Innholdsfortegnelse for Issue 146 i Artist's Palette

Welcome to our latest issue of Artist’s Palette. We profile five fabulous artists, each with their individual life stories and tempting demonstrations. We also highlight some inspirational artworks in our Artbeat and What’s On sections. There’s a wonderful article on the importance of female artists during the 19th century Impressionism art movement, including the influential Berthe Morisot, Mary Cassatt and Rosa Bonheur. 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 always welcome at Artist’s Palette magazine. Please email correspondence to: The Editor, ap@woodlandspublishing.com.au, or post your contributions to Artist’s Palette, PO Box 8035, Glenmore Park, NSW, 2745. Correction: In our Woodlands Gallery…

Travelling and our family’s love of four-wheel drive adventures led me on my journey to create plein air artworks. To create whilst travelling has been a challenge and an absolute joy, a feeling most artists would be able to resonate with. Over the years, watercolour has been my preferred medium to capture our travels. A picturesque record of the places we have explored. Using watercolours has been convenient. I have been able to complete quick sketches, and it has been lightweight to carry whilst on the road, which is perfect for a travelling artist who is in awe of the great Australian landscape. I admit there have been challenges, as watercolours can be unpredictable; they have a life of their own; and at times I have had to create using…

MATERIALS • Round brush, no smaller than a size 8 for the whole painting. Watercolour paper 6 x 10cm• Masking tape• Small board• Paint - Your choice of colour — other than yellow as it is too pale• Water• Hairdryer (optional) STEP ONE Tape the paper to the board with masking tape. Put the board on a lean. With a good amount of water do a flat wash (same tone all of the way to the bottom of the paper) of your chosen colour. Ensure the wash covers the whole paper. One way is by painting onto the masking tape. Let it dry. Using a hairdryer from a distance will help it dry quicker. STEP TWO Using the same strength of colour as the flat wash, paint a hill (or wavy line). Ensure the wash continues…

• Never use fingers to work graphite into paper or board, it makes it hard to remove • Use sheets of clean A4 to cover around your drawing to stop marks being accidently put onto the board • Use sharp knife to cut up erasers • I always work with good background music as it helps me to relax and concentrate • After a while, walk away and have a coffee or a break, then go back. You will be amazed at how many little mistakes you will notice and can fix before they get too big.…

While you attend a workshop, your family will also be amply entertained with the many tourist attractions, bus tours, museums, free town tours or the many pubs and cafes around the city, or maybe a game of golf or a swim in the local pool, or a relaxing sit in the park. THE TUTORS: Maxine Thomson – Pastels/Pen & Wash  (www.maxinethompsonartist.com) Maxine is a Master Pastellist and has been recognised for her talent at depicting people and animals in lifelike pictures. Maxine will hold pastel workshops from Tuesday 28 June - Sunday 3 July covering animals, landscapes, seascapes, pen and wash and portraits. You will learn pencil drawing techniques or pastel methods for alive looking art works. Each exercise is demonstrated and explained, so beginners can cope and experienced artists…

• Buy the best material you can afford! There are big differences in quality and you won’t have an excuse anymore to blame it on the lousy material if something goes wrong! • Buy some incontinence mats. They are the best underlay for pastel dust catching and are easy to dispose of. You can wipe your pastels on the mat without even having to take away your eyes from the painting. You end up with a sparkling clean desk! • If you are into animal painting, get yourself Art Spectrum Flinders Red and Flinders Violet. • Paint the fur of the animal as you see it, don’t try to tidy it up! • Wipe your pastels and pencils frequently. • If you have overworked an area and the paper does…

THIS IS THE END . . . Bathurst Regional Art Gallery recently presented ‘This is the End . . .’ exhibition, with paintings and works on paper by Luke Sciberras, who has lived in Hill End for over a decade, along with works created by Guy Maestri and Ben Quilty during their stays in 2014 as part of the Hill End Artists in Residence Program. The program allowed these three artists and close friends the opportunity to spend a month together in the rich, artistically fertile landscape of Hill End. Three artists and three approaches to art: a potent mixture and a wonderful outcome. Guy had previously visited Hill End on short trips. Spending a dedicated month in Hill End gave him the time and space to execute large-scale paintings…

MATERIALS • Archers watercolour paper 300gms• Masking tape• 2B pencil• Raphael size 8 Chinese mop brush• Raphael size 4 Chinese mop brush• Rigger brush• Water• Paints – Raw Sienna – Alizarin Crimson – Cadmium Red – Ultramarine Blue – Antwerp Blue – Indian Yellow STEP ONE Tape paper to a board. Draw out using a 2B pencil. STEP TWO Wet certain areas that you want colour in, being careful not to go near the cars or the front of buildings to keep them white. Using a large brush, I used a Raphel size 8 Chinese mop brush, add in colour: • Mixture of Raw Sienna/ Alizarin for the buildings • Antwerp/Raw Sienna/Cadmium Red for the far left tree • Alizarin/Ultramarine Blue for the distant Jacaranda and fence • Antwerp/Indian Yellow (most) /touch of Alizarin for other trees and…

I believe I was a creative child. I was born in 1966 and raised in Zurich, Switzerland. I had an older brother. During our long, dark winters we had lovely decorative candles on our tables. I could hardly wait until the wax had melted so I could scratch it off and try to form some little figurines. Our candles therefore always looked awful. I guess that is why Mum bought me some Plasticine, it came in a box, many sticks in several colours, and you kneaded them for a while until they were soft enough to shape. That is why I had the idea to soften them on the central heating system located in each room. It was great to watch how the different colours were forming random patterns while…

Tips for plein air with watercolours • Squint when painting outdoors as it helps eliminate the tiny details • Pick a small area and something easy. Don’t try to paint everything. • Understand just the basics of watercolour - flat and variegated washes • Utilise your camera or phone to check your tone in black and white • Good heavy watercolour paper will let you rework mistakes, most of the time. Be wary of some staining colours. • If you have any missed areas, don’t go back over it and try to fix it up, just leave it alone.…

A chief pursuit of Impressionist artists (who rose to fame in 1874 in Paris) was the desire to capture movement and the changing qualities of light and shadow - quickly. The style of Impressionism, and it as a movement, captured the sentiment of Paris in the latter half of the 19th century, when long-held traditions waned, and succumbed, to the rigour of rapid change. Around them, these liberal-thinking artists, the short-lived Siege of Paris (1870-71) turned the city into chaos, upturning social structures and breaking social boundaries. Artistic production did not stop in these uncertain and dangerous times; it arguably increased and expanded. The peril that preceded the Siege and followed the aftermath (there were daily executions and intense social unrest) actually nurtured artistic initiative and invention, as well as…

• If there’s only one message I can convey to anyone reading this to further your artistic ability it is this - draw and paint from life and what you see in front of you whenever you can. • A good drawing gives you the basis of a good painting, and the only place to start, I believe, is to draw what is right in front of you in real life. • We see in 3D so why not draw it and paint it how we see it? • We see perspective, foreground, distance, colour, tone, form and atmosphere different to how a camera reproduces it. • There is a place for photos, and I have painted from many of my photos over the years, and still refer to them,…

Some important tips I’ve learnt from great teachers: • Choose a subject with interesting light and shadow. • Really look at the impact of the light, and represent the shadows or the lights with a striking colour, not just a darker or lighter colour. • Be mindful of hard and soft edges. Keep brushstrokes in all directions to help to soften edges. • Paint against the form. By that, I mean, if you are painting a post, don’t paint a straight line downwards. • Paint sideways to help soften edges. Bring in some hard edges once your work is near completion. • A viewfinder (3 x 4 cm) with a peephole the same shape as your canvas can help find the best angle of your subject and improve the end…

MATERIALS • Pastel Paper Mi-Teintes ‘Sky Grey‘• Make up sponges or kneadable eraser• Electric pencil sharpener• Charcoal• Sandpaper• Art Spectrum pastels:• Fresh Grey• Ivory Black• • Rich Green Beige Grey• Sand• Flinders Red Violet• Rembrandt Pastels:• Gold Ochre• Raw Umber• Light Oxide Red• Schmincke pastels:• Black• White• Vandike Brown• Carbothello Schwan Stabilo pencils: 100, 105, 435, 610, 620, 640, 642, 635, 681, 685, 750 STEP ONE Once I have an animal in mind which I am interested in painting, I ask the owners if I can take some photos. In this case it is a neighbour’s dog, a Pomeranian called Max. I was able to take many shoots. At home I printed them all in colour on photo gloss paper and then decided which one to paint. It was a difficult decision. I very much liked the photo of him when he was sitting on the chair, but I did not…