Innholdsfortegnelse for Issue 148 i Artist's Palette

Welcome to our latest issue of Artist’s Palette. It’s always a privilege to share the fascinating stories of our fellow artists, and to view their demonstrations, and we’re sure you’ll glean plenty of inspiration and knowledge from this issue’s five selected artists. There’s also a useful article on easels, discussing the best easels for different situations, and highlighting the pros and cons of the many styles that are currently available. We also highlight some amazing upcoming exhibitions and competitions, accompanied by fabulous photographs, in our What’s On and ArtBeat pages. 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…

The Chameleon Pen comes in two parts. The main body is a double-ended marker pen with a Japanese bullet nib on one end and a SuperSoft Japanese brush nib on the other. The nibs are replaceable and the marker is refillable. The mixing chamber is the second, removable part of each pen. This is what makes Chameleon truly unique. It allows you to change the ink colour and get multiple colour tones, blends and gradations, all from just one pen. Even better, Chameleon Pens come in 50 brilliant colours. Here are six ways you can use this amazing colouring system: 1. Colour like a regular marker. (Fig 1) Alcohol inks are quick drying because the ink doesn’t contain water. The colour is actually suspended in the alcohol. Alcohol inks produce…

• Paint the subjects that excite you, not the ones you think will please the market and sell. You are more assured of success if you are really involved with your subject. • Always make sure you use good quality materials. • Take plenty of time setting up your composition or arranging your model if painting a portrait. • Charcoal is fine for the first drawing, but other artists prefer graphite or go straight to paint. Whatever method you use, be sure you are happy with this stage, checking the shapes of your objects, the proportions and the negative shapes. • If you paint from life, you should already have arranged your lights and darks when setting up the still life. • Don’t rush each stage, take the time to…

• Select your materials prior to commencement, lay them out and look at them. Take time. I find this ensures I have my colour combinations grouped and aligned with the feel I am wanting to portray in each artwork. • Take your time, never rush an artwork, if you don’t have much time then just do a little, small steps. • Have cleaning materials handy to enable you to work cleanly, nothing is worse than finding that ink or paint is now on everything you’ve touched. • When you’ve finished creating for the day, don’t forget to clean up! Removing paint from brushes is simple when it is still damp. This way your ‘tools’ will be ready for the next day of creation. • Have a Business Plan. Know your…

ANN THOMAS & CONTEMPORARIES The National Art School’s (NAS) recent exhibition, Ann Thomson & Contemporaries presented more than 50 paintings, sculptures and works on paper drawn from NAS’ Collection and Archive, as well as the artists’ personal collections, and other private and public collections. Taking its lead from Ann Thomson’s body of work in the upstairs NAS Gallery, Ann Thomson & Contemporaries presented a selection of work by the artists and teachers who shared the exhilarating times at the National Art School (formerly East Sydney Technical College) in the late 1950s and early 1960s. The exhibition reflected on the School’s heady past, a time of social change that saw the emergence of new art forms and a collective creative energy that liberated and inspired a generation of young artists. Ann…

MATERIALS • Sketch book and graphite pencils • White palette, so that I can see the true colours of the paint • Stretched canvas • Winton and Art Spectrum oil paints – Sap Green – Chrome Green – Cadmium Red, Deep Hue – Chrome Yellow – Cadmium Yellow – Titanium White – Cerulean Blue – Dioxazine Purple • Chalk • Heavy hog’s hair brushes • Paper towels STEP ONE To begin, I always make a drawing of the subject in my sketchbook, which enables me to determine a suitable composition. My drawings range from light sketches to very detailed drawings when I have decided that I want to turn a drawing into a painting. Once I am happy with the composition of the sketch, this helps me to determine the…

• Always use something under your hand to protect your work, as there is nothing more disappointing then a smudge mark. • Sweep away your pencil crumbs as you work as these can also lead to a mark being left on your paper. • As an artist, the most difficult thing I find is selecting a reference photo that resonates with you, and I am not a great photographer (that too is a work in progress), and one thing I have learnt is great reference photos make all the difference. • I seem to find myself drawn to dramatic photos or lots of light and shade, which is not always easy to draw, as getting the tonal values correct is the key to a nailing the drawing. As I am…

I began my art journey as a child when I watched Mr Squiggle, the amazingly quirky little puppet with a pencil nose who made pictures out of simple lines. I thought, “one day I’m going to be an artist!” I love the innocence of how we as children view the world through child eyes, unconscious to the realities of adult life. In 2009, my husband gave me some art lessons as a gift. Once I began painting, I knew it was something I would always do. I had tutored lessons for three years with art professionals, learning differing styles. I then branched out to become a self-taught, practicing artist. I am part of several art groups which allows me likeminded diverse artist contact. I volunteer my time curating and assisting…

Perseverance. My key word. If I can instil one word in anyone wanting to pursue art, it is to persevere. It doesn’t always work, it doesn’t always go your way, but keep at it, as good things can happen if you want them badly enough to work hard, and if one person can take that away from my story then I feel I have passed on some important knowledge gained through being knocked down, getting up again, brushing myself off and persevering. It is the key you are never taught or told about, talent is only part of being an artist. Perseverance and practice combined with talent make an artist. As far back as I can remember, I have loved drawing, colour pencils and crayons. All the colours of the…

EASEL SELECTION Choosing the right easel is an integral part of the painting process. The importance of having the correct easel is often overlooked but having a firm and steady easel can be as important to the finished painting as choosing the correct paint, canvas or brush. One of the first considerations when selecting an easel is the type of material it is constructed from. Timber is primarily used for the majority of easels although some easels are constructed from aluminium. Whatever material is used, the object is to create an easel that doesn’t move, shake or vibrate when in use. North American Red Oak, or any Oak for that matter is the finest material for constructing easels. It is an extremely hard wood, so glue and screws do not…

• Getting ideas if you have painter’s block: • Make up your title first using a dictionary or a magazine. Open the book randomly and place your finger anywhere on the page. Write down the word no matter what it is. Do this about 20 times. • You might get something like: two, when, suddenly, potato, sad, jumping, the, boxer, then, mower, hill . . . • If it is a story-painting you wish to create, you might conclude that the following could be your painting: • ‘Two boxers riding a mower, followed by four jumping potatoes down a hill.’ • I use common sayings, such a ‘spilt milk’, creating a painting with an open fridge door and a bottle lying on the floor with liquid spilling out, and a…

MATERIALS • 300gsm paper • Charcoal: Willow Charcoal – thin & thick • ArtGraf Black Carbon block • Oil Paint: Art Spectrum Oils – Mars Violet – Cerulean Blue – Alizarin Crimson • Acrylic Paint: Atelier – Quinacridone – Magenta (Opaque) • Pencils: Derwent Inktense – Mauve – Poppy Red – Shiraz • Inks: Art Spectrum – Violet – Turquoise • Handmade papers • Textured tissue • Black ink patterned paper • Textures – Impasto gel or heavy gel – Clear glass resin – Silver leaf – Cling wrap – Dried flower • Fixatives & thinners – Binder medium – Fixative workable mat spray – Clear paint medium – Water • Spray bottle • Brushes & applicators – No 2 – wide for use applying binder medium – No 20…