Innholdsfortegnelse for Issue 49 i Australian How To Paint

Presently, I live in a small rock lobster village about 60 kilometres north of Perth in Western Australia, although I was born in Melbourne. My home is only a stone’s throw from a pristine beach with spectacular high dunes and a reef running parallel to the shore. The beach has been a major influence on my current work which boasts large acrylic canvasses depicting the dunes and the ocean at varying times of day. I’m especially interested in light and the patterns it makes in the early morning and at dusk – when everything takes on a pinkish tinge. I work at home in my studio upstairs, where I can see the views I love and where I have natural lighting for painting. In the summer it gets very hot…

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. MATERIALS • Medium grey sanded pastel paper. • Rembrandt pastels (medium). • Schmincke pastels (soft). • Pastel pencils. • Charcoal. • Kneadable eraser. • Dust mask. • Disposable latex glove. • Paper torchon. • Stanley knife. • Clear plastic ruler.…

MATERIALS • Canvas • Assorted oil paints: Pthalo Blue, Viridian Green, Indigo, Burnt Sienna, Cadmium Yellow, Cadmium Orange, Forest Green, Gum Leaf Dark, Cadmium Yellow Light, Cadmium Green, Ultramarine Blue, Lemon Yellow, Titanium White, • Atelier Artist Quality Gesso • Assorted brushes: taklon flats, combs, long liners, taklon fan No 10, round, sable, large blending brush • Assorted colour pencils • Mineral turpentine • Paper towel • Masking tape • Solvent sealer 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…

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MATERIALS • Better quality Winsor & Newton deep edge canvas – 38 x 40 inches. Cheap canvas stretchers warp when doing a canvas of this size, so money spent initially will save heartbreak later. • Atelier and Matisse acrylic paints. Avoid cheap imitations. Matisse has a ‘buttery’ texture, while Atelier is easier to spread on the canvas. Use whichever you prefer. Cheaper paint can be used for underpainting during the initial stages. • Brushes: Use a variety of acrylic brushes. I use mostly rounds and brights for foliage. A two inch hardware bristle brush is a good tool for beginning washes of ground. A liner brush is used for final details. • Colours: Turquoise, White, Black (for toning only), Cadmium Yellow, Cerulean Blue, Purple, Alizarin Crimson, Naples Yellow, Burnt Umber,…

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…

MATERIALS • Canvas board 100mmx75mm • Atelier paints: Cobalt Blue, French Ultramarine, Titanium White, Pthalo Blue, Pthalo Turquoise, Pacific Blue, Paynes Grey, Burnt Umber, Indian Red Oxide, Naples Yellow, Juane Brilliant, Sap Green and Cobalt Turquoise Light 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…

Born in England, I migrated to Australia in 1968 at the age of ten. I work ful -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 Dobel 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…

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. As a child, Scott remembers often 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 has…

MATERIALS • 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 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…

MATERIALS • Acrylic paint: Titanium White and Paynes Grey • Brushes: 50mm house painting brush, • 000 detail brush and a 20mm flat • Medium sized paint knife 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.…

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…