Innholdsfortegnelse for No. 165 i Artist's Palette

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 LYNNE GREEN  Moving from the city to the country town of Yarrowitch in New South Wales helped this lady to discover art. Her first passion is watercolours, although this picture was done using ink and bleach. She has participated in workshops and artfests, and finds that art his given her…

• Canvas – 24 x 36 inches.• Acrylic paints: Pearl White, Titanium White, Transparent Red Oxide, French Ultramarine, Black, Burnt Sienna.• Oil paints: Titanium White, Iridescent White, Naples Yellow, Yellow Ochre, Indian Red, Burnt Sienna, Burnt Umber, French Ultramarine, Paynes Grey.• Other requirements: Binder medium; water; medium size water brush; gesso; sand; palette knife; oil brush (medium stiffness); small soft oil brush; paper cups; cling wrap; large acrylic brush (for wash).…

• Working from photographs is great – but spend time with your subject matter. If you are doing a landscape, go bush as often as you can and study the random wonder of Nature. If painting figurative works, join a life drawing class to build your skills in body proportions and texture. • When working with acrylics (especially in hot and humid conditions like Darwin), use only quality paints. The Atelier Interactive range is great. Keep a spray bottle handy and mist your work as you go. • Don’t overmix your colours. Place complimentary colours beside each other on your palette and load both colours onto your brush. I use colours straight from the tube and rely heavily on the colour wheel theory to create energy and impact in my…

• Use good quality materials and good lighting, and keep your pencils sharp. • Take breaks and keep looking at your work with ‘fresh eyes’. Paint what you can see. • Monitor your composition, perspective, colour balance, tonal balance and focal point. Be certain that you have captured the mood, feeling and expression of your subject. • Keep your work clean. Cover over with clean paper every time you leave the painting. Keep cups of tea and coffee away, and don’t sharpen your pencils near your painting. • Have a go at anything – don’t lock yourself into only one form of art. Be open minded. • Be happy with your own style and enjoy your art.…

Marlene Jones was born in the New South Wales country town of Gilgandra. She eventually moved to the Blue Mountains (west of Sydney) about 22 years ago. An interest in art was motivated by some serious problems with her health. “I only started to paint 11 years ago, after four years of major surgical procedures (18 in total) on my back,” she reveals. “As I was unable to continue working, a friend introduced me to art. I soon became very addicted. Painting gives me a release where I can escape the pain which forms a part of my daily life. I sometimes become so engrossed that I lose track of time, and it is not unusual for me to paint right through the night until my husband greets me with…

Joanne Villani lives in the trendy (pretty much unspoiled) beach suburb of Adelaide called Semaphore. This has been her home for 20 years, and her art studio is here too. This artist was born in South Australia’s capital, and she has received no formal art training. “I regard myself as ‘self taught’, although in the early days I took some casual classes,” she admits. “I think, because I have not been to art school, it took me a bit longer to branch out. I felt perhaps a bit intimidated (not a real artist) … but I know better now. You just need to be confident to have a go.” Joanne’s artistic interests have varied from the beginning of her career to where she finds herself now. She is intent on…

Since being introduced to Genesis paints three years ago, I’ve used no other medium. I found the simplicity of achieving subtle blending (required in my style of portrait painting) a surprise and joy which I take full advantage of. I don’t use China brushes, preferring to work with Taklon because of the delicacy of the work I do – however, this is very much an individual choice. For this particular project my palette consisted of basic Genesis colours which allowed me to produce any hue I required. Genesis doesn’t vary in tonal depth due to the reliable consistency of the medium in the pots. It is important to find a subject that holds your attention. Someone who has strong or unique features will allow you to depict the character of…

Jenny Hartley is a Queenslander who has been an active painter since 1990 – creating works of art in graphite, watercolours and acrylics. Her childhood, spent on the family farm near Casino in New South Wales, installed within her a deep love of the natural environment – for native flora and fauna, and for the colour and light in the landscape. Her mother’s love for gardening also spawned her desire to create glowing translucent images of flowers in watercolours. When Jenny was a child, no scrap of paper missed her attention. She loved to draw faces and animals. Her high school years presented new opportunities and she achieved ‘Dux’ for three years in art class and planned to continue her studies … but romance, marriage and children become her priorities…

STEP ONE Prepare your canvases by giving them one good coat of Carbon Black (I used a small roller to get an even coverage). Then proceed to measure off and tape, to paint the black section. I taped off at 36 x 36 cm for the top left corner of the first canvas, and 25cm from the bottom of the second canvas. Run this also across Canvas 1 from Canvas 2, to meet the corner of the square on Canvas 1. STEP TWO Using your three yellow tone colours of Sunflower, Tiger Lily and Poppy, haphazardly streak these colours across your canvas, in the area you have just taped off, using either a large spatula or a rubber squeegee. You could use a large brush – but make sure you…

With my HB pencil, I start to draw the subject on a plain piece of paper. Most times I begin with the eyes and nose to get the triangle working, but this time I started with the ears. Lexie’s ears are a main feature – typical Bull Terrier ears with a few folds and pinkish, erect definite lines. Once I have the size and shape of the ears correct, the rest of the features fall into place. I never make a definite cut-off point for an animal portrait – I give myself space to allow the balance of the finished painting to be correct and even; not top heavy. When I am happy with the sketch I transfer it very lightly onto my good acid free cartridge paper, using a…

Neta Alcorn was born in the small town of Casino in northern New South Wales. After growing up in a farming community, she began her working career in nursing. Art education was available to her only by correspondence, for many years. With the introduction of adult education into country areas, Neta began a two-year study course in Showcard and Ticket Writing. She passed with honours, and still has the trophy. She continued to work in the industry, assisting service organisations such as Lions and Rotary with advertising, and always enjoying the challenges. After moving to North Queensland in 1970, Neta joined the Burdekin Art Society and followed a two-year course with Flying Arts Queensland under the tuition of Mervyn Moriarty. This was followed by many weekend workshops; a week at…

This demonstration drawing has been worked on A3 size Jasart 200gsm paper. Firstly, the figure drawing was a complete line drawing – sprayed with a workable fixative to set the line. The complete page was then painted with Schmincke Horadam Gouache, Cadium Red Middle. I used a small square of soft cotton cloth to wipe out the light areas I wanted to keep (a tissue can be used here). The background was then filled in with black gouache, and the painting was bumped hard in the vertical position to create whatever dribbles could occur. When the initial work dried, I created more dribbles by adding more black gouache to the areas I wanted to see movement in. This process can take a little practice – it is worthwhile to try…