2021-05-01 Artists Drawing and Inspiration UserUpload Net

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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ontents
2021
Artist insights And

64
28
demonstrAtions
10 Paul Evans
20 Ali Black
30 Johanna Gallon
48 Anika Kirk
56 Constance Robertson
64 Nola Jones
FeAtures
40 Pencils and Pastels
40
48
regulArs 56
6 Readers Gallery
20
10
Woodland’sgallery
C Jeanette Noblet C Jeanette Noblet C Jeanette Noblet
C Jeanette Noblet C Jeanette Noblet C Jeanette Noblet
Dear Editor,
I would love to see some of my quirky, watercolour and ink art appear in Woodland’s Gallery, Artist’s
Palette magazine. Enclosed are photographs of my paintings and a postcard which supplies a brief
description of my background.
Thank you for allowing developing artists to contribute to Woodland’s gallery. It is the ﬁrst article I turn to in each
edition of Artist’s Palette.
C Jeanette Noblet
Bongaree QLD 4507
6 Artist’s Drawing and Inspiration

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

visual art teacher after
she graduated from
Pedagogical University of
Kazakhstan. She arrived
in Australia in 1998 and
after settling in she started
painting again. She works in
oils , mixed media and more
recently color pencils . She
especially enjoys painting
animal portraits
Elena Kolotusha
Artist’s Drawing and Inspiration 7

Woodland’s gallery
Jack Tiyce Jack Tiyce
Jack Tiyce
JACK TIYCE
Aged 23, Jindabyne, NSW

Tynan Salamore
Hi My name is Tynan and I have been drawing and painting for
many years I am 15 years old and have been taking classes with
Morea Kozacynksi-McCaig for about 5 years. I love my Art .
Ed. Hi Tynan great to see your work. We hope you continue to grow
and develop your skills
Tynan Salamore Tynan Salamore
Tynan Salamore Tynan Salamore
If you are a developing artist and would like to see your own work in Woodland’s Gallery, please submit some good
quality images (300dpi) on cd or dvd or photographs of the painting/s you want to display in the magazine. If you
would like to, you may include a photograph of yourself to accompany the picture/s of your art. Please also supply
a brief description of your background, your creative motivation, and your artistic aspirations.

I N S I G H T
Paul Evans
The Committed
Artist
Dedication to his craft,
this artist has created
stunning paintings
which are admired in
galleries and private
collections all around
the world.
B
orn in Brisbane I950, Paul
attended the Brisbane College
of Art and worked in the
fashion industry for 10 years before
becoming a full-time artist in 1980.
l started drawing and painting from
an early age, like most children, and
the interest continued into my teen
years. After l finished school l enrolled
at the Brisbane College of Art and
spent three years learning very little
that would be of use to me in the years
to come. With family responsibility
and the need to make a living, until the
age of 30 I worked in the daytime and
spent my nights working on my art.
Very little from that time has survived
today, but l keep some pieces as a
reminder of a need to improve.
My biggest shock when l made
the leap to being an artist was how I
could do the work that l wanted and
still make a living, so I spoke to many
artists and gallery owners, asking for
their advice. One piece of advice when

l approached a prominent dealer about
showing my work was, “why would l
hang your work for $500 when l could
sell an established artist’s work for
$10,000?” Although harsh at the time,
this advice made me more determined
than ever. l also had it pointed out
to me at the same time, by another
gallery, that there was no point talking
about art; just go and do it.
My working habits have remained
mostly the same for the last 32 years:
l rise early, enter the studio between
5-6am, draw until 8am, paint till
3pm, and then draw until 5pm. l
do this five days a week and then a
few hours on the weekend. The only
changes are if l have an exhibition
that l have planned, normally one or
two a year, or if l have a commission
that has a completion deadline.
While l normally work on about six
paintings in the same period, l never
start anything until l have thought
through the subject, size, format and
desired result l hope to achieve. The
process begins with the blocking in of
the main areas of colour with paint,
and then the painting evolves from
there, layers of thin paint and medium
are applied with the image emerging
from the blocks of colour. It would be
rare for there not to be changes to the
painting in this period, as sometimes
mistakes, for want of a better word,
lead the painting into another area,
sometimes better, sometimes worse.
l am very happy to work this way as
l usually learn something new, and
sometimes the results are better than l
could have hoped for.
When the painting is finished l
hang it on the wall in the studio for
a period of time so l can see it in a
gallery setting, and if l feel it needs
work l do it, then when l am happy
with the result it goes to the gallery.
Some paintings can stay in the studio
for years, some never leave. There’s
nothing like the sinking feeling you
get when you walk into a gallery on
opening night and notice something
you missed.
One of the most pleasant and
exciting aspects of being an artist,
especially being a city boy who
loves the country, is that we get to
go to places to search for subjects
at different times of the day and
weather conditions. It never ceases to
amaze me of how I feel when l see
a new place for the first time, or see
a rainbow, a flock of birds, sunrise,
sunset; the list is never ending. All
these things trigger a childlike wonder
that stays with me and it is this that
l try to paint and nothing else. If
someone gets the point, l know l have
done well. Painting for me is trying to
capture a moment, that moment when
the shadows engulf a cliff face, waves
hit the beach or when a flock of galahs
flash through a landscape and are
gone. These are unimportant things in
relation to our busy city lives, but they
are none the less good for the soul;
that is why l paint.
Paul paints a variety of subjects,
often drawing on the power and beauty
of nature for inspiration, including
the portrayal of dynamic and striking
sunsets, gentle riverbanks with quiet
reflections, the outback, countryside
and beach scenes. He portrays nature
quite faithfully and with his individual
style and sense of composition,
presents works of great interest, and it
is the familiarity of Paul’s subjects that
strikes a chord with so many.
Paul’s work is said to be
“conceptualised and abstract as the
artist concentrates on capturing the
impossibly transient imagery of
moving water and wet sand ... a tour
de force of oil paint transparency,
they may be the best looking
shoreline paintings since Elioth
Gruner”. (Sue Smith, The Courier
Mail, 29th April I995).
I N S I G H T
RepResented By Darwin, NT • Framed – The Darwin Gallery: 2007

• South Yarra Art House: Melbourne, • Art Promotions Qld • Holdsworth Gallery - Sydney:
Vic • ONE MAN EXHIBITIONS I985, I987, I989, I99I, I994
• Seaview Gallery: Queenscliff, Vic • South Yarra Art House: 20I2, 20I3 • Galloway Gallery - Brisbane: I983,
• Watling Gallery: Gold Coast, Qld • Seaview Gallery: 20II I988, I990, I99I, I992, I993, I995,
• Yallingup Gallery: Margaret River, • Jenny Pihan Fine Art: 20I0 I996
WA • Delshan Gallery - Melbourne: • Pages’ Fine Art - Noosa: I990, I994,
• Gallery Beneath: Sunshine Coast, I998, I999, 200I, 2002, 2003, 2004, I995, I996, I998, I999, 200I
Qld 2005, 2006, 2007, 2008 • Conrad & Jupiter’s Casino: I990,
• Wishart Gallery: Port Fairy, Vic • Stafford Studio - Perth: I995, I997, I992
• Framed - The Darwin Gallery: I999, 200I, 2003, 2005, 2006, 2008 • Ant Hill Gallery - Adelaide: I993

I N S I G H T
seLeCted MIXed • Delshan Gallery – Melbourne: 2000, • Framed - The Darwin Gallery:
eXHIBItIOns 200I, 2002, 2003, 2004, 2005, 2006, 2004, 2005, 2006, 2007, 2008,
sInCe 2000 2007, 2008, 2009 2009, 20I0, 20II
• Art Promotions Qld: 2000, 200I, • The Athenaeum Club – Melbourne: • Schubert Gallery – Gold Coast:
2002, 2003, 2004, 2005, 2006, 2007, 2000, 200I, 2002, 2003, 2004, 2005, 2008, 2009
2009, 20I0 2006, 2007 • Yallingup Gallery – WA: 20II,
• Tattersalls Qld: 2000, 200I, 2002, • Stafford Studio – Perth: 2000, 200I, 20I2
2003, 2004, 2005, 2006, 2007, 2009, 2002, 2003, 2004, 2005, 2006, 2007, • Watling Gallery – Gold Coast:
20I0 2008, 2009, 20I0 20I0, 20II, 20I2

I N S I G H T
ReCent
COMMIssIOns
• Pacific Investments: Brisbane - I4
paintings, Singapore - 6 paintings,
London - 4 paintings
• RP Data: Brisbane - I4 paintings
• 2007: 7 Portraits
• Yallingup Gallery: I3 paintings
Paul’s work is represented in

numerous private and corporate
collections in Australia as
well as the USA, Canada,
Argentina, South Africa, UK,
France, Switzerland, Hong Kong,
Singapore, Malaysia and Japan n

D E M O N S T R A T I O N
Pencils
Drawing for
Pleasure Paul Evans
Paul Evans uses the same techniques to create three different results
FINAL STEP

STEP ONE
STEP 1 time applied by a old if you try to shortcut the process it will
The first step in producing a good fashioned pen and nib. l prefer to usually end in failure. At some point
drawing is to start with a good drawing, use pen and nib as l have collected you have to start to work on the lighter
working carefully to get proportions many over the years and l find that areas of your drawing as in the shadows
right and everything in the right place. different nibs deliver different amounts of of the pelicans white feathers, the leaf
Mistakes in the beginning usually lead ink and hence the itself with veins and the patterning of
to a drawing ending up in the bin. size of the dot. l use a mapping nib the orchids petals. When working on the
This has happened to me many times because the dot is very small and while light area, l find it useful to dilute the ink
and while it may be disappointing this makes the process longer it produces slightly with a drop or two of distilled
l have learnt much from those a subtle effect. l start applying ink to the water which softens the black to a grey.
disappointments and l continue to learn. darkest area o This l do in a shot glass which allows
If you choose to use this method f the drawing, in this case the wing enough ink for the day, avoids wastage
and hope for a quick result, you feathers of the pelican, the leafs and as l have done in the past, prevents
have chosen the wrong method. shadow, the black tip of the the knocking over of a full bottle of ink.
For this demonstration l have chosen a orchids petal.
pelican, a leaf with shadow, an orchid.
STEP 4
STEP 3 One very important thing that l have
STEP 2 Continue to work the darkest area of the learnt is never to try and finish any part
Once l am certain that the drawing drawing because that grounds the image, of the drawing in one go but to work
is correct, l start to apply ink and stay patient, it sometimes takes quite a over the whole drawing, this stops the
this is done in a dot process, one dot at a while before you see a form take shape, paper absorbing too much ink in one
STEP TWO

STEP THREE
area and by slowly building the degree some point, heaven forbid, you find that FINAL STEP
of darkness, it allows for subtly of you have applied too much ink to any The thing that l do a lot whether l
shading as well as allowing for as much area, when dry, you can gently apply am painting or drawing is to stop
detail as you require. At all times refer a very, very fine sandpaper to this area regularly and look at what l have
to your reference material whether it and as long as you are careful you can been doing, it is amazing how good
be an actual object or a photograph, remove some of the ink and not disturb goes to bad in a blink and when using
remember that art is about seeing not the surface of the paper. Gently remove this method of drawing you can get
looking. At this point the pelican, leaf, the excess ink dust with a soft rubber, lost in concentration and this can be
orchid have taken shape but there is try this on another piece of the same dangerous. Also at this point in the
still a lot of refining to get on with. If at paper before trying on your drawing. drawing it’s the subtly and blending
FINAL STEP

STEP FOUR
of light and shade or the intensity of drawing a go, please do, sometimes shading as well as allowing for
the black over the white that makes you will fail and sometimes you will do as much detail as you require.
the difference between ok and good. good work but remember nobody was
As the drawing nears completion l born an artist, it’s hard work, persistence Using this method of drawing
find it necessary to go over the whole and you have to love it……..enjoy. there is no quick results, it’s time,
area of the drawing and carefully patience and concentration.
darken areas to sharpen the effect but l
personally never draw a line as l prefer WORK IN PROGRESS Using a mapping pen allows
the black and white areas to merge. Slowly building the degree of for finer detail as in the
If you want to give this form of darkness allows for subtly of orchid flowers.
FINAL STEP

I N S I G H T
Ali Black
It’s all about the journey

“If I focused on the end product all the way through the ‘doing’ of the
painting, or rated its importance solely on the impact of the ‘final product’
then something of the joy would be lost for me. I love the journey.”
I
haven’t had any formal art training,
but I did excel at art during high
school, receiving multiple year
level awards, and I also chose to do arts
focused electives during my university
studies. Attending life drawing classes,
art sessions run by local community
art groups, and painting with friends
have been good motivators to keep
creative activity a priority in my life.
I have loved the arts since I was
a young child. My mother was
very creative and dabbled in many
creative and artistic pursuits –
painting (watercolour, acrylic, oils,
abstract, realistic, using different
materials, techniques and tools),
drawing, tapestry, ceramics, textiles,
photography, drama, singing, music
– so I was surrounded by creativity
and artistry and got to see art making
in action all the time. Mum was a
fundamental influence and appreciator
of my artistic development and she
fostered and encouraged my creativity
at every turn. My parents valued
my imagination and getting lost in
the moment was a regular part of
my childhood. I also remember my
mum helping me to ‘see’. I think that
‘learning to see’ and ‘being present to
what you are seeing’ is a big part of
the artistic and aesthetic process. When
I was small mum took time to bring
my attention to things. She showed
me that a flower wasn’t just yellow,
it had orange and green in the centre,
and the intensity of colour changed
within a petal, and the leaves and
stems included many shades of green.

I N S I G H T
For me, preparing myself for creative and they give me daily pleasure. testing ideas and approaches and
activity involves ‘paying attention’ Whilst I get my inspiration from looking at things in new ways, in new
- noticing beauty, taking pleasure nature in terms of colours, lines, shapes, colours, in new lines, in new patterns…
in the colours nature puts together, and contrasts, I have found that drawing I was passionate about pastel as
noticing lines, colour, light, shadow or painting landscapes or seascapes or a medium for a decade. Pastel is so
and movement. It is about tuning in similar isn’t really my thing, at least fantastic for fast and colourful work. I
to the magic of everyday things. And it is not where my passion lies. Back think it is probably still my favourite
this is long before I even go near a in high school my favourite medium medium. Since children have entered
piece of charcoal or a paint brush. was pencil and charcoal and I tended my life the cost of framing has been
To me, the creative process is to draw things in a very realistic, a factor though – and there is always
nourishing. It is about feeding my almost photographic way. In the ‘90s the dilemma about whether a piece is
soul, awareness of aesthetics, and I was mad on Picasso and Matisse and worthy of framing or not – so I have
being present and mindful in my daily experimented with colour – green embraced ready framed stretched
experience. This isn’t always easy to faces, purple and blue nudes, orange canvas and acrylic paints. Oils frustrate
do in this world of distractions and bottoms... Actually I still am totally me because I am time poor, impatient,
busyness, but it is something I am mad about Picasso and Matisse. I have and I like to work quickly. I don’t
working on and trying to be intentional watched the DVD “The Mystery of want to have to wait for something
about. Taking photos, making sketches, Picasso” many times. It is so wonderful to dry. I also like to have a space
keeping images that inspire, ripping and inspirational. I highly recommend and place already set up if I can. If
out pictures in magazines that set off it. It shows Picasso in the act of setting up takes too much time I find
an idea are all things I find helpful for creating 20 paintings and captures him that the opportunity for losing myself
fuelling my own creative processes. boldly experimenting with each piece, in my art passes me by. So, at the
I have a folder full of images that blocking them in with black, adding moment I am finding that acrylic on
I use and refer to for inspiration. spots and patterns and lines, changing canvas is what I am doing most of.
I love to draw and paint. I’d like parts constantly, letting them evolve I love working BIG. For me, working
to turn my hand to sculpture too and morph into many different phases. on big pastel paper or a big canvas is
sometime. My favourite subjects are Watching him work has given me a always best. (One day, I tell myself,
faces and nudes. I have been greatly freedom as an artist to let go and just I’d like to do an enormous painting
impressed by Italian artist Pietro see what happens, to experiment, to for the Archibald Prize competition).
Annigoni (1910 – 1988) and his not worry about the end, but to enjoy Working on a tiny canvas isn’t my
charcoal/pastel portraits. I love how and explore the ‘doing’ of a work. I thing. I also like to work FAST. On a
he melds rough with smooth, wild love how Matisse and Picasso were good day I can do two paintings and
lines with luminous skin, photo-like inspired by each other, how they had a be happy with them. Generally though
sections with abstract contrasts. I have go at so many different styles, genres I spend a day or an afternoon finishing
three of his portrait prints on my wall and techniques. They were constantly the bulk of the work. Then I sit with it,
Artist’s Drawing and I spiration 21

I N S I G H T
look at it for a day, or two if I really like it,

tinkering a bit here or there. If too much time
passes I lose interest. And if I do too much
tinkering sometimes something of the original
zing or magic gets lost. Knowing ‘when
to stop’ is something I am still learning.
For a long time I just ‘did’ a painting or
a pastel drawing, and for a stimulus I might
have used a photo or picture, or a real person
standing in front of me. In the last few years
I have spent time being more intentional,
using the artistic process to work through
emotions and life stages – losing my mother
to cancer, grief and loss, reconciling with my
child self, accepting my cup of life, managing
transition, turning 40, being a mother…
I try to do a self-portrait every year as a
way of reflecting on my life and keeping
track of what I think and feel now. I
have also spent more time researching
other artists and thinking about how
they use the elements of art to convey
particular moods or meanings. Thinking
about the meanings I want to convey has
become much more important to me.
Seeing the Howard Arkley exhibition
set me on a journey of experimenting with
a more stylised stencil looking approach
which I have enjoyed. This has been fun
as I normally am quite wild with my brush
strokes. So now I am finding I want to
stretch myself and experiment. Seeing
other artists’ work is always a motivator. I
get so much from visiting exhibitions and
art shows and seeing the work of others.
A few years ago I joined 10-week
class of a dozen people. It was just great
to become part of a group of artists and
to see how everyone’s ideas progressed
and changed and developed during the
term. It also helped me see a range of
techniques and approaches, and to consider
new possibilities for my own work.
An artist friend of mine Raquel Redmond
has been using photography, computers and
projectors as part of her artistic process.
Her work has inspired me to play with
these technologies also. If I have a digital
image I will play around with colours and
perspectives, zooming and cropping on
the computer. I have also bought a cheap
overhead projector and use OHT film to
project large possibilities onto my wall
and sometimes onto my canvas. Once I
might have thought of this as ‘cheating’

I N S I G H T
but now I see it as part of the have painted something a particular freeing. Watching Picasso certainly
experimentation and planning. colour simply because that colour is teaches you that! One of my favourite
I have also discovered that the the colour I have the most of! I do sayings is ‘let whatever happens be
end product isn’t so important. It is love to use bold colours and certainly ok’. I also don’t think you should
finding that ‘flow’, that space where am not in the camp that says ‘the destroy any art work. Sure, paint
you lose track of time, that is the only colour skin can be is ‘skin over it if you like, but everything you
fix. It is the energy that comes from colour’’. I’ll try orange, purple, blue, do is part of your learning history.
being creative and making meaning red and bright, luminous yellow! I get pleasure looking through old
that matters. I don’t want to start off Don’t ever be discouraged if your folios of work and remembering
with set expectations about what my final piece looks different from what the journey. (I still have stuff I did
final piece will look like. I love that it you thought it would. Being open to thirty years ago in high school!).
evolves and that the creative process ‘whatever happens’ during the creating I do want to get into the habit
is often mysterious. Sometimes I of a piece is actually important and of taking photos of whatever my

I N S I G H T
current project is at its various phases and stages. As I

mentioned earlier, sometimes I am unsure about when
to stop. I often wonder if I should have stopped at the
stage before the one I just finished. My husband often
tells me to ‘stop right now, that is great’ - but I usually
keep on tinkering. I guess I grapple with loving the raw,
unfinished work where the essence of my meaning is
strong but thinking that it is still a bit ‘rough around the
edges’ and needs to be more painterly. This could also be
me still transitioning from the very realistic style I used
at high school to the more open approach that I aim for
now. My friend Sue tells me that she used to think that her
final work wasn’t as good as the version before, but after
taking photos at various stages she now has proof that her
final version is always better than the previous version
or stage. I’d like to be sure about that too. I am thinking
I might do two paintings of the same thing at once, stop
with one, and continue with the other, and get feedback
and see which one resonates with me and with others.
I’m a life-long learner. I love to look back over old
artwork, remember where I was in my life, how I was
feeling, admire the parts I like, and learn from the parts I
don’t. I like aspects of most of the paintings I do, but this
doesn’t mean I will hang them on my wall. Not hanging
them on my wall though doesn’t lessen their importance in
time. If I focused on the end product all the way through
the ‘doing’ of the painting, or rated its importance solely
on the impact of the ‘final product’ then something of
the joy would be lost for me. I love the journey.
I was prolific, and got a bit popular, in the late ‘90s
and had several exhibitions. People were buying my
work and commissioning me to do work. For a time, this
changed my approach and the freedom I had previously
felt for my work. I became worried about other peoples’
perceptions, and at times had to alter what I did to please
the buyer. I mulled over what to frame and what to not
frame. I did enjoy getting my framer to experiment with
framing mats, colours and borders! I had held ideals
about painting and producing art for a living, but these
experiences helped me see that for me, placing pressure
on myself about the end product changed my whole
experience of the art-making and the creative process.
Letting go of these concerns and returning to the joy
of the creative process was a very important step I had to
take. I think my work is better for it. Now I paint for me.
People still want to buy my work, but this isn’t why I
paint. Of course, having people respond positively to my
work is always great. I won the trifecta at the Captain
Cook 1770 Art Festival in 2010 where I got a ‘highly
commended’, won the ‘People’s Choice Award’ and sold
my painting on the opening night. So, I can’t lie, there
is a buzz when you get acknowledged, and money in the
bank is nice. However, the part I love most is the joy
I feel when I devote time to being creative, to making
meaning and losing myself in what I am doing. n

d e m o n s t r a t i o n
Pastels and Charcoal
Orient l Girl By Ali Black

M AT E R I A L S
• I used Mi Teintes TEX Pastel

paper (this comes in a range
of colours. I chose black. It is
highly textured and as I was
Ali gives an honest (and amusing) step by step working on it I realised I would
have actually preferred to use
account of her demonstration, from dismissing her a standard Canson pastel paper
initial idea of a self-portrait to gaining inspiration with less texture for this piece)
• I use a range of charcoals and
from a photo she’d taken on a recent trip to Japan. soft and hard pastels that I have
bought over time including
Coates Willow Charcoal,
Rowney Charcoal, Lefranc
and Bourgeois soft pastels,
Schmincke, and Conti crayons.
Some are very soft and have rich
colour. My Conti’s are my staple
though. I’m not precious about
my pastels and have broken
all of them into much smaller
pieces. I tend to mostly use
them sideways to get a generous
covering. Sometimes I like to
blend and other times I like the
rough look where the texture of
the paper comes through. I also
like to leave places where the
paper is untouched by pastel so
that the paper itself is a feature
of the work. You need to wipe
your hands every so often so
that the pastel on your fingers
doesn’t take away the vibrancy
of the current colour you are
using. Enjoy getting messy,
and wear an apron and have an
old towel with you so you can
wipe your hands guilt free.
• You also need fixative so that
colours don’t get muddy and
stay vivid and bright. Hairspray
works fine, but I did use
Helmar, Crystal Kote, Workable
Matt Fixative spray because
I had it in the cupboard.
fInAL STEp

STEp OnE STEp TWO
STEp OnE STEp TWO this image looking like a real person
I actually planned to draw something I got my light blue soft pastel and or a photo representation. “After all,
completely different when I started. mimicked some of the light and shade anime is Japanese,” I said to myself.
I thought I’d do a self-portrait. But that I could see from the photo. I
soon after starting and spreading my focused mainly on face and kimono. I
pink on the paper I just knew this couldn’t help but think of an alien head! STEp fOUR
wasn’t going to work, so I followed Now this is where my husband would
my gut feeling and left that idea for say ‘stop now’, in fact he generally
another time. We had recently been on STEp THREE likes my ‘step one’ work the best. I
a holiday to Japan and as a result I had I continued with the light blue soft like this step four version. This version
some lovely photos. Some of these I pastel, but wasn’t entirely happy captures the Japanese face best – but
had already put into a computer folder with the effect. At this stage I was I didn’t realise that until I looked over
called “art ideas 2011”. One of these thinking that I would have preferred the photos when I had finished. She
was of a Japanese girl in a kimono. I less textured paper. I was also thinking has fine features and whilst I don’t like
had already played around with various about past pastel work and resisting the pink cheek I like the combination
colours and intensities on the computer, the urge to return to old methods and of blue and black. I could have, maybe
arriving at hot pinks and blues as the approaches. I was also thinking I should should have, stopped here? I was
palette I wanted to use. Given pink fix the pastel as the light blue was cooking dinner and popping out to
was the colour I had started using for muddying with the charcoal. Time for a check on the chook and veges in the
the self-portrait I made a practical change. Time to think less. Time for the oven so perhaps this took my focus
decision and changed track to embark darker blue. I love this blue. This is my away? But you have to work with the
on my Oriental girl. I sketched in the hard Conte crayon blue. Then back to time you have don’t you? Wishing for
basic placement of eyes, nose and the charcoal to redefine eyes and hair. 10 hours of uninterrupted time is just
mouth with charcoal. Then I used my Thoughts of anime and large eyes crept wishful when you have two wonderful
blue to block in hair and kimono. in and I became less concerned about but busy kids, work full time and

STEp THREE STEp fOUR
share the parenting and household much I decide to try a red background, fInAL STEp
chores. Life is life. And if I follow but after I do it am not so sure. Time is up. Dinner is over, and it is
Picasso’s lead in the Mystery of Picasso the kids’ bedtime. I think I have lost
DVD, who cares that I kept going interest. I look back over the photos
and making marks and blocking in STEp SIX I have taken and realise that I think I
colour? This is the learning journey. So the red background disappears and liked my fine faced step four version
I am back to black. I get a light blue best. But I don’t feel like going back
Conte crayon and do what I just did in time – even though you can do that
STEp fIVE with the black. I go over key lines with pastel pretty easily. She can be
Right, back from checking dinner and I outline bits of hair, parts of a Bollywood princess with a hint of
again, now I decide to add some red. I the kimono, eyes, lips, and chin. It Elvis. I don’t mind that her persona
love red and blue together. I decide to is starting to feel like an effort. I’m and characteristics have changed. I
put down the picture I was using as a very aware this might be going in grab my white Conte crayon and add
point of reference (possibly a mistake) Artist’s Palette, and a little anxiety some final touches, a glint in the eyes,
and just go for it. I also use my soft creeps in. My family isn’t home yet the line of the lip, and some strands of
(and expensive) black pastel which I from a brief sojourn into town and the hair. My husband comments, “There
know makes really black marks and I chook looks like it might burn if they is too much going on in this one, I
darken up the hair and eyes and add aren’t back soon. Hmmmm. I go and like them when they are simpler”. And
black lines to much of the picture. The look at my pastel portrait images on yes it is fairly busy. Will I tell him I
face now moves to rounder and I start my wall by another favourite artist, had considered adding a background
to think “not Japanese… Indian… Italian Pietro Annigoni (1910-1988). of wallpaper or snow sprinkled trees?
Bollywood?” This is actually a process I seek his inspiration and take in his If I follow my own motto, the end
I like – when the object you are feathery black strokes around the product isn’t everything. I enjoyed this
painting decides some things for you, faces of his subjects. Back I trot to my time of drawing and experimenting,
where you can decide to go back, or to easel and feathery strokes arrive on I fed my soul and now I am itching
go to some new place. I like the red so my Oriental girl and on her clothing. to get started on that self-portrait.

STEp fIVE STEp SIX
ARTIST’S HInTS AnD TIpS

Use fixative at various stages, eating dinner mixed in to the time Palette changed the process a bit for
particularly if you notice your bright frame. Sometimes a break refreshes me. (I was less relaxed and felt the
pastel work is becoming muted and you and helps you see your piece in pressure of a deadline to finish it and
muddy. Fix your work at the end too. a new light. Other times it makes it concern about whether it ‘was or
Break your pastel sticks into challenging to focus on the project would be good enough’ to use as an
smaller pieces. Don’t try to keep or to lose yourself in the process. example. Then towards the end I lost
a stick in pristine condition. You Work on layers of contrast – light interest and connection with the work.
bought them to use them. pastel, then block in with another In my subconscious I think this piece
Enjoy the messiness and use colour, then block in with black, was ‘something I had to do’ to meet a
your fingers to spread and blend then back to the light colour again. deadline. It was more like a chore to
colours– you might need to vacuum Always make your last two colours tick off amongst all the other things
chalk and dust up afterwards if on your almost finished piece white in my diary. The creative process
you have been too vigorous. and black, or darkest and lightest – was challenged even before I started.
Don’t be afraid to put your frame highlighting eyes and lips in particular. But I still enjoyed the doing of it).
of reference down (eg if you are Buy a big plastic sleeve so you can If you get bored, or lose interest
using a photo/picture as a starter) store your pastel work in it – this with your piece, just stop. It
and just go with what you feel. way you can still keep the work is no big deal. You don’t have
Whatever colours you use, you decide not to frame, and come to love everything you do.
make them appear across your back and appreciate what you like Enjoy the process. If your final piece
work in a range of places. and don’t like some other time. doesn’t leave you in raptures that is ok.
Try to have an uninterrupted block Don’t put pressure on yourself, just Let whatever happens be ok. You have
of time to work. I did this piece over let things evolve. Knowing this was spent time creating, fed your soul, and
two hours with cooking, serving and my demonstration piece for Artist’s started the craving to do the next piece.

I N S I G H T
Johanna Gallon
I Just Love to Paint

From coloured pencils to acrylics, there’s no stopping this motivated artist.
I
have always had a passion for either colour pencils or crayons while which is now part of the Griffith
drawing and was always my other children were out on the decks University. Here I completed a four year
favourite subject in school. playing games or out on the swings. course with a Diploma in Commercial
My family migrated by ship to After completing high school at Illustration. This is where I found
Australia from Holland when I was 8 All Hallows School in Brisbane, I painting was my real passion, though I
years old and on the trip over I was attended the art school at the Institute was advised no money could be made
always found colouring in pictures with of Technology in George St Brisbane, out of painting, so I pursued into a
Pelicans – Graphite

Tiger – Acrylics
Graphic Art career whilst my young is a painting group where clients my paintings, I have found coloured
family was growing up. get together once a week and forget pencils are really rewarding. I
Now with my children grown up about their problems while burying appear to have more control over my
with families of their own, I moved to themselves in canvas and paints. work to achieve that realistic look
the Sunshine Coast where I discovered I am now helping out with setting and there is less mess to clean up.
there was no further demand for up, cleaning up afterwards, as well This medium works well especially
older artists in the Graphic Art field, as guiding the clients into the right when I create portraits of people or
and was struggling to get work after direction with advice and help. animals. I still found using acrylics
moving from Brisbane. Younger artists Working here has once again more appealing in landscapes and
had always obtained first preference inspired me to take up painting again seascapes. With colour pencils, I
with every interview obtained. after so many years of absence in the am limited to size as A3 would be
I approached Bloomhill Cancer Help field. As I was used to doing purely a maximum size I would go, while
at Buderim on the Sunshine Coast commercial work in the advertising acrylics, size can be unlimited.
for some volunteer work. They are industry, I have never looked back In many of my experiments, I
a non-profit organisation, who help and started to educate myself further discovered that painting animals
people affected by cancer get through into the fine arts of drawing socially became my greatest joy. Particularly
their trauma through counselling and as well as painting with acrylics. To by immortalising people’s pets
therapy. One of their therapy programs achieve more of a realistic finish in and provide them with a painting

I N S I G H T
Retriever pup – Graphite
Sea-turtles
that would be more unique than a For drawing and coloured graphite pencils. I find I can use
photograph. These could be provided pencil work I mostly use a quality many layers of colours without
with either acrylic paints or coloured illustration board (smooth texture) saturating the board or lifting the
pencils. with Prismacolor pencils and textured surface of the paper. This
Maggie – Graphite

Tulips in Acrylic
board can also be very successfully subject, I may even use both acrylics
used with watercolour pencil or just as a light layer of wash base with
a wash of watercolour paint. colour pencils combined. This works
For acrylics, many types of out best by using a heavy gauge
surfaces are suitable. For the most of hot pressed watercolour paper.
economical surface, you can get I have only entered a couple of art
some hard board or masonite competitions at this stage, one of
(smooth one side and rough other). being the Alan Reading Memorial
Depending on the finish, either side Art Awards here on the Coast. I was
can be used. I normally use the quite proud that they actually hung
smooth side. Just gesso (prime) the my paintings in their gallery, though
surface and your board is ready to did not win any prizes. I suppose
paint on. Other surfaces that I find Rome wasn’t built in a day and
are very successful are either canvas practice does make perfect. I feel
board, stretched canvas on frame this coming year, good things will
or a heavy duty watercolour paper. happen.
I normally use two, whatever is at I am not too worried about not Joey 1 – Graphite
hand at the time. Depending on the winning, as I just love to paint. It is

I N S I G H T
Moet – Colour pencil

Sarah – Graphite
very relaxing and it is a way of shutting I have now recently started a everyone and open to commissions. I
yourself away from any problems that website – www.art2all.com.au where also have a facebook page to link to
maybe haunting throughout life. I can share some of my work with my website.
Hear no evil… – Acrylic Joey 2 – Graphite

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
Pencils
Alpaca By Johanna Gallon
This inquisitive fellow comes to life in this impressive work of art.
FINAL STEP

STEP ONE
I always make sure I have a good
quality coloured photograph
of my subject. There are two
ways of obtaining an accurate
outline of your subject
Scan in photo to your computer and
print to the size of your drawing.
Trace the outline on tracing paper
to transfer onto your board. There is
only one problem with this technique
and that it leaves an impression
on your board and can affect your STEP ONE
colouring in of your subject.
The other is place a grid over your
photos and lightly draw the same grid
in proportion on your board. Now
follow the shapes and outlines of
your subject from square to square.
This is a much cleaner way.
STEP TWO
I chose a cream coloured mat board
for this exercise. I found this worked
well so long as I kept applying a
workable fixative over each layer.
The cream colour brought out the
colour of facial features. I started
with only filling in a small part of the
background with limepeel and olive
green. After I had indicated where
the background would be, I proceeded STEP TWO
with the eyes and nose of the alpaca.
M AT E R I A L S
• Cream coloured pastel board

• Technical pencil – HB
• Lumograph white pencil
• Odourless turps
• Size 10 Taklon flat brush
• Electric eraser plus pencil eraser
• Soft brush to dust of residue
• Prismacolor pencils:
• Alpaca: cream, cool grey 90%,
cool grey 50%, Cool Grey 30%,
Burnt Ochre, Sienna Brown,
Yellow Ochre, Dark Brown
• Background: Olive Green,
Chartreuse, Limepeel,
Indigo Blue, Process Red.
• Hibiscus: Process Red, Hot Pink. STEP THREE

ARTIST’S
HINTS AND
TIPS
10 TIPS FOR USE OF
COLOURED PENCILS
• Most important – always
keep your pencils sharp
• Use good quality paper that
will not saturate your colours
• Always start your paintings with
STEP FOUR light pressure to avoid any flaking
of the colours. Gradually increase
your pressure (light, medium
to heavy) when adding layers
of colour to achieve different
depths and tones of colour.
• Always use a soft brush to
brush off any residue (from
eraser or build-up of wax from
pencils). Drafting or make-
up brush will do the job.
• Spray each completed layer with
a good quality matte workable
fixative. This will prevent wax
build up and protects your work.
• To create intense colours
from your pencils, try using
a turps based solvent painted
over the colours with a soft
brush like you would with
STEP FIVE watercolour based pencils.
• Make sure your colour
temperature (warm and
The eyes were coloured in with a of each strand. The ears have been cool areas) is well balanced
dark brown and nose and mouth featured using the sienna brown and in your paintings.
came in the various shades of cool shaded with a cool grey of 50%. • Keep pencil strokes even
grey. When these features have been and consistent in pressure
perfected, the rest will fall into place. and in direction.
STEP FOUR • Keep a colour key of your
Now I was ready to complete the drawing for future reference,
STEP THREE background using the olive green, just in case you have a
I then proceeded with the body. The chartreuse and limepeel. I did not break from your artwork.
alpaca has a curly silky fibre similar cover the background evenly as • Practice using only a single
to the wool of a sheep but without I wanted a blurred affect for the colour to help improve your
the lanolin. Each strand of hair shrubs behind the subject. When blending, layering and graduating
has to be drawn with short curvy fully covered I used a size 10 brush, skills. There are many books
strokes starting with yellow ochre dipped it into the odourless turps on the market these days as
as the bottom layer. The next layer and brushed over the background. tutorials for references.
would be burnt ochre and finally the This “melted” the waxed surface of
Sienna brown to show the shadows the Prismacolor pencil and gave it

a more “watercolour” effect. After

completing some shading of the
wool in the body to give a more
finished look, I then I started with
the hibiscus. Apparently alpacas
think it is great when given a treat
of hibiscus flowers. They love it.
STEP FIVE
I used the colours of hot pink, process
red with small amount of white for
the highlights and to lighten the
colours slightly for the flower. I
also used the process red to indicate
some flowers in the bushes behind STEP SIX
still keeping the blurred effect.
FINAL STEP where I can share some of my

STEP SIX Job completed and signed. work with everyone if they are
Now I gave those finishing touches interested to look. I also have
to the hibiscus as well as the I have now recently started a a Facebook page to link to my
alpaca on the ears and face. website – www.art2all.com.au website.

P r o d u c t F e a t u r e
Pencils and Pastels Contributed
Here’s a fabulous assortment of the latest in pencils and pastels,

plus a history of the humble pencil.
The arT of STaeDTLer penciLS

The formuLa iS SecreT – The penciLS are worLD-famouS!
It was with pencils that STAEDTLER’s outstanding and unbeatable product superb writing comfort and prevents
success story began. Ever since 1835, quality. Most STAEDTLER pencils fingers from slipping. ergosoft pencils
STAEDTLER pencils have served both are made with PEFC wood from feature Anti-Break-System (A-B-S), a
as tools and a source of inspiration certified, sustainably managed forests. unique, white protective coating that
for artists. Whether you need high- Following are some of our favourite reinforces the lead core and increases
quality artist drawing pencils, STAEDTLER art pencil products: break-resistance by up to 50%. The
watercolour pencils or accessories, the ergosoft coloured pencils pencils comprise an especially soft and
STAEDTLER range satisfies the needs STAEDTLER’s ergosoft pencils are not richly-coloured lead (3mm diameter)
of professional and hobby artists alike. only equipped with a truly innovative and are available in ‘stand up’ wallets
First class materials and soft surface, but are also perfectly of 12 or 24 coloured pencils which
manufacturing processes guarantee shaped - a triangular design ensures convert to convenient desk sets.
Ergosoft watercolour pencils
comprise a unique watercolour lead
for dry and wet blending and offer a
wide range of creative possibilities
when colouring - also with water and
paintbrush. These pencils are ultra-
versatile and suitable for working with
mixed mediums. Available in wallets
of assorted colours of 12 or 24.
mars® Lumograph® –
sketching pencils
A premium-quality art pencil for
writing, drawing and sketching on
paper and matt drafting film, the
Mars Lumograph is ideal for artists,
graphic designers and illustrators.
The pencil is particularly break
resistant thanks to super-bonded
lead and lines produce well.
The Mars Lumograph is available
in tins of 6, 12 or 19 pencils in
assorted degrees, a cardboard box of
6 degrees (that includes a free Mars
plastic eraser and metal single-hole
sharpener) and also as individual
degrees in 12-piece boxes.

P R O D U C T F E A T U R E
wopeX (wood pencil extrusion) the paper, ultimately providing superb free production procedure.
The first pencil made out of writing comfort with smooth and WOPEX pencils are available in
WOPEX, the award-winning** even sharpening experienced through HB, 2H and 2B in boxes of 12.
innovative natural fibre material the consistent WOPEX material. **WOPEXâ has been distinguished
developed by STAEDTLER made The advanced WOPEX pencil with numerous awards and recognition
from 70 per cent wood and natural provides the foundation for a new including the ‘Design Plus’ award
fibre. Comprising excellent lead generation of wood-cased pencil at the Material Vision exhibition in
stability and break-resistance, manufacturing at STAEDTLER. Frankfurt, the ‘bio composite award’
WOPEX pencils are top quality for With significantly higher utilisation and the ‘WPC innovation award.’
writing, drawing and sketching. of wood from each tree WOPEX
Perfect in application with a non-slip is produced with PEFC wood from For further STAEDTLER
velvet soft surface, the homogeneous certified sustainably managed product information please visit:
2.3mm lead glides smoothly across forests using a completely solvent- www.staedtler.com.au
penciLS from S&S
history of graphite pencils England, in about 1500. The popular to understand it. It was then found to be
Graphite is one of the physical forms story is that, following a very violent an excellent medium for marking sheep.
in which the element carbon is found. storm, the shepherds went out in the The value of the material was quickly
The decay of great forests yielded, morning to see their sheep on the discovered and the mines were taken
under sedimentary pressure, the coal mountain side and found a number over by the government. It was found
deposits common throughout the world. of trees had been blown down most useful for medicinal purposes,
Not so common are the graphite seams tearing away the subsoil as they but its chief use was as moulds for
formed by more extremes of pressures. fell and leaving exposed to view the manufacture of cannon balls.
The first graphite ever discovered large masses of black material. Chemistry was in its infancy and the
was found in the Seathwaite Valley on Pieces were dug out and the substance was thought to be a form
the side of the mountain Seathwaite shepherds first thought it was coal, but of lead. Consequently, it was called
Fell in Borrowdale, near Keswick, as it would not burn they were at a loss plumbago (Latin for “lead ore”).
1. Starting with the piece 4. The slab of graphite was

of Cumberland Graphite inserted in the groove
5. The graphite was indented

2. This was then
and broken off level with
sawn into slabs
the top of the groove
3. A piece of wood 6. A thin slat of wood was

was grooved with glued to the top, leaving
a square groove the graphite encased

U C T F E A T U R E
ture remains in use today. in the Artists range. These ranges

ite pencils are graded on the complement each other perfectly!
n system using a continuum
” (for hardness) to “B” Derwent watercolour pencils
kness), as well as “F” (for An exciting and versatile colouring
t). The standard writing medium which can be used to produce
graded HB. Today a set of an interesting variety of drawing
anging from a very hard, and painting effects – the beauty of
rking pencil to a very soft, watercolour and the precision of a
black-marking pencil usually ranges pencil allows you to enjoy the best
from hardest to softest as follows. of both mediums. The soft 3.5mm
diameter colour strip incorporates
Traditional pencils quality pigments and the purest fillers
Following on from the development of to produce a very water soluble
graphite pencils was the development medium. Derwent Watercolour pencils
of colour and watercolour pencils. Both can be used wet or dry, or on wet or
these pencil media created a different dry paper to achieve a wide variety
dimension for conveying expressions of effects. They are complemented
of landscapes, portraits etcetera when perfectly by the Derwent Aquatone
previously only paint and pastels range. There are 72 classic colours
were available. While mimicking which retain their full intensity
both paint and pastel in some way whether you use them wet or dry.
this new media brought its own
distinctive feel. Colour and watercolour Derwent metallic pencils
pencils were quickly followed by While not a typical “traditional”
drawing, pastel and metallic pencils. pencil, metallic coloured pencils
were a logical extension to the range
Derwent artists colouring pencils of colours available for standard
The original artists colouring pencil. colour pencils. These bright, highly
Developed in the 1930s, the Derwent reflective colours work best on a
Artists range was originally known as dark background and can be used
the Number 19 range and soon became on their own or in conjunction with
the flagship of the Derwent range and other media to add brilliant definition
has remain ed that way for the past 80 and glowing highlights. Derwent
years. The traditional round barrel and Metallic pencils are water-soluble
wide colour strip (4mm) of the Derwent so you can create interesting line
The black core of pencils is still Artists pencil makes it perfect for broad and wash effects. Derwent Metallic
referred to as “lead,” even though it strokes and free, expressive drawing. is available in 12 brilliant colours,
never contained the element lead. The Derwent Artists pencil’s slightly from traditional golds and silvers
About 1558, thanks mainly to the waxy texture is ideal for multiple to shimmering pinks and purples.
Italian schools, the fame of Cumberland layering and blending to produce an
graphite spread quickly as being a infinite spectrum of subtly different Derwent coloursoft pencils
most useful material to artists all over hues and tints. Available in a range Coloursoft, as the name implies, is
the world. It was first used by cutting of 120 colours, the Derwent Artists a softer pencil than the traditional
into rough pieces and wrapping it in pencil has stood the test of time. Derwent Artists pencil but still giving
sheepskin, but it was the Italians who For a crisper, more precise drawing you strong and vibrant colours. The
first developed a wooden holder. The style, the Derwent Studio range has a soft textured strip in Coloursoft
first basic pencils were made as follows: slight smaller colour strip (3.5mm) than pencils is perfect for quick, easy lay-
In 1795 Nicholas Conte discovered the Artists pencil and a slim hexagonal down of large blocks of colour. The
a method of mixing powdered graphite barrel. Studio is available in 72 large, 4mm colour strip is housed
with clay and forming the mixture into colours, all of which match the colours in a strong and durable 8mm Cedar
rods that were then fired in a kiln. By
varying the ratio of graphite to clay,
the hardness of the graphite rod could
also be varied. This method of pencil
9H 8H 7H 6H 5H 4H 3H 2H H F HB B 2B 3B 4B 5B 6B 7B 8B 9B
Hardest Medium Softest

wood barrel. Coloursoft pencils painting; traditional watercolours to and can give an image a polished or
are acid-free, do not bloom easily stunning botanical illustrations. They reflective look by sealing it with a
and have superior lightfast ratings have also become very popular with heavy layer of colourless wax. If you
to similar brands of soft textured fabric artists throughout the world for want to create a subtle blend of colours
pencils. The velvety softness of the the colours, permanency and designs then the Derwent Blender is the ideal
core releases rich, dense colour at a that can be achieved using Inktense. accessory. The Blender pencil is a soft
stroke and is perfect for mixing and colourless pencil made from the binder
blending. Despite its soft texture, Derwent Tinted Graphite used for coloured pencils. It allows you
Coloursoft sharpens to a fine point Graphitint is an exciting drawing to blend two or more colours together
and works equally well for detailed pencil that combines the drama and to create a new colour. At the same time
illustrations or bold, contemporary creativity of the graphite medium with it physically mixes and smoothes the
still-life drawings and portraiture. a hint of soft, subtle colour. Graphitint colours so individual strokes and hard
can be used wet or dry to produce an edges are softened. Blending pencils
Derwent aquatone amazing range of tinted graphite effect
Aquatone is a solid stick of pure Graphitint will appeal to any artist
water-soluble pigment, in effect seeking a new medium that is highly
a woodless watercolour pencil creative and a little bit different. Used
containing up to four times as much dry like a conventional pencil, Graphit
material as a traditional watercolour produces soft tones of grey with just a
pencil – with no wastage! They are suggestion of colour. Add water and th
perfect for all types of watercolour colours become far more vibrant. The
drawing and painting, allowing the colours can be lightened or removed
user to create vivid and stunningly with a soft eraser or by lifting out with
different pictures. They are ideal for a brush and clean water. Available
creating broad strokes of colour or in 24 fabulous colour tints ranging
large areas of colour wash and provide from soft greys, blues and greens to
quick and easy colour lay down. The glowing russets, plums and browns, al
Aquatone range contains 24 strong can be mixed and blended to produce
and vibrant colours that all contain even more subtle colour variations.
the highest quality pigments. Each
Aquatone stick measures 7 x 180mm Derwent Tinted charcoal
and is individually paper-wrapped. Tinted Charcoal offers the dramatic
beauty of traditional charcoal with a
inktense by Derwent gentle hint of colour. Natural charcoal
Derwent Inktense pencils are an particles have been mixed with the
exciting and completely unique range finest clays then encased in wood to
of 71 pure, vibrant, water-soluble produce a wonderfully expressive
ink pencils plus outliner which drawing tool. The unique deep and
allows you to draw outlines that are light colour tones of charcoal in pencil
permanent. Inktense combines the form make the medium clean and easy
brilliant intensity of pen and ink with to use but provides all the drama and
versatility of line and wash. When impact expected from charcoal. The
used dry these pencils create strong, colours smudge and blend beautifully
vivid tones and by simply applying to produce deep, rich and diverse tones,
a light water wash you can achieve making Tinted Charcoal ideal for all
a translucent, ink-like effect. type of portraiture and landscape studies.
The colours can be blended together
with a slightly wetted paintbrush. Derwent Burnishing and
Once dry, the colour will not wash Blending pencils
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media. Derwent Inktense pencils of colour provides a rich, polished
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Lightfast pencils – cretacolor ASTM-D4303, a test specifically

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miXeD meDia wiTh peroci – JuST whaT can i miX wiTh whaT?
Mixed media refers to artwork created simple reason - they don’t know the charcoal powder. The Peroci
with more than one visual art medium. what products to use together. While Compressed Charcoal Blister Pack
The beauty of this technique is that there are no hard and fast rules for contains six square sticks of charcoal,
it increases the creative boundaries this, some products do complement two each of the soft, medium and
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new avenues of self-expression. Let’s look at charcoal first. good choice for experimentation.
Rather than be constrained with the Charcoal comes in various forms Charcoal Pencils: These are also
use of just one product, combining and the three most common are: another option if fine details are
two or more will create contrasts Compressed Charcoal: This consists required, and are simply compressed
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and may result in completely new mixed with a binder before being just like other pencils. These pencils
effects when two products are compressed into stick or block form. come in, either soft, medium or hard,
combined. It also challenges artists Unlike pencils, compressed charcoal but can also sometimes be graded as
to abandon their assumptions about does not come in a large range of H, HB, B, 2B, 3B, 4B, 5B, and 6B.
a product and let the influences grades. It is usually classified as The range is not as extensive as that
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However, many people are reticent variations are achieved by varying cannot be made extremely
to explore mixed media for one very the amount of binder added to Peroci Charcoal Pencil Box
40
44 Artist’s
Artist’sDrawing
Palette and Inspiration
contains 12 pencils, 4 each of soft, at other mixed media products. While I

medium and hard varieties, and is a have mentioned combinations of some
good starting point for those wishing basic drawing media, you could easily
to experiment with charcoal pencils. increase the number and see what effect
Willow Charcoal: This is a you get. Always remember the mixed
lightweight stick version of media golden rule: if at first you don’t
charcoal. It usually comes in various succeed, then try something else!
circumferences from fine to very thick.
As it is very fragile, the thin sticks must For your nearest stockist of
be used with care to prevent breakage. Peroci Pencils and Charcoal
These are only some of the products please contact Artworks Essential
that can be used when working with on 02 9637 2022 or email
mixed media. Next issue we will look derivan@derivan.com.au
paTeLS from S&S
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Northumberland, England, artist John years of experimentation, culminating mixed, hand rolled and air-dried.
Hersey began hand-making his own in intense, vibrant colours blended They are mixed meticulously to
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cretacolor aquastic
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They are suitable for use on paper,
cardboard, canvas, wood and leather
as well as on all smooth surfaces,

I N S I G H T
Anika Kirk
The Night Owl Artist

Stamina and a never-ending quest for perfectionism ensures that
this artist is up until all hours, creating her marvellously
detailed and colourful works of art.
I
have been interested in art since
I was a child. My mum said
to entertain me she would sit
me down with some pencils and I
would easily occupy myself all day.
I enjoyed art throughout my school
years doing multiple art subjects, but
after graduating I did not pursue it any
further.
I have always remained creative,
trying many different avenues such
as jewellery design, fashion and
photography. But it has only been in
the last two or so years that I have
really started to pursue my artistic side
through drawing, and will try to see
where it might take me.
I am self-taught, attending a few
workshops here and there. I enjoy
learning, and have a lot of art books
that I refer to. I believe you should
never stop learning new things.
Knowledge is extremely powerful
and with the correct knowledge you
have the power to produce amazing
things.
I really admire the work of Bec
Winnel; she would have to be one
of my biggest inspirations. The
detail in her pieces is super human!
Audrey Kawasaki, DielaMaharanie
and Kate Tucker are among some of
my favourites as well as the greats
Dali, Picasso and Australian artists
Ken Done and Jeffery Smart. I have
found Instagram is a fantastic place

I N S I G H T
for finding and connecting with other meditation. I find sometimes that I was difficult as it just flowed. I try not
artists around the world. think a lot when I draw, or I am totally to overthink it. I believe for me that is
As I work full time as an imports lost in the zone and I can switch off all the best way.
coordinator for a shoe company, which thoughts altogether and get lost in my In saying that though, there is a fair
can be quite mentally draining, art own world. Usually this way I can end amount of pre-planning that goes into
for me is like a form of relaxation or up finishing a piece and not feel like it each piece. I will generally research

I N S I G H T
for hours, sometimes days to find about staring at the waves and out to Working in such detail can be
the perfect subject. I often take little the horizon. I do this often as a way to very challenging and I am often also
pieces from a variety of images to keep myself grounded and on-track. questioned how I can be so patient as
piece together a reference that I am I love colour and this is reflected in some of my drawings can take up to
happy with. For this reason I can’t my art as well as in the way I dress! 40 hours. The answer is I don’t really
live without my laptop! I have many All kinds of colours and patterns, know. I am definitely not that patient
folders of images that have inspired natural and man made together can with regular day to day activities.
me. Whenever I feel uninspired I go to inspire me. I tend to draw late at night I have a kind of obsession of sorts
these folders and I can almost always through to 2 or sometimes 3am. My with precision and detail in my art. A
find something that will spark an idea. friends and family think I’m crazy lot of things I feel could probably be
I grew up on the Gold Coast in and often ask how I function on such left as they are, but I find myself going
Queensland, and if you have grown little sleep, I simply reply, “I’ll sleep back over older drawings, adding in
up in a beach town you will know the when I’m dead!” I find I am my most more and more detail. With each new
feeling of going down to the beach, creative self late at night. I’m not piece I produce I feel my techniques
sitting on the sand and using that time sure if it’s because I am in a state of are improving. I don’t think I am ever
to listen to the waves and clear your delirium, but whatever it is it seems to completely satisfied that any of my
mind. There is some kind of serenity work for me! drawings are actually complete.

I N S I G H T
I really enjoy shadows and contrast,

working with light and shade to create
life-like depth. I enjoy how the correct
use of negative space can really bring
a subject to life. I enjoy studying the
way light is reflected, whether it be on
a glass or a bird’s feathers. I will often
catch myself staring at a flower or vase
after subconsciously breaking it down
into all the different colours I can see,
and working out the light and shade,
even if it is a subject I am not planning
to draw.
My favourite medium is coloured
pencils. I use mainly Prismacolor
pencils. They are beautifully soft, almost
with a crayon-like consistency and the
colours layer on top of each other very
nicely. In order to achieve the detail in
my drawings, the pencils need to remain
very sharp, and with these particular
pencils it is quite hard to maintain, so
for the finer detail I use a mixture of
the Prismacolor and Derwent. I find
the Derwent pigment is slightly firmer
and therefore they stay sharper longer,
allowing me to pay more attention to
detail.
As I draw a lot of animals, I tend to
use small precise strokes mimicking
fur or feathers, building up stroke by
stroke and gradually adding in colour
after colour. I like that I can control
the medium to make precise strokes as
opposed to the uncontrollable nature
of watercolours for example. I also use
pencil blend to smooth out larger shaded

I N S I G H T
areas to give a more even texture. This fascinated how such beautiful things wings. I have used a variety of colours
is an amazing medium that brings a are produced from nature and the ranging from greens, to purples and
whole new aspect to drawing with earth. I really enjoyed reproducing the even red.
colour pencils. different facets of the crystal. In The So far I have not entered any
I am fascinated with nature Amethyst I used around 25 different competitions, although I hope to do so
and wildlife. I love to watch colours. I generally use a large amount in the future. I am currently just trying
documentaries and will often find of colours in each piece. I use a to identify my style and work on
my next subject this way. I like to mixture of colours in all my pieces to improving my techniques and learning
challenge myself by attempting new create a better sense of contrast and new ones as well. I would love to one
subjects as often as possible as with depth, for example adding in blues and day be able to spend my days full time
my latest piece The Amethyst (used purples to create more depth in blacks. creating art, but for now I have to
for my demonstration). I am just so This is demonstrated in the crow’s continue to be a night owl artist! n

Pencils
Glittering Amethyst
By Anika Kirk
Each facet of the crystal is closely examined for its colourings and shadings to
ensure the artist captures the full beauty of this amethyst.
STEP TWO
M AT E R I A L S
• Prismacolor Premier
colour pencils
• Faber Castel colour pencils
• Derwent watercolour pencils
• Blending stick
• Prismacolor blending
pencil - colourless
• Zest-it pencil blend
• Q-tips
• Kneeded eraser
• Derwent battery powered eraser
• Bruynzeel Pencil sharpener
• Pencil extender FINAL STEP

STEP THREE STEP FOUR
STEP ONE
Choose a reference photo. In this case I have
chosen an amethyst crystal. For this piece I
have one reference photo, but ultimately you
can use as many as you like. I often use many
images to piece together the final image.
STEP TWO
I begin by picking out as many colours from
my pencils as I can see in the reference photo/s.
With the chosen pencils I will then start a test
sheet so I can see exactly how the colours
will look against each other. From here I can
eliminate or add in more colours as I go.
STEP THREE
I start by mapping out the subject in
a light colour to use as guide lines. In
this case I have used lavender as the
final piece will be completed in purple.
STEP FIVE I don’t use grids or anything like that
as I judge proportion purely by eye.

STEP SIX STEP SEVEN
STEP FOUR STEP SEVEN

I start mapping out the light and Now the whole subject is filled with ARTIST’S
shade of each facet with a faint
layer of colour. This makes it
colour, it is time to go over each facet
with pencil blend. I don’t use this
HINTS AND
easier to picture where the final for all my pieces, but for the crystal TIPS
piece is headed and gain a better I felt it would add to the effect of
sense of what needs to be done. portraying the smoothness. After this
I will then go over the whole piece • Invest in a pencil extender,
again, adding in the detail. For this they are very inexpensive
STEP FIVE step pencils must remain sharp. I often and will help you to get the
I then begin to fill each facet of the find myself with pencil in one hand most out of those pencils you
crystal with a light layer of colour. and sharpener in the other, lightly thought you would never use
Studying the image intensely I will sharpening after every few strokes. as they were too short, but
colour in small areas at a time as couldn’t bear to throw out!
opposed to filling the whole subject with • I use a Bruynzeel pencil
a layer of colour. I feel that completing FINAL STEP sharpener and sharpen all my
small sections at a time makes the whole The final step is difficult for me as I pencils by hand (no electric
subject less daunting to complete. never feel quite finished. Generally sharpener). This sharpener is
I will stand back from the drawing the Rolls Royce of sharpeners!
or walk away and come back a few Sharpening by hand allows
STEP SIX minutes later. This helps to readjust you to feel the pencil and
I continue the process of filling in my perception and see clearer what adjust the way you are
each facet at a time. My pencil strokes details still need to be added. This sharpening to avoid breaks.
are light at this stage, as I gradually process can take weeks but for
build up the colours layer after layer. me is a very necessary step.

I N S I G H T
Constance Robertson
Painting Compulsion By Constance Robertson
This South African artist who paints because she feels compelled to sells
many of her paintings … and also gives some of them away to people who
love them for what they are.
J
ohannesburg in South Africa was my
birthplace. I now live at Heidelberg in the
Western Cape Province of South Africa,
and I paint full-time.
I attended Rhodes University at
Grahamstown, to study for a Bachelor of
Fine Arts Degree, tutored by Professors Brian
Bradshaw and Robert Brook. Subsequently I
completed two courses in Ceramic Sculpture
with Charles Gotthard; four years of
‘unlearning’ technical illustration habits with
Wendy Martell; and a Stained Glass Techniques
course with Marise Mill.
Becoming one with the sea or the mountains
or fields is what I am passionate about when
painting … being in ‘the zone’.
I’ve scribbled, drawn and painted ever since I
can remember, something I realised when I was
sorting through boxes of my mother’s treasures
after she died. She had kept every little ‘present’
I had ever given her; some from before I went
to school.
When my own children were young, I began
a technical career as a draughtswoman. I
soon discovered that my artwork had become
hopelessly stylised. Sitting in a Ghanaian
rainforest, surrounded by multitudes of
butterflies, I realised that I had to paint to
fulfil a part of me which had been neglected
for too many years.
I returned to South Africa and spent four
years with Wendy Martell, using only pastels.
I stopped obsessing about perfect lines and
angles. Soon I started to sell my art, and the
more I escaped ‘being precious’, the more my
work improved.

I N S I G H T
I’m not sure if I should call myself and the tides; the continuous ebb and is a seascape of the dunes in front of
a hobby artist or a professional; I paint flow of the scudding clouds that create our beach cottage at Whitesands. I felt
because I feel compelled to. I never do magical figures and cast shadows compelled to paint the rosy pink sky
it to while away my time; or in order on the land; the aromatic fields of overhung with soft blue that lasted
to have an income. I sell my paintings, wildflowers and wheat which dance to for a few precious minutes; and the
but I also give them away to those who the wind that blows. The fascinating sea which became calm and peaceful.
love them for what they are. textures and shapes of trees. The pale blue reflection of the sky
I have used graphite pencils, My work is widely exhibited, capped with snowy wavelets at low
charcoal, watercolours, pen and ink, although I don’t participate in art tide; and the dunes when they, in turn,
water soluble coloured pencils, acrylics, shows or competitions. I find the ‘mine blushed pink and felt cool underfoot.
soft pastels and oils. I have done mixed are better than those’ attitude very Everywhere there was a hush as night
media paintings using mulberry papers, offensive. I paint because I want to; started to close in.
acrylic inks and paints, everything I can for me, trying to compete is futile and I believe that painting mishaps
think of – and then pastels! I really love self-defeating. ‘In the Gallery’ is a Dire are meant to happen. One really bad
working with soft pastels; the softer the Straits music track which I think every occasion was when I decided to paint
better. My favourites are Schmincke … artist should heed. a field of flowering red poppies. I
when I use them they are like painting The beautiful countryside is a major chose a green ground, hoping the
with butter and I’ve yet to find any source of my artistic inspiration. There complementary colour of the poppies
others that can compare. I like Ingres are also some places in this world would make it striking. I could not
and Arches papers. which have made me catch my breath have been more wrong. It created a
I love to paint seas, skies, fields and in wonder. My painting ‘Tranquillity dark and gloomy mood; impossible
trees. The restless breathing of waves for Now’ is a personal favourite. It to lighten. I became involved with

I N S I G H T
too much detail and my work looked

like it had a virulent spotted disease
with absolutely no focal point. I made
matters worse by painting a large oak
tree on one side; it was out of scale and
it looked incongruous. The painting was
a disaster. In disgust, I cut it up.
I once tried to fix and ‘freshen up’
a pastel painting. That was one of my
worst mistakes – I ruined the picture
beyond repair. My painting ability had
evolved since I first created the art work.
My rejuvenation attempt produced a
hideous mess. I have kept it to remind
me not to fiddle about on any work
which is finished and signed!
I have three of my own artworks in my
personal collection.
My paintings are displayed at four
galleries: Reflections of Montagu,
Swellendam Kunsgallery, Star Nation
Gallery and Sikelela Art Gallery. My
work can also be seen on five websites
including SouthAfricanArtists.com and
arcyart.com
Artists who I admire include Leonardo,
Monet and Turner; the Australian R.
Godfrey Rivers; Canada’s Wayne
Gaudon; and South Africa’s Gregoire
Boonzaaier, J.H. Pierneef, Tinus De
Jongh and Judith Mason.
I am eternally gratefully to Wayne
Gaudon. He has compelled me to
dispassionately examine my values – both
what I have done in the past, and what I
am capable of doing in the future.
Another important influence was
Noel Hodnett. When I was a young
undergraduate, he befriended me and
took me under his wing … when he
realised that I felt totally overwhelmed
and terrified by the caustic tongue of
our Professor and Dean of the Arts
Department.
Since my childhood, I have developed
a habit of looking at everything and
learning from observation. For example,
clouds are not white tufts of cottonwool
floating around in a blue sky; they are
water and air sculptured by the wind,
with the sunlight shining above them
(even when you cannot see it). Clouds
are not white, they reflect the sun’s
golden light; underneath they are not
grey, but violet and blue. I still try to
learn from every available source –
from books, paintings, and other artists;

I N S I G H T
but most importantly, from trying is that they must be true to themselves definitely have fun and find joy in what
to understand the ‘interiors’ of my and honest with what they paint. They they are doing.
subjects. Exteriors are superficial and should never compare themselves to As an artist, my ultimate goal is to
deceitful. other artists and try to match their work grow and learn more. Painting is not a
When I find myself entering a – copying is just shallow imitation. finite journey and the more I learn, the
‘creative desert’, I go into my garden They must also learn to draw – there is more I realise how little I know!
and ‘paint’ with flowers. A garden is a no point in painting if they have no idea
very rewarding canvas to play with. of perspective, anatomy or what their My email address is:
My best advice for developing artists subject is made up of. And they should conoro@telkomsa.net n

Pastels
Come with e
By Constance Robertson
A pastellist in South Africa has applied her significant pastel skills to this
calm and peaceful seascape complete with foliage carpeted sand dunes.
M AT E R I A L S
• Arches Pastel and Fusain

Laid Paper, 29.7 x 42 cm,
Ingres MBM, 130gsm.
• Charcoal.
• Schmincke Pastels: White; Light
Green; Grey Blue 1; Light Ochre;
Greenish Grey; Greenish Umber;
Olive Ochre Deep; Permanent
Red; Carmine Red; Madder Lake;
Gold Ochre; Manganese Violet.
• Rembrandt Olive Green
and Green Earth.
• Sennelier Pastels: 133 Prussian
Blue; 298 Light Yellow.
• Unison Pastels: 44; A29;
BV11; BV9; BG6; BG2;
various other Blues.
• Winsor & Newton Natural
Sienna and Winsor Yellow.
FINAL STEP • Faber-Castell Art Eraser.
STEP ONE due to serious ozone depletion. where I thought the centres of the paper
Because this is a place that I love Using a piece of charcoal were. I did not use any rigid means of
and know well, I did not use a approximately 3cm long on its edge, I measuring this. The only time I ever
photograph to provide inspiration … dragged a centimetre line along each use a ruler to measure my work is when
only my memory. I chose not to paint of the four sides of the paper, thus I draw the horizon of an ocean – which
in the open air, when midsummer ensuring that there was enough space must always be straight (no matter what
temperatures were in the late 30s and provided for framing purposes later. your eye or the camera tells you).
the plant life was seemingly dead. Applying the ‘Thirds Rule’, I made Still using the charcoal’s edge, not
In South Africa, as in Australia, small charcoal marks horizontally its point, I drew a rough sketch of
painting outside can be unwise and vertically, and added light marks where my shoreline was and where

STEP ONE STEP TWO
I wanted to place the dunes and always lightest on the horizon, which water) and Sennelier 133 Prussian
undergrowth. Once I was satisfied I darkens as one’s eye travels upwards. Blue to enhance the darker parts of
took a feather duster and lightly dusted Using the medium shade of blue, the ocean and the rise of the swells
off all the loose charcoal – to ensure Unison BV9, I next blended a dome where the waves were going to crash
that it would not muddy any colours. into the sky; finally finishing with down. Once again, as with every
the darkest blue (Unison BV11) up step, I moved back to ensure that
into the top corners. Once satisfied, the work looked and ‘felt’ right.
STEP TWO I used Schmincke White on its side
The second step was to work on and started layering the clouds from STEP FOUR
and hopefully complete the sky. I the horizon of the sea upwards. I like I roughly blocked in the dunes,
first used the palest blue, Unison to take a step backwards and squint foliage and flowers, using colours
BG6, and lightly began to layer the at the work to check if it is OK. already chosen as the basis for
entire sky area – blending with my each. Having decided that my light
fingertips until the entire surface source (the sun) was on the left, I
was smoothly covered. I feel that the STEP ThREE started using Schmincke Manganese
sky is air, an intangible thing; and as I started to work on the most distant Violet and/or Unison A29 to give
such, I cannot give anything more part of the sea, and I began painting me an approximate idea of where
than ethereal substance. The sky is with Unison BG2 (to work the I wanted my shadows to fall.
STEP ThREE STEP FOUR

STEP FIVE STEP SIX
STEP FIVE STEP SIX so I used Unison BG2 to cool the

Using all the colours shown in the Something really extraordinary and shadows; simultaneously reflecting
Materials List, I started adding wonderful happened here. The paint the same shade as the sea. This also
and working on the bushes and the seemed to flow from my fingers and applied to the flowers facing the light
flowers. Thus far I had not used the there was nothing and nobody but my – they needed the yellow reflection
points or tips of my pastels at all painting and myself in the universe. of the sun bouncing off them.
(they had been applied edgewise and Sadly this altered state doesn’t happen I finally blurred the outline of
slanted onto the paper throughout, very often … but if it did we would the horizon with sea mist and took
so that it was more like painting all probably die from a lack of food a digital photograph so I could
with a brush and not a pencil). I and sleep. Using all my pastels here carefully look at the picture in its
manipulated and teased the pastels, (with the exception of white), I entirety on my computer monitor.
and tried to see how I could make simply painted. I built up the plants,
the flowers flow into each other and moved the sand as the wind would;
come alive. At the same time I used and then finally (using Schmincke FINAL STEP
both Schmincke Light Ochre and White) I started to play with the I added final stabs of white to bring
Unison A29 simultaneously to make waves breaking over the swells. a sparkle and shine to my painting
them merge and run into each other It was very important to have a really and then I signed it and left it alone
and recreate the undulating sea sand. good look at the painting and make … because I knew that any further
I used Rembrandt Olive Green to sure that everything was correct. I additions or alterations would ruin this
suggest the trailing greenery which noticed that my values for the distant act of love. This is the most difficult
wanders at will on the dunes. bushes were too strong and warm, thing to do with any painting! n
MASTER hINTS AND TIPS

• Before working with pastels, always best acid free toothed paper you can with your eyes; not what
tear the label off and break a piece afford and always choose the colour your brain thinks is there.
about 20mm long to work with. Write according to the type of mood you • Break rules sometimes! Don’t
the manufacturer’s name and colour want to project in your painting. rigidly adhere to each and every
details on a chart before you do this. • Try and use your camera for rule so that you forget about
• Always use the best quality pastels reference purposes only. The expressing how you really feel.
you can afford. Save money to buy camera’s lense does not work • If you have the freedom to do so,
the colours you will use the most. the way your eyes do, and what paint only what you love … and enjoy
Buying large boxed sets is very you get on a photograph is every stroke. Your emotions should
exciting, but there are many colours not what is actually there. pour out of you into the painting;
which you may never use. Use the • Learn to see what is there regardless of what the critics say.

Artist’s Drawin d In irat 3
I N S I G H T
Nola Jones
This Adventure of Painting

With a love for realism, this artist takes great delight in studying the intricate
structure of nature, and now that her family has grown up, she enjoys sharing
her extensive art skills with her students.
I
was born in Benalla, north east
Victoria, but actually lived in a
very isolated country area called
Toobullup, near Tolmie. Our family
moved to Benalla for a short time
before moving to Thoona; my Dad
running the Post Office. From there
we moved to Meeniyan in South
Gippsland. Both my parents came off
the land and Dad had always wanted to
raise poultry, so when the opportunity
arose, he moved us back to the north
east to live in Wangaratta, where he
became a poultry farmer.
While living in the country, creativity
was found in an age of self-sufficiency,
and at an early age I learnt to sew and
cook, and also watched and learned
as my family grew vegetables, baked,
preserved fruits and jam, raised
chickens, milked a cow, and made
bread and butter.
After marrying a local farmer I
settled in Moyhu, near Wangarattta,
and was more than happy to continue
this rural life style, especially while our
four children were at home. Having
the freedom to live amongst and study
nature brings a sense of wellbeing and
belonging. Moyhu is situated in the King
Valley, known for its rich wine industry.
Today we fatten predominately cattle for
the export trade, after changing over from
dairying.
I still enjoy any craft using my
hands, whether it is dressmaking,
sewing most of my family’s clothes,
"Memories of Mother –
quilting, needlework, cooking,
Genesis Heat Set Oils
gardening, Paverpol, cross-stitch, long

I N S I G H T
Drawing of Woman's Head

Sparrieshoop Rose – Genesis Heat Set Oils (Leonado da Vinci) – Acrylics
stitch tapestry, fabric painting, and art had begun. I continued art studies continue my love of teaching. Art was
machine embroidery. at high school for several years, put on the backburner for a later time.
My earliest memories of art go where I also enjoyed Domestic Art In 1997, while caring for my ageing
back to studying pencil drawings and and Textiles, so it wasn’t any surprise Mother and mother-in-law, life was
a special pen and ink work by my to apply to “Larnook” Domestic extremely busy for me with young
Mother’s uncle, which I copied and Art’s Secondary Teacher’s College, children still at home. Many thanks
still have, and remembering listening Melbourne. While there I was able to go to friends who encouraged me to
to stories about my Dad’s relation, continue art as an extra subject. take up folk art classes (this was the
Sidney Nolan. Many of my relations After graduation I taught at only tutor teaching in the district at
have painting as a hobby today. Wangaratta High School until my the time). I fell in love with it and still
Entering a primary school children arrived, and then began my enjoy it to this day. This was truly a
competition by the Gould League of 30 years of adult teaching with the sanity saving time.
Bird Lovers, I was thrilled to win; Wangaratta Adult Centre. Here I was Changes to folk art saw it becoming
little did I know that my journey in able to work between school hours and more decorative painting, as well
Paddy the Police band

drum Horse – Pastels Renewed Hope – Genesis Heat Set Oils

I N S I G H T
Gentle Giants at Work – Genesis heat set Oils
as painting on wood, we were using I mostly use a limited palette, with a intricate structure of nature fascinates
canvas and watercolour paper. few extra colours thrown in. What a me, the depth in a rose, the folds and
During this time I attended many thrill it was to sell this painting. Many ruffles on an iris, the light dancing
workshops and True Blue Decorative thanks go to Erna. across the field or on a tree, and I
Art Conferences. Slowly, my art Over the last few years I have painted understand the many values that give
was changing and I was pleasantly landscapes of our farm, which all have rhythm throughout a painting. When
surprised when people told me they the property name of “Gumdale” in people say, “I could just pick the
could recognise my ‘style’. them. Each of my children now has a flower off your painting” or that my
Wishing to learn more on painting landscape painting of our farm, and I landscapes gives them such a feeling
with oils, I went to an oil painting hope that the set will stay in the family. of peace, I feel rewarded, knowing I
workshop with Erna Roche. Having My first commissioned painting was a have done justice to nature.
never painted with a limited palette, landscape as a farewell gift for the local Over the years I have learnt to work
I was totally and I mean totally out Post Office family, with a view from with many mediums, and depending
of my comfort zone. I was frustrated their house looking back to the hills. on my mood at the time, I can make
and ready to give up, but with gentle With some trepidation I agreed, and so a choice as to which medium I would
encouragement, managed to work began my serious fine art journey. like to use next. It could be Acrylics,
though the painting, mixing my While many people say just take a Oils, Genesis Heat-set Oils, Liquid
colours and, surprise, surprise, today photo, I love realism. Studying the Pencils, Watercolour, or Graphite, so I
Nasturtiums – Pastels Purple Iris – Acrylics

I N S I G H T
can sometimes have a few paintings on

the go at once. These can be anything
from flowers, portraits, landscapes,
birds, and still life.
Thanks to Sonis Aldous’ workshop,
my favourite medium is Genesis heat-
set oils, due to their ease of blending,
and also because they are odourless
and non-toxic, plus the ability to heat-
set to continue painting. They go a
long way and never dry until heat-set,
so clean working ethics are important.
Many other artists at workshops
have influenced my love of art,
including Robyn Cooper, Chris Roy, Brian – Pastels Chris – Pastels
Jan Shaw, Rachel Baker, Jenny Paul,
Kate Ferguson, Herman Pekel and
Ross Paterson.
Now that my family has grown up, I
have more time to enjoy this adventure
of painting. It has become important
to me to also to share it, though my
love of teaching at ‘Gumdale Cottage’.
I am fortunate to have my late mother-
in-law’s cottage to use as a teaching
studio on the farm. Having a country
outlook and listening to the birds while
we paint is perfect.
Over the last five years I have
been studying online with a fantastic
program run by the Art Apprentice
Online group. The video lessons,
which we download, can be watched
Horse and Dray – Oils
as needed and it is like having your
own personal tutor. We send pictures
of the different stages of work for
critiquing, which keeps us on track.
I am fortunate to work with Chroma
as a support teacher and demonstrate
locally, also giving donations for
community groups. I have sold my
works through exhibitions, private
sales and art shows, where I have
gained highly commended certificates.
Supporting the Wangaratta Agricultural
show over the years has given me
the pleasure of many wins in various
categories of art, craft and cooking,
and I have achieved Best in the Show
and Best Exhibitor several times.
In the next years, I look forward to
where my art will take me.
For further information contact

Crossing at Gumdale – Oils
Nola Jones 03 5727 9295. n

Liquid Pencils
The Rose
By Nola Jones
These beautifully
intricate roses come
to life with liquid
pencils.
M AT E r I A L S
• Arches smooth watercolour

paper 300msg
• Derivan Liquid Pencils
Rewettable - Yellow and Sepia
• ¼” dagger brush (Neef)
• Paper towel
• Palette knife
• Fine permanent pen
• 2B pencil
• Tracing paper A4
• Support board
• Masking tape
• Watercolour palette
• Eraser
STEP FIVE AND FINAL STEP

STEP ONE STEP TWO
STEP ONE each area with water and lay down Keep the leaves a softer
Firstly, read the Hints & Tips at the the first very pale washes, using tone throughout.
end of this demonstration. Trace Sepia for the rose and Yellow for the
the pattern onto tracing paper, leaves, stems and sepals. This is to
using the fine permanent pen. give a softness to the overall design. STEP FIVE
Using preferred method, transfer Now for the WOW factor.!!!
pattern onto watercolour paper Working over each petal, even using
with 2B pencil. Carefully rub out STEP THrEE full strength paint, place much
any dark pencil lines. The leaves Increase the strength of colours stronger colours for accents, under
are optional. Tape onto board. and start to define areas by adding turnbacks and particularly where
less water to the paint. Areas can there are V angles, and darken
be dampened as needed to soften the shadow areas. Strengthen the
STEP TWO the colours or to blend out edges. ruffles. These value changes give
Taking approximately half a choc- more dimensions to the design.
chip size of paint, place Sepia and Dried areas on some petals
Yellow Liquid Pencils on your palette. STEP FOUr can be gently softened by
Taking a little of each, add water to Bring stronger shadows onto erasing around the curve of the
make a very pale colour. Dampen and under petals and ruffles. petal to give a rolled effect.

FINAL STEP
Outline some of the edges with
varying values of Sepia and Yellow.
Sign, frame and hang with pride.
Further information contact

Nola Jones 03 5727 9295.n
ArTIST’S
HINTS AND
TIPS
• Transferring patterns can be
done several different ways
e.g. free hand design in pencil,
pattern can be of your own
choice; rub a 6B pencil onto
the back of the pattern, then
using a stylus or old Biro, trace
onto paper; use a light box;
you could even use a window.
• Cover dry work with
a paper towel to keep
clean where possible.
• Use small quantities of
Liquid Pencils at a time, as
they are very economical.
• Even though Liquid Pencils
will dry, they are rewettable.
• Use the very versatile dagger
brush that best suits what you
want to do e.g. cover a larger
area with longer edge; tip for
fine lines; dragging down
length wise for pulling veins.
• Depending on the paper used,
occasionally it swells when
wet, but will generally sit flat
when dry. You can dampen
the back of the painting,
cover with a plastic sheet
and place a heavy book on
it, allowing time to dry.

Artist’s Drawin d In irat 1
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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

THE COMMITTED ARTIST

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

Artist insights And

C Jeanette Noblet C Jeanette Noblet C Jeanette Noblet

C Jeanette Noblet C Jeanette Noblet C Jeanette Noblet

6 Artist’s Drawing and Inspiration

Elena Kolotusha Elena Kolotusha

Elena Kolotusha Elena Kolotusha

Elena ﬁrst worked as a

Artist’s Drawing and Inspiration 7

Jack Tiyce Jack Tiyce

8 Artist’s Drawing and Inspiration

Tynan Salamore Tynan Salamore

Tynan Salamore Tynan Salamore

Artist’s Drawing and Inspiration 9

10 Artist’s Drawing and Inspiration

RepResented By Darwin, NT • Framed – The Darwin Gallery: 2007

Artist’s Drawing and Inspiration 13

14 Artist’s Drawing and Inspiration

Paul’s work is represented in

Artist’s Drawing and Inspiration 15

16 Artist’s Drawing and Inspiration

Artist’s Drawing and Inspiration 17

18 Artist’s Drawing and Inspiration

Artist’s Drawing and Inspiration 19

It’s all about the journey

20 Artist’s Drawing and Inspiration

Artist’s Drawing and I spiration 21

look at it for a day, or two if I really like it,

22 Artist’s Drawing and Inspiration

Artist’s Drawing and I spiration 23

current project is at its various phases and stages. As I

24 Artist’s Drawing and Inspiration

Pastels and Charcoal

Orient l Girl By Ali Black

• I used Mi Teintes TEX Pastel

26 Artist’s Drawing and Inspiration

STEp OnE STEp TWO

Artist’s Drawing and I spiration 27

STEp THREE STEp fOUR

28 Artist’s Drawing and Inspiration

STEp fIVE STEp SIX

ARTIST’S HInTS AnD TIpS

Artist’s Drawing and I spiration 29

I Just Love to Paint

30 Artist’s Drawing and Inspiration

Artist’s Drawing and Inspiration 31

Retriever pup – Graphite

32 Artist’s Drawing and Inspiration

Artist’s Drawing and Inspiration 33

Moet – Colour pencil

Hear no evil… – Acrylic Joey 2 – Graphite

34 Artist’s Drawing and Inspiration

Full rich impasto for striking textured

Thinner viscosity free flowing for a

Intense, vibrant colours including

Artwork by Ian Sax

Derivan Pty Ltd

Alpaca By Johanna Gallon