THE MAGAZINE FOR ALL ARTISTS bh. bid SVSieelWaa\ sen a ynolnlas ‘es Fas Ba STS" EXHIBITION say Ties Serie ee eae rN Mice san ee es FIVE INSPIRING ARTISTSIssue No.194 2024 42 Back to the Future With the discovery of pencils, snow a mere 250 years ago a group of artists put together an amazing exhibition 14 John McCartin With a garden full of blossoming roses, camellia and azaleas, John never needs to look for inspiration, 24 Katherine Seriffignano Katherine began painting very recently and dreams now of moving ‘on to become professio 26 Ross Roorda Ross produces art which is undeniably honest and believable, 44 Julie Burdis Julie followed her dream, con to Australia and developing he artistic talents 54 Glen A Smith Glen's joumey so far 20 Onkaparinga Morning John MeCartin painted this scene from a selection of photos taken at Mount Pleasant. Cover image by: John MeCartin28 Nature in Motion After experimenting with a mixture: of acrylic paint brands Katherine Scrffignano has found that she now has a definite preference for Atelier acrylic. 42 Damien ‘Strong features add brooding depth to this portrait by Ross Roorda, 50 A Powerful li Julie Buri skilfully captures the intensity of the landscape, 68 The Fish Pond For Glen A Smith, finding a connection ‘with his subject is just the start for each, work of art 78 Book Store 82 Next IssueADVERT! SER FEATURE Never bow old 'y name is Marion and my journey in the art world id not begin until I was, in my fifties - just proving you are never (00 old to learn something new. I immigrated to Australia from Germany with my parents when I was two. [left school early and was ‘married young and soon had four ‘wonderful children to keep me busy. Now settled on a small acreage in Bloomsbury, Queensland, with the children all grown and with lives of their own, I had time to try my hhand at something I always wanted to achieve, to paint a picture. So iy darling husband bought me a set of pastels for Christmas. I loved those pastels and soon added to my supply. A neighbour then suggested Tuy a painting in acrylics. Folk art seemed like a good place (o By Marion Thompson start but I soon discovered that I wanted more realistic results ‘When Hubby suggested I try to paint ‘our shed/converted home from a photo I realised that this was something I really enjoyed. I soon got frustrated however When I couldn’t achieve a ‘wet on wet technique as the paints ried too quickly and T also had trouble ‘gauging how much darker my paintings ‘would be when fully dry. Also, being a slow painter, I was wasting way too much paint. Oils weren’t an option because of the odour and I couldn’t have handled waiting for paint to dry before progressing to the next step, ‘Then a good friend of mine and I noticed an advertisement for Genesis ils and decided to give them a try. ‘Our first painting was from a Derek Allen DVD demonstration. We were Doth so excited, once we got over our fear of the heat gun, at just how great these paints were, Also the fact that ‘we were learning to mix colours from the chart was an added bonus and with Virtually no waste. An art teacher! friend fas since bought Genesis Oils and another friend just received a starter pack for her 70th birthday and can't ‘wait to get started on her frst painting Tclass myself as a hobby painter and like to paint from my own photographs Genesis Oils are my preferred medium now followed closely by pastels. My ambition is to paint more often and to be able to paint from my imagination or do some plein air painting. In the meantime Tam happy to paint ‘whenever I can as it takes you to another world where time doesn’t exist Marion Thompson Bloomsbury, Queensland,GENESIS HEAT SET OILS ARTISTS’ COLOURS Deal direct with the Australian Distributor and ‘enjoy our prompt and friendly service. paint that dries when YOU decide........ ented ~ Colourfast ~ Professional Quality [Please send me a ‘GENESIS GIFTISTARTER PACK @ $138 rows [Please send me a FREE INFORMATION PACK INCLUDING DVD Llenclose my chequelmoney order for $138 NAME, ADDRESS Phone Number eval * share n postage cde of Atala wil ee Shpemy Vea Masta J Zéyourletters At t's Palette magazine invites corr jandence from reade everywhere. We will seek to publish some of the best letters we receive. Email letters to ‘The Editor’ — ap@woodlandspublishing.com.au - or you may altematively mail them to PO Box 8035, Glenmore Park NSW 2745. For Simon and team Thave recently returned from the Jabiru Safari Lodge in Mareeba Far North Queensland where Thad been working on ‘mural in a bird hide situated on one of the lagoons. The hide was built on stilts and looks like a mini watch tower, the idea being you sit on a bench inside and look through small slit windows to watch the birds. My job was to bring the outside environment into the hide and depict the birds that the bird watchers would see on the lagoon. It involved about 8 metres x 1 metre of lake and bushland scenes plus another 8 metres by 70cm of 12 water birds painted in a botanical style. Painting in ‘confined space was a challenge to say the least and at times I was painting left handed (Iam right handed!). I was using household paints which presented yet another challenge as mixing colours was, rather different to working with artist acrylic paints. I discovered some unusual, if unwanted, combinations! 1 painied the birds on plywood panels at home and shipped them up tothe loxige bout painted the lake and bush scenes in situ, I have taken a short video and photos of each panel and I wondered if You would be interested in publishing anything like this in your magazine. Due toa camera deciding not to come with me, I had to take photos on my HTC Desire phone which have actually worked {quite well however [have pat them onto 4.CD as they project in more detail than emailing, was featured in Issue 78 under the heading A Tumultuous Affair so not sure if you like repeating people! Patricia Martin Caloundra, Qld Ed: Thanks Patricia ~ your experience sounds fabulous. We'll be in touch with you. Dear Paitor Many thanks to a great team who deliver a great magazine! I often think how wonderful it must be to work in a place where one gets to view so many original artworks! ‘After getting Artist’s Palette on subscription for a year or two, [took up the magazine's offer to send photos of some of my own art into Woodlands’ Gallery. To see your own work in print isa fantastic experience. [was then invited to write an Insight piece about myself and my art, along ith a demonstration piece. [took up the challenge and my efforts were printed in last month's magazine (No 98) I was stunned speechless to see my “Marbles” piece on the front cover! Thank you! I would like to encourage any Artis’s Palette reader fo send in some of their work. It has been a fabulous experience, and the boost to one’s confidence is amazing! Abig THANK YOU to all of the Antist’s Palette team. Lynn Bowman via emai Ed: Thanks so much Lynn, and yes, itis «a thrill 0 view so many original works ofart. Dear Editor Thad a blank canvas on the easel for ‘ovo weeks, and even after looking at my photos, magazines and art books I ‘was still not inspired. ‘Then the three DVDs we had ordered How to Paint with Mark Waller, Water Fundamentals, Foam & Whitewash, and Tips & Techniques, arrived. My wife and I were so inspined with them we packed the caravan and travelled from the Sunshine Coast to Lennox Head and stayed for almost four weeks. ‘What a marvellous man is Mark, so enthusiastic and willing to pass on his knowledge. Our painting techniques hhave improved out of sight and our colour mixing and use of brushes has improved. We had two workshops with hhim and commissioned Mark to do a painting for us. ‘We both enjoy and look forward to Artist's Palette magazine each month, Regards David & Sue Everingham Ed: Fantastic that Mark's workshops ‘and DVDs have inspired you both with your artistic endeavours. The Editor ‘Thank you so much for presenting my atwork and demonstration so beautifully in Issue 98. It gives one a great boost be encouraged by such a great magazine. ‘As I said in my interview, you never stop learning. Maybe some time in the future you may allow me to submit some more of my work. ‘Thanks again Betty Spilsed, Berkeley, NSW Ed: Thank you Betty, and we would like 10 look at more of your work in the future. Dear Simon, Absolutely thrilled with this month's, edition of Artists Palette, as are all my family and friends. Simon, by talking me into demonstrating in your magazine you pushed me into ‘becoming a far better artist and gave ‘me heaps more confidence, so much so that I have painted quite a few since the ‘grass tree painting and have sold more Iso, [have been asked to exhibit in the Visitors Information Centre in our town, So, once again, many thanks Regards Marcia Maybury via email Ed: That's wonderful news Marcia, and best wishes for your upcoming exhibition.iquilex (5) THE FINEST ARTIST ACRYLIC PAINTS & MEDIUMS Liquitex offers the widest spectrum of vibrant acrylic paints, acrylic mediums and tools that enable you to bring your creative vision to life. Available at Colart Platinum stores & other leading retailers roy ng up ary Cee Us eure cd reat Newtown: 199A King St The Rocks: 3 Cambridge St CO eons Melbourne: 34 Little Latrobe St cy ‘The Sydney Art Store eee Perce] Peer tng eye Cee etna] Tilleys medi Rozelle: 661 Darling St te EN Pete ed pee ey Dn Ed Teeny erase rey COLL LESARTIST'S PALETTE magazine seeks to showease the ‘works of talented Australians prod Of skill levels, whether they are accomplished creative people ‘with a long history of achievements or beginners (of all ages) sriving to build their identities and reach their particular antistic goals 1g art at a whole range This ‘Gallery’ segment provides a place to display pictures, by people who may not have the means or the opportunity to be extensively featured in our magazine. Submissions are sought from such people for future Issues. This month we are pleased to display the work of another six enthusiastic artists, ACRYLIC SELECTION SET dat a 2 ' P< v ; ¥ . a Ivar Styeancfaye.nifirngPot than ogee. need monet, aces atte cm ent Tunnisisecbockraditer, “Ukgagsanliaaisipaiacd Sogaandwatelap epi yba tam Kool Depesi satel nny ay ‘Bish’ taal Biter, arose Ati ey Genny to a complete mental breakdown, — our lost son). The process of my passion is for learning. I want secyithicuswr — pangiceaaieyminiand ——iiwenaytng Toned erey cocking ititimerccae —Tandeaytoncanantepea ‘Sod ly er Sep, Saar pa cee Sy mae Sr ere rea get some paint and a canvas and put ‘Now I paint mostly in pastels and ‘Our lite girl was bom in NovemberINSIGHT 2010. So I paint when I can, often depriving myself of sleep. After I tuck the children into bed at night, I start painting; and the next thing [know the sun is rising also take a great deal of pleasure in teaching my boys about art and I have found they have a great passion and talent for drawing and painting as well. They have both won awards for their work in junior sections of at competitions. With encouragement from my Mum, who stil paints and isa constant inspiration and encouragement to me, I joined a litte group of people called “The Waterfront Artist” We get together once a week to paint, share, leam and encourage each other. The sroup also encouraged me to enter in some competitions, so I put three entries in the Captain Cook 1770 Festival Competition and won a Certificate of Merit for my pastel “After Sunset’ also pat two entries in the Gladstone Show Society Annual Art ‘Show and won First Place for ‘My Sons’ in the Portraits section and Second Place for “Australian Woolshed” in the Pastel section. ‘The Gladstone Community Women’s Health Centre offered to buy “Bright One” after I entered it in the Women’s Day Festival Art Show; however I declined to sell that particular painting and instead loaned it to them for display in their foyer. ‘A Queensland collector also has two of my pastels. It would be difficult to choose a favourite ‘out of my collection of works, since each is so unique. “Beach Shack’ would be ‘one of my most ambitious (both for its size and detail) and I was pleased that it tumed out exactly as Thal envisioned it, One disaster happened when I used an ‘ordinary lead pencil to draw a grid onto canvas with the intention of using i to copy picture I liked... rather than using my usual method of just drawing by eye. Unhappy with this approach, I decided against the whole idea and used the canvas (not wanting to waste a perfectly good canvas just because it had some pencil 6m it) to do a version of my mother and child theme, just drawing an image T had in my head. it was the second in a series Lam hoping to complete, using basically the same image in different monotones to see what different moods are created. ‘The second mistake was when T decided on a yellow/orange palette. About halfwayINSIGHT through [realised the light colours ‘were allowing the grid (0 show through and no amount of paint I was using was covering it complete Teventually saved the pai by putting further washes of orange and yellow over the squares ‘went with emphasising them ra than trying to hide them. In the end. Twas fairly pleased with the result: “Mother and Child Orange Tnow only use watercolour pencils or charcoal to draw on my can Thave a ip for busy mums who want to paint with acrylics. Put Glad Wrap over your palette before you begin; with a good overhang. I you rnced to walk away from your painting, {ust fold the overhanging section of Glad Wrap over the top of your wet paint, sandwiching it between the two yyers of plastic. It will stay usable for atleast 24 hours (sometimes longer iff most of the air is excluded). Lam constantly surprised and delighted by the interest shown in ithas only been a few short months since I began painting. T dream now of one day being able to exhibit my paintings: and moving on to become a professional artist [still paint mainly for therapy, and the joy and peace Which each creation brings me. Recently I accepted another painting commission. It seems Tam on my way to bringing my wish to fruition IlDEMONSTRATION Acrylics By Katherine Scriffignano After experimenting with a mixture of acrylic paint brands, this artist has found that she now has a definite preference for Atelier acry! because they are nice to work with and they have a good pigment, colour and consistency. PN e nodDEMONSTRATION yucl afe) STEP ONE STEP THREE bition I sketched my idea directly onto the Once that layer had dried, I worked invas using a watercolour pencil so in the same colours until 1 was happy + Primed canvas, as not to affect my finished painting —__with the background; gradually + Artists’ acrylic paints: Atelier (as it blends with the paint rather than building up the background, adding Permanent Green Light; Atelier needing (0 be covered up). This just base colour to the butterflies, using, Cool Blue; Atelier Cadmium ‘gave me an idea Whether my painting cool blue and white with a Number Yellow Light; Atelier Light Red ‘would ‘work’ or not. Atthis time,1 6 Taklon; then applying Cauldron ‘Ochre; A2 Titanium White: also worked out the composition, Black watered down for the wing tips. Lalso began the base coat of the flower, in white and yellow. Jo Sonja’s Phthalo Green; Jo Sonja’s Carbon Black; Jo eTEerwal Sonja’s Cadmium Scarlet Using a Number 8 Taklon brush, pome eats Tegan wih Permanent Green STEP Four ieee Ligh Lemon Yellow and Palo Using Cadivm Scatlet an Takion round hms Green, watered down to check yellow to add some form to the my colour composition. Mowers, I then made a wash of San aos Saat’aah: So RT on the background colours and went over the flowers to soften them. I did this a couple of times, until Twas happy with the result STEP FIVE Tused Red Ochre, black and yellow to begin defining the dead branches and old seed pods; and ‘worked over these elements with the background colour washes again, to soften and push them back. STEP SIX Next I added the green leaves in the foreground for the stationary butterfly to sit on — using Ochre, black, Phthalo Green and yellow, layering for depth. [ also began to work on detailing the butterflies using white, black, red and yellow with a Number 0 Taklon round brush, STEP SEVEN reassessed the overall oo decided the background didn’t have enough depth or variation. Tadded more yellow washes to lighten the top right where the light was coming from; and used washes of red, Light Red Ochre. ‘green, yellow and black to darken the lower part of the painting and give more depth and shadow. ‘A few more finishing touches here and there . .. and the painting was complete.GENESI Sa e ooo, ekeoreraat Co eda oles eile pounce Sera esc a Please send me a: Oi Genesis Gift/Starter Pack at $139 CO FREE Genesis Information Pack (inc DVD) Nai Address: Phone: 0 Money Order GF Visa/Mastercard “phIN THE GALLERIES Back te the Futuve With the discovery of pencils now a mere 250 years ago, a group of artists put together an amazing exhibition ‘ociety recently presented the Gardens in Toowong, Brisbane, sponsors of QWAST and, certainly, Faber-Castell 250th Anniversary Count Andreas and Countess 250 years operating as a family exhibition at the Richard Randall ‘Virginia von Faber-Castell are ‘company is something to celebrate! T: Queensland Wildlife Artists Studio Gallery, Mt Coot-tha Botanic patrons and major supporters and Guinea fowl by Robyn Abrey ‘Sunbirds Whos there? by Janet Matthews: 82 Ants PoetIN THE GALLERIES Melaleuca by Gall Higgins Over fifty paintings from QWASI members and non-members were hhung and subsequently judged by acclaimed artist Judy Scotchford and Faber-Castell representative Anne Wilsteed. The judges were very impressed by the standard of the work and the diversity of subject and media used. Native flora and fauna worldwide as well as wild places were the subjes matter and entry was restricted (o work produced using at least 80 per cent Faber-Castell product. Paintings in pastel, ink, colour pencil, water-colour pencil, graphite, charcoal and mixed media showcased the techniques of artists who paint wildlife “Awards were presented at a Meet the Artists day on Saturday 25 June which was well attended by artists and members of the public, including some of th artist members from interstate. Sandra Temple won Best of Show for “Mountain Retreat”, (Snow Leopards) ~ she is now the proud owner of the donated by Faber-Castell. Only 1761 of these cases were produced worldwide (1761 being the first year of operation of the company).Best Fiora~ Nola Sindel Other major winners were: + Natasha Maciejewski Anastassia Demeshko (junior). * Nick Quiel and Chris MeCletland (Best Junior Award), Hundreds of voting slips for the (Equal Best Fauna) + Highly Commended awards went People’s Choice Award were received + Anna Beveridge (Best Wild Places) to Janet Matthews, Gail Higgins, and the winning work was Sandra’s + Nola Sindell (Best Flora) Nick Quiel, Robyn Abrey and “Mountain Retreat”, with “Melaleuca” 34 Anat PoetGALLERIES by Gail Higgins and “Where's George” by Janet Matthews equal second. ‘Top 10 in the People’s Choice Votes + “Mountain Retreat “(78 votes) by Sandra Temple + “Where's George?" (34 votes) by Janet Matthews + Melaleuca’ (34 votes) by Gail Higgins + “Silent Shapes’ (32 votes) by Sandra Temple + “Billabong Blue” (30 votes) by Gail Higgins + ‘Roar’ (28 votes) by Nora Jones + “Ikhelila’ (26 votes) by Nick Quiel + “Exuberance of Youth’ (25 votes) by Chris MeClelland + Our Dinosaurs’ (23 votes) by Sandra Temple + Predator Alert’ (20 votes) by Nick Quie! Queensland Wildlife Artists Society Incorporate voww.qwasi-wildlife cor awasiwildlife@iprimus.com.au (Our next Exhibition “Wildlife in Art 2011" 29 Oct ~ 6 Nov. Australian Flora and Fauna. Richard Randal Studio Gallery, Mt Coot-tha Botanic Gardens, Toowong, Brisbane. Open 7 days 8.30am - 4.30pm.INSIGHT Ross Roorda Sense of ee Painting is part of this talented man’s life. It gives him a sense of purpose and it is how he relates to the world by producing outstanding art which is undeniably honest and believable. By Ross Roorda 36 Anats Poet y full-time occupation is Principal for a behaviour school in Sydney's ‘western suburbs. My home is at Lawson in the Blue Mountains. T completed an Ant Certificate course at Meadowbank TAFE in 1987 and then went on to what was then known as City Art Institute to complete a Bachelor of Ants Degree in Fine Arts, in 1989. I returned to university in 1994 to do a Diploma of Education at the University of Westem Sydney, Thave continued to paint and draw 1g University; and although Tnever did art at high school, Fad always drawn as a kid. My Year Six art teacher withdrew me from, the class to talk with me because I iad shown potential in rendering form — a concept that was apparently supposed to happen much later. It was the only real highlight from my schooling that still stands out Thave always been passionate about drawing people especially their faces. As a kid, I used to live with my grandmother and we would always fight, Itwas after one of those fights that I put pencil to paper and did a portrait that pretty much summed up the way I saw her and felt about her, She found the portrait the following day, and was so angry that I received‘one of the biggest hidings I ever had, For some reason my drawings weren't destroyed . .. and when [ looked at them again I realised for the first time that art had the ability to make people feel. The interest in portraiture and faces continued fo grow from there ~ and faces have become an obsession for me; they represent all that makes us human, David Hockney states: “Faces are the ‘most interesting things we see; other people fascinate me and the most interesting aspect of other people ~ the point where we go inside them ~ is the face. It tells all.” ‘When I paint pictures of faces, it has more to do with the way I relate to people than art’ as we know it in the western world. The painting becomes a relationship and goes ‘on something like a long conversation that ends when the painting is completed. Tofien find myself smiling or becoming excited or sentimental during the process of painting someone. It might be that I'm reflecting on something the subject has told me or something that has happened to them recently. I ry to get into the space of the person I am painting and in that respect I become a part of the painting. In this way, itis also very much a self portrait. identify with Rothko when he states: not an abstractionist. I'm not interested in the relationship of colour or form or anything else. T'm only interested in express! emotions: Tragedy, ecstasy, doom, and so on The people I paint are significant for who they are; not what they do in the community or their nents (which is often the reason people are immortalised in portraiture). The significance of this is that the faces reflect genuine emotion and life experience ~ giving weight and depth to the images, ‘The paintings are about ‘character’. By character T mean the complex inher attibutes that manifest themselves in the faces of the subjects I have selected. Chuck Close said: “A person’s face is a kind of road Tegan my artistic career as a layout artist! illustrator and I was also a cartographic for the Department of Agriculture — but I was {00 messy and untidy for either of those positions. After [finished at university, I sold my work for five years. I painted birds and reproductions of paintings by Reubens and Rembrandt Tnow work full-time for the Department of Education and Training as a school Principal and I at Neweastle Ui ” This is a visual g the basic hu achiev ap of the life they've sistant versity entitled "Psychology of the NS GHTINSIGHT exploration that examines the facial expressions between people and animals, really enjoy the freedom of not painting for a living anymore — but I have done lots of diffe before I was a school te school cleaner and a drummer for a few bands. I am the most unlikely character {o be a school Principal with shaved hhead and tattoos; but I never set out to paint pictures or be a school Principal I paint in oils and my current series i ‘on Masonite panels, My best mate great furniture make some really sturdy panels on ply frames. Tusually start the paintings in an acrylic umber (or something similar) in order to block things in. [use mainly neutral flesh tones and earth colours. I avoid any colours that have a strong emotive quality as they are a distraction and serve no purpose in my present work. The subjects for my portraits at present are locals from the club or the pub; as well as friends, family and workt T think the subjects from Lawson e been great. They are interests fers with interesti 1 very support Aside from people, I paint These I treat with the same respect as my human subjects, and not as wildlife illustrations. At the moment Tam interested in the gaze of both subjects and how we communicate emotions through facial expression The Lawson portraits formed an exhibition at the Tom Roberts Cafe/Gallery (in Lawson) from the first weekend in March 2011 The major inspiration for my work comes from Nature and the beauty I see every day. [am fascinated by the wrinkles and Scars that make up an individual; they tell a story and are far more beautiful than the plastic and superficial portrayed in Tam also excited by the power that the human face has to carry emotion . . that beyond words, I am interested in the relationship between painting and viewer and the pow animal subj »p three-dimensional working (in preference to photographs). rks [have been looknd Albert Tucker. All these artists, have focused on the human face at or for their entire ‘overall impact on me persor my lecturer Trevor We saw him talk about his works at City ArCInstitute, and Twas amazed at his ages. What struck me most was mviction and ideas behind his work; he was a breath of fresh air. Trevor was authentic in ever did and his work inspired 1 to stay and finish university. He was also highly approachable, he is the benchmark and a truly lovely man. Tused (0 teach art both, privately and at the school where Tam now, but T haven't taught formally for seven years Painting for me is not a hobby or something that I always enjoy. Itis part of my life, and like every other of life it has its highs and lows. The main thing is to keep going and a philosophy behind what I do! se of purpose and it’s how I relate to the world A habit I have developed is to consider the viewer, and how other people may perceive my work. Want my work (o be honest and believable ther some thinks is “art” or not is imICT had to offer any advice (0 a developing artist, think I would say: Find out what itis that fobsesses you and make it your life's work. Artis a discipline that requires the same principles s any other challenges in life. Tlift weights three mornings a week — not because I feel like it at 5.30 in the morning but because the discipline of lifting weights od for my head. Tapply that ne discipline to painting. I can’t afford to wait for inspiration, [ind itis important to listen to called “Post Modern’ era is fairly directionless and {ull of crities who wear the right clothes, accessories and hairstyles and know a people ~ but that's as far as it goes because they usually do nothing else of any great depth, If developing artists fe true to themselves, they will survive the critics (in fact they won't we time to notice the critics) As an artist, want (0 create something people can get into and get excited about, My art may even inspire someo T would like to create images that are strong enough to speak to peoples’ emotions. T would like my paintings and drawings to make a difference to people in some way. My thanks are due to Silversaltwww. bethinkcreate.com www.derivan.com.au 1 found | could say things with colour and shapes that | couldn't say any other way things Ihad no words for. re Georgia O'Keeffe . Unit 4/23 Leeds St, Rhodes NSW 2138 7:DEMONSTRATION Graphite Pami Cw By Ross Roorda Strong features add brooding depth to this portrait y subject is a fellow called Damien. [took a few photographs of him on my mobile phone under fluorescent lights. ‘The quality is not great, and the angle T used to shoot the photographs is kind of awkward and distorted. However the image offered a challenge and Damien’s strong features created shadows and an overall dark image. In this drawing I deliberately overstated the features and pushed the darks as hard as possible, ‘The beard and elongated shape of the face gave the image a “tribal mask’ type of quality, and for this reason I completely obliterated the neck and shoulders and worked the face as an independent shape. MATERIALS + 320gsm watercolour paper (to enable me to work a the drawings hard). * Two pacer pencils with HB and 2B leads 42 nats PootDEMONSTRATION STEP ONE In the photographs for this demonstration drawing, the subject’s strong features created shadows and an overall dark image. The artist deliberately overstated the features and pushed the darks as hard as possible. STEP ONE, ‘This is essentially the “block in’ stage ‘where I map out roughly the position of the nose, mouth and eyes. I usually start with the contour of the head and the strokes are usually a Tot lighter than in this demonstration. [try to keep things light and move things around until I get a feel for the face. STEP STEP TWO. then start to look at the contours and find form within the Face. [ry to keep the lines simple and descriptive of specific and unique forms. [also start to block in large areas of shade, avoiding ‘small areas where possible and focusing ‘on broad planes and cast shadows, STEP THREE, ‘This is where I start to draw inside the drawing. Here I am looking for shapes, contours and overlapping forms that bring the drawing together. ‘This stage of the drawing is about ‘uncovering structure and finding how it twists and turns across the face. STEP FOUR continue to develop the drawing, concentrating on tonal work, As I have previously stated, I wanted this work to be dark ... as I thought it would work for this image. I have also overstated the wrinkles and creases of the face. It is important to note that these stages are often interdependent on one another and itis very rare that I develop a drawing sticking to this rigid sequence; rather I go from one technique to the other as the drawing evolves. In closing, I would like to thank Silversalt Photography for providing the images of these demonstration steps. IlINSIGHT Julie Burdis Julie Burdis followed her dream, coming to Australia and developing her artistic talents. ‘om in Yorkshire 1943, I displayed some anistic talent throughout my LD schooling and my teachers suggested T might think about art school. But I wanted to follow the sun and after seeing the film A ‘Town Like Alice’, decided that would be a good start and atthe age of 18 had saved up enough to buy a passage on a boat to Australia Alice was more than everything T aad hoped for and I knew instantly I was a desert person. The stunning colours and vista of the inland inthe midst of a drought reiterated my desire t paint, and those scenes remained in my head throughout leaving Alice seven times for good, before finally sting there in my 30s when I began to dabble with paint I felt I did very badly and wondered ‘why T wanted paint so badly if T could only paint badly! I chose watercolour, thinking it to be the simplest medium, Ha!’ Tbought all the cheapest paints, paper and brushes, and it took several years to understand my ineptitude using these poor tools, Thad also been introduced to clay and was experiencing more success With it. concentrated more on that for a while. ‘TAFE opened up a two-year introductory course in art when I was 40 (and 40 ‘was nowhere near as old as T thought it \Would be!) and this helped unblock many blockages between my wrist and head. Tan’t get past Leonardo Da Vine being my favourite artis, but enjoy and admire many other artists’ works. [rarely warm to abstract but love the work of Marcus Rothko. Iam in awe of sculptors who together with composers, I feel are atthe top of the art pile. I commend the strains ‘of Bruchs’ violin concerto for painting to. ‘My favourite subjects to paint are social comment and landscape. I've done portraits but only feel comfortable, and have done my best portraits when painting in a group with 44 anatsPoeneone sitter. One on one I find I ‘am unable to lose the person and. see them as a painting. And, they often insist on talking to me! do enjoy still life but rarely do it, Itwas good practice material ‘when first getting into pastels, Thave had four solo exhibitions and several group ones. Ihave also exhibited interstate and several ‘times in the Vietorian Breast Cancer Awards and was honoured to have my painting, °Cat Sean’, put on banner advertising the exhibition, 1 i INSIGHT won the N-T. Art Award one year and have several highly commendeds Tlike working in series. Tam currently working on a bushfire series, \which will be called "Nature's Cull” These are Victorian scenes and I hope {o hold the exhibition in Victoria as my husband and I have bought a home in Euroa. The venue is yet to be decided and the paintings are yet to be finished! 1 still have one leg in Alice and spend some months there each year. 1 discovered pastel but had to teach myself as it was not a popular Pvaluen sts entre BOOKINGFAGENCYG ‘medium at that time and no-one in Alice was using them. I absolutely love the immediacy of this medium and it is what I use when painting Tandscape on site, In fact whatever I am tackling [ often do the preliminary \work in pastel before beginning larger oil, which is my second preference. The hassle and expense of framing pastels to display them, as with watercolour is, a bit off-putting. 1 have pinned the raw picture onto ceanite in a couple of exhibitions but it is fraught with danger.i fe : INSIGHT Tove the fact that once you have discovered your palete, there is no ‘mixing necessary and on site I can ‘work very quickly. [can stop almost anywhere and quickly find something [want to paint. Ieamry the paper, Canson, usually Twilight, which seems to be good for everything, in a tube made to size about 10 sheets and 10 sheets of glassine to be put between the works. I carry a canvas stretcher on to which I clip the paper, anda very light aluminium chair, sometimes two 4s they are easy to cary, on which Tcan lean the stretcher. On the seat Thave made a slim box with five ‘compartments separating the colours. Iwo packets of BlTak rolled onto ‘ball keep your hands and nails clean ‘whilst working. These all fit into a canvas bag and are so lightweight I can ‘walk and climb quite a way. Ifthe ear is near, [have the luxury of a fold-up table, but concentrating and working quickly for an hour gets me all I need before backache and flies dement me! Tthen take photos of the scene, return hhome and work some more whilst the area is fresh in my head. Eventually I developed the photo, which looks nothing like what I have seen and painted, which is why I dislike painting from photos directly.'The camera picks up everything, whereas my eye picks out what I want to say. T get a lot tighter too and feel compromised by the photo. I can’t do as much slash and bang! I'm always happier when I can abandon the photo and concentrate oo the painting asa painting The bushfire series has all been painted from photos because for many reasons it was impossible to set up and work on site. Tam a professional artist, but I make a line of pottery, Sandpots, Which sell very well and provides me with an income that enables me to paint and not feel obligated to knock ‘out popular subjects simply for a sale. don’t take commissions for the same reason, Portraits are very dodgy (unless you are a flaterst), and Tonly do them to become familiar with the subject as social comment usually requires people in them.also enjoy writing and have just had a book published: “Dirty Linen’ is the tite. Iris an historical and humorous autobiography about the first six months I spent in Alice and at The Rock where painting after painting imprinted themselves onto ry mind, but it was to be another 20 years before I had a bash at recalling these images. They had all disappeared under a deluge of rain! Some of these images are in my book. As [like painting stories, I also tend to write in pictures. Both pursuits are generally lonely and [ am a Toner, although have managed to enlist great cast of friends around the world “Never say die” is my motto. 1 didn’t follow a career in art when Twas younger because although I had been encouraged by people, I didn’t feel Thad a great talent. wasn't the best in clas. ‘When I finally went to classes at ‘TAFE in Alice, atthe first drawing class (Lam weak in drawing), the teacher Said for us to work on a subject he had set up for half an hour. He then told us to walk around and look atthe other students’ work. I wasn’t impressed with what Ihad done and felt quite embarrassed as [had already had an exhibition of watercolours and knew that the expectations of ‘me would be far higher than what I hhad produced. I spent half the time ‘watching others reactions to my work and saw that look of disappointed surprise on several faces. There were 16 students and two of them were very good, four were very poor and the rest middling including myself. Over the months our progression ‘was interesting. The ones who were ‘200d barely seemed to change and hhave not gone on to utilise their natural skill. Perhaps it was too easy for them! ‘Some of the very poor remained so, though enjoying the class, but big strides were taken by some of the middling class, including me.4B snare Poene 1 was an important lesson in the power of determination to improve at something you really wanted (© do, Lalso found through seeing how other people ‘worked seemed to teach me more than the teachers. Tam hoping I haven't yet produced my most outstanding work of art, bt Tam happy with “The Charge of the White Brigade’ series (not yet completed) and the Breast Cancer ser which, seems fo have an appeal on many levels to everyone. I feel many of my landscapes are successful and have Kept some I do not want to sell, but many have gone and I do lament the loss of some. A few hundred dollars in the hand seems like lite reward sometimes, But T can't keep everything. Selling work in Alice, which is big tourist venue, not only for Australians, but the rest of the world, has given me many overs Tha nily done canvas prints of Cs few others, but it is a very expensive medi to reproduce the vibrancy of the original. [also have a large stable of photo cards of my works. My exhibition on hooks was great fun, and I enjoyed watching people as they walked into the exhibition get a huge grin on their face. The cards from this exhibition still sell very well. Tam very happy to share my knowledge, but make a dreadful teacher. I just don’t have the knack somehow and get very impatient ‘To people starting out wanting to paint, can only say it takes practice, practice, practice. The best and most famous musicians in the world still practice for several hours daily all oftheir lives. Picasso's father madeINSIGHT him draw very boring objects every day until he was satisfied he had seen every nuance of the object. Picasso also said (o a person who bought a drawing from him, paying $30,000, asked how long it had taken him to do it. “About half an hour", said Picasso, ‘and 30 years’ Every painting is a disappointment, a failure ‘You know exactly what you want to achieve and for a while itis happening, but it never quite gets there, But [always think the next one will. It seems that every door you get through simply throws up another 10, So the knowledge gained actually diminishes as the vastness of what is out thete displays itself the further you go. tis ‘an exciting journey. I wish I could live a few hhundred years more than T have been allocated. My ultimate goal, apart from being able to reproduce exactly what my head can see, is also to reach other people with the social comment series, ive them food for thought. I particularly like the idea of making people smile, Most of my social ‘comment pictures are based on the ironical Julie Burdis 384 Mansfield Road, Euroa, Vi Ph; 03 87951392 Email: julieburdis@internode.on.net For more information: 07 3: See your colours in r*) perfect natural light, day and night daylight” ‘The 18w low heat dayight tube inthe professional ats lamp gives you more natural daylight than ever before making perfect colour matching so much ‘easier. The Dayight tube shows you rue colours and reduces the eye strain caused by glare. ‘The professional atist lamp comes with a fully exible arm and two unique clamps, one for easels and one for tables. So pick up your brushes now and ‘Start working on your next masterpiece, Mix and match perfect colours oy Ke: oma Sale Do 283 3092 or www.daylightcompany.comDEMONSTRATION Pastels A Power. wl lnage By Julie Burdis Julie skilfully captures the intensity of the landscape. STEP ONE Using mid tone paper, put light and dark lines indicating flow of the painting and direction of light. Block in as much local colour as possible. This tells me if the balance is working. The circle reminds me of the focal point. STEP TWO Intensify areas adding a few more shapes using same colours. Work ‘on background hills and middle ground. When in doubt always use shades of caput mortuum as it is neutral enough to either warm up or cool down when necessary. Try to keep the whole painting ‘working each step and often ‘work inwards from the sides, MATERIALS, * Oil pastels ‘Hogs hair paint brush * Rag cloth + FixativeSTEP THREE Push in more detail and strengthen sky by pushing pastel into paper. A green! biue is used in the sky and clouds are strengthened using cool grey, palest violet blue, white and pale lemon. I use mainly Art Spectrum and Unison. Block in fallen foreground trunks with yellow, white where the sun hits and cool grey! blue where it doesn’t, strengthening and ‘moulding major structures on the trunks. STEP FOUR Strengthen right hand burnt tree and further develop sky using violet blue and begin to introduce finer branches into the sky. Burnt branches from that tree have fallen with leaves scorched varying shades of red/orange and some almost white. Indicate the patterns of these and link them to the foreground trunks taking them into the sky. Nature createsDEMONSTRATION 52 nats Poone ‘a balance within itself but I have to choose what 10 move or leave out in order to keep my balance on a flat surface which is dealing with several hundred square kilometres and placing it within 75x5Sem. STEP FIVE When satisfied with your chosen forms and colours, ‘move in and push and pull darks and lights, Never be afraid to rub right back to the paper instead of tying to pile too many layers of pastel. Brush itoff with a hogs hair oil paint brush then smooth cloth and rebuild, Keep flicking the surface to avoid build up and take it outside and give it a good shake and blow. A good. rag will almost completely take off all the pastel if you feel you need to change the balance entirely. I give it a light spray of fixative and fet it settle for a week before going back in and highlighting the lights and pushing. the darks and adding fine details, in this case, branches. FINAL STEP ‘A detail of the work. I fel a good balance can always produce several detailed areas that can stand as a painting in their own right.Buy 4 Get ] FREE BROVARELLE ARCHES oes esINSIGHT Glen A Smith My Journey So Fan... Growing up | always had a little artistic flair, but never developed it. | went to school with renowned nature artist Phillip Farley, wnose work, even then in our teens, was amazing, and | envied his talent which inspired me to paint my aly 205 my mo [iseiinossie ea market T youl ge har eve Sun. ie mor in nate fo an Ta Used ot about S10. shit hich By Glen A Smith wasn’t too bad back in the 80s. The only problem was I had to paint so started to dislike painting. I put away nd was not interested in hor journey. Then around three years, ‘ago, personal circumstances changed ‘when my dad’s health had deteriorated,and he came to live with us. At this point I made some life changes. I quit fulltime employment, and together with my partner, opened a small collectables shop in Ipswich, so that T could spend more time with my dad. We would sit ‘on the veranda and reminisce about old times, and it was during this time, [again started to dabble in painting, whilst sitting with my dad. I wasn’t serious about my work, and mainly used cheap materials bought from discount stores. I choose to paint with acrylics as I like that they dry fast and ccan easily be painted over to cover mistakes. My dad was very inspiring, praising me highly on every piece I did, look back at my early pieces now, xl realise that he was just being kind, However, even I can see improvement ‘with each piece I complete and find that one of the best way’ to improve is to just keep painting. I have kept a record of all my pieces, as I believe that, for me, it is important to keep a record of one’s journey and progress. ‘When my dad passed away 12 ‘months ago, I didn’t pick up the brushes for a couple of months. I didn’t find joy in anything. Then one day whilst siting (on the veranda, I decided to express my stief through paint. I didn’t know wha I was painting, and did no preliminary work, I just sat and painted. The funny thing was that the finished piece was the most colourful, bright and cheerful painting of Three Red Hat Ladies at a fair. [knew then I had (o keep painting, Through our small business, I met ‘wo ladies, Lyn Ginn and Kath Aubrey ‘whom I noticed one day carrying some art work. We got talking, and they introduced me to the world of Fine Arts Competitions at local country shows. This really got me fired up5G snare roete INSIGHT (o paint and I started entering some of my pieces. In the first year T was unsuccessful, but through determination and hours of practice, the following year, 2010, I was awarded Reserve Champion at Marburg Show, and Grand Champion at Laidley Show. This year I have already been ed various Firsts, Seconds, Thirds and Highly Commendeds. Through these shows I realised that there are a Jol of talented artists who never get an ‘opportunity to have work exhibited in galleries or exhibitions. A Tot of these artists are hobbyists and/or lack the confidence to take their work to galleries, Most galleries don’t offer any real support to emerging artists at this level and I felt there was a void that needed filling, so, towards the end of 2010, with a friend Val Wheatley and the support of the Ipswich City Council and Art Gallery, we put toge hibition for new and ‘emerging artists called “Stimulate the Senses”, Although the beginning of 2011 saw widespread devastation with floods and cyclones, we decided {o continue with our vision, with 10 local artists, including myself, participating in the exhibition in February 2011, where we showcased paintings, photography, hand crafts and collectables. Through. this exhibition, four artists have been asked to present their works at various galleries and exhibitions, as well as raising more than $2,500 for the local Ipswich Flood Appeal and Ipswich Hospice. Due to the success of this exhibition, this will now become an annual event, with interest already received from artists to exhibit next year. Personally, I sold three pieces, and was asked to participate in a group exhibition at “Switch Contemporary Art Gallery” in Ipswich. This was a real thrill for me as T never imagined getting to this level. This has definitely been the highlight so far on my artistic journe As Iwas now getting serious about my work, 1 thought it was time to actually get some lessons, so I enrolled in an acrylic class at “Art Time Supplies and Gallery’ in Ipswich. It was a beginners” course, but I felt I learnt techniques I was not aware of, and learnt how to use some new mediums. I would recommend any new artist (0 ddo some basic classes, as there are many things you just can’t learn from going to galleries, In my journey, one thing I have learnt is to not get to0 hung up on competitions and selling works We all want to be famous, and be able to paint for a living, but I feel we lose our artistic soul if we worry too much about ‘winning’ and what other people think. We should always paint because we love it. Vincent Van Gogh never sold a painting while alive, it was his escape from reality, and that’s how I view my art...escape from reality, and paint because I ove it. [wake up every day yeaming toget to my canvas. I choose subjects and places that have a meaning for ‘me. When I do a still life [try to use items that T own, and that have some personal meaning and sentimental value (0 me, I believe that when you put your own emotion and soul into {your art, others may feel it as well. T’m not saying that art competitions we a baal thing, just don't get hung up ‘on them and paint to impress others, paint for yourself and if others like your work, then that’s a bonus Tam not sure if I have developed 4 particular style as yet. Tenjoy inting most subjects; however, 1 feel Iam best at Sui Life. I’m never sure what's next and I let life decide that for me. [could be siting on a uain, or walking the dog, and see something and think that would make a great painting. I find i's a good idea to carry my camera and capture that moment. I don’t have a photographic memory so I find taking a photograph is a great too. My best crities are family and friends. My partner can be a little harsh at times when looking at my usually always right, Some of my Portraits can look a lite off centre sso"y” and I have learnt to take others opinions as constructive feedback and not personal insults. Well, that’s my journey so far and doing this article is yet another age in my artistic diary, and 1 wonder what I will be doing this time next year. My dream is 0 set up my own lite studio (it's getting cold on the open veranda) and (© win the Archibald (just kidding, [think the Archibald is a little out of my Ieague....or is it 721).DEMONSTRATION Acrylics and Oils By Glen A Smith Finding a connection with his subject is just the start for each work of art by GlenNEUES ea * Sketch paper + Canvas board (40em x 60em “Ateliat” Artists Acrylics (Olive GreewCobalt Turquoise (light hhue)/Titanium White/Orange Red + “Artisan” Water Mixable Oil Colours (Cadmium Yellow medium/Cadmium Yellow Deep Hue/Phtialo Green (blue shade) + “FoSonja’s” Acrylics (Burnt Sienna/Silver/Lemon Yellow) teliar” Liquefying Medium ‘Ateliat” Impacto Gel * Various size brushes by Neep * Charcoal Pencil DEMONSTRATIO STEP ONE - DECIDING WHAT TO PAINT [look at subjects that have some ‘meaning to me. [remember the fish pond my Aunty had in her backyard when I was a child, I was scinated by the golds and silvers of the fish as the sun reflected off them and the shine on the water. Initially, I do some thumbnails, ‘which are just a series of quite small sketches to help me get the composition right. After choosing the thumbnail, Ido a larger, more detailed sketch, Keep in mind composition and flow of the pie fe the eye travels around the picture, STEP TWO - BACKGROUND As Lwant to give the impression of flowing water, I choose colours STEP TWO. that will make the fish stand out but, are also the colour of a slimy pond bottom. [ used Olive Green/Cobalt Turquoise (light hue)/Titanium Whiter Phtialo Green (blue shadeCadmium Yellow. Luse a large brush to paint the colours on the canvas board, blend the colours on the board rather than on a palette, I do at least ‘wo layers of paint this way to ensure the canvas is covered. With the last id the liquefying medium to the paint, This gives the paint a better flow. At this stage I get my hands dinty by moving the paint with my fingers and palm rather than a brush. I feel this gives the look and texture I want to achieve for my background, Don't be seared to have a little fun with this, just don’t overdo the blending or you'll [ose the different shades of green and end up with muddy colours. layer A SaeedDEMONSTRATION STEP THREE - THE FISH Using my sketch, I transfer the basic shape of the fish ‘onto my canvas. Use a charcoal pencil to do this. I only do the body of the fish to ensure I’m happy with the ‘overall composition of the picture. You can use a grid {to make sure the fish are positioned correctly on the invas, but as this is a fairly simple design, I just go for it. F'm happy with this so T move on to the next stage. STEP FOUR -PAINTING THE FISH Using Titanium White/Silver/Orange Red and Cadmium, Yellow, I just work on the base colour on a palette prior t0 painting the fish. When I am happy with the base colours, Tadd more layers to give dimension to the fish and create shading. I use colours Silver and Titanium White to give the impression of shiny scales. I work on all the fish at the same time to ensure the colours work well together. Once Thave done this I then work on the individual fish detail. Rasa STEP FIVE - DETAILING AU this stage T start adding more details to the fish. T work on one fish at a time as I'm already happy ‘with composition and colours. add the fins and lengthen the tails. I use Burnt Sienna to do the marks on the fish as well as veins in the fins. I use Phtialo Green, Black and Lemon Yellow for the pond weed to show movement of flowing water. AND EF STEP SIX ~ BUBBL ECT ‘To give another dimension to this painting, T use Titanium ‘White to create the reflection shine and shimmer on the water. I hand paint the bubbles to enhance the painting. You can use stencil to create the perfect circle for the bubble, but I prefer to do freehand as the bubbles don’t have to be perfect. Try not to go overboard with the bubbles and reflection as you may override the fish. 1 also use Orange Red to highlight some of the squiggles and bubbles representing the reflection off the fish. Sus eab STEP SEVEN AND FINAL STEP ‘When the painting is dry, T use another medium Impacto, el. This completes my painting. I use this medium to «give further dimension and texture. This medium will ive a glossy texture look to the completed picture This medium goes on milky but dries clear. I choose to use this medium in a thick coat applying with a large brush. I give it at least three coats following the swirl and flow of the water background. Once dry, and signed, the painting is ready for framing/hanging.MARCIA REA Fine Art Studio Landscapes — Portraits Marcia Rea Art School Art Classes for beginners & advanced Mediums in Oil - Pastel - Watercolour Tutors Marcia Rea & Gloria Galvin Lest, The Safe Solution for Artists Zest-it is a safe, non-toxic, non-flammable, biodegradable and user-friendly range of products that enhance your painting and. drawing experience. Zest-it is a natural solvent ‘made from the zest of citrus fruits. Ithas a neutral pH and contains no CFC’s or aromatics. = 522 Terrace Road, Freemans Reach Enquiries Marcia Rea — 02 4579 6338 Blended with Zestit Pencil lena Zest-itis studio safe solvent. Ithasa low evaporative loss, ‘meaning there are few fumes released into the surrounding air. 8S Mitchell School of Arts Bathurst. 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