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 ontents
Issue No.181 2022
FEATURES
6 Enjoying Learning
Cheryl Henry has found enormous
fulfilment in learning with Genesis
Heat Set Oils.
26 Artists’ Easels
Supports for art substrates are
now available in a host of styles
and configurations.
4 Artist’s Palett
48 Katie
For lovers of pastels,
Lyn Felsman presents an
inspiring tutorial article.
40
18
INSIGHTS
10 Man of Many Mediums
It is just a few short years since
Graham W. Smith held his first
major exhibition.
18 Let it Flow
Gemma Louise Pap believes we
humans should let our creative
talents flow.
32 More than Just a Hobby
Meet Queenslander Chrissy Dwyer,
who aims to become a semi-
professional artist.
40 Persistence Pays
Being persistent greatly assists with
Margareth Kunne-van der Pal’s
achievements.
52 Folk Fascination
Intricate decorative art is the
passion of the immensely talented
Helen Kuster.
Cover image by: Gemma Louise Pap
 10

32

DEMONSTRATIONS
14 Umbrellas in Brisbane
Graham W. Smith enjoyed this
painting, and was almost sorry
when it was finished.

22 Australian Memories
Gemma Louise Pap created this
beautiful work as a housewarming
present.

36 Sunset over the Cane Field

Reference images are only a guide
for Chrissy Dwyer, who values her
creativity.

44 Dragon
Margareth Kunne-van der Pal
describes her methodical approach
to working in ink.

56 Tortoiseshell Bowl
Helen Kuster’s symmetrical art 18
on 3D substrates retains amazing
painterly charm.
 A d v e r t i s e r
Enjoying Learning
Helpful support from the Genesis people, and a prominent artist’s interest in her
portrait work, have given a real boost to this lady’s confidence and enjoyment.
H
aving swept my creative
side under the carpet for
many years, I am finally
making some ‘me’ time and learning
to paint. But where to start – with
absolutely no experience at all?
With no after hours art classes close
to home, I subscribed to Artist’s Palette
magazine and found the answer …
Reading the advertisement for
Genesis Heat Set Oils over and
over, I decided that the medium’s
flexibility would suit my lifestyle.
And there were teaching DVDs
for beginners using Genesis.
So about 12 months ago, with a
total of four drawing lessons under my
belt and only a dabble with a brush
in watercolours, I purchased a kit of
Genesis Heat Set Oils along with the
DVD ‘Learn to Paint with Robyn
Cooper’. Robyn is a great teacher
8 Artist’s Palette
6 Artist
f e A t u r e
and Genesis is a wonderful medium.
I was amazed at the result of my first
painting and couldn’t wait to frame
it and hang it on the wall. I couldn’t
have purchased a better DVD for
learning to paint and use the medium.
Next I did a beach scene – again
following a DVD – with good results.
Then onto Leslie Tribolet’s ‘African
Child’ DVD. Wow! I could not
believe the results. I did not think I
would enjoy portrait painting, but
Leslie sure changed my mind.
I now wanted to try original
paintings of my own. My next three
paintings were originals done from
photographs. I am really pleased
with the portrait … it’s exciting
bringing a face to life. I have so
much to learn, but the learning
experience is truly engrossing.
I just want to express to anyone
Contributed by Cheryl Henry
who has a desire to paint – don’t
let fear get in your way. Just do
it; and enjoy the journey.
Genesis Heat Set Oils suit me
perfectly. They don’t dry out so
there is no waste; they are non-toxic;
and the convenience of being able
to get up and go at any given time
without paint or brushes drying out
is the best feature of all for me.
I find Peter at Genesis very helpful,
and Leslie Tribolet’s interest in my
portrait painting has been a real
boost to my confidence. Thank
you to Peter, Robyn and Leslie for
sharing your expertise – I am so
enjoying learning the art of painting.
For more Genesis Heat Set Oils
product information, telephone
Peter Watts at Genesis Art
Supplies on 1300 66 11 65. n
 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 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
 artbeat
PAINTING ATMOSPHERIC WATERCOLOUR LANDSCAPES – WITH ROBERT BRINDLEY RSMA
Robert Brindley specialises in painting
atmospheric landscapes and coastal scenes
– often inspired by the dramatic scenery near
his home just outside the old fishing port of
Whitby on the north-east coast of England.
8 Artist’s Palette
Whitby was where the great explorer Captain
Cook did his maritime training.
In this his first DVD, Robert sets out to
show something of his careful and highly
organised approach to watercolour. Robert
Brindley is a member of the prestigious
Royal Society of Marine Painters and
it’s therefore not surprising that marine
subjects make up two of the four painting
demonstrations on this two hour DVD.
Robert’s approach to watercolour is
meticulous and he shows how he starts each
painting by mixing the pools of colour he will
need for the painting. He stresses that for
this style of painting, running out of a wash
halfway through a passage is a recipe for
disaster. He mixes two versions of most of
the colours used – a warm and cool variant
of each mix.
Working almost exclusively on blocks
of Arches 140lb ‘not’ paper, Robert first
makes a careful drawing of the scene. Next
he applies varying amounts of masking fluid
to mask out his areas of extreme highlight
which he wants to preserve. Then he applies
what he calls his first ‘guess’ on colour by
laying down a carefully placed all-over wash.
He places pools of colour over different
parts of the scene until they all link up and
the paper is covered. He is careful not to
allow the washes too much freedom, as they
need to stay broadly where he places them.
This, he says, is down to how much liquid
is on the brush for each pass. After this
initial all-over wash, the painting looks well
on the way to completion. A ‘plus’ of this
technique is that at this stage there are no
hard edges. This is the first stage in a three
stage process.
In the second stage, Robert removes the
masking fluid and begins to crisp up areas of
the painting – strengthening some colours.
The third and final stage adds the last points
of detail, often containing the darkest darks
in the picture. Robert is careful to let each
stage dry completely before moving on.
In this two hour studio-based DVD, Robert
tackles fishing boats in the picturesque
coastal village of Staithes near his home;
a coastal panorama of Robin Hood’s Bay;
a moorland village in the snow; and a
traditional English five bar gate leading into a
brightly lit field in the height of summer.
Robert Brindley is the author of several
books on painting and his technique is one
that, with patience, can be learned. It’s all
perfectly logical and easy to follow; and with
a bit of practice you too could be producing
atmospheric watercolours like him.
The DVD ‘Painting Atmospheric
Watercolour Landscapes with
Robert Brindley’ is available from
Pulsar Productions –
telephone 1800 798 660; or
purchase online (where you
can view a free trailer) at
www.pulsarproductions.com.au
IN MEMORY OF DOCTOR INGRID ELLEN CARLTON

Doctor Ingrid Ellen Carlton, a well known

doctor and artist of the Newcastle area in New
South Wales, lost her battle with cancer on 23
February 2010.
Ingrid had played a big role in helping to
establish ‘Norville’, a ‘place for artists’, in the
Upper Hunter Valley.
In 2009, Ingrid was part of a ‘Norville’ trip
to the Art Gallery of New South Wales to view
the Archibald and other exhibitions. In 2010,
her friends from ‘Norville’ travelled again to
the Art Gallery of New South Wales with an
empty seat … in memory of Ingrid. Upon that
empty seat they placed one sunflower and
a small tribute to honour the memory of Dr
Ingrid Ellen Carlton, 1944 to 2010.
The tribute was placed at the doors of the
Art Gallery of New South Wales, and a copy
of it has been added to the visitors’ book at
‘Norville’.

ART GALLERY OF NEW SOUTH WALES CONNECTS OMSA: ONWARD MOTIVATIONAL

WITH PEOPLE ALL AROUND THE WORLD SCHOOL FOR ARTISTS

On Tuesday 22 June 2010, the Art Gallery
of New South Wales announced the
provision of free access to a selection
of rich educational content for life-long
learners, students and people interested
in knowing more about Sydney’s premier
gallery. Previously this ‘service’ has only
been available to Australian universities and
schools.
The Art Gallery of New South Wales
now joins a number of distinguished
organisations including over 600
universities and numerous schools
that distribute their information free
to the public.
The Art Gallery of New South Wales,
which last year had 1.3 million visitors,
sees this as a significant opportunity to
allow people anywhere at any time to
access the Gallery’s collection of lectures,
exhibition-related video and audio,
children’s tours, and Collection audio tours.
Belinda Hanrahan at the Art Gallery of
New South Wales said iTunes U provides
another flexible way in which the Gallery
can provide its information, knowledge and
resources to anyone, anywhere in the world
… as it’s such a powerful and user-friendly
system for everything from lectures and
tours to interviews.
“This is such a wonderful way for
our Gallery to connect with people,”
she affirmed.
“The Gallery increasingly uses the latest
technology to engage with our audiences
and iTunes U provides
another way for people to learn about
us, bringing some of our best lectures to
people around the world. Video and audio
media is a powerful communication and
learning tool.”
Home to more than 250,000 free lectures,
videos, films and other resources from
learning institutions all over the world, iTunes
U is an innovative way to get educational
content into the hands of students and life-
long learners everywhere. The content is
easily downloaded and viewed on any Mac,
PC, iPod, iPhone, or iPad.
The Art Gallery of New South Wales
content can be found within the ‘Beyond
Campus’ section of iTunes U.
For further information, contact
Susanne Briggs by telephone on
02 9225 1791.
Motivational Art Classes are regularly conducted
at Balmoral Bowls Club, Jean Howie Drive,
Morningside, Brisbane (Queensland).
Local Brisbane artist/tutor/author Madeleine
Ekeblad started the Onward Motivational School for
Artists in 2004 to give artists back their passion.
She pushes the motto: “There are no roses and
chocolates in my class! A bit of hard loving can do
wonders for a frustrated talent?”
Some teachers overlook the fact that some
artists have had to deal with the demands of life,
putting their art on hold whilst raising families or
building a career. Now these artists are keen to
resume their artistic interests and are searching for
direction.
At OMSA, the aim is to give artists that sense
of direction and the motivation to achieve their full
potential. There is positive action in the Brisbane
workshops. The artists are feeling good about
why and what they are painting. Jazz plays in the
background.
We are Motivated and We Paint!
For more information and class
bookings, contact Madeleine by
telephone on 0409 683 003.
madeleine@omsa.com.au
www.omsa.com.au
 I N S I G H T

Graham W. Smith

Man of Many
Mediu s Edited by Trevor Lang

In June 2004, Graham W. Smith held his first ever major solo exhibition
in all mediums. The exhibition opened with 51 paintings … and 29 of
them were sold.

"Twilight" – 91cm x 122cm, Acrylic, January 2010
C
anberra born Graham W. Smith
(now of Wynnum in Brisbane)
commenced his artistic life
with a pencil drawing of a racing car
(at under five years of age). The artist
still has it in his possession today. At
the age of 14 he was doing perspective
drawings of his family home in
Sydney, as well as watercolours of the
launching of Sputnik and sunset scenes.
Having a grandfather who painted
in oils and watercolours in the Sydney
Rocks area in 1905, and a father who
was a cartoonist, helped fuel young
Graham’s desire to have fun illustrating
English castles and battle scenes for his
history lessons.
Graham did his first large
watercolour in 1967 and shortly after
that he joined the Nepean Art Society
where one of his quotations was
published in their September 1970 ‘Art
News’: “A painting is like taking a
rainbow on a guided tour.”
The artist won his initial two first
prizes for watercolours at the Penrith
Agricultural Art Show in 1968, and the
sale of his works in a Blue Mountains

10 Artist’s Palette

"Mary Pool" – 31cm x 51cm, Acrylic, April 2007
cafe at Springwood inspired him to
keep painting. Max Forth, who was the
President of the Nepean Art Society,
encouraged Graham to paint in oils
and subsequently Graham and another
artist painted on site at Manly. He also
did many plein air paintings around
the foothills of the Blue Mountains
– during which time he had outdoor
tuition from an East Sydney Technical
College tutor over several weekends.
A move to Brisbane in 1971 saw the
artist discover sailing – and the affinity
with the sea became apparent with
seascapes soon dominating the artist’s
subject matter. In 1980, a return to
watercolours precipitated a number of
commissions including a large painting
of the Customs House for the Customs
Department.
In 1987, Graham attended the
Associate Diploma of Commercial Art
course at Seven Hills; and following
"Perry Sandhills" – 22cm x 29cm, Acrylic, April 2010
I N S I G H T
this he worked as a freelance artist
for advertising agencies and interior
decorators. Many artist’s impressions
were completed for boat builders
including Lloyd Ships and Norman
Wright Boat Builders; in addition
to a good deal of work for building
companies. From 1987 to 1990, the
artist completed an annual series of
trucking calendars in watercolours for
‘Truckline Australia’.
Skippering crossriver ferries
and 70 foot catamarans to Expo
’88 diminished the time spent on
painting but enhanced Graham’s
artistic knowledge of boats and the
sea. A sailing background of 40
years (in dinghies, offshore cruising
and racing) has provided not only
painting subjects but also articles and
stories published in club magazines
and ‘Modern Boating’ magazine.
‘Brownie’s Coast Watch’ on Channel
"St Mary’s Church" – 31cm x 51cm, Acrylic, January 2010
"The Dunny" – 22cm x 29cm, Acrylic, April 2010
7 has twice run segments dedicated
to the artist photographing boats on
Moreton Bay, then returning to the
studio to complete the rendering.
In September 1999, the Commander
of HMAS Cessnock, a Royal Australian
Navy Patrol Boat based in Darwin,
commissioned 50 limited edition
prints and purchased an original large
watercolour of the vessel.
The artist has held exhibitions at the
Marriott Hotel, Gold Coast; Sheraton
Hotel, Brisbane; Queensland Law
Society; the Logan Gallery; the Manly
Gallery (numerous times); and the
Inverell Art Gallery. A solo exhibition
‘Brisbane Shorelines’ was held at David
Jones, Carindale in August 2000.
As a member of the Royal
Queensland Art Society, The Half
Dozen Group and The Pastel Society
of Australia, the artist participates in
many shows and has received over 385
 I N S I G H T

awards – including 144 first prizes –

"Boat Hire" – 31cm x 51cm, Acrylic, July 2009
"Pelicans Landing" – 36cm x 54cm, Pastel, November 2009
"Storm at Elliot Heads" – 35cm x 54cm, Acrylic, October 2008
for his watercolours, oils, acrylics and
pastels throughout Queensland and
New South Wales. His awards include
many prestigious acquisitive prizes
valued at up to $5,000.
Since 1999, Reliance Manufacturing
Company (Brisbane) has commissioned
or purchased 40 large watercolours of
Brisbane landmarks for its corporate
collection.
In 2000, Government House
(Paddington, Queensland)
commissioned six watercolours of the
buildings and grounds to become part
of a permanent record of the estate to
be preserved for future generations as a
record of the refurbished buildings …
an accolade unique for a Queensland
artist. The paintings are on permanent
display in the administration building
at Government House.
In June 2004, Graham held his
first ever major solo exhibition in
all mediums. It was opened by John
H. Massy, Audience Development
Manager, Queensland Art Gallery. The
exhibition opened with 51 paintings, of
which 29 were sold. Nine commissions
were obtained during the event.
In October 2004, St Andrew’s
War Memorial Hospital (Brisbane)
commissioned 60 prints and purchased
two watercolours for the wards and the
entrance foyer.
Queensland Arts Council invited
the artist to mount a solo exhibition
at Spring Hill, Brisbane, in 2005;
and in 2007 the Childers Regional
Gallery invited him to exhibit there
in all mediums.
In December 2004, Graham W.
Smith became a Master Pastellist with
the Pastel Society of Australia; and he
was also awarded a scholarship from
The Pastel Society of America in 2005
(for tuition in the pastel medium by
their instructors from the society in
New York). Arts Queensland sponsored
his return airfares to the USA.
In the last few years, invaluable
tuition in all mediums has been
gained through workshops with
Alvaro Castagnet, Herman Pekel,
John Lovett, Ross Patterson and Max

12 Artist’s Palette
 I N S I G H T

Wilks; and although he is mainly self

taught, this has enabled the artist to
refine and develop his own unique
style and palette.
In 2008, after a series of
auditions, Graham was selected as a
demonstrating artist for a 30 minute
regular art segment to be shown on
Queensland Community TV. He was
featured in a series that went to air
from 2008 to 2010. During 2009,
this talented man ran a 36 week radio
segment called ‘Art Tips’ on Bay FM "Chooks" – 31cm x 51cm, Demonstration for TV Show on CH 31, May 2010
100.3 … perhaps the first time an
Australian artist has featured on two
major media outlets.
The artist has works in his collection
by Herman Pekel, Joseph Zbukvic,
Ron Muller and Ross Paterson.
Presently he holds only about 200 of
his own works in his collection.
His bottom drawer is full of many
of his watercolour disasters which he
can now convert into mixed media or
acrylic pieces.
Keeping a photographic record of
virtually every painting he has done
since 1966 helps the artist to maintain
an insight on how much improvement
he has achieved over the years.
Having met Norman Lindsay in
1969, Graham W. Smith treasures the
timeless advice: “Practice, practice,
practice!” "Darling & Murray River Junction" – 15cm x 25cm, Acrylic, March 2010
Graham’s own words of
encouragement to his students came
years ago from a Chinese fortune
cookie. This motto is displayed on
his studio walls: ‘Your persistence
will be rewarded’.
His approach to painting is to have
fun, and simplify. To paint not only
what you see … but feel and paint
from the heart, not the hip pocket.
As a professional artist and tutor in
all mediums, Graham has been a judge
at a number of art shows. With an art
career spanning more than 45 years, he
has created over 2,200 paintings.
When some visitors see his solo
exhibitions and ask how many artists
are exhibiting, it thrills him to tell
them that all the work is his. This
highlights his amazing diversity across "Tattersalls Hotel – Winton, Qld" – 25cm x 35cm, Acrylic, May 2008
all mediums and subjects. 
 D E M O N S T R A T I O N

Acrylics

Umbrellas in Brisbane By Graham W. Smith

The artist had so much fun doing this painting, he was almost sorry when it
was finished. He subsequently looked at it over several days – making a few
minor adjustments before photographing the final result.

M AT E R I A L S

• Atelier Interactive colours:

Yellow Ochre; Raw Sienna
Dark; Arylamide Yellow Light;
Arylamide Yellow Deep; Cobalt
Turquoise; Cobalt Blue; Pacific
Blue; Ultramarine; Burnt Sienna;
Paynes Grey; Quinacridone
Magenta; Cadmium Orange;
Pthalo Green; Titanium White.
• Winsor & Newton stretched
canvas 91 x 122 cm.
• Brushes: One-and-a-half inch
Dream Finish paint brush; Neef
Number 12 flat stiff synthetic;
Neef Number 6 flat stiff synthetic;
Neef Number 1; Robert Wade
Number 6 Taklon rigger; Winsor &
Newton Number 5 round synthetic;
Roymac Number 4 fan bristle.
• Easel (four wheel castors with
ratchet to raise and lower).
• Cleaning: Viva paper towels;
tissues; Chux; spray bottle.
• Palette: Sta-Wet Painter’s Pal.
• Charcoal.
• Atelier Varnish Medium.
• Modelling compound.
• Atelier Gesso.
• Ruler to draw up grid.
• Four 8 x 6 inch photographs.
• Perspex painting board.
• Masking tape.
• Gold frame for
assessment of tones.
• Camera.
• Lighting: Two roof skylights and
FINAL STEP
three daylight fluouro tubes.

14 Artist’s Palette
 D E M O N S T R A T I O N

STEP ONE STEP TWO

STEP ONE
The first stage was to lay out the four
photographs taken at the street corner.
I cut and pasted some of the figures
from each shot until I compiled a
pleasing mix of action in the rain.
Once done, I gridded the photograph
and transposed the images freehand with
charcoal onto the gridded-up canvas.
The canvas had already been gessoed
twice; and had modelling compound
applied with a large palette knife.

STEP TWO
Now for the fun part. I just randomly
applied all the colours I thought
I would use across the canvas –
particularly placing Arylamide Yellow
Deep on the man on the left.
All the colours were diluted with
Atelier Varnish Medium to enhance
the luminosity of the paint.

STEP THREE
Starting at the top right, I blocked
in the main building with Yellow
Ochre, Raw Sienna Deep, Burnt
Sienna and Cadmium Orange; using
Cobalt Blue in the windows. Moving
down, I used Arylamide Yellow
Deep, Cobalt Turquoise, Yellow
Ochre and Ultramarine for the greens STEP THREE

Artist’s Palette 25
 D E M O N S T R A T I O N
STEP FOUR
in the trees and the right-hand
figure. The sky was painted using
Cerulean Blue and Pacific Blue.
On the left building, I used
Yellow Ochre and Raw Sienna.
Next I added in the reds for
the traffic lights, umbrellas and
advertising signs – with Cadmium
Orange and Napthol Red Light.
Using Pacific Blue, Ultramarine
and Burnt Sienna, I placed the
road, windows and staircase and
the bases of the figures; and (while
wet) I dragged the reflections
down. These first few stages took
the best part of a day, and I wasn’t
prepared to fine-tune and modify
the tones, shapes and colours until
I had fresh eyes the next day.
Some minor darks were placed
with Paynes Grey … but I always try
to add a little blue or red so I don’t
just produce flat, dull and boring
black spots (and by using these
accents, I ‘link up’ the painting).
16 Artist’s Palette
STEP FOUR
Starting on the right-hand building, I
was aware it was a little too warm – so
I glazed over it with Cobalt where it
helped to make it recede. While this was
still damp, I introduced Burnt Sienna
and Ultramarine – for information for
the viewer without spelling it all out.
A photograph collects too much
information, some of which we as artists
have to eliminate in order to remove
the ‘unnecessary’ and provide mystery.
The left-hand building received similar
treatment to give a dappled shadow effect
with minimal detail in the windows
and doors. The green on the right-hand
figure was repeated in the door frame.
If you have one colour, it should be
repeated elsewhere … in all paintings.
STEP FIVE
The umbrella and background were
modified; in particular I eliminated
the red on the lady on the left
STEP FIVE
and added a magenta umbrella
over the large cafe umbrella.
Next I worked on the street signs
and windows; then started on some
detail on the figures. In particular, the
man jumping the puddle had to have
his yellow shirt toned down with a
glaze of Cobalt and Burnt Sienna.
Once I was relatively happy with
the figures, I commenced placing the
reflections, highlights and squiggles –
using a combination of brush strokes
and spatter in the foreground.
The lady with the red umbrella
had to lift her skirt up so it wouldn’t
get splashed by the people hurrying
towards her. This, I believe,
added a bit of human interest.
I had so much fun doing this painting,
I was almost sorry it was finished.
But I looked at it over several days –
making only a few minor adjustments
before I photographed it, gave it a
final coat of Atelier Varnish Medium,
and put it into an exhibition. 
 I N S I G H T

Gemma Louise Pap

Let it Flo By Gemma Louise Pap

This talented artist believes we humans are an amazing species, and we should
let our creative talents flow … not keep them bottled up inside ourselves.

M
y name is currently Gemma
Louise Pap. It was Gemma
Louise Haworth, until I
came to Australia four years ago and
met my soulmate living here in the
Whitsundays. It sounds a bit like a
movie plot … but I bought a ticket
on his charter boat, where he had just
had his hostess finish up; so he was
running the trips himself until he found
a replacement. I had a great time on
the trip and the skipper asked me if I
wanted to come back as a volunteer on
the next one, as they were a bit short-
staffed. Of course I said yes … and I
must have impressed my future husband
(Frank). He hired me. We started
working together. We fell in love and
we were married on our charter boat.
Frank was the man who got me
back into my art. I had stopped while
I was travelling. We hadn’t been
together long when he saw some of my
paintings. He said I should do a few
up and take them to the local markets.
And so I started up again. I was really
nervous; I wasn’t sure how people
would take my work. I’m still really
shy about my art – I just want people
to enjoy it but I am not very good at
trying to sell it. Frank sort of became
my manager in a way, as he is much
better at talking to people.

18 Artist’s Palette
 I N S I G H T

Sure enough, it worked. He sold two of my paintings

on the first day. That was in the beginning of 2007, and I
had only been doing it for a few weeks when I got my first
commission. It gave me the confidence I needed to take my
painting out into the world. From then on, I always took my
art set down to the markets every Saturday and worked on a
piece while I was there. I would have groups of people just
standing around watching me.
When I got my first invitation to the Liquid Earth Art Festival,
I entered three paintings and won second and third places in the
‘Oils’ section. I also donated a painting for the charity auction
and it raised one of the highest bids.
Since then, I have been involved in the Art Whitsunday
exhibition and the Oceanic Boat Show exhibition.
Everything was going great until we lost our charter yacht
in Cyclone Ului in March 2010 … one short year since we
got married on the boat. Suddenly all of our dreams and our
home were gone.
It was actually the chance to do this article that gave me
renewed courage; when everything seemed to be spinning out
of control. We had lost our home and our business. I had pretty
much lost all hope. Then I got the letter to do this article.
The last few months have been hard, but we are now
preparing another boat together – with me doing all the
painting and signwriting on her. Soon we can go on our long
awaited trip around Australia.
I was born on the Isle of Wight, which is a small island off
the south coast of England (between England and France).
I currently live in the Whitsundays in north Queensland. I
studied art at school but did not continue afterwards. Most of
my art inspiration and training came from my mother who is an
artist herself. I spent my school holidays with my sister at her
workplace – trying to help out, but mainly getting in the way.
I am passionate about colour. I’m a very bright colourful person
and I try to bring that out in my paintings. I love to try out new
ideas, different mediums, and different styles.
My favourite thing is to paint butterflies and tropical
flowers, because you can be as creative as you want. People can’t
say ‘that petal shouldn’t be there’, or ‘that’s not the right colour to
use’. I want my work to look like paintings, not photographs. I use
my photography mainly to collect ideas to paint.
Once I start, I just go with the flow.
 I N S I G H T
My mum always told me to paint
what I see; not what I think I see
… to stop concentrating on the
picture and what I think is there …
to just let my mind wander and see
what I can create.
I mainly work in oils as I love
the bright colours and the way
I can blend them so smoothly.
Recently I have also moved on to
Genesis. Frank bought me the full
set with over 30 paints, mixers and
mediums. If I am doing a painting
like my underwater Great Barrier
Reef scene, I use Genesis. When
working on abstracts with large
areas of colour, I use Winsor &
Newton oil colours.
Growing up, I was always
surrounded by art. My mum used
to paint huge murals on the walls
of our bedrooms – everything from
flowers to ponies and storybook
characters. At age 13, I did my
own first mural. I painted an
alien landscape scene of a lake
and mountains, with a large male
dragon sitting watching over a
female dragon and a nest of eggs
that were beginning to hatch. There
were two baby dragons flying just
above the cracked open eggs. The
20 Artist’s Palette
whole painting was about six feet
high and ten feet long.
When I was 23, I met another
artist from South Africa and she
encouraged me to renew my
artistic passion. Soon after, I flew
to Australia … where I met Frank.
We will soon be travelling again.
And I will be taking my art set,
of course. I want to go to lots of
really remote ‘out of the way’ parts
of Australia and paint them.
I would say that my most
outstanding piece of work to date
was the ‘breaking wave’ painting
which I donated to the charity
art auction for the Liquid Earth
Festival. It is still my favourite
piece. With some of my older
paintings, I now look back and see
how I could improve them. But
that wave … I wouldn’t change
anything on it. I just love it. I am
considering doing another version
of it, on a much larger scale.
One of my most memorable
disasters was a painting in purples
and greeny blues that was supposed
to be an abstract of a mum’s arm
reaching out to her child’s hands. It
was basically just the two abstract
arms, two floating eyes, and a lot

of swirly patterns. When it was done,
it was terrible … but my husband said
I should take it down to the markets
‘because you never know people’s
taste and there is a painting out there
for everyone, no matter how weird it
looks’. So I did take it down … and
the funny thing was I ended up having
two people fighting over it. Then I was
commissioned to do a similar version
for the customer who missed out. I
couldn’t believe it.
I N S I G H T
My mum told me that mistakes will
always happen. Sometimes it can be a
mistake that makes the painting. If you
accidently get a touch of the wrong
colour on your brush when doing a
sky (or something), it sometimes turns
out to make the painting really stand
out. My mum’s advice was not to try
to correct the painting – but just to try
and work with it … and always know
when to stop. Sometimes you can ruin
a painting by overworking it.
I regularly donate my work to
charity organisations. It makes me feel
good and it lets people see my work.
My ultimate goal is to one day have
my own studio.
We all have creativity within
us. Humans are naturally creative
creatures. We are an amazing
species and we should let our
creative talents flow; not keep
them bottled up deep inside
ourselves … n
 D E M O N S T R A T I O N

Oils

Australian Memories By Gemma Louise Pap

The artist created this beautiful wall decoration as a housewarming present

for a special family member. It was designed to be a constant reminder of
her little sister’s home country.

FINAL STEP

T
he inspiration for this painting
was my little sister. She was
over here for my wedding
and loved all the colourful wildlife
and landscapes. She has recently as a housewarming present. It
moved into her first house with her would remind her of all the amazing
partner back on the Isle of Wight. So colours and beautiful things she had
I decided I would do her a painting seen while she was in Australia.

22 Artist’s Palette
 D E M O N S T R A T I O N
STEP ONE
M AT E R I A L S
• Artists’ canvases.
• Colours: Burnt Sienna; Chrome
Yellow Hue; Lamp Black;
Viridian Hue; Phthalo Blue;
Titanium White; Cadmium
Red Hue; Yellow Ochre; Light
Permanent Green; Magenta.
• Brushes: Large one inch
household painting brush (for
the background); one inch soft
blending brush; size 2, 4, 6 and 8
Taklons for the detail work; and
a Taklon liner for the veins in
the wings of the butterflies and
the long edges of the flowers.
• Mixers: Mineral turps
and linseed oil.
STEP THREE
STEP TWO
STEP ONE
At this stage I had a rough idea in
my mind of the painting. Initially
I was planning to use just three
canvases with the centre one being
slightly longer than the other two.
But I decided on using four instead.
I am also into photography, and I
use this hobby to collect a lot of my
inspiration. I don’t hold too closely
to the original photograph when I
paint; it is more for the ‘ideas and
colours’ stage. I prefer to paint my
own impression of the original image.
I took a large blank canvas and started
to try out some ideas … different flowers
and butterflies. Different techniques,
colours and details. When I do butterflies,
I try out a different idea on each side
so that I can compare wing patterns.
This is just a ‘try out’ stage and a lot
of the images will develop as I am
doing the actually main painting.
STEP TWO
I have the final idea in my head and
I draw it up. I have gone over it in
black ink to make it more visible, but I
usually just do it in pencil. When I am
creating a design across more than one
canvas, I try to make it look as though
the images flow between one canvas
and the next. I like to make most of
the flowers flow up the outer side of
the painting, with the other inner ones
flowing between the two canvases.
STEP THREE
For the background, I take the Viridian
Hue, Phthalo Blue and Titanium White.
STEP FOUR
 D E M O N S T R A T I O N
STEP FIVE
I use a large dry brush to put the darker
colours on first, leaving the top of the
painting mainly blue and adding some
Viridian to the mix as I move down
the painting. Then I add the white.
But I make sure to leave a slight gap
between the darker colours and the
white. I allow it to dry for around
an hour until it begins to get a tacky
feel. I am lucky where I live as I paint
outside and it is very warm with a good
breeze – so the paintings dry really
quickly. Next I blend the two colours
together across the gaps, using a large
soft brush; then I go over the whole
painting to soften the overall blending.
STEP FOUR
Once the background has dried
completely, I lay out the rough design.
I don’t really put any detail in at this
stage – it is just mainly shapes – the
outline of a wing or a petal. I use
Yellow Ochre and white blended
down with turps so that it becomes
STEP SEVEN
24 Artist’s Palette
very translucent. I don’t want the
lines to affect the final piece.
STEP FIVE
This is a close-up of the frangipani.
I used Cadmium Red Hue, Magenta
and white to create the pink shades.
I use a pretty dry rough brush to lay
down initial colour – just the dark
and the light in patches with the
gaps in between. I leave the gaps so
that when I blend the colours there
isn’t too much paint on the board.
When working with oils, it can be
a bit difficult to blend if you have the
paint too wet; or too much paint. I like
my paint to be a bit tacky when I add
details, so that I can add highlights and
shadows. If the paint is too wet when
I try to add the highlights, they will
just blend in with the paint already
on the board and be lost. I need the
paint to be a bit tacky so that the new
layer of paint highlights sits on top
and does not blend in. If the paint is
STEP SIX
slightly tacky, I can add the highlights
– then use a dry brush to blend some
sections in with the background colour
to make softer edges. This is a useful
technique when painting water.
STEP SIX
This is a full shot of the painting so
far, with most of the undercolours
laid down. I have started to add a
bit of detail to the blue butterfly.
I don’t add too much detail at this
stage … it’s just more of a colour
palette so that I can see if I like how
it is working out so far, and to ensure
that the colours are balanced.
STEP SEVEN
At this point I begin to add more detail,
shadows and highlights. I use a size
2, 4 or 6 brush (depending on how
small I’m working) to add the detail.
I used Burnt Sienna and white for the
wings, with a mixture of Cadmium Red
STEP EIGHT
 D E M O N S T R A T I O N

Hue and Chrome Yellow Hue for the orange detail.

I used Lamp Black for the edging. I photographed
this at the halfway point – to show the base colours
on the left and the added detail on the right.

STEP EIGHT
I have added a lot more detail. I begin to add
the leaves and centres of the flowers. For the
final touches on the butterflies and for the
leaves, I used a Light Permanent Green, with a
touch of Viridian Hue and Burnt Sienna (with
added Chrome Yellow Hue for highlights).

FINAL STEP
This is a close-up of some of the flowers. You can
see where I have added the highlights and touches
of shadow. I used a flick of white on the darker
side and a flick of Cadmium Red Hue mixed with
Magenta on the lighter side to give the impression
of a much more rounded petal. I have also added the
final touches to the butterflies’ wings, adding dots
of white and colour along the edges … then I used a
small dry brush to flick the highlights inwards making
a ‘V’ shape as I went (to make the wing patterns). FINAL STEP
The final stage shows all the finishing touches. 
 P r o d u c t F e a t u r e
Artists’ Easels
For today’s artists, painting supports are available in a host of styles and
configurations to enhance the creative process. In this special Feature, some
of your favourite art materials suppliers are delighted to highlight a wonderful
selection of artists’ easels.
SELECT FROM AN OUTSTANDING CHOICE
OF EASELS AT S&S WHOLESALE
Best - Portable S&S Wholesale stocks a wide
variety of easels for everyone
from the beginner, student and
hobbyist right through to the
professional artist. There are
many types of easels for different
applications … painting, pastel
work, indoor or outdoor use.
Easels are designed in a variety of
styles to accommodate the many
different ways artists work.
There are five styles of easels:
The Table Easel, the Tripod Easel,
the Box or French style Easel, the
Lyre (A-Frame) Easel, and the
Studio (H-Frame) Easel. There are
a number of variations to each of
these that offer different tilt settings,
storage options and size capabilities.
BEST Easels
Every artist should know the joy
of using exquisite equipment.
BEST easels are known as some
of the finest easels in the world.
Each BEST easel is hand-made
from North American Red Oak,
sanded to a smooth surface, then
hand-rubbed with oil to reveal
the inherent beauty of the wood
grain. There is no compromise
26 Artist’s Palette
Contributed
in workmanship or quality. The
craftsmen at BEST nail, glue and
screw every joint, guaranteeing
strength and precision. Designed
and manufactured with the
professional in mind, BEST easels
are amazingly stable, completely
functional and truly beautiful.
Built of solid oak, the Deluxe
Lobo quad base easel is perfect
for the mixed media painter. It is
inexpensive, compact but sturdy,
reliable, and very flexible. It can
be used vertically for sketching or
painting; and in seconds it can be
adjusted to a horizontal position
for pastel work, watercolour,
gessoing or varnishing. It has a
forward tilt for glare reduction.
The BEST ‘Lite Best’ is a
versatile easel ideal for beginner
to intermediate artists, schools
and colleges. It has the unique
ability to tilt forward past a full
vertical position. It is solid,
multifunctional, and reasonably
priced. It folds flat for easy storage.
The Classic Santa Fe II is a
double masted easel complete
with two canvas holders and
painting tray. It features a marine
 P r o d u c t
Best - Deluxe Lobo
style winch which raises and lowers
easily, accommodating works
weighing up to 90 kilograms. The
double masted H-Frame offers extra
stability and the plastic front locking
castors provide ease of mobility.
The Portable Collapsible is an all-
purpose easel which is ideal for the oil,
watercolour, pastel, airbrush or acrylic
artist. Whether sitting or standing, a
full range of angles from vertical to
horizontal is possible. The front wheels
make transport easy and the top, bottom
and middle painting trays have rubber
grips to keep canvas secure; while the
bottom shelf can be used for storage.
The easel folds flat for easy storage.
The Deluxe Table Top is a heavy
duty professional table easel that can
be used by itself on any flat surface.
Beautiful and strong, the Deluxe Table
Top provides artists with a solid base
on which to work – accommodating
canvases up to 36 inches.
Easels by Daler-Rowney
The Gloucester is manufactured from
high quality oiled Beechwood. This
very sturdy easel has a metal ratchet
for adjustable height, and can be tilted
forwards or backwards offering a
range of canvas positions. The centre
pole can be adjusted vertically to
avoid unfavourable lighting angles.
Includes a shelf for art materials.
The Kensington is a robust
H-Frame easel that can be converted
into a table if desired. The slant can
be adjusted to any angle between
horizontal and vertical, making it ideal
F e a t u r e
Best -
Best -
Santa Fe
Dulce Studio
for oils, acrylics and watercolours.
It is constructed from oiled stain-
resistant Beechwood. Maximum
canvas height is 48 inches.
The Gallery is constructed of
oiled, stain-resistant Beechwood.
This easel is ideal for restoration
work. It has an extendable centre
pole allowing canvases up to 235cm
to be used comfortably. The canvas
holder height is adjusted by a crank
mechanism and the working angle is
adjustable as well. Pole and canvas
are locked into their desired position
by tightening screws at the rear. It has
a sturdy base with four castors and
levelling bolts, plus two storage trays.
The Warwick is a lightweight and
strong folding aluminium easel ideal for
plein air work. The reversible rubber
feet double as ground spikes when
working outdoors. A photographic
tripod ‘twist type’ lock provides fixing
for the telescopic legs and a ‘grip type’
lever allows for positioning to suit
both oil and watercolour painting.
The Cornwall is a compact and
transportable box easel for working in
the field. A three-legged stool comes
with this easel, and this can be easily
attached to the side of the easel when
folded. The box easel incorporates
a one drawer cabinet and wooden
palette. This easel comes in an artist
bag, allowing for easy transport.
The Wimborne is an oiled wooden
table easel with adjustable supports.
The canvas position can be set to
either a backward or forward tilting
position. This table easel will hold
Gloucester
Kensington
canvas up to 27 inches in height.
The ArtSphere is a brilliant new
concept in easel design for artists,
designers, hobbyists and crafters. The
ArtSphere table easel has a unique
ball and socket joint that allows a
detachable drawing board to move in
any direction. It is easy to operate and
manoeuvre while working on, and a
solid handle locks the board securely in
place for applications such as drawing,
painting, modelling and sculpture. The
ArtSphere has a small base and a large
work surface area that can be positioned
flat or in portrait or landscape positions.
Richeson ‘Lyptus’ Wood Easels
Richeson ‘Lyptus’ easels are a ‘green’
range of easels produced by Jack
Richeson & Co. Lyptus easels are
manufactured from the timber of a
naturally occurring hybrid Eucalyptus
indigenous to Australia. A premium
grade hardwood, Lyptus is grown on
highly productive, environmentally
friendly plantations in Brazil. The
plantations boast a combination of
eucalypts and native tropical forest
which has been planted on land
rendered otherwise useless by years
of intensive logging and farming.
The Lyptus plantations in Brazil are
an important part of the restoration
of the damaged native rainforests.
For every two hectares of Lyptus
plantation planted, one hectare of
new native rainforest is planted.
Lyptus is also a renewable resource
as new trees sprout from the stumps
of previously harvested trees. The
 P r o d u c t F e a t u r e

Easel Gallery Cornwall Lyptus - Aztec Lyptus -

Field Basset

Warwick

mills used to produce Lyptus wood
use technology in a sustainable and
environmentally friendly manner.
The entire process from planting to
pruning to manufacturing is carried
out with the environment in mind.
The Aztec Studio Easel is an
adjustable H-Frame easel which folds
flat for easy storage. The bottom tray
adjusts with the mast, and a wood
clamp unit keeps it all secure.
The Belmont Easel is a portable
and versatile easel with two plastic
wheels for easy mobility. It can
be positioned in the horizontal,
vertical, or past-vertical position.
The Lobo Studio Easel is an ‘eco-
friendly’ hardwood easel which is
fully adjustable and can be used
horizontally for watercolour work,
vertically for oils and acrylics, or
tilted forward for pastels. It has a
base shelf for storing materials.
The Basset Studio Easel has a
ratchet system for easy canvas
height adjustment. It can be adjusted
past a vertical tilt, and the sturdy
base features levelling feet.
Please contact S&S Wholesale
Customer Service by telephone
on 1300 731 529 for further
information and stockists.

JASCO OFFERS EXCITING AND INNOVATIVE

EASELS FOR ARTISTS

Jasco is proud to introduce the NEW
Jasart Bench Easel. Made from sturdy
Beechwood, this easel allows you to
sit comfortably anywhere and paint at
numerous angles. It is ideal for indoor
or outdoor painting and includes wheels
for easy manoeuvrability. The Jasart
Bench Easel also has a convenient
storage drawer for supplies. It folds
easily for storage and portability.
Winsor & Newton have a selection
of fine quality easels that cover
requirements both when sketching and
in the studio. Choosing an easel is an
important decision for an artist. The
choice will vary according to an artist’s
style, preferred media and quite often
space availability. Winsor & Newton
offer a range of easels to cover all
Jasart Bench Easel
requirements, provide firm support,
give long lasting service and above
all provide the unsurpassed quality
expected from Winsor & Newton.
Winsor & Newton’s Eden Easel
is a strongly built Beechwood easel
of H-Frame construction. It features
a tilting facility to create the ideal
working angle. Featuring a maximum
canvas height of 57cm, this easel
is perfect for table top use.
Winsor & Newton’s Arun Table Easel
is an innovative box easel handcrafted
from seasoned Beechwood. It comes
fully assembled. Designed with ease
of transport in mind, it folds down to a
box shape and includes a carry handle.
The Arun also has a side storage tray
for paints and brushes; and it offers
a maximum canvas height of 86cm.
Winsor & Newton have a great
range of sketching easels including
the Dart Easel. This is a versatile and
lightweight Beechwood easel, perfect
for watercolour or oil sketching.
Canvases or boards can be secured
upright or tilted to any required angle,

28 Artist’s Palette
 P r o d u c t
including horizontal for watercolour
sketching. This easel can accommodate
a canvas up to a maximum height
of 67cm. It has telescopic legs that
adjust for the best working position.
The Winsor & Newton Bristol
Aluminium Sketching Tripod Easel is
a lightweight aluminium easel which
is great for indoor, outdoor or table
top use. It has one touch control for
quick telescopic leg adjustment and
comes with a hard shell carrying case
with handle and shoulder strap. The
easel also has a useful utility hook on
the painting tray. A maximum canvas
height of 137cm can be accommodated.
Handcrafted from seasoned
Beechwood, the Winsor & Newton
Windrush Sketch Box Easel is an ideal
easel for both studio work and painting
on location. The easel has been designed
to fold down to a box shape and has
a carry handle and shoulder strap for
ease of transporting. The Windrush
has telescopic legs to adjust working
height. It has a practical metal lined
storage tray and comes with a wooden
palette and brass hardware. It allows for
a maximum canvas height of 73cm.
Winsor & Newton Studio Easels
are solidly built, ensuring stability
and durability for the studio artist.
The Mersey A-Frame Easel is a
robust Beechwood studio easel that
Windrush Sketch Box Easel
F e a t u r e
offers both stability and flexibility of
adjustment for a variety of canvas sizes.
Bristol
The lower support features a metal
ratchet for adjustment of the working
height. This easel can accommodate a
maximum canvas height of 124cm.
The Shannon Studio Easel is a
solidly built, robust easel designed for
studio and college use. The painting
ground rests on an adjustable lower
shelf which allows simple adjustment
of the working height. The easel can
accommodate a maximum canvas
height of 134cm and has an adjustable
angle for preferred working position.
This model features a folding base
stand for ease of storage. It is supplied
in kit form for simple self-assembly.
The Hamilton Studio Easel is
handcrafted from seasoned Beechwood
and designed for watercolour, pastel Beechwood and built for years of
or oil painting. This model tilts use. The easel is fitted with castors
forward for glare reduction when for ease of movement and folds
painting, and tilts backward to form flat for easy storage. The easel can
a table for watercolours or to apply accommodate a maximum canvas
gesso or varnish. The easel has a fully height of 129cm and has an adjustable
adjustable painting tray and folds flat angle for preferred working position.
for easy storage. The Hamilton can This model features a large front
accommodate a maximum canvas height brush tray below the canvas support.
of 138cm. The height of the Hamilton
easel when horizontal is 93cm. Further information about quality
Winsor & Newton’s Welland artists’ products can be obtained
Studio Easel has a sturdy H-Frame from JASCO – telephone
construction made from seasoned 1800 676 155
Hamilton Welland Studio Easel
 P r o d u c t
CHOOSING THE RIGHT EASEL FROM NATIONAL ART MATERIALS
From the helpful people at National
Art Materials, here is a simple
guide as to why you should choose
a MABEF easel … from one of the
world’s leading easel manufacturers.
Why MABEF easels are
among THE BEST!
MABEF are the symbol of high quality
Italian easels throughout the world,
travelling down a path of excellence
since 1948. They have a stated
commitment to new technological
know-how, design, and a constant
focus on quality in order to guarantee
their unique quality product.
Here are some of the features the
make MABEF easels an excellent
choice for all types of artists.
MABEF easels use supreme
quality hardwoods that come from
controlled growth areas; not cheaper
woods harvested from rainforests. The
wood is extremely resistant and its
beauty increases with time. The oiled
Beechwood finish used in MABEF easels
is firm and will not become so soft that
the screws will loosen over time and
cause the easel to shake and vibrate.
MABEF M/29
Folding Tripod Easel
30 Artist’s Palette
F e a t u r e
MABEF easels utilise excellent
craftsmanship in construction,
including strong and stable joinery
(nailed, glued, or wood-screwed
joints) with counter-sunk screw
heads that are wood-plugged and
sanded smooth. The fixtures are
either brass or steel and not aluminum
which tends to wear with use.
MABEF easels have wonderful
angle, height and canvas holding
adjustments – with impregnated metal
inserts used wherever there is a slot
in the wood of the easel. This protects
the hardwood from the metal bolt
and allows for smooth movement.
MABEF easels are superlatively
designed easels; simple to assemble,
use or adjust – and they allow
artistic work to be set up quickly
and easily. Artists want to spend
their time on the art, not the easel.
MABEF easels have an outstanding
commitment to preserving the quality
of the brand through a full warranty
and international lifetime guarantee.
MABEF devotes great attention to
ecological and environmental problems.
For example, MABEF reconverts
MABEF M/02
Professional
Studio Easel
100 per cent of its production scrap
through a complex crushing procedure
for use within the business, including
an environmentally friendly fuel that
is used to heat the entire company.
What MABEF easel
will suit you best?
MABEF offer five styles of
easels. There are a number of
variations to each but they can
best be summarised as follows:
Table easels are designed for
displaying small paintings, prints or
even recipe books and the like on
tabletops. The more stable models are
used for painting on smaller canvases.
They generally require minimal
assembly and can be easily stored when
not in use, and due to their smaller
size they can be transported for small
scale art done on location. Models
available include the MABEF M/14,
M/15, M/16, M/17, M/21 and M/34.
Tripod easels are amongst the most
common in use. Easy to handle and
lightweight, they fold up for storage or
transportation. Ideal for both indoor and
outdoor (on location) use, the telescopic
MABEF M/30 Painting Workstation
 P r o d u c t
legs can make them stable on almost
any terrain. They also have many tilt
settings making them suitable for oil,
acrylic and watercolour applications;
as well as adjustable size capabilities.
This flexibility means they can also
be used in window displays. Models
available include the MABEF M/26,
M/27, M/28, M/29 and M/32.
Display easels (also known as Lyre
or A-Frame easels) have a slim, elegant
shape making them perfectly suited for
display purposes as well as for use in
the studio. Easy to handle, they don’t
take up much room and the design also
allows them to fold flat for storage.
They are generally stable and are
suitable for indoor use by oil or acrylic
artists. Models available include the
MABEF M/11, M/12, M/13 and M/20.
Studio easels (H-Frame easels)
are very solid and stable and are
intended for indoor use, especially by
professionals. They are often used as
supports in art galleries and museums.
Very large canvases can be used on
F e a t u r e
these models. They generally require
some assembly and are designed to
MABEF M/18
be a more permanent fixture in the
Studio Easel
studios of oil or acrylic artists. Models
available include the MABEF M/01,
M/02, M/04, M/06, M/07, M/09, M/10,
M/18, M/25, M/30, M/33 and M/35.
Box easels (French box easels)
are similar to tripod easels in style
with the additional benefit of ‘the
box’ which permits the artist to keep
many of the materials for painting
inside the easel. They are ideal for
oil, acrylic or watercolour painting
both indoors or outdoors. They are
highly functional, very stable, and
easy to transport. Models available
include the MABEF M/22 and M/23.
MABEF easels are available
at most leading art materials
retailers. For more information,
or the location of your nearest
stockist, please contact National
Art Materials by telephone on
03 9720 3322. n
 I N S I G H T

Chrissy Dwyer

More than Just

a Hobby By Chrissy Dwyer

Meet a Queenslander who aims to become a semi-professional artist. She

wants to develop outlets for exhibiting and selling her colourful works of art.

B
risbane has been home to me
for most of my life, and I have
always been creative. But
something just exploded when I moved
to the beautiful paradise of tropical far
north Queensland.
Having studied art subjects
throughout high school, and having
always felt a passion for arts and
crafts, I knew I wanted to do
something in the creative field.
Thinking I wanted to be a fashion
designer, for my first year out of
school I studied a Certificate IV
in Clothing Production (Textiles,
Clothing and Footwear) at Mt Gravatt
TAFE in suburban Brisbane. My career
path changed when, in 2005, I moved
to Cairns with my husband. That was
when my artistic life really began to
flourish and my passion evolved.
The move contributed to my
need to express myself, and altered
my plans for further studies. I
discovered that the nearby TAFE
offered a Diploma in Visual Arts.
The following three years of part-
time study provided much pleasure
in the journey of discovering art;
experimenting with various mediums,

32 Artist’s Palette

learning about the process, and the
history and theory of art. During this
time I learnt and grew a great deal,
artistically speaking.
One teacher in particular encouraged
my art journey and pushed me
artistically. Lenore Howard is a well
known artist in Cairns and I admire
her for sharing her knowledge and
teaching me … although she would
have been challenged by my youthful
stubbornness at times.
I look at my art practice as being
more than just a hobby. I aim to be
a semi-professional artist; exhibiting
and selling. I am an emerging artist,
I N S I G H T
actively ‘getting out there’. I enter local
group shows and national competitions.
I have had a small amount of success in
selling my art through exhibitions and
my website.
I will be having my first solo
exhibition in November 2010, at Cell
Art Space – where I volunteer and
help to manage the not-for-profit
artist operated venue. The exhibition
will be called eScapism, and it will
feature a series of acrylic paintings
depicting scenes of local ‘scapes’:
Landscapes, seascapes, streetscapes
and other imagery inspired by living
in Cairns.
I work using acrylic paints,
specifically Atelier Interactive.
This brand has been a godsend for
enhancing my skill at painting, as
(for me) the medium is so user-
friendly compared to other acrylic
brands which dry too fast. Although
I love acrylics, I sometimes like to
dabble in other mediums to play and
experiment. Those mediums include
chalk, pastel, ink and gouache.
TAFE and Uni were great
opportunities for me. I learned and
experimented with many different
mediums, techniques and processes
including oils, watercolours,
 I N S I G H T

printmakings, tempera, encaustic,

collage, mixed media, charcoal, oil
pastels, and more.
It is a good idea to get a feel for
many different mediums and what
they can do, even if only skimming the
surface. All knowledge is useful!
I find the subject matter I am
attracted to is the direct result of being
inspired by where I live. Cairns scenery
is beautiful and lush, with vibrant fresh
colour. I have reefs, rainforests and the
Outback all within reach. The scenery
is just breathtaking. I have found I
enjoy painting landscapes and animals;
however I also enjoy still lifes.
Currently, portraiture and figures do
not interest me much. I find anatomy
very challenging.
My passion is not just making art,
but participating in it. I am a member
of the local Cairns Art Society and two
local galleries. I participate in online
art community forums. I have been
volunteering for arts organisations for
a number of years. I feel passionate
about sustaining the arts in Cairns. I
began by volunteering at a local high
school in the art department in 2005;
then in 2008 I volunteered at ‘Arts
Nexus’. I love to participate and gain
experience whenever I can.
Every painting is challenging to
some degree. I seek to learn something
new from each project. My ‘Aussie
Escape’ series definitely challenged my
ability, as my previous painting style
was similar to Pop Art. My current
style is ‘semi-realistic’ and much more
challenging. Many of my paintings

34 Artist’s Palette
 I N S I G H T

have layers of corrections, but the

mistakes have aided my learning. For
me, the process of art is about logical
subtractive thinking; thinking in layers
from background to foreground; and
piecing together a puzzle. Although
I am a perfectionist, I do not seek
perfection in my paintings.
I have my house filled with art on the
walls for people to see and enjoy.
The Impressionist art movement is
of particular interest and inspiration to
me. I enjoy Monet’s style of painting.
Other artists I admire include Degas,
Van Gogh and Turner.
I am still a developing artist but
I have some advice for newcomers.
Don’t be afraid of challenges. Try
using better quality materials; these
will make a difference. Research is
the key! And planning is vital. We are
our own worst critics … don’t be too
hard on yourself. Be willing to accept
people’s compliments.
My goal is to hold an exhibition every
few years. Ultimately, I want to sell my
art and make money; and I want to work
in the arts industry. I aim to finish the
last of my studies in the near future, to
enable me to teach others. n
 D E M O N S T R A T I O N

Acrylics

Sunset over the

Cane Field By Chrissy Dwyer

Reference images are only a guide for this artist who greatly values her free
range creative licence. She likes to modify and alter elements to create a
more interesting painting.

FINAL STEP

36 Artist’s Palette
 D E M O N S T R A T I O N
M AT E R I A L S
• Canvas board – A5 size.
• Atelier Interactive paints:
White; Forest Green; Violet;
Orange; Light Red Ochre.
• Atelier Gesso.
• Atelier Clear Painting Medium.
• Atelier Slow Medium.
• Selection of synthetic
acrylic brushes.
• Water atomiser.
• Chroma Satin Solvent
Finishing Varnish.
T
o commence this painting,
I found some suitable
reference images. I sketched
up an idea with pencil thumbnail
STEP TWO
sketches in my journal, and tried
various compositions. I made a
tonal scale of the image to check
the composition was correct and
effective; and I made a draft colour
scheme to check the harmony.
STEP ONE
I always start by putting down two
coats of gesso. When that is dry, I
sketch in or trace the outline detail
with a pencil or charcoal pencil.
I block in all areas by producing a
tonal underpainting using one colour.
The underpainting in this case was
done in the Red Light Ochre colour;
however on other paintings I have used
grey (black and white), Burnt Umber,
or an appropriate dominant colour.
STEP ONE
The underpainting is applied loosely,
not concerned with neatness – just
keeping within the outlines. Sometimes
I use gesso instead of white paint
for the tonal application, as this just
creates another layer. Clear painting
medium was used for the lightest
areas in this particular instance.
STEP TWO
This step is just enhancing the
tonal underpainting, deepening the
contrast with glazes using acrylic
clear painting medium (with the
complementary colour Violet) to
create the shadows. I added Orange
to the appropriate highlighted areas;
and used it to create the undertone
for the harvested cane fields.
STEP THREE
 D E M O N S T R A T I O N

ARTIST’S HINTS
AND TIPS
• When using acrylics, specifically Atelier
Interactive, don’t fight the nature of
the substance. Employ the use of the
mediums which assist greatly in aiding the
completion of the work. For instance use
clear painting medium, slow medium and a
water atomiser for blending and glazing.
• Use quality paints, brushes, and other materials.
You will really notice the difference in how
much easier the painting process becomes.
STEP FOUR • Try to use your reference images, and
remember they are there to guide you. We
as artists have a free range creative licence
… don’t just try to replicate what you see
as being correct. Modify and alter elements
to create a more interesting painting. Use
numerous reference images and piece
them together to create a new puzzle.
• Don’t be discouraged by the ‘ugly’ stage.
Believe in yourself and work through it.
• Making mistakes is frustrating, but making
corrections is how we learn. Accept the process.
• Planning is the key! Research information
or images. Make thumbnail sketches,
greyscale tonal contrast sketches, and
colour scheme ideas. Getting things like
composition, perspective and proportion
correct before brush is put to canvas will
STEP FIVE possibly save you from going bald.

STEP THREE
Next is what I call the ‘ugly’ stage.
Where I think ‘this looks horrible’ and
doubt myself. This stage looks messy
but I don’t let it deter me, because it
improves. I roughly block in the colour,
keeping to the tonal underpainting
and enhancing it with the appropriate
hues. Using a limited colour palette of
Orange, Violet, Forest Green, Light Red
Ochre and white, I mix complementary
colours to achieve the greys, and
add Violet for the darkest areas.
STEP FOUR
Working all over the painting
now and adding detail, I create
the mountains using a deerfoot
brush – dabbing it on like a stencil.
For the cane leaves I use a small
thin liner brush. I use my finger
at times to smooth and blend the
background mountains with slow
medium. When necessary, I spray
the painting with the water atomiser
to reblend areas that have dried.
STEP FIVE
Nearly finished the painting,
I now add the highlights – working
in on the mountains where the
setting sun is shining, and on the
cane. I tweak the colours all over
the painting; especially on the
harvested cane field and the
mountains.
FINAL STEP
The painting has been left for a
couple of days, to return to with fresh
eyes. I notice the composition of the
central cane field doesn’t sit right,
and I adjust the perspective. I feel
the mountains need to recede more
so I soften and lighten the colour. I
darken the shadows of the cane in the
foreground (remembering the light
is coming from behind) with overall
adjustments to the tonal contrasts.
When the painting is complete,
I sign and varnish it. 

38 Artist’s Palette
IDRIS MURPHY. Weipa Harbour, Storm Clouds. Atelier Interactive on board, 120x120cm, 2005.
Image courtesy of King Street Gallery on William http://www.kingstreetgallery.com.au

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 I N S I G H T

Margareth Kunne-van der Pal

Persistence Pays
By Margareth Kunne-van der Pal

Being persistent
is a great help
to this artist who
has embraced the
demanding medium
of ink … which she
describes as ‘very
unforgiving’.

O
riginally from North Holland
in the Netherlands, I now live
at Clifton in Queensland.
I have had no special art training,
aside from the art I studied at school.
Fantasy art is what motivates me …
being able to create my own world at
least on paper … and making things
look a bit different from reality.
As a child, I loved drawing. After
coming to Australia and having a
family, I tried other mediums – but in
due course I realised that drawing is
‘it’ for me.
About ten years ago, when my children
had grown up, I started drawing again

40 Artist’s Palette

on a more regular basis – although it was
hard finding the time even then.
I am purely a hobby artist. I do not
want to sell my original work. I think it
would be nice to reproduce my work as
prints and market those – but I will not
sell my original pieces.
I have tried oils, acrylics and
watercolours. I was allergic to oil
paints. I prefer line work and I feel that
things look better in black and white.
Fantasy inspires my choice of
subjects. I like to make things look
I N S I G H T
‘not of this world’, or make them
look like the past.
Last year my husband took some of
my drawings to the local show, where I
won first and second prizes. Aside from
that, I have not exhibited my drawings.
My major source of inspiration is my
imagination, which may be sparked
by a comment or even something
I read. The drawing I did for my
Demonstration in this magazine got
started by a small boy who asked his
mum if there were dragons in the zoo,
and were they safe? That was what
germinated the idea for me.
I hope that some day in the future
I will do my most outstanding work.
At this stage I can still see room for
improvement in my completed drawings.
I tend to experience creative disasters
all the time. Ink is very unforgiving.
Having a drawing almost finished, and
then spilling ink on it, means starting
all over again. This has happened to
me a number of times … despite all
precautions.
 I N S I G H T

I have accumulated about 100 drawings in

A2 size; plus quite a few others which are
smaller in size. I have many visual diaries
filled with bits and pieces, and ideas. I do not
display or sell my work, but my husband has
framed some of my drawings and hung them
on our own walls.
Artists who I admire include Aubrey
Beardsley, van Gogh and Picasso. I possess
a large number of books featuring fantasy
artworks, and works in black and white. I also
like mediaeval art, illuminated script, and the
work of M. C. Escher.
I have been told that I am very persistent. I
believe this is a great help, particularly when
things will not go as planned. It helps me to keep
on trying.
My advice to my artistic peers? Do not put
off your painting until you have time for it.
Something will always interfere. Just close the
door and start.
For the future, I simply plan to keep on going.
And hopefully get better at what I love to do. n

42 Artist’s Palette
 Leanne Jones
Watercolourist – Mellow Crest Studio/Gallery

TUITION,
DEMONSTRATIONS
AND WORKSHOPS

Email: leanne@mellowcrest.com Stunning watercolours

Website: www.mellowcrest.com on Paper, Canvas
Phone: 02 45 677 400 and Yupo in a diverse
Mobile: 0402 720 634 range of subjects
 d e m o n s t r a t i o n

Oils

Drago By Margareth Kunne-van der Pal

Because mistakes
in ink are not
easily corrected,
this artist believes
it is advisable to
work initially in
pencil … although
small errors can
be disguised with
additional ink lines.

FiNAl stEP

44 Artist’s Palette
 d e m o n s t r a t i o n

stEP ONE stEP tWO

M At E r i A l s
• Several sheets of A2 45gsm
Canson Bank paper.
• 2B pencils.
• Soft Faber-Castell rubber.
• Archers Watercolour Paper
– Smooth 300gsm.
• Faber-Castell PITT Artist Pens
(Indian Ink) sizes M, F and S.
• Millenium ZIG Pigment Pens
(black) sizes 005 and 01.
• Francheville brush: Number
3 Pure Red Sable.
• Winsor & Newton Ink (black).
• Home-made light table.
• Super Prism Enlarger
by Artograph.
stEP ONE
I search through my many visual
diary pages to find a suitable dragon.
stEP tWO
On a sheet of A2 Canson Bank paper,
I project the image.
While tracing the image I make some
initial changes to the legs, reduce

stEP tHrEE stEP FOUr

 d e m o n s t r a t i o n
stEP FiVE
Artist’s
HiNts AND
tiPs
• Mistakes in ink are not easily
corrected. It is wise to work
with pencil first; although
small mistakes can be disguised
with additional ink lines.
• Paint or draw to please
yourself. You are the boss.
• I use A4 and A5 visual
diaries, to draw and write
down ideas for later use.
• Put a drawing away if it starts to
frustrate you, or does not want
to ‘go’. Work on something else.
Coming back to it days or weeks
later will often bring a solution.
46 Artist’s Palette
spots and add things as needed. I also
put in the fence caging the dragon.
stEP tHrEE
On a separate sheet of paper I
draw my visitors to the zoo. I use
family photographs and pictures,
to get the poses right. I decide
they look somewhat Victorian –
and dress them accordingly.
stEP FOUr
I put the original drawing on my
light table and add the pictures of the
visitors. I decide which ones will go
in the final drawing, and put them in
the desired positions. After putting
a new sheet of paper on top, I make
a rough outline of where each piece
has to go in the final drawing.
stEP six
stEP FiVE
I place the paper with the correct
positions on my light table, and
position the drawing of the visitors
in the correct location. I put the
paper I want to use for the final
drawing on top; and with the aid
of the light table, I draw the
images in. I do the same with
the dragon. Then I go over
the pencil lines with ink.
FiNAl stEP
To finish the drawing, I decide where
to make sections completely black.
I decide where to use stippling or
a variety of lines. I do this partly
with pencil first, then go over it
with ink. On completion I clean
up the drawing with a rubber and
eliminate all the pencil lines.

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 P a s t e l I n s P I r a t I o n

Katie Contributed by Lyn Felsman

M AT E R I A L S

• Colourfix pastel paper

– Grey or Black.
• Charcoal for sketching up the
portrait (if using Black pastel
paper, use a light pastel pencil).
• Schminke pastels: Orange Deep;
Permanent Red 1 Pale; English
Red; Burnt Umber; Ochre Light;
Lighter Ochre (for highlights).
• Pastel eraser.

This artist employs

a trademark
emphasis on tonal
values – seeking
the lightest and the
darkest parts of her
models. She always
looks for the light,
and where it is
hitting the subject.

fInAL STEp

48 Artist’s Palette
 P a s t e l I n s P I r a t I o n

STEp OnE STEp ThREE

STEp OnE
For my facial portraits, I sometimes
start with one of the eyes. This then
gives me something by which I
can measure everything else on the
face. There are many other ways
of drawing up portraits of course
– and each teacher or pupil will
have their own way of doing it.
STEp TWO
My finished drawing. I go over
it to make sure that everything
is lined up correctly. I will make
allowances along the way when I get
the colouring in place. Most ‘front
on’ portraits are easier to do, as they
usually have the eyes an eye-width
apart; the side of the nose in line with
the corners of the eyes; and the corner
of the mouth in line with the pupils
of the eyes. Look at angles of lines
relative to other lines. Sometimes
looking at things upside-down and
drawing them from that angle can
be helpful. I noticed with my model
that the left eye would probably
need adjusting as I progressed.

STEp ThREE STEp fOuR

 P a s t e l
STEp fIVE
STEp ThREE
I start to pastel in some of the tonal
values of the forehead. I do not blend
the pastels together with my fingers,
but rather blend with the ochre pastel
over the top of the blocked in colours
– this gives a very full and soft look.
Keep building up with the
pastel, adding the colours until
you are happy with the finish.
Having said that, sometimes I do
touch the pastel (not rubbing) to help
the medium fill into the paper.
STEp fOuR
I am now ready to do the eyes.
My model has very translucent
eyes and because of the strong
light shining on her face, her
eyes are very transparent.
Make sure that the eyes are correct
in their appearance. Also there is,
most of the time, a shadow under
the lid – this stops the eyes from
looking as though they are bulging.
There is nearly always light and
shade in the eye itself. I put in
the light colours of the eye first –
white or yellow – and then look
for the shadows within the eyes.
Then I apply the main colour, be it
blue or brown. There is always a
light tone of the eye at the bottom
50 Artist’s Palette
I n s P I r a t I o n
or where the light hits the eye.
In finishing the eyes, remember to
put white dots near the pupils (in this
case), to make the eyes come to life.
Sometimes in a picture, one eye will
seem larger than the other. Adjustments
may be necessary but I sometimes
do not do these until the end.
STEp fIVE
Having done the eyes, I now need
to shade in the rest of the face. I
am looking for tonal values – where
is the lightest and where is the
darkest part of my model. Also
for any mid tones and anything else
that may throw light on my painting.
Sometimes in order to see the tonal
values, squinting is good; or try
putting a piece of paper with a
square in it over the picture
so that observing the tonal
values is made simpler.
Always look for the light, and where
it is hitting the subject. Where there
is a light side, there will always be
a corresponding dark side and this
provides the drama of the subject.
When using dark brown, I sometimes
add a touch of dark orange to give
the shadow more colour. Soft pastels
like Schminke are good for this.
Sometimes just a touch is needed.
STEp SIX
STEp SIX
Now I proceed with the mouth and chin
– looking all the time for the different
tones as this makes the lips, mouth and
chin all come together. My model has
large lips, but that is how her lips are.
When this occurs, bringing in different
tonal values can help to suggest
reality. Look once again for where
the light hits the lips. Dark, medium
and light tones bring the lips to life.
fInAL STEp
This is the finished painting. The hair
is done in different tonal values; as
are the neck and chest. Stand back and
make sure that everything looks right.
Sometimes standing with your back
to the picture and holding a mirror up
(and seeing your painting in it) can
tell you if something is wrong; taking
a photograph has the same effect.
The left eye needed adjusting
and I made sure that everything
else seemed OK as well.
To add a finishing touch, I
darkened the background to make
the model stand out more.
It takes time to master portraits
and (in the beginning) heaps
and heaps of practice … but the
rewards are well worth it.
Pastel portraits are just beautiful. n
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 I N S I G H T

Helen Kuster

Folk Fascination
By Helen Kuster

South Australia is home to this immensely talented artist who has a

passion for intricate decorative art … and some valuable inspiration to
share with our readers.

I
was born in England and moved to
Australia with my family when I
was 16. I now live in the Adelaide
Hills where I have my studio.
For the past 20 years I have painted
full-time, and I make a living from
commissions, sales and teaching.
I have always enjoyed painting and
drawing. I enjoy acrylics, oils and
watercolours; and at one stage I was
really involved in glass painting (while
living in Asia for five years). It was
when I was introduced to decorative
art, however, that I knew I had found
my medium.
When I arrived in Australia,
I was apprenticed to a firm of
cartographers. I was occupied with
the task of hand-drawing a variety
of maps. It was a job I loved,
and I worked at it diligently until
computers took over.
My first introduction to decorative
art (Folk Art) was in 1974. I had
married a German Swiss named Albert.
We lived in Switzerland for a year.

52 Artist’s Palette
I N S I G H T
 I N S I G H T

I was fascinated with the painted buildings

and amazed to watch a school friend of
Albert’s merrily painting flowers on a
cupboard in his Swiss farmhouse in Bern.
However it was not until 1990 that a series
of events and coincidences led me again in the
direction of decorative art … and within a year
I was painting full-time.
Initially I painted alone, studying books on
painted furniture; and on a trip to Switzerland
I actually spent a week with an established
artist.
Since then I have painted nearly every
day, and further engaged with my passion by
teaching weekly classes and workshops.
I’ve entered competitions where I have won
many first prizes and several design awards.
I have strived to make Traditional Folk Art
better known by teaching, by speaking to other
groups, and by becoming an active member of
our guild in South Australia.

54 Artist’s Palette
 I N S I G H T

In 1995, I decided to concentrate on

teaching workshops – along with the
occasional calligraphy course – to fit
in with my travelling. I have continued
to visit Europe to paint and research;
and I have now broadened my interest
into the ceramics of Italy and Turkey.
I have taught around Australia and
New Zealand. I have also done a
short tour in England. I have tutored
in private studios and at state and
national conventions. At the end of
2001, I introduced design classes to
my own studio to encourage advanced
painters to design original projects.
I was an accredited member of the
Crafts Council of South Australia, and
I have had several exhibitions of my
work in community galleries and fine
art galleries.
My home is now full of painted
furniture and other small items, and
the studio looks a little like a gallery. I
love to paint on a natural wood surface
and definitely prefer acrylics for most
of my work.
The artist who I most admire is
William Morris. He was involved in
so many areas of decorative art and,
like him, I enjoy working with textiles.
We both greatly value the design and
painting aspects of our chosen creative
pursuit.
I would like to raise the profile of
this style of painting … and I hope
more people can come to appreciate
and enjoy decorative art. n
 D E M O N S T R A T I O N

Acrylic

Tortoiseshell Bo l By Helen Kuster

Despite its impeccable symmetry, this work of art retains amazing painterly
charm. The artist describes in detail how she achieves this astounding level
of sheer beauty.

FINAL STEP

56 Artist’s Palette
 D E M O N S T R A T I O N
STEP ONE
M AT E R I A L S
• Large base coat brush.
• Sandpaper: 240 and 320 grit.
• Half inch flat brush; Number 6
Filbert brush; Quill liner brush.
• Stylus.
• Black graphite paper.
• Jo Sonja’s Wood Filler.
• Jo Sonja’s Retarder Medium.
• Jo Sonja’s Magic Mix.
• Jo Sonja’s Wood Stain Gels:
Cherry and Walnut.
• Jo Sonja’s Artists’ Colours: Rich
Gold and Purple Madder.
• Jo Sonja’s Background
Colour: Blackberry.
• Jo Sonja’s Satin Varnish.
STEP ONE
Any holes from the wood turning
are filled first with the wood filler. I
STEP THREE
allow the filler to dry and sand it flush
with the wood surface. All surfaces
of the bowl are next base coated in
Blackberry for a full, smooth coverage.
Two coats are needed, sanding with
the 240 grit sandpaper after the
first coat and with the finer grade
sandpaper after the second coat.
STEP TWO
I mix two parts Rich Gold with
one part Retarder Medium. I
finger dab this mixture over all
surfaces and allow it to dry.
STEP THREE
I mix Cherry Wood Stain Gel with a
few drops of Retarder Medium and dab
this over all surfaces – with less dabs in
the centre of the lid and the base of the
bowl, and towards the tops of the sides.
STEP TWO
STEP FOUR
I repeat Step 3, using Walnut Wood
Stain Gel – and dab only around
the edge of the lid and the base, and
the lower edges of the sides. This
completes the background technique.
STEP FIVE
On a piece like this, I like to use
architectural design details. A round
bowl suits a symmetrical design.
Using butter paper cut to the size of
my lid, I draw out my design. When
I am happy with the line drawing, the
design is taped in the correct position
onto the wood. A sheet of graphite
paper is slipped under the design and
then, using the stylus, I trace over the
design – transferring it to the wood.
The design is now painted using the
Quill brush and Purple Madder, filling
the central area around the seeds.
STEP FOUR
 D E M O N S T R A T I O N
STEP FIVE
When the liner work is dry, any
visible graphite can be erased.
STEP SIX
Shades are now floated to create a
carved effect. I use the Filbert brush
dressed in Magic Mix, side loaded
into Purple Madder, and on my
palette I work the brush back and
forward to ‘walk’ the paint about
two-thirds across the width of the
brush … so when a stroke is painted,
one side of the stroke disappears.
Each float is painted with the paint
edge of the brush next to the painted
STEP SEVEN
58 Artist’s Palette
line in the area to be shaded.
STEP SEVEN
As this piece has no fixed orientation,
no light source is used. Each pattern
repeat is shaded the same. I have
also shaded around the edge of the
lid and base, and on the lower edges
of the sides, this time using the half
inch flat brush for a wider shade.
STEP EIGHT
To create highlights without
covering the background,
STEP SIX
technique strokes are used. These
have all been painted using the
Quill brush and Rich Gold.
The strong strokes on the tips of the
pointed leaves are comma strokes. To
paint these I load my brush with ink
consistency paint and lift up a small load
of straight paint; the brush is placed on
the surface for the head of the comma
and, as I pull towards my hand, I lift the
brush from the surface to paint the tail.
FINAL STEP
The bowl has two coats of Jo Sonja’s
Satin Varnish applied to complete it. 
STEP EIGHT
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