters are fleshy animals, with genitals dangling in full view, and we can’t imagine them as angels. It’s authentic and it works because we lap up that truth. But then there’s another truth – the humans who can be inspired by a flower’s colour, and be creative rather than destructive. There’s a difference between sentiment and sentimentality, and if you’re afraid of expressing feelings, if your art isn’t transparent, then in a way you aren’t really an artist. I might get in some trouble for saying that.

Artists are such private people. How do you go about making a film about their lives, and filming in their studios?

It’s not a spontaneous thing. It’s after years and years of building up trust. David knows that I love him and I’m not going to make a film that reveals anything uncomfortable, but it’s a very intimate film; there’s nudity in it and it has people telling the truth about him, all in the spirit of deep affection.

It took years and years to make in that sense, though only about seven or eight months to film, so I was on a very tight schedule. I didn’t have one weekend off but I’m thrilled. It’s what energises me, making a film like this – there are a lot of people who know the subject and I had to get it right.



Do you make your own art or have you always just been interested in the visual arts?

I do drawing. I often draw my films. I didn’t study at film school, I studied History and History of Art at UCL, and went straight into the BBC as a Trainee Editor. After four years at the BBC I’d been directing documentaries. My father was an actor, so our house was always filled with actors, so quite simply after a couple of years I was allergic to them! So documentary was very appealing to me. But now I’ve got over my attitude to actors I’d love to make a fiction film. But documentary is a really exciting medium, and it’s been given a new lease of life by the cinema.

Do you have a favourite artwork of Hockney’s?

David has created a masterpiece in practically every medium, whether that’s in etching, his wonderful portraits, in painting…A Bigger Splash, or Beverly Hill’s Housewife, his films… But some of his landscape painting and drawing is my favourite. I love his Three Trees Near Thixendale. They’re paintings of a very ordinary scene, it’s very unprepossessing, but the trees are just exquisite and I recognised three different personalities in them. The whole scene is imbued with a love of nature and loneliness, and there’s something extremely honest about it. And the accompanying charcoal drawings of these trees are some of the best in English landscape.

People are reluctant to praise David. He’s at ease with himself but he’s very independent, and he’s not really accepted in the circle of great Post Modern artists even though he’s one of them. He’s separated from it all. But in my opinion there’s no artist in the 20^th century other than Picasso who has succeeded in so many mediums.

 

People perceive that Hockney sees the world with, as you put it, “holiday eyes.” Was this difficult to capture whilst also depicting the difficulties he has faced over the years?

Optimism is a decision. You can decide what you’re going to do with the experiences you have, and you can wallow in the obscenity of human behaviour, or you can believe that “life is a gift.” That was David’s mother’s phrase. We’re given opportunities within this life and you can see it with holiday eyes or not. David isn’t telling us to look at how successful, practical and wealthy a life he is living – he’s getting us to look at what is free in life. The way to get a grip on the world is to go out and see what the world is doing for us, to step out of the angst. That’s the moment you calm down and learn something. That’s the moment where it’s crucial to accept and act on it, to forget yourself and actually look. It’s a way of life. And it’s in a visual looking for David, but it can be a different investigation for anyone, being free and asking questions and having faith that you can do anything. And not in the sense that we can “all be rich.” David’s message is that you can decide to enrich your life. It’s all there for you. It’s that idea that lies behind the film.

And finally, can you tell us about the live broadcast after the initial screening?

I think it’s a first in broadcast history, to have a live screening with an artist directly from their studio into cinema. He’ll be unpredictable. It’ll be completely bonkers, totally free and fun. He takes no instruction from anyone, but then, that’s what’s so fun about him.

PRIZE DRAW
To celebrate the new film, we've teamed up with Picturehouse Cinemas to offer you the chance to win an exclusive prize worth over £400.

Win a pair of tickets to see HOCKNEY at any Picturehouse Cinema showing HOCKNEY, including drinks and popcorn for two and a single annual membership to any Picturehouse Cinema so you can enjoy great films all year round.

Plus you'll win a Winsor & Newton Artists’ Oil Colour Cass Art Exclusive Wooden Box Set so you can make your own Hockney-inspired paintings.

Click here to enter.

Feeling inspired?

Hockney will be exclusively previewed at cinemas around the UK on 25th November, followed by a satellite Q&A with David Hockney live from his studio in Los Angeles.

The film is officially released on 28th November.

Get £2 off tickets to Hockney in any Picturehouse Cinemas when you buy anything online or in-store. Read more about the ticket offer here.

Images courtesy of Picturehouse Cinemas

Cass Art is over the moon to call Glasgow its new home – and along with that we’ve enjoyed making new friends in the city. Juliette Duffy is Cass Art’s Student Ambassador for Glasgow School of Art and shares her love of the city with us.

 Warning: article will evoke art school nostalgia. Cass Art accepts no responsibility for any BAs applied for on a whim after reading this feature.

 Hi Juliette! What made you choose GSA for your studies?

First and foremost I was inspired by the work being created by the students at GSA as well as the long list of alumni. I wanted to study somewhere which would enable me to try illustration, video, photography and typography. Plus GSA seemed like an environment that did not take itself too seriously, a place which nurtured student’s intellect as well as well as their sense of humour.  

Being very young when I applied I was aware of where my interests lay but was eager to explore as many routes as possible rather than aiming all my energy at a specific discipline. 

 

What has been your favourite part of studying Communication Design at GSA so far?

Although Communication Design operates within The School of Design you are given the opportunity to adopt any approach to making. Some students are more Fine Art orientated and others are very loyal to the sensibilities of graphic design. Communication design students end up in any creative sphere so I guess I enjoy the uncertainty and freedom to try anything. 

What inspires you most about your city?

Everyday interactions with the people on my course, students from other disciplines and Glasgow as a whole are probably the most inspiring aspect of living here. There are so many intelligent, proactive people here, all of whom are working on their own creative endeavours.

It sounds contrived to talk about Glasgow’s music scene but there are a lot of active musicians here and it is important to keep tabs on people creating differently from yourself.  Music venues, coupled with places like The Glasgow Film Theatre, galleries and countless flat parties make Glasgow a really interesting place. There is so much crossover between artists, designers and musicians and as a student it helps to see what people are putting out into the public domain.

 

What is your working process like? What keeps your creativity alive?

I don’t have a definitive, linear process as such. It tends to alter and develop depending what I am working on, simply because I am still learning. My thought processes tend to be incredibly convoluted resulting in fluctuations in output. However, reading and researching is something I really enjoy. I have an interest in philosophy and political theory as well as music, performance and film. I tend to flit between things in an attempt to draw from as many sources as possible. I also value visceral experimentation as part of producing work; sometimes simply doing “something” is useful for idea generation. 

What are you hoping to achieve in your creative career?

It is very early days at this stage as I am still trying to figure things out. I am having a lot of fun trying some basic animation and film techniques and so I would like to continue down that route. I am interested in story-telling and plan to continue developing narratives in my work, so I will decide where to take it from there. Maybe I will work in film or animation, maybe I won’t. 

View more of Juliette’s work and animation on her blog and Vimeo.

TELL A FRIEND

Know someone in Glasgow who would be happy to hear we've opened there? Then please Refer a Friend - we'd love to see them in our shop.


FEELING INSPIRED?

Find out more, including the exact location, of Cass Art Glasgow here. 

The fourth episode of Sky Arts Portrait Artist of the Year saw the judges travelling to Cardiff, where they were faced with another group of talented painters.

The sitters were Inbetweeners star Greg Davies, paralympian and broadcaster Ade Adepitan and sportswoman Non Evans. But the painter that caught the judges eyes this week was a man who covers his canvases in wax before he begins to paint - and we catch up with the fourth heat winner, Bill Bone, to get the low-down on his process and use of digital art.

Well done on winning your heat! What was the experience like – the whole day, painting to a time limit, and then being chosen by the judges?

The whole experience was incredible. Very rewarding, very educational and very unique! I loved every minute of it. It was certainly challenging, but the whole environment – the judges, the hosts, the other artists, the public, the cameras, the army of production crew  – somehow made it easy to forget that I was there to paint a portrait in a fraction of my usual time, without my usual equipment, without being able to follow my usual process, in a place completely removed from my own control and under some fairly intense scrutiny. But despite the challenges the overall experience was a fun one.

 Time was probably the biggest challenge. I’ve never timed myself but I probably spend at least 20-30 hours on my paintings. So being given 4 was one of the reasons I initially didn’t want to apply! After I found out I got through to the heat stages and all the excitement settled and reality kicked in I was like, ah, so, how am I going to do this then! I tried practicing a few 4 hour paintings before the heat but never got past the 2 hour mark and just decided to wing it on the day. So when the positive comments starting coming in I was quite surprised and very relieved. Even if I didn’t win it looked like I at least wasn’t embarrassing myself. At least not through my work anyway!

Being chosen as the winner of the heat is still bit unbelievable. I guess because of the caliber of other artists I was up against. I’ve never really had any sense of how good my paintings were as it’s only ever been a hobby. As nice as it is to hear my mom say she likes a painting, to hear it from the judges was incredible. Especially from Tai-Shan Schierenberg, an artist I’ve long admired.

 

Can you explain your painting process? I believe you always start with Photoshop?

I work from photographs, but more specifically a digital image on a computer screen. I start by taking lots of photos during a fairly proper photoshoot so that the final image is a high quality product in itself. I then go into Photoshop and make adjustments with the lighting, colouring and levels to further refine the image. I also use it to create my composition and decide the shape of the canvas. It gives you much more control but it also makes it easier to get caught up on the composition at a pixel level while dragging the figure around the canvas and deciding where it should sit. I can usually spend a few hours over several days in Photoshop trying out different options and sleeping on ideas. As the painting is heavily based on the image it’s all an integral part of the process. So one challenge on the day was not being able to do any of this and being reduced to just my phone!

I then prepare my gridded surface, usually canvas panel or wood panel, by standing above it and using an iron to shake and drip melted wax onto. It’s a bit Pollock-like I suppose as I try and create different sized drips and splashes until I’m left with an interesting looking patchy and speckled, uneven surface. I use the wax to add texture and help turn the portrait into a more interesting object where it’s as much a painting as it is a portrait. I then slowly begin to apply paint as thinly as possible, allowing the surface of the wax to show through. I zoom in on the image on the screen and focus on just a small area of the painting at a time, getting all the basic colours down to lay a foundation for my dots. Once the initial layer is finished I then go over it with loads of dots; as many dots and colours as possible while maintaining an overall balance.

It’s all fairly time consuming to say the least and certainly requires a lot of patience! However one of the many positives to come out of the competition was that it forced me to pay more attention to my pre-dotted painting and consider that it may be enough. 

 

Do you think digital developments have changed painting – for the better?

Definitely, it’s just the latest development in a long line of new tools and mediums to give artists more control, flexibility and avenues to explore in their work. Just as photography is heavily used and featured by many artists, who couldn’t do what they do without it, we’ve now got artists who couldn’t work without digital elements as well. 

What are your favourite art materials and why? 

I suppose it would have to be wax. I love the texture it adds when I paint on it and how much it can completely transform a painting. It’s also a great surface to paint on.

Were you pleased with your final portrait?

Yes and no. As a painting by Bill Bone: no, not really. But as a product of the conditions in which it was created: definitely. I’m very pleased with what I was able to achieve considering all the constraints I was under and how far removed I was from my normal process and the fact that I didn’t have a clue how a painting of mine would even look after just 4 hours, with or without my usual comforts. So certainly pleased that it received the praise it did when I didn’t think it was anywhere near my usual standard. But then I imagine a lot of other artists may have felt the same way about their final portraits. 

Do you always paint portraits or does your practice encompass any other subjects?

Yep. When I first started out, copying Bob Ross paintings, all I did were landscapes. But since moving into portraiture that’s all I’ve done. But I’m sure one of these days I’ll try my hand at landscapes again. I'm interested to see how my style could be applied to it.

Feeling inspired?

Catch the Sky Arts Portrait Artist of the Year 2015 episodes on Tuesdays, from 8-9pm on Sky Arts. ​

Read our interview with the winner of last year’s Sky Arts Portrait Artist of the Year 2013, Nick Lord, here.

Stock up on your own painting supplies here to perfect your own portraiture and take a look at the digital brushes.

Visit Bill Bone's website here to get a closer look at his paintings. 

Home to two universities, it’s no surprise that the wealth of art students are at the heart of Bristol's thriving creative culture. After the opening of our new Bristol shop, we got chatting with OIivia Beckett, UWE Student Ambassador and talented illustration student.

She gives us a new insight into the city as a haven for inspiration.

What made you choose UWE for your studies?

It was a difficult step from Foundation to choose where to spend the next three years of my life so I tried to find out from as many people as possible where would be best for Illustration and best for my interests. I’d never been to Bristol before applying but when visiting it was overwhelming how much of a creative vibe it had, from the street art to the huge amount of independent shops and galleries. Having grown up in London and studied an Art Foundation in Falmouth, Bristol seemed the best of both worlds – a busy city with a village-like community. Having been here over a year now it still lives up to that reputation.

 

What has been your favourite part of studying Illustration at UWE so far?

I feel so lucky to have tutors who constantly support and push me to work to the best of my ability. It’s only been a year but they’ve tried to get to know us, help take our work to the next level through new ways of working and escaping our comfort zones. Bower Ashton campus isn’t huge, so it’s great to bumble around and see people on different courses – it’s definitely important to get out of your own bubble and see what the rest of the creative world is up to.

What inspires you most about your city?

Bristol’s a place where people come from all walks of life and no matter who you are people are willing to help each other out. The mass of creatives here is totally evident: from organised drawing nights to independent film evenings, if you’re on the lookout for a little bit of culture it’s never far away. I also find long walks and cycles around Ashton Court and Leigh Woods are a great way to clear my head if the usual city life gets too hectic!

 

What is your working process like? What keeps your creativity alive?

When starting projects I’ve realised the importance of research; finding one unusual aspect of a subject can be the catalyst to an exciting idea. I don’t have the best memory so sketchbooks and notes on my phone are my most important companions to keep track of any idea, big or small – it’s only when ideas are removed from your mind and put onto paper that successes and problems can really be solved. It could be the tiniest encounter with something that sparks an interesting subject so I try to immerse myself in as many different outlets as possible whether it be film, music or just having a chat with someone about something I know nothing about.

Do you have plans yet for your creative career?

My ideal would be to work as a freelance illustrator and work on multiple projects that cover various magazines and companies, as all I’ve heard from people is that balancing different types of jobs is key to a happy career. At this stage of studying I feel there’s only so far into the future you can plan so I’m constantly building my skills and taking on small commissions so that when the time comes I’m prepared and ready to enter the creative world!

Can you sum up Bristol in 3 words?

Dynamic, individual and eclectic.
 
 

Check out Olivia’s work on her blog, and stay tuned for more features on a city after our own hearts.

 TELL A FRIEND

Know someone in Bristol who would be happy to hear we've opened there? Then please Refer a Friend - we'd love to see them in our shop.

FEELING INSPIRED?

Find out more, including the exact location, of Cass Art Bristol here. 

Jean-Luc Almond is an artist fascinated by paint itself. Since studying BA Painting at City & Guilds, he has been working in his studio in Bedford, making his half abstracted, otherworldly portraits that are thick with brushstrokes and abstracted colours. He was a part of the National Open Art Exhibition this year where his painting won The Big Prize from Cass Art: a day shadowing an artist of his choice, as well as a commission.

We met him at our Islington Flagship to talk about his painting practice, why he finds it hard to pick up a pencil, and his exploration of the human face.

How long have you been painting, exactly? And what’s your process?

I was always drawing when I was younger. I was scared of paint because I didn’t want to get my hands messy but now I’m the complete opposite! I’m obsessed with paint now – I find it hard to pick up a pencil because I find it so rigid. I just love the fluidity of paint. All my preliminary sketches are made with ink, sometimes charcoal, and the final painting never looks like those original sketches. Part of my process is finding out whilst painting.



I’ll make five paintings on top of each other and scratch back the layers – it’s all about damage and chance. My subject matter is collages of found images, and I put them all up on my wall. But then I might take a photo of a resulting painting, manipulate it digitally and then work off of that. It becomes a new subject matter, and my work is about that push-pull tension.

Have you always painted portraits?

I do always go back to the face. There’s something so intense about it that I can’t capture elsewhere. I’ve painted full scale figures before but they don’t have the same intensity. I generally build up an image but it reaches a stage where I become bored with it. I find painting more fascinating when it’s on the verge of breaking; it feels more alive. Unintentional marks are interesting – I couldn’t have envisaged them so it’s not just about portraiture, but about paint and becoming something.  The whole process is about manipulating an image over and over until I find a presence.

Which art materials do you use most regularly and why?

The purity of colour in Michael Harding oil paint is just brilliant. I like the feel of it; it’s got a very silky texture which is beautiful. I like using traditional colours alongside toxic, artificial ones, so I’ll often work in umber but then add weird pinks and lime greens. And I use alkyd medium to build up texture – it gives me this cement like quality when I use a palette knife, and sticks to the surface in a weird way.

 

Who would you say your artistic influences are?

 I’m inspired by the work of Francis Bacon. It’s been said about his work that something figurative relates to the illustrative, but something figural just becomes. A blob of paint can become a nose, for example, like with Rembrandt’s work. And I love Justin Mortimor’s work, it’s a bit more representational, but the collage and damage of the image is really evident in Adrian Ghenie’s work.

 What other opportunities has the National Open Art competition opened up for you?

I entered at the last minute, thinking I’d never get in. I entered five last year and none of my paintings got in, but this year I tried to be more true to myself and chose one painting that I felt reflected my style most. It was great to get in and it’s opened many doors because people have been contacting me since the exhibition. It’s been a really nice experience.

Do you have any plans for your Cass Art commission yet? Or is it still under wraps?

I’ve started making a new series recently that’s quite different – it’s normally all about adding, but these are about obliterating. I’ve been using ink and bleach, and the bleach eats away at the ink. It’s a really quick way of working.  

But for the commission, I’m still playing around with ideas. I’m thinking of making a larger painting and emphasising collage elements. Or perhaps making a collage of loads of different portraits and creating my own face, messing it up with Photoshop. I like using Photoshop because I can add random shapes, working off that abstraction and formal device, which is completely at odds with the technique underneath – and then I can choose specific colours, and play around with it. 



Feeling inspired?

Visit Jean-Luc Almond's website here.

Shop for the Michael Harding oil paints that he loves to use here.  

Here at Cass Art, we believe in art education. We believe that art tutors, art technicians and art therapists sustain art as a force in society, and we also acknowledge that educators are always artists themselves.

To support those who are artists for life, and to say thank you for educating the future generation of artists, we are launching the Viridian Card, which is exclusive for artist educators across the UK.
 
This exciting new programme will offer artist educators discount for life as well as other benefits, and you can sign up for your Viridian Card at our launch events this December.

THE VIRIDIAN CARD

- Gives artist educators an exclusive 10% discount for life at Cass Art, both online and in-store

- Provides opportunities to test new products from the world’s best brands including Winsor & Newton, Daler Rowney, Derwent and Faber Castell

- Brings exclusive offers and online material in the Cass Art newsletter to support your educational and artistic endeavours

- Creates a forum to discuss issues that matter to you and your students

 

OUR PROMISE

To prove our commitment to art education, Cass Art will donate 5% of every purchase you make with the Viridian card to a charitable organisation that supports art education.

We currently support the Sorrell Foundation, which aims to inspire creativity in young people through a number of initiatives including the National Art & Design Saturday Club.

For more details on the organisations we currently support, click here.

LAUNCH EVENTS

We’ll be celebrating the launch of the Viridian Card with two launch events, one in London and one in Glasgow, where you can collect your new Viridian card.

The launch in our Glasgow shop will take place on Tuesday 2^nd December, from 7:30-9pm. The evening will also see the grand opening of the Art Space with an exhibition by internationally-acclaimed illustrator Marion Deuchars, and you will be the first to preview the space and get a free exclusive sketchbook on the night. Find out more about the launch in Glasgow here. 

The launch in London will be hosted at our Islington Flagship on Thursday 11^th December from 6:30-8pm. Sir John Sorrell, designer and campaigner for creative education, will be speaking at 7pm and you will also receive a personalised shopping service and a free Cass Art Watercolour Jumbo pad with any purchase that evening. Find out more about the launch in London here. 

We’d love to see you there! To attend one of the launch events and get your Viridian card, please RSVP to arteducation@cassart.co.uk.

Do I qualify for the Viridian Card?

You can sign up if you are any of the following:

- An Art & Design Tutor at a UK College/University

- An Art & Design Teacher at a UK School/College

- An Art Technicians at any of the above institutions

- Co-ordinators and Freelance Teachers of Art Classes (e.g. Life Drawing, Kids Workshops)

- Arts Therapists 

 

Feeling inspired?

If you can’t make one of the launch events, don’t worry! You can still sign up for a Viridian Card - see more information here.

We have supported art students for many years with the Cobalt Blue card, which gives them 15% off non-discounted art materials during their studies. Encourage your students to sign up for one in-store, and find more about the Student Card here.  

Sky Arts Portrait Artist of the Year returned to the Wallace Collection in London for its fifth episode - and what another cracker it was! Sitters included author Jilly Cooper, the young Daniel Roche from Outnumbered, and broadcaster Melvyn Bragg.

Another inspiring episode with artists who paint in a variety of ways - with watercolour, tapestry and more - also saw the return of Luis Morris, a heat winner from last year.

But it was Sally Dyer's portrait of actor Daniel Roche that caught the hearts of the judges, and she became the fifth heat winner of this year's search for the Sky Arts Portrait Artist of the Year. We caught up with Sally to ask her about her process - which normally involves dancing and pyjamas, no less.

Congratulations on winning your heat! Were you pleased with your finished painting?

Thank you. Yes, I was very pleased with my finished painting. Every time I paint there is a point of complete excitement where I sense the end is near and and I can not wait to get there and see the finished article. We had such a short amount of time to paint I was worried I wouldn't naturally get to that point, but from the offset it flowed well and I felt really comfortable.

How did you find painting next to the other artists, with the cameras and judges watching?

My normal painting environment is either sat on the floor in my pyjamas amongst my paints and brushes or stood up dancing and singing to Whitney Houston, so as you can imagine both of these are done in a room alone! I was worried I wouldn't feel comfortable and focused enough to produce a portrait to the standard I know I am capable of. 

To my surprise, as soon as I put my headphones in I could have been anywhere. The other artists in my group were really lovely and chatty when we were in the Green Room but as soon as we sat behind our canvases we were all quietly focused, so as not to distract ourselves and each other. We left that to the cameras, that seemed to come around asking questions every ten minutes, it wasn't that often at all really, it was just that time was flying by.

 

How long do you normally spend on a single painting?

I normally spend 1-2 weeks, full time on a painted portrait at A2 size. Painting a portrait in 4 hours I have never attempted, so before the heat I did a timed practice to make sure it was possible for me.

What is your painting process – what materials do you use, and how to you arrive at your final conclusion?

I usually work from a photograph, which is why you will see me using photographs on my laptop, of the sitter, to work from. I work on a standard stretched canvas, using pencil to loosely map out the face and its features. This is one of the most important stages, if I can not see a likeness of the person through these pencil marks, applying the acrylic paint is a much harder process. 

I am not sure how I arrive at my final conclusion. It tends to be an intuitive process and you know when you are amongst it whether taking it further would benefit the painting or stopping where you are is the best thing. Like I say, it's very exciting, my heart starts thumping and I can't wait to put my paint brush down and stand back from it. 

Which art materials do you prefer to use and why?

I prefer to work with acrylic paint, in fact I always work in acrylic. I like how malleable it is as a medium and fast drying, I enjoy applying it on thickly and thinly with small brushes for finer detail. 

Why do you think portraiture is such a timeless subject for artists?

I think most art tends to be about an investigation and study of ourselves, and portraiture is the most pure form of this. As artists we enjoy the process of capturing a person through mark making on a flat surface, and as onlookers we are fascinated with how the paintings have been formed. 

Feeling inspired?

Catch Sky Arts Portrait Artist of the Year 2015 on Tuesdays, from 8-9pm on Sky Arts 1.

Read our interview with the winner of last year’s Sky Arts Portrait Artist of the Year 2013, Nick Lord, here.

Stock up on your own painting supplies here to perfect your own portraiture painting.

You can visit Sally Dyer's website here to see more of her portraits and read about her experience of Sky Arts Portrait Artist of the Year on her blog.