Innholdsfortegnelse for No 193 i Artist's Palette

I suppose I have always had an interest in art. I was forever getting into trouble at school for drawing the wrong sort of things. I found I had an ability to copy a picture and consequently any loose bit of paper would be adorned with sketches. I was chastised in high school for copying, as this was not “creative talent”. For anyone who thinks, or has been told, copying is not acceptable, consider this … Every sketch, drawing or painting you do, is a copy. A copy from a picture (book, photo etc, etc), a real life scene or a copy of the image in your mind’s eye -everything is a copy. Just be careful about what you sell, as copyright is a minefield! As a result, my art…

WHICH EASEL IS BEST? Choosing the right easel is an integral part of the painting process. The importance of having the correct easel is often overlooked but having a firm and steady easel can be as important to the finished painting as choosing the correct paint, canvas or brush. One of the first considerations when selecting an easel is the type of material it is constructed from. Timber is primarily used for the majority of easels although some easels are constructed from aluminium. Whatever material is used, the object is to create an easel that doesn’t move, shake or vibrate when in use. North American Red Oak, or any oak for that matter is the finest material for constructing easels. It is an extremely hard wood, so glue and screws…

MATERIALS • Pre-stretched canvas – coated and ready to go 45cm x 35cm• Light gauge pencil - for sketching• Set of acrylic paints - just basics - black, white, yellow, red, orange and brown• Something to mix paint on/in• An easel – if you like. Can be done on a flat surface just as easily• Retarder Medium – helps make your acrylic paint spread further and stay alive (not dry] longer• A couple of your favourite brushes - Something broad for large application of tonal areas, medium for general application and fine for eye/mouth detail• Water – for clean up STEP ONE Take pre-stretched canvas and rough sketch the subject to proportion the painting. Go on, let a bit of the subject hang off the canvas. STEP TWO Go ahead…

When I was a child I drew pictures constantly on any piece of blank white paper I could find. I’d open out greeting cards for the big expanse of clear drawing space. My sister would give me the double page of white paper from her stockings pack! I filled ‘jotter’ pad after ‘jotter’ pad. At primary school everyone knew I was good at artwork. Luckily nobody else seemed to challenge me. I never strayed from that path of drawing and painting. It was what made me happy. A ‘career’ (and I use the term loosely) in art was a hard row to hoe as the saying goes. It’s been up and down. In 1979, I did Year 12 Art and Design at a technical college in Bendigo, Victoria. It was…

I was born in the UK in 1938. My best subjects at school were art and English, and after leaving school at 15 years of age, I entered as an apprentice into the fledging printing and packaging industry. As a family we came to Australia in 1986, where I was employed in the same industry, and eventually retired to Queensland from NSW (Sydney) in 1998. After we had settled in to retirement, our son, who still lives in Sydney, sent me a few oil paints, brushes and a canvas, which renewed my artistic interest. I am self-taught, but I do think my working life helped a great deal in my approach. Once I got going I went from strength to strength and now my sons and daughters houses, as well…

Lets set ourselves up so that the process of moving paint around is as easy as possible. We’ve touched on looking at setting ourselves up so that we can stay in “the zone”. We are going to stay in that theme, but we are going to look at it in greater detail. We’ll look at our working space and our table. This time we are actually going to look at where we put our paint; how that helps us with the process of mixing colours. Let’s start with the palette. I mentioned that big is good, and that having a back up palette/s is a good thing. This is something that needs to be taken into consideration when working with acrylics - it can make or break the process. Most…

I was born in 1981 and raised in suburbia on Long Island, New York. My Mom painted nearly every week while watching ‘The Joy of Painting’ with Bob Ross, and my Dad was a draftsman and mechanical engineer. I must have absorbed or inherited some interest in both ends of the spectrum because I love mechanics and structure - why and how things work functionally - but at the same time I have a sense of sentimentality and admire aesthetic qualities and composition. I remember always loving to draw whenever I had an opportunity - cars and airplanes taking preference as a child. When I went to University I majored in Studio Art, with hopes of specialising in photography. It was there that my drawing and painting 101 teacher Kestutis…

STEP ONE Initial drawing of ‘still life’ setup – papered box, metal cup and glass vase with flowers. STEP TWO Background and base colours painted in, leaving objects free of paint. STEP THREE Work done to background such as creating a tiled effect and brown base worked on in paint and pencil. Shadows of box and vase painted in. Box painted aqua blue and flowers painted in. STEP FOUR Details of paper covering box done with paint and pencils. Flowers completed. Blue glass vase painted in. STEP FIVE Violet metal cup on top of box painted in. Vase worked up more anticipating final details. FINAL STEP Violet cup finished with shadow and shine. Vase handle completed and gloss done of glass using white paint.…

MATERIALS • Primed canvas 66cm x 61cm• Artists Acrylics: Titanium White, Warm White, Ultramarine Blue, Pthalo Blue, Cerulean Blue, Turquoise, Ivory Black, Yellow Ochre.• Oil Pastels: Yellow Ochre, White, Dk Brown, Mid Brown, Red/Brown.• Chinagraph Pencils: Black, White, Yellow, Red, Blue.• Windsor and Newton Art Masking Fluid• Windsor and Newton Oil Paints: Black, White, Rose Madder. STEP ONE From a photograph I scaled to size on the canvas the three main features, ie: the boy, the fish and the driftwood, using a soft pencil. When producing any form of character it is so important to scale the images as accurately as possible, otherwise, as your art work progresses, you will start to change things, and then the result will end up a disaster. I generally leave my canvas for about…