Innholdsfortegnelse for Issue 16 i Artists Drawing and Inspiration

Drawing is a fundamental part of art. Whilst the basics and the rules of drawing are well defined, I am always amazed by the variety of ideas and skills that our artists bring to our magazine each issue. In this issue we have six talented artists all making a wonderful contribution to the magazine. They all have different techniques and a range of tips and ideas that we can learn from, to develop our drawing skills. I really hope you enjoy the array of talent in this edition of Artist’s Drawing and Inspiration. We have a new range of DVD’s and books available for you this issue, so be sure to check the book and DVD store starting on page 666. There are so many drawing and other art books…

Born in 1990 and raised predominantly on a farm in the New South Wales countryside, and now residing in Tasmania, Meaghan’s family raised an extensive variety of animals, and occasionally raised and rehabilitated sick and injured wildlife. This inherent relationship and connection to animals developed a deep love and admiration for them, inspiring Meaghan to explore many animal drawings as a child and through to adulthood. During Meaghan’s years on the farm she spent many weekends exploring the countryside by horseback with her mother, witnessing many aspects of nature. Memories and experiences from this farm inspire many of Meaghan’s animal portraits. The Rainbow Lorikeets that would squeeze through the chicken wire on the bird aviary and steal the food within have been a great influence for her, inspiring several Rainbow…

I was born in Melbourne in 1945 and I can’t remember a time when I wasn’t willing to spend time with a pencil in my hand. At 14 I entered a drawing competition and won a place to further my drawing skills. At the time I was unable to take this up but kept up with drawing and my love of the craft of artwork has been a source of complete escape for me. I left high school to do a commercial administration course at a technical school. This school had a large art department and I spent all of my free time watching the class through a window. The artwork that was produced in the classes fascinated me and so I continued to draw when I could. Then I…

For as long as I can remember no surface has been safe from my creative endeavours: walls, furniture, tiles, fences all fell victim to my artistic fervour. Not that I limited myself to two dimensional masterpieces, whether it be clay from a nearby culvert or cutting down old clothing for dress-ups, I could always be found in some quiet corner working on my latest brainstorm – oblivious to the outside world. I sometimes think that it was in sheer desperation that my mother made my first visual diaries out of sheets of butcher paper sewn into pages. My most memorable birthday present was a set of water colours; scarlet lake and Indian yellow the prized colours, gone before all others. At school Art was the only important subject to my…

MATERIALS • Strathmore smooth Bristol board paper, 14 x 17 inches, 400 series, 2 ply• Kneaded eraser• HB mechanical pencil• 2B mechanical pencil• Make up brush• Tortillons• Sharpener• Narrow mechanical eraser• Derwent Graphite pencils ranging from 8B to 4H• Sandpaper• Clean, blank piece of paper Balu is a piece I was asked to do by a friend in Germany and was completed at a size of 14 x 11 inches. My friend sent me many photos via email, and I picked the one I thought was best, showing some personality and capturing the intensity of his eyes. Once the drawing was complete, I wrapped it up and posted it to Germany. It was a surprise for my friend, as she did not know that I had finished or which photo I had chosen. I printed the photo in black and white,…

MATERIALS • Eraser• 220gsm paper or thicker• F pencil• Brushes – No 2 and No. 4 Taklon brush• Ink tips - 0.03 and a 0.1 waterproof and fade proof• Watercolour pencils (Derwent, Faber Castell) – Colours• Light Pthalo Green• Mineral Green• Black• Deep Cadmium• Brown Ochre• Olive Green• Gunmetal Grey• Terracotta• Copper Beech• Chrome Oxide Green Fiery• Grass Green• White• Cobalt Turquoise• Lemon Cadmium• Blue Grey• Pink• Orange Chrome• Red STEP ONE Source material and initial compositional sketch The first step entails working out the content of the image, materials, composition and the source imagery that inspires you. For example if you intend to create a realistic portrait of a dog you either need a dog or a photo of a dog to build that portrait from, unless of course you have a photographic memory. Source imagery can range from magazines, books, your own photos, the Internet and other illustrations or artworks. This particular…

MATERIALS • Arche 300gsm rough• Gesso• Acrylic paints: Cadmium yellow, Alizarin and white• Paintbrush in whatever large size is at hand• An assortment of hard oils pastels of various brands in oranges, pale yellow, yellow ochre, umber, ultramarine, greenish blues such as Cerulean and Phthalo blue, sea greens and white• Sennelier oil pastels in similar colours to the harder pastels• Paper tortillion• Bamboo skewer• Fingers for blending Eating fish and chips on the beach was the best way to gather resource photos for this painting. Seagulls appear from seemingly nowhere once the strong whiff of this traditional beach picnic is in the air. I took a lot of photographs of seagulls then made sketches to familiarise myself with the “seagullness” of the bird. The idea for this painting was the result of playing around with one image of a…

• Draw a subject matter that interests you and that you enjoy. • Always keep a clean piece of paper under your drawing hand to prevent smudging and oil from your skin transferring to the artwork. • Keep your pencils as fine and as sharp as possible to achieve finer detail. • Work from left to right (or right to left if you are left handed) as much as possible to try to avoid smudging your work. • Don’t rush; take the time you need to achieve the results you want. • Put a drawing away and come back to it a day or so later with a fresh mind and eyes if you get stuck and don’t know where to go next. • Never give up and always try…

• Try to draw every day, this will keep your eye accustomed to the negative spaces and the accuracy of the finished drawing. • When painting with pastel, I have found it best it best to start at the top left-hand corner and work outwards to the right and down. This means that the pastel dust doesn’t fall on completed work. Also I turn the painting around when working on the sides for the same reason. • Cover paintings being worked on with Glassein paper to prevent dust from settling on the surface. • Always choose a subject to paint that speaks to the heart. • A good clear reference photo with the most accurate colour matching you can get is essential for studio painting. • Good lighting is a…