Innholdsfortegnelse for No 186 i Artist's Palette

MATERIALS • Stretched canvas. • Artists’ oil paints: Titanium White, Cerulean Blue, French Ultramarine, Cadmium Yellow Light, Cadmium Scarlet, Yellow Ochre, Burnt Sienna, Viridian, Permanent Crimson. • Liquin and Mineral Turps. • Brushes: 000 fine point, Number 4 and Number 10 Badger. STEP ONE After a few thumbnail sketches to get a visual plan worked out, I drew up an accurate drawing that could be gridded and transferred to the canvas. I rarely do this; however given that accuracy for this kind of subject is paramount, it best suited my needs in this case. Before the drawing was transferred, I gave the canvas a light turpsy wash of purple (made with French Ultramarine and Permanent Crimson) in order to get rid of the whiteness of the canvas. This helped evaluate…

STEP ONE I had started another painting on this sheet of Terracotta Colourfix, and decided to abandon it. After tapping and brushing off most of the existing pastel, I washed the paper with a brush lightly loaded with water; and blended some of the remaining pastel. The main shapes were next placed in with hard and semi-soft pastels. After checking the composition, I decided that the buildings were too large – so I moved them further back into the painting, allowing for a better lead-in for the viewer. Starting with the sky and moving down the paper, I blocked in the main features – placing the lightest tones where needed so they remained fresh. At this stage I used two mid blues, one light blue and a touch of pink…

MATERIALS • Artist’s canvas. • Artists’ quality oil paints. • Selected brushes. STEP ONE Usually I prefer to use a thin brush to apply a thin colour of light blue and Rose Madder roughly. This will outline the landscape. For this Demonstration, I became carried away with the pencil. STEP TWO Working on the foreground, starting from the bottom of the canvas, I applied a transparent wash consisting of a mixture of Burnt Sienna and Viridian. For the trees, I used a wash of Ultramarine and Burnt Sienna. STEP THREE Moving up the canvas to attend to the middle ground, I used Ultramarine and Cadmium Scarlet. STEP FOUR For the distant hills in the background, I used Cobalt Blue mixed with Rose Madder and a touch of Lemon Yellow and…

MATERIALS • Better quality Winsor & Newton deep edge canvas – 38 x 40 inches. Cheap canvas stretchers warp when doing a canvas of this size, so money spent initially will save heartbreak later. • Atelier and Matisse acrylic paints. Avoid cheap imitations. Matisse has a ‘buttery’ texture, while Atelier is easier to spread on the canvas. Use whichever you prefer. Cheaper paint can be used for underpainting during the initial stages. • Brushes: Use a variety of acrylic brushes. I use mostly rounds and brights for foliage. A two inch hardware bristle brush is a good tool for beginning washes of ground. A liner brush is used for final details. • Colours: Turquoise, White, Black (for toning only), Cadmium Yellow, Cerulean Blue, Purple, Alizarin Crimson, Naples Yellow, Burnt Umber,…

“Atelier Interactive Acrylics are exceptionally easy to use, and I tend to prefer them over any other acrylic products I have tested.” I have been using Atelier Interactive Acrylics ever since they first became available. Although on occasions I have painted in the field, I mostly paint in my studio and experience varying temperatures from cold to very hot (40 degrees plus, at times). The versatility of Atelier Interactive means I only occasionally have the need to use the mediums available. One important medium for me is Clear Painting Medium which allows me to paint wet over dry (aged at times). I also use it as a flow medium – mixed with the paint for fine line work. I do not experience the paint drying too fast. I do like…

I remember my senses being enticed by art as a young boy, when my mum would sit at her easel and create her oil paintings. Even the smell and feel of the buttery consistency of the paint appealed to my senses. I remember thinking how, someday, I wanted to be able to bring my own visual interpretation of the world to life on canvas. I would draw and draw as a boy. My main focus then was trucks. Living near the highway at Narrabri gave me plenty of first-hand experience with them. In 1985, my family moved to Dubbo and built a cabin at nearby Lake Burrendong. With that came the purchase of a boat, and my new obsession was born! Every weekend was spent on the water and the…

Edward Spessot was born in a small town in northern Italy, near the city of Venice. In 1950 he arrived in Australia to reside in the North Shore area of Sydney. He was formally trained in sculpture under the tutelage of some of Australia’s finest sculptors – including Lyndon Dadswell and William Lamb. It was Edward’s appreciation of the Australian landscape, however, that led him back to his first passion of painting. The influence of his unique artistic background has seen Edward Spessot’s paintings awarded a number of prizes at art shows in Australia … with his paintings being hung in some of the finest galleries and private collections in Australia and overseas. Recent prizes and awards collected by this talented artist have included: First prize for oil painting at…