Several months ago, when I first discussed consultant editor Ken Howard’s new exhibition (at the Richard Green Gallery, from January 26 to February 12) and publication of his autobiography, in preparation for our Masterclass with him I had no idea about the wide range of new subject matter embodied in his most recent work. I have known Ken, and his wife Dora, for many years, and spent many fascinating hours talking to him for an earlier book on his work, about his favourite subject matter, encompassing scenes of Venice, Cornish beaches and figures in his magnificent studios as well as his working practices, so I was both surprised and excited to see these new paintings. Of course they exude the usual Ken Howard trademarks of sparkling light and a basically tonal expression of light effects in different locations, but the compositional elements are refreshingly new. Ken concedes to a certain stubborn resistance to visiting new places to paint, but encouraged by his wife Dora, he finally realised the attraction and benefits, and emphasises the positive effect it can have by helping you to see your old, preferred subjects, ‘almost more vividly, because of the contrast.’ Ken is an ideal role model for artists reluctant to move outside their comfort zones in terms of subject matter, and he also offers some timely advice on the practical issues of travelling abroad to paint, to coincide with the publication of our Art Courses & Holidays supplement, included with this issue and featuring myriad opportunities to paint in different locations, both in the UK and overseas. Ken is widely regarded as one of the most generous artists of his generation in his willingness to share his experience and offer advice to fellow painters, and in his Masterclass he also makes some helpful suggestions for artists thinking about entering this year’s Royal Academy Summer Exhibition. Another artist in this issue who talks about challenging the usual, expected boundaries, although this time the focus is on the medium rather than the subject matter, is Shanti Panchal, the winner of The Artist prize in the 2010 Royal Watercolour Society Open Competition. We chose Shanti for our prize because he pushes watercolour to the extremes of its capabilities to produce large-scale compositions with huge impact. Surprisingly he sometimes uses as many as 15 layers of watercolour to create the rich colours which distinguish his work, but which are not normally associated with this medium. The huge growth in popularity of acrylics is acknowledged in this issue by the demonstrations of a range of different approaches to its use in the work of artists such as Glyn Macey, Adebanji Alade and Nigel Overton, which together with a host of other inspirational practical features, will hopefully encourage readers through the cold winter months.