Innholdsfortegnelse for Issue 145 i Artist's Palette

Welcome to our latest issue of Artist’s Palette. It’s the time of year when many of us are about to enrol or return to our art classes and lessons, so we thought it would be a great idea to show you the newest and most popular materials and equipment in the market in our Back to School and Uni feature. We profile five amazing artists, and we’re sure you’ll enjoy their stories and demonstrations. We also highlight some upcoming exhibitions, plus bring you some inspirational artistic works in our Artbeat and What’s On sections. We love to showcase the artistic works of talented Australians, from enthusiastic beginners to accomplished artists, so if you’re keen to be showcased in the magazine, please send in your submissions to us. Readers’ letters are…

Ican’t remember a time when I wasn’t drawing, doodling or creating something. One of my earliest memories was of drawing a frog at about age three or four. My mother recognised something there from very early on and kept me quiet for hours, supplied with pencils, paints and scrapbooks at the ready. My dad was a farmer and we were lucky to grow up on a dairy farm in New Zealand near a small town called Matamata, made famous recently for where they filmed the Hobbit. We always had plenty of space, bush and creeks to explore, hills to roam and animals to look after. Born to wander, I left New Zealand at about age 21, wide-eyed and eager to explore the world. I landed first in Brisbane. I’d never…

THE BOTTICELLI RENAISSANCE An exhibition by the Gemäldegalerie – Staatliche Museen zu Berlin in cooperation with the Victoria and Albert Museum, London, entitled ‘The Botticelli Renaissance, Berlin & London 2015 - 2016’, is now on show. The Florentine painter Sandro Botticelli (1445–1510) is considered to be one of the most prominent artists of the Renaissance. His paintings were reproduced and interpreted repeatedly; his motifs frequently captured and distorted. As independent, new works, they deviate from the originals in their own separate ways. They can differ so greatly from Botticelli’s pictures that the name of the painter can now represent fashion and lifestyle without his paintings ever being discussed. Products are named after him, productions from popular culture follow his models and some of his figures – predominantly “Venus” – have…

MATERIALS • Winsor and Newton Artists Canvas, stretch cotton 20” x 16” • Liquin impasto medium • Langridge refined linseed oil • Matisse gesso • Fan brush • No.1 - No.6 filbert hogs bristle brushes • 000-0 fine point kolinsky sable brushes • Oil Colours: I like to use a few different brands as colours can differ slightly between brands: Langridge, WandN, Gamblin, Rembrandt and Art Spectrum. – Titanium White – Zinc White – Naples Yellow – Cadmium Yellow Light – Yellow Ochre – Cadmium Orange – Cadmium Red Light – Terra Rosa – Transparent Red Oxide – Alizarin Crimson – Dioxazine Violet – Ultramarine Blue – Cerulean Blue – Viridian – Chromium Oxide Green – Raw Umber – Ivory Black STEP ONE I first prime my store bought canvas…

MATERIALS • ¼ page Saunders 330gsm Rough watercolour paper • Brush: Escoda Perla No.10 (use a round brush with a good point) • Watercolours: – Burnt Sienna Burnt Sienna – Indanthrone Blue (Daniel Smith). Can use Ultramarine Blue – Prussian Blue (can use Phthalo Blue) – New Gamboge Yellow • White Gouache STEP ONE Draw up your subject. STEP TWO Block in the dark areas of the bird with a mix of Indanthrone Blue (or Ultramarine Blue) and Burnt Sienna, varying the mix and creating a feather like pattern, lifting off colour as you go to create the feather formation on the Kookaburra’s back and wings.. Leave an area on the side of the wing white, as this will be painted in Prussian Blue to form the blaze.. Back and…

MATERIALS • A board and painters tape to stick your paper down • Sketching paper and a 2B pencil for rough drawing • Tracing paper to transfer drawing to good paper • Watercolour board or 300gsm hot pressed watercolour paper • Variety of watercolour brushes (taklon is fine ) round no: 10, 6, 2, 00, 000 • Artists Spectrum Gouache paints: • White • Ultramarine • Burnt Umber • Cadmium Yellow • Yellow Ochre • Cadmium Red • Prussian Blue • Burnt Sienna • Raw Umber • • Faber Paynes -Castell Grey coloured pencils in a wide range of colours • A good pencil sharpener to keep your coloured pencils very sharp The reference photo for this painting was taken while on holiday in the Hunter Valley. I take my…

• Keep drawing. Connect with your surroundings, observe nature and people and practice drawing every day, working from life as much as possible. It is the foundation for everything your create. • To be an artist today takes commitment, passion and a little obsession. It is one of the wonderful achievements that only get better with time and life experience. You must work hard and be proud of what you have achieved by the taking of many small steps. There are no short cuts. • Learn how to use social media platforms to promote your art and connect with art appreciators. Facebook, Instagram, Twitter, YouTube and also Pinterest are good platforms for artists. Survival of the artist is not the most talented or intelligent, but will be the one who…

GENESIS TO THE RESCUE! If you are looking for that all round, multipurpose varnish, then we have the product for you. Selkirk Final Coat varnish in gloss and semi-gloss is an air dried all-purpose clear coating. Once you have tried Final Coat you’ll wonder what you ever did without it! • Available in Regular or Lo-Gloss • Easily applied with a cotton cloth • For wood, plastic, or vinyls • Can be tinted Uses for Final Coat: • Staining raw wood • Altering the look of existing finishes on cabinetry or furniture • To seal and protect artwork and decorative paintings • To seal candles • As an antiqueing medium • To apply over Genesis Heat set oils Genesis Artists Supplies is your Australian supplier for Selkirk Final Coat varnish.…

• Always be mindful of where the light source is coming from so your shadows will be in the right places. • Look for your darks and lights as this will give you depth. • Take loads of photos for reference. You never know when you will need a particular branch of a tree or an old fence post, or maybe a bunch of leaves hanging in a certain way. • Don’t be afraid to combine your reference photos to create a composition. • Attend classes and workshops, as learning from other artists will ensure your continual growth. • Look at your work from a distance in between painting sessions, this helps you to see if anything is standing out that needs to be adjusted.…

• Spend more time looking at your reference than your drawing. Don’t put your head down and draw without constant referral to your subject. Your mind starts to forget very quickly the image it’s just seen. • Take your time. Don’t attack the piece. Slowly work over it with care and patience. • If it looks wrong then it probably is wrong. Check, measure, align. If the corner of the eye is in line with the end of the mouth in your reference is it in your drawing. • A good reference picture has dramatic shadow and natural light without using the flash (direct on). The flash tends to wash out all of the shadow. • The tooth on pastel paper is smoother on one side than the other. My…