Innholdsfortegnelse for No. 166 i Artist's Palette

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…

• Stretched canvas 60 x 75cm’s (24” x 29 1/2”) • Tracing Paper • White graphite paper • Black graphite paper • Stylus • White Gesso • Sanding Block • Lint free cloth • Kneadable eraser • Westart Picture Varnish Gloss • Jo Sonja’s Artist’s Colors: – Burnt Umber – Titanium White – Napthol Red light – Naples Yellow Hue – Turners Yellow – Yellow Deep – Napthol Crimson – Brown Earth – Carbon Black • Jo Sonja’s Mediums: • Retarder medium • Brushes: – 1” base coating Brush – No. 00 liner brush – No. 4 round brush – ½” Flat brush – 2” base coating brush – 1”Mop brush…

• 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…

• Spray two or three coats of a workable, waterproof matte fixative onto a good watercolour paper. It makes an ideal support for gouache. It allows me to wipe out and correct frequently. The seal keeps the pigments n top of the paper, so they can be wetted, blotted and layered. • Mix Zinc White gouache with watercolours instead of purchasing a big range of gouache colours. • Fine felt-tipped pens like W&N Water Colour Markers allow me to make fine, clean marks on eyes, beaks and claws. Being watercolours, they blend, mix and dilute. • Attend as many group classes and tutorials as you can. • Make a mark every day. Sketch before sleeping, by the phone, anywhere. • Use digital technology as an aid. iPad’s Pen & Ink…

Before I start, I do a photo collage with the images I have chosen, which have inspired my painting. I listen to repetitive music to get in the rhythm and let that flow through to my brush. This work is on a metal panel. I love to see the shine of the bare metal playing with the grey. The metal is more slippery and solid than canvas. It is also good to recycle and work on different materials. I start by cleaning it with a degreaser then I use a water-soluble oil pencil to draw the important lines. I never do a detailed primary drawing beforehand as I enjoy the element of surprise in my work. STEP ONE After the first drawing, I put the paint directly on my squeegee…

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 first Art competition at 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 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 could give you a myriad of philosophical meanings… how many of them would truly be intellectual would be debatable. Intellectual…

Like thousands of other retirees, I started this part of my life with lots of resolutions. I still don’t have a new bathroom or a tidy garden, and the bush that surrounds my home is still a fire-hazard, but I have achieved one aim - to become a competent artisan, not just a dabbler in watercolours. I class myself as a ‘weekend artist’ and enjoy the whole process involved in putting my observations and memories onto paper. Sometimes my travel sketches and paintings amount to a substantial trip journal, which remind me vividly of views and events. Photo albums are okay, but give me a sketch any time. I am particularly interested in the birds I encounter while travelling. Usually they are the only moving thing in the landscape besides…

The brainchild of Brisbane architect John Blackley, Sandgate Art Society is a place to dedicate one night to uninterrupted artistic pursuit; which is not always easy for people who lead busy lives. SAS welcomes novices, intermediate skilled, art teachers, and professional artists... anyone who would like to work in a warm friendly atmosphere and share skills, inspiration and encouragement to continue art practice, on a regular basis. Here are some mini-profile on some of the artists: DAVID CROSS Born and raised in the USA with a Masters Degree in Art, I was a Visual Art Educator for 40 years, lecturing at University and High School levels, primarily in Australia. Throughout my art career I have been asked to curate and judge numerous exhibitions in the Brisbane area as well as…

• Medium Taklon Langnickel 2-inch brush angular • Catalyst squeegee W – 06 or a kitchen squeegee. I found the kitchen one to be softer and smaller. I learnt this technique from Kym Barnett after doing one of her workshops. I use a plastic kitchen squeegee instead of a brush because it is very unpredictable and I love the challenge. • A2 Chroma acrylic paint and also Mont Marte Dimension: – White – – Cobalt Paynes Blue Grey – Ultramarine – Burnt Sienna – Yellow Ochre – Rose Madder – Gel Gloss (to add transparency) – Spray bottle – Kitchen paper or soft rags – Atelier gloss varnish or Langridge wax varnish…

• Linen Support – Claessons #13D/PR • Brushes – Rosemary & Co – 10 Long Flat SER 279 – 7 Long Flat SER 279 – 12 Ivory Long Flat – 10 SER 2025 Hog Bristle – 8 Eclipse Rigger – 7 SER 272 Round – 9 SER 272 Round • Solvent and Mediums – Gamblin Gamsol – Gamblin Galkyd Lite – Gamblin Neo Meglip • Paint – Old Holland – Scheveningen – Gamblin Rose Deep – Alizarin Crimson Permanent – Old Holland – Cadmium Red – Old Holland – Cadmium Yellow Orange – Winsor & Newton – Cadmium Yellow Deep – Old Holland – Cadmium Yellow Medium – Old Holland – Cadmium Yellow Light – Old Holland – English Red – Old Holland – Raw Sienna Light – Old Holland…

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, and always had it next to me to refer to while I was drawing. I was always mindful to keep a blank, clean piece of paper under my right hand, trying to work from…

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. This gives me the flight illusion of the wings. I mix gloss clear polymers with pigment to give me a fluid body for other pigments to float within, these I then…

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 stage, I’m only interested in breaking down the subject into darks and lights. I’m making sure that the composition ‘flows’, and even at this stage I’m making subtle changes to the scene. I hold the brush from the very end and stand as far away from the work as possible. Apart from planning the work in my head,…

I was born in the USA and lived in Switzerland from the time I was three years old. My parents were both Swiss. For the last few years, I have lived in Australia. An only child, I was given drawing materials to keep me occupied, and thus began my journey into art. My mother had been to art school and she encouraged me to create artistic things. I also had a children’s book with beautiful images and I started copying them. After being hospitalised for a childhood illness, the nurses asked me to draw them Christmas cards. I was kept very busy from morning to night doing these, and their appreciation encouraged me in my art. At school during sewing classes, I would draw pictures for my fellow students while…

• For my palette, I use a square plastic cake container with an airtight lid. Inside I use damp paper kitchen towels with baking paper on the top. This keeps your paint moist and will last several days. • I use small water containers such as a lid off the coffee jar. Don’t leave your brushes with the wood in the water as this damages the wood. • Clean your brushes thoroughly after you have finished with them. • You can use anti-bacterial hand wash to clean your hands because it has alcohol in it and will dissolves the acrylic paint. • Look at your paintings in a mirror as it will reverse the image and will make mistakes easier to see. • Enjoy your painting.…