Innholdsfortegnelse for No 205 i Artist's Palette

As far back as I can remember I have wanted to draw and paint. My memories are almost all visual and go back to when I was about three years old. That memory is of our back garden with a lovely white fence where I used to wave my sister off to school. I can see it still! Whilst at school I always had a brush or pencil in my hand and scribbled away during lunch or recess. I loved the art classes at both primary and high school. At 21 I was introduced to oil paints and joined a group that painted together one night a week in Frankston, Victoria. As a mentor we had Wesley Pemberthy, winner of the Sulman prize in 1956. He introduced us to many…

STEP ONE I start with a detailed drawing of the Kookaburras. This is very important to the idea of what I want the final painting to look like. STEP TWO I transfer the outlines of the drawing to a 300 G.S.M Arches watercolour paper and apply masking fluid to the outlines. STEP THREE I allow the masking fluid to dry and start the background washes. STEP FOUR I continue to work on the background water, leaves and start the under painting on the front rocks. STEP FIVE I add more detail on the front rocks. For this effect I used an old toothbrush, dipped it in different shades of greys and browns and simply flicked it with my fingers, and also added some smaller rocks to help with creating depth…

For this demonstration I have done what no sensible person would do i.e. “try out a new recipe on visitors”. However, I had been eager to experiment with my new supply of A.S. Inks with the idea of using them to create a free flowing background, then building a textured line image, finishing with acrylic paint. “The Poppy Field” is the result using this technique. STEP ONE With my board laid flat on an outside table I began mixing my inks. Into my first pot went about 3ml of phalo green, 1ml white and 1ml extender. Using the same formula, I mixed a pot of phalo blue, one of lemon yellow and one with magenta. Drawing the colour up by means of a syringe, I squirted the phalo green on…

Hi there I’m a very (since-forever) reader and addict of Artist’s Palette. The days are being counted to the next issue. The feature artist John Bradley’s work is absolutely amazing. Some things are just better said in one’s own language, dis verskriklik mooi!!! Dit het regtig my asem weggeslaan!! Such talent, such beauty, what more can I say!! Thank you for a wonderful magazine worth looking forward to every month! Adri Geldenhuis Pretoria South Africa Ed: Thanks so much Adri – we really appreciate your feedback. Dear Editor, Greatly appreciate the wealth of information in your Art Mag, always something to try out or save for a rainy day! However there is something I am sure many of us ‘wannabe’ artists would love to know, that is the level of…

Several photos are used for reference- taken when I was painting “plein air” in Port Stephens. I use Matisse Structure paints which give me great coverage and texture on this canvas. STEP ONE For this painting I mix a thin strong paste using black acrylic with water and some polymer gloss varnish. Using a piece of cosmetic sponge attached to a skewer (see ‘materials’) I draw in the “bones” of my subject. Dipping the sponge in water allows me to adjust my tones for perspective and interest. With the fine end of my sponge I can roughly sketch in figures to give me some idea of my composition. STEP TWO Keeping my paint undiluted and my brushes dry I use viridian green, burnt sienna and cobalt blue to paint the…

I am 36 years old and a mother of two young boys. I was born in Hobart, Tasmania but have lived most of my life in Melbourne, Victoria. I currently live in Langwarrin, a southern suburb of Melbourne. I was born into an artistic family and have several painters on my Dutch side however I never thought I had any artistic talent myself and therefore never explored anything beyond art class at high school. I have always had an appreciation for art, and visiting art galleries is something I love to do. I enjoy many styles of art, anything from the Old Masters to modern art. For the past nine years my creative outlet has been making miniature teddy bears and animals but it wasn’t until June 2011 that I stumbled…

STEP ONE Quick sketches (I prefer to photos because it gives me a painting with my impression and feeling of the subject). STEP TWO I have used a pointillism style – dark dots first working to light and extra colour. I use round-head brushes. No 12 for the larger dots and No 2 for small detail. STEP THREE I mark in the subject with early colours working from back to foreground taking some of the colours from back to front of painting – this unifies the work. STEP FOUR Putting the colours and figures in place, remembering the singer and chef are foreground, and figures and musicians are in a darkened background. STEP FIVE I found the musicians needed to be more pronounced, so I lightened the background between the…

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 people for future Issues. This month we are pleased to display the work of another three enthusiastic artists. Each month we give a small prize to the person whose work we consider to be the most outstanding in Woodland’s Gallery. The prizes are being provided by Jasco. This issues’s prize…

Born in Malta in 1954, I migrated to Australia in 1974 and have been painting on and off since then. I became a Christian in 1977 and this gave me a whole new outlook on life. I came to realise that all our gifts, talents and abilities are given to us by God, but we have a responsibility to develop and use these gifts for His glory and to the betterment of humanity and all of His wonderful creation. In 1985 I met and married a beautiful Christian woman and we were blessed with three amazing sons. Janice is a very good artist in her own right and is planning to send some of her photographs to Artist’s Palette. I am in awe at the amazing amount of diversity of…

I was born in the Redlands district (southern bayside Brisbane) when the area was bush or farmland. As a result I was able to spend a very carefree childhood becoming familiar with the abundant flora of native banksias, hakeas, grass trees, wild orchids and many other smaller varieties of native flowers such as the bluebells and wild irises. Of special charm to us children were the tracts of beautiful pink boronia blooming profusely each season. A particular vivid childhood memory is of a playmate and myself dragging a wash tub full of boronia bunches to the main road, with a placard “Boronia, 3 pence a bunch”. However, when a car eventually stopped, presumably to buy, we fled in fright, leaving it to them. Needless to say, that venture never became…

STEP ONE To begin, transfer your sketch onto the paper or sketch directly onto the paper. In this case I have used a white pencil as the paper is quite dark. I find that Faber-Castell Polychromos coloured pencils erase fairly easily with a kneaded eraser if needed. STEP TWO I like to work on the eyes and nose first. Take care to include all the highlights you see in the reference photo as this is what makes your subject come alive. STEP THREE Start rendering the dog fur. Always do your pencil strokes in the direction the fur grows so it looks more natural. Take care to follow the contours of the dog to help create a more realistic form. I have started by defining the white fur areas first…