Innholdsfortegnelse for Issue 144 i Artist's Palette

Welcome to our latest issue of Artist’s Palette. The Christmas season is here, so we’ve come to the rescue with some amazing gift ideas for art-minded friends and family, and of course way too many tempting goodies for you! We’ve lined up five fabulous artists, and hope you’re just as inspired as we were when we read their profiles and admired their demonstrations. There are some brilliant exhibitions and events currently on-show around Australia, and we’ve compiled a number of them for you to admire. We love to showcase the artistic works of talented Australians, from enthusiastic beginners to accomplished artists, so if you’re keen to be showcased in the magazine, please send in your submissions to us. Readers’ letters are always welcome at Artist’s Palette magazine. Please email correspondence…

MATERIALS • Koh-I-Noor Gioconda Pastel Pencils – Zinc White – Bone Black – Light Ochre – Gold Ochre – Indian Red – Sienna – English Red – Caput Mortuum Light – Van Dyke Brown – Pearl Grey – Mouse Grey – Light Orange – Dark Orange – Ice Blue – Dark Ultramarine – Ultramarine Medium • Conte Pastel Pencil – Flesh • Stabilo CarbOthello – Ivory – Lamp Black • Rembrandt Pastel – White – Black • Caran D’Ache – Anthraquinoid – Azurite White – Black • Fabre Castell soft pastels • Velour paper STEP ONE I start by outlining the image I want to do. Velour isn’t very forgiving if you make a mistake, so you will need to be careful. Consider drawing your image first and then using…

MATERIALS • Paints – Titanium White – Medium Yellow – Lemon Yellow – Olive Sap Green Green – Yellow Payne’s Ochre Grey - for the light areas – Raw Payne Umber ’s Grey – Ivory Black (very little) – Viridian – Prussian or Pthyallo Blue - for the dark areas • Brushes: – Flat and filbert brushes (size 3 - 10) for blocking in areas of colour – Fine round brushes (size 0 - 4) for details and thin lines STEP ONE A very light pencil outline of the main motifs is then quickly filled with a thin stain of colour, usually slightly lighter than the intended colours of the finished painting. I use a lot of white and yellow (lighter colours in general) in my underpainting so the painting…

Looking back to my early years, I remember distinctly when an overwhelming desire to paint swept over me. It was during one of our holidays by the sea at Red Rock, NSW. I was only about nine at the time and was out on the river at dusk fishing with my father. Suddenly I was overcome by the beauty of the surrounds that confronted me. I felt part of something much greater yet felt so insignificant, I likened it to a place that you just never want to leave. After this epiphany there was only one path for me, and that was the desire to pursue an artistic life. To this day, I always strive to capture the feeling of tranquillity, light and mood as well as the many contrasts…

MATERIALS • Brushes – 2’’ flat – ¾” flat wash – ½” flat round taklon filbert – 2” fan – No 6 flat – 1/8 filbert – ½” stippler • Hydroacylic paints – Cerulean Blue – Titanium White – Dioxazine Purple – Ultramarine Blue – Magenta – Phthalo Green – Yellow Oxide – Lemon Yellow • Stretched canvas polycotton tight weave 600 x 800mm • Flow promoter medium • Palette knife • Masking tape STEP ONE Mix 10% Cerulean Blue, 10% Titanium White, apply 10% flow promoter (use a few drops in every mix) and mix. Apply evenly to canvas using a 2” flat brush, finishing with horizontal strokes to more that ¾ of canvas. STEP TWO Use masking tape to define the ocean’s horizon, then back to the sky…

CHAMELEON IS THE LATEST INNOVATION IN MARKER PENS How many markers does it take to get depth, dimension, highlights, shading and seamless blends? With Chameleon Pens you can do it all, with just ONE. If you have ever wanted to get into art with markers and struggled to decide which out of the hundreds of pens out there to get, Chameleon Pens offer a handy solution. With just the 20 vibrant colours you are able to produce hundreds of colour tones, taking you from the merest hint of a tint all the way to the richest tones. This makes them great value for budding artists or a great addition to a collection. What the artists are saying: “I love these pens for two reasons, ease of use and results. You’ll…

Michael Hodgkins grew up with an exhibiting professional landscape artist, George Hodgkins, as his father. George took every opportunity he could to travel Australia in order to gather reference material and subjects for painting. He spent a lot of time on painting trips throughout coastal and outback Australia, and Michael was usually there too, helping his father. Inevitably, he emulated his father, as children do, and by age 10 had acquired his first set of adult Oil Paints. “I was basically copying my Dad’s style as best I could because that’s all I knew. I would produce small naïve oil landscapes and Mum would put them in the Gallery we had and they would sell,” he explained. As a young , was aside and Michael’s career path took him into…

The eyes are the windows to the soul, or at least that is what I believe. I have been painting for as long as I can remember. My mother strongly believed that, if you had art, you would never be lonely or bored. She encouraged my siblings and me by leaving out expensive pencils, warning us not to touch because of how special they were. The reverse psychology worked, and after a lot of pleading, we would be studiously working on our masterpieces. I must admit, however, even as a five year old, it was as much a sense of competition with my older sister that made me vow to become a better artist. Every time I felt like quitting, my mother would gently remind me that all I needed…

MATERIALS • Gessoed Canvas 36cm x 24cm • Winsor & Newton Artists’ Oil Colour: – Winsor Red – Burnt Umber* • Art Spectrum Artists’ Oil Colour: – Permanent Mauve – Cadmium Yellow Light – Lemon Yellow* – Burnt Sienna* – Zinc White – Titanium White • Langridge Underpainting Medium • Langridge Painting Medium • Brushes: – Hog Bristle Filberts size 6 – Hog Bristle Bright size 8 – Hog Bristle Flat sizes 1 & 2 – Hog Bristle Fan size 2 – Hog Bristle Round size 1 & 2 – Synthetic Sable Rigger size 0 • Palette knives with 5cm & 6cm blades * used in underpainting only STEP ONE A drawing is made directly on the canvas with a mix of Permanent Mauve and Zinc White, thinned down with…

• I mainly work on Arches 300 gsm rough paper as I find it bests suits my techniques. It enables me to create sparkle on water with the dry brush technique. In addition, I can drag my mop brush to create a more realistic effect for foliage edges. • For my wet in wet impressionistic style I can also get maximum granulation using the rough surface with opaque paint mixed with a transparent, as the heavier pigment drops into the gutters in the paper. If you drop your painting from a height down to the floor you will see the granulation work even quicker. This paper allows me to be quite aggressive with the use of a credit card to scratch back into the darks. This also can be advantageous…