Innholdsfortegnelse for Artist Palette 161 i Artist's Palette

I grew up in Sydney. After leaving school, I won a scholarship and spent three years full-time at the National Art School. Leaving there, I went out into the world to earn a living. In the early 1950s you could count the number of artists actually earning a living from painting on your fingers. Even such masters as Eliot Gruner had worked in a Sydney department store. Others were teaching, which I was disinclined to do; or else they were involved in commercial art. I travelled, and worked on a Moree sheep station as a jackeroo. I loved the life. Riding, mustering and droving, and all that went with a country existence. However, if you were not likely to become a land owner (which I was not), there was little…

Born in Coffs Harbour, Lin Camac endured a disrupted and poverty-stricken childhood. She was never sure of where she belonged, which undermined her confidence and made the journey to adulthood an uphill slog. She never lacked artistic ability, though. She was always on the lookout for a discarded pencil stub. “I thought I was Queen of the world when I was given a packet of 12 coloured pencils one year as a Christmas present,” Lin says. “I don’t know who it was that gave them to me, but all my vacation time was spent in an orgy of filling in blackline colouring-in books – cheap nasty pulpy paper and atrocious pencil quality (compared to what I currently use), but even then I tried to shade realistically. Typically English publications with…

Operators of the Lethbridge Gallery believe that a valuable and fulfilling part of making art and exhibiting it is to meet the people who are moved by their creations. This gallery’s philosophy is that meeting the purchasers makes a fulfilling link between the artist and the art lover … and adds to the vital experiences both of creating the art and acquiring the art. The Lethbridge Gallery works hard to achieve its philosophical goals by exhibiting every year in Brisbane, Melbourne and Sydney – at important venues where the artists take the time to see old friends and meet new ones. The group of artists representing the Lethbridge Gallery has established a studio-gallery in Brisbane, where they are proud to bring to the people a depth and intelligence of vision…

This picture of an old shearing shed is a very ‘Australian’ scene with dark shadows and a white roof against the sky. Summer thunderstorms are a feature in the area, and cloud patterns are often dramatic – with different levels of cloud travelling in different directions; cumulus underneath and frequently a series of feathery clouds above. This painting was an attempt to describe the atmosphere. A small photograph was used for reference. MATERIALS • Pencil for sketching. • Artists’ quality oil paints in specified colours. STEP ONE I sketched the scene in pencil, and then painted in a plain sky. I left small spaces for the trees and roughly painted the grass and the shed. The top of the sky was underpainted with thin Permanent Magenta and then overpainted with…

MATERIALS • Canvas on board, 46 x 61 cm. • Flat and round bristle brushes – sizes 6, 8 and 10. • Nylon rigger brush – size 0. • Artists’ oil paints: Titanium White; Cobalt Blue; Ultramarine Blue; Flinders Blue Violet; Pilbarra Red; Flinders Red Violet; Venetian Red; Raw Sienna; Yellow Ochre; and Viridian. STEP ONE The tree in this painting is growing in the open, with a well-formed canopy. It is rather symmetrical (not unlike a light bulb). Being placed to the left of centre it is balanced by the much smaller and distant tree to the right and a shrub to the left. The red earth of the dam, which creates a dominant horizontal, dissects the picture plane at the base of the tree – which is the…

MATERIALS • Arches 300gsm watercolour paper, stretched onto a thick sheet of plate glass. • 1cm wide masking tape. • Schmincke artist quality pigment watercolours: Sap Green, Indian Yellow, Aureolin, Ruby, Scarlet, Translucent Orange, Phthalo Blue, Phthalo Green, Brilliant Purple and Cobalt. • Winsor & Newton Perylene Green, Perylene Maroon and Quinacridone Red. • Maimeri Blu Dragon’s Blood. • Kolinski Sable Brushes, Sizes 10, 8 and 4; and Number 2 Rigger. • Watercolour pencils from Faber-Castell ‘Albrecht Durer’; Derwent, Cretacolor ‘Aquarellith’; Staedtler ‘Karat’ and Caran Dache ‘Supra Color II Soft’ ranges. • Greaseproof paper. • 2H graphite for drawing image; 6H for transferring to stretched paper. STEP ONE Having stretched your watercolour paper and allowed it to become bone dry, commence drawing the image onto cartridge paper, working out the…

Rob Clarke’s fascination with trucks started when he was a teenager. Watching trucks drive by, he thought, “I’m too young to drive them, so I will sketch them.” He soon found that he could sketch any truck that came to mind, while including every detail in perspective. He eventually began a career driving trucks. “Quite a few years went by without touching a sketch pad, due to busy schedules,” Rob relates. “Then I met an extremely talented artist. Seeing the beauty of the creations he had painted, I was encouraged by this man to follow my flair. Having the right perspective with trucks was already a feat in itself.” “My first painting I undertook was a seascape. I took it to my artist friend and asked him for criticism. He…

SKETCH AND WRITE NOTEBOOKS FROM JASART Jasart has released an exciting new range of Sketch and Write Notebooks. The series is attractively packaged and very affordable – the perfect companion for students needing convenient notebooks. They’re great for jotting down notes on the run; or for sketching and drawing applications. The unique lined and blank page configuration of the notebooks provides the flexible option of taking down notes on lined pages and freestyle use of the blank pages to suit anyone’s needs in the home, in the classroom, or out in the field. Jasart Sketch and Write Notebooks feature stylish fine grain covers, expandable inner pockets, elasticised closures and handy ribbon bookmarks. Each notebook has 160 pages of 110gsm acid-free paper. Winsor & Newton Visual Diaries are also essential tools…

From a very young age, I always liked to paint and draw. My first lessons were at the age of 13 years. I learned the basic principles of tone, form and perspective; beginning with charcoal before progressing to oils. I painted in oils until the mid 1980s and then moved on to watercolours. I attended a course in Bathurst which showed me a lot of different techniques in watercolours. I have used and adapted these techniques suit my own style, being predominantly self taught. Watercolours represented a real challenge. I attended some workshops, and the more I learned the more intrigued I became with the medium. Although at times I found it frustrating, I enjoyed experimenting and learning from my mistakes. I now paint mostly in watercolours; however I still…

While travelling around Australia with my husband Barry (also a full-time artist), we came across a stock team holding a mob of Brahman cattle. The cattle had been gathered with a helicopter and held with many horses and riders. Other people were cooking ‘smoko’, and the team holding the mob came in one at a time for food and drink. I just had to photograph and sketch FINAL … what STEP an amazing scene to come across! For major works, I use photographs and sketches done on-site to compile a series of mud maps (small graphite studies) – changing them around, cropping the photographs, and joining two or more pictures together to find the most interesting design/pattern for the painting. Remember to consider the light source; light must all be…

MATERIALS • Canvas. • Lead pencil. • Rubber and ruler. • Assorted acrylic paints, including: Titanium White; Black; Carbon Black; Mars Black; Pale Beige; Paynes Grey; Ghost Gum; Rich Gold Metallic; Provincial Beige; Metallic Silver; Cadmium Yellow; Cobalt Blue Hue; Phthalo Blue; Cobalt Turquoise; Yellow Ochre; Orange Vermilion; Burnt Sienna. • Masking tape. • Solvent Sealer. • Brushes: Taklon Rake; Taklon Detailer; Taklon Deerfoot; Taklon Fan; Flats, Angles, and a big Blending Brush. STEP ONE I begin by sketching the truck onto the canvas. I usually start with the bullbar first. Just by doing this first, I can usually get the perspective I am looking for. Because the pictur es that I work from are quite small, I will multiply the sketch by whatever size the canvas is: If the…

Janet Smith has enjoyed drawing and painting for as long as she can remember. In 1940, at the age of ten, she was able to attend children’s art classes at the Adelaide School of Art. It was a formative stage in her career. “The first year was with Gladys Good and we used large pieces of white paper on easels,” she relates. “We used black crayon, coloured chalks and sometimes powder paint. It was a wonderful experience as Miss Good attempted to teach us perspective and worked to help us achieve balance in our pictures.” During her second year of early tuition, Janet learned object drawing which was ‘very seriously taught’. The following year she was able to do design, just before the children’s lessons were closed down due to…

MATERIALS • Arches 340gsm hot press paper. • Colour palette: Cobalt Blue; Indigo; Raw Sienna; Burnt Sienna; Black; Windsor Red. • Brushes: Number 12 Raphael mop; Number 8 mop; Number 6 mop; Number 3 and Number 5 Golden Sable synthetic. I photographed this scene on a trip to Echuca. I have always been inspired by the majestic gums on the Murray River and the historic port of Echuca. STEP ONE I started with a drawing on layout paper and transferred it to Arches 340gsm hot press paper. The reason for the use of layout paper was so I would not to rub out my final art work (the surface of the paper gets damaged by erasing mistakes). Next, I marked out the highlights on the pier and gum trees with…

David Lake was born in Sydney in 1966. He began to paint at the age of 14 – first in watercolours and later in oils. This man is a self taught artist; a painter who has been able to develop his own definitive style. His artistic passion is currently focused on landscapes. David has persistently painted the subjects which inspire him … as opposed to the more picturesque and sentimental subjects regarded as commonly popular with the general public. Without doubt he is an adventurous painter who seeks to produce original works of art. He is also a man who places greater emphasis on quality (rather than quantity). His dedication has seen him win awards and commendations on a regular basis since 1991. a three consecutive years (2004 to 2006)…