Innholdsfortegnelse for Issue YearBook i Artist's Palette

This is a very special edition of Artists Palette. Our 2014 Yearbook gives us the opportunity to reflect on the past 12 months and catch up with some of our artists we have published over the year. We also have another fantastic of combination of artists to get the next 12 months started. In our art beat section of the magazine we review both local and international exhibitions and galleries. If you have a gallery or exhibition that you think we should cover send us some details. We are always happy to promote start up galleries and artists. So whilst you are reading this issue of the magazine we hope you are inspired by the levels of talent that are immersed in our pages. We would love to see your…

I was born in Townsville Queensland. My family spent most of my early childhood moving around for work, so I found it very difficult to make friends but I always had my drawings. I would draw on anything I could find. My father being a new Australian from Hungary, used comics as a form of learning English; he would let me copy some of the images in his comic collection and then he kept anything I drew! This would drive my mother crazy. I won my competition school in year three, and was over the moon. At assembly, the names were called out in front of the whole school so, being a very shy child, I slinked up and received my prize of a stationery set. I couldn’t wait to…

I was 17 years old when I did my apprenticeship as a commercial artist. I was taught craft, drafting and construction by artisans, reproductionists, illusionists, and masters. It was about aesthetics and technique, precision, flamboyancy, extreme, colour and movement, theatricality. I did my apprenticeship in one of the oldest commercial art houses in Melbourne, born of the thespian world, a world which exists no more. When I studied Theatre and Film design at the National Institute of Dramatic Arts it was all about philosophical and intellectual meaning. I would here learn to question and answer everything, to influence and be influenced and discern every mark I was to make. I give you a myriad philosophical meanings… how many of them would truly be intellectual would be debatable. Intellectual design stinks…

INTIMATELY CONNECTED .M Contemporary, one of Sydney’s newest commercial art galleries based in Woollahra, recently presented Intimately Connected, an exhibition of wearable art exploring the connection between art, design and contemporary jewellery-making. It featured unique pieces from artists across the globe that highlight the craftsmanship, skill and conceptual development involved in the creation of jewellery art. The wearable art pieces were exhibited against a backdrop of photographic works by Australian artists Jacqueline Ball and Lynne Roberts Goodwin along with Korean artist Lee Sang Hyun. Works from artists including Benja Harney (Australia); Inari McArdle (Australia); Melinda Young (Australia); Natalie Rosin (Australia); Zoe Brand (Australia); Joyce Makitalo (Philipines); Claire McArdle (Australia); Zoe Robertson (Birmingham); Liaung-Chung Yes (New York); Natalie Dissel (Bali); Daniella Saraya (Israel); Vacide Erda Zimic (Peru); Reka Gottilieb (Budapest); Olga…

MATERIALS • Strathmore smooth Bristol board paper, 14 x 17 inches, 400 series, 2 ply• Kneaded eraser• HB mechanical pencil• 2B mechanical pencil• Make up brush• Tortillons• Sharpener• Narrow mechanical eraser• Derwent Graphite pencils ranging from 8B to 4H• Sandpaper• Clean, blank piece of paper Balu is a piece I was asked to do by a friend in Germany and was completed at a size of 14 x 11 inches. My friend sent me many photos via email, and I picked the one I thought was best, showing some personality and capturing the intensity of his eyes. Once the drawing was complete, I wrapped it up and posted it to Germany. It was a surprise for my friend, as she did not know that I had finished or which photo I had chosen. I printed the photo in black and white,…

MATERIALS • Acrylic paint – various colours and suppliers• Acyclic polymer – AKWA paints• Inks – I use are a variety of commercial brands from Art Spectrum to high end French blended inks.• Containers Dyes• Pipet STEP 1 The original head of the parrots are painted in the traditional brush technique, fine brush strokes within the figurative style. STEP 2 I start by throwing paint straight from tubes. At this stage I use Acrylic paint. I utilise the different brands available, each have their own properties and densities and allow for a variety of profiles. STEP 3 I then pour and throw inks. These will react with the acrylic to give me more movement. STEP 4 I mix pigments and colour in containers giving me different brews. I then pour in the arc wing directions.…

MATERIALS • Oils Art Spectrum – Raw Umber – Prussian Blue – Art Spectrum No.1 Medium – Viridian – Permanent Mauve – Archival Classic Medium – Ultramarine Blue – Burnt Sienna – Raw Sienna – Titanium White – Cobalt Blue • Brushes – #4 flat Rosemary & Co Ivory brush. – #8 flat Rosemary & Co Ivory brush. STEP 1 I choose an image with a personal appeal. In this case I took a photo a few years ago on a visit to the South Island, New Zealand. I like the way the water twists and swerves around the rocks. I start with a mixture of Raw Umber and Prussian Blue slightly thinned with Art Spectrum No.1 Medium using a large, flat #8 Rosemary & Co Ivory brush. At this…

WINSOR & NEWTON GUIDE TO COLOUR MIXING ACRYLICS This invaluable, at-a-glance Winsor & Newton Guide takes the uncertainty out of mixing acrylic colours, and offers a concise visual reference to creating more than 2,000 hues and shades. With a base palette of 25 popular Artists’ Acrylic Colours, artists are shown how to re-create what they see on their palette and on their work of art. The book shows how to match precisely any shade you want to reproduce in your work with only two colours in your mix. This means you obtain the cleanest and brightest tints possible. It is intended for both amateur and professional artists and will prove invaluable in the studio and when painting on location Order this book today!! Fill out the order form on page…

ARTIST’S PALETTE magazine seeks to showcase the works of talented Australians producing art at a whole range of skill levels, whether they are accomplished creative people with a long history of achievements or beginners (of all ages) striving to build their identities and reach their particular artistic goals. This ‘Gallery’ segment provides a place to display pictures by people who may not have the means or the opportunity to be extensively featured in our magazine. Submissions are sought from such people for future Issues. This month we are pleased to display the work of another three enthusiastic artists. Each issue we give an encouragement prize to one of our contributors in Woodland’s Gallery. This issue the prize is Hazel Sran’s Watercolour Rainbow DVD. Prize Winner Michelle Pope  My name is…

The Support How the painting will look when it is finished depends upon the support (that is, the linen, panel, paper, and so on) that it is painted on. The painting process starts with the support. It is worth spending the money on good pre-primed linen or spending the time to do your own grounds (priming). In this demonstration painting I have used Claessons #13D/PR which is a fine weave linen oil primed. The surface is quite smooth but has more tooth than a gessoed panel. The advantage of using a pre-primed linen is the convenience of being able to cut a piece to any size depending on the final composition. Within an hour of completing the drawing I can have it stretched up and ready to paint on. I…

• Draw a subject matter that interests you and that you enjoy.• Always keep a clean piece of paper under your drawing hand to prevent smudging and oil from your skin transferring to the artwork.• Keep your pencils as fine and as sharp as possible to achieve finer detail.• Work from left to right (or right to left if you are left handed) as much as possible to try to avoid smudging your work.• Don’t rush; take the time you need to achieve the results you want.• Put a drawing away and come back to it a day or so later with a fresh mind and eyes if you get stuck and don’t know where to go next.• Never give up and always try different techniques and tools to find out what works best for you.• Be willing…

• I use a high gloss acrylic paint, often I will mix my colours - this creates the base for the finer throwing and pouring and a catalyst for the different company pigments to react with each other. • I get a high gloss acrylic polymer made for me by ‘AKWA’ paints. I squeeze these colours from small pots - this paint is a fluid full bodied pour paint that holds its body. • I am always on the look out for unique pigments as they most often hold properties that then react to other brands, this gives me a variety of textures, patterns and movement. • I utilise any commercial fabric dyes, these give a rich high density colour without the textural body of a paint. Both the dyes…

• Paint only in daylight or extend your painting time by buying a ‘full spectrum’ craft light which doesn’t change the look of colours.• Paint freely with large brushes and paint only broad areas first, leaving highlights and detail until later.• Start with small paintings (eg. 20 x 25cm) painted with large brushes until confidence increases. This also saves money on materials.• I try and work in the relationship of shapes and darks/lights – a high priority. Oil paint has the wonderful ability to paint over itself and gives the ability to change what has gone before.• By the time I get to the ¾ mark, my reliance on the real life subject has diminished. The painting is constantly adjusted and changed until I reach a point where I am happy.…

• History of Art• Meet talented Australian Artists• Creative Demonstrations• More of Mark Waller’s mixing paint Look for it in your newsstand soon – or become a subscriber to ensure that you never miss an issue! On sale 26th January 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.…