Innholdsfortegnelse for Issue 28 i Australian How To Paint

I only ever use artist’s quality paint and mediums and finish with a solvent sealer. I use a variety of brushes I have collected over the years and have learnt not to throw any away as some of my most used and abused ones adapt well for various techniques. I have a large variety, but my most used brushes are taklon flats, combs and long liners in various sizes as well as No 10 taklon fan and various round and pointed sable brushes. I am constantly upgrading my large soft blending brush as I use it often and it doesn’t take long before the bristles stiffen up. I use paper towel and mineral turpentine for cleaning, and masking tape for the horizon lines. When it comes to paints, I use…

STEP ONE Because this is a place that I love and know well, I did not use a photograph to provide inspiration … only my memory. I chose not to paint in the open air, when midsummer temperatures were in the late 30s and the plant life was seemingly dead. In South Africa, as in Australia, painting outside can be unwise due to serious ozone depletion. Using a piece of charcoal approximately 3cm long on its edge, I dragged a centimetre line along each of the four sides of the paper, thus ensuring that there was enough space provided for framing purposes later. Applying the ‘Thirds Rule’, I made small charcoal marks horizontally and vertically, and added light marks where I thought the centres of the paper were. I did…

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“I can’t imagine my life without painting, and my goal now is to keep on improving, and challenging myself in all facets of my life and most of all, to keep on dreaming.” I began painting when my eldest daughter was 18 months old. I felt I needed to do something, other than change nappies and keep house. At first I tried to do an accounting course at the local TAFE College at nights, but when it took me all day to do one profit and loss statement, I surveyed my house, the paper strewn from one end to another, and me squashed up against the front door dreading the next 19 questions, and everything added up to forget it, So, the next day I found myself standing in front…

Bay Art and Design has recently opened the ‘Murray Charteris Art Gallery’ in Hervey Bay, Queensland, showcasing the brilliant work of Murray Charteris along with some more of Hervey Bay’s finest artists. The community of Hervey Bay is very excited about what the gallery has to offer. According to many local artists, ‘This is what Hervey Bay has been waiting for’! The gallery has a room set aside for artists to exhibit their own work, along with a working studio for art lessons and an art materials store. Gallery owner and artist Murray Charteris has spent the last decade as Head of Graphics at Channel Nine in Brisbane and has recently made his sea change to Hervey Bay to realise his dream of becoming a full-time artist. “I’m really excited…

I live within a stone’s throw of a pristine beach. Light, whether it be in the early morning or at dusk when everything is washed in a pinky glow, features in most of my current work in the seascape genre. I work ‘large’ to avoid unnecessary detail (an advantage when one’s eyesight is not as good as it used to be), on cotton duck canvas. STEP ONE Take the deep edge canvas and gesso it three times. If it is commercially primed, check the weave to see if it needs another coat. Using the two inch hardware brush, wash a coating of Vermillion (Cadmium Red) over the entire canvas. Putting in a coloured ground in this way serves two purposes: It creates a ‘unified’ painting; and it allows the warm…

Born in England, I migrated to Australia in 1968 at the age of ten. I work full-time as a clerk with the State Government and I live at Lake Macquarie in New South Wales. I completed an informal art course at Dobell House, Wangi, when my youngest child was 18 months old … because I needed some ‘me’ time. My daughter is now nearly 18 years old. I have an affinity with the ocean and I love painting the movement of waves; and trying to achieve the translucency of water. I have an older brother who has been an artist most of his life. As a child, I always compared my artwork with his. As a result, I didn’t consider myself very good at drawing or art – and left…

First published in the UK’s The Artist magazine, April 2012 issue, available from www.painters-online.co.uk” STAGE ONE I began by roughly sketching the scene with the edge of an Artbar. I was able to cover large areas quickly and create sharp edges, which is perfect for the silhouette shapes on the mount and castle. STAGE TWO I added further colours, working with the Artbars as crayons without any added water. With their creamy consistency, the colours mingle very well together. Wiping a dampened brush over the Artbar creates an interesting mottled effect, which was just what I was after to add interest. STAGE THREE By adding more water I was able to create the drips and dribbles that I love. I also worked on darker areas by flicking a slightly dampened…

My life has been anything but average; in fact it has been very special in so many ways. At the age of four my family left England and moved to a small mining town in East Africa where we lived for a year, then spent nine years travelling around South Africa. The sights and sounds of nature were everywhere. I fell under its spell and have been there ever since. From climbing mountains to exploring caves, discovering the oceans and rivers, trekking through bush and jungle or feeling the heat and cold of the desert I have been fortunate enough to experience all of these and more. The wildlife was amazing, so many shapes, sizes and colours. I experienced the privilege of cuddling a lion cub, riding on the back…

I work on a draughtsman’s board at a nearly vertical angle. I have made a tray out of thick paper and taped it to the bottom of the board to catch pastel dust. I periodically vacuum this out. My father-in-law made a small table on castors which I keep on my left. This holds the pastels I am currently working with; and my calculator, ruler and colour charts. The table on my right holds all of my pastels (which are kept in drawers in colour-coded order), and my pastel pencils. STEP ONE I firstly decided where the horizon line would be and then painted the sky using a light purple underbase with Ultramarine Light blended over the top, wearing the finger of a disposable latex glove on my blending finger.…

The seaside with its vivid colours, endless movement and constant change is Scott Christensen’s muse. His work commits to canvas the beautiful crystal clear days south eastern Queensland is famous for as well as scenes of blustering seas during dramatic storms and local attractions such the distinctive Byron Bay and Coolangatta headlands. His subjects are close to his home and close to his heart and this shows in his careful rendition of colour and the attention to detail in his work. child Scott remembers often As a , drawing cartoons and even winning a stamp design competition when he was just ten. “I was always the kid that all the other ones would crowd around in the classroom to see what I was drawing,” he remembers. And even though he…

For the demonstration I have decided to do a painting with paint, knife and brush and the added challenge of just two colours, Titanium White and Paynes Grey. There are a number of combinations that you can use, choosing the right ones can give you really effective results. The majority of my paintings are from my imagination and what I visualise on the canvas after it has been primed. If you would like to try this technique yourself, give it a go. Choose a canvas that you are comfortable with and give it a coat of Titanium White using a larger brush. Don’t be too fussy how you apply it, just not too thick as the idea is to allow the brush to spread the paint creating high and low…

STEP ONE  I have decided to use a photograph I took of the Glasshouse Mountains from the Bribie Island side of the Pumicestone Passage as a reference. I like to put the background down first when painting a seascape. Using a 2” brush, I load it with some Cobalt blue, and some Ultramarine for the sky. I paint thinly adding water to the paint. I like to blend the colours on the canvas. I tend to work down from the top of the canvas, from dark to light, so when I am midway through the sky I start to add some white to define the horizon. Next I will start with the water. I use a combination of Pthalo Blue and Pthalo Turquoise to put the first wash down. I…