Innholdsfortegnelse for Issue 41 i Artists Drawing and Inspiration

Dear Editor, I would love to see some of my quirky, watercolour and ink art appear in Woodland’s Gallery, Artist’s Palette magazine. Enclosed are photographs of my paintings and a postcard which supplies a brief description of my background. Thank you for allowing developing artists to contribute to Woodland’s gallery. It is the first article I turn to in each edition of Artist’s Palette. C Jeanette Noblet Bongaree QLD 4507 Elena first worked as a visual art teacher after she graduated from Pedagogical University of Kazakhstan. She arrived in Australia in 1998 and after settling in she started painting again. She works in oils , mixed media and more recently color pencils . She especially enjoys painting animal portraits JACK TIYCE Aged 23, Jindabyne, NSW Tynan Salamore Hi My…

Ihaven’t had any formal art training, but I did excel at art during high school, receiving multiple year level awards, and I also chose to do arts focused electives during my university studies. Attending life drawing classes, art sessions run by local community art groups, and painting with friends have been good motivators to keep creative activity a priority in my life. I have loved the arts since I was a young child. My mother was very creative and dabbled in many creative and artistic pursuits – painting (watercolour, acrylic, oils, abstract, realistic, using different materials, techniques and tools), drawing, tapestry, ceramics, textiles, photography drama singing music – so I was surrounded by creativity and artistry and got to see art making in action all the time. Mum was a…

Johannesburg in South Africa was my birthplace. I now live at Heidelberg in the Western Cape Province of South Africa, and I paint full-time. I attended Rhodes University at Grahamstown, to study for a Bachelor of Fine Arts Degree, tutored by Professors Brian Bradshaw and Robert Brook. Subsequently I completed two courses in Ceramic Sculpture with Charles Gotthard; four years of ‘unlearning’ technical illustration habits with Wendy Martell; and a Stained Glass Techniques course with Marise Mill. Becoming one with the sea or the mountains or fields is what I am passionate about when painting … being in ‘the zone’. I’ve scribbled, drawn and painted ever since I can remember, something I realised when I was sorting through boxes of my mother’s treasures after she died. She had kept every…

• Before working with pastels, always tear the label off and break a piece about 20mm long to work with. Write the manufacturer’s name and colour details on a chart before you do this. • Always use the best quality pastels you can afford. Save money to buy the colours you will use the most. Buying large boxed sets is very exciting, but there are many colours which you may never use. Use the best acid free toothed paper you can afford and always choose the colour according to the type of mood you want to project in your painting. • Try and use your camera for reference purposes only. The camera’s lense does not work the way your eyes do, and what you get on a photograph is not…

Born in Brisbane I950, Paul attended the Brisbane College of Art and worked in the fashion industry for 10 years before becoming a full-time artist in 1980. l started drawing and painting from an early age, like most children, and the interest continued into my teen years. After l finished school l enrolled at the Brisbane College of Art and spent three years learning very little that would be of use to me in the years to come. With family responsibility and the need to make a living, until the age of 30 I worked in the daytime and spent my nights working on my art. Very little from that time has survived today, but l keep some pieces as a reminder of a need to improve. My biggest shock…

MATERIALS • I used Mi Teintes TEX Pastel paper (this comes in a range of colours. I chose black. It is highly textured and as I was working on it I realised I would have actually preferred to use a standard Canson pastel paper with less texture for this piece) • I use a range of charcoals and soft and hard pastels that I have bought over time including Coates Willow Charcoal, Rowney Charcoal, Lefranc and Bourgeois soft pastels, Schmincke, and Conti crayons. Some are very soft and have rich colour. My Conti’s are my staple though. I’m not precious about my pastels and have broken all of them into much smaller pieces. I tend to mostly use them sideways to get a generous covering. Sometimes I like to blend…

I have been interested in art since I was a child. My mum said to entertain me she would sit me down with some pencils and I would easily occupy myself all day. I enjoyed art throughout my school years doing multiple art subjects, but after graduating I did not pursue it any further. I have always remained creative, trying many different avenues such as jewellery design, fashion and photography. But it has only been in the last two or so years that I have really started to pursue my artistic side through drawing, and will try to see where it might take me. I am self-taught, attending a few workshops here and there. I enjoy learning, and have a lot of art books that I refer to. I believe…

I was born in Benalla, north east Victoria, but actually lived in a very isolated country area called Toobullup, near Tolmie. Our family moved to Benalla for a short time before moving to Thoona; my Dad running the Post Office. From there we moved to Meeniyan in South Gippsland. Both my parents came off the land and Dad had always wanted to raise poultry, so when the opportunity arose, he moved us back to the north east to live in Wangaratta, where he became a poultry farmer. While living in the country, creativity was found in an age of self-sufficiency, and at an early age I learnt to sew and cook, and also watched and learned as my family grew vegetables, baked, preserved fruits and jam, raised chickens, milked a…

Use fixative at various stages, particularly if you notice your bright pastel work is becoming muted and muddy. Fix your work at the end too. Break your pastel sticks into smaller pieces. Don’t try to keep a stick in pristine condition. You bought them to use them. Enjoy the messiness and use your fingers to spread and blend colours– you might need to vacuum chalk and dust up afterwards if you have been too vigorous. Don’t be afraid to put your frame of reference down (eg if you are using a photo/picture as a starter) and just go with what you feel. Whatever colours you use, make them appear across your work in a range of places. Try to have an uninterrupted block of time to work. I did this…

10 TIPS FOR USE OF COLOURED PENCILS • Most important – always keep your pencils sharp • Use good quality paper that will not saturate your colours • Always start your paintings with light pressure to avoid any flaking of the colours. Gradually increase your pressure (light, medium to heavy) when adding layers of colour to achieve different depths and tones of colour. • Always use a soft brush to brush off any residue (from eraser or build-up of wax from pencils). Drafting or makeup brush will do the job. • Spray each completed layer with a good quality matte workable fixative. This will prevent wax build up and protects your work. • To create intense colours from your pencils, try using a turps based solvent painted over the colours…

STEP ONE Choose a reference photo. In this case I have chosen an amethyst crystal. For this piece I have one reference photo, but ultimately you can use as many as you like. I often use many images to piece together the final image. STEP TWO I begin by picking out as many colours from my pencils as I can see in the reference photo/s. With the chosen pencils I will then start a test sheet so I can see exactly how the colours will look against each other. From here I can eliminate or add in more colours as I go. STEP THREE I start by mapping out the subject in a light colour to use as guide lines. In this case I have used lavender as the final…

• Arches Pastel and Fusain Laid Paper, 29.7 x 42 cm, Ingres MBM, 130gsm.• Charcoal.• Schmincke Pastels: White; Light Green; Grey Blue 1; Light Ochre; Greenish Grey; Greenish Umber; Olive Ochre Deep; Permanent Red; Carmine Red; Madder Lake; Gold Ochre; Manganese Violet.• Rembrandt Olive Green and Green Earth.• Sennelier Pastels: 133 Prussian Blue; 298 Light Yellow.• Unison Pastels: 44; A29; BV11; BV9; BG6; BG2; various other Blues.• Winsor & Newton Natural Sienna and Winsor Yellow.• Faber-Castell Art Eraser.…

STEP ONE Firstly, read the Hints & Tips at the end of this demonstration. Trace the pattern onto tracing paper, using the fine permanent pen. Using preferred method, transfer pattern onto watercolour paper with 2B pencil. Carefully rub out any dark pencil lines. The leaves are optional. Tape onto board. STEP TWO Taking approximately half a chocchip size of paint, place Sepia and Yellow Liquid Pencils on your palette. Taking a little of each, add water to make a very pale colour. Dampen each area with water and lay down the first very pale washes, using Sepia for the rose and Yellow for the leaves, stems and sepals. This is to give a softness to the overall design. STEP THREE Increase the strength of colours and start to define areas…

• Transferring patterns can be done several different ways e.g. free hand design in pencil, pattern can be of your own choice; rub a 6B pencil onto the back of the pattern, then using a stylus or old Biro, trace onto paper; use a light box; you could even use a window. • Cover dry work with a paper towel to keep clean where possible. • Use small quantities of Liquid Pencils at a time, as they are very economical. • Even though Liquid Pencils will dry, they are rewettable. • Use the very versatile dagger brush that best suits what you want to do e.g. cover a larger area with longer edge; tip for fine lines; dragging down length wise for pulling veins. • Depending on the paper used,…