Innholdsfortegnelse for Issue 140 i Artist's Palette

Welcome to our latest issue of Artist’s Palette. Inside these pages we profile some inspirational artists, and show you their step-by-step demonstrations, plus their hints and tips. In a timely reminder of the 100 years since Gallipoli, we bring you a fascinating article explaining how art has been used to capture incredible images from World War I and World War II. We also highlight some amazing upcoming exhibitions, plus some fabulous artistic works in our 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 Palette magazine. Please email correspondence to: The Editor, ap@woodlandspublishing.com.au, or post your contributions…

• Always spend a lot of time getting your preliminary sketch right. It is much easier to fix anything at this stage. • Whenever possible, try to use your own reference material. I think you have so much more passion when you’re drawing from an image you have personally taken. It helps you to get a good feel and understanding of the subject, and also avoids any copyright issues. • Try not to compare your work to other artists, although I am guilty of this. Other artists are no better or worse. No one has it right or wrong. Art is subjective and artists all have different styles. If your drawing makes you happy creating it, then it’s just perfect. • Never stop learning from each piece you do, and…

All at once we speak about the tragedy and senselessness of war, and then in the same breath we reprise stories about the courage and fortitude of the men and women who sacrificed their lives; we lament about the sadness of the families they left behind; we argue about arrogant lords of war who made rash and brash decisions; we read and weep over the tender letters written to loved ones; and we think about the many different experiences of those whose lives were upheaved by war. All at once we are rained down upon with conflicting responses and reactions to war and all at once we arrive at a simple, yet confounding conclusion: war is complex. Looking back at the First World War, and in particular, the Gallipoli campaign,…

MATERIALS • 3D natural raw linen 100% middle grain (60X90cm) • Palette knife • Brushes: – Squirrel mop size 24 – Round brushes size 4 and 10 – Tackon round size 10 – Flat brushes size 2 and 15 • Medium • Paints: – Titanium White – Permanent Rose – Magenta – Cadmium Red – Naples Yellow – Japanese Yellow Deep – Burnt Umber – Raw Umber – Cadmium Orange – Cadmium Green – Ultramarine Blue – Orange Indian STEP ONE Placement of the figure is my main concern at the beginning. The focus point is the expression of her eyes followed by the left side of the robe then descending from right to left and finishing at her knee. The viewer would see the eyes of the portrait then…

THE GOLDEN AGE OF CHINA: QIANLONG EMPEROR (R. 1736–1795) Hidden treasures from Beijing’s Palace Museum in the Forbidden City will come to Melbourne for the first time in an Australian exclusive exhibition. The Golden Age of China: Qianlong Emperor (r. 1736–1795) tells the story of China’s foremost art collector Qianlong Emperor, one of China’s most successful rulers and fourth and longest living emperor of the Qing dynasty (1644-1911). This exhibition provides an unprecedented opportunity to explore a rich concentration of more than 120 works from the Palace Museum’s art collection, which is built on the imperial collection of the Ming and Qing dynasties and holds some of China’s most rare and valuable works of art in its collection. Tony Ellwood, Director, NGV, said, “This exhibitions tells the fascinating narrative of…

Good afternoon Simon and Phoebe, Thanks so much for featuring my work in the Yearbook feature of Artist’s Palette! I waited for months for it to come out in the newsagent, and I wasn’t disappointed! Only a slight error - my name was spelt incorrectly. It’s Frances, not Francis) I have just finished the commission that was mentioned in the article, and was very pedantic to take step by step photos of the stages as it was being finished. Would you be interested, some time in the future, to show this in a “demonstration” part of the magazine? I’ve attached a picture of the finished artwork. It was quite a feat to finish, but it’s gone to Canada now! Have a happy Christmas season and wonderful New Year! Regards Frances…

I was born in Melbourne, Victoria and currently live there with my amazing husband and two small children. For as long as I can remember, I have always loved drawing, painting and creating. I was always happiest in my own little world with a pencil in my hand and nothing but the image I was trying to create in my mind. It was my escape and my talent, and I loved it. When I was young I would mostly draw animals, in particular, horses. I would draw or paint them over and over in many different styles. I had no real knowledge of the different mediums or papers available, and for which style of art they were best used. I drew and painted on anything I could get my hands…

• The fast way to learn how to use pastels is to have lessons and/ or join a pastel society/group. • Top pastel artists conduct workshops and classes. Enquire through the Pastel Society in your state. • I discovered a way to dramatically improve your painting skills – paint daily, paint small and paint fast. • By fast I mean set a timer (say 10 minutes) and paint something in that time. It’s not hard but it requires discipline. • Use Facebook to check out the world’s top pastel artists - you’ll find exciting new work, techniques and ideas every day.…

ARTISANS IN THE GARDENS A contemporary exhibition embracing nature, innovative Australian craft and sculpture was held in October at the Lion Gate Lodge at the Royal Botanic Gardens, Sydney. Artisans in the Gardens was a journey into the exciting world of contemporary craft and sculpture with an opportunity for people to view and purchase newly commissioned work from more than 50 emerging and established Australian artists and craftspeople. The exhibition focused on each artist’s engagement with nature, with works drawing inspiration from the beauty and complexity of the natural environment and issues around sustainability and environmental concerns. Presented by Foundation & Friends of the Botanic Gardens and curated by Julieanne Mills, the exhibition showcased a broad spectrum of mediums, including jewellery, ceramics, glass, textiles and sculpture. Outdoor sculptural works included…

MATERIALS • Staedler Mars Lumograph HB, 2B & 4B• Uni Pins Black fine line pens in 0.2, 0.3, 0.5 & 0.8• Black Faber Castell Polychromos• White Prismacolour Pencil• Prismacolour Colourless blender• Canson 110gsm paper• Reference photo (optional) This type of drawing is what I believe to be known as ZIA (Zentangle Inspired Art). True Zentangles are miniature (about 3.5-inch/89mm) square paper tiles. The many patterns, known as tangles, are black and white abstract art. This art form is believed to be mediative and relaxing as you become engrossed in each pattern. Which is why, after returning to art after my accident, it was a good place for me to relax and ease my way back into drawing. I combine graphite backgrounds and my tangles form animals, which is why it is Zentangle Inspired Art. STEP ONE I…

MATERIALS • Odourless Solvent • Prismacolor pencils: – Blue – Yellow – Light purple • Winsor & Newton Oil colours: – Titanium White – Scarlet Lake – Burnt Sienna – Lemon Yellow – Vandyke Brown – Prussian Blue – Cobalt Blue – Indigo • Art Spectrum Oil colours: – Flesh Tint – Spectrum Red Deep • Winsor & Newton Linseed Stand Oil • Paint brushes varied sizes and brands, mostly square tip STEP FOUR Continue refining shapes and correcting tones. STEP FIVE Now that the basic points of the painting are in, begin to rework the entire piece, starting with the background. My work is very much a process of layers, starting with a mess and spending the rest of the time fixing, changing and refining it. For this I…

I was born in 1957 during the Algerian War of Independence and relocated to France with my parents, brother and sister in 1962, where I spent 24 years before immigrating to Australia in 1987. After working as an illustrator for a greeting card company in South Australia, I studied graphic design and pre-press printing. I then honed my skills in various design studios and printing enterprises. I was 10 years old when I start to draw, inspired and influenced by the classic portraits by masters such as Rembrandt, Van Dyck and Rubens who “controlled the subtle colour harmonies, the spare compositions and masterly handling of light”, and Matisse, Manet and Renoir who “worked quickly in order to capture the fleeting moment and to give their work a spontaneous feel”. I…

• Talented Australian Artists• Check out the latest shopping guide• More of Mark Waller• Full of tips and ideas for all skill levels Look for it in your newsstand soon – or become a subscriber to ensure that you never miss an issue! On sale 25th May 2015 We would love to hear your views on almost anything to do with art. Please don’t hesitate to write to us at Artist’s Palette. Send your letters to: The Editor, Artist’s Palette magazine, PO Box 8035, Glenmore Park NSW 2745.…