You are on page 1of 85

D R AW I N G & I N S P I R AT I O N

HINTS AND
IDEAS FROM
CREATIVE
ARTISTS

STEP BY STEP
PENCIL AND PASTEL
DEMONSTRATIONS

SPECIAL FEATURE
HOW TO DRAW ANIMALS

WWW.ISEKER.COM
READY TO PAINT SERIES

SAVE
$$$ HURRY!!
STOCKS ARE
LIMITED

HURRY!!
STOCKS ARE
LIMITED

POST CALL  FAX @ EMAIL


PO Box 8035 Phone: 02 4722 2260 orders@wpco.com.au
Glenmore Park NSW 2745 Fax: 02 4733 8583
BOOKS ONLY $17.99ea
Artist's Drawing and Inspiration is proud to present the latest
Ready To Paint Series. Start your collection today!!These books are usually COL
L
priced at between $21.99 and $23.99 but we have them at the SPECIAL PRICE
THE ECT
ALLM
OF $17.99. Save up to $6.00 per book. All mediums are covered with step-by-st
instructions.These books offer a straight forward easy-to-follow approach and are
great addition to your Artist’s Palette magazine.

HURRY!!
STOCKS ARE
LIMITED

HURRY ORDER TODAY


TITLE Q MR Q MRS Q MS Q MISS

Name __________________________________________________________________________________________________________________
Address________________________________________________________________________________________________________________
State______________________________ Postcode_________________________
Email___________________________________________________________________________________________________________________
Telephone (inc. area code)_____________________________________________________________________________________________

PLEASE DEBIT MY: Q MASTERCARD Q VISA


Card No QQQQQQQQQQQQQQQQ Expiry date QQ/QQ
Cardholder name (PLEASE PRINT)_________________________________________
PLEASE TICK BOOKS REQUIRED
Signature____________________________________ Date ___ /___ /___ If you would like more than one of a
particular book please place quantity
Q Cheque/Money Order (Aust. only) I enclose a cheque/money order made payable to required in the box.
Woodlands Publishing Pty Ltd (ABN 30 115 093 162) for $ ........................

* All prices include GST. Please add Parcel Post $9.95


E itor’s Note of Drawing and
, we have some
fantastic artists who will reveal
all the secrets behind their wonderful
techniques. We have pastel and pencil
drawing using a range of techniques
and styles. Every artist will inspire
you to draw and create. We also have
a special feature on how to draw
animals and our inspirational gallery is
just one part of this exciting edition of
Drawing and Inspiration.
We would really like to hear from
you so please keep sending your letters to
Woodlands Publishing,
PO Box 8035 Glenmore Park NSW 2745
or simon@wpco.com.au. If you have
some drawings you would like us to see
please send them in as well.
Keep on drawing,

Simon and team

4 Artist's Drawing and Inspiration


68

Issue No.26 2017

12
ARTIST INSIGHTS AND
DEMONSTRATIONS
12 Margaret Ann Wilsom
20 Tracey Choyce
28 Pamela Pretty
38 Jacqueline Cleijne
52 Terry Bailey
60 Kevin N. Roger
68 Sheryl Billings

FEATURES
48 Drawing Inspiration -
Drawing Animals Conrtibuted by
John Cornwell

28
REGULARS
4 Editor's Letter
8 Reader's Gallery
76 Books and DVD's Store
82 Next Issue 38

20
Cover Image By: Tracey Choyce

48
Woodland’sgallery

Tracey Dawes Tracey Dawes

Tracey Dawes Tracey Dawes

Hi,
My name is Tracey Dawes and I live near Mackay and the Whitsundays in Queensland.
I started painting with folk art classes in Sydney in the 90’s, and have developed ever since. Art was only a hobby until I moved to
4XHHQVODQGGXHWRP\KXVEDQG·VMRE\HDUVDJR,FRXOGQ·WÀQGD¶SURSHU·MREP\VHOIVRGHFLGHGWRKDYHDJRDWWXUQLQJDUWLQWR
D FDUHHUKROGLQJP\ÀUVWH[KLELWLRQDWWKHULSHROGDJHRI
I love acrylics, but have recently discovered watercolour and pastels - why limit yourself to one media?

8 Artist’s Drawing and Inspiration


These feature pages are reserved for displaying the work of emerging and
developing Australian artists; as well as other unknowns whose efforts may
provide interest for our readers.

Annette Sherratt Annette Sherratt

Annette Sherratt Annette Sherratt

I'm sending a copy of Annette Sherratt's work – a 'Creative Artist' reader from NZ. Annette is very taken with the pen
stipple style and has incorporated it into her artwork and been practising with my photography from the 'Shooting
For Art' articles, she has sent me some copies for appraisal. Her work has a lovely contemporary application which
is well suited for textile designs of which she likes to produce on T-shirts.
Kind Regards
Margaret Hodgson OAM

Artist’s Drawing and Inspiration 9


oodland’s galler

Tracy Mitchell Tracy Mitchell

Tracy Mitchell Tracy Mitchell

Dear Woodlands Gallery,


0\YHU\ÀUVWFKLOGKRRGPHPRULHVZHUHRIPHGUDZLQJKRUVHVIRUP\1DQD6KHZRXOGVWLFNWKHPDOORYHUKHUNLWFKHQDQG
QHYHUWRRNRQHGRZQ%HVLGHVEHLQJDQ$UWLVW,DPD1XUVHLQZKLFK,GHDOZLWKKXPDQHPRWLRQRQDGDLO\EDVLV7KLVLQ
itself can be emotionally taxing. My art is mood orientated and designed to focus on the brighter side of life and invoke
feelings of joy from those who look upon it.
I don’t set out to produce art about one subject or another. There is no structured thought process, it just seems to evolve.
My love for animals provides me with day to day inspiration to create and capture moments I translate into my art.
Kind Regards,
Tracy Mitchell

Mail your submission to: Woodland’s Gallery, Artist's Drawing and Inspiration magazine,
PO Box 8035, Glenmore Park NSW 2745 or e mail to ap@woodlandspublishing.com.au.
Be sure to include a contact telephone number with your submission.
THE ARTƌŝƐƟĐĂƐĞů
7ŽĨϭϳǁĂLJƐŝƚĐĂŶŝŵƉƌŽǀĞLJŽƵƌ
Ăƌƚ ĂŶĚ ƌĞŵŽǀĞ ĂĐŚĞƐ ĂŶĚ ƉĂŝŶƐ
1. Rotate
Rot e canvas
ca a as you paint
pa nt
2. Move your art up or down
3. Paint
P i all four
our edges off your
you canvas
can a
WEIGHT
4. sĂƌŶŝƐŚƉĂŝŶƟŶŐƐǁŝƚŚŽƵƚĚƌŝƉƐ͕
sĂƌŶŝƐŚ ƉĂŝŶƟŶŐƐ ǁŝƚŚŽƵƚ ĚƌŝƉƐ͕ ϰ͘ϱ ŬŝůŽƐ
ƐƟĐŬŝŶŐŽƌƌƵŶƐ
ƐƟĐŬŝŶ ƌ ƌ ŶƐ
5. /ŶƐƚĂŶƚůLJƟůƚLJŽƵƌĂƌƚŇĂƚĂƐLJŽƵƉĂŝŶƚ
/ŶƐƚĂŶƚůLJ Ɵůƚ LJŽƵƌ Ăƌƚ ŇĂƚ ĂƐ LJŽƵ ƉĂŝŶƚ
6. ƌƌĂĚŝĐĂƚĞďĞŶĚŝŶŐ͕ŬŶĞĞůŝŶŐ͕ƐƚƌĞƚĐŚŝŶŐ͕
ĚŝĐĂ Ğ ďĞ ĚŝŶŐ͕ ĞĞů ŶŐ Ğƚ ŚŝŶŐ
ďĂĐŬ͕Ăƌŵ͕ůĞŐƉĂŝŶĂŶĚĂůůǀŝƐƵĂů
ďĂĐŬ͕ Ăƌŵ͕ ůĞŐ ƉĂŝŶ ĂŶĚ Ăůů ǀŝƐƵĂů
ĚŝƐƚƌĂĐƟŽŶƐ
ĚŝƐ Ă Ɵ ŶƐ
7. Folds to travel in car boot or caravan

ƌƟƐƚ'ĂǀŝŶLJƌƚ
Versions
e i ns for::
Kŝů
ĐƌLJůŝĐ
LJ ŝĐ
tĂƚĞƌĐŽůŽƵƌ
tĂƚĞƌŽůŽƵƌ
WĂƐƚĞů
ĂƐƚĞ
^ĐƌĂƉĞƌďŽĂƌĚ
ĞŶƚĂŶŐůĞ
Ğ ƚ ŶŐůĞ
WĂůĞƩĞ <ŶŝĨĞ
^ƚƵĚŝŽ
dĂďůĞ dŽƉ
WĂŝŶƚŵŽƌĞĐƌĞĂƟǀĞůLJ͕ĨĂƐƚĞƌĂŶĚƉĂŝŶĨƌĞĞ WůĞŝŶ
ŝ ŝƌ
ǁŝƚŚĞĂƐLJĂĐĐĞƐƐƚŽĞǀĞƌLJƉĂƌƚŽĨLJŽƵƌĐĂŶǀĂƐ

ƌƟƐƚ:ĂŶĞ:ĂŵĞƐ If you doubt this easel could


change the way that you paint
ĨŽƌƚŚĞďĞƩĞƌ͕ǀŝƐŝƚƚŚĞƐĞƚǁŽ
ǁĞďƐŝƚĞƐĂŶĚƐĞĞǁŚĂƚĂƌƟƐƚƐ
who have used it have to say.
ǁǁǁ͘ĂƌƚƌŝƐƟĐĂƵƐƚƌĂůŝĂ͘ĐŽŵ͘ĂƵ
ǁǁǁ͘ĂƌƚƌŝƐƟĐ͘ĐŽŵ
YƵĞƐƟŽŶƐ͍
ŵĂŝů͗ ŶŽƌƚŚƉĂǁΛďŝŐƉŽŶĚ͘ĐŽŵ
dĂŬĞƐƐƋƵĂƌĞ͕ŽďůŽŶŐ
ƌŽƵŶĚĂŶĚŽǀĂůĐĂŶǀĂƐ /ŶǀĞŶƚĞĚ ďLJ ĂŶ ƵƐƚƌĂůŝĂŶ ĂƌƟƐƚ
ƵƉƚŽĂƉƉƌŽdž͘ϭϮϮĐŵ ,ĂŶĚ
,Ă Ě ĂƐƐĞŵďůĞĚ
Ɛ ŵďůĞĚ ƚŽŽ ŽƌĚĞƌ
ŽƌĚ ƌ ŝŶ DĞůďŽƵƌŶĞ
ĞůďŽ ƌŶĞ

ƌƟƐƚ:ĂŶĞ:ĂŵĞƐ

ZŽƚĂƚĞĂƌƚǁŚŝůĞƉĂŝŶƟŶŐ

Artist’s Drawing and Inspiration 11


0 5 : 0 . / ;

Margaret Ann Wilson

%YEOF/BSERVATION
By Margaret Ann Wilson

Draw, draw, and draw some more; develop your artist’s eye of observation.
Sterling advice from a lady who believes that seeing shapes in paintings
requires a truly ‘arty’ eye.

elbourne in Victoria was my


birthplace. I have spent 34
years in Tasmania, however
– where I did most of my painting.
I moved to Ultima in Victoria (in
the Mallee) one year ago, after my
husband died. The town is located
30 kilometres from Swan Hill with
a population of 61. I work every day
painting, studying or reading about
art in my studio at my home.
Before I became ill, I lived in
Tasmania at Murdunna and I worked
at the Port Arthur Historic Site for
many years. After the massacre of 28
April 1996, I became very ill with
Post Traumatic Stress Disorder which
is a debilitating mental illness. I had
a mental breakdown. I was very
sick for years. Because this illness is
incurable, I have to live with it every
day. Management of the sickness and
medication is the only way to have any
control over my life.
My painting has become most
important to me, and I am truly
fortunate to have such an outlet. I
study art and I want to learn and
develop my art to become more
proficient; and more able to help
others to enjoy the great pleasure that
painting can give them.
I have not had formal art training
other than Year 11 and 12 Art as
a mature age student – but I have
painted from my earliest memory, on
everything and anything I could get my

12 Artist’s Drawi g and Inspiration


0 5 : 0 . / ;

hands on. I have worked with a few rather


well known artists in Tasmania.
I am passionate about colour and its
behaviour when mixed; also the effects made
possible by experimenting with colours,
particularly the colours of the Australian
Outback, the bush and farming … in every
painting I want to venture in and wonder
what is going on. Hopefully viewers of my
work want to join me and take adventures to
see over many horizons.
I read and study much about art. I
experiment and take thousands and
thousands of photographs. I study the
colours of the sky, land, creatures, trees,
dirt, rocks, undergrowth; their structure and
shapes … then I create artistic works using
all of the above.
I began painting as a child. As an adult, I
paint almost every day. I paint for myself …
for my head and my heart. If someone wants
to buy any of my paintings, I will discuss
that with them. My intention is to share
my skills and encourage others; learn from
others and develop further my passion to tell
Australia’s story in drawing and colour.
My motto is: Never give up, never give
in, just keep painting. Painting gives me
confidence. I love to meet other artists, and I
particularly like to talk about art.
In the past I have used oils and acrylics
– but I now use pastels as they lend
themselves to the harshness and softness
of the Australian bush. They are able to be
mixed on site. They are easy to transport
and can be very fast to use. A really
versatile medium.
Australia’s bush, animals, desert, Outback,
trees, plants, sunsets, skies … all tell the
story of our country and the people of the
present and past who made this nation what
it is … these are the subjects that motivate
me. I need to express them in drawings and
colour. Australia in all its glory and all its
colour constantly inspires me.
I am a member of Mallee Artists Swan
Hill (MASH) which is very active in the
community. I have been treasurer of the
Tasmania Art Exhibition and involved in
many exhibitions and groups; but now I
paint for me.
I take care of orphaned animals, and
I paint them all. Possums, wallabies,
wombats … I have one such painting with
me here at home and I have been offered
a great deal of money for it, but it will
stay with me. I am also proud of ‘The

Artist’s Drawing and Ins ation 13


0 5 : 0 . / ;

Tiger’s Farewell’ which was acquired


by the Clarence Council at the City
of Clarence Aquisitive Exhibition.
Recently I painted a mural for our
local primary school, which was
lots of fun.
There have been many artistic
disasters for me. I believe that if you
have never made a mistake, you have
never made anything. Sometimes I
envisage just what I want my painting
to look like finished – but I can work
on it until the cows come home and
it just never happens. Once I painted
a farm scene with a gate as the main
focus and I was thrilled with it. Then,
from my studio, I spotted two magpies
interacting with each other. ‘Wow’!
I thought. ‘I will put them in my
painting’! So full of myself and a little
cocky, I put them on my farm gate. It
turned out dreadful. If I had gone back
to my sketch and placed them in and
taken my time, it would have worked
very well. Lesson learned.
One good thing about Colourfix
paper is that you can brush off the
pastel almost to the original colour
and, if need be, apply a coat of Art
Spectrum Colourfix Primer – this
allows you to use the paper again.
Not drawing or sketching my
subject first – to see just what I want
to leave and what I do not need – is
a big mistake. I am not much good at
painting with people around; although I
do give demonstrations.
I keep lots of my paintings at home
in my studio. Many are acquired by
people who visit my studio.
Artists I admire include all the
Masters of the Heidelberg School;
Tom Roberts; Arthur Streeton;
Charles Conder; Frederick
McCubbin; David Davies; Walter
Withers; and the Impressionists. I
adore William Dobell’s people, too.
Many of our own country’s famous
artists told Australia’s story very well
… and now it is our turn.
I have given classes in drawing
and painting in Tasmanian primary
schools, and I have conducted private
classes at my home. I am very happy
to pass on my experience. I hope to
open my studio to other artists to
come and paint and learn.

14 Artist’s Drawing and Inspiration


0 5 : 0 . / ;

I take numerous photographs, and


I sketch and draw a lot. With every
painting, my thoughts are: ‘Why do
I want to paint this’? I look for the
story it is telling me. ‘What do I want
to paint and leave in; and what do I
want to leave out’? I like to eliminate
all the unnecessary elements, then
present the painting to tell the full
story. I consider whether I need lots
of sky, or a little sky; a dramatic sky,
or a soft or pastel sky … keeping in
mind that sky is an atmosphere and
it absorbs all shades of colour (it
is not blue and flat). I work on my
skies, and so on. What, why and how.
I never give in and never give up. I
always put my paintings somewhere I
can see them during the non-painting
times, and make adjustments and
mental notes accordingly. I can see
paintings everywhere.
If I was developing my art now, I
would draw, draw, and draw some
more. Everything around me. I
encourage others to keep a small
pad and pencil and draw … working
on perspective, shading, shadows,
lighting and shapes; and ‘develop
your artist’s eye of observation’.
Observe light on dark and dark on
light. You may walk past a gate and
see that the posts holding the gate
are old wood, slightly burnt on one
side, with fine grass standing out on
the black background; the nails and
twisted wire; the fact that the gate
has not been used for some time; the
wires broken; a rusted chain draped
around a couple of times and almost
touching the ground; a hinge lifting
away from the post … and other
things that make that gate unique.
Another person sees only a gate.
Seeing shapes in paintings takes
a real ‘arty’ eye. All paintings have
shapes. And we need to study colours
from Nature because Nature has no
rules – all colours match and get on
with each other.
My ultimate goal as an artist is to
paint paintings that depict our land,
and to encourage others to notice our
environment and grow a desire to visit
the world around us. Maybe then all
people will respect and protect this
beautiful Australia. O

Artist’s Drawing and Inspiration 15


D E M O N S T R A T I O N

Pastels

/NCE7E RE
)MPORTAN By Margaret Ann Wilson

A simplified and well


named painting tells a
powerful and interesting
story. This clever pastel
artist is delighted to
share her techniques for
the benefit of others.

16 Artist’s Drawing and Inspiration


D E M O N S T R A T I O N

M AT E R I A L S

‡ &RORXUIL[ SDSHU
‡ 6HOHFWHG DUWLVWV· SDVWHOV

KLOH GULYLQJ GRZQ D EXVK


ODQH RQH DIWHUQRRQ , QRWLFHG
DQ DEDQGRQHG SURSHUW\ ,W
VDG WR VHH WKH ROG WHOHJUDSK
SROH VWLOO VWDQGLQJ ² HYHQ WKRXJK LW
KDG QRW EHHQ LQ XVH IRU PDQ\ PDQ\
\HDUV 7KH SRVW DQG OHWWHUER[ ZHUH
IURP DQRWKHU WLPH DQG WKH IHQFHV
DQG ZLUH ZHUH DOO SXW WKHUH E\ IRON
KRSLQJ IRU D IXWXUH LQ IDUPLQJ ,
IHOW , QHHGHG WR WHOO WKLV VWRU\
%HIRUH , EHJLQ D SDLQWLQJ , DVN
P\VHOI ¶:KDW DWWUDFWHG PH WR WKLV
VXEMHFW DQG ZKDW VWRU\ LV LW WHOOLQJ
PH·" , QHHG WR GHWHUPLQH ZKDW WR OHDYH
LQ DQG ZKDW WR WDNH RXW 2QFH , KDYH
GHFLGHG KRZ , ZLOO SDLQW WKH VXEMHFW ,
VWDUW PDNLQJ PDQ\ VNHWFKHV DQG GRLQJ
ORWV RI SRQGHULQJ , ILQDOO\ FRPH WR D
FRQFOXVLRQ DERXW KRZ WR WHOO WKH VWRU\
*LYH WKLV WHFKQLTXH D JR « VHH ZKDW
\RXU ILQDO VNHWFK ZLOO EH ,W LV D IXQ
ZD\ WR VWDUW D SDLQWLQJ $V \RX DUH
ZRUNLQJ DQG WKLQNLQJ WKLQN DERXW WKH
FRORXUV VKDSHV GLVWDQFH DQG VR RQ
, DP RQH DUWLVW ZKR QHYHU KDV
¶ZKLWH FDQYDV V\QGURPH· %\ WKH
WLPH , DP UHDG\ WR EHJLQ SDLQWLQJ
, DP VR H[FLWHG , FDQQRW ZDLW WR
JHW P\ KDQGV FRYHUHG LQ SDVWHO
6WDUWLQJ D SDLQWLQJ , FKRRVH WKH
FRORXUV IRU WKH VN\ ,Q WKLV SDLQWLQJ
IRXU FRORXUV :KLWH PDXYH GDUN
EOXH DQG OLJKW EOXH $OO FRORXUV VWDUW
IURP WKH WRS , FRYHU WKH SDSHU ZLWK
ZKLWH IURP WRS WR ERWWRP GDUN EOXH
RQHWKLUG RI WKH ZD\ IURP WKH WRS
DQG OLJKW EOXH WZRWKLUGV GRZQ
'RQ·W EH VK\ WR SUHVV SDVWHOV ILUPO\
7KHQ ZRUNLQJ DFURVV WKH SDSHU VWDUW
EOHQGLQJ IURP WKH WRS GRZQ %OHQGLQJ
PHDQV WR ILUPO\ SUHVV \RXU ILQJHUV
RQWR WKH SDVWHO DQG LQ VPDOO FLUFXODU
PRYHPHQWV ZRUN DFURVV WKH SDSHU
VR \RXU FRORXUV DUH PL[HG WRJHWKHU
, XVHG PDXYH ODVW RYHU WKH ERWWRP
RI WKH SDLQWLQJ , WDNH D ORQJ WLPH
WR EOHQG P\ VNLHV , EHOLHYH WKH VN\
LV D YHU\ LPSRUWDQW SDUW RI WKH ZRUN
VR , WDNH WLPH DQG EOHQG VORZO\ DQG

Artist’s Drawing and Inspiration 17


D E M O N S T R A T I O N

WDNHVWRSVWRORRNDWWKHUHVXOWV,W
LVSRVVLEOHWRSXWPRUHFRORXURQ
ZKHUH,IHHOPRUHGHSWKLVQHHGHG
)RUDQH[HUFLVHWU\XVLQJMXVW
RQHVKDGHRIEOXHDQGZKLWH%OHQG
WKHP6HHDQGIHHOWKHGLIIHUHQFH
6SHQGLQJWLPHWREOHQG\RXUSDVWHOV
ZLOOJLYHWKDW¶WRWDOO\FRYHUHG·ORRN
DQGXVLQJPDQ\FRORXUVJLYHVFRORXU
LQWHQVLW\DQGGHSWK*LYHLWDWU\
:LVS\FORXGVDUHDGGHGE\XVLQJ
PDXYHDQGZKLWHTXLWHILUPO\DFURVV
WKHERWWRPRIWKHSDLQWLQJDQGWKHQ
VZHHSLQJWKHFRORXUVXSZDUGVYHU\
VRIWO\ZLWK\RXUILQJHUV²JUDGXDOO\
GHYHORSLQJVRIWZLVSVRIFRORXU
7KHZKLWHSDVWHOZLOOQRWPL[
YHU\PXFKZLWKWKHVN\LWZLOOVWD\
RQWKHWRS2QO\LI\RXDFWXDOO\
EOHQGWKHFRORXUVZLOOWKH\WRWDOO\
MASTER EHPL[HGWRJHWKHU²VROLJKWO\
OLJKWO\LVWKHEHVWDSSURDFK
HINTS AND 7KHFORXGVDUHVPXGJHGLQZLWK
ZKLWHSDVWHOVVWDUWLQJZLWKYHU\
TIPS VPDOOFORXGVFORVHWRWKHKRUL]RQ
‡3DVWHOGXVWDOZD\VVHHPVWR DQGJHWWLQJIXUWKHUDSDUWDQGELJJHU
EHPHQWLRQHGZKHQ,JLYH FORVHUWRWKHWRSRIWKHSDLQWLQJ7KH
GHPRQVWUDWLRQV0\VROXWLRQLVWR VPDOOHUWKHFORXGVRQWKHKRUL]RQWKH
DOZD\VVWDUWZLWKDGXVWIUHHDUHD IXUWKHUDZD\WKH\ZLOODSSHDU$GGLQJ
DQGWDEOHDQGFOHDQXSDIWHUHYHU\ FORXGVLQWKLVZD\WDNHVDZKLOH
SDLQWLQJ¶:HW2QHV·RUEDE\ZLSHV EXWLWLVZRUWKLW,WLVZRUWKZKLOHWR
DUHMXVWWKHWKLQJIRUWKLV DQGDOVR WDNHORWVRISKRWRJUDSKVRIFORXGV
IRUFOHDQLQJ\RXUKDQGV 7KH\GRQ·W DQGVWXG\WKHLUVKDSHVWKHLUFRORXUV
ZHW\RXUILQJHUVVR\RXGRQ·WKDYH DQGWKHZHDWKHUWKH\SURGXFH
WRZDLWEHIRUHXVLQJRUEOHQGLQJ 7KHEDFNJURXQGLVORRVHO\EOHQGHG
\RXUSDVWHOVDQGWKH\GRQ·WGU\RXW FRROJUH\EURZQVDQG\HOORZV,WKHQ
\RXUKDQGV6RPHWKLQJV\RXPD\ IUHHGUDZP\SROHSRVWDQGOHWWHUER[
QRWLFHDUHWKDW\RXUILQJHUWLSVZLOO LQXVLQJZKLWHSDVWHO²NHHSLQJ
EHFRPHVRUHDQGEHFDXVH\RXKDYH LQPLQGWKDW,KDYHVNHWFKHGWKH
WRZDVK\RXUKDQGVVRRIWHQWKH\FDQ SDLQWLQJDOUHDG\RQWKHVDPHVL]H
EHFRPHYHU\GU\«ERWKSUREOHPV SDSHU,FKRRVHP\FRORXUVIRUWKH
FDQSXWDVWRSWR\RXUPDVWHUSLHFHV SROHDQGSRVWDQGEHJLQWREORFN
‡&OHDQ\RXUKDQGVEHWZHHQHDFK WKHPLQ,XVHSDVWHOVIRUWKLVDQGIRU
FRORXU,WLVGHPRUDOLVLQJWRKDYHD VKDUSHUOLQHV,XVHSDVWHOSHQFLOV
ZRQGHUIXOVN\DQGDIWHUXVLQJUHG ,WLVLPSRUWDQWWRNHHSSDVWHO
SDVWHOLQWKHIRUHJURXQGWRWRXFK SHQFLOVVKDUS,XVHDEODGH
XS\RXUVN\ZLWKDUHGILQJHU<HV EHFDXVH,H[SHULHQFHWRRPXFK
«,KDYHDFWXDOO\GRQHWKLV ZDVWDJHZLWKSHQFLOVKDUSHQHUV
‡,KDYHVHHQPDQ\ZD\VWRFOHDQ ,ZRUNRYHUWKHSDLQWLQJXQWLO
SDVWHOVEXW,KDYHIRXQGWKDW DOOP\GHWDLOVDUHLQSODFH,ZRUN
ZLSLQJWKHPLVWKHTXLFNHVWZD\ FDUHIXOO\IURPKHUHRQEHFDXVHGRWV
‡+DYHIXQSDLQWLQJ² DQGGDVKHVFDQWXUQDSDLQWLQJLQWRD
HVSHFLDOO\ZLWKSDVWHOV FKRFRODWHER[SDLQWLQJYHU\TXLFNO\
‡$OORIP\SDLQWLQJVKDYHEHHQ $VLPSOLILHGDQGZHOOQDPHGSDLQWLQJ
SURGXFHGIURPSKRWRJUDSKV,KDYH WHOOVDSRZHUIXODQGLQWHUHVWLQJVWRU\
WDNHQDQGP\RZQVNHWFKHV )LQDOO\,WDNHDQRYHUDOOORRN
$QGODVWRIDOO,DGGWKHELUGVO

18 Artist’s Drawing and Inspiration


I N S I G H T

Tracey Choyce

Passion for Portraits


Tracey Choyce is an inquisitive artist who goes beyond simply sketching
a subject, instead forming a personal connection
that takes her art to the next level.

20 Artist’s Drawing and Inspiration


I N S I G H T

T
racey was born in Melbourne would often talk about her love for Tracey also admires the work of
but relocated to Brisbane as the art and architecture of Florence contemporary artists including David
a child in the late 1980s. Her and Rome. Her mum was also a Kassan, Steve Caldwell, Julian Meagher,
fondest memories from this time life drawing model at the local art Mary Jane Ansell and Carla Fletcher.
are the countless hours spent in school, although she never told After leaving school, Tracey studied
the family art room, drawing with Tracey’s grandparents about this a Diploma of Visual Arts while she
her brother. Like most siblings, endeavour. worked for a children’s fashion
Tracey recalls how they were very “When I was about ten years old she designer in Brisbane. In 2006, she
competitive and would hold drawing gave me the book ‘The Story of Art’ completed a Bachelor of Fine Art at
competitions for their parents to by E H Gombrich. I was fascinated Queensland College of Art, majoring
judge. Her parents encouraged them by the beauty, mystery and realism in Digital Media. Tracey put her
to draw, with her dad’s consistent of artists like Rembrandt, Vermeer, drawing on hold for a few years while
sketching of people and architecture Botticelli and da Vinci, and I was she pursued a career in digital media.
a source of inspiration. Her mum convinced I wanted to be an artist It wasn’t until 2012 that she picked up
had spent time travelling in Italy and when I grew up.” the pencils again, after seeing some

Artist’s Drawing and Inspiration 21


I N S I G H T

beautiful portraits by a local artist suited her style. She describes still about the process of drawing, about
that had been drawn in Prismacolor discovering new techniques and ways getting to know the person behind the
pencils. of working, recently finding a love for face and of observing the intricacies
“I bought myself a set to experiment the blend effects on wood panel. She of their features in order to depict
with and instantly rediscovered my also works with charcoal pencils and something more below the surface.
love of portrait drawing. It took has started incorporating pastel into “The drawings I am the most
me a while to learn how to use the some of her portraits. satisfied with are those where I’ve
Prismacolors to their best advantage; “Ever since I started drawing I’ve had the chance to connect with the
being a wax-based pencil they are not always had a fascination with portraits. subject on a personal level; this
very forgiving.” Any chance I could I was sketching a connection brings another dimension
Like all artists, after a little trial and face, either from my imagination or of that translates into the artwork beyond
error Tracey worked out how to best anyone who was willing to sit for me.” just a representation of the subject on
blend and burnish and which paper For Tracey, it’s always been so much paper.”

22 Artist’s Drawing and Inspiration


I N S I G H T

In 2014, Tracey made the decision


to leave her job of 13 years and take
up part time work so she would have
more time to focus on her art. She
travelled to Italy and finally got to see
the works of artists she had studied
and long admired. She now works
on portrait commissions (people
and pets), and has been a finalist
in national art prizes including the
Hurford Hardwood Portrait Prize, the
Rick Amor Drawing Prize and the
Marie Ellis Prize for Drawing.
“I feel the most content when I’m
in my studio working on a portrait
and watching it evolve. There’s such
a therapeutic feeling that comes from
sketching that allows all stress and
outside influences to dissolve as you
immerse yourself into the artwork.”

FINALIST
‡ &OLIWRQV $UW 3UL]H  &OLIWRQV
Brisbane
‡ 5LFN $PRU 'UDZLQJ 3UL]H  $UW
Gallery of Ballarat
‡ 0RUHWRQ %D\ 5HJLRQ $UW $ZDUGV
2016, Pine Rivers Art Gallery
‡ 5RWDU\ $UW 6SHFWDFXODU  &HQWUDO
Plaza 1 Brisbane
‡ 5R\DO 4XHHQVODQG 6KRZ 
Brisbane Royal Exhibition Building
‡ +XUIRUG +DUGZRRG 3RUWUDLW 3UL]H
 /LVPRUH 5HJLRQDO *DOOHU\
‡ &OLIWRQV $UW 3UL]H  &OLIWRQV
Brisbane
‡ %ULVEDQH $UW 3UL]H  /LJKWVSDFH
Brisbane
‡ 0DULH (OOLV 2$0 3UL]H IRU 'UDZLQJ
 -XJJOHUV $UW 6SDFH
‡ /HWKEULGJH    /HWKEULGJH
Gallery
‡ 0DULH (OOLV 2$0 3UL]H IRU 'UDZLQJ
2014, Jugglers Art Space

Contact Details
Tracey Choyce
Email: choyce1@bigpond.com
Website: www.traceychoyce.com
Instagram: @traceychoyce_ Q

Artist’s Drawing and Inspiration 23


D E M O N S T R A T I O N

Pencils

Hear Me Purr By Tracey Choyce

I’ve created this portrait using Prismacolor pencils. By using various shades of
green, I’ve been able to create striking eyes that pop out of the portrait.

STEP ONE
Start with your reference image.
For accuracy and for a perfectly
proportioned drawing you can use
the grid method. I overlay a grid onto
my image in Photoshop and then
using a ruler and a B pencil, draw up
a grid with the same dimensions on
my blank paper. Keep the pressure
as light as possible so the lines can
easily be erased later, and so as not
to leave an indentation in the paper.

STEP TWO
Using the B pencil draw in the
main outlines, paying close
attention to your reference image.
I also mark in any areas where
the fur changes colour and main
markings so I know where to work
later. This is the framework that
your drawing will build on so it’s
important to get these just right.

STEP THREE
With the kneadable eraser, gently
erase the pencil grid lines. Then
using a colour that will blend in
with the fur (I used Sandbar Brown)
lightly draw over your line work,
FINAL STEP using the kneadable eraser to rub
out the pencil lines as you go.

24 Artist’s Drawing and Inspiration


D E M O N S T R A T I O N

M AT E R I A L S

‡6WUDWKPRUHµ[µ7RQHG
*UD\3DSHUJVP
‡%*UDSKLWH3HQFLO
‡.QHDGDEOH(UDVHU
‡0HWDO3HQFLO6KDUSHQHU
‡5XOHU
‡3ULVPDFRORU&RORXUOHVV%OHQGHU
‡:LQVRU 1HZWRQ:KLWH
Ink (alternatively you can
use a white gel pen)
‡)LQH3DLQWEUXVK  
‡6SUD\)L[DWLYH
‡3ULVPDFRORU3UHPLHU3HQFLOV
STEP ONE STEP TWO
(Fur):
²*LQJHU5RRW
– Sandbar Brown 1RZ\RXDUHOHIWZLWKRQO\WKH STEP FOUR
– Sienna Brown outline and main markings in Start drawing in the lighter and
– Dark Brown coloured pencil, with all graphite mid-tone colours in the fur using light
²)UHQFK*UH\ pencil marks erased. pressure. Draw your lines in
²&RRO*UH\
²&RRO*UH\
²&RRO*UH\
– Black
‡3ULVPDFRORU3UHPLHU
3HQFLOV 1RVH 
– Peach Beige
²$UJLOH5RVH
– Sheashell Pink
– Peach
– Sienna Brown
– Sepia
²)UHQFK*UH\
– White
‡3ULVPDFRORU3UHPLHU3HQFLOV
(\HV 
– Jade Green
²&HODGRQ*UHHQ
– Apple Green
²(JJVKHOO
– Sand
– Yellow Ocre
– Pale Sage
– Sienna Brown
²&RRO*UH\
– White
– Black
‡3ULVPDFRORU3UHPLHU3HQFLOV
(DUV 
– Seashell Pink
– Peach
²$UJLOH5RVH
– White
STEP THREE AND FOUR

Artist’s Drawing and Inspiration 25


D E M O N S T R A T I O N

STEP FIVE STEP SIX STEP SEVEN

the direction of the fur growth, colours, creating a seamless blend STEP SEVEN
leaving the areas of white fur. of your pencil layers and filling Draw in the pinks of the nose and
0DNHVXUHWRNHHSFKHFNLQJ\RXU the paper surface with colour to ears. I layered the colours lightly,
reference photo. Your aim at this give depth and a smooth finish. blending with the white pencil until
stage is to start building up layers Draw lightly at first just in I was happy with the colour tones.
of colour to get the main tones case you need to add more colour There is a highlight across the top
and shading correct. Take note in - as once the pencils are fully and down the middle of her nose,
of the length of the fur, using EXUQLVKHGWKHVPRRWKZD[\ILQLVK and shadows underneath. These
shorter or longer pencil strokes this creates can make it harder small details will help to give it form
depending on the fur length. to add more colours on top. rather than being just a flat colour.

STEP FIVE STEP SIX STEP EIGHT


Once you are happy with the Start adding in the fine details. &RORXUWKHH\HV%OHQGWKH\HOORZVDQG
layers of colour, use the colourless Using a sharp pencil, draw in greens in the iris, again layering colour
blending pencil to draw over the darker areas of detail in the until you achieve the correct tones.
(burnish) the pencil strokes of the fur, eyes, nose and mouth with There are areas of reddish-brown in her
fur. Burnishing will saturate the  &RRO *UH\ DQG %ODFN eyes (I used Sienna Brown) and dark

ARTIST’S HINTS AND TIPS


‡0\FRORXUHGSHQFLOGUDZLQJWHFKQLTXH made. Taking a photo or holding over the surface of your finished
involves layering and blending the drawing up into a mirror also artwork with a clean soft cloth will
several colours to achieve the desired helps to give a new perspective. OLIWRIIWKHH[FHVVZD[DQGXVLQJ
colour tones and values. Start with ‡'UDZZKDW\RXVHHHYHQLI DVSUD\IL[DWLYHWRVHDOWKHVXUIDFH
light pressure and layer the colours it’s not what you think it should will stop this from re-occurring.
from light to dark, gradually building be. Sometimes the translation ‡8VHDJRRGTXDOLW\UHIHUHQFHSKRWR
up the layers before blending. of colours, light and shadows A high-resolution image that clearly
‡0DNHVXUHWRNHHSUHIHUULQJWRWKH can be surprising until you see it shows detail is very important. I
reference image throughout the come together, so stick with it. prefer to take my own photographs
drawing process to ensure accuracy. ‡3ULVPDFRORUSHQFLOVDUHZD[ where possible to ensure the lighting
‡7DNHDEUHDNIURPWKHDUWZRUN based, so if you use a lot of layers and image clarity is just right. The
either for a few hours or a few RISHQFLOLQ\RXUGUDZLQJWKHZD[ higher the detail in the reference
days. Looking at the drawing with build up can sometimes create a image, the more detail you can
fresh eyes can help you see any white ‘foggy’ effect in some areas incorporate into the drawing.
adjustments that may need to be FDOOHGZD[EORRP*HQWO\UXEELQJ ‡%HSDWLHQW²DQGSUDFWLFH

26 Artist’s Drawing and Inspiration


D E M O N S T R A T I O N

STEP EIGHT STEP NINE

greys across the top of the iris where


the shadow falls. Leave the catch light
in the eyes, these will be done last
when all of the highlights are added.

STEP NINE
5HYLHZ DQG DGG DQ\ ILQDO GHWDLOV RU
DUHDV RI VWURQJHU FRQWUDVWVKDGRZV ZKHUH
needed. I added more saturated colour
to the eyes and black areas into the fur.

STEP TEN AND FINAL STEP


Using a sharp white pencil, draw in
the whiskers, the hairs in the ears and
the areas of white fur. I have found
with Prismacolor pencils that the best
way to add the highlights that I want
to really stand out is to use white ink.
Using a very fine paintbrush, paint
in the catch light in the eyes and
white areas of fur around the face and
ears. Once complete, apply a spray
IL[DWLYH WR VHDO WKH GUDZLQJ VXUIDFH

Contact Details
Tracey Choyce
Email: choyce1@bigpond.com
Website: www.traceychoyce.com STEP TEN
Instagram: @traceychoyce_ I

Artist’s Drawing and Inspiration 27


I N S I G H T

Pamela Pretty

A Passion for
Sea and Sky
Attracted to subjects with strong light emanating from them, this artist is
currently focused on creating multi-layered pastel paintings.

To the Sky

28 Artist’s Drawing and Inspiration


I N S I G H T

Evensong

F
or as long as I can remember,
I have been attracted to wild
places. My favourite places are
high rocky outcrops to view the setting
sun, or the first rays of light as they
kiss the morning hills.
The presence of water makes these
scenes more memorable in my mind,
so it is hardly surprising that my love
for the wild open spaces fostered a
love for bushwalking and also a desire
to paint these places.
I believe that passion for one’s
subject is the critical element in
painting. We need to connect in a
meaningful way with the subjects
we paint to bring them to life. By
now you can probably tell that I am Koi 3
a passionate plein air painter! I find

Artist’s Drawing and Inspiration 29


I N S I G H T

Oberon

myself attracted to subjects with strong


light emanating from them, and love to
look directly into the light to capture
the last rays of the sun or the glow on
the wet sand.
My main media are soft pastel, oil
and watercolour, and I am currently
focusing mostly on pastels. My
pastel paintings are created using a
multi-layered application and often
an underpainting is used as well.
This could be pastel dissolved with
methylated spirits, watercolour or
acrylic ink. The pastel is applied in a
variety of strokes to give the painting
movement and emphasise key areas.
My subjects are usually landscape or
seascape with an emphasis on dramatic
Range Reflection skies, water and light. I also enjoy
portrait and wildlife painting.

30 Artist’s Drawing and Inspiration


I N S I G H T

Riptide

I have been painting and drawing


from childhood, and received my
first awards in my teens. I was very
fortunate to have parents who were
wonderful watercolour artists who
shared their skills with me as I grew
up.
In 2011-2012 I took up as Artist in
Residence at St Vincent’s Hospital,
which was a wonderful opportunity for
growth and development and I worked
from a studio based in Kew. This was
a very special time and I was very
grateful for this opportunity.
I am currently teaching at Ringwood
Art Society and have a watercolour
and pastel class. Teaching is a great
joy, and I love seeing my students
developing their skills and growing as Endless
artists.
Underpainting techniques are a
speciality, and one of my interests is Jan Juc
using vibrant acrylic inks with pastel.
I provide ink and pastel workshops for
those interested in these techniques,
and travel to country areas to teach
these interesting techniques.
Having taught painting in acrylics
for many years I was keen to try
pastels and did so in 2005. I sought out
some experts in the field to educate
me in all forms of pastel painting.
My tutors included Walter Magilton,
Barbara Mc Manus, Raelene Sharpe,
Grace Paleg, Regina Hona and Lyn
Mellady.
I N S I G H T

Blue Barn The Pool

My connection with this medium March –April 2013. I won the Pastel I have participated in solo and group
was instant, and I was fortunate to Prize at the Camberwell Rotary Art exhibitions including:
receive a Best Pastel Award in the first Show with “Lofty” in 2014, which ‡([SUHVVLRQVRI/LIH ZLWK-DQ
show I entered as a pastellist, so I was was judged by David Chen. Lowe)
encouraged to continue. I continued to Other awards include Seasonal ‡$XVWUDOLDQ$UWRI([FHOOHQFH$ZDUGV
receive awards for my pastels in many winner at AGRA, (Winter 2013) and (Invitational) 2013
different shows, including Best Seascape Best Pastel at the Mornington Rotary ‡$XVWUDOLDQ$UWRI([FHOOHQFH$ZDUGV
at the Pastel Society of Victoria Australia Art Show 2016. 2014
(PSVA) 2012, followed by the Best in I am a member of AGRA, where I ‡$QLPDOVLQ$UW
Show (PSVA) 2013. was awarded Signatory Membership in ‡$XVWUDOLDQ$UWRI([FHOOHQFH$ZDUGV
I was awarded two honourable 2013, and have served as a Counsellor. 2015
mentions in the prestigious Pastel I am also a member of the Pastel ‡8QIRUJHWWDEOH6HSW
100 International Pastel Competition Society of Victoria, Australia, and ‡+RUL]RQV1RY)HE
2016. “The Pool” and “Jan Juc” were Ringwood Art Society where I am a ‡$XVWUDOLDQ$UWRI([FHOOHQFH$ZDUGV
published in the Pastel Journal in Tutor in Pastel and Watercolour. 2016

Pinnacle Refuge

32 Artist’s Drawing and Inspiration


I N S I G H T

Safe Harbour

My paintings are available for sale


through a variety of channels including
galleries and privately. You may view
my paintings on my website and also
RQ *DOOHU\ 3OHDVH FRQWDFW PH
directly for more details of outlets
in your area. Many of my paintings
are held in private and corporate
collections in many parts of Australia,
1HZ =HDODQG 6FRWODQG (QJODQG DQG
America.
The following are my contact details
so please feel free to contact me if you
would like to take part in my classes or
one of my pastel and ink workshops,
which are usually held during school
holiday times.

Contact details:
Ph: 0419 323 923
Email: pamela.pretty3@gmail.com Silver Lining
Web: www.pamelapretty.com I

Artist’s Drawing and Inspiration 33


D E M O N S T R A T I O N

Pastels

Golden Reflect By Pamela Pretty

This subject is a beautiful scene photographed at a bend in the Murray River in


the Echuca area of Victoria, where the sun seemed to linger forever in sleepy
surrender of the day, and the mood was one of reflective peace.

M AT E R I A L S

‡%ODFNFRWWRQUDJERDUG
[FP
‡:KLWH&RORUIL[SULPHU
‡ôµIODWEUXVKIRUDSSO\LQJ
WKH&RORUIL[
‡6FKPLQFNH$HUR&RORXU
$FU\OLF,QNLQ3ULPDU\
<HOORZDQG%XUQW6LHQQD
‡3DVWHOV²,XVHPDQ\GLIIHUHQW
EUDQGVDQGSUHIHUDUDQJHRI
KDUGQHVVVRWKDWP\VWURNHV
DSSHDUGLIIHUHQWLQGLIIHUHQWDUHDV
RIWKHSDLQWLQJ
7KHIROORZLQJDUHDIHZRIP\
IDYRXULWHW\SHV
5XVW\WRQHSDVWHOV SDUWLFXODUO\
WKH3DPHOD3UHWW\VHWZKLFKKDV
P\IDYRXULWHFRORXUV
²7HUU\/XGZLJSDVWHOV
²6FKPLQFNHSDVWHOV
²$UW6SHFWUXPSDVWHOV
HVSHFLDOO\WKHGDUNVKDGHV
²&RQWHSDVWHOV

FINAL STEP

34 Artist’s Drawing and Inspiration


O
CE PHOT
REFEREN

STEP ONE
0\ ILUVW LPDJH VKRZV WKH LQLWLDO GUDZLQJ
LQ SLQN &RQWH SDVWHO ZKLFK LV NHSW YHU\
VLPSOH 7KH OLJKW DUHDV DUH WKHQ XQGHUSDLQWHG
STEP ONE
ZLWK PL[WXUHV RI ZKLWH &RORUIL[ SULPHU
ZKLFK KDYH EHHQ WLQWHG ZLWK %XUQW
6LHQQD DQG 3ULPDU\ <HOORZ DFU\OLF LQNV
7KLV LV WR FUHDWH D ZDUP OLJKW WH[WXUHG
DUHD IRU WKH VN\ DQG VN\ UHIOHFWLRQ
8QGHUSDLQWLQJ WKHVH DUHDV PDNHV LW
PXFK HDVLHU WR FUHDWH D JORZLQJ HIIHFW
DV , DP XQGHUSLQQLQJ P\ SDVWHO OD\HUV
ZLWK VWURQJ ZDUP OLJKW FRORXUV

STEP TWO
:RUNLQJ RXW IURP WKH XQGHUSDLQWLQJ , NHHS WKH
SDVWHO OD\HUV WKLQ DQG KDUPRQLRXV $ VLPSOH
ZDUPFRRO FRORXU SDOHWWH LV XVHG LQLWLDOO\
, DP WU\LQJ WR OD\ GRZQ PRUH FRORXU WKDQ
, QHHG DW WKLV VWDJH WR JLYH WKH SDLQWLQJ OLIH
WKDW ZLOO VKLQH WKURXJK IURP XQGHUQHDWK 0\
LQWHQWLRQ LV WR OD\HU RYHU WKH WRS ZLWK PRUH
QHXWUDO FRORXUV ODWHU LQ WKH SDLQWLQJ SURFHVV

STEP THREE
$W WKLV VWDJH DOO WKH XQGHUFRORXUV DUH LQ
SODFH DQG WKH VWUXFWXUH LV WDNLQJ VKDSH
7KH SDVWHO LV DSSOLHG PRUH EURDGO\ LQ
WKHVH HDUOLHU OD\HUV 7KH SDLQWLQJ VWLOO
QHHGV VHYHUDO PRUH OD\HUV DQG GHWDLOLQJ
EXW LV EHJLQQLQJ WR EH UHFRJQLVDEOH

STEP TWO
STEP FOUR
0RVWNH\DUHDVKDYHEHHQUHILQHGQRZ
ZLWKDQH[WUDOD\HU7KHVN\SDUWLFXODUO\
KDVEHHQOD\HUHGZLWKPRUHQHXWUDOFRORXUV
WRDOORZWKHUHPDLQLQJKLJKFKURPDDQG
KLJKNH\DUHDVWRVLQJ7KHWRQDOEDODQFH
EHWZHHQVN\DQGWUHHZDVHVWDEOLVKHG
DQGWKHIDUEDQNRIWKHULYHUZDVSXVKHG
EDFNZLWKOD\HUVRIUHFHGLQJFRORXUV

FINAL STEP
7KHILQDOGHWDLOLQJLVGRQHZLWKWKHDGGLWLRQ
RIWKHURFNRQWKHULYHUEDQNDQGWKHWZLJV
LQWKHZDWHU7KHWUHHVDUHZRUNHGRQPRUH
JLYLQJDWWHQWLRQWRWKHOLJKWIDOOLQJLQWKH
FRUUHFWSODFHV)LQDOO\WKHVN\LVEDODQFHG
ZLWKDOLWWOHPRUHJUH\ZRUNHGLQWRVRPHRI
WKHEOXHWRWDNHWKHH\HWRWKHIRFDOSRLQW

Contact details:
Ph: 0419 323 923
Email: pamela.pretty3@gmail.com
Web: www.pamelapretty.com I

STEP THREE ARTIST’S


HINTS AND
TIPS
‡/RRNIRUG\QDPLFVKDSHVWRJLYH
WKHSDLQWLQJDVWURQJVWUXFWXUH
‡,QWKHVDPHZD\ORRNDWWKHQHJDWLYH
VKDSHVWKDW\RXDUHPDNLQJDVWKH\
FUHDWHDYLWDOSDUWRIWKHGHVLJQ
‡8VHPDUNPDNLQJLQSDVWHOWRUHIOHFW
GLIIHUHQWDUHDVDQGDWWULEXWHV\RX
DUHWU\LQJWRFRQYH\([SHULPHQW
ZLWKPDNLQJGLIIHUHQWPDUNV
‡7U\XVLQJ&RQWHSDVWHOVWRPRGLI\DUHDV
RIVRIWSDVWHO7KH\FDQEHKDWFKHG
RYHUDQDUHDRUDQHGJHWRFUHDWHVRPH
ZRQGHUIXOVXEWOHWLHV,RIWHQXVHWKHP
LQVNLHVRUFORXGVWRFUHDWHLQWHUHVWLQJ
RYHUOD\VDQGWRVRIWHQHGJHV
‡,I\RXDUHWDNLQJUHIHUHQFHSKRWRV
WU\WRPDNHVRPHREVHUYDWLRQV
WRXVHODWHU&RORXUVNHWFKHVDQG
ZULWWHQQRWHVDUHHVSHFLDOO\XVHIXO
‡7DNHHYHU\RSSRUWXQLW\WRSDLQWHQ
SOHLQDLUWRKRQH\RXUVNLOOV2XWGRRU
SDLQWLQJLPSURYHVPDQ\DVSHFWVRI
SDLQWLQJLI\RXSHUVHYHUHZLWKLW,WLV
DOVRDJUHDWZD\WRVHHWKHZRUOGPHHW
RWKHUDUWLVWVDQGKDYHDGYHQWXUHV

STEP FOUR
DID YOU KNOW WE PUBLISH… FULL OF INSPIRATIONAL ID HO PL
M NOU US
EN R !
TI AB
ON L FUHDWLYH
A
FA UST
VO RA
UR LIA’
S E IT S
E

Ar
Artiss
Presented by

Palette
OUR
NING
WINTIS
AR TS
Masters 8
FRQWHPSRUDU\‡YLQWDJH‡WUDGLWLRQDO

20
REVEALED Stunning
Quilts
ts BEAUTIFUL
E
PATTERNS
Alll the
t latest
l s
knitting, fashion
AU
FA STRA
A AV
FULL OF TIPS AND TECHNIQUES V
U O
F
ST U
R R
A IT
ISSUE 7 LI E
A$9.95 Incl A’
NZ $10 95 ncl G T
US $9 95 CAN $9
S
ISSN 2200 5633
03

9 772200 563005
S TA M P I N G s CARDS s SCRAPBOOKING

7 8
DRAWING BIR
LEONIE NORTO
D R AW I N G & I N S P I R AT I O
BUYERS' GUID
BACK TO SCHO
Exciting IDEAS
AS AND ADVICE
V C
FULL OF Ideas TO
T ENHANCE YOUR
DRAWING
I
Y U
SKILLS
K L S Fabulous INSPIRING
IDEAS
Ideas
E s w STEP-BY-STEP
Instructions
Technique EASLES All the a
Add a bit of SPECIAL
BUYERS
latest news FULL OF
bling and ideas
n to yourr GUIDE GIFT
G FT GIVING
PROJECTS
next project
e
ISSUE 23
PP 255003 / 09301

A$9.95
Incl GST
Print Post Approved 255003/08060

NZ $10 20 In l GST
Pr nt Post Approved 244 105/00053

US $9 95 CAN $9 95
ISSUE 2
A$9.95
03

Incl GST
NZ $10 20 In l GST A$9.95 ncl GST
US $9 95 CAN $9 95
ISSN 2200-5625

NZ $11 25 Inc GST


9 772200 562008

PLUS
V



US $11 95 Can $11 95
A
02

PLUS
Z $12 2 T Vol 13 No 5

ake Your wn
01
03

REMEMBER
E WHEN
9 772204 834002

Meet talented
le d designer
s e Angela
A la Coombs
C b q
ISSN 2200-5927
ISSN 2200-5609

birthday cakes, pirate , princess castle, Projects for all skill levels t
9 772200 592005
9 772200 560004

The
e perfect
r Christmas
C is a cards, tagsg and
d scrapbooking
k ideas q ELLEN LEE OSTERFIELD
steampunk and super hero cakes e ds t
All the latest fashion and trends

FULL OF TIPS & TECHNIQUES STEP BY STEP DRAWING DEMONSTRATIONS F U L L O F TI P S A N D TE C H N I Q U E S FULL OF TIPS AND TECHNIQUES

Che e
ww .au
Artist’s Drawing and Inspiration 37
I N S I G H T

Jacqueline Cleijne

Celebrating Animals
and Nature
Beautiful interpretations of native and domestic life

38 Artist’s Drawing and Inspiration


I N S I G H T

J
acqueline “Jacqui” Cleijne is a
self-taught artist with a passion
for depicting Tasmanian animals
and nature, a delightful task given the
state’s natural picturesque serenity
and unique native animal life. Born
in Hobart, Tasmania, Jacqui lived and
worked for a period as an Architectural
Draftsperson in Queensland, returning
back to Tasmania in the late 80’s to
pursue her drafting career and follow
her passion for art. “My work as a
draftsperson was full of challenges
inherent in the building industry, but
it taught me so much and it further
developed my natural ability to draw.”
Many fundamental lessons for being a
good artist were learnt and the drafting
career gave Jacqui the tools to pursue
her passion for art.
Her mother Robyn McNeil, who is
also an accomplished artist, has naturally
been influential in her career. “From a
young age, my mother would take me
to the park and to places surrounded by
nature. I believe she planted the seed
for me to grow as an artist, as I had a
natural ability to draw, and she would
nurture the seed by instilling into me
an appreciation and love for nature. I
remember being fascinated with little
critters and especially animals. My
mother noticed my ability to draw from
a young age and I was lucky in that
she did her best to allow me to develop
myself as an artist early on.”
Jacqui’s own style is unique and
she paints her subjects with passion
and enthusiasm. Being self-taught, her
experience has been gained through
sketching regularly on location and
reading about techniques used by many
great artists. Doug Sealey, in particular
for oil paintings and Jack Absalom,
for his unique painting technique
using a palette knife. These two artists
were the most influential as she was
growing up. “I have learnt to always
paint from the heart, developing your
own style which is unique to you.”

Top right: Red Robin 2


Right: Hilander Cow

Opposite: Tawny Frogmouth Family Series

Artist’s Drawing and Inspiration 39


I N S I G H T

“Being authentic is important, to be able


to stand out from others and to keep
your artwork and creativity alive”.
Jacqui is constantly seeking out
wildlife subjects for her next painting.
This often sees her venture into the
state’s wilderness and wildlife parks,
local gardens and around her own
home. She states it could be a simple
autumn leaf with all its vibrant colours,
a beautiful flower, bird, bumble bee, or
tree that she turns into art. Jacqui always
works with her own subjects, taking
many photos and sketching on location
where possible. “It brings me so much
joy each day to combine my love for our
unique animal life and nature and my
passion for art.”
Nature is not Jacqui’s only source of
inspiration. “My beautiful black and
white cat named Cookie inspires me
in ways I can’t explain. I have many
drawings and sketches of her. She
is good practice, teaching me lots of
patience and skills while drawing her
from life.”
While her wildlife and nature
paintings are popular Jacqui’s main
area of expertise is pet portraits, which
have taken precedence over all other
art. Many have commissioned Jacqui
over the years to make beautiful,
treasured artworks of their beloved
animals, amazed by the likeness she
manages to capture so perfectly. “All
the animals I have had the privilege
of immortalising into artworks over
the years have brought so much joy to
my life, the many furry faces, unique
characters, from large to small pets,
with some deceased pets, brought back
to life. My love for animals is strong
and I hold each and every one of them
close to my heart.”

Top left: Red Robin


Left: Tawny Frogmouth Family Series

Opposite
Top left: Tyler
Top right: Twighlight Glow
Bottom left: Madge
Bottom right: Wombat Sunday Snooze

40 Artist’s Drawing and Inspiration


I N S I G H T

Each new day brings Jacqui joy, Jacqui has seen great success over hung with some of the greats including
knowing that she has the choice to the years, having exhibited in local Peter Glover, Kahn Wilson and Terry
create something new. “I like to draw group exhibitions. Her picturesque Gough. One particular exhibition saw
first and foremost and enjoy painting wilderness landscapes, seascapes her work displayed alongside famous
for a change of technique. Art brings and native animal paintings have watercolour artist Richard Bacon,
out my true self, my nature, and I been popular among galleries, with a a memorable highlight for Jacqui.
feel a sense of calm when in the growing number of people following Her work also hangs in collections
present and creating. It is being in the her work, and her pet portraits gaining throughout Australia and overseas,
moment, mindfulness, connecting with popularity more each year. She has including England, Ireland, Canada,
my emotions.” had the privilege of having her work United States of America and Japan.

Artist’s Drawing and Inspiration 41


I N S I G H T

Above left: Tulip She lists The Archibald Portrait Prize, Sketching and drawing from life helps
Above right: Lake Crescent Shack The Doug Moran Portrait Prize and build strength and confidence within,
Below left: Dewey Leaves The Glover Art Prize as a few of her and battling with the elements with
Below right: “I'm the prettier one!” favourite art prizes. plein air painting teaches patience and
Little Corellas As with any artist, Jacqui has learnt persistence. “I have learnt a lot about
many lessons over the years. The first myself during my art journey and have
Opposite is that learning to draw is critical in found art a mindful experience like no
Top: Rhododendron Delight learning to paint. Mistakes can be other.” Lastly, Jacqui states that one
Bottom: Green Rosella assets and if it is wrong, it is better to does not need to be perfect or sell in
leave it rather than fix or start anew. excess to be successful. One just needs

42 Artist’s Drawing and Inspiration


I N S I G H T

to start to enjoy the journey without


expectations. “It is better to paint for
yourself and have no public than to
paint for the public and have no self”.

EXHIBITIONS
‡ :DOFK·V *URXS $UW ([KLELWLRQ
Hobart Tasmania
‡ 7DVPDQLD 6KRS *DOOHU\ +REDUW
Tasmania – 2007
‡ 6DODPDQFD *DOOHU\ $UW 3UL]H )LQDOLVW
Hobart Tasmania 2007
‡ 6DGGOHUV &RXUW *DOOHU\ 5LFKPRQG
Tasmania – 2008

Contact details
Jacqui Cleijne
Ph: 0498 711 427
Email: jacqui@petartstudio.com.au
Web: www.petartstudio.com.au Q

Artist’s Drawing and Inspiration 43


D E M O N S T R A T I O N

Pencils

Tyler Jacqui Cl eijne

In loving memory of our beautiful dog, whose favourite game


was looking under rocks for lizards.

FINAL STEP

44 Artist’s Drawing and Inspiration


D E M O N S T R A T I O N

M AT E R I A L S

‡ 3ULVPDFRORU 3UHPLHU FRORXUHG


pencils:
– Eyes: PC916 Canary Yellow,
PC941 Light Umber, PC943
Burnt Ochre, PC948 Sepia,
PC935 Black
– Fur: PC1051 Warm Grey,
PC1074 French Grey, PC941 STEP ONE
Light Umber, PC943 Burnt
Ochre, PC948 Sepia, PC946 STEP ONE
Dark Brown, PC947 Dark This stage is crucial, as the character
Umber, PC935 Black Start with the eyes, building up layers and true essence of the animal starts
– Rocks and background: of colour, light colours first building with their eyes, ie; their expression,
PC1051 Warm Grey, PC943 to dark. Take care not to colour the character, colour, softness, light etc.
Burnt Ochre, PC944 Terra whole area inside the eyes, leaving Keep building up the inside of the
Cotta, PC949 Silver and areas of white paper for showing the eyes using a soft hand, taking notice
Graphite Pencils 2B & 3B special ‘glint’ in their eyes. The first of light, dark, form, shape and depth.
‡ *UDSKLWH 3HQFLOV +% % % % colour Canary Yellow will be the
‡ 3XWW\ 5XEEHU base colour. Light Umber is used to
add shadow for depth on the inside of STEP TWO
‡ 3ULVPDFRORU 6KDUSHQHU
‡ 5HQRLU 8QLYHUVLW\ JVP the eyes around the edges, followed Continue layering with colour for
Smooth White Cartridge Paper by Burnt Ochre to add more depth the nose, remembering to leave some
‡ 6ROLG ERDUG WR FOLS SDSHU and colour. PC948 Sepia and PC935 white paper for the lightest lights and
‡ 7LVVXHV RU SDSHU WRZHOV Black for the pupil, leaving white silver for the next lightest. Move on to
‡ )L[DWLYH paper for the special ‘glint’ in the start to build the fur surrounding the
dog’s eyes and for the highlights. eyes and onto the dog’s face using

STEP TWO (A) STEP TWO (B)

Artist’s Drawing and Inspiration 45


D E M O N S T R A T I O N

STEP THREE (A) STEP THREE (B)

pencils, with a nice point, which to the dog’s right ear (working over the white, which picks up
will bring out the separation of the from left to right of the paper to the glossy coat of the dog.
fur layer over layer. Softly build prevent smudging). The nose can be
curved lines following the flow and completed at this stage and it should
direction of the dog’s fur, layering have the look of a ‘cold wet nose’. STEP FOUR
over colours from light to dark, paying Continue layering light colours to Move onto the body of the dog and
attention to light and dark, shade and dark, using a soft hand to apply line the background areas, filling in the
highlight. Leave any light areas white over line, building up the layers of elements of space the dog is set in.
paper. Continue with this pattern, fur. Do not use a back and forward Keep building up layers of colours
following the direction of the fur, motion, but more of a sweeping soft from light to dark using different
working outwards from the eye area. motion following the furs direction. strokes and applying varying
Use the darkest colour for shadows pressure to achieve the depth of
under fur that is highlighted, as colour and texture that suits your
STEP THREE per Tyler’s lovely highlighted tufts subject. In this example I put Tyler
Continue building up the fur, from of fur under his eyes. Leave white in a natural setting, showing rocks
the eyes outwards into the broader paper for the lightest highlights and behind him which he loved to dig
areas of the dogs face, moving use silver for the subtle shadows under, finding lizards! It is good to

STEP FOUR STEP FIVE

46 Artist’s Drawing and Inspiration


D E M O N S T R A T I O N

ARTIST’S
HINTS AND
TIPS
‡ &KRRVH D VXEMHFW WKDW LV SOHDVLQJ WR
you and make lots of small sketches
getting familiar with your subject.
For example; wildlife animals are
easier to find in wildlife parks and
sanctuaries where they are visible.
Spend time getting to know their
habitat, pay attention to their features
ie; shape, fur texture, feet, claws,
feathers, their eyes and so on.
‡ 7DNH ORWV RI UHIHUHQFH SKRWRV DQG QRWHV
‡ /HDUQ WR GUDZ EHIRUH WU\LQJ WR
paint, as this will improve your
overall experience and technique,
making your work more balanced
and appealing. To do this, draw
from life to master perspective. STEP SIX
‡ 7U\ GLIIHUHQW PHGLXPV DQG
find one that suits your style
and preference best. put an animal in the scene where shadows between the eyes using
‡ $OVR WU\ D YDULHW\ RI VXEVWUDWHV they are most comfortable, their D VRIW +% JUDSKLWH SHQFLO $GG
pertaining to the different mediums. natural environment, as it will wispy bits of fur around the edges
For example I like to use different bring out his/her true character. of the dog, using a light colour
watercolour papers from smooth to Take reference photos to use more blended with darks. This will
rough, depending on my subject. than one photo if needed to make a soften the overall coat of the dog.
For oil paintings I use linen for pet composition from both the animal
portraits due to its smoother surface and a different background, if
and cotton canvas for landscapes. unable to get a photo of the dog STEP SIX AND FINAL STEP
‡ :KHQ VWDUWLQJ RLO SDLQWLQJ OHDUQ WR in the scene you would like. The finished artwork should look
use the three primary colours only like a work of art, not a photograph.
ie; red, blue, yellow and mix these Take the time to go over the whole
three to make most of the colours STEP FIVE drawing carefully and add the final
for your subject. Add Titanium Move into the final stages of touches of detail and then put it aside
White for lightening the colours. the drawing, completing the and walk away, so as not to fiddle
Buy a colour wheel to help with background and working on the with it, which, from experience,
learning about colour and tone. foreground. Add detail to the dog’s can overwork a drawing. It is time
‡ 0LVWDNHV KDSSHQ RIWHQ DOORZ \RXU fur in this stage. To achieve the now to sign your work. To finish,
self to make many, which will be white fur over the background I use a good quality fixative to
rewarding in the long run. It is better colour I used a putty rubber to draw spray my work lightly to prevent
to leave a mistake, than try to fix it. the wispy fluffy edges of the fur smudging. Use an acid free, colour
Sometimes mistakes can improve in over the graphite background. free fixative. By doing this it protects
a painting. If it is unfixable, paint This sets the background behind the the drawing from smudges, light
over it, tear it up or start again. dog. I then built up the background damage and transference of the
‡ 1HYHU FRS\ RU FRPSDUH \RXUVHOI WR shadows and area under the dog’s pencil dust sticking to the glass
others, be true to yourself and find chin. To give the white fur some once the drawing is framed.
your uniqueness. It is not important definition, use the 2B Graphite,
how many artworks you sell, it is PC1051 Warm Grey and PC949 Contact details
more important to enjoy the journey. Silver to add some shadows. Fine Jacqui Cleijne
‡ ([SORUH \RXU FUHDWLYLW\ DQG tune the detail and add character Ph: 0498 711 427
HQMR\ \RXUVHOI +DYH IXQ marks, ie; the freckle near Tyler’s Email: jacqui@petartstudio.com.au
nose, his collar and the fine Web: www.petartstudio.com.au Q

Artist’s Drawing and Inspiration 47


D R A W I N G I N S P I R A T I O N

$RAWING!NIMALS Contributed by John Cornwell

A previously featured artist in Artist’s Palette magazine has prepared this


tutorial article to share his drawing techniques for the benefit of our readers.

uring my 38 years as a professional


artist, I have become well
known for painting animals
– more by accident than design; in
particular horses, cattle and dogs.
Strangely enough, one of my best known
works is the bronze sculpture of Matthew
Flinders’ cat ‘Trim’, who resides on the
window ledge of the New South Wales State
Library in Macquarie Street, Sydney.
When I was a student at the National
Art School, a very enlightened teacher
was sufficiently interested in my efforts to
point out the similarities in the anatomy
of very many animals – which all evolved
from basically the same structure.
Every such animal has a head, a neck, rib
cage, shoulder blades, forearm, elbow, lower
arm and a great variety of forms of structure
representing the human wrist and hands.
Strangely enough, a lot (even with hooves) still
have a similar bone structure. All these animals
also have backbones, hips, buttocks and thighs.
To make convincing drawings, it is essential
to understand how your subject is constructed
– no matter if it is a house or a horse.
Just to make life more interesting, see
if you can count the number of breeds
of horses. All are instantly recognisable
as being equine, but you have to decide
which of their features are different.
It does not matter whether the animal is
large or small; the head shape of all breeds is
fundamentally the same. A thoroughbred has
a straight nose; whereas the beautiful, graceful
Arab has a distinctive inward kink to its nose.
It is an altogether more delicate animal with
slender cannon bones and hooves. This does not

48 Artist’s Dra ing and Inspiration


D R A W I N G I N S P I R A T I O N

mean that one animal is more beautiful smaller and thinner and moves with with short legs and little hooves;
than the other; just that they are different. a high-stepping gait which gives it and heavy, arched necks; with
I could go on forever about how the a speed it can maintain for miles. pretty little heads, long manes and
stock horse differs from the popular For some of my paintings, I like to tails … but some are more like the
American Quarterhorse. The latter has a do historical reconstructions of Cobb small sized horses which were very
very pretty, smaller head; but a bigger, and Co coaches, Australian Light popular for pulling light vehicles.
rounded rump – specially bred into him Horsemen, and artillery teams. Each To draw a horse, or any animal,
to give enormous power and speed for of these has a type of horse that was you must first decide what
short distances. These horses are finely specially developed; and they are attitude you want: Standing; full
bred for working cattle in enclosed types that you rarely see these days. side on; angled towards you or
areas. They have to be fast and Cobb and Co brought their own breed away; front on or back on.
manoeuvrable to cut out lively cattle. out from America, but quickly interbred On your paper, lightly give yourself
This gives them a slightly downhill with the local stock for their coaching some guides as to the general shape
look from the rump to the withers. horses. They were not very good and size. Then start to sketch in the
The mighty Shire horses and the looking, but were splendid for their body shape, neck, head and legs. It is
Clydesdales are bred for pulling work – having very strong and enlarged best to consult some good reference
great weights. Their great necks and necks and shoulders, and strong such as photographs or illustrations.
shoulders and cow-hocked hindquarters hindquarters. A very similar horse was I have attached some diagrams
give them extra pulling power. used in artillery work, but the Light which show the proportions.
The Shire is the bigger and Horse ‘Waler’ was a lighter riding horse My advice is to get the best
stronger of these two breeds. A – very strongly built with heavier lower reference you can. Get a book (or
pair of Shires is claimed to have limbs. The endurance of the Light books) on anatomy, and photographs
moved a load of 19 tons from a Horse Walers made them sought-after of horses (or whatever animal you
standing start. They are the second- for cavalry mounts all over the world. have chosen) from all the angles,
strongest animals after elephants. Going to smaller horses, there and in various poses and colours.
The Clydesdale, on the other are dozens of different pony types. A lot of valuable reference can be
hand, while a massive horse, is a bit Generally they are barrel bodied found at shows, draught horse field

Artist’s Drawing a I spiration 49


D R A W I N G I N S P I R A T I O N

observed the actions of horses and


riders. I don’t know how many shows
my wife and I have attended, taking
thousands of photographs. I acquired
several harness vehicles – and 21 years
ago I moved from the city to a beautiful
country area where I had old barns and
cow bales and I acquired a collection
of farm machinery and equipment.
Numerous books on equine subjects
found their way into my library; all
of them have been useful to me.
Most important of all: Like a concert
pianist you have to practise, practise
and practise … don’t be satisfied until
your work is the best you can do.
I see so many terrific paintings
spoiled because they have ill-formed
horses or cattle. It’s a lot of work to
The Prancing Stallion 1 The Prancing Stallion 2
get them right, but it is very satisfying.

THE HORSE’S HEAD


A good way to start is to draw a
triangle with the apex between
the ears and the line between the
two eyes being the base of the
triangle. Draw a longer narrower
triangle for the nose, with a box-
like structure at the bottom.
The ears need special attention.
Whenever riding or driving a horse,
you can tell what has got his interest.
The nostrils also show a calm horse,
when they are relaxed. An angry
or galloping horse has his ears laid
back and nostrils flaring to a trumpet
shape; and a wild look in his eyes.
Harness can be useful as it casts
shadows which will help to show
the form.

THE PRANCING STALLION


I make a few lines on my paper, trying
to get rhythm and action while keeping
the general proportions correct.
Next, I elaborate … making
The Prancing Stallion 3 corrections as I go; starting to express
some form until I think it is alright
… and then I go on to the next step.
I do not want to put in too much
days and campdrafts. If you are years. I spent a lot of childhood time anatomy, so I take a 5B pencil, and
interested in horse-drawn vehicles, in the country – including jackerooing, select the most important low tones
they also have plenty of shows. You mustering and droving. Later, I did first, and work on them – and then
will meet interesting people, too – long trail rides into remote areas, in gradually work on the areas of higher
some who may become firm friends. the Snowy Mountains, and elsewhere tone, adding form to all the important
I have amassed a great deal of along wild rivers and across plains. I not muscles until I think I have done all it is
experience and knowledge over the only enjoyed the scenery, but closely wise to do. I could carry on working up

50 Artist’s Dra ing and Inspiration


D R A W I N G I N S P I R A T I O N

every rib and muscle, but overworking


a drawing causes it to lose its freshness
and makes it stiff and lifeless. Much
of the art is in knowing when to stop.

DIAGRAM SHOWING
PROPORTIONS
In this diagram, the different coloured
lines are all the same length.
Draw a rectangle so that the length
(green) is twice the height (red).
One quarter in from one end,
draw a square equal to the height
of the rectangle (red). This gives
you the length of the legs, as well
as the position of the legs.
Extend the red line at the back of the
forelegs, up to the top of the rectangle,
and this will position the withers.
From the right-hand top corner of the
red square, draw a line to the withers; the length of the head and the distance The diagram is meant only as an
and extend it the length of the red lines. between the gaskin and the rump. approximate guide because there are
This extended line gives you the back Again, from halfway along no hard and fast rules. All horses and
of the neck to the tip of the ears. the green rectangle, draw a breeds have their own peculiarities, as
Halfway up the left end of the line 30 degrees (red) and you in humans. The horse in the diagram
rectangle, draw a line to the withers. have the position of the gaskin is a thoroughbred stallion … but it
The length of this line (purple) is also and the point of the rump. is pretty safe as a general guide. O

ES FUL
L

MISSE Y? TION DRAW


ING
& INS
PI
Please send me: ❏ ADI DI25 R AT I
ID
I EA
S
O EN AND AD ON
DRA HANCE VICE
WINI G S YOUR

$8
KILL
(Plus $2 95 P
(Pl 4 95) VI IT
VIS
S

DEVOONPP
G N
R GIO
RE
GALLE

Name: ................................... ............................................


EA
SPESLES
............................................................................. ................ A$9
Incl
95
BUYC
GUID
IA
A
ERSL
NZ $10 GST
E
53

US $9 20

Address: ................................................................ ................


95 CANncl GST
105/000

SSUE 22 $9 95
A$9.95
03

Incl GST
d 244

l GST
NZ $10 20 In $9 95
5625

US $9 95 CAN
53
244 105/000

t Approve

SSN 2200

562008
02

..................................................................................... ..........
2200 562008
5
ISSN 2200-562

r nt Pos
st Approved

T I I
T
RE ST
REU MBE
R
ERFIELDWHEN
Su ........................................................................ ..........
E OST

RAW
ING
St .............................. .......................... ......... DEM
ONS
TRAT
IONS
FULL

ptions: DRA
1. I enclose a cheque/money order made payable to:

DON
NG & INS
Woodlands Publishing Pty Ltd for $.............. PIRATION

ISS O
EASY TO FOLLOW CR
C EA ATIV
VE IDE
2. bit my ❏ Visa ❏ Mastercard FR
F OM
O I EAS
STEP-BY-STEP AR
TA
T L
A TIS
INSTRUCTIONS AR
A T IC
C N:
MARGAONRE
R T
OLLE
C No _ _ _ / _ _ _ _ Expiry: _ _ / _ L Y

ISSUE 24
A$9.95
Incl GST
NZ $10 20 ncl GST
US $9 95 CAN $9 95
ved 244 105/00053

C holder’s name: ................ .....................................................


04
200 5625

62008

A
YO
Signature: ......... ...... ......
ISSUE 25
A$9 95
Incl GST
NZ $10 20
US $9 95 CANn l GST
$9 95
Pr nt Post Approve
01
5
ISSN 2200-562

562008
d 244 105/000
9 772200
53

ONSTRATIO
Post to: Artist’s on
NS

PO Box 8035, G 2745

Artist’s Drawing a I spiration 51


0 5 : 0 . / ;

Terry Bailey

My ‘Arty’ Life
Terry shares his tale on how art now colours his life.

Just lion about

52 Artist’s Dra ing and Inspiration


0 5 : 0 . / ;

Pete Rainbow portrait

rawing/painting has really


become a passion for me, and
rarely a day goes by without
form of “arty” activity. I find
it immensely absorbing and satisfying,
and yes, sometimes frustrating.
Apart from the odd two to
four-day workshop, I would
refer to myself as self-taught.
I am continually amazed at the “third
dimension” or depth that is created on a
flat surface. With the simple stroke of a
brush or pen, a nose can come forward, Grandma's cheeky budgie Tweet
or a tree pushed back, and how the
use of shadows and reflections will
give sparkle and light to a painting.
When arriving on Bribie Island
in Queensland in 2004, following
a working life in the steel industry,
I thought I would take up golf
and my wife would do “arty
things”. How wrong was I!
After enrolling in a beginner’s
pencil drawing class (about 2006) with
Burnie Hankin at the U3A (University
of the Third Age) here on Bribie, I
became hooked on the “arty things”,
and my wife is now the golfer.
I now tutor two beginner’s/
intermediate pencil drawing classes Ladies day out

Artist’s Drawing an pira n 53


0 5 : 0 . / ;

Woman in Cairo

Large acrylic ladies


who lunch
each week, and lead a life-drawing
group, plus attend the pastel
work-together group at the Bribie
Island Community Art Centre.
I first chose pastels as my
medium because they felt a natural
progression of the stroke work
and blending used with graphite
pencils, and they were inexpensive.
I have recently become a
member of the Australian Pastel
Association, which I recommend
to any budding pastelist. The
demonstrations by master- pastelists,
and techniques displayed at each
monthly meeting are invaluable to
beginners and experienced alike.
I now have other mediums in
my bag of tricks, including ink
and wash, acrylic, water colour,
and charcoal, and I continue with
my love of graphite pencil. But
pastel is still my main medium.
I have received a number of
Highly Commended awards
Tiger dreaming and in July 2011 won first prize

54 Artist’s Dra ing and Inspiration


0 5 : 0 . / ;

at the Matthew Flinders Art


competition’s “Contemporary”
division, with an acrylic work.
Works commissioned by friends
are a joy. It’s quite a buzz to visit
a friend’s home and be greeted
by a painting I have created, and
also to hear their comments.
I have also written illustrated
and published a children’s
book “Grandma’s Cheeky
Budgie TWEET”, released
in September 2011.

Email: tweet111@tpg.com.au I
What me worry

Mel’s Hibiscus

Artist’s Drawing an I spiration 55


D E M O N S T R A T I O N

Pastels

Rainbow Lorikeets
By Terry Bailey

The vivid beauty of these birds is wonderfully captured in Terry’s artwork.

FINAL STEP

56 Artist’s Dra ing and Inspiration


D E M O N S T R A T I O N

STEP ONE STEP TWO

STEP ONE

I
M AT E R I A L S e to use primary colours, and
se Rainbow Lorikeets certainly My palette. I select some colours before
e me the opportunity to do that. I start, and add to them as required.
‡ $UW 6SHFWUXP &RORXUIL[ Iw on Colourfix paper because of
Paper, Terra Cotta its holding ability. I like to push the
pastel hard and deep into the paper STEP TWO
‡ 3DVWHOV 0DLQO\ $UW VSHFWUXP
Rembrandt, and 1 or 2 to get a finished result in one stroke, The “Drawing” was done with
hard, Faber – Castell thus using the brilliant, instantaneous pastel pencil. A neutral colour, very
‡ &RORXUV &DGPLXP 'HHS colour that pastels can give. Obviously lightly applied, and later dusted
Red; Flinders Blue Violet, this cannot be done with every stroke, off, so as to be just visible.
as mixing on the paper will always be
(dark and mid tone); Grass
required. However in this painting it
Green; Australian Leaf Green; STEP THREE
is easy to see many of the first strokes
6SHFWUXP <HOORZ %ULJKW made are still evident in the final Fun time. I am searching for basic
<HOORZ 2UDQJH 8OWUDPDULQH stage. The “terra cotta” colour of the colour and tone, but these guys are so
6N\ EOXH 7HUUD &RWWD DQG paper used here in this is one of my bright the colours pick themselves.
various tones of each. favourites. It makes a good under-paint, I use small pieces of pastels flat on
or can stand alone as a background. their sides. This spreads the load

STEP THREE STEP FOUR

Artist’s Drawing an pira n 57


D E M O N S T R A T I O N

STEP FIVE FINAL STEP

on the pastel and leaves a lovely required. Being aware of the oranges front bird seem to have done this nicely.
variation of tone with each stroke. (red/yellow) and greens (yellow and
blue), that I will be looking for later.
FINAL STEP
STEP FOUR Time to start placing the “jewellery”
Here, I’m still searching for colour and STEP FIVE ie the sharp details. These details
tone, and the under painting starts to As I progress I am conscious of the can be critical to a painting as they
build nicely. I have pushed the pastel contours to be achieved so as not to show the personality and mood of
hard into the paper to produce a strong leave the painting looking flat. The the subject. I think these guys are
base to apply other colour over if light tones on the chest and back of the looking quite relaxed and happy. I

ARTIST’S HINTS AND TIPS


‡8VHDVHSDUDWHFRQWDLQHUWRVWRUHWKH little towards you at the top. This painting by bursting the tiny balls
pastels you are using on the current will allow the pastel dust to fall of pastel on the surface and pushing
painting. This saves time searching from the paper and not lay on your them into the paper. I then will
for the colour you used previously. I precious work. A folded news leave the painting on the backing
tend to preselect only a few colours paper tray is all I use to catch the board for one or two weeks, out of
for my work as I am never sure of falling dust. Do not blow off the harm’s way, to let the pastel surface
where the painting will take me. dust. It will only float in the air “acclimatise”. This also helps
‡.HHSWKHSDVWHOVFOHDQ+DYHDUDJ and generally make the whole reduce dust falling later. Last steps
handy to wipe each pastel when area uncomfortable to work in. before framing will be to check
putting it back into the “selection” ‡)LQLVKLQJ0\SUHIHUUHGSURFHGXUH and touch up the highlights if need
container. This also gives you a few is simple. Taping glassine paper be, and one more final rolling.
seconds’ break in which to admire or similar over the painting I place ‡7RUHPRYHSDVWHO,SUHIHU)DEHU
you work, and makes it easier to see them on a hard smooth surface Castell “putty rubbers”, after first
the right colour in the container. JODVVLQHSDSHURQWRS 8VLQJD brushing off with an old paint brush.
‡,I\RXQHHGDVKDUSHGJHIRUDILQH rolling pin and plenty of pressure, ‡,DOVRXVHDFROOHFWLRQRIYDULRXV
line, try scoring around the pastel I roll over the whole surface of size and shape blenders, some
with your finger/thumb nail before the painting, in all directions, as rubber and some paper. I find
breaking the stick. This will give this pushes the pastel into the the rubber blenders particularly
a clean, controlled sharp break. paper to reduce dust fall out later, good for tidying up edges,
‡<RXVKRXOGDOZD\VKDYH\RXU particularly at framing time. This and also for dragging through
work upright or even leaning a action also seems to brighten the “water” to create reflections.

58 Artist’s Drawing and Inspiration


0 5 : 0 . / ;

Kevin N. Roger

Back to the
Drawing Board
Kevin gives some wonderful tips on getting back to the basics.

W
e all have fond memories
of drawing on scraps of
paper when we were kids.
Smudging those messy oil crayons
around a giant sheet of butcher’s
paper drawing Mum, Dad and your
brothers and sisters in front of that
square house with the mandatory
smoke billowing chimney was
where it all started. It was here and
throughout school that most young
artists were inspired enough to pursue
art as a career. Some of us loved
those art classes where others loved
mathematics and chemistry. But
once the call of art is heard, it is nigh
impossible to deviate from that calling.
To be a good artist I believe one
must be able to draw proficiently
first and those skills need to be honed
on a regular basis; pulling them out
of the cupboard and dusting them
off so to speak. I do not agree with
some art instructors who say you
do not need to be able to draw well
to be a good artist. It would be like
owning a Ferrari without having a
driver’s licence. I believe an artist
must be able to draw perspectives
and understand the basic principles
of anatomy etc before painting, as I
have tried to get exact perspectives
with a paintbrush only and 90 per
cent of the time, I have failed. I must
pre-draw my paintings with a pencil
first and most times I will do three
or four drawings prior to painting

60 Artist’s Drawing and Inspiration


0 5 : 0 . / ;

so I get my composition and tones product to enhance acrylic paints. how the Masters used to do it. Masters
right before touching the canvas. It is hard to pull yourself away like Pablo Picasso, Monet and Van
Not only do we need to re-evaluate from the wonderful world of colour Gogh were all amazing traditional
our skillset, but we need to integrate and that feeling of laying paint down artists before they found their own
new technologies and products into on a canvas is hard to leave and go styles, but all three of them were
our arsenal. One such product I have back to a pencil and paper… but don’t advocates for excellence in drawing.
found to be cutting edge for artists despair, the feeling of that pencil lightly I live in the tropics 600 kilometres
is the Zest-it product range. They building up a tonal base on a sheet of south of Darwin in a little village
have revolutionised drawing by paper still holds an addictive charm called Daly Waters with a permanent
inventing a liquid which when used and not only that, but the portability population of five people so the only
with a Tortillon or Blending Stump of the skill is also a drawcard ie, you thing that changes in my life is the
has an amazing ability to blend tones can sit in a café, railway station, bus visitors to this tiny township. From
perfectly. They also make products stop or anywhere and pull out your November to April the weather is
for oil painting and are working on a pencil and paper and off you go. This is unbearable without air-conditioning.

Artist’s Drawing and Inspiration 61


0 5 : 0 . / ;

The build-up to the ‘Wet’ is from to the comfort of my air-conditioned (remembering I can only paint
September to December and in the home and change my artistic pursuits between May – August each year) for
daytime temperatures reach around to watercolour painting and drawing. the big night in July each year. So
45-50 degrees Celsius until the rains I have found this diversification very what is my second entry going to be?
come. It is not uncommon to have satisfying because by the time winter … It must be a drawing but what? I
temperatures of 54 degrees around comes around I am champing at the started doodling and came up with
4pm each day during this period. So, bit to get back to acrylic painting. the inspiration of drawing 36 pencil
why have I just bored you with the It is a very pleasing cycle of life. portraits of people in the Northern
local weather report? Well, during So here I am in my nice air- Territory to place into a frame 1m
this build up and through summer conditioned room and wanting for x 1m. Last year I received a highly
it is almost impossible to paint with inspiration as the Katherine Prize art commended and sold a painting for
acrylic, even Atelier Interactive competition is looming on the horizon. $1800 which inspired me to do better
paint tends to dry very quickly, not Artists are only allowed to put two this year, so in order to do that I had
only that but where I paint is in a 20 entries into this annual prize and I to go ‘back to the drawing board’,
x 10 metre studio which is almost only have two months to come up and by doing this, it has motivated
impossible to cool down. So I retreat with a one-metre painted masterpiece me to become a better artist.

62 Artist’s Drawing and Inspiration


0 5 : 0 . / ;

I have found two inspirational etc and they have a strap to keep wrap I can be a little more robust in
books which are a must for any artist them all in place. I keep a supply of my handling of the pencils as I know
when it comes to back to basics at least four pencils of each grading. they are protected. If you do not have
stuff. They are “What Painting Is” by Make sure you have a quality pencil access to the pencil wrap then you can
James Elkins and “Carlson’s Guide sharpener. I recommend the A5 Helix use any old box or fishing tackle box
to Landscape Painting” by John F. sharpener as they have five settings so long as you wrap your pencils in
Carlson. Both these books illuminated and give the pencil a wonderful long bubble wrap or equivalent. I like to
my perception of people, objects, lead with amazingly sharp points. keep my drawing sheets separate in a
nature and art. Little phrases like “you I have a small stock of kneadable clear plastic wallet which I attach to a
must paint the message you want to erasers but I much prefer to use the foolscap clipboard. I just take the sheet
portray to the viewer”, and “what are Faber Castell Dust-Free eraser, so I out and put it on my clipboard which
you trying to tell the viewer?”. This have a stock of at least six of these. I gives the paper a more solid backing
taught me that rather than replicate use one for blending so it has a soft than leaving the sheet in its pad.
an image you must tell a story first, rounded corner. The second one has You can make your own Tortillons at
as most art buyers want the story first a sharp corner which I keep sharp by this website: http://monologues.co.uk/
and foremost … I suppose what you slicing a fine edge off the end of the Portraits/Tortillon.htm
are doing is selling the sizzle not the whole eraser. This gives me the ability and the Zest-it range can be found at:
sausage. I had to sit back and let this to remove small amounts of graphite http://www.zest-it.com/products.htm
statement sink in, and eventually it in detail. The other four erasers can . I recommend you visit these sites
did. So you see, sometimes by going be moulded to your own taste. if you are keen on improving your
back to basics you can stimulate Only ever buy good quality cartridge drawing skills. Furthermore there are
artistic thought, because I am sure paper which is acid free and has so many drawing and painting tutorials
as an art student you had a couple a minimum weight of 150gsm. on YouTube and many free PDF
of sick days and missed a couple of Once the drawing has been downloadable files regarding basics in
very pertinent statements like this. completed I put it in a plastic art, so do your art a favour and hang
So my basic drawing wallet but firstly I spray it with up your paintbrushes for a while, make
kit is as follows: workable fixative from Westart. yourself a cuppa and start drawing
A pencil wrap (36 pencil capacity). These items are just so portable so family portraits and the world around
These wraps have little pockets for I take them everywhere in my little you in pencil … you won’t regret it!
erasers and small pencil sharpeners backpack. Because I have a pencil Cheers. I

Artist’s Drawing and Ins ation 63


D E M O N S T R A T I O N

Pencils

Jane
Captured in pencil, this monotone portrait is a delight.

By Kevin N. Rogers

OODUWLVWVQHHGWREHDEOHWR
FRQFHSWXDOLVHWKHLUILQDO
ZRUNLQWKHLUPLQG7R
HQVXUH\RXUFRPSRVLWLRQVDUHFRUUHFW
\RXQHHGWREHDEOHWRGUDZZHOO
HQRXJKWRHQVXUH\RXUSHUVSHFWLYHV
DQGWRQDOYDULDWLRQVDUHWUXH,KDYH
KXQJXSP\EUXVKHVIRUWKHSDVWWZR
PRQWKVDQGUHYHUWHGWRWKHZRUOGRI

M AT E R I A L S

‡ JVP$FLGIUHH
GUDZLQJFDUWULGJH
‡ HQFLOJUDGHV%+%
) + %XVHGIRU
JUDSKLWHSRZGHUVXSSO\
‡ DEHU&DVWHOO'XVW)UHH(UDVHU
[ IRUEOHQGLQJDQGIRU
‡ HVWLW 3HQFLO%OHQG
‡ HVWLW %OHQGLQJ6SRQJH
‡ RUWLOOLRQV[ VPDOO
DQGPHGLXP

and Inspiration
D E M O N S T R A T I O N

STEP ONE STEP ONE

PRQRWRQH UHKRQLQJ P\ GUDZLQJ VHW RI )DEHU &DVWHOO GUDZLQJ SHQFLOV 'XVW)UHH (UDVHU WKH EHVW RQH IRU
VNLOOV WR VSHDN , KDYH FRPPLVVLRQHG + WR %  DQ $ +HOL[ 3HQFLO WKH MRE , XVH RQH IRU EOHQGLQJ WKH
P\VHOI WR GUDZ  SRUWUDLWV LQ SHQFLO 6KDUSHQHU ZKLFK , EHOLHYH LV WKH EHVW JUDSKLWH SRZGHU IURP WKH % SHQFLO
EHIRUH PRYLQJ EDFN WR WKH FDQYDV LQ WKH PDUNHWSODFH D )DEHU &DVWHOO DQG RQH IRU DFWXDO HUDVXUH ZRUN  7R
DQG VSODVKLQJ WKH SDLQW DURXQG DJDLQ 3HQFLO ZUDS ZKLFK KROGV  SHQFLOV JHW P\ VXSSO\ RI JUDSKLWH SRZGHU
7KLV VKRXOG DFW OLNH FKDQJLQJ WKH RLO DVVRUWHG HUDVHUV DQG D VPDOO SHQFLO , UXE P\ % SHQFLO RQ SDSHU WKHQ
LQ D FDU EHIRUH GULYLQJ RII DJDLQ VKDUSHQHU , ERXJKW WZR NQHDGDEOH OLJKWO\ PRYH P\ HUDVHU EDFN DQG
7R HQVXUH , KDG TXDOLW\ HTXLSPHQW HUDVHUV EXW ZLWK WKH SRUWUDLWXUH ZRUN IRUWK DFURVV WKH SDSHU WR ¶SLFN XS·
, ZHQW RQOLQH DQG SXUFKDVHG D JRRG , DP GRLQJ , ILQG WKH )DEHU &DVWHOO VRPH JUDSKLWH SRZGHU IRU EOHQGLQJ

STEP TWO STEP THREE

Artist’s Drawing a I spiration 65


D E M O N S T R A T I O N

STEP FOUR STEP FIVE

STEP ONE STEP FOUR


$IWHUFKRRVLQJ\RXUSKRWRJUDSKIRU 7KLVLVZKHUHP\=HVWLWFRPHVLQWR ARTIST’S
WKHSRUWUDLWSULQWLWRXWDQGGUDZLQ
WKHILYHE\ILYHVTXDUHER[JULGRYHU
SOD\,HQVXUHP\=HVWLWVSRQJHLV
PRLVWHQHG LILWLVQ·WMXVWDGGPOWR
HINTS
WKHSKRWRJUDSK'XSOLFDWHWKHJULG WKHVSRQJH DQGP\7RUWLOORQVDUH AND TIPS
RQWR\RXUFDUWULGJHSDSHU'UDZLQ UHDG\7KHVH7RUWLOORQVRU%OHQGLQJ
WKHURXJKRXWOLQHRIWKHIDFHWRHQVXUH 6WXEVZLWK=HVWLWJLYHWKHVNHWFKHU
WKHSURSRUWLRQVDUHFRUUHFW8VHD DSRZHUIXOFRPELQDWLRQZKHQLW ‡ OZD\VEX\TXDOLW\SHQFLOV
+SHQFLOIRUWKLVEXWQRWWRRKHDY\ FRPHVWRSHUIHFWEOHQGLQJ6RKHUH DQGJHWWRNQRZ\RXU
DV¶+·SHQFLOVWHQGWROHDYHGHQWVLQ ,GLSP\7RUWLOORQLQWRWKHPRLVW %)DQG+UDWLQJV
WKHSDSHUZKHQ\RXHUDVHWKHOLQHV =HVWLWVSRQJHDQGVWDUWEOHQGLQJWKH ‡ UHFRPPHQGDWOHDVW)DEHU
VKDGRZVSXWGRZQLQ67(37+5(( &DVWHOO'XVW)UHHHUDVHUV
.HHSGLSSLQJDQGEOHQGLQJXQWLO\RX ‡ YHUWKH\HDUV,KDYHQHYHUKDG
STEP TWO VHHWKHIDFLDOGLPHQVLRQVDSSHDU DQRXQFHRIWURXEOHZLWKWKH
(UDVHWKHJULGOLQHVZLWKDQHUDVHUDQG $+HOL[3HQFLO6KDUSHQHU
WRXFKXSWKHDUHDVZKHUHWKHHUDVHU ‡ HYHUEX\SDSHUOHVV
UHPRYHGFRPSRQHQWVRIWKHGUDZLQJ STEP FIVE WKDQJVP
,I\RXDUHULJKWKDQGHGDOZD\VVWDUW ‡ OZD\VSXWGRZQDOLJKWHU
\RXUGUDZLQJRQWKHOHIWVLGHRI JUDGHSHQFLOILUVWDVLW
STEP THREE WKHSDSHUDQGYLFHYHUVDIRUPROO\ LVHDVLHUWRGDUNHQDQ
$WWKLVVWDJH,VFUDWFKVRPHJUDSKLWH GRRNHUV7KLVZLOOHQVXUH\RXGR LPDJHWKDQOLJKWHQLW
SRZGHURQWRDVKHHWRISDSHUE\ QRWGUDJ\RXUKDQGDFURVVDOUHDG\ ‡ RRNDIWHU\RXUSHQFLOVE\
UXEELQJD%SHQFLODFURVVWKH FRPSOHWHGSHQFLOVWURNHV,DOZD\V SDFNLQJWKHPLQHLWKHUDZUDS
SDSHUVORZO\EXLOGLQJXSD¶SLOH·RI VWDUWZLWKWKHKDLUOLQHDQGZRUN RUDWDFNOHER[ZLWKEXEEOH
JUDSKLWH:KHQWKLVKDVEHHQGRQH DFURVVWKHIDFHIURPWKHUH+DLU ZUDSDVWKHUHLVQRWKLQJ
,WKHQUXEP\'XVW)UHHHUDVHU PRVWDOZD\VKDVDVKLQHLQLWVRWR ZRUVHWKDQVKDUSHQLQJD
LQWRDQGDFURVVWKLVSLOHSLFNLQJXS PDNHWKLVDSSHDU,XVHWKHFOHDQ SHQFLOZLWKEURNHQOHDG
JUDSKLWHDV,JR,WKHQJHQWO\XVHP\ VKDUSHGJHRIDQHUDVHUDQGIOLFN VHJPHQWVHYHU\PPRUVR
HUDVHUDVDGUDZLQJLPSOHPHQWE\ LWWKURXJKWKHGDUNSHQFLOPDUNV
SODFLQJWKHIDFLDOVKDGLQJLQSODFH WRUHPRYHWKHJUDSKLWHOHDYLQJ

66 Artist’s Drawing and Inspiration


D E M O N S T R A T I O N

OLJKWHU VWULSV RQ WKH SDSHU :KHQ \RX GUDZ KDLU


\RXU SHQFLO PXVW EH VKDUS VR DV D KLQW , WHQG WR
UROO WKH WLS RI WKH SHQFLO DURXQG ZKLFK JLYHV PH
D VKDUSHU SRLQW RQ WKH RWKHU VLGH , GR WKLV XQWLO ,
QHHG WR XVH P\ $ +HOL[ 3HQFLO 6KDUSHQHU DJDLQ

STEP SIX
%HJLQ WR GHWDLO WKH H\HV 7KLV ZLOO PDNH RU
EUHDN \RXU GUDZLQJ VR , UHFRPPHQG JRLQJ LQ
OLJKW DQG E\ WKLV , XVH P\ + SHQFLO DQG JHQWO\
EXLOG XS WKH VKDGHG DUHDV XQWLO , DP VDWLVILHG
ZLWK WKH ZD\ WKH H\H ORRNV ,I \RX JR LQ ZLWK D
+% SHQFLO RU VRIWHU DQG PDNH DQ HUURU WKHQ LW LV
YHU\ GLIILFXOW WR HUDVHU WKH PLVWDNH VR EXLOG XS
ZLWK WKH + DQG EH SDWLHQW ZLWK LW , DOVR VWDUW
GUDZLQJ WKH OLSV LQ DW WKLV VWDJH UHPHPEHULQJ
WR ZRUN IURP OHIW WR ULJKW IRU ULJKWKDQGHUV  $W
WKLV VWDJH , OLJKWO\ GUDZ LQ WKH ULJKW H\HEURZ WR
HQVXUH WKHUH LV D EDODQFH DFURVV WKH H\H OLQH

FINAL STEP
:LWK WKH PDLQ IDFLDO IHDWXUHV LQ SODFH QRZ ,
VWDQG EDFN DQG WR JHW DQ RYHUDOO IHHO IRU WKH
SRUWUDLW ,W LV KHUH , XVH WKH VKDUSHQHG HUDVHU
WR KLJKOLJKW KDLU DQG VKLQHV RQ WKH VNLQ ,
DOVR WRXFK XS ZLWK P\ 7RUWLOORQ DQG =HVWLW WR
HQVXUH WKHUH DUH QR VKDUS GHOLQHDWLRQV LQ WKH
EOHQGV 7KH GUDZLQJ LV QRZ FRPSOHWH I

Artist’s Drawing a I spiration 67


I N S I G H T

Sheryl Billings

Enjoying My Art
Studying up on history, art instruction books and DVDs,
this talented artist successfully paints from a wide range of subjects,
including Ned Kelly and Sovereign Hill.

68 Artist’s Drawing and Inspiration


I N S I G H T

B
eing the last one born in a
family of six siblings, I always
wanted to paint people’s faces
but I just did not have the confidence.
I was very influenced by my brother
Allen, who was a very talented screen
printer, and at high school I received
an (A+) for graphics. I started painting
for relaxation in my late twenties after
a diagnosis of Repetitive Strain Injury
and Carpal Tunnel surgery from typing
and other repetitive jobs from my
workplace.
When I first started art, I had three
teachers, including Carol Boothman,
who was a mentor and the president
of the Waverly Art Society in
Victoria. Because of the chronic pain I
experience, now I am just a self-taught
artist. I also have a fascination with
colour and light, so I do a lot of study
from art instruction books and DVDs.
I did have some trouble understanding
colour so I studied a book called
“Colour, a Course in Mastering the Art
of Mixing Colour” by Betty Edwards.
I have also studied a book called
“Painting Skin Tones with Colour and
Light in Oil, Pastel and Watercolour”
by Chris Saper. I found two DVDs
very helpful as well, “Colour Mixing
and Theory with Mary Gibilisco” and
“Focus on Colour Therapy” from the
library of Kingslan and Gibilisco. My

Artist’s Drawing and Inspiration 69


I N S I G H T

mediums are oil paint and pastels. I My art subjects can vary between Kelly. I also have a fascination with
work from coloured or black and white people, animals, landscapes, the goldfields township of Sovereign
photos or even my own sketches. beachscapes and the bushranger Ned Hill in Ballarat, Victoria. As practice

70 Artist’s Drawing and Inspiration


I N S I G H T

for the last 20 years I have done


many Sovereign Hill pictures.
One is of period costumes, using
photographs by the professional
photographer, Ian Roberts. So far I
have done 17 oil paintings of Ned
Kelly, whom I have researched
from many books, and I wear 19th
Century dresses, which I call ‘life
imitating art’. My art has been
published in issue 86 of Artist’s
Palette magazine, where I won
the Watercolour section in Lang’s
Gallery. My art has also been
published in the Courier Ballarat
newspaper in 2001 and the Riverine
Herald, Echuca in 2003. In 2006 I
had my first Art Exhibition at the
Sherbrook Art Gallery in Belgrave,
Victoria, and received coverage of
it in Knox Leader newspaper in
October 2006.

AWA R D S
‡ , ILUVW VWDUWHG LQ 3DVWHOV DQG ZRQ
Third Prize in the Annual Spring
Art Show, 1998, and Commended
in 1999.
‡ , WDXJKW P\VHOI WR XVH RLO SDLQW
The first oil painting which won
me a prize (Highly Commended),
was in 2000. I won Third Prize
and Commended in the Annual
Spring Art Show in 2002, Third
Prize in the Stringybark Art Show
in 2002, and Third Prize at the
Stringybark Art Show in 2009.
‡ .QR[ $UW 6KRZ
‡ )LUVW 3UL]H 3DVWHO 
‡ 6HFRQG 3UL]H 3DVWHO 
‡ )LUVW 3UL]H 2LO SDLQWLQJ 
‡ 6HFRQG 3UL]H 2LO SDLQWLQJ 
‡ 7KLUG 3UL]H 2LO SDLQWLQJ 
‡ 6HFRQG SUL]H 2LO SDLQWLQJ 
‡ /LO\GDOH $JULFXOWXUDO DQG
Horticultural Society
Annual Spring Show, Highly
Commended, Oil painting, 2013. I

Artist’s Drawing and Inspiration 71


D E M O N S T R A T I O N

Pencils and Pastels

Bringing the Past to Life


By Sheryl Billings

This clever artist


discovered that bringing
an old photo of herself
and her nephews Ricky
and Peter back to life
was a very interesting
experiment.

M AT E R I A L S

‡'HUZHQW3DVWHO3HQFLOV
‡3UXVVLDQ%OXH
‡5DVSEHUU\5HG
‡3URFHVV<HOORZ
‡,QGLJR%OXH
‡)UHQFK*UH\
‡9DQLOOD<HOORZ
‡6SHFWUXP%OXH
‡&DGPLXP5HG
‡:KLWH
‡%XUQW8PEHU
‡2UDQJH(DUWK
‡%URZQ2FKUH
‡<HOORZ2FKUH
‡0DJHQWD5HG
‡%XUQW6LHQQD
‡8PEHU
‡=LQFK<HOORZ
‡)OHVK7RQH7LQWV&RQWH$
3DULV3DVWHO3HQFLOV3LQN
1R1RDQG1R
‡3DVWHO6WLFNV%XUQW8PEHU
:DUP*UH\,QGLJR%OXH
‡2QHVKHHWRI&DQVRQ3DVWHOSDSHU
‡.QHDGDEOHUXEEHU
‡6RIWEUXVK
FINAL STEP

72 Artist’s Drawing and Inspiration


D E M O N S T R A T I O N

STEP ONE STEP TWO AND THREE

STEP ONE
6WDUW GUDIWLQJ \RXU VKDSHV RQ &DQVRQ 3DVWHO SDSHU
ZLWK D ZKLWH 'HUZHQW 3DVWHO SHQFLO , IRXQG XVLQJ
WKLV ROG SKRWR RI ZKHQ , ZDV RQO\  D UHDO VNLOO
WR SUDFWLFH 7KH PRVW LPSRUWDQW WKLQJ LV WR VNHWFK
\RXU RXWOLQH RI WKH SLFWXUH ILUVW VR WKHQ \RX ZLOO
NQRZ WKDW WKH FRPSRVLWLRQ ZLOO DOZD\V EDODQFH

STEP TWO
, EORFN LQ VRPH RI WKH VKDSHV ZLWK &DGPLXP 5HG
DQG 3UXVVLDQ %OXH SHQFLOV , DOVR XVH D VNLQ WRQH
SLQN 1R  &RQWH 3DVWHO SHQFLO IRU WKH IDFHV DUPV
DQG OHJV )RU WKH ER\V· SDQWV , XVH %XUQW 8PEHU
ZLWK ,QGLJR %OXH IRU WKH GDUN VKDGLQJ DQG %XUQW
6LHQQD IRU WKH 8JJ ERRWV DQG KDLU , XVH 6SHFWUXP
%OXH IRU WKH IURQW RI WKH ER\V· MXPSHUV DV ZHOO

STEP THREE
, WKHQ SURFHHG WR WKH EDFNJURXQG RI WKH SLFWXUH DQG VWDUW
EORFNLQJ LQ WKH EULFNV ZLWK 5DVSEHUU\ 5HG ZLWK ,QGLJR
%OXH IRU GDUN VKDGLQJ DQG :KLWH IRU WKH RXWOLQH , DOVR
XVH &DGPLXP 5HG DQG ,QGLJR %OXH IRU VKDGLQJ :KLWH
IRU WKH VFRRWHU WKH VHDW DQG WKH LQVLGH RI WKH ZKHHO DQG
)UHQFK *UH\ IRU WKH VFRRWHU·V PRWRU FRYHU , EORFN LQ WKH

STEP FOUR
STEP FIVE STEPS SIX AND SEVEN

JURXQGZLWKGDUNVKDGLQJXVLQJ,QGLJR STEP FOUR &RQWH3DVWHO1RDQG&RQWH3DVWHO


%OXH7KHQ,SURFHHGWRWKHPLGGOH ,VWDUWEORFNLQJLQWKHGDUNVKDGHV 1RSXWDELWRI2UDQJH(DUWK
ER\·VMXPSHUZLWK9DQLOOD<HOORZ WKURXJKWKHSLFWXUH,XVH3UXVVLDQ%OXH DQG%URZQ2FKUHWKURXJKWKHLUKDLU
DQG5DVSEHUU\5HGIRUVKDGLQJWKHVNLQ DQGGRVRPHPRUHGHWDLORQWKH
DQGRQO\SUHVVWKHSDVWHOVYHU\OLJKWO\IRU IDFHIHDWXUHVZLWK,QGLJR%OXH
WKHVNLQ,XVH,QGLJR%OXHIRUWKHGDUN
ARTIST’S VKDGHVWKURXJKWKHUHVWRIWKHSLFWXUH
STEP SEVEN
DQGXVH8PEHUIRUWKHOLQHVWKURXJK
HINTS AND WKHYDQLOODMXPSHURIWKHPLGGOHER\ ,WKHQSURFHHGWRWKHOLJKWVKDGHVRI
WKHVNLQDQGFORWKHVZLWK:KLWHSHQFLO
TIPS 'RQRWSUHVVWRRKDUG\RXRQO\ZDQW
STEP FIVE DYHU\IDGHGVKDGHVRWKHQ\RXZLOO
‡$OZD\VXVHTXDOLW\SDVWHOV,ILQG ,WKHQSURFHHGWREORFNLQWKHGHWDLO NQRZWKDWWKHOLJKWVKDGHVZLOOEDODQFH
'HUZHQW3DVWHOSHQFLOVDYHU\ RIWKHIDFHVDQGKDQGVZLWK,QGLJR
KLJKTXDOLW\SURGXFWDQGWKH\JLYH %OXHDQGXVH0DJHQWD5HGIRUWKH
DYHU\VRIWILQLVKDQGDUHWH[WXUHG EDOORRQVWKHWZRER\VDUHKROGLQJ FINAL STEP
‡)L[DWLYHVSUD\FDQEHYHU\ ,DOVRVWDUWSXWWLQJLQWKHH\HVDQG 7RILQLVKRIIWKHSDVWHOSLFWXUH
KHOSIXOZKHQ\RXFDQQRWOD\HU PRXWKVRXWOLQHZLWK,QGLJR%OXH FRQWLQXHWRDGGPRUHZDUPKLJKOLJKWV
DQ\PRUHSDVWHORQWKHSDSHU<RX DQGDOVRXVHWKLVRQ¶P\·QHFNOLQH ZLWK:KLWH<RXFDQDOVRXVH=LQFK
FDQDOVRXVHDNQHDGDEOHUXEEHU <HOORZZLWK:KLWHSUHVVLQJRQO\
WRUHPRYHDQ\H[FHVVSDVWHO YHU\OLJKWO\ZLWKWKHSHQFLOIRUD
‡1HYHUJLYHXSRQDQ\VXEMHFW STEP SIX YHU\VRIWWLQWKLJKOLJKW+LJKOLJKWV
QRWKLQJLVLPSRVVLEOH ,SURFHHGWREORFNLQPRUHPHGLXP DUHDYHU\LPSRUWDQWSDUWWKLV
FRORXUVLQWKHIDFHVDQGKDQGVZLWK ZLOOEULQJWKHSLFWXUHWROLIHI

74 Artist’s Drawing and Inspiration


SO INE .au
L
AL ON .com
o
HOP pc
S w.w
ww

$24.99 $34.99 $34.99 $49.99 $23.99


$19.99 $27.99 $27.99 $39.99 $19.99

$34.99 $34.99 $25.99 $25.99


$25.99
$25.99 $27.99 $20.49 $20.49
$20.49

$25.99 $24.99 $34.99 $34.99


$20.49 $19.99 $27.99 $27.99

$25.99 $25.99 $23.99 $34.99 $24.99


$20.49 $20.49 $18.99 $27.99 $19.99

$21.99 $39.99 $25.99 $25.99 $21.99


$17.99 $31.99 $20.49 $20.49 $17.99

$24.99 $25.99 $12.99 $25.99


$19.99 $20.49 $10.99 $20.49
SAVE UP TO 20% ON
SELECTED BOOKS
HURRY ORDER TODAY AND SAVE
TITLE SPECIAL TITLE SPECIAL
DISCOUNT DISCOUNT

PLEASE TICK BOOKS REQUIRED R Start Painting with Acrylics 20.49

R Art of Abstract Painting, The 27.99 R Painting with Pastels 20.49

R Acrylic Painting Step-by-Step 27.99 R How to Paint Flowers in Acrylic 18.99

R Complete Guide to Life Drawing 39.99 R Pastel Painting Step-by-Step 27.99

R Drawing Portraits 19.99 R Pastel Wheel Book, The 19.99

R Drawing Step-by-Step 25.99 R Sketching People 17.99

R Sea and Sky In Acrylics 27.99 R Trace and Paint Watercolour 31.99

R Drawing, A Complete Guide 20.49 R Terry's Top Tips for Acrylic Artist's 20.49

R Creative Acrylic Landscapes 20.49 R Terry's Top Tips for Watercolour Artist's 20.49

R Alwyn's Top Tips for Watercolour Artists 20.49 R Understanding Perspective 17.99

R David Bellamy's Winter landscapes 20.49 R Watercolour Wheel Book, The 19.99

R Oil Paint Colour Wheel Book, The 19.99 R Wendy's Top Tips for Acrylic Artist's 20.49

R Oil Painting Step-by-Step 27.99 R Colour Mixing Guide Watercolour 10.99

R Painting Abstracts 27.99 R Winsor & Newton's Guide to Colour 20.49


Mixing Acrylics

TITLE Q MR Q MRS Q MS Q MISS Please debit my: Q Mastercard Q Visa


Card No
Name ________________________________________________________________

Address______________________________________________________________
QQQQ QQQQ QQQQ QQQQ
Expiry date QQ / QQ
_______________________________________________________________________

State______________________________ Postcode_________________________ Cardholder name (PLEASE PRINT)___________________________________


Email_________________________________________________________________

Telephone (inc. area code)___________________________________________ Signature_________________________________________ Date_____________

Q Cheque/Money Order (Aust. only) I enclose a cheque/money order made payable to

Woodlands Publishing Pty Ltd (ABN 30 115 093 162) for $ ........................

* All prices include GST. Parcel Post $9.95

POST CALL  FAX @ EMAIL


PO Box 8035 Phone: 02 4722 2260 orders@wpco.com.au
Glenmore Park NSW 2745 Fax: 02 4733 8583
SO INE .au
L
AL ON .com
o
HOP pc
S w.w
ww

$34.99 $34.99 $34.99 $23.99 $28.99


$27.99 $27.99 $27.99 $18.99 $22.99

$42.99 $25.99 $23.99 $23.99


$23.99
$33.99 $20.49 $18.99 $18.99
$18.99

$23.99 $23.99 $23.99 $23.99 $23.99


$18.99 $18.99 $18.99 $18.99 $18.99

$23.99 $23.99 $34.99 $25.99 $34.99


$18.99 $18.99 $27.99 $20.49 $27.99

$25.99 $39.99 $39.99 $34.99 $42.99


$20.49 $31.99 $31.99 $27.99 $33.99

$28.99 $28.99 $28.99 $28.99 $28.99


$22.99 $22.99 $22.99 $22.99 $22.99
SAVE UP TO 20% ON
SELECTED BOOKS
HURRY ORDER TODAY AND SAVE
TITLE SPECIAL TITLE SPECIAL
DISCOUNT DISCOUNT

PLEASE TICK BOOKS REQUIRED


R Abstracts: 50 Inspirational Projects 27.99 R How to Paint: Watercolour Landscapes 18.99

R Abstracts: Techniques & Textures 27.99 R How to Paint: Watercolours 18.99

R Acrylic Painting Step-by-Step 27.99 R Introduction to Drawing the Human Body 27.99

R Draw Portraits 18.99 R Keith's Top Tips for Watercolour Artist's 20.49

R Art Answers: Watercolour Painting 22.99 R Painting Acrylic Landscapes the Easy Way 27.99

R Complete Guide to Painting in Acrylics 33.99 R Painting Water 20.49

R Geoffs Top Tips for Watercolour Artist's 20.49 R Pastels Unleashed 31.99

R How to Paint: Abstracts 18.99 R Vibrant Acrylics 31.99

R How to Paint: Acrylics 18.99 R Watercolour for the Absolute Beginner 27.99

R How to Paint: Colour and Light in Watercolour 18.99 R Wendy Tait's Watercolour Flowers 33.99

R How to Paint: Drawing Techniques 18.99 R What to Paint: Boats and Harbours 22.99

R How to Paint: Flowers in Acrylics 18.99 R What to Paint: Flowers 22.99

R How to Paint: Flowers in Watercolour 18.99 R What to Paint: Hills and Mountains 22.99

R How to Paint: Landscapes in Oils 18.99 R What to Paint: Landscapes 22.99

R How to Paint: Oils 18.99 R What to Paint: Trees, Woodlands & Forests 22.99

TITLE Q MR Q MRS Q MS Q MISS Please debit my: Q Mastercard Q Visa


Card No
Name ________________________________________________________________

Address______________________________________________________________
QQQQ QQQQ QQQQ QQQQ
Expiry date QQ / QQ
_______________________________________________________________________

State______________________________ Postcode_________________________ Cardholder name (PLEASE PRINT)___________________________________


Email_________________________________________________________________

Telephone (inc. area code)___________________________________________ Signature_________________________________________ Date_____________

Q Cheque/Money Order (Aust. only) I enclose a cheque/money order made payable to

Woodlands Publishing Pty Ltd (ABN 30 115 093 162) for $ ........................

* All prices include GST. Please add Parcel Post $9.95

POST CALL FAX @ EMAIL


PO Box 8035 Phone: 02 4722 2260 orders@wpco.com.au
Glenmore Park NSW 2745 Fax: 02 4733 8583
SO INE .au
L
AL ON .com
o
HOP pc
S w.w
ww

$12.99 $12.99 $49.99 $23.99 $42.99


$9.99 $9.99 $39.99 $18.99 $33.99

$42.99 $49.99 $39.99 $42.99


$39.99
$33.99 $36.99 $31.99 $33.99
$31.99

$23.99 $23.99 $34.99 $34.99 $34.99


$18.99 $18.99 $27.99 $27.99 $27.99

$34.99 $34.99 $23.99 $23.99 $34.99


$27.99 $27.99 $18.99 $18.99 $27.99

$34.99 $24.99 $24.99 $34.99 $34.99


$27.99 $19.99 $19.99 $27.99 $27.99

$12.99 $34.99 $34.99 $34.99 $12.99


$9.99 $27.99 $27.99 $27.99 $9.99
SAVE UP TO 20% ON
SELECTED BOOKS
HURRY ORDER TODAY AND SAVE
TITLE SPECIAL TITLE SPECIAL
DISCOUNT DISCOUNT

PLEASE TICK BOOKS REQUIRED


R Art Handbooks: Basic Drawing Techniques 9.99 R Drawing Masterclass: Life Drawing 27.99

R Art Handbooks: Drawing Landscapes 9.99 R Drawing Masterclass: Portraits 27.99

R Complete Guide to Drawing Animal 39.99 R Drawing Pets 18.99

R Draw Animals 18.99 R Drawing Portraits 18.99

R Drawing and Painting Flowers with Coloured Pencils 33.99 R Drawing Step-by-Step 27.99

R Drawing & Painting Horses (New in Paperback) 33.99 R Sea and Sky In Acrylic 27.99

R Drawing & Painting Mermaids 36.99 R Drawing, A Complete Guide 19.99

R Drawing & Painting Sports Figures 31.99 R From Sketch to Painting 19.99

R Drawing & Painting Wild Animals 31.99 R How to Draw Animals 27.99

R Drawing & Painting with Water Soluable Media 33.99 R How to Draw Flowers & Trees 27.99

R Drawing Hands & Feet 18.99 R How to Draw Trees 9.99

R Drawing Light & Shade 18.99 R Trace & Paint Flowers 27.99

R Drawing Masterclass: Animals 27.99 R Trace & Paint Watercolour 27.99

R Drawing Masterclass: Flowers 27.99 R Trace & Paint Watercolour Landscapes 27.99

R Drawing Masterclass: Landscapes 27.99 R Learn to Draw Now 9.99

TITLE Q MR Q MRS Q MS Q MISS Please debit my: Q Mastercard Q Visa


Card No
Name ________________________________________________________________

Address______________________________________________________________
QQQQ QQQQ QQQQ QQQQ
Expiry date QQ / QQ
_______________________________________________________________________

State______________________________ Postcode_________________________ Cardholder name (PLEASE PRINT)___________________________________


Email_________________________________________________________________

Telephone (inc. area code)___________________________________________ Signature_________________________________________ Date_____________

Q Cheque/Money Order (Aust. only) I enclose a cheque/money order made payable to

Woodlands Publishing Pty Ltd (ABN 30 115 093 162) for $ ........................

* All prices include GST. Please add Parcel Post $9.95

POST CALL  FAX @ EMAIL


PO Box 8035 Phone: 02 4722 2260 orders@wpco.com.au
Glenmore Park NSW 2745 Fax: 02 4733 8583
PUBLISHER Simon Mullen

Phone (02) 4733 8482 Fax (02) 4733 8385

Email: simon@wpco.com.au
Next Issue
CREATIVE DIRECTOR Hayley Jagger Artist’s Drawing & Inspiration
DESIGNER Tara Mullen Issue 27
NATIONAL ADVERTISING MANAGER

Simon Mullen (02) 4733 8482 Fax: (02) 4733 8583

Email: simon@woodlandspublishing.com.au
t%SBXJOHUJQTBOEJEFBT
ADVERTISING COORDINATOR t4UFQCZ4UFQEFNPOTUSBUJPO
Anita Mullen
t.FFUBNB[JOHBSUJTUT
ADVERTISING ENQUIRIES
t5IFMBUFTUQFODJMCVZFSTHVJEF
Phone: (02) 4733 8482

Email: simon@wpco.com.au

SUBSCRIPTION ENQUIRIES

On Sale Soon
Danielle Ryan

Phone: (02) 4722 2260 Fax: (02) 4733 8583

Email: subs@woodlandspublishing.com.au

Website: www.wpco.com.au

For back issues call 02 4733 8447

RETAIL SALES/OVERSEAS DISTRIBUTION ENQUIRIES

Simon Mullen

Email: simon@woodlandspublishing.com.au

PUBLISHED BY

Published, promoted and distributed by

Woodlands Publishing Pty Ltd (ACN 115 093 162)

All rights reserved.

WOODLANDS PUBLISHING PTY LTD

PO BOX 8035

GLENMORE PARK NSW 2745

PRINTED BY

Times Printers Pte Ltd, Singapore 9950

Woodlands Publishing Pty Limited has taken reasonable steps to


secure the copyright in the articles and photographs reproduced in this
publication. We secure from each article’s author a warranty that the
copyright subsisting in the article is the author’s original work, or the
author has obtained all necessary rights, licences and permissions, and
publishing it in this publication will not infringe any third party’s copyright. We would love to hear your views on almost anything
Articles are published relying on the representations and warranties of
the authors of the articles and without our knowledge of any infringement
to do with art. Please don’t hesitate to write to us at
of any third party’s copyright. All material in this magazine is copyright Artist’s Drawing and Inspiration. Send your letters to:
and cannot be reproduced in part or in full without written permission The Editor, Artist’s Drawing and Inspiration magazine,
from the publisher. Prices and dates quoted in this issue were correct at
the time of going to press but may be subject to variation. PO Box 8035, Glenmore Park NSW 2745.

82 Artist’s Drawing and Inspiration