Artists Palette Issue 173 2020

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Palette
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173
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ontents
Issue No.173 2020
18
FEATURES
14 In the Galleries 61 Christmas Buyers’ Guide
Take a look at Willoughby’s With the Festive Season fast 18 Take Your Time
wonderful Workshop Arts approaching, this Feature could be Walking with her dogs helps
Centre and Ewart Gallery. really helpful … Becky Breedveld to discover
artistic inspiration.
36 Turn a Whiter Shade of Pale INSIGHTS
Northern Territory watercolourist 6 Simple and Basic 26 Tumultuous Affair
Jasmine Jan presents an Artist/tutor Ros Psakis teaches Patricia Martin produced pencil
engaging tutorial. a simple method of working drawings before progressing
with a limited palette. to her favourite medium.
40 40 High Aspirations
Hobby artist Anita Stevens
enthusiastically embraces a
range of different media.
46 Have a Go
Joy McCrae believes it would
be wonderful to keep on
painting as long as she lives.
54 Machinery Mindset
Heavy powered machinery
motivates Ray Cassidy to
exercise his drawing skills
68 Bold and Brave

Dale Philpott has a bold and
brave attitude to images
triggered by aspects of her life.
Cover image by: Ros Psakis

46
26
DEMONSTRATIONS
10 Early Risers
Horses in the early morning
light inspired this lovely
painting by Ros Psakis.
22 Amber of Rowy’s Home

Becky Breedveld urges her
peers to take time with their
work; and don’t rush it.
32 Waiting
Patricia Martin is delighted
to share her intricate
watercolour techniques.
43 Riverside Tranquility
Anita Stevens strove for a sense
of peace and a slight air of
mystery in this pastel work.
50 Banksia
Worthwhile advice from
Joy McRae: Paint what you 6
know, understand and love.
58 Customised Peterbilt 379

The talented Ray Cassidy did
this meticulous drawing as a
commission piece.
72 From the Verandah

The northerly aspect from Dale
Philpott’s home was her inspiration
for this work.
I N S I G H T
Ros Psakis
Simple and Basic By Ros Psakis
This artist/tutor teaches a simple, basic method of working with a limited

palette of colours. Her students learn to push those primary colours to the limit
… and they come to know them intimately and understand their possibilities.
6 Artist’s Palette
I N S I G H T
I
believe every painter can only be
taught the basics. After that, we
are on our own. Nature has all
the answers, and will provide them to
painters who ask the right questions.
In the early eighties, Gloria Ransom
and Allan Fizzell were instrumental in
my own vital art training. They were
both generous with their teaching
and encouragement. Since then, my
continuing lessons are from Nature
herself.
I am passionate about painting
sunlight. All subjects are paintable if
the light on them is right. The most
ordinary subject, in great light, can
become an extraordinary painting
subject.
My subject matter can be anything!
Animals, figures, boats, still life,
landscapes, seascapes, flowers …
If we are to call ourselves painters,
we should be passionate and excited
about any subject.
I work with oils mostly. I adore
watercolours and pastels but find I
don’t do as many of them as I should.
I’m afraid oils win me over every time.
I have belonged to the St George
Art Society since the early eighties. St
George was instrumental in forming
the Combined Art Societies of Sydney
which now runs Art in Action and the
Art of Sydney Awards.
I tutor a small class once a week
at Kogarah Bay. Any newcomers are
always welcome. It’s a friendly class
where laughter is combined with
serious study. Interested persons can
contact me by email at: rospsakis@
optusnet.com.au
If people ask me for advice about
building artistic skill, I will tell them
that there are no shortcuts. Brush
Artist’s Palette 7
I N S I G H T
mileage, determination, and just plain fortunate to be a painter. It’s a joy to them as painters and amazed at their
looking and observing are imperative. have that beautiful obsession always progress.
Getting the painting onto the board is with me. To be able to ‘see’ and enjoy I teach a simple, basic method of
the easy part. It’s understanding what things in Nature that only painters can working with a limited palette of
we see that needs practice. Once we feel … is very special. colours. Students learn to push those
understand what we see, painting it I love being in the company of my primary colours to the limit. They
almost takes care of itself. Wednesday class. They constantly come to know them intimately and
The desire to paint seems to have surprise me with their fresh, clean, understand their possibilities. I don’t
been with me forever. I feel very honest paintings. I am inspired by teach my style so much as teach the
I N S I G H T
class to find their own style.

When my four children were
younger, I began painting them as
figures in landscape. Now, years later,
I am painting their children. And the
excitement hasn’t lessened.
Everything is paintable if the light on
it is right. Every subject, no matter how
humble or ordinary in shadow, can be
inspirational in a shaft of sunlight.
I encourage eager painters to wait
for their subject to ‘get ready’. Catch it
in the early morning or late afternoon.
Walk around it; view it through half
closed eyes. The magic is waiting to be
discovered.
The talent of a good painter is not
just in mixing colours or in clever
brush work or masterful tonal control
… it is in the ‘learning to see the
potential in your subject’.
It is all out there, waiting to take
your breath away.
You will see it, if you have the heart
of a painter. n
d e m o n s t r a t i o n
Oils
Early
Risers By Ros Psakis
Horses in the early morning light: A beautiful atmospheric subject rich in

colour with strong shadows … masterfully rendered by a specialist oil painter.
FINAL STEP
M AT E R I A L S
• Art Spectrum artists’ oil colours:

Ultramarine Blue, Golden Yellow,
Lemon Yellow, Light Red, Permanent
Crimson, Titanium White.
• Gum turps as a medium.
• Tara 70 loose canvas.
• Brushes: Sizes 2, 4, 6 and 8
long, flat bristle brushes.
STEP ONE
The initial block in. Just the most basic STEP ONE
lines. This is only to position them
on the canvas. No details. Drawing
will be adjusted and corrected as
I move through the painting.
Light Red and Ultramarine Blue
in a thin line for the outline.
STEP TWO
Here I block in the darkest darks of
the horses in shadow; and the cast
shadows on the ground. By getting
these important tones in first, I
immediately set the lighting direction.
Light Red and Ultramarine for the
horses; Ultramarine, Golden Yellow
and Light Red for the cast shadows.
STEP TWO
STEP THREE
Now I cover the background area
of mid tone, still keeping all edges
soft and workable. Any drawing
error can be adjusted easily when
the edges are kept soft. Ultramarine
Blue, Golden Yellow, tiny amount
of Light Red for the background.
STEP FOUR
Now I have covered the area of grass.
I have been working from the darkest
darks, through the medium tones; and
now I am setting the stage for the lightest
lights. These will never work until the
other tones are taken care of first.
Golden Yellow, Light Red; a little
white for the foreground grass. STEP THREE
STEP FOUR STEP FIVE
STEP SIX FINAL STEP
MASTER HINTS
AND TIPS
• My method of working any painting, no matter what STEP FIVE
the subject, is to state the darkest darks first; work Here the warm sunny sides of the horses come
through the medium tones; and, when the board is around into the sunlight. Still in the medium
covered and the tones can be judged correctly, then I tones; and leaving the lightest lights until last.
‘turn on the lightest lights’. It is a well used and reliable Golden Yellow, Light Red for the
method of working that rarely lets the painter down. sides of the horses in sunlight.
• My initial drawing of the subject is made up of the most
basic lines only. I find it is better to keep the drawing
soft, and adjust and correct in paint as I go along. STEP SIX
• I like to complete a painting in one sitting and find Now I have placed in the white parts of the horses
that it is possible to keep working wet into wet if that are in shadow. These appear blue in the shadows
the brush is not dripping with medium. If the paint and will be a good stage to set the lights against.
is applied very lightly onto the surface, no matter Ultramarine Blue, Permanent Crimson; a little Lemon
how wet the painting is, the brush strokes will sit Yellow for the shadowed sides of the white areas.
well without pushing into the underneath paint.
• I work very quickly when I paint – but that is my
personality and there are no prizes given for speed. FINAL STEP
Everyone finds their own comfortable pace, but I do Now, when the dark and medium tones are all in
believe that there is no advantage in applying 17 little place, I can finally place the lightest lights, the
brushstrokes when three or four big ones will do the whites of the horse in sunlight and the parts of
job just as well. Having said that though, we shouldn’t the mane and nose that are impacted by light.
become so clever with monster brushstrokes that they I always add a dot of yellow to pure white
will overwhelm the subject matter with their importance. highlights … it gives a feeling of sunlight. n
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I n t h e G a l l e r I e s
Workshop Arts Centre

and Ewart Gallery
Contributed
Beautiful art galleries are located all over this country, hosting and
promoting the works of Australia’s diverse exponents of art. Artist’s Palette
magazine showcases a broad selection of these venues. In this Issue,
we focus on the impressive Workshop Arts Centre and Ewart Gallery at
Willoughby in suburban Sydney.
T
he Workshop Arts Centre is an
independent not-for-profit art centre and
workshop facility which was established
in 1961 to promote and foster appreciation of
the creative and visual arts.
The Ewart Gallery, housed within the
Workshop Arts Centre, was named to honour
the founder Joy Ewart. The gallery, officially
opened in 1996 by artist John Coburn, is a space
where the work of emerging and established
artists is exhibited. Through this gallery the
Centre aims to encourage and stimulate interest
in different art disciplines by promoting the
work of local artists, as well as artistic groups
and organised bodies in the wider community.
The Workshop Arts Centre with its
integral Ewart Gallery is located at 33
Laurel Street, Willoughby NSW 2068.
Email admin@workshoparts.org.au –
or telephone 02 9958 6540.
The space reveals a fine example of
philanthropic gesture that has provided
cultural and social capital to the local
community. Joy Ewart together with fellow
artists and supporters set out to create a
special place for artists of all disciplines in
the lower North Shore of Sydney … where
basic factories and family dwellings formed
the general landscape. From those humble
beginnings a disused furrier’s warehouse
has now become a thriving contemporary art
space attracting students of all ages.
For 35 years local artists exhibited on
landings, outdoors, or even on top of the
furrier’s preservation pit.
It is widely perceived that the present Ewart
Gallery with its fully equipped 30 running
metres of hanging space, professional lighting and

hanging systems goes far beyond its founder’s original
expectations.
The space is light and airy with a few steps descending
into the gallery. The top of the stairs provides a good
vantage point to view an overall exhibition, and beyond
to the attractive floor level windows.
The Ewart Gallery hosts a varied programme of
exhibitions – from large sculptures to the Australian
Society of Miniatures Art Awards. This year features
two touring exhibitions: ‘Tea Party in the Mayoral
Garden’, being unpacked after it has returned from
the USA; and also the ‘Windows on Pain’ group art
show ’09 which spent time at the Ewart Gallery before
travelling further afield. These outside exhibitions
were slotted into the gallery between its own student
and member shows; the Ewart Art Prize; ‘Drawing on
Anything’ (including young school children); Print and
Pots; and ‘Star’ (to celebrate the Year of Astronomy).
Artists exhibiting in the gallery are commonly
drawn from present students, past students and those
with no particular affiliations other than a desire to
mount an exhibition in the well equipped and most
attractive space.
Upcoming or archived exhibitions submissions are reviewed regularly.

can be discovered online at Applicants should outline the
http://www.workshoparts.org.au/ intention and general art discipline,
exhibitions/about as well as the artists involved and
One of the images from ‘Jumping their experience and/or qualifications
Jelly Beans’ shows the delight of some in their particular fields.
younger exhibiting artists.
“Now I am a famous artist in a Ewart Gallery hours are 9.30 am
gallery with my proper name on the to 4.30 pm Monday to Friday,
wall with lights and stuff!” said one of and Saturday 10.00 am to 3.00
the enthusiastic uninhibited artists. pm. Interested people can visit
The Ewart Gallery, like the Workshop the Workshop Arts Centre and
Art Centre, benefits from a strong the Ewart Gallery at 33 Laurel
volunteer group. Special fundraising Street Willoughby to participate
events occur during the year to assist and in classes in sculpture,
supplement the running of the gallery jewellery, painting, ceramics,
and the workshop. The members of printmaking or drawing.
the Workshop Arts Centre have always View activities online at:
supported the gallery to keep hiring workshoparts.org.au
fees remarkably low. This is made All telephone enquiries
possible by the input of time from many should be directed to
members of the Centre, and friends. 02 9958 6540; or contact
Proposals to hold exhibitions admin@workshoparts.org.au
at the gallery are welcome, and by email. n
I N S I G H T
Bregje Breedveld
Take Your Ti e Edited by Trevor Lang
This painter goes out a lot with her dogs, walking in the bush or along
the river … observing animals, plants and flowers and discovering artistic
inspiration.
I N S I G H T
B
regje (Becky) Breedveld As an artist, Becky is self taught. painting for a long time (from about when
was born at Leiden in The “I am learning by trying different I was 16) and just picked it up again last
Netherlands. These days she is a techniques and I feel that with every year, when I first tried oil painting.”
police officer in Donnybrook, Western painting I have done, I have learned Becky Breedveld would like to think
Australia. She was a police officer in something new,” she explains. “I love there is a career in art for her. Currently
Holland for eight years. After reading doing animals. It is a challenge to try she feels that she is still practising
about the international recruitment and let the character show.” … although she has done a couple of
drive of the Western Australia Police, “As a young girl, I was always drawing paintings of dogs, for friends.
she applied successfully and moved to horses,” she continues. “I moved to She is purely a hobby artist at the
this country. She has been here since painting birds when I was a teenager, moment, although she has one painting
November 2006. using watercolour paints. I stopped for sale at the local veterinarian’s business.
I N S I G H T
When she was younger, she liked to use watercolours. She

has tried pastels too, but felt they did not suit her too well. She
now prefers oil paints; and experiments with ink and pencil.
“When it comes to my choice of subjects, I am still drawn to
animals – especially horses, dogs and birds,” she says. “This is
because it is a challenge to get the expressions just right; and
the proportions.”
“I’ve got a couple of my paintings hanging on the wall in the
police station, including the emu. He is keeping an eye on what
is going on!” she quips. “And I have one painting on the wall in
the vet’s waiting room. I have not entered in any competitions,
but I might give it a go in the future.”
Nature itself is the major source of artistic inspiration
for this artist.
“When I am out walking in the bush, and I see a kookaburra,
or a kangaroo, I see a painting in it,” she explains. “Australia is
very beautiful, the light is very clear and bright. I would like to
try some landscape paintings as well … one of these days.”
Becky was invited to join the Donnybrook Art Group, but
she just doesn’t have enough time due to doing shift work (and
I N S I G H T
recalls after work as well). She is also

a dog trainer and caters for about 20
students weekly.
“The good thing about oil
painting is that you can always
correct anything you don’t like,”
she suggests. “When I am doing
a painting, there is always a point
where I think I have spoiled it; or it
did not go the way I wanted; and I
get a bit fustrated. I recognise this
now, and I know it will all turn out
to be alright in the end. Usually I
walk away, make myself a cuppa,
and try again. It is a bit harder to
correct anything when I am working
with ink and pencil, however.
Sometimes there is a big blop of ink,
and all I can do is start over fresh.”
“Every new painting that I finish
is my most outstanding work at that
moment. I find it hard to judge my
own work, anyway! My neighbour is a
good critic, though.”
Becky grew up admiring the Dutch
artists Marjolein Bastin and Rien
Poortvliet. Her mother still sends her
Marjolein Bastin’s calender each year
– it is kind of a tradition! Recently she
read an article about the Western artist
Shawn Cameron (USA); she also loves
her horses and her style.
“I did a couple of commissions (of
pets) recently – but other than that,
I still have all my paintings. I have
come to a point where there is not
enough space to hang them and I am
thinking of selling a couple,” the artist
admits.
Becky likes to go out a lot with her
dogs, walking in the bush or along the
river – observing animals, plants and
flowers.
Her walks help to nourish her
abundant creativity.
She advises other developing artists
to take their time.
“Who cares in the end, if it takes
three hours or three days or three
months to finish a painting?” she
admonishes. “As long as you’re happy
with the end result!”
For the future, Becky Breedveld
would like to plan an exhibition. She
would also like to be able to sell her
work for an income. n
Oils
Amber of
Rowy’s Home By Becky Breedveld
This artist in Western Australia urges you

to take your time with your work, and
don’t rush it. It does not matter if you
finish it today or next week – as long as
you’re happy with the end result.
M aT E R I a l S
• Canvas: 10 x 12 inches.
• HB pencil.
• AS No.1 Medium.
• Mineral turpentine.
• Background colours: Titanium
White, Manganese Blue Hue.
• Coat colours: Ivory Black,
Payne’s Grey, Titanium White,
Tasman Blue, Pilbara Red.
• Eyes colours: Payne’s Grey,
Vandyke Brown, Titanium
White, Yellow Ochre, Venetian
Red, Jaune Brilliant.
• Nose colours: Ivory Black,
Payne’s Grey, Titanium
White, Tasman Blue.
• Tongue colours: Titanium White,
Pilbara Red, Payne’s Grey.
• Brushes: Taklon Short Shader
5/8; Taklon Angular Shader 3/16;
Mop 9mm; Taklon Angular Shader
FINal STEP 1/8; Taklon Mini Liner 18/0.
STEP ONE
Here, I used a photograph of my Border Collie
(Amber) as a reference. With the pencil, I sketched
the outlines and basic features on the canvas.
If the sketch is good, the rest of the
painting is so much easier to do.
STEP TWO
I chose a background that would go well with
the subject. For a black dog, blue or green
will do great – the dog will stand out.
I usually mix the colours on the canvas,
blending with a shader and adding more white
STEP ONE
until I am happy. I decide on one colour, so it
won’t take the attention away from the subject.
I then start with the face, working from the
top of the head down. With a short shader, I
put the paint on the canvas – deciding where I
want the darker bits and the highlights. This is
where I can add dimension to the painting.
Notice where the light in the
photograph is coming from.
STEP THREE
I took a mop brush and gently blended the
colours together, following the way the
hair would naturally fall. I didn’t worry
too much about detail at this stage.
I like to use some blue in the shady parts of the
white coat and in the highlights above the eyes and
on the cheeks; it makes the painting more ‘alive’.
I also used some Pilbara Red mixed STEP TWO
with white where the light highlighted
the ears and the top of the head.
STEP FOUR
My favourite part: The eyes. These
reflect the character of the animal, so
the right expression is important.
Amber has a very intense look, and I
tried to convey that onto the canvas.
I can spend hours working on the eyes! I
started by putting in Payne’s Grey and Venetian
Red as my basic colours. I referred to the
photograph to determine where the darker areas
and the lighter bits were in the eyes. With a
liner, I kept adding some brown, Ochre and
Jaune Brilliant until it felt right. I then added the
white eye highlights. The inside of the eye was
white with a bit of pink in it. I decided to lower STEP THREE
the right eye, because it was a bit too high.
MaSTER HINTS
aND TIPS
• Take your time, don’t rush it. It does not
matter if you finish it today or next week – as
long as you’re happy with the end result.
• Don’t be afraid to try new techniques; you can
always paint over your work if you don’t like
it! Experiment with different brushes; blending;
different colours and materials. It is the only way
to learn something new, and it might surprise you!
• Practise sketching. If you start out with a good sketch,
it is so much easier to do the rest of the painting.
• Study the works of the painters you admire.
Why do you admire them? What makes
you like their paintings so much?
STEP FOUR • When you’re outside, look around you. How would
you paint that fence, or the grass in front of it … the
cattle in the distance? What colours would you use?
Where are the shadows and the sunny bits? You can
learn a lot from just observing your surroundings.
• Make time to paint. Usually, when I’m tired, I
have to make myself sit down and start a painting
– but once I’ve started, I lose track of time and I
am concentrated, and I don’t feel tired anymore.
• Buy a good mop brush (one that doesn’t lose
the hairs while you are painting). I discovered
blending colours together with a mop brush
by chance, and I love using one now! I can
achieve a velvety soft texture with it.
STEP FIVE
I continued with painting the nose; again using the way the
light fell on the nose on the photograph as a reference. I
STEP FIVE also put in some blue and blended the colours with a mop
brush. I used Pilbara Red and white for the tongue, blending
on the canvas until I got the shadows and lighter bits I
wanted; and I used some grey for the lines in the middle.
Think about how the tongue curls around the
outer teeth as well … it will make it look more
real if you make those bits a shade lighter.
The lips had a lot of lighter areas to them. I did the
black bit first, and added white where I wanted highlights
– picking up some of the black in my brush as I went.
FINal STEP
I finished the white coat, adding some grey parts
under the chin so the mouth would stand out more
and look more natural. With the liner, I added the
last details: Some fine hairs on the ears and right side
of the head; the whiskers; and the white collar.
I left the painting on my kitchen table for
FINal STEP a couple of days to see if it was finished.
I then signed the painting. n
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I N S I G H T
Patricia Martin
Tumultuous
Affair By Patricia Martin
This accomplished lady started with pencil drawings before progressing to

coloured pencils and then watercolours which is now her favourite medium …
although she describes it as a tumultuous affair.
I
was born on the outskirts of London
just before the war, and moved around
the Hertfordshire and Surrey areas.
About 1947, my parents moved to an
outpost in Libya for a couple of years –
where we were the only English speaking
people in a tiny community. This could be
why I grew to love the wide-open spaces,
as I remember spending lots of time horse
riding in the hills and open deserts. Instead
of the usual pet dogs or cats, I had a pet
donkey, a camel and numerous gazelles!
After returning from Africa, Surrey life
continued. I worked for various film and
television companies including ten years
with Thames Television as a Production
Assistant, working on arts, sport, drama,
light entertainment and documentaries
(which enabled me to travel around
England and parts of Europe including
France and Italy). I loved the Provence
area of France, parts of which were similar
to the hills around Perth where we settled
on arriving in Australia.
In 1970, we moved from London to
Perth and lived in Lesmurdie in the
Darling ranges for 20 years. I moved to
the Kimberley where life became one very
exciting adventure – working on cattle
stations, tourist safari lodges and a charter
yacht. I also worked for a government
I N S I G H T
agency involved with local Aboriginal started with graphite and coloured detailed – but you can see at a glance
communities. pencils, and graduated to watercolours – exactly what they are supposed to be.
I was persuaded to join a local experimenting with pastels, acrylics and After the Art Escape class with Ev
theatre group at Kalamunda in Western mixed media along the way. Hayles, I visited the Mareeba Wetlands
Australia. I became involved in the I recently attended Leonie Norton’s in the Atherton Tablelands in far north
production side; and costumes and set botanical art class for a week in Fiji. I Queensland. I had an experience while
designs. I knew what I wanted to see, found it a very relaxing way of painting staying at the Jabiru Safari Lodge and
but was never actually able to draw it! (it is very slow, and I am usually a ‘get came up with an idea for a series of
I thought about moving to it done quickly’ person). Leonie was a paintings on a subject that I would
Queensland when I retired and decided wonderful teacher. never have dreamt of. This spurred
to explore the Sunshine Coast. I have Last year I completed a course with me on to want to produce works that
been here since 2001. Ev Hayles in Cairns at the Art Escape would make other people happy. The
Apart from a few lessons with Nadine workshop. That was the turning point idea came from seeing all the termite
Lovell (a Kimberley artist) and a half- for me to push myself further. mounds around the property which
day watercolour workshop with Louise I love the shape of things and find (to me) looked like little villages. I
Saunders (artist in residence at Couran myself wanting to paint unusual shapes imagined the termites living there,
Cove in Queensland), I had not received of trees and plants and reflections. I and doing things like moving house.
any training. It was not until I came to often prefer the shapes and colours This precipitated my series of Termite
Queensland and met up with fellow West of leaves to the actual flowers. I love Villages – small watercolour and pen
Australian Ruth Bowie (an accomplished visiting galleries; I seem to learn so paintings of termite houses in various
artist and also qualified to teach) that much from looking at other artists’ shapes and forms, but all with a ‘for
I had the opportunity to pursue my work and getting more ideas. sale’ sign on them! I have painted a
interest in art. Ruth took me under her I love impressionist paintings. My set of 12 and printed some to make
wing and I would never have progressed aim is to be able to paint scenes with into small cards. I have the originals
without her patience and skills. We buildings or people that are not totally framed in matts.
I N S I G H T
Watercolours would have to be my front, which gave amazing shapes and I regard the ‘Heliconia’ I completed
favourite medium … although I find shadows and patterns. I like scenes that during Ev Hayles’ class as an
it rather like a tumultuous love affair. have a sense of pattern or design. outstanding work. We had to spend
When it works, it is wonderful; and Living at the Sunshine Coast, I have the morning in the Cairns Botanical
other times it is incredibly frustrating. been involved as a volunteer at the Gardens sketching a flower that we
Originally I was drawn to plants Caloundra Regional Art Gallery. I also loved; then back to the workshop for
– particularly leaves; and a wide helped at the annual Art Festival in the afternoon to complete the painting.
assortment of still life studies, from Caloundra for a few years. I did exhibit I loved the result, it completely amazed
household items to clothing and twice, but my main interest was to me. I have framed it and I called it ‘End
materials. I progressed to landscapes assist with the exhibition. of Summer’, because the flower was
but did not want people or buildings I like to travel – on my own. This vibrant but the stems were starting to
‘spoiling them’. I am now becoming opens up a lot of opportunities to fade away.
interested in including people and a few observe. One example of this is I also like my botanical art painting
buildings, such as market scenes and when I was sitting on a bus at traffic of a red and green Kangaroo Paw (the
harbours. lights and noticed all the reflections emblem of Western Australian).=
Some time ago, I was attracted to of the outside world bouncing on Ruth Bowie spent considerable time
sketching buildings at Napier in New the windows. When I got home, I with me on the subject of portraits.
Zealand. The Art Deco buildings were immediately put this into paint with But, much as I persevered with a
interesting and I started to sketch all acrylics … and called it ‘Reflections portrait of my son from photographs,
the wonderful columns along the sea on a Bus’. I never achieved one that really
I N S I G H T
resembled him at all. I have had in New Zealand. The weather was
other artistic disappointments, disastrous and we were all waiting
too. Recently I planned a and hoping the mist would clear.
painting of a seashell stranded I went up on deck and was struck
on rocks. I had photographed by the vivid red of the life rafts
a close-up of the shell to give that were the only colourful thing
me the detail; however when around; and one lonely passenger
completing the painting I had hoping (as I was) that the rain would
completely misinterpreted the stop and the mists might eventually
actual size of the shell in relation clear! I had Jeffrey Smart’s style in
to the surrounding rocks. So mind when I did this.
instead of a colourful rock I also appreciate work by Bev
formation with the sea in the Gannon. She was featured in
background, the painting was Artist’s Palette magazine. Her
dominated by a monster shell! pictures have such amazing
With nothing to lose, I used humour in them, I just love them.
Paynes Gray in acrylic and put a I have started to take a visual
wash over the whole painting – diary on trips, to make small
except the shell. The result was ink sketches of anything that
actually quite interesting! interests me … a lace ironwork
I have been happy to paint as a gate, a couple of bridges that
hobby until recently. I now have make an amazing shape on the
my Termite Village Series and landscape. I am finding these
some bird paintings on sale at the are beneficial to me when I get
Jabiru Safari Lodge. home and start to compose a
I have always liked Australian painting, rather than referring all
artists. The first memorable work I the time to photographs. When I
saw was in the Western Australian do use photographs, I usually take
Art Gallery – ‘Down on His ideas from several and make a
Luck’ by Fred McCubbin. I have composite painting.
been fortunate enough to visit I find that it helps to make a
the Adelaide Art Gallery and its small pencil sketch (or several)
amazing collection of the earlier prior to starting a painting. I also
artists including Tom Roberts and like to try out my colours before I
Streeton. I also love Jeffrey Smart. commence.
A while ago, I painted a scene I am beginning to realise that
whilst on a boat in Doubtful Sound we artists probably underestimate
I N S I G H T
our own work. I look at paintings

by other people and always feel
they are far superior to anything
I produce; yet friends are always
very encouraging.
I sometimes think we need to
have more courage of our own
convictions!
A theme which I am now
putting into paintings is
‘Waiting’. There seem to be
so many situations in life
where ‘waiting’ is required,
or forced upon us, or even
something we do voluntarily.
My Demonstration piece is the
first of the Waiting Series. I was
sitting down by the wharf on
Stewart Island, New Zealand, in
March this year; and I watched
as boats came into view while
the sun was going down. I
thought about people sitting in
their houses on the surrounding
hills, waiting for these boats to
come in. n
Watercolours
Waiting By Patricia Martin
fInAL STEp This artist is pleased

to share the intricate
details of her techniques
for achieving beautiful
watercolour paintings.
M AT E R I A L S
• A3 Canson Montval Trochon

270gsm rough paper.
• Artists’ watercolours: Holbein
Ultramarine Deep; Winsor &
Newton Cobalt Blue, Cadmium
Yellow, Cadmium Lemon, Raw
Sienna, Raw Umber, Burnt
Umber and Alizarin Red.
• Brushes: Holbein 2 inch;
Westart 19mm hake; Roymac
Number 2 Kolinsky Sable;
Roymac Number 4 Kolinsky
Sable; Roymac Number 6
Revolution Taklon round;
Westart Number 2 Prolon liner.
• HB pencil.
• Sheet of tracing paper.
STEp OnE STEp TWO STEp THREE
STEp OnE I ran a wash of Ultramarine in curtain tie was to be, lifting the paint
I made several small sketches to get downward strokes alongside the Cobalt slightly to reveal the lighter blue.
the idea of composition. Then I chose Blue to give the effect of folds. Using Using pure Alizarin, I went over
the colours. I lightly sketched in HB a Number 6 brush with clean water, I the table leaving gaps for the folds;
pencil the outline of the curtain, wall, blended in the colours to give the folds; I then ran the liner brush around the
table, sea level and mountains; and the then with the wide brush I painted table edge in pure Alizarin to give
vase. I also left a roughly defined area the table in Alizarin Red, using rough it more definition. I dampened the
where the yellow flowers would go. downward strokes for the folds. hills; and with a mixture of Raw
I prepared my palette, squeezing Sienna and Ultramarine on a Number
pure colour onto the edges and adding 6 brush, lightly touched the damp
water to some of the pure colour in the STEp TWO areas intermittently to give the blurred
dishes for the separate washes – these I mixed Raw Sienna with Burnt shape of mountains – leaving some
would be the Alizarin Red, Cobalt Umber and a dash of Ultramarine. parts the original blue wash to give
Blue, Ultramarine and Raw Sienna. Using a very diluted wash and the effect of distance mountains.
I painted a pale wash of Cobalt Blue the wide brush, I painted over the
with the wide brush in downward mountains and continued down in
stripes for the curtains, leaving white rough uneven sideways strokes to a STEp THREE
stripes in between. I used the same point where I wanted the water to Using a Number 2 brush and a very
pale Cobalt wash sweeping down meet the sand. I then stopped and pale wash of Raw Sienna, I painted
from the top of the page to the level let the paint puddle slightly to give in the pages of the book. I mixed a
of the wall; this would be the basis a harder edge, and lightly lifted off little Ultramarine and Alizarin into the
for the sky, mountains, sea and sand. any unwanted puddles with a clean Raw Sienna to give a greyish colour.
I had been using wet on dry at this dry Number 6 brush. I continued Then I painted this carefully around
stage and did not flood the paper, as with the wash, leaving a very slight the edges of the book to give the effect
this enabled me to continue almost area of white, taking it down to the of the turned pages. I allowed the
directly with the Raw Sienna wash top of the windowsill. I dropped left-hand side to have more ‘pages’.
over the wall area, in downward in tiny specks of Burnt Umber and I added a few squiggle lines on the
strokes, to give the panel effect. Ultramarine, on a Number 6 brush pages to give the impression of text.
While this was still damp, I used the near the curtain edge, to give the Using Ultramarine and Alizarin to give
liner brush to even the top of the wall darkening effect. Using pure Cobalt a purplish colour, I painted the mug.
and added a few blobs here and there Blue and a Number 6 brush, I painted With the tip of the brush I added a dot
of Raw Umber to give the downward a long downward stroke along the of Ultramarine to the right-hand side
lines of the timber wall, and then across edge of the curtain to define it from to give more shape, and blended it
the top for the sill (very lightly, so it the water area and make the frame in with a clean damp brush. I mixed
would bleed into the damp Raw Sienna effect. Then, with a clean brush, I Ultramarine, Alizarin and a touch of
and give a slightly uneven effect). painted horizontal strokes where the Cadmium Yellow, which I then used
to paint the picture frame with a few STEp fOUR paper over the painting and added a
blobby strokes in the middle to give With a Number 6 brush and pure jetty and a few boats. I moved this
the impression of two people. With a Cadmium Yellow directly onto the around to give me an idea of where to
clean damp brush I lifted off some of dry paper, I used short sharp random place objects, and what to leave out.
the colour, including the back support strokes to fill in the area I had left for With a Number 4 brush and the mix from
of the frame, to give contrast. I used the flowers. Dipping the brush into the frame (Ultramarine, Alizarin and
some of this colour to give a slight pure Cadmium Lemon, I added more Cadmium Yellow), I drew a slash from
shadow to the left-hand side of the short strokes to areas missed; and the left by the curtain for the jetty, adding
wall by the curtain. First I dampened overlapped – leaving a few areas for a few irregular downward strokes. Then
the wall area right up to the table flower centres. I dotted Burnt Umber with a clean damp brush, I drew a line
cloth; then with a diluted wash I and Ultramarine (pure colour) for the through the middle (lifting off some of
gently painted some of the greyish centres. I mixed a little Cobalt Blue the colour) which gave me the platform.
colour down the wall, blending it in. to the Cadmium Lemon to give a I added a few more strokes to resemble
The sun was coming in from the light green, and added this at random. people. Using the Number 2 brush and
top left-hand side, shining into the The effect was a blaze of flowers. I same colour, I did small flicks with the
window on the flowers, so I wanted dampened the blue vase and gently brush for the boats and lightly flicked
the curtain side of the water to dropped in a speck of the green mix, in the masts. With Alizarin, I added a
be darker. I damped the sea area which blended into the blue, giving the couple of tiny specks to the people on the
again, all over, except the white impression of a reflection of the leaves jetty. Cadmium Yellow and Ultramarine
area; and gently washed from left on the vase. I resisted the temptation to gave the impression of clothing.
to right with a darker colour made add any more detail and left it to dry. Finally when the painting was
with the Ultramarine, Alizarin and completely dry, I used a very weak
a tiny amount of Cadmium Yellow. Cadmium Lemon wash and a wide
I darkened the bottom by the STEp fIVE brush to paint a swathe from left to
windowsill by allowing the colour Although I had planned to have a right, from the top of the sky by the
to puddle slightly at the bottom, and person and dog on the beach, plus curtains down to the windowsill and
gently dragging the colour around. a jetty and boats, I realised it would just over it … to give the impression
With a tissue, I gently lifted off some be too cluttered. After a day or so of sunlight coming down over the
of the colour near the vase of flowers. looking at it, I put a piece of tracing water and into the window. n
STEp fOUR
MASTER HInTS
AnD TIpS
• To either lighten or darken areas on the water,
use a damp brush to gently lift off some of
the paint – but make sure you blend in the
surrounding edges, otherwise it gives a hard
edge. To darken, dampen the area (and beyond)
first, then add more colour and blend it into the
dampened area – again to avoid hard edges.
• When darkening an area, or adding another
colour for a glaze, make sure the paint is
completely dry; then paint over the area,
blending it into the damped area to avoid
hard edges. If you put another colour directly
onto an area that is not completely dry, it
will often result in a muddy colour.
• Painting areas such as distant hills is often
effective and a lot quicker if you paint the
area in one colour, let it dry, then lift off areas
with a damp brush to give the contours
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W a t e r c o l o u r I n s p I r a t I o n
Pied Imperial
Pigeons Contributed by Jasmine Jan
This astounding Northern Territory watercolourist has been featured on our

pages once before. In this Issue, she discusses her innovative techniques for
achieving striking results with her demanding medium.
FINAL STEP
M AT E R I A L S
• 600gsm Aquarelle Arches

Watercolour Paper ‘Rough’.
• 2B pencil and soft plastic eraser.
• Masking fluid.
• Art Spectrum Artists’ Watercolours:
Cadmium Pale Yellow; Cadmium
Yellow; Cadmium Red; Payne’s
Grey; Yellow Ochre; Sap Green;
Ultramarine Blue; Sepia.
• Syringe with water.
• Paint brushes: Sizes 10, 8,
2/0, 3/0; Hake brush.
• Two jars of water (one for
washing brushes in, the other for
adding clean water to the painting STEP ONE
when painting wet-in-wet).
• Four porcelain bowls for holding
the four background colours.
STEP ONE
I use reference photographs of birds create a
composition. I usually complete a series of
thumbnail sketches in a couple of different
orientations such as portrait and landscape;
and also in scroll format. I use a 2B or 4B
pencil to sketch the shapes of the birds and
position them in various poses. I then look at
where the areas of white are going to be and
shade or add tone behind the white areas to
create areas of contrast and light and dark.
I sketch in the final composition onto the
paper. I usually use Arches Watercolour Paper
STEP TWO
600gsm as I prefer not to stretch my paper;
and because I use a lot of wet-in-wet technique
to paint my backgrounds I need a heavy
grade paper that will not cockle when wet.
STEP TWO
Using masking fluid, I mask out areas that I
want to protect from the background colours.
The masking fluid needs to be completely
dry before I tackle the background.
STEP THREE
I select the colours that I want to use for the
background. As a general rule, I tend to use
no more than four colours (preferably three).
I mix each background colour up ready in a
small porcelain sauce bowl to the consistency
of very thin cream (almost milk) thickness. STEP THREE
Each colour has its own brush allocated.
STEP FIVE (A) STEP FIVE (B)
STEP FOUR
Using a syringe, I dropper water over areas
where I want to put the background colour;
and then I use a Hake brush to spread the
water droplets out over the paper surface.
STEP FIVE (5A, 5B, 5C)

Working from light to dark, I use the
brush to drop each colour into the different
areas. I don’t paint strokes onto the page
but simply let the paint drop off the brush
onto the paper’s surface which is wet.
STEP FIVE (C)
The paint naturally spreads across the wet
surface by itself. I blow the paint across
the page. This is where it is important to
MASTER HINTS AND TIPS have a good understanding of how the
paint is going to react when it hits a wet
• Think about the light and dark and incorporate a main colour surface. Some watercolour will literally
areas in your final composition. throughout the painting. Payne’s shoot across the wet surface and spread
Make sure there is plenty of Grey was the main colour in the quickly over a large area. Some colours are
contrast to provide interest and painting demonstration. It was a lot more sluggish and don’t tend to travel
depth to your painting. Try to used in the background, on the across the wet paper surface that much.
preserve some of the white of bird’s wings and tail and in the
the paper that you are working very pale shadows on the white
on so that your watercolour parts of the bird. This helps to FINAL STEP
retains brightness and light. tie the entire painting together. I allow the background paint to dry
• To get vivid watercolours, try not • Experiment with using different completely. This may take several hours
to mix your paints together – as colour combinations in the if a lot of water and watercolour paint has
this creates muddy dull colours. backgrounds to create different been used on the surface. I usually sit the
I tend to use pure colours temperatures and thereby painting under a fan as I prefer not to use
and a wet-in-wet technique; different moods for your a blow-dryer. As the paint dries slowly, the
and allow my colours to mix paintings. Try warm colours such pigment continues to move and mix across
themselves on the paper. as Cadmium Yellow, Orange, the paper by itself. Using a soft plastic
• Use glazing techniques to Red and Sepia; and cool colours eraser, I rub the edges of the masking fluid;
build up colour intensity and to such as Sap Green, Ultramarine and then gently peel away the masking
create solid colour while still Blue and Payne’s Grey. Look at fluid revealing the white paper below. I
retaining luminosity and depth. using a combination of warm and paint in the details of the bird and branches,
• Try to use a limited palette cool colours for a dynamic effect. working from light to dark and using
layering and glazing to build up colour. 
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I N S I G H T
Anita Stevens
High Aspirations
Edited by Trevor Lang
As a hobby
artist with high
aspirations,
this lady’s work
embraces a whole
range of different
media including
pen and ink,
pastels, acrylics
and oils.
I N S I G H T
H
ampshire in England was Anita Anita has become a member of the apart from attending several workshops
Stevens’ birthplace. After her Bribie Island Community Arts Centre, I have never had any formal tuition,”
family moved to New Zealand which has much to offer to people she says.
in the late 1950s, she lived there for engaged with arts and crafts. This is “My favourite mediums are now
several decades. also where she has discovered the pastels and pen and ink. I also dabble
She relocated to Australia in 2000, world of pastels. with acrylics and oils,” she continues.
and now resides on Bribie Island north “I have always been interested in “Scratchboard art is another area I
of Brisbane. drawing with different mediums … but would like to pursue in the future.”
I N S I G H T
This lady considers herself to be a

hobby artist with higher aspirations.
She loves portraiture and boats as
subjects. She also adores Australian
landscape colours. She can turn her
talented hand to trees, animals, still
lifes and street scenes, too. And the list
goes on.
“My paintings are mainly displayed
at the Bribie Island Art Centre,”
Anita reveals. “Some have been sold
to overseas purchasers from various
places including England, New Zealand
and even Norway – which makes me
feel very privileged.”
Working within a group of like-
minded developing artists is important
for Anita Stevens. She feels that other
people’s thoughts and criticisms are
essential to her growth.
“I also love working from home with
my musical preferences playing in the
background,” she admits. “Not every
painting is successful of course …
and mistakes do happen … but I keep
on persevering, and enjoying every
moment along the way.” n
Pastels
Riverside
Tranquility
By Anita Stevens
In this composition the artist was aiming for a sense of peace and tranquility
with a slight air of mystery … never quite knowing what was out there in the
morning mist; using minimal colours.
final step
step One M at e r i a l s
• Grey/green pastel paper,

on the rougher side.
• A selection of artists’ quality
pastels – including Schmincke,
Rembrandt, and Art Spectrum.
• Pastel pencils: Conte
and Faber-Castell.
• Black charcoal pencil for
the first sketches.
• Reference photograph.
• Several sketches of boats.
step One
Firstly, I taped the sheet of paper
onto a firm backing; taping only the
top and the sides and placing it on
step twO an easel. Using the rough side of the
paper, I drew grid lines to help with the
composition. I then did a sketch, with
a charcoal pencil, of the placement
of the boats and the floating jetty.
step twO
To create the atmosphere I was
seeking, I partly shaded in the misty
background with Raw Umber,
Australian Leaf Green and Raw
Sienna. Next, I outlined and shaded
the floating jetty with Green Grey,
Australian Leaf Green and Raw Sienna.
I also did some shading on the boats.
Then I stood back to decide
whether I was getting the start
of a misty atmosphere.
step three
step three
I decided it was time to outline the
boats and put some finer details into
the boats in the foreground. I was being
very careful to use the barest outline
with the boats in the background.
step fOUr
The floating jetty, with its poles,
guardrail and piles, was next on the
list. I was again trying to use the same
colours but in slightly different tones
to get an overall effect of everything
being indistinct in the morning
Master hints
step fOUr
anD tips
• When deciding to start a new painting,
think about what attracts you to
the subject in the first place.
• With pastels, it is important to use the
right coloured paper as it can affect
the whole outcome of the painting.
• Stand back from the painting as
often as possible to see the overall
effect. Mistakes or the wrong
colour can sometimes jump out
at you if you do this. Perspective
mistakes can also be picked up.
• If you come to a point where you
think the painting is not working, put
it aside for a while and have a cup of light … with only the nearest the various objects. Satisfied
coffee … or take a walk in the garden. objects being clearly defined. that the painting was complete,
Even forget about it for a few days. I signed the work. I then placed
If you enjoy painting within a group, a large piece of tracing paper
ask for someone else’s opinion. final step over the painting and used
• Most of all, enjoy the act of creating I made sure all the boats were my rolling pin to carefully
something out of nothing when secured, and the water was roll over the whole painting
you start with a blank canvas. reflecting all the shadows around to stabilise the pastels. 
I N S I G H T
Joy McCrae
Have a G By Joy McCrae
This remarkable lady believes it would be a joy to go on painting and learning

new techniques as long as she lives. She thoroughly recommends that
everybody looking for drugless exhilaration in their life should have a go!
I N S I G H T
T
he Redlands district diagnosed with breast cancer.
(south of Brisbane, by This curtailed my painting
the bay) has been home activities while I recovered
to me all my life, although from several operations and
my husband and I have been chemotherapy, but as soon as I
able to travel extensively with was able I painted the picture
our caravan through much ‘My World Out of Control’
of Australia. We have loved published in Lang’s Gallery in
those times, and we have some Artist’s Palette magazine some
wonderful memories of folk months ago.
we have met and numerous I feel this was a turning point
photographs of memorable for me. I thought ‘what the heck,
places. I’m alive, and I’m free to paint
We particularly enjoyed what I feel’ … and since that
exploring the Flinders Ranges in release I’ve felt less inhibitions
South Australia … so barren, yet in my paintings and more
so touching to see the ruins of willingness to experiment, make
the homes and hopes of so many mistakes, learn from them and
early settlers. move on.
It was at the end of our last I cannot remember a time when
long trip in 2006 that I was a coloured pencil or a tin of paints
I N S I G H T
didn’t spell excitement. Many years on,

that excitement has never left me.
My main inspiration has always been
the flowers and plant life around me,
particularly in the natural environment.
Landscape has also featured in my
work, inspired by the variety and
spectacular beauty of Australia.
Oil paints were my exclusive
medium for a number of years, until
curiosity motivated me to try my
hand at watercolours. Ah … a new
love. I was completely captivated by
the medium’s unpredictability and I
painted mainly in watercolours for
some time.
Mastering pastels was my next
challenge, and again I loved the
medium. Collage, too, was always
exciting to experiment with; but finally
I have been drawn to acrylics, which
remains my medium of choice. I
sometimes use acrylics as I would oil
paints; and I sometimes use them as
watercolours. Such is their versatility.
I N S I G H T
Acrylics combined with collage is a

favourite pastime.
Art education is readily available to aspiring
artists and I have always tried to keep a learning
attitude. I have obtained a certificate, also a
diploma in drawing and painting, and I have
enjoyed attending many workshops over the years
as well as taking lessons from some very fine
artists. From time to time I have enjoyed teaching
others …which is a learning experience in itself.
Some awards have come my way, and I have been
able to sell a considerable number of paintings.
I am grateful for the opportunity that Lang’s
Gallery afforded me. Since that exposure I have
had my first solo exhibition (which was well
received) as well as several commissions and a
healthy confidence boost.
It would be a joy to go on painting and learning
new techniques as long as I live, and I thoroughly
recommend that everybody looking for drugless
exhilaration in their life should have a go!
To my fellow struggling artists out there, I
would like to say ‘never stop enjoying what you
are doing’. It may just be that you will get your
break next. n
Acrylics
Banksia By Joy McRae
Here is an artist who lives by her own wonderful advice: Paint what you
know, understand and love … but always leave your mind open to new ideas
and experiments.
final step
M at e R i a l s
• Matisse and Atelier acrylics: Titanium

White; Napthol Red Light for underpainting;
Cerulean and Cobalt Blue; Pthalo and Sap
Green; Hansa Yellow Light; Cadmium Yellow
Medium; Naples Yellow and Raw Sienna; Red
Gold; and Alizarin Crimson, Ultramine Blue
and Burnt Sienna for mixing darks.
• Acrylic painting medium and retarder.
• Stretched and primed canvas.
I
nspiration for this demonstration came from
a very ordinary source – the hardy Banksia
bushes planted by the local Council on our
median strip. Armed with my digital camera
step One
and dodging heavy afternoon traffic, I took
several shots of the Banksia flowers ranging
from lovely new lime coloured cones to the
daggy disintegration of the ‘old man’ flowers.
Next came the interesting part. I printed out my
digital photographs, arranged them in front of me
and tried to visualise an interesting composition
or two. I asked myself: Should I choose landscape
or portrait configuration? A stylised or realistic
design? Could I increase the drama of the
colours? What size canvas should I select?
step One
Using a charcoal stick, I drew a couple of rough
‘thumbnails’ to familiarise myself with my subject
(and to try for an interesting composition).
step tWO
Having decided on a simpler design, I taped step tWO
butchers’ paper to my canvas board – 24 x 30
inches in this case. Using a medium soft charcoal
stick, I loosely drew my design onto the paper.
When satisfied, I took a softer piece of charcoal and
created a tonal pattern I could follow in my painting.
step tHRee
Taping the right side of my drawing to a window,
again using charcoal, I drew on the reverse side of
the paper – following the original lines carefully.
The glass reflected these lines very well.
step fOUR
I prepared my palette: Two layers of paper towel
well moistened, topped with a sheet of baking
paper on a large plastic tray. A second tray served step tHRee
as a lid which preserved my paints for as long as I
step fOUR required, providing that I sprayed the

paint with water and acrylic retarder
(ratio about l0:1) when not in use.
I covered my canvas with a
transparent red (Napthol Red Light) very
thinly. I welcomed the streaks and drips
as an interesting background. When
completely dry, I taped the wrong side
of my drawing to the canvas, and traced
the design using the pointed wooden end
of my brush – checking that the design
had been transferred satisfactorily.
step fiVe
Using a large brush (2.5cm), and no
details at this stage, I blocked in my
lights and darks – resisting any urge
to use a smaller brush because I was
only interested in achieving correct
tonal values. This was also the stage
when all my negative feelings came to
step fiVe
the fore, such as: ‘Wrong design, looks
a mess, can’t paint, should abandon
project’. This was the time to walk
away, have a cup of coffee, and turn
the CD player on (a little reassurance
from family or friends could also help).
All was well, and I was ready
to pick up the brush again and
overcome any problems.
step siX
Changing to a 2cm brush, I moved over
the whole canvas – strengthening darks
and lightening lights where called for,
but still avoiding details or highlights.
It was important for me to establish
the right value for my focal point (the
fresh green flower) so I could keep all
MasteR Hints
anD tips
• Paint what you know, understand a masterpiece, just have fun. you for many years. I have one
and love – but always leave • Always put out sufficient paint that I do most of my painting
your mind open to new (and a bit more). A ‘stingy’ palette with, which I have used for 20
ideas and experiments. can result in a ‘stingy’ painting. odd years. Always clean your
• For artist’s block, try using • My final suggestion concerns brushes thoroughly after every
mixed media … such as adding brushes. After all, they become session, moving bristles back
pastel or inks to watercolours or an extension of your arm. Find and forth over a cake of soap;
acrylic paints. Using collage is those that work best for you; care rinsing until the water runs
great, too. Don’t try to produce for them, and they will serve clean. Reshape before drying.
other values a little subservient. I toned step siX anD seVen

down the bottom red brush to this end.
step seVen
I had been all over the painting,
strengthening here and there, and
toning down other areas. For me it was
crucial to now walk away, preferably
for some hours; then come back and
take a fresh look. With a more objective
eye, I turned the painting upside down
and also viewed a mirror image – to
check for a pleasing balance.
finaL step
Right away, I could see that the leaves
at the top right were too strong and
needed quietening. Having adjusted
this, I finally allowed myself to use a
small brush; also a liner brush for details
such as leaf veins, the serrated edges
on the leaves, and the fine needles on
the brushes. Then it was time to stop
before the fiddling urge set in. n
I N S I G H T
Ray Cassidy
Machinery
Mindset Edited by Trevor Lang
Heavy powered machinery provides subject matter for this meticulous artist.
Predominantly, he draws commission pieces of trains and trucks and helps the
owners to define their business identities.
R
ay Cassidy lives and works at one wet day. He started again ‘in because I cannot sit for long periods as
Strathdale (Bendigo) in Victoria. serious mode’ in 1996. pain levels rise.”
He was born in Melbourne. “I did not draw between 2000 and Ray started his art interests during
Gisborne was the town where he spent 2007 due to an accident at work; and his school years. He loved drawing –
his youth – before he started work in I have not worked since 2005,” he copying images from war comics …
1960. reveals. “I will not work again due planes, ships and suchlike.
This richly talented man got back to my injuries which resulted in four He is now a hobby/business artist
into drawing quite by chance when spinal surgeries during eight years. And (Illustrator) which brings him some
sketching with his daughter Rhiannon I am now drawing at a reduced rate extra pocket money.
I N S I G H T
“I have always drawn in pencil,” Ray has been my preference since 2007. It “A gallery commission of up to 35
says. “I sought assistance from local offers a balance between detailing and per cent would take too much out of my
Bendigo artist Keith Ross who taught colouring.” final earnings,” he says. “At present,
me the correct set-up of my subjects … Machinery which has power inspires all my planned future drawings are
things like vanishing points and other this man to draw. Trains were his main commissioned by my clients.”
important considerations. He helped to subjects at first. The greatest inspiration for this man
bring out the best of my capabilities. I “Now trucks are my destiny, as they is that he likes a challenge … and the
still prefer pencils to this very day.” create a challenge in the paint schemes motivating challenge for him now
Ray Cassidy used to favour ivory board which their owners put on them, to stamp is using coloured pencils, which he
when doing black and white drawings; he their business identities,” he reveals. describes as ‘a totally different field to
found it was very good for detailing. This artist does not exhibit his work, black and white’.
“Now that I am doing colour, Arches due to the hours it takes to complete his “I am now under instruction from a
Aquarelle hot press 300gsm paper drawings. new artist. Kristina Browning lives in
I N S I G H T
the country town of Castlemaine about

35 kilometres south of Bendigo. I have
been with her for more than two years;
and I am still learning,” he admits.
“At this stage, the rig with the
bulldozer on its trailer is the best
picture I feel I’ve ever done.”
“I have had a disaster just recently,
too,” he relates ruefully. “We have a
pet lorrikeet which has the run of the
house, and she must have done her
poo (which is in liquid form) on one
of my drawing instruments. When I
came to start my piece of work the
next day, there was a yellow stain just
under the truck. I tried to erase it, but
it did not go away; so the next step
was to shade over it, but the shading
did not work because the pencils
highlighted the area. I was left with
no alternative but to turf it. Three
weeks of work in the bin. At that
time, I thought of having lorrikeet pie
for tea. Now I make sure she is not in
the room by herself.”
Ray Cassidy is a member of
Regional Arts Victoria.
Between 1996 and 2000, he
completed 11 drawings. After his
I N S I G H T
series of surgeries, he resumed in

2007 and produced another six
drawings. That’s his tally to date. The
time taken for each drawing ranges
between 300 to 600 hours.
He displays some works at truck
shows, two or three times a year, to sell
his prints.
Ray admires all types of art …
especially detail drawings like his
own. He also admires other artists’
different methods and is frequently
amazed at how they achieve their
final results.
He used to love technical drawing
when he attended Technical School,
and he still uses features from that
learning in his drawings today. He
willingly encourages other creative
people to take advantages of learning
opportunities.
“If you have artistic talents and you
are not advancing as you would like,
seek a professional artist in the field
that you are working in,” he advises.
“They will enhance your work and
teach you the correct methods.”
As an artist, Ray Cassidy’s ultimate
goal is to make sure his clients are
happy with the drawings that he has
been asked to create for them. n
Pencils
Customised
Peterbilt 379
By Ray Cassidy
This drawing was a

commission piece completed
by the artist during 2009. It
shows what can be achieved
with the meticulous use of
pencils in talented hands.
M AT E R I A L S
• Drawing board.
• Arches Aquarelle hot press
300gsm acid free paper, which
provides a good balance when
detailing and has enough
tooth for colouring.
• HB pencil for detailing.
• Faber Castel, Derwent and
Prismacolor pencils for colouring.
• Razor blade.
• Good pencil rubber,
and erasing shield.
• Ruler and circle templates.
• Illuminated magnifying glass,
to assist with detail drawing.
STEP ONE
I had the truck placed where I could
set up my camera (with tripod) to take
sufficient photographs for the drawing. I
sometimes take up to 150 photographs,
depending upon the size of the rig. I
made sure the client was happy with the
profile before I took the photographs.
STEP TWO STEP FOUR STEP FIVE

I downloaded the photographs to my To begin detailing, I transferred Within three weeks of finishing
computer. My son Rohan and I enlarged everything from the photographs the detail drawing, I visited my art
the images to achieve the length I of the truck to the drawing sheet teacher Kristina Browning who is
wished to draw. I often use up to ten with a HB pencil (which I kept a very accomplished artist
photographs – depending on the size sharpened like a needle, to get in many fields. Together we
of the truck – to accomplish this. a fine line which makes selected the required coloured
colouring easier). pencils to colour the truck.
STEP THREE My drawings are to scale, and are
I joined all the photographs not sketches. I usually work from left
together and taped them onto the to right, and keep areas which are STEP SIX
drawing sheet at my work station, completed covered so I will not Convinced that the detail drawing
in position ready to start detailing. smudge them. was entirely finished and nothing had
been overlooked, I began colouring.
When the work on the truck was
MASTER HINTS finished, I added subtle scenery to
enhance the finished product.
AND TIPS
• When doing a section of • Find a good art teacher who you STEP SEVEN
detailing, be sure to scan over can consult if you run into trouble. I had the original drawing scanned
it before you start another • A good colour chart, and numbering by Binary Master Art at Woorie
section. This helps to ensure that for all your coloured pencils, are Yallock in Victoria. This enabled me
nothing has been missed, before two important considerations to to get some copies of the drawing
colouring is commenced later. help you select your colours easily. offset printed in Bendigo, to sell.
• Always use a sharp pencil • Every colour scheme I do is Finally, I had the original framed.
when detailing. documented, recording the pencils I am always relieved when the
• Have patience. chosen to create specific colours. framing has been done – after
• Choose a good range of This means I can create the same all the hours that have gone into
coloured pencils. colours again in the future. producing the picture. n
F e a t u r e
Christmas Buyers’ Guide Contributed

That special time of year is rapidly approaching … when you want to find
perfect gifts for the creative people in your life. Or perhaps you want to surprise
yourself with something stunning for your very own studio. Here is a range of
beautiful choices from some of your favourite art materials suppliers.
MAKE YOUR CHRISTMAS EXTRA SPECIAL

WITH S&S WHOLESALE
S&S Wholesale is offering a wide Coloursoft and Drawing, Watercolour
range of exciting new products as well and Graphitint, Pastel Pencils and
as traditional favourites for Christmas Tinted Charcoal. These sets provide
this year. From colouring, drawing, the perfect opportunity to experience
watercolour and sketching pencils to how the different Derwent pencil
easels, pastels, watercolours, acrylics ranges complement each other. Finally,
and oil paints … you’ll find something the very special ‘limited edition’
special for the artist in the family. 175th anniversary Heritage box will
A large selection of the Derwent also be offered. This large, beautiful,
pencil range is on offer for this Mahogany box is a collector’s item and
Christmas. S&S Wholesale is offering only a few of them have been made
Derwent Coloursoft, Studio, Artist, available to the Australian public.
Inktense, Watercolour, Pastel and The Daler-Rowney company has
Sketching pencils in a variety of provided beautiful and unique gifts
wooden presentation boxes along with for artists this Christmas. For the
some brand new drawing sets and more serious artists there are several
sketchbooks – helping people to begin Georgian Oil colour assortments – in
their artistic year with a flourish. beautiful wooden boxes containing 12
Of particular interest, especially x 75ml tubes; a complete Georgian
for the younger artists, will be the Oil painting set containing 10 x 38ml
Derwent Master Manga Art Sets. These tubes, thinner, brushes, charcoal
sets contain everything you need to pencil, palette, palette knife and 8
begin creating Manga drawings or x 10 inch canvas panel; and two
comics and come with a set of Inktense tinned sets containing 5 x 75ml tubes
pencils, paintbrush, sketchbook and in Earth and Classic selections.
CD tutorials – created by renowned For a complete gift, the Daler-
Manga artist Hayden Scott Baron. Rowney Bumper Easel set represents
Also of interest are the Derwent great value. Each one contains 6 x
field kits (excellent for the artist on 120ml tubes, 2 x brushes, palette
the move); the Easy Select pencil knife, 8 x 10 inch canvas panel,
stands; Premier sets; and the Coloursoft canvas artist’s bag and box easel.
table easel set (this set contains a The Daler-Rowney Bumper Easel
portable table easel, sketchbook, sets are available in Oil or Acrylic.
and tin of 24 Coloursoft pencils. Daler-Rowney are renowned brush
In addition, there is a selection of manufacturers and are offering some
beautiful journals on offer as well special brush cases this Christmas.
as four combination sets of Derwent Each set contains a selection
pencils – Watercolour and Sketching, of the most popular and useful
F e a t u r e
brushes in the Cryla, Georgian, sets also come with a Cretacolor best quality and exceptionally finely
System 3 and Simply ranges. Sketching and Drawing DVD. ground pigments, guaranteeing the
Cretacolor of Austria has made Cretacolor has also made available highest possible light and colourfastness.
available some lovely new ‘Aquarelle’ its brand new Karmina and Marino For the beginner, hobby or
sets for Christmas this year. The Aquarelle Fine Art pencils. These junior artist, why not give them
watercolour collection contains a 30 pencils are of the highest quality and a Richeson painting gift set?
piece assortment of all Cretacolor are maximum lightfast rated. They are These gift sets contain everything
watercolour media. Aqua Monolith available in tins of 12, 24 and 36 as needed to begin painting straight
is a woodless watercolour pencil, well as wooden boxes of 24 and 36. away. Each set contains a table top
producing six times more colour than Pastellists haven’t been forgotten easel, 12 quality colours, brushes,
standard watercolour pencils. All this Christmas. S&S Wholesale has palette, paint saver keys and either
Cretacolor ‘Aquarelle’ sets come with made available Starter Sets of 8, watercolour pad or canvas panels.
a free Aquarelle/Watercolour DVD, 18, 36 and 72 Unison Soft Pastels. These gift sets are available in oil,
which provides you with hints, tips These pastels have only recently been acrylic or watercolour variations.
and techniques so you can get the made available throughout Australia If the artist in your life loves
most out of your Cretacolor pencils. and are counted among the world’s the outdoors, then perhaps they
For the sketching artists, there finest. Each individual pastel is hand- would like the Richeson Field/
is a selection of mixed media sets made and hand rolled by a master Sketching Easel. Perfect for ‘plein
containing selections of pastels, craftsman in England. The colour air’ painting, this easel has adjustable
drawing, and graphite and sketching response and feel is unmatched. legs and is easy to set up and take
pencils. The Cretacolor Black Box There are also some beautiful wooden down. It is lightweight, compact
set contains a useful selection of boxes of Richeson hand-made Soft and easy to transport. Alternatively,
black drawing materials including and Semi-Hard square pastels. These a Derwent Field Kit containing
charcoal, graphite and drawing pastels are of professional quality and 14 Coloursoft pencils in a canvas
pencils while the ‘Terra Classica’, make ideal gifts for any pastellist. pencil wrap together with a suede
‘Professional’ and ‘Ultimo’ sets If painting is your forté, then try St journal makes an ideal combination
contain assortments of sketching, Petersburg watercolours. These highly for quick sketches in the field.
graphite and graphite aquarelle regarded Russian pan watercolours
pencils together with charcoal and were once only made exclusively for Please contact S&S Wholesale
graphite sticks, artists’ pastels and use by the Russian Masters. They are Customer Service by telephone
a free Cretacolor creative calendar. professional quality watercolours which on 1300 731 529 for further
The Ultimo and Terra Classica are liquid poured and contain only the information and stockists.
F e a t u r e
INSPIRE, INNOVATIVE AND CREATE AT CHRISTMAS
Artists, when asking one another, exception is the smaller Intro Set – an a graphite line like a pencil, but is
“What did you get for Christmas?” inexpensive option for the beginning used with a brush. There are two
always imply a subtext. They artist – which contains four tubes of types: Permanent and re-wettable
really mean, “Which art materials paint and a tube of Gel Medium. (so that highlights can be lifted out,
did you get for Christmas?” Based on the style the artist likes as with watercolours). Each type
To enable your artist friend or to paint, the first choice to make is comes in six subtle colours, and the
family member to describe a very between Matisse Structure and Matisse set of 12 tubes, contains a 12ml tube
joyful Christmas indeed, allow them Flow. Each of these types of artists’ of each variety available – giving
to tell their friends how delighted they acrylic paint is of optimum quality, and the artist the complete range.
were to be given a Matisse Derivan the difference lies in the consistency. Also new is the Lino Printing
set of artists’ acrylic paints. Selected Matisse Structure has a thicker Starter Kit. This kit contains Block
to suit the individual artist, these sets consistency than that of Flow, and was Ink, lino, a roller, and cutting tools –
are produced in two different types expressly created for those artists who together with instructions to get the
of high-quality paint, and in various wish to see the mark of their brush beginner started in lino print-making.
dazzling colour combinations to suit the strokes remaining in the dry paint, or And for an inexpensive
subject matter of the particular artist. who want to use a painting knife. stocking filler, why not add a
To help you to pin down exactly the Depending on the artist’s subject set of five wonderfully flexible
perfect gift for the artist in your life, it matter, specific groups of colours Matisse painting knives?
helps to have some knowledge of what have been chosen by our panel
they paint – an awareness of both their of artists as most suitable for the Further information is available
style and their subject matter. However, landscape artist, the seascape artist, from Derivan Pty Ltd – telephone
if you’re not lucky enough to be in that or the portrait artist. Alternatively, 02 9736 2022. The company’s
position, or if you are buying for a total the set of glowing Australian colours website can be found at
beginner artist, we can make a fail-safe will impress the artist who paints www.derivan.com.au
suggestion that will ensure satisfaction: either the Australian landscape, or Derivan … inspire innovate create.
The Matisse Structure set in the Australian flora and fauna. And if
Primary colours. This set is made up of you are still unsure, play safe and
the colours recommended by leading art buy the Primary set. You can’t lose.
schools, and any colour of the rainbow For the airbrush artist, the mural
can be mixed by using these paints. artist, the photorealist artist, or one
Both in Structure and Flow, the who creates realistic faux finishes,
Matisse sets of artists’ acrylics contain Matisse Flow would be the paint of
eight tubes of paint, plus two bonus choice. As the name suggests, this
tubes of acrylic mediums – Impasto paint flows off the brush and levels to
Medium and Gel Medium, both of a smooth satiny finish. The Matisse
which allow the artist to introduce Flow kits are available in either the
texture into their art work. Each of Primary colours and the Australian
the sets, excepting one only, contains colours; or the smaller Intro Set.
both a warm and cool colour of each For the artist who ‘has everything’,
of the primary colours (red, yellow and why not give them one of our new
blue) to enable to artist to mix a full Liquid Pencil sets? This product
range of spectacular colours. The only is exclusive to Derivan. It creates
A DVD COULD MAKE A MAGNIFICENT GIFT FOR CHRISTMAS
What better gift this Christmas What better place to buy it than The fast service sees your
than an art instruction DVD Pulsar Productions – they have a order being dispatched
– it’s sure to delight! huge range covering all popular within one working day.
mediums and subjects and, best
of all, every DVD comes with Order online at
free Express posting in Australia www.pulsarproductions.com.au
(and free shipping worldwide). or telephone free on
Many titles are exclusively available 1800 798 660 for a
in Australia from Pulsar Productions. complimentary DVD catalogue.
F e a t u r e
CHROMA AT CHRISTMAS: DESIRABLE AND PRACTICAL PAINT SETS
student grade pigment and substitutes Sampler contains a basic colour mixing
the expensive Cadmium and Cobalt palette along with Earth tones and gold;
colours with low cost alternatives while the 12 Tube Creative Possibilities
called ‘Hues’. Sets available include: Set offers a diverse range of bright
4 x 120ml Tubes (Titanium White, primary and secondary colours. Sets
Cadmium Yellow Medium Hue, available include: Palette Sampler 10
Cadmium Scarlet Hue, Ultramarine x 20ml Tube Set (Titanium White,
Blue); 8 x 120ml Tubes (Titanium Warm White, Napthol Red Light,
White, Pthalo Green Hue, Dioxazine Yellow Light, Ultramarine Blue Deep,
Purple Hue, Pthalo Blue, Alizarine Pine Green, Brown Earth, Carbon
Crimson Hue, Cadmium Orange Hue, Black, Burgundy, Rich Gold); and the
Cadmium Red Medium Hue, Cadmium Creative Possibilities 12 x 20ml Tube
Yellow Light Hue); and 12 x 20ml Set (Blue Violet, Aqua, Dioxazine
Tube Set (Titanium White, Cadmium Purple, Amethyst, Carbon Black,
Yellow Light Hue, Cadmium Scarlet Titanium White, Napthol Red Light,
Hue, Cadmium Red Medium Hue, Napthol Crimson, Yellow Light, Yellow
Alizarine Crimson Hue, Dioxazine Orange, Pine Green, Yellow Green).
Chroma has paint sets to mix any Purple Hue, Ultramarine Blue, Pthalo Many other sets are available
colour and fit any budget! Blue, Pthalo Green Hue, Burnt in the Jo Sonja’s range … for full
Chroma’s Paint sets are great gift Sienna, Burnt Umber, Ivory Black). details visit www.josonjas.com
ideas because they contain all the For the professionals, there is Atelier Archival Oils – Professional quality
paints that a beginner needs to get Interactive – Professional Artists’ Artists’ Oils – are made using only
started and all the popular colours that Impasto Acrylic. Atelier Interactive is the highest quality lightfast pigments.
are essential for professional artists. an impasto acrylic formulated with the Archival Oils are the only flexible
Chroma’s paint sets contain the highest quality lightfast pigments. The oil paints in the world and offer
primary colours: Blue, red, yellow unique Interactive formula allows artists unsurpassed freedom of technique,
and black and white; all you need to do traditional fast drying techniques, fast drying time and paintings that
to mix virtually any colour in the or to slow the drying time for extended will not crack with age. Sets available
spectrum. Chroma’s wide range of wet-in-wet blending. The seven tube set include: 7 x 40ml Tube Set (Burnt
brands means that artists of any age contains the most popular and useful Umber, Titanium White, Pthalo Green,
and skill level can find a set of paints colours in the range, making it perfect Arylamide Yellow Light, Cobalt Blue
to suit their needs and budget. for the practising professional artist Hue, Napthol Red Light, Crimson).
For beginners, there is Chromacryl or the serious art student who wants
Students’ Acrylic. Chromacryl has long to begin upgrading from their student Further product information
been recognised as the leading acrylic grade paints. Sets available include: 7 x is available from Chroma:
for school students. These paints are 80ml Tube Set (Burnt Umber, Titanium Telephone 02 9457 9922.
perfect for school children or hobby White, Pthalo Green, Arylamide Yellow
artists who want to learn to paint. The Light, Cobalt Blue Hue, Napthol Red
thick creamy texture and rich colours Light, Crimson); and 12 x 20ml Tube
give a full-on painting experience at Set (Crimson, Trans Perin Orange,
an affordable price. Sets available Aryl Yellow Light, Aryl Yellow Deep,
include: 5 x 75ml Tube Set (Cool Blue, Yellow Ochre, Burnt Sienna, French
Cool Yellow, Cool Red, Black, White); Ultramarine Blue, Dioxazine Purple,
and 10 x 75ml Tube Set (Cool Blue, Pthalo Green, Permanent Green Light,
Cool Yellow, Cool Red, Warm Blue, Carbon Black, Titanium White).
Warm Yellow, Warm Red, Yellow Jo Sonja’s – Professional quality
Oxide, Red Oxide, Black, White). Matte Fluid Acrylics – are great
For the serious art student, there is for decorative and fine art.
A2 Art Students’ Acrylic. This provides Created from the finest quality
the best possible value for serious art pigments, Jo Sonja’s Artists’ Colours
students or hobby painters who need a are water resistant and lightfast. They
paint that looks and feels like an artists’ have superb smooth handling and
quality acrylic but without the big price brushing characteristics, and will not
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F e a t u r e
WONDERFUL CHRISTMAS IDEAS FROM GENESIS ART SUPPLIES
This Christmas why not treat yourself can be left on the palette and brushes
or a loved one to an artists’ medium and it won’t dry out, so no clean-up
that’s a joy to work with – Genesis is required and no paint is wasted.
Heat Set Artists’ Oils. They are Walk away and leave your palette
similar to traditional oils in feel and and brushes and when you come
application, yet the paints and their back – even months later – everything
mediums are non-toxic, cadmium free is as you left it and ready to go!
and odourless … making Genesis The pigments used in Genesis
great for the many artists who are paints have all been selected for
allergic to, or just dislike the smell their lightfastness, vibrancy and
of, traditional oils and solvents. covering qualities; and they come
Genesis oil paints are neither water with the highest archival quality
nor solvent based and can be dried rating. All colours have the same
on demand. This allows the artist to viscosity, so blending and application
move on with their work and not lose is made very easy and there is no
the creative flow while waiting for the colour shift between wet and dry
paint to dry. It also means that paint paint. All this adds up to a paint
that is a delight to work with.
Genesis has starter packs to

suit all budgets – take a look at
www.genesisoilpaints.com.au
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I N S I G H T
Dale Philpott
Bold and
Brave Edited by Trevor Lang
Images created by this talented lady evolve from triggers from different
aspects of her life … and she works with her paintings, being bold and brave.
I N S I G H T
D
ale Philpott grew up in an
outdoor environment, and
started riding horses in shows
and hunts at the age of five. She was
born at Invercargill in New Zealand.
She has lived in Canada for six years,
but now calls the Darling Downs (in
Queensland) her home.
Dale lives with her partner Owen on
a tranquil 50 acres at Hodgson Vale
near Toowoomba. Her home features
a new art studio. She also works as a
Registered Nurse, on a casual basis.
“I first took lessons in watercolours
in 2004, from Rene Rime Chan (a very
talented French Swiss gentleman) for
about 18 months,” she relates. “Sadly,
he then went to live in Tasmania.”
“I now belong to the Ramsay Shed
Painters where several artists meet
weekly to paint amidst bales of hay,”
she continues. “Tom Sharman, who
lives on the property, facilitates these
meetings and strongly encourages us
to come out of our comfort zones,
enter competitions and participate in
group exhibitions. We have exhibited
in agricultural shows; and at The
Pepperina Gallery at Nobby, the Kath
Dickson Gallery at Toowoomba, and
other Toowoomba venues.”
This artist believes that the benefits
of working with a group include such
things as the discipline in attending
weekly; being able to take advice;
sharing knowledge; support for
your artistic endeavours from other
group members; the general warm
camaraderie; the creation of goals; and
the opportunity to grow artistically.
“I am passionate about colour;
it is so fascinating what you can
achieve with it,” Dale says. “I love
experimenting with colours to express
emotions and to excite the eye. I will
never stop learning and I will always
enjoy using colours.”
Dale Philpott started writing poetry
in 1990 when she attended a McGregor
Summer School in creative writing.
She dabbled in clay sculpture. She also
attended a course in acrylic painting.
She has been returning to New
Zealand almost every year since
1968, and has been inspired
I N S I G H T
by the scenery there … particularly the

mountains. Her picture titled ‘Sea Opal’ is her
interpretation of the Paua shells (with bits of
Paua shell on the painting). She also lived at
Alice Springs for a couple of years, where she
loved the desert and the arid scenery.
“In general,” she admits, “I am inspired by my
living environments and their moods.”
Initially, Dale used watercolours but she now
prefers acrylics.
She believes that her best painting is ‘The
Inferno’ – a 1.62 x 1.10 cm image of a bush
fire. She describes this as a powerful, athletic,
zealous painting.
“I lived in the Blue Mountains in the early
eighties, in a heavily forested area that suffered
the impact of such a fire,” she reveals.
When Dale experiences mishaps painting
with acrylics, she sometimes uses disappointing
backgrounds to enhance future pieces.
Impatience can occasionally lead to unfortunate
outcomes but she likes to use instinct to get the
paint on her canvas … with a vague idea of what
she wants to achieve … until something emerges
that she can develop. For her, that is the exciting
I N S I G H T
process of painting. If she tries to be

too disciplined she doesn’t get that
‘flow’ with the subject.
“My most useful habit is to just
start a painting even if I may not feel
particularly inspired at the time,”
she says. “Something happens in the
passage of time spent in the moment of
being in that artistic space. Suddenly
I look at the canvas and discover that
there is potential happening and the
painting begins to work for me.”
Dale suggests that other developing
artists should be persistent in trying
to capture that feeling; and should
not be reluctant to step outside of
their comfort zones and try different
approaches.
This artist is looking forward to
retiring from her career pursuits
so she will have more time to visit
galleries and take art classes. She
wants to immerse herself completely
and unravel her artistic proclivity
through an energising and awakening
journey. 
D E M O N S T R A T I O N
Acrylics
From the
Verandah
By Dale Philpott
The northerly aspect from

the verandah of the artist’s
home was chosen as the
inspiration for this unusual
landscape painting.
STEP FOUR
STEP ONE
M AT E R I A L S STEP ONE STEP THREE

I prepared the canvas with undercoat, Here you can see that the foreground
• Canvas 92 x 46 cm. front and back. Then I outlined the colours had darkened considerably on
• Acrylic paints: Cadmium composition I wanted, with chalk. ‘cooking’ (acrylics tend to darken when
Yellow; Cobalt Blue mixed drying) so they needed adjusting.
with red and orange; Dioxazine
Purple; Blue Lagoon Turquoise; STEP TWO
and tints of these colours. I applied the basic colours STEP FOUR
• Various sized artists’ brushes. required for the painting. Finally, I gave an indication of slope;
• Varnish. and, with the warm colours advancing
STEP TWO
STEP THREE
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A en Shor
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Exciting ARtiStS’ DEMOnStRAtiOnS

POST FAX @ EMAIL

HURRY ORdeR TOdaY

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

68 Bold and Brave

Cover image by: Ros Psakis

22 Amber of Rowy’s Home

58 Customised Peterbilt 379

72 From the Verandah

Simple and Basic By Ros Psakis

This artist/tutor teaches a simple, basic method of working with a limited

class to find their own style.

Horses in the early morning light: A beautiful atmospheric subject rich in

• Art Spectrum artists’ oil colours:

STEP FOUR STEP FIVE

STEP SIX FINAL STEP

Full rich impasto for striking textured

Thinner viscosity free flowing for a

Intense, vibrant colours including

Artwork by Ian Sax

Derivan Pty Ltd

Workshop Arts Centre

metres of hanging space, professional lighting and

Upcoming or archived exhibitions submissions are reviewed regularly.

Take Your Ti e Edited by Trevor Lang

When she was younger, she liked to use watercolours. She

recalls after work as well). She is also

This artist in Western Australia urges you

THE MOST VERSATILE ACRYLIC PAINT

For more information:

This accomplished lady started with pencil drawings before progressing to

our own work. I look at paintings

Waiting By Patricia Martin

fInAL STEp This artist is pleased

• A3 Canson Montval Trochon

STEp OnE STEp TWO STEp THREE

From permanent and water soluble

Cardholder’s Signature: ______________________ Contact Number: ( ) ________________

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This astounding Northern Territory watercolourist has been featured on our

• 600gsm Aquarelle Arches

STEP FIVE (A) STEP FIVE (B)

STEP FIVE (5A, 5B, 5C)

Previous resin formulation

The range consists of a wide and balanced spectrum of 80 colours including

Sample Offer for

This lady considers herself to be a

• Grey/green pastel paper,

Have a G By Joy McCrae

This remarkable lady believes it would be a joy to go on painting and learning

didn’t spell excitement. Many years on,

Acrylics combined with collage is a

Banksia By Joy McRae

• Matisse and Atelier acrylics: Titanium

step fOUR required, providing that I sprayed the

other values a little subservient. I toned step siX anD seVen

the country town of Castlemaine about

series of surgeries, he resumed in

This drawing was a

STEP TWO STEP FOUR STEP FIVE

Christmas Buyers’ Guide Contributed

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