Innholdsfortegnelse for Issue 147 i Artist's Palette

Welcome to our latest issue of Artist’s Palette. Inside these pages you’ll see the profiles and demonstrations of five clever artists, and we hope you will draw plenty of inspiration from these talented people. Confused about the huge array of canvas and paper products that are now available? Don’t be! We’ve compiled a comprehensive guide for your next shopping trip. There’s plenty going on in the art world at the moment, and we’ve covered some of the best in our ArtBeat and What’s On Show sections for your enjoyment. We love to showcase the artistic works of talented Australians, from enthusiastic beginners to accomplished artists, so if you’re keen to be published in the magazine, please send in your submissions to us. Readers’ letters are always welcome at Artist’s Palette…

I have been painting for almost 50 years now, but still consider I have much to learn. Like life itself, the learning process is never-ending. I have always had a passion for art and painting, and during my childhood schooldays, I used to take frequent visits to the Melbourne Gallery/ Museum, then in Swanston Street, Melbourne. I was totally in awe of the magnificent paintings, and dreamt that one day I might produce such a masterpiece. (I wish!). My childhood passion didn’t abate though! Unforeseen circumstances prevented me from taking up the career that I had chosen; to go to teacher’s college, study art, and become a teacher. I left school at the age of fourteen and started working in April 1953. During my teen years I occasionally painted, but…

Born in Bulawayo, Rhodesia – now Zimbabwe – my family moved around Africa and then Australia – and back again. Consequently, I changed schools endlessly – in three different countries! This encouraged a keen sense of observation – I was able to assimilate relatively easily with each move because I observed people, places and everything! I have always created. I owe this to my family and the lifestyle we enjoyed while growing up on properties, providing the opportunity to ‘make things’ from the materials that existed naturally around me. My mother was very creative – mostly with crafts of every description, lapidary, and pottery and so on – and she not only always provided access to materials with which to be creative, but the example to ‘have a go’. The…

MATERIALS • Windsor Newton Oil Paints:– Titanium White– Cadmium Lemon– Cadmium Yellow– Cadmium Red– Burnt Sienna– Ultramarine Blue– Alizarin Crimson Permanent– Viridian Green– Ivory Black • Thinner– Pure gum turpentine • Medium– Stand oil added pure gum turpentine, ratio 1:4 • Support– Stretched cotton duck primed canvas • Brushes– Hog hair rounds sizes 4, 6, 8, 10, 12– This painting required 20 brushes in total STEP ONE I arrange the flowers so they look natural in composition and are in good company with each other. Although I am eager just to get painting, I take the time to study the composition, looking for problems and making some adjustments. I do not want to discover a problem down the track that is best solved before I start. STEP TWO My first…

Highly respected Tasmanian artist Pat Brassington and talented emerging Sydney artist Jack Lanagan Dunbar have won the Redlands Konica Minolta Art Prize 2016. Celebrating its 20th year, the Prize is among Australia’s best-known art awards, spanning all mediums and offering a total of $36,000 in prize money. The judges for this year’s Redlands Konica Minolta Art Prize - John Kaldor AM, Judith Blackall (NAS Gallery curator) and Mark Harpley and Fabian Byrne (Visual Art Department, Redlands School) - decided unanimously to award Pat Brassington the $25,000 established artist category for her photographic work titled, ‘Pair Bonding’ (2015) and Jack Lanagan Dunbar the $10,000 emerging artist category for his installation work titled, ‘Studies in Light, Movement and Time’ (2016). Judges statement: “This year’s Redlands Konica Minolta Art Prize exhibition presents the…

MATERIALS • Stretched and primed canvas - 500 mm x 400mm (deep edge) • Mont Marte Gel medium gloss • Flow medium • Water soluble colour pencil for sketching - I used brown • Large syringe or nozzle bottle for squirting • Brushes – Mop brush size 20 – Long liners: Size 00, 2/0,6/0, 1 – Round: 10/0, 5/0, 00, 4 • Paints – Utrecht Artist’s acrylic Titanium White (Series 1) Heavy Body – Atelier Artists’ Acrylic - Interactive: – Indian Yellow (Series 2) – Forest Green (Series 2) – Transparent Red Oxide (Series 2) – Napthol Crimson (Series 3) – Cadmium Red (Series 4) – Cobalt Green (Series 5) – Cobalt Blue (Series 5) Whenever I am unsure as to what to paint, I start by applying a random…

• Flowers are one of the most challenging subjects to tackle. If you are new to painting flowers, I suggest selecting simple flowers like daisies or chrysanthemums to begin with. Don’t be fooled though, whilst they may look simple they can be quite difficult to paint, however, they are slow demise flowers and will give you a bit longer to practice on. • Painting flowers from life requires you to be quick, as you only have the lifespan of the flowers to get as much accurate information down • There on your is canvas also the as tendency you can. for the flowers to move in response to the light source. They may fade and change colour as they age, or just fall as a shower of petals when they…

• Endeavour to keep your painting as fresh and paintly as possible. Overworking can lead to a flat and uninteresting painting. • Always be aware of the composition and balance within the painting, as well as perspective and aerial perspective. Hard and soft edges also need to be considered. • Try to capture the essence of the subject first. Avoid too much detail, especially in the early stages, adding only what is necessary in the latter stages. Squint your eyes down, as this helps with the elimination process. • Consider carefully your choice of subject! This can have a lot to do with making a successful painting. • Use a mirror to check work for slanting horizon lines, tonal values, perspective, etc. • Do several thumbnail sketches before deciding on…

• It is a good idea to wear cotton gloves when working on scratchboard, as the boards mark easily and the oil from your fingers does not disappear like eraser marks ( unwanted drawing and transfer marks can be erased with a plastic eraser). The marks will magically disappear when sprayed with varnish. I use a ‘Factis’ black eraser, but that is a personal choice. Cotton gloves are very cheap, and can be purchased at supermarkets and pharmacies. • Being right handed, I cut the thumb and first three fingers (off the glove!) about half way up, leaving the little finger intact to steady my hand on the board. The cut off glove fingers make it easier to hold tools firmly. I leave the left hand glove intact to move…

My love for painting flowers originates from my passion for growing flowers. I have grown many of the flowers in my paintings. It may have taken a few years before I had enough to pick and take into the studio, so I am always planning and planting, buying seed and new stock for the garden, and taking cuttings. I have also sourced some good florists who have a love for old-fashioned flowers and not your typical florist selection. Painting is a discipline that requires mental and physical exertion. It also requires practice, and lots of it. Moreover, painting requires careful planning, and more often than not some problem solving. When painting flowers, you need to get as much done as possible in the time frame nature has provided; that is,…