Artist's Palette - July 2020

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A
u
ThE MAGAzINE fOR ALL ARTISTS fA ST
v RA
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u LI
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IT ’S
E
Palette
No 172
fuLL Of TIPS,
TEchNIquES
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ARTISTS’ EASELS
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ontents
Issue No.172 2020
48
FEATURES Greg Brennan did not grasp his

22 Artists’ Easels INSIGHTS potential in his youth.
When it comes to easels, there
are numerous desirable options 6 Eye of Observation 28 Fibre Art
for today’s painters. Margaret Ann Wilson urges her Caroline Sharkey has overcome
peers to develop their ‘arty’ view the challenge of learning to believe
44 Blahuta’s Ute of the world. in herself.
An amazing three-dimensional
mural by notable Sydney artist 14 Lost Profession 36 Pelicans to Portraits
Paul Blahuta. Former bulldozer driver Carole Elliott has exercised her
painting skills on an enormous
6
range of subjects.
48 Big Cats
Daisy Claridge combines her
razor-sharp eye for detail with
her love of animals.
56 Keeping On
South Australia’s Lyle Dayman
advises his artistic peers to
‘keep on keeping on’.
Cover image by: Gregory Brennan

44 28
14
DEMONSTRATIONS
10 Once We Were Important
This pastel work by Margaret
Ann Wilson tells a powerful and
interesting story.
18 Loading Wheat – 1920s

Greg Brennan employs his rare
skill and understanding to recall
bygone days.
32 Water Lily Magic

Fabric and threads take the
place of paper and paint for
Caroline Sharkey.
40 Cowrie Hole – Newcastle

Carole Elliott does not produce
preliminary drawings for her finely
detailed works.
52 ‘Jama’ – King Cheetah

Daisy Claridge stresses the
importance of focusing on 36
creative successes.
60 Midday in Bosa
Lyle Dayman’s wonderful
demonstration painting of
a street scene in Italy.
I N S I G H T
Margaret Ann Wilson
Eye of Observation
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.
M
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
6 Artist’s Palette
I N S I G H T
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 Palette 7
I N S I G H T
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.
I N S I G H T
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. n
d e m o n s t r a t i o n
Pastels
Once We Were
Important 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.
M AT E R I A L S
• Colourfix paper.
• Selected artists’ pastels.
W
hile driving down a bush
lane one afternoon, I noticed
an abandoned property. It
seemed so sad to see the old telegraph
pole still standing – even though it
had not been in use for many, many
years. The post and letterbox were
from another time, and the fences
and wire were all put there by folk
hoping for a future in farming. I
felt I needed to tell this story.
Before I begin a painting, I ask
myself: ‘What attracted me to this
subject and what story is it telling
me’? I need to determine what to leave
in and what to take out. Once I have
decided how I will paint the subject, I
start making many sketches and doing
lots of pondering. I finally come to a
conclusion about how to tell the story.
Give this technique a go … see what
your final sketch will be. It is a fun
way to start a painting. As you are
working and thinking, think about the
colours, shapes, distance, and so on.
I am one artist who never has
‘white canvas syndrome’! By the
time I am ready to begin painting,
I am so excited I cannot wait to
get my hands covered in pastel.
Starting a painting, I choose the
colours for the sky. In this painting,
four colours: White, mauve, dark
blue and light blue. All colours start
from the top. I cover the paper with
white from top to bottom; dark blue
one-third of the way from the top;
and light blue two-thirds down.
Don’t be shy to press pastels firmly.
Then, working across the paper, start
blending from the top down. Blending
means to firmly press your fingers
onto the pastel and, in small circular
movements, work across the paper
so your colours are mixed together.
I used mauve last over the bottom
of the painting. I take a long time
to blend my skies; I believe the sky
is a very important part of the work
so I take time and blend slowly and
take stops to look at the results. It

is possible to put more colour on
where I feel more depth is needed.
For an exercise, try using just
one shade of blue, and white. Blend
them. See and feel the difference.
Spending time to blend your pastels
will give that ‘totally covered’ look;
and using many colours gives colour
intensity and depth. Give it a try.
Wispy clouds are added by using
mauve and white quite firmly across
the bottom of the painting, and then
sweeping the colours upwards very
softly with your fingers – gradually
developing soft wisps of colour.
The white pastel will not mix
very much with the sky; it will stay
on the top. Only if you actually
blend the colours will they totally
MASTER be mixed together – so lightly,
HINTS AND
lightly is the best approach.
The clouds are smudged in with
TIPS white pastels, starting with very
small clouds close to the horizon
• Pastel dust always seems to and getting further apart and bigger
be mentioned when I give closer to the top of the painting. The
demonstrations. My solution is to smaller the clouds on the horizon, the
always start with a dust-free area further away they will appear. Adding
and table; and clean up after every clouds in this way takes a while,
painting. ‘Wet Ones’ or baby wipes but it is worth it. It is worthwhile to
are just the thing for this (and also take lots of photographs of clouds
for cleaning your hands). They don’t and study their shapes, their colours,
wet your fingers, so you don’t have and the weather they produce.
to wait before using or blending The background is loosely blended
your pastels; and they don’t dry out cool grey browns and yellows. I then
your hands. Some things you may free-draw my pole post and letterbox
notice are that your fingertips will in, using white pastel – keeping
become sore, and because you have in mind that I have sketched the
to wash your hands so often they can painting already on the same size
become very dry … both problems paper. I choose my colours for the
can put a stop to your masterpieces. pole and post and begin to block
• Clean your hands between each them in. I use pastels for this; and for
colour. It is demoralising to have a sharper lines I use pastel pencils.
wonderful sky and, after using red It is important to keep pastel
pastel in the foreground, to touch pencils sharp. I use a blade
up your sky with a red finger! Yes because I experience too much
… I have actually done this. wastage with pencil sharpeners.
• I have seen many ways to clean I work over the painting until
pastels, but I have found that all my details are in place. I work
wiping them is the quickest way. carefully from here on, because dots
• Have fun painting – and dashes can turn a painting into a
especially with pastels. chocolate box painting very quickly.
• All of my paintings have been A simplified and well named painting
produced from photographs I have tells a powerful and interesting story.
taken, and my own sketches. Finally, I take an overall look.
And last of all, I add the birds. n
EUAN MACLEOD. Alice. Archival Oils on canvas, 2006, 137 x 180 cm
Image courtesy of Watters Gallery. www.wattersgallery.com
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I N S I G H T
Gregory John Brennan
Lost Professi Edited by Trevor Lang
Looking back on his early career as a bulldozer driver, this rural New South
Wales painter laments the days when he was too young to appreciate his
outstanding potential as an artist.
G
regory John Brennan was born “The art teacher I had in high correspondence for two years.
in Wellington in the central school persuaded me to sit a test The course incorporated true life
west of New South Wales, back advertised by the Art Training drawings, like those in comics, which
in 1935. He has lived in Narromine Institute of Melbourne, as I was were ‘the thing’ at the time. When it
for 41 years, and Brewarrina for 10 winning quite a few prizes at came to customer appreciation and
years. He has worked all over New local shows,” he says. “I won a the psychology of selling, however,
South Wales in the construction and commercial art course scholarship I decided to go driving a bulldozer.
earthmoving industries. and studied Commercial Art by Looking back, I see a lost profession.
I N S I G H T
But I was too young to appreciate

what art had to offer me.”
Greg has always had the same artistic
interest in traditional happenings and
the world around him. Contemporary
work and abstract art did not entice
him at all.
The first 12 years of his earthmoving
career took the young man away from
art completely. He did not paint or
draw anything during that time.
“In the mid-1960s, I began to
draw and paint again, but just as a
hobby,” he reveals. “I competed in
a number of exhibitions and slowly
gained some recognition during the
next two decades. I trained in pen
and ink, watercolours and pencils –
because there was no place for oils in
Commercial Art.”
Greg Brennan taught himself
to use oils in his painting, and he
attended all the art classes he could
find. He demonstrated at exhibitions,
and taught for a period of time. He
experimented with acrylics, but found
merging of tones hard to do; so he
limited his use of acrylics to large
paintings and murals.
“Additives in acrylics have
advantages, but I am still more
comfortable with oils,” he maintains.
“Currently I am still learning with
watercolours … and when I started
painting with watercolours a lot of
the old training came back. During
the late 1970s, I did quite a lot of
weekend workshops; and for some time
I taught with the Advanced College of
Education.”
“I have painted just about
everything,” he continues. “The most
unusual work was a commissioned
painting of a station groom
slaughtering and dressing a pig. I enjoy
bringing recent history to life.”
Greg was never in the financial
position to become a full-time artist.
He looked at the prospect around
1990 – but became involved with
a major farming development and
continued in contracting until his
retirement three years ago. These
days, he tries to compete in as many
art shows as he can.
He claims that his most outstanding
work was a 4.6 x 15.5 metre mural
I N S I G H T
of a stockman scene; and he is

particularly proud of his inclusion
in the ‘Utes in the Paddock’ project
at Ootha near Condobolin. Like
most artists, he has also had his
share of disasters.
“At a Gulgong art exhibition,
I entered a good sized painting
of a horse team pulling a wool
wagon,” he relates. “Two older
chaps were looking at the painting
and commenting. Unbeknown
to them, I was within hearing
distance … and I was devastated
when they shot me to bits:
‘Horses OK, harness wrong,
teamster on wrong side, wool
loaded and tied wrong, parts of
wagon wrong’ and so on. With my
head down, I walked away.”
Another bad memory for
the artist was a painting of the
Coonabarabran radio telescope
which he did from a colour slide –
completely back-to-front!
Despite a few setbacks, Greg
Brennan has won numerous
awards for his art at Gilgandra,
Dubbo, Wellington, Peak Hill,
Condobolin and Narrandera. One
of his paintings won first prize at
an exhibition at Yanco, and it now
hangs in the foyer of the Yanco
Agricultural College.
His paintings are displayed at
galleries in Dubbo, Narromine and
Wellington.
“I admire the works of Hans
Heysen, Greg Turner and D’Arcy
Doyle,” he says. “It’s a bit late in
the game for me to have big dreams
about my own success … I would
just like enough recognition to get
some outlets or agents, to get my
works viewed by a larger audience
and to sell a few along the way.”
Greg Brennan advises his peers
in the ‘traditional’ field to take in
everything they see ‘as if through a
viewfinder’.
“Everything you draw is
controlled by perspective,
geometry and the anatomy of
subjects,” he insists. “Study your
subjects as much as possible,
as this makes composing your
pictures that much easier.” n
I N S I G H T
Oils
Loading Wheat
– 1920s
By Greg Brennan
It is rare to see an artist displaying this level of skill and understanding

in capturing the activity and atmosphere of bygone days from
Australia’s agricultural history.
Final Step
M at e R i a l S
• Artists’ canvas.
• Selected artists’ oils.
• Reference photograph.
Step One
Sorting through some art material,
I found this small photograph
depicting wheat loading in the 1920s. Step One
I thought I would bring it to life.
I covered it with a sheet of
glass and put a grid over it.
Step tWO
I constructed a canvas (97 x 61) and
placed a grid on it to enable me to
enlarge my image. I sketched the
picture onto the canvas with chalk, to
get the impact of the composition.
Step tHRee
When I was happy with my
drawing, I went over this with
black and white watercolour
pencils to define the finer detail. Step tWO
I added an additional team and
a bag sewer, for better balance.
I then went over it all again, with
Sienna and turps (using a fine pointed
brush), to lock the drawing in.
Step FOUR
I use the same palette on most of
my paintings: French Ultramarine,
Cadmium Red, Crimson Cadmium
Orange, Cadmium Yellow, Burnt
Sienna and Titanium White. The
horses were painted using a Number
2 flat, a Number 4 flat and a
Number 2 pointed Sable brush.
With the shadow tones, I used
Ultramarine Blue, Cadmium Red and Step tHRee
some Crimson. Using this as a base
Step FOUR
brought out bay tones by adding Yellow Final Step The hardest job was getting the
and Sienna (and, of course, White). I Next, I painted the bag sewer and the ‘trodden matted hay look’.
used the same combination of colours additional team; then the background, I think the elevated view gave
to paint the wheat bags and the crop. the crop, and the distant hills. the painting great depth. n
F E A T U R E
Artists’ Easels
Contributed
Many important tools are employed by artists in creating their paintings. Artists’
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38
Artist’s Palette
F E A T U R E
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I N S I G H T
Caroline Sharkey
Fibre Art By Caroline Sharkey
This artist feels that the hardest lesson she had to learn was to believe in
herself … and once she did that, everything started to fall into place and her
confidence grew.
I
work at my home studio/workshop remember the colours and textures from forests. I am blessed to be able to
in the beautiful seaside village of that side of the Great Divide – the heat retreat to this place when I return home
Urunga, halfway between Sydney and and dryness of the land will always be from teaching or exhibition trips.
Brisbane on the New South Wales coast. a part of me. I was also influenced by I attended Coffs Harbour TAFE
I made my first quilted project at the tropical colours while living in Papua (1989), to complete an Advanced
age of 12, with my grandmother who New Guinea as a child, where the vivid Fashion Certificate, Millinery, Wearable
was very crafty! ‘Australiana’ has been contrasts in the fabrics and unique Art, Fashion Drawing, and Small
the most important influence on the patterns of the Chinese trading stores Business Management.
direction I have taken with my fibre were fantastic. I am passionate about Australia.
artwork. I can hear the ocean from my home The colours, the places and the
I spent time growing up in the west at Urunga, and I love to go walking people. I am very proud to be
of New South Wales at Narrabri, and I amongst 100 year old trees in nearby Australian and that is what motivates
I N S I G H T
me artistically … with a lot of the

themes I create and the colours I use
to design with.
Textiles has always been the
medium of choice for me … even
before I knew what a medium was!
I have collections of antique laces,
beads and fabrics, and I am always on
the lookout for new colours, textures
and patterns of fabrics and yarns. I
even recycle pre-loved fabrics into
my work whenever I can – and I
encourage my students to do this also.
I was sewing from an early age
and have been influenced by lots of
places and things while growing up. I
first started selling my artwork at the
Sydney Opera House markets on a
casual basis; through galleries around
Australia and with Mulgara Gallery
in Sails in the Desert Resort at Ayers
Rock. I have been invited to be Artist/
Craftsperson in Residence at Mulgara
Gallery and I have just returned from
my eleventh residency at Uluru. I also
sell my artwork prints at the National
Park Centre at Uluru.
I am a professional Textile/Fibre
Artist and have been in full-time
business for eight years. I also tutor
textile workshops when invited, and
travel all over Australia to conduct my
extensive Fibre Art workshop program.
I N S I G H T
I have painted and dyed fabrics with all sorts of things

over the years. I now love to use a technique I have spent
a long time working on, and developing in my own way.
I chop up fabrics and mix them together to create new
surfaces, textures and colours.
The Australian landscape, fauna, fish, and things I
see around me are constant sources of inspiration. I am
excited by the colours and shapes, and challenge myself to
interpret them into fabrics and the texture of stitches.
My work has been featured at numerous past exhibitions.
I am having a solo exhibition with the Nexus Gallery
at Bellingen (New South Wales) in 2009. I will also be
returning to Uluru for a month-long exhibition of my Red
Centre artworks.
I am a member of The Quilters Guild of New South
Wales; Bellingen Community Arts Council; Ozquilt
Network Inc; and Australia’s Organisation for Art Quilters.
One of my favourite works was a large commissioned
quilt (in 2005) for the Australian launch of the new Bernina
Aurora sewing machine. It was called ‘Dawn of a New
Day’ and it hangs at the Sydney head office for Bernina
Australia. I also adore the seven framed fibre artworks
commissioned for the new Coffs Harbour Hospital
Radiotherapy Unit in 2007.
Textiles are more forgiving than painting … you can
always stitch over something or cut it up and use it for
something else. This helps to limit (and even avoid)
artistic disasters.
I N S I G H T
I have a large collection of my art

quilts, and I use them for exhibitions
and teaching examples.
There are some galleries that hold
my works, and I travel to exhibit a
couple of times a year. My trips to
Uluru each year are a huge part of
my art sales; and I sell to people
from all over the world, as this is a
premium place to exhibit and market
my artwork. I also have a website and
I find it is a challenge to keep up the
work available for sale.
In the textile world, I admire Gloria
Loughman’s use of colour and shade;
and she is such a giving artist. I have
spent a lot of time out in the central
desert with artist Roe Gartelmann
from South Australia, and I admire her
dramatic use of colours and patterns
with paint.
I teach textile art workshops around
Australia and I have a full calendar
for 2009 (with invitations to teach in
most Australian states); plus a week-
long textile retreat in Fiji. There are
also invitations to visit New Zealand in
2010.
I think the most useful habit that
keeps me going is my passion for
textiles and the design process. I am
happiest when creating something new;
and that is what drives me to keep
going to produce the large amounts of
work I do. People tell me (all the time)
that I use colour in a great way.
I do have some advice for other
creative people: Believing in yourself
is the most important thing; and be a
businessperson as well as an artist (as
much as this goes against everything
we want to do, it is so important).
Don’t be afraid of change; and step
outside your comfort zone regularly –
this keeps you moving forward towards
your goals. Even if you don’t have set
goals, dare to dream them! Be positive,
as other people want positive people
around them. And be patient.
My ultimate goal is to be in the
‘Top 10’ textile artists in Australia. I
want to travel overseas to exhibit and
tutor my art. And I want to keep being
blessed by doing what I love to do,
successfully, every day.
I can be contacted through my
website: www.carolinesharkey.com n
Fabric
Water Lily Magic

By Caroline Sharkey
Instead of paper and paint, this artist uses fabric and threads … and she
uses a sewing machine instead of a brush. The textures, colours and prints of
fabrics thrown together with threads fascinate her, and often give inspiration
for her designs.
M AT E R I A L S
• 60 x 50 cm Blue Water
fabric for background.
• 30 x 50 cm Pink Lily fabric.
• 20 x 20 cm Green Leaf fabric.
• 20 x 15 cm White cotton fabric.
• 120 x 120 cm iron-on interfacing.
• 150cm x 1m water-soluble fabric.
• Various scraps of Green, Blue,
Pink and Purple fabrics.
• Various threads, yarns,
felts and sequins.
• Sewing machine with drop the feed
dog facility and a darning foot.
• Sharp scissors and other normal
sewing requirements.
• A sketch of the lily flowers
and dragonfly.
M
y approach is to let the fabrics
and textures determine my
next step – because the
complex nature of fabric often reveals
surprises that give unexpected changes
of direction and exciting results.
For the main theme of an artwork,
I plan, sketch and draw out a design;
and make patterns for the shapes
that will then be stitched, shaded
and painted to bring them to life.
Most of my designs are influenced
by my love of the Australian landscape;
the unique animals, flora and reef fish.
I am driven by colour and I strive
to find that special combination that
has the ‘wow factor’. My original
fibre art works are represented in
business, corporate and private
collections in Australia and overseas.
MACHINE SET UP
For free machine embroidery, attach
the darning foot, drop the feed
dogs and have the stitch length on
‘0’ – this allows complete freedom
to stitch in all directions.
CREATING THE ART WORK

Iron the interfacing to the wrong side
of the selected background fabric – this
stabilises all the grain of the fabric
and holds all the stitching firm.
Chop up the selected green and
blue fabrics into small pieces to mix
together and sprinkle onto the right

side of the interfaced background
fabric. At this stage, you can add
all the special decorations like
sequins, metallic threads and felt.
Pin the water-soluble fabric to
sandwich all the layers together.
Free machine stitch onto the
water-soluble fabric through all
layers of the background, making
sure to stitch close enough to catch
all the chopped bits of fabric.
Rinse the sample under hot water until
the gluey sticky feeling has washed away.
You may need to soak thick pieces to
remove the soluble fabric. Lay out to dry.
The background is now ready to
use in the picture. Make the Pink
Lily fabric in the same way.
Iron the interfacing to the wrong
side of the Green Leaf fabric.
Cut the ‘flowers’ shapes and
stitch and highlight the edges
and centres with a wash of Pink
and Purple shades of paint.
Cut the leaves from the Green
Leaf fabric and arrange with the
flowers onto the background fabric.
Stitch the flower centres onto three
layers of water-soluble fabric; wash
and dry. Position the centres onto the
flowers and stitch everything down.
Sketch the dragonfly onto the White
fabric and stitch around the shapes
in white thread. Cut the dragonfly
out around the stitched lines and
paint in the parts of the dragonfly.
When dry, sketch in the detail
with a fine black pen.
Stitch onto the background.
Mount and frame the artwork. n
I N S I G H T
Carole Elliott
Pelicans to
Portraits By Carole Elliott
This lady has painted everything from pelicans to portraits. She has completed
commissions including cats, dogs, horses, possums, numerous beach scenes
… and even a Scottish piper.
B
orn in England, I migrated to child, I always compared my artwork I have been involved in a number of
Australia in 1968 at the age of ten. with his. As a result, I didn’t consider exhibitions, I do not have the time or
I work full-time as a clerk myself very good at drawing or art – financial backing to devote myself
with the State Government and I live at and left it up to him. It wasn’t until to full-time painting. Maybe when I
Lake Macquarie in New South Wales. later in life that I actually tried my retire from the workforce and my two
I completed an informal art course hand at drawing. I have always been teenagers have flown the nest …
at Dobell House, Wangi, when my creative, but more along the lines of I commenced painting using
youngest child was 18 months old … fashion. As a teenager, I used to make watercolours. I then started using
because I needed some ‘me’ time. My my own clothes. pastels, initially choosing pastel papers
daughter is now nearly 18 years old. I completed my informal art course in with a slight tooth and periodically
I have an affinity with the ocean 1994. I didn’t like using a paint brush spraying my work with fixative. I have
and I love painting the movement so my brother encouraged me to try tried painting on different coloured
of waves; and trying to achieve the pastels. I have been hooked ever since papers, as well as under-painting in
translucency of water. and I love getting my hands dirty. acrylics.
I have an older brother who has Currently, I work full-time and At the insistence of my brother, I
been an artist most of his life. As a only paint as a hobby. Even though tried my hand at painting in acrylics
I N S I G H T
– but I found I couldn’t replicate the dogs, horses, possums, numerous beach now exhibiting through Tighes Hill
effects obtained using pastels. And I scenes, and even a Scottish piper. I School of Art Gallery.
didn’t have the patience to persevere. soon discovered that my love lay in The major source of my artistic
The paint brush also posed a problem! painting the ocean … probably because inspiration would have to be the
Shortly after trying acrylics, I that is where I live and spend most of beautiful colours of the Australian
attended an exhibition of beautiful my leisure time. coastline.
pastel paintings and realised that I In the early days, I joined The last painting I have completed
didn’t need to use any medium other the Newcastle Art Society and is always the ‘best’ because my heart
than the one I loved. I haven’t strayed participated in a few art shows. I then is still in it and every inch of the
from pastels since. progressed to showing my work in a canvas is still fresh in my mind. I
I now use a sanded pastel paper local gallery and restaurant and later have a number of paintings hanging
which doesn’t require the use of was accepted as an exhibiting artist at on the walls of my home that will
fixative on my beloved pictures. a major gallery in Newcastle, which never be sold. They are not necessarily
I have painted everything from has now closed following the death of the most outstanding, but they bring
pelicans to portraits and have the owner. I had a four-year break and back wonderful memories of time
completed commissions including cats, hated every minute of it – and I am spent with the children when they
I N S I G H T
were young. One depicts the children

fishing from a wharf in Forster, and it
was one of my first pastel paintings.
If my husband had his way, we would
keep 90 per cent of my paintings …
he is always asking me to replicate
them once they are sold.
When I first started drawing, I
purchased a set of watercolour pencils
and set up a still life display with the
children’s toys and dolls in the rumpus
room. I proceeded to draw whilst
keeping one eye on my two-year-old
and her little friend. The telephone
rang, and I quickly went into the other
room to answer it. When I returned
there were two little girls, each with
a pencil in hand, completing my
masterpiece. It was pretty funny!
I have approximately 15 of my
own paintings hanging on the walls
at home. Some of these are for
sale and the others include my first
drawing in watercolour pencils; my
children when they were young on
holidays; and my local beach (Caves
Beach) which is just at the bottom of
the street. There are also numerous
coastal scenes that my husband has
grown attached to.
My paintings have been purchased
and shipped all over the world,
including Canada, England, the USA
and Israel. There are also a number of
local collectors who each own more
than five of my paintings.
I admire the art of my brother
and mentor, Michael Jones. He
has encouraged me throughout
my journey and has been my
critic (although I don’t think any
artist really likes their work to be
criticised). Another artist whose work
I admire is Harley Brown, who has
written a number of books for pastel
artists which I often refer to when
I need a bit of inspiration. I admire
any artist who can keep painting and
work through the creative block.
I have found over the years that
an exhibition deadline is the best
motivation. Working full-time and
trying to fit painting time in is hard;
and unless I put time aside specifically
to paint, there are always other things
to do. Before completing this article
I had a painting sitting on my easel
I N S I G H T
for four years, but I was determined

to complete it. I vow never to let
that happen again. I am now back
into a painting habit … however I
also allow myself time off painting
without having to feel guilty.
Like anything, it takes lots and
lots of practice and perseverance to
improve. I would encourage other
developing artists to try different
mediums, methods and subject
matter until they establish what
feels right for them.
If I had not tried pastels I probably
would not have continued painting.
It is not necessarily positive to
compare your work to that of other
(more experienced) artists. I look at
my first drawings and paintings, and I
am amazed at how much my work has
changed over a period of 15 years.
It is good to learn as much about
painting as you can, from lots of
different sources. I have attended
an informal art course, numerous
workshops and demonstrations; I
read books and magazines. I spend
some of my time just trying different
techniques without the pressure of
‘getting it right’ in a painting.
My ultimate goal is to keep up my
enthusiasm for painting until I have
more time to enjoy it in retirement
… and not allow myself to get into
a rut again. I also need to make sure
I keep trying different colours and
techniques so that my work continues
to evolve. I would like to look back
in another 15 years and see just as
much improvement as I have enjoyed
over the last 15 years. n
Pastels
Cowrie Hole –
Newcastle By Carole Elliott
A lot of the paintings produced by this artist are quite detailed – but she
does not draw them prior to painting. Instead, she works out the scale from
a reference photograph and uses a ruler to measure where each part of the
painting should be.
fiNal STEP
I
work on a draughtsman’s board keep on my left. This holds the pastels STEP ONE
at a nearly vertical angle. I have I am currently working with; and my I firstly decided where the horizon line
made a tray out of thick paper and calculator, ruler and colour charts. would be and then painted the sky using
taped it to the bottom of the board The table on my right holds a light purple underbase with Ultramarine
to catch pastel dust. I periodically all of my pastels (which are Light blended over the top, wearing the
vacuum this out. My father-in-law kept in drawers in colour-coded finger of a disposable latex glove on my
made a small table on castors which I order), and my pastel pencils. blending finger. I discovered that the
M aT E R i a l S
• Medium grey sanded pastel paper.

• Rembrandt pastels (medium).
• Schmincke pastels (soft).
• Pastel pencils.
• Charcoal.
• Kneadable eraser.
• Dust mask. STEP ONE
• Disposable latex glove.
• Paper torchon.
• Stanley knife.
• Clear plastic ruler.
• Calculator.
• Draughtsman’s table.
• Gas-lift draughtsman’s chair.
sanded paper soon wears through the STEP TWO

skin on your finger if you do not use
something else to blend large areas. Most
other things like tissues tend to remove
a lot of the pastel rather than blend it;
however the latex does not do this.
The clouds came next; and then the
sea, from the horizon down a couple of
centimetres, using Phthalo Blue with
Ultramarine Light over the top where
STEP THREE
the light shone across the current lines.
in the pavilion, starting from the front progressively on each area between
STEP TWO facade (which was painted in blank the waves. Once the wave lines and
A lot of my paintings are quite detailed to begin with); and working across to colour variations in the water were
and I do not draw them prior to painting. include the ocean baths and wall. The complete, I started painting in the
Instead, I work out the scale from the ocean was then completed to just in front white water using sharp pieces of
photograph and use a ruler to measure of the first wave line. I then filled in the pastel. I then worked on the rock
where each part of the painting should be detail at the front of the facade so that this formation in the bottom right-hand
as I go (I measure down from the top and area would not be accidentally smudged. corner. I enjoyed creating the see-
in from the right). I work on a small area through effect of the rocks under the
at a time, to almost completion, so as not STEP THREE water and through the wave. This was
to become overwhelmed by complexities. Working from left to right, I gradually probably the reason why I selected
Here my next stage involved painting painted in the ocean; working this picture to paint in the first place.
STEP fOuR
STEP fOuR
There were lots of colour
using a stippling effect layering
lots of different greens, blues MaSTER HiNTS
variations in the water closer to
shore, where rocks are partly
and yellows; working from dark
to light. Part of an old fence
aND TiPS
submerged and the sandy bottom and bright red flowers were • I work from digital photographs and work out
shows through in shallow areas as included to break up the large the scaling of the photograph to fit the paper.
the waves go back out. The next area of green in the right-hand • I never do an initial drawing; but use a
area was the beach and where the corner. The bright colours in the calculator and ruler, measuring each area as I go.
sand and water meet, which was foreground and subdued colours • I usually paint from top to bottom
probably the most difficult area of the horizon gave the finished and left to right to avoid smudging,
to work – but it all seemed to be painting depth. With just a few depending on the layout of the painting.
brought together in Step Five. minor adjustments, I was happy • I work from dark to light using harder
enough to place my signature in pastels first, so as not to fill up the tooth of
the bottom right-hand corner. the paper; finishing with softer pastels.
STEP fiVE • I use sanded paper which avoids
This included the waterline the need to use fixative.
which unites the sand and sea. fiNal STEP • I break the pastel and use the sharp
The road, cars and everything I am impatient, and do not like edge or point for painting detail or thin
else on the right-hand side of the taking my paintings to leave lines. My pastel table is covered in small
painting were completed next. at the framers for a week to be pieces of pastel that are still in use.
framed. To avoid this, I always • I keep colour charts of all my pastels
have frames ready and waiting to make it easier to look for a specific
STEP SiX for my completed paintings. I colour, and for repurchasing. I also store
The surfers, lampposts and like to make sure the horizon my pastels in number order to make them
foreground were addressed. The is straight when I place a easier to find. It takes time to get organised
front greenery was completed picture in its frame. n initially, but is worth it in the end.
STEP fiVE
STEP SiX
Professional Quality Artist
Grade Acrylic paint and Mediums
Full rich impasto for striking textured

effects .
Thinner viscosity free flowing for a

low-sheen and good levelling qualities.
Intense, vibrant colours including

several uniquely Australian
colours.
Artwork by Ian Sax
Derivan Pty Ltd

ABN 36 003 273 925
AUSTRALIAN
A Unit 4/23 Leeds St Rhodes NSW 2187
MADE & T: +61 2 9736 2022 F: +61 2 9736 3637
OWNED derivan@derivan.com.au
www.derivan.com.au
m u r a l I n s p I r a t I o n
Blahuta’s Ute Contributed by Paul Blahuta
Early in the year we ran a feature about ‘Utes in the Paddock’ – a landmark
project by several notable artists. In this article, one of those artists shares
his story and some of his views … and describes the process of creating his
own piece of an amazing collaborative work.
The finished ute ‘Clean Running Backed by Ned’

with the artist’s daughter Sarah.
P
aul Blahuta is an accomplished western New South Wales. After much ‘Clean Running Backed by Ned’.
Australian artist who was initially persuasion, however, he unleashed his Originally from Brisbane, this artist
reluctant to become involved in talent on one of the ancient Holdens. now lives and works in Sydney. He
the ‘Utes in the Paddock’ project in The work he produced is called has a Diploma in Graphic Arts –
The The artist’s preliminary

template of sketch for the project.
the artist
holding the
stirrups.
The artist at work on the ute.
Plan for Ned –

6mm steel plate.
Visual Communication; and he has

developed his own distinctive style.
“Unique Australian based cultural
and historical people and events are
of prime interest to me as an artist,”
he says. “I like to explore and find
various methods of delivering a
message through all means available …
including paint, colour, texture, form,
line, tone; right through to marketing
and placement, including presentation.”
Paul has nurtured his artistic
passion since the age of seven.
“My mother set me up with an
electric wheel and the materials to
explore ceramics when I was seven
years old,” he reveals. “I pursued
ceramics until my late teens, in a
prolific manner. This included a great
deal of experimental work glazing
ceramics at high temperatures with
a kerosene draught kiln. I had no
boundaries as an 11-year-old … letting
loose with open fires or exposed

draught kilns; mixing 20 litres of
diesel with 20 litres of kerosene to
achieve unique glazing effects at
extreme stoneware temperatures.”
“I have never been a ‘hobby’ artist;
not even as a child,” he continues.
“After all, there are not too many
parents who would let an 11-year-old
fire a kiln to 1280 degrees C until
2.00 am for a stoneware glazing
session. Even as a youngster, I
was a determined artist committed
to exploring new ground.”
After graduating from art college in
1981, Paul produced charcoal works.
This was followed by an extremely
heavy focus on the application
of colour and oils. When he met
Howard William Steer (from Broken
Hill), Howard actually bought his
painting ‘Nine Mile from Cooper
Creek’. Howard Steer was the
metamorphosis conduit which moved
Paul Blahuta from a safe black and
white medium to colour – giving
him a huge injection of confidence.
“On my first visit to Howard’s
studio in 1995, I actually started
using palette knifes with oils,”
he relates. “The mid ’90s were
a major turning point, where I
focused heavily on texture, colour
and local subject matter. In 1999,
I started to utilise bright colours
Placement of the horses in the paddock. They and acrylics – again with Howard’s
have three undercoats and two top coats each. influence. We went to an art
supplies shop and churned out ten
paintings from 2.00 pm to 8.00
pm in the middle of summer 2000.
Those first ten paintings marked
the commencement of ‘The Blood
Brothers Project’. They are from
a unique series of 25 paintings
(still locked away in bubble wrap)
called ‘The First Australians’.”
Paul began a ‘swimming’ series
in 1990, and continued to develop
it until 2006 when 18 of his ‘Surf
Lifesaving’ works were displayed at
the National Museum of Australia.
He still works mainly with acrylics,
but he has started an exciting
series of large paintings in oils.
He tries to work with subject matter
The reverse side of the ute that no-one can see from the road … that he can add a new level of ‘value’
to … projecting or elevating relevant
topics that are, in one form or another, successful’. There is no shortcut to These are the real thing.
influences in his life experiences. making it in this game. I know of Bullets disintegrating upon
Much of his inspiration is from artists who have won the Archibald impact. Just perfect!
Howard William Steer. The pair prize and had recent exhibitions and
have worked on about ten series have not sold a single painting. If you
of different topics through ‘The think this is the game for you, you
Blood Brothers Project’. need your own Ned Kelly armour.
“I have not met anyone else who It is tough out there year after year.
has the mind, the stamina, the focus Get that armour made up and get
or the natural raw talent that Howard as many doors as possible slammed
has with a brush,” Paul says. “I in your face. When this process
hope the Australian art arena will becomes part of your daily routine,
wake up and realise how significant you will get somewhere as an artist.
Howard William Steer is as a major You need to offer substance. Practice
contributor to Australian art in general and live in your art passionately;
… as well as being the grandfather and believe in yourself.”
of ‘Australian Story Art’.” The creation of Paul Blahuta’s
Paul Blahuta offers positive work for ‘Utes in the Paddock’ was
advice to aspiring artists. an intense process. The photographs
“If you are thinking that this is tell the story and also provide rich
a ‘drink as much coffee as you insights into the methods and the
like whenever you like’ kind of mindset that delivered the spectacular
profession, then think again. This is final result. Paul even went to the
one of the most challenging industries effort of painting the side of his
to become financially successful in. I ute which is not visible from the
would not say ‘personally’ successful, road … perhaps for the benefit of
but I emphasise ‘financially livestock grazing in the paddock. n
I N S I G H T
Daisy Claridge
Big Cats By Daisy Claridge
This artist combines a love of animals – particularly the big cats – and a
razor-sharp eye for detail to produce pen and ink drawings with such
compelling realism that their eyes follow you around the room.
I
live with my partner Mark and
children Jessie and Joe in Moss
Vale, in the beautiful Southern
Highlands of New South Wales. As far
back as I can remember, I’ve always
loved animals, flowers, butterflies and
birds – and I have very clear memories
of sunny summer days in England (yes,
there were some) exploring various
gardens and studying ladybirds in
the grass when I was supposed to be
fielding in cricket at school.
I am constantly blown away by
Mother Nature’s creations which
surround us everywhere but are so
easily overlooked as we race around
in our busy lives. How often have
you picked a tiny flower and really
studied it? It’s absolutely incredible.
Or wondered at the intricate patterns
in the fur of your family cat?
I studied Art, Textiles and Biology
at school to the equivalent of Year
12. I particularly loved having to
examine various organisms under
the microscope and make technical
drawings of what I saw; cross-sections
of plant stems, worms, and suchlike.
I never had my own style of art at
school, but looking back I can see now
where it all started! Sadly, I never had
the confidence to go to art school; I
played it safe by doing a secretarial
course. I still enjoyed art but never
really took it seriously.
Since immigrating to Australia in
1981, I gradually picked up where I
I N S I G H T
left off and completed a Certificate

in Drawing at the Moss Vale TAFE
at Credit level in 1992. Busy raising
a family, I managed to fit in a few
courses in Life Drawing, Printmaking
and Etching, slowly evolving a unique
style of Pen and Ink drawing – albeit
fairly infrequently! It’s only in the
last couple of years that I’ve become
serious about my work again and now
I’m determined to make up for lost
time. I never set out to be a wildlife
artist but my love of animals and the
fact that my technique lends itself to
fur and feathers just led me in that
direction … particularly to the big cats.
Some birds and one dog have finally
crept into my repertoire, so I’m sure
there will be more.
I suppose a significant stage in my
artistic journey would be the discovery
of Rotring pens; and I began to
experiment with pointillism, although
I didn’t know what that was at the
time. I remember doing a drawing of a
pineapple which was probably the first
example of my current style. Rotring
pens, however, are not really designed
to be used on paper and I found that the
finest one kept clogging up and having
to be cleaned all the time.
I searched for years to find a pen
fine enough for me and was over the
moon when I discovered the Pigma
Micron. I would have to say that my
renewed interest in drawing has been
a direct result of that discovery. I only
use their finest, and would prefer it
even finer if they made one (a lot of
the time I hold the pen on quite an
angle to make the line finer). They
are reasonably priced at around $5.00.
I use a new pen for each drawing
because I’m a bit hard on them.
My technique is not something I
learnt, it just gradually ‘happened’
and it’s still changing and improving
with each drawing. I would love to
introduce more colour to my work
but unfortunately I’m limited to
the small colour range available.
I always have to give my subjects
black whiskers! Believe it or not, I
absolutely adore colour – one day I’ll
find the time to learn how to paint
and use pastels properly. When I
have tried to paint, I generally ended
I N S I G H T
up just drawing with the paint

brush. I’d also love to experiment
with coloured inks, as I really
like their vibrant, clean colours
and translucency. For the moment
though I’m happy concentrating on
what I do best and trying to make a
name for myself. My studio is the
dining room table, so it suits me to
not have a long set-up and pack-
away time!
I decided I didn’t want to only
sell originals, mainly because of
the limited amount of time I have
to draw, and I’m not ashamed to
admit that I want to make some
money out of my work. I decided
selling prints was a good option
and I was really impressed with
the giclee printing process. It is
relatively expensive but worth
it for the professional result. I
also love the versatility of being
able to print on paper or canvas.
Luckily, nearby Goulburn is home
to a company called ‘Arthead’
which does all my scanning, giclee
printing and custom framing and
has been fantastically encouraging
and invaluably helpful. So far, I’ve
limited myself to signed editions of
25 of each of my works (one of the
dangers of giclee is that you could
literally produce millions of quality
prints which would devalue each
one significantly).
Where possible, I try to start the
next drawing before I finish the one
I N S I G H T
before – as I find that keeps me ‘on the

go’. Otherwise I tend to procrastinate
too much and go into ‘fear of the blank
page’ mode!
I have been successfully involved
with two local exhibitions now, as well
as through the local Bowral District Art
Society, and have starting making sales
to private collectors. I regularly take
out First Prize and Most Outstanding
Exhibit at our local Moss Vale Show,
and for the last three years I have also
had an entry in the Sydney Royal
Easter Show (my next goal).
Some of my early drawings
were commissioned for a range of
greeting cards. This is an avenue
which I’m keen to explore further,
as I believe my style of work is also
ideally suited to a more commercial
application. I’d like to form a
working relationship with some
of Australia’s wonderful zoos and
wildlife parks, and would love to be
able to utilise my talents to help raise
awareness of endangered species.
When I draw, I aim to capture
every detail of the subject accurately.
An artist once said to me that it was
pointless reproducing something
exactly; you may as well just take
a photograph. I never realised that
some people felt that way, so it was
quite an eye-opener. I appreciate that
there are many different styles of art
enjoyed by different people but I also
believe contemporary, realistic artforms
shouldn’t be compared directly with
abstract and other unrealistic styles.
I find it really frustrating that they’re
usually all lumped together as ‘works
on paper’!
I do rely on my family and friends
acting as critics when I’m drawing, and
I value their input enormously. I’m also
planning to join some art societies and
enter into more statewide awards, when
I find the time.
Please check out my website at www.
daisyclaridge.com.au or email me on
daisy@daisyclaridge.com.au … I enjoy
chatting with other artists and getting
feedback on my work – good or bad –
as long as it’s constructive. n
Ink
‘Jama’ –
King Cheeta By Daisy Claridge
M AT E R I A L S
• 3B Pencil.
• Eraser.
• Winsor & Newton Smooth Surface
Cartridge Paper 220gsm.
• Pigma Micron 005 Pen (Black).
• Large dining room table.
• Relaxing CDs (especially Medwyn
Goodall and anything Celtic).
• Nag Champa Incense.
This exquisitely talented

lady believes that every
artist has failures …
but it is important to
remember that every
success is better than
the one before.
STEP SEVEN ANd fINAL STEP
I
was commissioned to do this
drawing by a couple who had the
pleasure of meeting ‘Jama’ the King
Cheetah at Canberra Zoo early last year.
King Cheetah are a very rare genetic
variation of Cheetah where the spots
join to form ‘stripes’. There are under
100 King Cheetah in the world, most of
which are in zoos and wildlife parks.
Sadly, Jama passed away in August
2008 – and I feel honoured to have
done this drawing in his memory.
STEP ONE
The initial pencil sketch is purely
to place important features. I really STEP ONE STEP TWO
draw with the pen. If I have trouble
getting it right, I will trace onto a
clean piece of paper. I like to get
the pencil rubbed out as soon as Most of the face is now filled in,
possible because it annoys me. but will need more touching up. I
won’t go back to it until the rest
of the body is completed. I make
STEP TWO his ears a bit larger and more alert
I always do the eyes first, as they are as I think he looks a bit bored!
absolutely the crucial part – and if
I’m not happy the whole thing gets
canned and I start again. The only part STEP fOUR
of a drawing I practice before I start I move on to the body and gradually
is a couple of eyes. It’s so important work my way down, outlining darker
to get that ‘glint’ in the eye – just one areas such as spots and stripes, very
dot too many can take the light right lightly hinting at the paler areas
out. At this stage I won’t finish the in between. I get rid of the pencil
eyes; they look too ‘disconnected’ markings as soon as possible. Short
without the rest of the face completed. fur equals short pen strokes and long STEP THREE
Once I’m satisfied the eyes will be fur equals longer (not so parallel)
OK, I ‘feather’ over all the pencil strokes. I never draw a solid line
lines in the face so that I can rub out on the outer edge; and I try to keep
the pencil. It’s important even at this everything going in the right direction.
stage to take note of the direction of The neck area where the fur is longer
the fur and to draw each hair in the is tricky – it’s hard to work out which
right direction so it tapers at the end. direction the fur is going in, so I decide
The only long straight line you’ll find to leave this area for a while until the
in one of my animals is a whisker! rest of the drawing is more complete.
I put in some dotted lines to indicate
the rock Jama is sitting on, so that
STEP THREE he is grounded and not floating
I need to get the nose and mouth on the page. I have absolutely no
in and ‘join’ them to the eyes to be idea how I’m going to do rock!
certain the face will look right. Really
pale areas, such as above each eye,
will be left white at this stage so I STEPS fIVE ANd SIX
don’t run the risk of overworking Filling in all the spots makes a huge
them. Some pale areas will only difference and at last I can ‘see’ the
need a few strokes in them. final composition. At this stage I STEP fOUR
keep moving all around the body and

face, creating more tones and depth.
I feel the need to leave the fur for a
while and start working on the rock,
gradually indicating different areas
of interest. I leave the drawing on an
easel when I’m not working on it,
constantly walking past and studying
it to see what I want to change.
STEP SEVEN
Believe it or not, I didn’t even practice
rock; I just bit the bullet and played
around – even using three pens at once
(bound together with a rubber band) to
start off! I actually feel this produced
some interesting textures and depths
which I wasn’t expecting. I tried to
make it look hard and angular, to
contrast with the rest of the drawing.
After more study on the easel,
I decide Jama deserves more
space around him and extend the
sides and bottom of the drawing
– more on the right-hand side – to
balance the composition. Time
consuming, but worth it.
fINAL STEP STEPS fIVE ANd SIX

At this stage, I study the drawing
much more than the photograph I’m
working from; what looks right in
the photograph doesn’t necessarily
look right in the drawing. Just a few MASTER HINTS ANd TIPS
hairs here and there to darken certain
areas can make a huge difference to • Take it slowly! This is all about surface textures. Play around,
the depth of the drawing. His nose a gradual build-up of light ‘doodle’, see what effects you
looks a bit crooked, so I manage to and shade. With this drawing can create. I find the only way
straighten it by darkening the right- technique, mistakes are almost to portray a smooth surface is
hand side slightly. Most of the parts impossible to correct and using pointillism – its very time-
I was worried about look better now, can really only be blended in consuming and hand-cramping
so it’s not difficult to get them right. and ‘hidden’. When I have a but can produce incredible
I decide the rock needs to be a really problem area, I concentrate results, especially for the ‘glassy’
solid base for him to sit on, so I work on the surrounding areas to look of eyes. I rarely use cross-
a lot more on darkening it – being detract from it (a black dot hatching; it reminds me of
wary not to overpower the drawing. on a grey background stands drawings of old buildings.
His paws get a bit ‘lost’ and I have out less than on a white • Every artist has failures (I
to darken their outline slightly. background). The biggest danger don’t even want to think about
Knowing when to stop is difficult. is overworking as the drawing my first attempt at drawing
To prevent me overworking a drawing, simply gets darker and darker. Jama), but it’s important to
I have a rule where once I’ve put the • Practice different drawing remember that every success
whiskers on I don’t make any more techniques to produce different is better than the one before.
changes … just the signature. n
I N S I G H T
Lyle Dayman
Keeping On By Lyle Dayman
This artist’s sterling advice to his developing peers is ‘keep on keeping on’ …
learn something useful every day; and, most importantly, keep up the practise.
I
guess I’ve always been interested up through Design and Colour and this room, three of us (Lex, Lance
in drawing. When I first decided Antique Drawing. Finally, I had some Holden and I) worked behind the
as a teenager to enrol at the watercolour classes with Mr Trevor scenes for the ‘display department’,
South Australia School of Art, I was Clare. That was my formal art training; meaning the window dressers. Lex
interviewed by Principal Frederick all part-time. was the ideas man, Lance was the
Millward Grey. My real job back in those days was construction man, and I was (for want
He took one look at my drawings and working with Lex Rabbitts in the of a better name) the scenic artist. A
said, “You need to learn how to draw.” display studio at Myer’s Rundle Street really interesting job, and one of the
I was promptly placed in Object store. Display Studio was a euphemism best I ever had.
Drawing 1 class, and from that for a tiny room tucked away on the I eventually got into advertising as
humble beginning I worked my way third floor of the menswear shop. In a layout man and account executive.
I N S I G H T
Along the way I became skilled

enough to work at commercial art and
illustration. My real start in a career of
advertising came when I accepted a job
in Melbourne with a major Australian-
owned agency.
In 1964, I started a two man agency
with Brian Monahan who I had met
when he was selling space for Time
magazine. We started with no money
and no business. By 1968 we were
doing very well – well enough to afford
a creative director as a third partner,
and his name was Phillip Adams.
Together as a brave new triumvirate
we called ourselves Monahan Dayman
Adams and by 1985 we were the
third-largest advertising agency in the
country (the first to become a public
company). It was about then I decided
to retire … to go and paint pictures.
On retirement, I went to live in
Yea – a small country town north-
east of Melbourne. It was really my
wife Rosemary’s call, as she wanted
to be near her trout fishing grounds.
We bought a property of 36 acres as a
weekender and it quickly became our
home of choice. Rosemary set about
creating a wonderful garden and I set
about learning how to make pictures …
because when it came down to actually
doing some painting, I realised I
didn’t have the technical knowledge to
produce acceptable watercolours.
I did what legions of people like me
do these days. I had lessons from some
of Victoria’s master watercolourists.
I spent one year with Greg Allen, a
fine watercolour artist and a first-class
draftsman. He initially trained as an
illustrator, but at quite a young age
won a travelling scholarship for his
watercolour work. As a professional
artist, he has never looked back. Greg’s
training method was inspirational and
I owe him much. I also participated
in workshops with Ross Paterson,
Amanda Hyatt and Alvaro Castagnet.
This was my informal art training.
I had not exhibited paintings since I
left Adelaide in 1958. Back then, I was
a member of the Royal South Australian
Society of Arts and a regular exhibitor
in the spring and autumn shows in
particular. I always considered myself
fortunate to have works hung (and even
I N S I G H T
to be mentioned in some of Ivor Francis’ newspaper

critiques). So in Yea, I took advantage of the Yea
Rotary Art Show and began exhibiting just over ten
years ago. My first foray into a ‘major’ show was in
1997 when Meg Heres (also from Yea) and I joined
forces for a joint exhibition at the Old Post Office,
Seymour – a restaurant and gallery. Meg and I
later had successful exhibitions at the Goods Shed
Gallery in Yea when we timed our show to capture
Easter traffic through the town. Yea has three major
roads from Melbourne intersecting the town, and
the traffic on holiday weekends has to be seen to be
believed.
I should mention that our daughter Kate has lived
in Italy since 1983, and as a consequence Rosemary
and I have been regular visitors to the town of
Bosa in Sardinia over a long period. I have come
to love the pictorial content of the place and the
unique ambience of that part of Italy. I have become
somewhat of a specialist in depicting the town and
its environs. To reach Bosa you must pass through
Rome – a great excuse for pausing to paint the
wonders of the Eternal City.
In 2002, I had a solo exhibition in Bosa at
the height of the tourist season. Tourists there
are mainly Italians, but you also find Germans;
and French love the place because it’s so much
cheaper to holiday there. It’s not surprising that
pictures of Bosa are popular with tourists as well
as locals. I have become known in Bosa as ‘il
Padre di Kate’ (Kate’s Dad).
Recently, Rosemary and I decided to pack
up and return to South Australia. I have since
exhibited with Rotary art shows at Glenelg,
Walkerville, Flagstaff Hill, Blackwood, Victor
Harbor, Clare and Kadina; and at Camberwell in
Victoria. I also exhibit with Prince Alfred College
Art Show, Royal Adelaide Show Art Purchase
Exhibition and Adelaide Freemasons. In 2003, I
had a joint exhibition with Sylvana Angelakis at
High Street Gallery, Willunga; and in 2006, I had
a solo exhibition at Lombard Gallery.
I am a Fellow of the Royal South Australian
Society of Arts, and a member of the Adelaide
Art Society. I am also president of Pastel Artists
of South Australia (PASA). In recent years I have
become fascinated with the art of pastel painting,
and I believe the pastel medium is perhaps the
perfect complement to watercolour.
I still regard myself as a hobby artist. I have
been working mainly with watercolours; although
for the last four years I have used pastels too. I
actually like both styles of work and my aim is to
combine both media in one painting … I’m still
working on that goal.
I particularly like streetscapes in Italy,
because these are so unlike our Aussie
I N S I G H T
counterparts. I also like marine I never hang my own works at I once gave watercolour lessons in
subjects such as boats. home. However, I do have a collection Yea, and one habit I can recommend for
A few years ago I entered a large of pictures in storage downstairs in beginners is the sketchbook. I carry one
watercolour in the Camberwell Art the garage. I keep circulating many every day, everywhere; I have done so
Show depicting the mediaeval town of of these at various venues. When it for years.
Bosa. This was the largest picture I’d becomes clear to me that a picture It’s important to find out how
ever attempted and it sold immediately. will not sell, I take it out of the frame the Masters work, too. These days
It was also hung in the prime position and try something else. One gallery in many of the top artists in every
(on the stage) alongside works by suburban Adelaide keeps a few of my medium are prepared to share
many of the best watercolourists in the pictures. I mostly rely on pastel artists’ their knowledge … so I advise
country. shows and Rotary art shows. I can’t developing artists to take advantage
Of course, I have had many failures say who collects my paintings but I do of worthwhile opportunities for
with watercolours. When I first started in know that some have been bought by learning.
the mid ’90s my failure rate was around collectors in Yea (and other parts of My best advice for others is: Keep
50 per cent. Since then (thankfully) the country Victoria), Melbourne, Sydney, on keeping on! Learn something useful
failure rate has dropped. Chicago, London and Bosa. every day, and keep up the practise. n
Watercolours
Midday in Bosa By Lyle Dayman
This accomplished
Australian watercolour
artist insists that you
can’t learn anything
if you don’t practise.
Clearly he has practised
a great deal to reach
his outstanding level of
skill … as shown in this
painting of a street in
Italy.
M AT E R I A L S
• Holbein ‘Irodori’ Opaque

Watercolours: Set of 24 colours.
• 200gsm Artistico + Fabriano
watercolour quarter sheet.
fInAL STEp • Various high quality brushes.
STEp OnE
The scene depicted is a typical narrow
street in Italy – in this case it it The
Corso, Bosa. It required an upright
format. The time of day is noon, as
can been seen by balcony shadows on
the right-hand side buildings. I spent
time to make sure the drawing was
accurate and provided an adequate (but
simple) map for the watercolour. The
drawing was done with a 3B pencil.
STEp TWO
For this picture, I chose Irodori Opaque
watercolours and applied the first wash
as I would using any watercolour brand
… fairly thin and transparent. Colours STEp OnE STEp TWO
on the left-hand building (starting from
the extreme left-hand side) were Antique
Ochre dirtied up a little with a touch of it was very light – barely a stain. Very Antique Pale Blue and Antique
Antique Magenta. As the wash moved quickly, I applied a wash to the right- Red Orange to produce a light
to the right, I used a more pure but hand side buildings using similar colours grey. By the end of this first wash,
light mix of Ochre with a smidgen of as before; but even more transparent. the paper had been completely
Antique Red Orange. By the time the A wash of grey connected the painted except for the reserved
wash reached the end of the building two buildings at street level. I used white for the umbrellas and sky.
STEp ThREE STEp fOuR
STEP FIVE STEP SIX
STEP THREE Before applying this wash, I wet

MASTER Here I added detail to both buildings the right-hand end of the buildings
to indicate they are in Italy. The and then quickly brushed on the
HINTS long narrow windows, balconies wash – making sure the end of the
AND TIPS and street lights confirmed the
location. These details were applied
building remained very light. For
the right-hand buildings, I slightly
with a dry brush using mixtures of darkened the close foreground
• The fastest way to achieve Antique Ochre, Antique Brown, Grey building with the same wash; but
watercolour mastery Brown and Antique Ultramarine. with a little Antique Ultramarine
is to have lessons. added. Again, I made sure the
• Most of your favourite end of the building stayed almost
watercolour painters run STEP FOUR white. I then washed in the street
classes or workshops (or I next moved to the sky. I would shadow with a mixture of Antique
both). When you hear about normally paint the sky first … but in Ultramarine and Antique Purple Red.
these coming up, book in! this painting I decided it was important
• You can’t learn anything to establish the buildings in the first
if you don’t practise. wash and put the sky in later. The STEP SIX
Regrettable, but a fact of life. sky was done predominantly with I added final details to figures and
• It is important to learn to draw. Antique Pale Blue, with the merest buildings. I needed the foreground
Buy a small sketchbook and touch of Antique Red Orange. While shadow to be darker so I simply
carry it with you everywhere. I was at it, I placed the figures in made a stronger mix of the Antique
Start a collection of these the scene. For flesh tones, I found Ultramarine and Antique Purple Red
books. It doesn’t take long. that Antique Brown worked well. wash. You’ll notice I used white
• Talk to other artists who work body colour here and there. This
with watercolours. Join an was a mixture of Antique White
art society or group – there’s STEP FIVE with grey added where necessary.
bound to be one near you. Time for the big shadows. For the The two umbrellas show the pure
left-hand buildings, I mixed Antique white paper which I kept reserved
Pale Blue with Antique Purple Red. throughout the process. n
O NE .au
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Artist's Palette - July 2020

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Artist's Palette - July 2020

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The Paint That

THE MOST VERSATILE ACRYLIC PAINT

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INSPIRING ARTISTS’ DEMONSTRATIONS

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FEATURES Greg Brennan did not grasp his

Cover image by: Gregory Brennan

18 Loading Wheat – 1920s

32 Water Lily Magic

40 Cowrie Hole – Newcastle

52 ‘Jama’ – King Cheetah

Margaret Ann Wilson

hands on. I have worked with a few rather

Tiger’s Farewell’ which was acquired

I take numerous photographs, and

A simplified and well

take stops to look at the results. It

CHROMA AUSTRALIA PTY. LTD. MT KURING-GAI NSW 2080

Gregory John Brennan

Lost Professi Edited by Trevor Lang

But I was too young to appreciate

of a stockman scene; and he is

It is rare to see an artist displaying this level of skill and understanding

SELECT FROM A MAGNIFICENT CHOICE OF EASELS AT S&S WHOLESALE

OUTSTANDING MABEF EASELS FROM OXFORD ART SUPPLIES

Mabef is without doubt the choice of heights from 120cm to 135cm.

ART BASICS MARKETS INNOVATIVE TESTRITE ALUMINIUM WATERCOLOUR EASELS

Fibre Art By Caroline Sharkey

me artistically … with a lot of the

I have painted and dyed fabrics with all sorts of things

I have a large collection of my art

Water Lily Magic

CREATING THE ART WORK

together and sprinkle onto the right

were young. One depicts the children

for four years, but I was determined

• Medium grey sanded pastel paper.

sanded paper soon wears through the STEP TWO

Full rich impasto for striking textured

Thinner viscosity free flowing for a

Intense, vibrant colours including

Artwork by Ian Sax

Derivan Pty Ltd

Blahuta’s Ute Contributed by Paul Blahuta

The finished ute ‘Clean Running Backed by Ned’

The The artist’s preliminary

The artist at work on the ute.

Plan for Ned –

Visual Communication; and he has

loose with open fires or exposed

Big Cats By Daisy Claridge

left off and completed a Certificate

up just drawing with the paint

before – as I find that keeps me ‘on the

This exquisitely talented

STEP SEVEN ANd fINAL STEP

keep moving all around the body and

fINAL STEP STEPS fIVE ANd SIX

Keeping On By Lyle Dayman

Along the way I became skilled

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Telephone (inc. area code)_______________ Signature_ Date_

State__________________ Postcode_ Cardholder name (PLEASE PRINT)_______________________

Telephone (inc. area code)_______________ Signature_ Date_