Innholdsfortegnelse for Issue 23 i Artists Drawing and Inspiration

MATERIALS • 300gm Stonehenge paper • Derwent Coloursoft Pencils – Lemon Yellow – Deep Cadmium – Lime Green – Pale Mint – Pea Green – Mid Green – Dark Green – Baby Blue – Pale Lavender – Loganberry – Cranberry – Indigo – White Grey – Grey Lavender – Grey Green STEP ONE Lightly pencil in the shape of the plant, carefully noting how the petals overlap. I use the lightest coloured pencil (Pale Mint) at this stage, as you are unable to erase graphite pencil later. STEP TWO I do a light covering of Lemon Yellow, avoiding the highlights, and now add Lime Green in the cooler parts and Deep Cadmium on the warmer. I apply each colour with a small circular movement, as this gives an even surface.…

MATERIALS • Canson Mi Teintes TEX Paper 490 in light blue, 355gsm • Putty eraser • Masking tape – for taping up outer dimensions • Pastels (soft) – Art Spectrum, Unison and Schmincke – Sky colours – Art Spectrum (AS) – Phthalo Blue – T530, V530, X530 – Clouds - shadows – AS Blue Grey V527 - Highlights – Schmincke White – Headlands – AS Blue Grey T527 – Background ocean - AS Prussian Blue P528, AS Phthalo Blue P530, AS Phthalo Green T570 – Whitecaps - AS Phthalo Blue X530. Highlights – Schmincke White – Main Wave - Unison Blue Green 10, 12, AS Phthalo Green V570, T570, AS Turquoise T535 – Sand and foreground - AS Burnt Sienna T548, AS Raw Sienna P544, AS Burnt Umber T552 –…

MATERIALS • Waterproof black ink • Fine watercolour brushes • White – Loew Cornell (or Saral) transfer paper • Inktense pencils – for eyes, noses, etc. Inktense comes in pencil, liquid or block form (like a small pastel), and many can be bought separately. Colours: Willow, Baked Earth, Mid Vermillion & Chilli Red STEP ONE After tracing the drawing onto the scratchboard using Loew Cornell transfer paper, I have scratched the major lines and area around the eyes and ears using a scalpel and a fibreglass brush, mainly to get these parts in the right place, as I often lose some of the transferred drawing while moving my hand over the surface. I always use cotton gloves, a whole one on my left hand with which I wipe away the…

As a family, we were often outdoors exploring the beautiful natural environment of the Atherton Tablelands where I was born. They also taught me the joy of working with one’s own hands and being creative. Art was a subject I enjoyed at school but never pursued, and I entered the workforce as a nurse. Feeling very homesick living in the nurses’ quarters, a sterile brick building in the centre of busy Brisbane, I purchased a book of Australian landscape paintings. I admired the paintings of the early Australian artists, especially Arthur Streeton, Tom Roberts, Frederick McCubbin, Hans Heysen and E Phillips Fox. In 1998, as a busy mother of four children, I began to take an interest in fine art, commencing a 6-week recreational TAFE course on drawing for beginners,…

I was born in Ulverstone, Tasmania in 1971, and have always lived here. It is a beautiful part of the world, with everything from beaches to farmland to mountains with snow. I did art in high school, quite enjoyed it and always wanted to learn more, so I finally decided to do an Adult Education Folk Art class in about 2002 with Lynette Fairbrother. I continued painting with her for a number of years and progressed onto other types of painting and I haven’t stopped. I also sew and make cards, and have tried most crafts over the years. I took over one of our spare bedrooms and it is now my art/craft room. It’s wonderful having a room just for this and you can shut the door on the…

MATERIALS • A sheet of Art Spectrum Colourfix pastel paper, Midnight Blue colour cut in half • Soft Pastels - Studio Palette - I use a variety of brands including Mt Vision; Unison; Art Spectrum; Rembrandt; and Terry Ludwig. I always find that a painting painted outdoors has a freshness and spontaneity that a studio painting lacks. STEP ONE Using the recent plein air pastel painting as my reference and with a stick of Vine Charcoal, I drew in the major shapes of my landscape composition on to a half sheet of Art Spectrum Storm Blue Colourfix sanded paper. Design: The main focal area of this painting is the large fan-shaped fig tree, the use of converging lines direct the viewer’s eye to this point. STEP TWO I begin to…

MATERIALS •  Black Zig Millennium Pen, size 005, available from newsagents and stationary supplies, or I sometimes use Unipin fine line pens• Fabriano Schizzi Sketching Paper 120gsm, A3 size (actual picture is A4 size)• Photo plus black and white photocopy• Sheet of clean scrap paper• Hard surface such as MDF. I use a drafting table• Masking tape• 2B Pencil• Eraser• Soft long bristled brush. I use a paint brush about 1” wide STEP ONE Using a pencil, lightly sketch picture onto paper. Don’t press too hard or you will leave marks in your paper. Personally, I use a light box and trace my picture. I’m sure some people will be horrified and say ‘you can’t do that’, but it works for me. Don’t be too fussy with details, mainly outlines and major marks and shadows. STEP TWO Using…

As with all children I loved to draw, colour in and create; this has been something which has stayed with me throughout my life. Having used many other mediums in art, namely coloured pencils, acrylics and oils, I do have a particular fondness for watercolour and graphite, both of which I use extensively for wildlife and botanical illustration. I was in the printing industry as a printer and graphic designer, and while working in London printed fabric for royalty and the ‘Chelsea designers’. I did enjoy this work because I had found a career which embodied stimulating work with design and colour. Nowadays, my main body of work revolves around wildlife and botanical illustration, which I am particularly passionate about because it affords me the scope of creativity, and encompasses…

Drawing has always been an integral part of my life. I have been told that I was literally born with a pencil in my hand, producing my first ever drawing of a fish at two years of age. From there followed a keen desire to draw anything that took my fancy. The sheer wonderment of being presented with a blank piece of paper and then to be able to reproduce and create from your own imagination, scenes and subjects was a huge driving force. My early years were spent drawing animals and still life; the seascapes came much later. Although I studied Art in high school, it was practicality that determined my career path to bec oming a Registered Nurse, then a Midwife, after which raising a family interrupted my…

Nola Clark’s works have been featured in four previous issues of Artist’s Palette, (Numbers 45, 58, 115, and 120), and included two demonstrations each of pastel and charcoal techniques. Since her last contribution, Nola’s art passion has stalled with major back surgery in 2013 and 2014, which has prevented any participation in her favourite pastime until quite recently. She had only just started dabbling with the scratchboard technique, and has been anxious and determined to include this method as soon as possible in her diverse use of all mediums and subjects. In this issue, she presents a demonstration of her unique style, with a portrait of two of her family’s former much-loved cats who regularly slept together. The end result is entitled “Snuggled Up”, and Nola said it was quite…

Remember When – Series by Ellen Lee Osterfield Although I embrace technology and wouldn’t be without my computer, mobile phone washing machine and hair dryer! I do occasionally take a trip down “memory lane”! When I was a child I enjoyed playing in the back yard with my sister and our cousins! we loved to explore the vacant scrub land behind our house, where a little creek meandered through the bush. Living in a “gold-rush” town we often tried our luck at panning for gold in the creek after the rains. We never found anything of significance but we sure had a lot of fun! Building cubby houses from Chinese scrub was another favourite pass time! On rainy days we would be content to colour in our colouring books, read…