Innholdsfortegnelse for Issue 42 i Artists Drawing and Inspiration

• Paper: For this demonstration I used a sheet of Stone Henge torn in half. You can purchase it in a range of tones. I like soft, warm tones; they are easy to frame, easy to hang in homes and give the picture a sense of warmth. Other times and particularly for pen work I love Arches HP 300gsm watercolour paper.• Pencils: I use a combination of Rotring mechanical pencils in sizes .35, .5 and .7. They don’t go blunt like normal pencils and allow me to keep a consistency in my line work. I use H, HB, B, and 2B leads in these. I need a blend of hard and soft pencils to achieve my techniques and so I love General Kimberley and Derwent Graphic pencils. I use a…

• A pastel artwork is described as a ‘painting’ if the image covers the whole piece of paper, even when there is no use of the pastel in a wet form or the use of paint brushes. When there is a large portion of the paper remaining, it is referred to as a sketch. • Pastel pencils are useful for sketching and adding fine detail to a pastel painting. Essential colours include white and black; although a whole set is beneficial. Graphite pencils may leave indentations on pastel paper which cannot be lifted out. • I consider medium to dark toned pastel papers easiest to work on. • Use warm and cool colours to enhance your painting. Throw violets in your shadows to bring them to life. • Use warm…

Horses have always been my passion. The reference material for this painting is from my own photo taken of a friend’s gorgeous Friesian stallion in western Sydney known as “The Wizzard.” To start I attached a sheet of black Colourfix pastel paper to a board on my easel. You can use masking tape or strong clips to attach the paper to the board. The pastels I use are Art Spectrum, Unison, Winsor & Newton, and Rembrandt. STEP ONE I mark up the halfway marks horizontally and vertically as a guide with a white pastel pencil before sketching the basic outline. Leave at least a 1cm border for framing later on. Colourfix paper has a white border around the edges of the paper already. I sketch in the outline shape of…

• If you are just starting out with pastel, buy a set of 24 or 36 colours and expand your collection from there. You will probably find that you use more white than any other colour over time, so stock up when you can. • Work with a damp (not wet) cloth next to you, so that you can regularly wipe your fingers. This is especially necessary if you are using your fingers to smudge with. • If you are working with a layered approach, leave your final layer unfixed to keep the colours vibrant. • Due to their fragility, pastel paintings are best preserved under glass. When you are having pastels framed, ensure that the framer leaves a gutter between the matt and the painting for pastel dust to…

I was born in Sydney, and moved to the New South Wales Central Coast where I spent my childhood as part of a large family on a small hobby farm surrounded by grassy paddocks and bushland. For as long as I can remember, I loved drawing. I spent lots of time drawing pictures for my friends – copied from cute greeting card illustrations or photographs of horses. up My in a tree, or walking through was the bush looking for echidnas and lyrebirds in the hills behind our farmhouse. I think I was born with a love of Nature and the animal world. I studied science subjects at school rather than art, because it was considered difficult to achieve high marks in art at the time. I studied to become…

STEP ONE Whether I am working from a sketch made at the scene or from a photograph I always square up the page using 4, 5 or 6cm squares, depending on detailing shapes of buildings for accuracy, and in this instance I used 5cm squares. The sketch was slightly smaller and that I had also covered with squaredtracing paper. Using a pencil I prepared an accurate outline of the picture. STEP TWO Carefully draw the outline of the buildings, using finer point until you have an accurate outline of the picture. STEP THREE Ialways top pictureslowly working down to complete the buildings. I begin with the roofs. Note that the wood beams vary in light and darkness, width and shape and using longish strokes in line with the timber grain…

• I keep my pastels in sectioned containers with the same shades laying in rice flour or ground rice. This keeps your pastels clean and removes dirty particles as they roll around in it. When the rice flour is dirty, just tip it out and replace with clean rice flour. It saves wiping your pastels all the time. You can use the tiny broken pieces of pastel for fine details such as eyes. • Having a colour chart of your pastels is a good idea as you will find you have favourite colours you like to work with and when replacing them you can match the exact colour or code number you require. • Have lots of hand wipes when you are working as you will have to keep your…

STEP ONE My first step is to always seek the reference photo or photos/images from which I will work. There are a few different sites on the internet that offer reference images for use, either for a fee or free. I also find it easier to have a plan for the whole work, otherwise I tend to find I get halfway through a drawing/ artwork and either do not know what to do, or the artwork doesn’t work. STEP TWO Preparation paper photos. I use a grid to draw the outline to get the proper proportions, especially when enlarging images. I do a one centimetre grid on the reference photo – which I usually do on a transparency sheet so I can reuse it to make it easier, and then…

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 do not come loose…

For pastellers • There are several choices of paper in a variety of colours, so choose a colour to enhance your work. Tex and Canson are my choices. • Make a road map in Orange or Red Conte before starting your pastel work. • Dark areas can be under painted with black drawing ink if working on Tex paper; this will make your pastels “sing’. • Don’t be too heavy handed with your pastels, try to just caress your paper, if you have too much pastel on the paper brush it off with a bristle paint brush. • Pastel can be used in many ways, either on the side after removing the paper cover or as a drawing tool; there is no right or wrong way. • Pastel is good…

• Some photos just don’t work for drawing/ reference. It is best to have multiple photos/images to use as reference, both in colour and black and white. • I prefer to use a thicker rougher paper as I find that it adds more texture to the drawing. Plus I also find that the graphite sits better on a rougher paper. • Find graphite pencils that you like. I find that different brands draw differently. I prefer Faber Castell as I have found that they have been the most consistent across individual pencils.…

• Blue Grey Colourfix Paper.• Pastels: Phthalo Blue; Indianthrene Blue (Tint 3); French Ultramarine (Tint 3); Winsor Blue Red Shade (Tints 1 and 3); Cerulean Blue (Tints 1 and 3); Madder Lake Deep; Spectrum Red; Permanent Alizarin Crimson (Tint 5); Winsor Violet Dioxazine; Quinacridone Magenta; Vermillion (Tint 3); Scarlet Lake (Tint 3); Indian Red (Tints 2 and 4); Scarlet Mortuum (Tint 4); Quinacridone Violet (Tints 2, 3 and 5); Flinders Red Violet; Silver White.• Workable Matt Fixative.• Set of 24 Derwent Pastel Pencils. White Compressed Charcoal.• Compressed Paper Torchon for smudging in fine detail areas.…