Innholdsfortegnelse for Issue 55 i Artists Drawing and Inspiration

Born in Southern England, my love of drawing really began in my late teens. I had left school at 15 years of age to start an apprenticeship as a carpenter and joiner, and remember while attending technical college drawing classes, which were a part of my apprenticeship, being told that I would make a better draftsman than carpenter. By my early 20s I was married and during one particular rainy holiday, my wife Dot and I took a caravan in Norfolk England, and with no television or other comforts, we would venture out between showers and during one of our trips I bought a Broadlands Sketchbook which I still treasure today. This book inspired me to go out and sketch, a passion that has only grown over the years since…

MATERIALS • Terracotta Colourfix pastel paper. • Schmincke, Art Spectrum and Rembrandt pastels. STEP ONE I had started another painting on this sheet of Terracotta Colourfix, and decided to abandon it. After tapping and brushing off most of the existing pastel, I washed the paper with a brush lightly loaded with water; and blended some of the remaining pastel. The main shapes were next placed in with hard and semi-soft pastels. After checking the composition, I decided that the buildings were too large – so I moved them further back into the painting, allowing for a better lead-in for the viewer. Starting with the sky and moving down the paper, I blocked in the main features – placing the lightest tones where needed so they remained fresh. At this stage…

MATERIALS I’m going to keep things really simple because that’s the way I am. You can use any tool you want if it creates a scratch on your board, but I generally limit myself to a select few and for this demonstration, I have used only one tool plus a one inch paint brush and some diluted Indian ink. The tool I’ve used is a small fibreglass brush shown above. You can buy these in some art stores, hobby shops or online. TECHNIQUES Scratchboard is an extremely versatile and forgiving medium. When people tell you that you need to get each scratch in exactly the right place first time or your board is ruined, don’t believe them. If you are painting in oils and make a mistake, you simply paint…

There is nowhere to hide when you draw, visual accuracy especially when drawing architecture or the built environment with just a pencil and sketchbook is essential, for the most part the natural flow of building along a busy high street or an isolated farm cottage are something we take for granted, but when attempting to render the building the laws of perspective and their relationship with the immediate surroundings must be observed if you are to achieve a visually pleasing composition. I keep my drawing materials to a minimum when I’m out drawing with HB and 2B pencils, I like to draw with a very fine point and the harder the lead of an HB pencil will hold its point longer especially on smooth paper. When roughing out a sketch…

The Workshop Arts Centre is an independent not-for-profit art centre and workshop facility which was established in 1961 to promote and foster appreciation of the creative and visual arts. The Ewart Gallery, housed within the Workshop Arts Centre, was named to honour the founder Joy Ewart. The gallery, officially opened in 1996 by artist John Coburn, is a space where the work of emerging and established artists is exhibited. Through this gallery the Centre aims to encourage and stimulate interest in different art disciplines by promoting the work of local artists, as well as artistic groups and organised bodies in the wider community. The Workshop Arts Centre with its integral Ewart Gallery is located at 33 Laurel Street, Willoughby NSW 2068. Email admin@workshoparts.org.au – or telephone 02 9958 6540. The…

Born in Hobart, Tasmania, in 1950, I developed a passion for drawing inherited from my father. I graduated from the Tasmanian School of Art in 1971 as an Art Teacher and worked in seven government schools before retiring in December 2005 to pursue a greater focus on my art. During my time as a teacher I managed to practice my art where and when possible. As well as being a producer of art, I am currently the Curator of the Mezzanine Gallery at Country Club Tasmania; an art judge; and art reporter for ABC Radio, Northern Tasmania. I also conduct art workshops. I began exhibiting in 1976 with the Tasmanian Independent Artists’ Group. Besides many solo exhibitions, I was a member of the former Tasmanian Abstract and Contemporary Artists’ Group…

Ngurratjuta Iltja Ntjarra: Many Hands Art Centre is proudly Aboriginal owned and operated and is situated in the township of Alice Springs. This art centre has been established to provide a place for Arunda artists to come together to paint, share and learn new techniques and ideas. Marilyn Armstrong who is one of the centre’s prominent artists, and also a Ngurratjuta board member, says of the art centre: “It’s a place where we can sit and talk together about the dreamtime and learn from each other.” The art centre is funded by the Ngurratjuta/Pmara Ntjarra Aboriginal Corporation – an association of those communities affected by the oil and gas mining operations at Mereenie and Palm Valley. Ngurratjuta supports a range of well established contemporary watercolour and acrylic artists who frequently…

MATERIALS • 60 x 40 cm sheet of Canson pastel board, colour 502, Havane Clair. • Can of workable fixative. • Derwent Blender (pencil). • Bantex eraser. • Ledah 333 electric pencil sharpener. • Coloured pencils: Prismacolor French Grey 10, 20, 50, 70, 90; Cool Grey 10, 20, 30, 50, 70, 90; White; Orange; Mineral Orange; Cream; Sand; Jasmine; Yellow Ochre; Goldenrod; Ginger Root; Beige; Beige Sienna; Sandbar Brown; Burnt Ochre; Celadon Green; Cloud Blue. Verithin Black. Polychromos Warm Grey 1, 2, 3; Cold Grey 5, 6; Black. STEP ONE For this drawing I used a 40 x 30 cm piece of Canson pastel board (colour 502); and Havane Clair, Prismacolor, Verithin and Polychromos coloured pencils (these are my preferred pencils as they are of the highest quality and they…

Nola Clark has a few early school day recollections which include ‘being the smallest girl in school’. She also has a fond memory of regularly topping the class for drawing and sketching. As a child she can’t remember having many toys, but vividly recalls having plenty of kids’ paints, coloured pencils and loads of paper and Spirax sketchbooks. Nola’s early forays into art clearly laid the foundation for a successful and fulfilling art career … even if it did take another thirty years to crystallise her interest into a serious and pleasurable pastime. Marriage, motherhood and mortgages were her prime concerns until the late seventies when husband Alan began rummaging through old boxes and drawers and located many examples of Nola’s drawing activities from her school days. Alan was astonished…