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Issue No.26 2018
n nts 

ARTIST INSIGHTS AND

 DEMONSTRATIONS
6 Janet Matthews
16 Brenda Holden
28 Jenny Hartley
36 Murray Charteris
56 Kathryn Hede
66 Renee Treml

FINAL STEP 
 



FEATURES
26 Drawing Inspiration –
Shining Bronze Cuckoo

PRODUCT GUIDES
46 Paints

Cover image by: Brenda Holden


 0 5 : 0 . / ;

Janet Matthews

Fine Artist, Tutor

and Art Judge
Pencils have always been a part of my life
By Janet Matthews

I
remember always being passionate
about drawing, from childhood
right through to now. I always
knew, deep down, that being a pencil
artist was my career path. Even as a
youngster, I was never prolific ever,
but would spend many hours absorbed
totally, drawing a carefully considered
work with lots of detail and accuracy.
Pencils have always been my chosen
medium, even though I learnt all other
mediums. I thoroughly enjoy the
feeling of using pencil and the effects
created by pencil and can happily
spend many hours with a pencil in
hand. At university, I studied all forms
of 2D and 3D art, but majored in
printmaking, etching and lithography
– both being a form of drawing.
Graduating with a Diploma of Visual
Arts and a Graduate Diploma of
Visual Arts from Monash University,
Gippsland, I specialised in pencil,
creating more difficult and richer
works, challenging any preconceived
ideas about pencil as a brilliant
finished medium to work with.
Pencil was not really acclaimed
as a serious medium when I started
my career, many designating it to a
preliminary sketch for a ‘real’ artwork
in oil, watercolour or pastel. Not to be
dissuaded, I persevered; continuing to
enter exhibitions and promote drawing
as a serious medium in any way I
could. Finally I feel totally accepted in
the art world. My drawings have won
many awards throughout my career,

Platypus – “In rhythm”

 Alpacas – “Yeah”
with many special or outstanding wins
being where my competition included
other mediums. Wonderful to win
over an oil or a watercolour painting.
Serious proof that my drawings are now
accepted as equals in the art realm.
Particular highlights have been
having a work included in the Focus
on Nature exhibition in the New
York State Museum in 2010, with
that work now being part of its
permanent collection; being a selected
finalist in the Waterhouse Natural
History prize; winning the Frederick
Black Cockatoos – “Shh, Juniors listening”
McCubbin Award from the Sherbrooke
Art Society; the Presidents Award
2010 of the Wildlife Art Society of
Australasia as well as many Drawing
awards including Kingston Art Prize
for Drawing 2011. Another highlight
was stamp commissions with Australia
Post, released in 2006 and 2009. My
work has also gained me the accolades
of Fellow of Australian Guild of
Realist Artists and Fellow of the
Wildlife Art Society of Australasia.
Awards are a wonderful
recognition and encouragement
of my works’ worth in the art
world, but creating each individual
work is my focus and passion.
Each drawing is created with a
combination of colour pencil and
graphite. The subject and the impact
or effect that I am aiming to evoke,
determines the delicate balance of the
ratio of colour to grey lead in each
image. For instance, when drawing
emus, magpies or other black and
white birds, I use colour pencils in
their eyes and beak and use grey lead
for the head and body. Honey eaters
Lyrebird – “Dance the twostep”
Moorhen – “Hungry Babes”

in flowering gum drawings will have
much more colour, with the birds
and flowers in colour pencil, the
leaves and branches in water colour
and a layer of flowers and branches
in grey lead in the back ground.
My particular signature is the careful
combination of colour and graphite,
which makes each work alive and
exciting. I approach each image very
carefully to determine the colour to
grey lead balance, so I don’t fall into
a “formula” habit, thereby keeping
each drawing exciting and new.
Tawny Frogmouths – “I see you!”
Animals and birds are my
favourite subjects. Even when I
attempt to draw a flower study, I
can’t resist including a few finches
and even insects, which just shows
how important they are to me.
My repertoire of creatures is
very broad, with no specific one or
two being a particular favourite.
The “concept”, “conversation” and
“interaction” between the birds or
animals is more important than merely
a detailed study of one particular
bird or animal. Personality, stories
Tassie devils – “One, two, three”
and humour are my “real “subject.
Every animal or bird that I draw
has been part of my life in some
way. I like to get to know them, not
only physiologically but also their
personality. Knowing how they
move, fly and perch is so important
as well as how they interact with
others. Whether they live, feed, play
in groups or individually is also an
important factor. My preference is
often for the quieter, quirkier birds
and animals, like finches, honeyeaters,
magpies, and emus. Many different

Frogmouths (Tawny) –
“Cheeky Chap
animals and birds that are full of
gentle personality, humour, that I
have personally observed and suit
my style of detail and pencil.
More complex images I have
created include birds flying over
a landscape, for instance pelicans
circling over Lakes Entrance.
Another style I particularly enjoy
creating is an over and under water
view. For instance, moorhen on a lake,
Guinea Fowl – “Quintet”
0 5 : 0 . / ;
Sunbird – “Who’s there?”
showing their legs and the creek bed
underneath. These unusual views of
life are so exciting as they are not
an angle that is common or familiar
to many people. They also take a lot
of research and experimentation to
‘imagine’ the reality when I am unable
to just take a photo and reproduce it
(which would be incredibly boring
and not how I work at all). The
challenge of creating a new world
Red rumped Parrots – “I saw it!” (leaves
in this one are done in watercolour)
keeps me inspired and fascinated.
Pencil is not an easy medium to
use, with less flexibility for creating
‘fat and thin’ strokes or textures,
also having to leave the paper as the
white can be quite challenging when
doing minute details. I have created
a few special techniques to help me
achieve some amazing results with a
lot less work. Also my choice of paper
and pencil brand is very important.
 0 5 : 0 . / ;

I need a smooth paper so there is no

disruption to the detail, but it needs to
be flexible and tough, to withstand the
huge number of layers of pencil that
I use. Hence my choice of paper is
Fabriano Artistico Hot Press, 300gsm.
My pencil choice is Faber Castell
Polychromos, a lovely creamy pencil
that is not too soft, so it holds its
point beautifully as well as building
rich glowing colours. I also use a few
Derwent Artists colour pencils as they
are also a beautiful pencil and have a
few colours that Faber Castell do not
yet have and are essential for many of
Magpies – “Is there water?”
my colour effects. My graphite pencils
of choice are F, HB and 2B in Faber
Castell series 9000 but in a clutch Echidna – “Up to his ears”
pencil rather than a normal pencil. My
choice is based on technicality of the
pencil never changing length during
use, sharpening a pencil shortens it and
makes it stressful on my hand to hold
when it gets to half-length or shorter.
My drawings have taken me to many
places, whether with exhibitions or
with workshops. I particularly enjoy
sharing my techniques with others
and many followers have developed
a passion with pencils similar to my
own. When I have a pencil in my
hand, drawing the details of a quirky
animal or bird, I am totally happy,
in a meditative, calm, state where
time stands still. I love to draw,
every day. I love the look of detailed
drawings. If given a few moments to
do anything I like, I choose to draw. Elephants – “Big sister
Janet’s individual style of combining eads the way”
coloured pencil and graphite has
been described as “weaving magic
with pencil”. She has a studio in
Melbourne’s outer eastern suburbs,
where she creates her works,
runs classes and workshops.

For more information,

visit Janet’s website:
matthews.alphalink.com.au
or Email: janet@matthews.
alphalink.com.au ■
 D E M O N S T R A T I O N

Pencils

Blue Wrens By Janet Matthews

When I have
a pencil in my
hand, drawing the
details of a quirky
animal or bird, I
am totally happy,
in a meditative,
calm, state where
time stands still.
I love to draw,
every day. I love
the look of detailed
drawings. If given
a few moments to
do anything I like, I
FINAL STEP
choose to draw.
12 A u s t r a l i a n How to Paint
 STEP ONE
M AT E R I A L S
‡ )DEULDQR $UWLVWLFR +RW
Press 300gsm paper
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JUH\OHDGV LQ ) +% DQG %
‡ )DEHU &DVWHOO 3RO\FKURPRV
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3UXVVLDQ %OXH 6N\ %OXH
‡ 9LROHW 5RVH FDUPLQH
and Brown Ochre
‡ /LJKW 9LROHW *UH\ *UHHQ
Light Blue and Terracotta.
‡ 'HUZHQW $UWLVWV FRORXU SHQFLOV
LQ 6N\ %OXH DQG %OXH *UH\
‡ .QLWWLQJ QHHGOH
STEP THREE
STEP ONE
Fairy wrens are very social birds and
spend a lot of time on the ground,
so the theme of this image is the
welcoming of one bird to a new
group against the complex backdrop
of the floor debris. All my works are
carefully designed, including all the
background details, negative spaces and
the amount of colour to greylead. The
latter is kept in my mind rather than put
into the initial drawing. I like to keep
some of the development spontaneous
so the work keeps its freshness and
life. Using a smooth paper and an F
pencil, I sketched the work, firstly using
blobs of shapes to place the birds and
STEP TWO
the main background elements, then
redrawing each bird accurately. Lots of
erasing at this stage, including moving
the birds around the page. Once I
was happy with the entire design, I
transferred the drawing to my sheet
of Fabriano Artistico hot press paper
with my F pencil, using my light box.
Therefore, the good paper is kept
pristine, having had no erasing done on
it and the lines are very light so they
won’t show through the colour pencil.
STEP TWO
Beginning with the “black” areas, I
build up the first layer, making sure
STEP FOUR

STEP FIVE
to create the darker and lighter tones
straight away, with a dark blue
pencil. I don’t use a black pencil at
all, preferring to create black with
)DEHU&DVWHOO3RO\FKURPRV3UXVVLDQ
EOXHDQG'DUN6HSLD,JHQHUDOO\OLNH
to build one area at a time to a fairly
finished level so the image appears
one piece at a time. I use a short
stroke to create the feather pattern
instead of ‘colouring in’ the areas.
STEP THREE
Over the dark blue layer, I place
VHYHUDOOD\HUVRI'DUN6HSLD,
alternate the two colours until I
am happy with the intensity of the
black. I build up with small strokes
to give the feather texture. I keep
my pencil very sharp so each stroke
is rich and clear. The strokes will
blend each other as you layer them
so care needs to be taken to keep any
texture. Eyes and the beak are also
drawn in at this stage, using the same
two colours. I polished the lighter
KLJKOLJKWRQWKHEHDNZLWK6N\EOXH
14 A u s t r a l i a n How to Paint
STEP FOUR
Blue wrens have distinct pattern and
colour areas, which makes them easy
to build up by colouring one area at
a time. Next I created the light blue
feathers of the cap and neck by firstly
giving the areas a layer of strokes with
the knitting needle. These invisible
marks dent the page and resist the
colour pencil so the light feather
strokes always show through. Using
Light blue and Derwent sky blue,
I layered the colour in these areas
with small strokes. Moving on to all
the brown areas, including the two
females, I used the same knitting
needle technique to create the feather
patterns then built up with short strokes
RI9LROHW IRUVKDGRZV 5RVHFDUPLQH
IRUZDUPWK DQG%URZQ2FKUH IRU
FRORXU )LQDOWRXFKHVLQFOXGHGWKH
YHU\GDUNDUHDVXVLQJ'DUN6HSLD
STEP FIVE
White feather areas like the breast
and tummy of the birds is very much
a ‘less is more’ concept. Firstly
I used the knitting needle to dent
strokes all over the areas, this will
give a texture to the paper even if
QRSHQFLOLVDSSOLHG7KHQZLWK6N\
EOXH/LJKW9LROHWDQG*UH\JUHHQ
I slowly and gently built up the
shadow areas with small strokes. As
I am using a background this time,
the edges of the white feathers will
be defined by the pencil work in
the background so I left the edges
pale. Finally, the legs and toes
needed finishing, using once again
the knitting needle to give the scaly
SDWWHUQDQGXVLQJ9LROHW VKDGRZV 
5RVH&DUPLQH ZDUPWK DQG%URZQ
2FKUH FRORXU WRILQLVKWKHOHJV
The males have a bit more Derwent
%OXH*UH\DGGHGDVWKHLUFRORXULV
slightly different to the females.
STEP SIX
Background elements are just as
important as the foreground subject
as they complete the whole scene. To
give the birds a bit more dimension,
ARTIST’S
HINTS
AND TIPS
‡3HQFLOLVDZRQGHUIXOPHGLXPWR
use, you can pick it up and draw
for a short time with no cleaning
up or preparation needed. This is
very handy when you have lots
of interruptions in the studio.
‡,XVHDKRWSUHVVSDSHUWKDWLV
DSDOHFUHDPFRORXU )DEULDQR
$UWLVWLFRJVP DVWKH
smooth surface takes lots of
layers of pencil and doesn’t
disrupt any of the detail.
‡.HHS\RXUSDSHUDQGZRUN
clean, use a piece of paper
under your hand at all times and
I wear a pair of white cotton
gloves that have the thumb and
first two fingers removed. This
keeps any grease from your
hand away from the paper.
‡.HHS\RXUSHQFLOVYHU\VKDUS
and use only light pressure,
allowing the pencil to build
layers of rich colour.
I have decided to fade the intensity of
WKH FRORXU LQ WKH EDFNJURXQG 6R HDFK
major element is drawn first, using a
OD\HU RI FRORXU SHQFLO 6N\ %OXH DQG
Prussian blue for the dark sticks and
7HUUDFRWWD IRU WKH OHDYHV ZKLFK ZLOO
glow through the greylead layers. Once
again I create any light texture with the
knitting needle, then build the sticks and
OHDYHV ZLWK DQ +% DQG % SHQFLO XVLQJ
)DEHU &DVWHOO VHULHV  JUH\OHDGV 

STEP SEVEN
This next layer of detail I have built up
XVLQJ SXUHO\ JUH\OHDG +% DQG % DQG
no colour, to give a third level of depth
to the drawing. The negative spaces are
full of gravel and lots of smaller sticks
and stones. I filled each negative space
with more pieces, toned the new shapes
and filled the gravel area between with
knitting needle dots and loose greylead
scribble. The knitting needle marks will
only give a subtle result yet helps to STEP SIX
make the ‘scribble’ look more realistic.
As the top half of the image is dark
and the foreground will be light, I have
concentrated on this area first so I can see
how the design and balance is working.

FINAL STEP
Foreground gravel and small pieces of
grass complete the effect. Not filling in
the foreground too much is the challenge,
making the strokes needed very sparse yet
strong enough to give a continuous feel
to the ground. Placing shadows under the
sticks and the birds is the final ‘tweak’
so all elements are resting nicely on the
ground. Fading the colour to greylead in
the background makes the white chests
of the Fairy wrens glow whiter than the
SDSHU ZKLFK LV D SDOH FUHDP FRORXU DQG
intensifies the contrast of the colour in the
birds. Finally, I make sure all my edges
are clean and adjust any details that need
sharpening or colours that need brightening.
Then I always put the work away for a
few days so I can distance myself from it
emotionally. When I bring it out again for
a final assessment and signing, I appraise
not only the technical aspect but also make
sure the personality and ‘conversation’ is
IORZLQJ SURSHUO\ +DSS\ ZLWK WKH ZRUN LW STEP SEVEN
is ready for framing and exhibiting. ■

Australian H to Pa 15
 I N S I G H T

Brenda Holden

Wonderful
Wildlife By Trevor Lang

Talented South Australian artist Brenda Holden operates the Porter Street
Wildlife Gallery in Goolwa and pursues an ongoing passion for painting
wildlife subjects – particularly birds.

B
renda Holden spent her formative
years in the foothills of Adelaide.
Hiking around waterfalls in the area,
she grew to love the abundant birdlife.
While young, she spent many years in
Broken Hill and outback Western Australia
– all the while developing an appreciation
for native wildlife. Her extensive travels in
the country and the Australian Outback have
lent authenticity to the wildlife habitats
depicted in her paintings.
Brenda worked mainly on commissions
early in her career, then started to exhibit
her work in the late ’90s. After joining
the Wildlife Art Society of South Australia
in 1996, she received the prize for ‘Best
Watercolour’ at the society’s annual
exhibition in 1997. She is an exhibiting
member of The Wildlife Artist Society of
Australasia and the Queensland Wildlife
Artists Society; and past President of the
Wildlife Art Society of South Australia.
Brenda’s work is represented in galleries and
collections throughout Australia and Europe.
Brenda Holden’s recent awards are too
numerous to mention. They include many
prizes at the Royal Adelaide Show and the
City of Campbelltown Art Exhibition; and a
host of other noteworthy achievements.
 I N S I G H T

Born in Adelaide in 1955, Brenda

now resides at Goolwa with her
husband, her dog … and ‘Ossie’,
her hand-raised Eastern Rosella.
She studied Art and Graphic
Design in the early ’80s. After years
of ‘doing ads’ for newspapers, she
decided to turn her hand to
something she felt real affection for.
Brenda tried her hand at many
forms of art including seascapes,
landscapes, still life … even 3D …
but having grown up surrounded by
birds she kept going back to what
she knew and loved most.
She started painting in
watercolour and gouache but was
never really happy with the colour;
then experimented with oils but
found that her style of painting
(layers upon layers) took too long
to dry. She also disliked the smell
and mess that accompanied oil
paints. When Brenda discovered
acrylics she thought she had finally
discovered her ideal medium. But
her search was still not over.
Early in 2006, Brenda Holden
discovered Genesis Heat Set
Oil Paints and embarked on an
exciting new learning curve. She
has been more than delighted
with the medium.
“The colours are wonderful,
consistency and coverage are great,
and I am really enjoying getting
texture into my work,” she claims.
“I still use acrylics, but I am using
Genesis Heat Set Oils more and
more – especially on canvas.”
“I love to get my paintings to
look real,” Brenda explains. “The
use of airbrushed backgrounds
achieves this by giving the
paintings depth. I have actually
been asked if I take a photograph
and then paint the birds on top!”
Brenda travels widely and takes a
camera everywhere, collecting
thousands of photographs for
reference. Zoos, wildlife parks and
National Parks are all favourites.
She photographs not only birds and
animals, but also old fence posts;
wire; weeds; even cobwebs.
Her painting of ‘Cyclone the

Macaw’ came about after a trip to
Kuranda, where she met the
colourful Cyclone at a wildlife park.
He was so named because he was
hatched on the day of the cyclone
that devastated Innisfail.
“He was only three months old and,
having been hand-raised, was very
friendly … I just had to paint him.”
Brenda relates.
18 A u s t r a l i a n How to Paint
I N S I G H T
In 2002, Brenda opened the Porter
Street Wildlife Gallery in Goolwa with
long-time friend and fellow wildlife
artist Kathleen Cain.
“We saw a niche for a gallery that
specialised in wildlife art and, as we
had both been presidents of the
Wildlife Art Society of South Australia,
we were acquainted with many like-
minded artists,” says Brenda.
“Kathleen has left the gallery
and is now working from home,
but I still have about 40 artists
involved – doing things such as
silver jewellery, pottery, silks,
bronze, copper, and painting. Now
that I’m at the gallery seven days a
week, I have my studio there and I
do all my paintings there. Being able
to paint at the gallery provides
opportunities to talk to all sorts of
people about my art, as well
as my passion for birds.”
Brenda Holden exhibits her
work less these days. The gallery
keeps her really busy, and demand
for her paintings is so strong that
she rarely has enough work to
exhibit anywhere else. Some of
her larger paintings take weeks
to complete, and she commonly
has a list of commissions also
waiting to be done.
Brenda’s passion for her art and
her considerable skill have led to
her well-deserved successes. Her
work is infused with colour and
enduring charm. ■
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 D E M O N S T R A T I O N

Genesis Heat Set Oils

Cyclone the Macaw

By Brenda Holden

Rich vibrant colours and stunning clarity make this delightful picture of a
native bird seem almost real enough to sing and take flight.

STEP ONE
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FINAL STEP
 STEP 1 STEP 2

STEP THREE
I decided that another foreground branch was needed. This was
added in the same way as the main branch. Using a Number 2
brush, I added the detail to the moss and the wood – darkening
the underparts and adding highlights and structure.

STEP FOUR
I began work on the Macaw. Using thin washes, I blocked the
whole bird in. I did not do any really detailed work – just one thin
wash to get overall colour and feather placement correct. This was
the stage where character was developed. A feather out of place (or
slightly ruffled) can help to make the painting believable.

STEP FIVE
The eyes make a painting. Using a Number 000 brush, I started
with a base colour and then added the pupil. Macaws have pale
yellow eyes but there is always a slightly darker colour near the
pupil. When satisfied with the basis for the eye, I added the
highlight – bringing the eye to life. At this stage I finished the
head completely before moving down to the rest of the body.

STEP SIX
Working from the tail up, I gave each feather two more thin
washes of colour before starting to define each one. A bird’s
feathers lay over the top of each other, so this is how I worked
– doing one row of feathers before moving on to the next layer,
from bottom to top. Details like splits in the feathers, as well as
darkening under some and highlighting on others, gave the STEP 3
final painting life.

Australian to int 21
 STEP 4 STEP 5

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22 A u s t r a l i a n How to Paint
 D R A W I N G I N S P I R A T I O N

Shining Bronze Cuckoo Contributed by Michael Einersen

This artist insists that his ‘loose’ approach to drawing should not be viewed
as definitive; and stresses that there is no right or wrong process – whatever
works for you is right, regardless of the techniques or opinions of others.

G
lenn Demnar, my art mentor
for many years, used the term
‘loose’. Looseness has become
a predominant feature of my style.
With oils, being ‘loose’ engenders
minimal risk … it’s only paint. So-
called mistakes can be corrected
through overpainting; scraping; or
just leaving and re-assessing later.
With drawing, however, ‘looseness’
is a risk. Unless one exclusively
uses easily erasable graphite, the
possibility of correcting ‘mistakes’
becomes problematic. Attempts to
‘overdraw’ often lead to overworking.
The delights of a loosely created
drawing are the freshness, vitality and
surprise that arise from allowing the
hand to work (or play) independently
from the mind … the drawing seems
to create itself and aspects of the
subject, hitherto concealed, appear.
Why birds? According to Brett
Whiteley, they are simply ‘the most
beautiful creatures’. This opinion is
supported by many visitors to my
recent exhibition ‘Journey Through
White Rock and Beyond’, where a
series of drawings of birds in the
White Rock area (near Ipswich in
south-east Queensland) sold quickly.
How can we capture the appealing
qualities of birdlife in ‘loose’ drawings

24 A u s t r a l i a n How to Paint
 D R A W I N G I N S P I R A T I O N

STEP 1

M AT E R I A L S

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paper, white or slightly
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STEP 2

without resorting to caricature or

anthropomorphising? There is no
definite answer – but I will try to
explain the process which I use.

STEP ONE
When attempting to play loosely
with drawing media, I allow for as
little distraction as possible. I find
it vital to have all the necessary
materials and nothing else (especially
unsuitably coloured pastels) close at
hand. A quick study of the reference
to be ‘copied’ will dictate suitable
colours. A number of sheets of
paper, erasers, and a few woodless
STEP 3
 D R A W I N G I N S P I R A T I O N

charcoal sticks are laid out. Water and

Jasmine Tea are within reach. Music is
playing (in this case, the electric guitar
genius of Steve Vai and his band – loud).

STEP TWO
Using a 2B pencil (so as to be easily
erased or dominated by later scribbles),
I outline the basic shape – concentrating
on reasonable placement of (and
detail in) the eyes and beak.

STEP 4 STEP THREE

I find that the eyes and beak are best drawn
in quite fine detail; these are vital when
capturing the ‘birdality’ of the particular
subject. This is why I use woodless charcoal
– it can be sharpened to a near needle-like
point for detailing; whereas willow charcoal,
even in pencils, will usually break before a
point is sharpened. Why not graphite? I like
the darkness and crumbly feel of charcoal.
Having to stop to photograph each
stage of a work disturbs the flow and can
contribute a certain ‘stiffness’ to a drawing.
For this reason, I have photographed one
attempt in stages and made other drawings
of the subject as end products. I find this is
often valuable anyway: Each attempt can
capture another aspect of the bird’s essence.

STEP 5
STEP FOUR
I like to play with basic form and (to a
lesser extent) tone, in charcoal, before
adding colour. I try to be as free as possible,
allowing ancillary lines to emerge that
don’t necessarily conform to the shape of
the bird but hopefully enhance the overall
image. This is not the last time that charcoal
is used – it becomes an integral part of
the use of colour and line in later stages.

STEPS FIVE AND SIX

This process is difficult to describe. It
entails an intuitive, seemingly random,
use of pastel and charcoal wherever
it feels suitable. I have no idea which
colours are used (certainly not all the
STEP 6 colours listed, which were simply chosen

26
52 A u s t rPalette
Artist’s a l i a n How to Paint
as a guide for what to have at hand if needed).
Occasionally a tortillon (paper blending stump) or
finger is used – to blend colours or thin out layers. I
try not to use fixative spray until the image is almost
completed, allowing the colours to merge. Colours should
merge without becoming muddy, if correctly chosen.
I also use white or very light grey pastel as
a tortillon, especially if certain parts need a
softening in intensity as well as blending.

STEP SEVEN
When almost completed, I spray the drawing with
fixative and put it away for a while. This allows for
a fresh viewing later on when nuances of the image
are forgotten. Often, areas previously ignored (but
now requiring further attention) become obvious.

FINAL STEP
I repeat the whole process again, putting away the
first attempt (no cheating) and seeing if different
aspects of the subject can be captured.
I try not to be too disappointed if few (or any)
attempts seem successful at first; I just keep playing and
enjoying. I believe that your personal artistic ‘voice’ will
undoubtedly emerge if you employ this philosophy …
with results that will continue to delight and surprise!

I conduct art groups at Bellbowrie,

Brisbane. For further information,
readers are welcome to visit my website at: www.
michaeleinersen.com ■

STEP 7

Australian H to Pa 27
 I N S I G H T

Jenny Hartley

Passion for Det il Edited by Trevor Lang

This richly talented Queensland artist listens to relaxing music while she
paints. She values opportunities to look at her work with ‘fresh eyes’ in the
early morning half light.

J
enny Hartley is a Queenslander who
has been an active painter since 1990
– creating works of art in graphite,
watercolours and acrylics. Her childhood,
spent on the family farm near Casino in
New South Wales, installed within her a
deep love of the natural environment – for
native flora and fauna, and for the colour
and light in the landscape. Her mother’s
love for gardening also spawned her desire
to create glowing translucent images of
flowers in watercolours.
When Jenny was a child, no scrap of
paper missed her attention. She loved to
draw faces and animals. Her high school
years presented new opportunities and she
achieved ‘Dux’ for three years in art class
and planned to continue her studies … but
romance, marriage and children become
her priorities for the next 20 years.
Once her children were raised, Jenny
revived her love for drawing and painting.
In 1989, she attended Murwillumbah
TAFE and completed a non-certificate
drawing class under Michael Battz. They
did a series of nude studies; worked on
imaginative themes; did field studies; and
studied various artists and art theory. Over
the next two years she attended the Brin
Jones Art School of Fine Art, where her
love of detail and realism grew. She then
completed a course at the Queensland
Institute of Graphic Art.
Jenny has completed numerous
commissions and won many awards
for her graphite portraits of children
and animals. Her portraits are drawn

28 A u s t r a l i a n How to Paint

from photographs. She has been an
accomplished teacher in graphite
– with her past students now winning
prizes with their work.
Jenny’s original passion was for
highly detailed pencil and graphite
work, which won many awards. But
in 1992, she discovered watercolours
I N S I G H T
and fell in love with the beautiful glow
and transparency that can be achieved
with this unpredictable medium. She
began reading countless art books and
magazines to improve her knowledge,
then started attending workshops and
studio classes … but she feels that the
key to success has been practice.
She enjoys working with a sense
of colour and movement, and uses
watercolours with great transparency
and clarity. Nothing wishy-washy!
In the early days there were a few
disasters, but Jenny learned from her
mistakes and feels they were very
important for her development. The
Australian to int 29
 I N S I G H T

more she practiced, the more she learned to recognise a

disater in progress. Jenny calls her disasters ‘A la Bin’
pieces. She reasons that a failed painting is ‘only a piece
of paper’ and not the end of the world.
Over the years this artist has developed her own palette
and preferred paper. She favours Winsor & Newton paints
because their colours are reliable and she has become very
familiar with their properties and how far she can push
them. She prefers larger sheets of Arches 300gsm Cold
Press paper for her watercolour work. For graphite work
she uses good quality cartridge paper and Faber Castell
pencils in 2H, 2B, 4B and 8B (for its lovely softness).
Jenny experiences joy in creating beautiful things. Sales
of her paintings are an extra bonus. On the back of each
of her paintings is this statement: ‘May you always find
as much joy in looking at this painting as I did in creating
it for your pleasure’.
She loves to paint Australian birds; her favourites are
the kookaburras. She likes to give her birds individual
characters. Photographing old gates, posts and buildings
when travelling provides her with valuable reference
material to combine with her feathered subjects – which
include galahs, lorikeets, cockatoos, parrots and the lovely
little wrens that live in her garden.
Although a lot of her fauna work is painted in detail, a
series of paintings she greatly enjoyed creating featured
white cockatoos done in a ‘looser’ style with washes of
French Ultramarine Blue and Alizaron Crimson, with
swirls of salt effects in the background. They were great
fun to produce!
Jenny Hartley loves to paint bold poppies, irises and
lillies that glow, using non staining translucent colours.
With flowers, it is the play of light and the softness of the
blooms that she loves. She likes to work in a casual style
with flowers, to create bright happy paintings.
Pinned on her studio wall is this quotation: “To
search for what I find beautiful is both a deliberate and
intuitive act. Deliberate – because my soul craves to look
for it. Intuitive – because my soul craves to go there.
Subconsciously looking – for when I see it I recognise it.”

30 A u s t r a l i a n How to Paint
 I N S I G H T

Jenny is in the habit of painting whenever

something inspires her. There is always an idea
floating around in her head. When working, she
listens to relaxing music and gets lost in time …
until she realises that her shoulder is aching and it’s
time to stop. Because her work is left ‘set up’ at all
times, she enjoys coming into the studio first thing in
the morning and looking at the work in progress with
fresh eyes in the half light. She believes that ‘a lot
can be seen’ when looked at with fresh eyes.
This artist doesn’t possess a large collection
of her own work, because most pieces sell when
completed. She has been exhibiting her watercolours
and graphite works at art exhibitions for the past 18
years, and has been feature artist in two exhibitions
with good sales on both occasions. Some of her
commissioned works have been sent to different
parts of the world including England, America, New
Zealand and Japan.
Jenny Hartley has been a teacher in watercolours
and acrylics on Queensland’s Gold Coast for more
than five years. She and her husband have recently
retired and moved to the Darling Downs region,
where she is finding her way in a new environment.
She has joined the Toowoomba Art Society and the
Oakey Art Group and has started to display her art in
local exhibitions. ■

Australian H Paint 31
 D E M O N S T R A T I O N

Watercolours

Country Cousins By Jenny Hartley

The author of this demonstration likes to work in a clean, orderly

environment with good quality materials – while her favourite music
plays in the background.

FINAL STEP

32 A u s t r a l i a n How to Paint
 D E M O N S T R A T I O N

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Australian H to Pa 33
 D E M O N S T R A T I O N
STEP 4
The gum trees were then formed
using a quarter-inch damp brush to
lift off colour, to create the white
trunks. Using a Number 12 round
brush, I made a varied mix of Cobalt
Blue and Raw Sienna and French
Ultramarine Blue created for the greyed
green of the foliage. Then the work
was left to thoroughly dry again.
STEP THREE
Time to put faces on the Kookaburras.
I like to do the faces first on my birds,
so I can feel their personalities. The
masking fluid was removed from
the heads, and I started by adding
the eyes using Burnt Sienna and
STEP 5 A
34 A u s t r a l i a n How to Paint
Ultramarine Blue. The tops of the
beaks were painted with Ultramarine
Blue and Burnt Sienna; the undersides
with Alizarin Crimson and Raw
Sienna. I then added an underwash
of Cobalt and Ultramarine Blue
to the wings, which would glow
through the brown of the wings
when the feathers were painted in.
STEP FOUR
The rest of the masking fluid was
removed and the heads were detailed
using different combinations of
Ultramarine Blue and Burnt Sienna.
The shadows on the bodies were
introduced using Alizarin Crimson
and Ultramarine Blue to create a
lovely mauve. Burnt Sienna was
added to the undersides of the tail
feathers, and the shadows were
introduced to the fence post. I
started adding more washes to
the post, and also began to add
the cracks and the wood effect.
STEP FIVE
Time consuming detail work was
attended to on each of the birds to
paint the feathers – again using the
mix of Burnt Sienna and Ultramarine
Blue. I tried not to overwork them
and purposely left the feathers
incomplete; otherwise the birds would
look too stiff. Many hours went into
completing each bird and developing
each character … still using my
limited palette. More work was done
on the gate and the wire, creating a
‘lost and found’ effect with the wire;
allowing the eye to finish the picture.
FINAL STEP
After walking around the work for
a day or two, I decided to add the
grass in the foreground and lighten
the gate wire. Time to put the brushes
down. It would be so easy to keep
working on a picture because I
have enjoyed the process so much,
and I don’t want to stop! But stop
I must. All I needed to do now was
sign the work, and give it a title.
‘Country Cousins’ was complete. ■
STEP 5 B
 Professional Quality Artist
Grade Acrylic paint and Mediums

Full rich impasto for striking textured

efects .

Thinner viscosity free lowing 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
 I N S I G H T

Murray Charteris

Energy and Motion

Edited by Trevor Lang

In the booming coastal

Queensland town of
Hervey Bay, a richly
talented artist is building
a successful creative
business based on his
rare illustrative skills.

M
urray Charteris is quickly gaining a
reputation for his dynamic energy-
filled fine art. His bold colours
and powerful compositions come together to
produce artwork that is increasingly sought
after. His original paintings are seemingly
being snapped up faster than they can be
produced.
Murray started painting at a very early
age. During his childhood, he was tutored by
several artists throughout Brisbane.
After studying animation for three years
at Queensland College of Art in Brisbane,
Murray built a successful career from his
animation skills. He became renowned for
creating 3D computer animation and special
effects for television commercials and
programs in Australia and overseas.
Spending a year in Papua New Guinea was
a highlight of Murray’s artistic development.
 I N S I G H T

“Experiencing the different culture and artwork

in New Guinea opened my eyes to experimenting
with different techniques; and the landscape was
so beautiful,” he says.
On his return to Australia in 1995, Murray
started work with prominent Australian television
network Channel Nine – where he quickly gained
a reputation for his design. Murray was placed in
charge of the Videographics Department in Brisbane
in 1997 and he led a very strong videographics
team for nearly 12 years. During this time, Murray
Charteris won a Gold World Medal in the New
York Festivals. He has twice been a finalist in the
Australian Effects and Animation Festival.
Murray’s real passion has always been drawing
and painting. In 2007, Murray settled at Hervey
Bay where has devoted his time to his art. He
now works as a full-time artist.
“Painting is what I really love to do. I love
to create new worlds that could only have once
 I N S I G H T

existed in my imagination,” he relates.

“I like to create a feeling of energy and
motion in my art.”
Murray’s subjects commonly include
local wildlife and birdlife; as well as
his renowned caricatures.
His fresh business enterprise, Bay Art
and Design, has recently opened the
Murray Charteris Art Gallery in Hervey
Bay on Queensland’s coast. The gallery
showcases his brilliant work alongside
the paintings of some other Hervey
Bay artists.
The gallery has a room set aside for
artists to exhibit their own work; along
with a working studio for art lessons
and an art materials store.
Murray is really excited about the
opportunities which his gallery space
presents. This talented man is rapidly
growing his reputation in the art
community for his dynamic creativity
and his commitment to succeed.
An extremely versatile artist, Murray
Charteris enjoys working in most
mediums and can adapt his style from
realism to cartooning. His caricatures

38 A u s t r a l i a n How to Paint

have become very popular with local
people at Hervey Bay.
He delights in the natural environment
surrounding his new home.
“I have always wanted to live here
… it is just such a beautiful location for
an artist, full of inspiring scenery with
unspoilt beaches and Fraser Island on
the doorstep,” he explains.
He nurtures grand ambitions for his
I N S I G H T
artistic future, his gallery, and even his
artist peers.
“There are many talented creative
people in the Hervey Bay region
and I am excited about giving them
opportunities, through my gallery,
to prosper as artists,” he says. “I
am hoping to promote much wider
recognition for the Hervey Bay art
community.”
Visitors to his gallery can often
watch artists at work, and Murray
is also conducting lessons for
beginners and workshops for
experienced artists.
Murray Charteris and his gallery
have brought new energy and motion
to Hervey Bay … a stunning part of
Australia where art and beauty are
bound to flourish. ■
A u s t r a l i a n Ho to Paint 9
 D E M O N S T R A T I O N

Acrylics

Sunflower Frenzy By Murray Charteris

Feeding time for two Rainbow Lorikeets provided the stunning subject
for this extraordinary painting by a deeply talented Queensland artist
with a passion for wildlife.

M AT E R I A L S

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EUXVKDQG1XPEHUEUXVK

STEP ONE
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TXLWHURXJKEXWH[SUHVVLYH,XVHLWWRZRUN
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ELUGVWRFUHDWHDPRUHGUDPDWLFVFHQH,KDYH
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QHYHUVKRUWRILQVSLUDWLRQRUUHIHUHQFHIRU
WKHELUGV2EVHUYDWLRQRIWKHPSOD\LQJDQG
LQWHUDFWLQJOHDGVWRNQRZLQJH[DFWO\ZKDW
SRVHRUDFWLRQ,ZDQWWRSXWLQWRDSDLQWLQJ
FINAL STEP $IWHUFRPSOHWLQJWKHURXJKVNHWFK,GUHZ
WKHLPDJHVWUDLJKWRQWRWKHFDQYDV

40 A u s t r a l i a n How to Paint
 D E M O N S T R A T I O N
STEP ONE
STEP TWO
The first coat was a mixture of
modelling compound, clean sand
(for extra texture), and Pthalo Green
paint. My primary objective here
was to build up layers of 3D texture
by using a combination of painting
knives and brushes. Applying the
mixture right up to the outlines
of the birds and their sunflower
feast, I created a long, spiraling
curve to lead the viewer’s eye right
through the main area of interest
in the centre of the canvas. When
this was totally dry, I repeated the
process for a thicker texture.
STEP THREE
STEP TWO
STEP THREE
This was the most fun part of the whole
process. I grabbed the biggest brush I
could find (usually a large painting brush
from a hardware shop) and swept on a
liquified mix of paint to work into the
texture. This part needs to come from
within … it is a time when any built-up
emotion of joy or frustration comes out
into every brush stroke. Keeping my arm
loose and free, I worked in long sweeping
brush strokes right across the canvas
– always in the direction of the spiraling
curve. Here I was using different mixes
of Pthalo Green, Cobalt Blue, Arylamide
Yellow and Titanium White. The lighter
STEP THREE DETAIL
STEP TWO DETAIL
tones were dry-brushed over the texture
in sweeping strokes. The outside of
the picture has cooler and darker tones
while the inside is warmer and lighter
– to draw attention to the centre.
STEP FOUR
Using a Number 8 flat brush, I blocked in
the main colours of the birds and flower
– applying some shading and feathers
as I was going. Working with acrylics
means that you have to work quickly
if you want to achieve good blending.
The Atelier Interactive paints allow me
to keep spraying the surface to keep it
STEP FOUR
 D E M O N S T R A T I O N

alive. I also put the paint on fairly thick, to make it easier to

blend. I used the same flat brush for this whole step; even
the thinner lines were done using the edge of the brush.

STEP FIVE
At this point I decided that the petals of the sunflower
should also be textured and raised off the surface. I
wanted a smoother texture than before, so I just used
Modelling Compound and Cadmium Yellow. I laid this
on thickly with my Number 8 flat brush, with the brush
strokes extending down the entire length of each petal.
While I was waiting for this to dry, I started some detail
on the birds with a Number 2 taklon pointed brush.

STEP SIX
This was where I spent time on detailing the main areas of
the picture. I didn’t detail the whole picture; only the areas
that I wanted to draw the viewer’s attention to. In particular
the eyes … they give the birds character and believability.
The sunflowers are an important part of this painting, so
I spent considerable time on detailing them. I am always
considering the lighting of the picture. I believe lighting
is one of the most important aspects of a good illustration.
Take note of the yellowish light wrap around the back of
the birds’ heads, reflecting the bright sunflowers. Good
STEP FIVE lighting gives the painting depth, mood and extra realism.

FINAL STEP
The final stage was to finish off the incidental parts of the
image, such as the branches and leaves of the sunflower
plant. I didn’t want them to become a feature, so I kept
them muted and soft. They curved to keep with the flow
of the background. I dry-brushed a purple mix of Cobalt
and Crimson into all of the shadows throughout the
picture, thus giving it nice cool and dark shadows. ■

MASTER HINTS
AND TIPS
‡3D\SDUWLFXODUDWWHQWLRQWROLJKWLQJWKHVFHQH
– it determines the mood but can also be used
to lead the eye to certain parts of the image.
‡([SHULPHQWZLWKGLIIHUHQWWH[WXUHVDQGPHGLXPV
You always need to grow as an artist, and
experimentation expands your knowledge and skills.
‡8VHWRQHDQGVKDGRZWRJLYH\RXUSDLQWLQJVGHSWK
([DJJHUDWHWKHWRQDOYDOXHVWRPDNHPD[LPXPLPSDFW
or reduce them to make something flat or subtle.
‡$OZD\VKDYHVRPHWKLQJWRVD\LQ\RXUSDLQWLQJV
A picture without a message is usually dull and
STEP SIX lifeless. Give your paintings some purpose.

42 A u s t r a l i a n How to Paint
 The Paint That
Does It All!

THE MOST VERSATILE ACRYLIC PAINT

The unique Interactive formula gives you more
creative freedom than any other acrylic.
Paint in your usual way for traditional acrylic
techniques or add water while you work to keep
the paint open for extended wet-in-wet blending
and even reactivate touch dry paint.
+ Fast drying acrylic techniques
+ Oil like wet in wet blending
+ Dilute for water colour effects
+ Highly pigmented and lightfast
+ Smooth buttery consistency
+ Minimal wet to dry colour shift
+ Extensive range of 75 colours
+ Use with Atelier Mediums for added versatility

IT’S SO SIMPLE!
This DVD shows just how easy and helpful the new Atelier
Interactive techniques really are!
Professional Artist Mitch Waite demonstrates Atelier Interactive and gives lessons on composition,
drawing, tonal values, portraiture and colour mixing.
Watch online at www.atelierinteractive.com or call 1800 023 935 for details on how to get the DVD.

For more information:

Sign up to Chroma Link and receive helpful product information
and painting guides via email or visit the Interactive website.

www.chromalink.net | www.chromaonline.com
 P R O D U C T
Picking Paints
Most of us have our favourite paints, but as it's very worthwhile to keep
abreast of what's available, we're delighted to bring you this handy guide.
Acrylics
Daler-Rowney Cryla Heavy
Body Artists Acrylic
Cryla was the first ever Artists Acrylic
produced commercially, introduced
into Europe in 1963 by the Rowney
Company. Cryla Artists’ Acrylic colour
is a very heavy-bodied colour with
a high loading of the very purest,
permanent and lightfast pigments.
They are characterised by their thick
buttery consistency, their uniform
eggshell finish across all the colours in
the range and the minimal colour shift
from wet to dry. A high quality, acrylic
co-polymer is used as the binding agent
in Cryla’s manufacture which prevents
the shift in colour from wet to dry. The
unique heavy, buttery feel under the
brush and knife is popular with artists
wanting to achieve a wide variety of
impasto effects. The recent revamp of
the Cryla range now includes a palette
of contemporary colours containing
modern pigments, specific primary
shades as well as colours used by
46 u s t rPalette
Artist’s a l i a n How to Paint
F E A T U R E
PAINTS FROM S&S
the Old Masters. Cryla Heavy Body
Artists Acrylic is water-based so can
be thinned with water if a thinner
consistency is desired. When dry,
the final film is permanent, lightfast,
water-resistant and very flexible so is
able to withstand the natural flexing
of canvas and wood panels without
cracking. Cryla is compatible with
all of the Daler-Rowney mediums
allowing for the creation of a wide
range of effects. There are 87colours
in the range over 4 price series.
Daler-Rowney System 3 Original
and System Heavy Body
Daler-Rowney’s System 3 is a complete
painting system. With Original and
Heavy Body versions it is a highly
versatile water-based acrylic offering
all the virtues of lightfastness,
permanence, durability and covering
power, providing an excellent painting
experience at an economical price.
Only the highest quality pigments
are used in the manufacture of
Contributed
System 3 Acrylics and they possess a
significantly greater pigment loading
than comparable acrylic ranges
in this class. The comprehensive
range of colours (47 colours plus
13 fluorescent in System 3 Original
and 34 colours in System Heavy
Body) are highly permanent, water
resistant and flexible once dry. System
3 Original colours can be thinned
with water to pale washes or used
directly from the tube; each form dries
quickly to create an insoluble film.
The quick drying properties
enable the artist to work quickly,
superimposing or juxtaposing colours
without unnecessary fuss. The excellent
covering power of System 3 Original
colours make them ideal for large
works such as murals or where large
amounts of paint are required. System
Heavy Body is the perfect complement
to System 3 Original acrylics. It is a
revolutionary, ultra-thick acrylic colour
with an oil-like, heavy and buttery
consistency that dries with an oil-like
 P R O D U C T
gloss. System Heavy Body colours
are suitable for painting on any semi-
porous surface that is free of grease
and dirt. As with System 3 Original
colours they are ideal for use on
canvas and paper but are also suitable
for painting on brickwork, plaster,
hardboard, MDF and fabrics if primed
with Daler-Rowney Gesso. System
Heavy Body can even be applied to
difficult surfaces such as laminated
plastics, glass or glazed ceramics if
the surface is abraded, roughened,
etched and/or suitably primed.
Daler-Rowney Graduate Acrylics
Daler-Rowney Graduate acrylics are a
quality range of student acrylics at a very
affordable price. The range features bright
and strong colours that are water based
and solvent free. Daler-Rowney Graduate
acrylics have a high pigment loading and
flow easily across surfaces such as paper,
primed board and canvas. The 48 colours
are fast-drying, durable and flexible, so
paintings will last a long time. Paper and
canvas coated with Graduate Acrylic can
be loosely rolled and stored without fear
of cracking. They are compatible with
most Daler-Rowney acrylic mediums.
Maimeri Polycolor Fine Art, 3D,
Reflect and Body Acrylic colours
Maimeri Polycolor has been
appreciated by European artists for
many years for its versatility, rich
consistency and body. It contains a
special ultra-fine acrylic emulsion
binder, a high tech product that dries to
produce an extremely strong, resistant,
supple and opaque film without
sacrificing colour brilliance. Polycolor
dries to a permanent velvety matte,
gouache-like finish and because it is
formulated with highly concentrated,
premium pigments, it offers excellent
coverage and colour impact - 100ml
will cover about three square metres!
Each of the 54 shades can be painted
over or mixed with any other.
Polycolor is unique because it is
the ideal medium for many painting
methods and techniques. It is
especially good for outdoor work
F E A T U R E
such as murals. The Polycolor range
is supplemented by three additional
Polycolor ranges which can be used
by themselves or to enhance the
original Polycolor colours. Polycolor
3D is a new generation of tinted
acrylic paste with excellent elasticity
allowing artists’ to create fantastic
relief effects while still retaining its
strong, compact colour and brilliance.
The 24 colours are intermixable,
thick, dense and extremely soft. Due
to its comparatively low specific
weight, Polycolor 3D is ideal for
the application of thick layers of
colour. The high quality resin in
the formulation ensures the paint is
perfectly elastic and can be applied
to any support, even flexible ones.
The colours can be easily modelled
and shaped with a brush, painting
knife or spatula. Polycolor “Reflect”
colours are a range of 8 exceptional
tints that allow the user to experiment
with and capture light then reflect and
multiply it with the stroke of a brush.
With the use of pearlescent pigments
to accentuate colour luminosity to
the hilt, fragments of light can be
captured and incorporated into the
paint to give extraordinary shadings
to finished artworks. Polycolor
“Body” acrylics are a range of eight
rich, doughy, dense and painterly
pastes with an extremely plastic
consistency. They were initially
designed to complement the range
of Polycolor 3D but are compatible
with all acrylic paints. They can be
spread straight from the jar onto
canvas or any other support as a
3-dimensional modelling material.
Maimeri Polyfluid Acrylics
Polyfluid Acrylic Colours are a brand
new range of 48 water- resistant,
glossy, non-toxic, quick-drying, water-
based range of acrylic colours. They
are extremely easy to apply and the
advanced resin used in Polyfluid’s
manufacture ensures adherence to
almost every type of material including
canvas, paper, plastics, textiles, wood,
metal and resin. Polyfluid can be
used for painting on any support that
is absorbent or flexible, natural or
synthetic. Materials such as glitter,
powder or fragments can be easily
added to Polyfluid to enhance your
creation. Polyfluid combines easily
with the Polycolor range of acrylics
and mediums to enhance and define
details and provide a contrast with
the matt finish of Polycolor. Polyfluid
colours are easily mixable and do not
lose any gloss or vivacity when diluted.
There are 29 colours plus colourless
medium available in 60ml bottles.
Maimeri Acrilico Acrylic Colours
Maimeri Acrilico acrylic is a
new generation of acrylic paint
manufactured from high quality
pigments and state-of-the-art acrylic
resin. An excellent all-round paint
for professionals, leisure painters
and students, the 79 colours are
bright, vivid and clean, composed
of top quality pigments carefully
ground, dispersed and stabilised and
chosen in order to create intense and
luminous shades. Acrilico colours are
lightfast and the highly concentrated
acrylic resin polymer provides a high
viscosity, good binding and adhesion
Australian H to Pa 45
 P R O D U C T
characteristics, UV resistance, colour
retention and excellent covering
power, allowing it to be easily applied
even on unprepared supports. Once
dry, Acrilico colours are flexible
and do not crack or flake and they
also become impenetrable and will
not absorb dust and do not react to
atmospheric or external conditions.
Casein Colours
Richeson “Shiva” Casein Colours
Fast drying, re-workable, water-
soluble, “multi-media” colours. Few
artist colours are as easy to handle
or allow the artist to learn such
a variety of painting techniques.
Combining this variety of styles and
textures in a singular composition
is what makes a Casein painting so
striking, an effect that is enhanced
by their rich and intense colour.
They can be applied in any manner,
from impasto to thin watercolour
washes. They have an exceptional
integrity of colour and always dry to
a perfect matte finish which makes
them excellent for art reproduction.
Casein, though naturally matte, can
be brought to a satin sheen by buffing
with a soft cloth. If the artist desires
a gloss finish, the painting can be
varnished. Caseins may be used to
successfully produce a painting with
the transparency of a watercolour,
the smooth opacity of tempera and
gouache, the heavy textures of acrylics
and oils, or anything in between.
Caseins are water soluble, but they
dry rapidly and become impervious
to moisture. All Shiva casein colours
46 A u s t r a l i a n How to Paint
F E A T U R E
are chemically pure pigments and
are permanent to light, gases, alkalis,
and acids. They may be applied on
almost any grease-free surface: canvas,
board, wood, gesso, paper, cement,
plaster, wet or dry lime walls and
for painting on glass - their adhesive
qualities are excellent. Where it often
takes hours before a section of an oil
painting can be reworked, it takes
only minutes before a layer of casein
can be applied over another. Also, it
can be continually reworked, making
corrections or special effects easy
without colours becoming muddy.
Varnished casein painting closely
resembles oils with comparably rich
colours and textures. After the painting
has completely dried, one or more
thin applications of Shiva Casein
Varnish will enhance this effect
Daler-Rowney Egg Tempera
Egg tempera is one of the oldest
mediums for fine art painting, dating
back to Roman Egypt and used by
most of the Great Masters during the
Renaissance. Egg Tempera imparts
pure translucent colour with a
distinctive luminosity and matt satin
finish. Today, Daler-Rowney is one of
the few artists’ colourmen to offer it
ready-mixed in tubes that are widely
used by professional art restorers and
specialist painters worldwide. High
quality pigment is dispersed in liquid
egg yolk, according to a formulation
dating back to 1906. The freshness of
the colour relies largely on economy
of brush stroke. Thin layers of colour
well-diluted with water and carefully
applied in one-stroke washes to a
well-planned painting, produce the
wonderful translucent effect associated
with the finest egg tempera paintings.
Gouache
Daler-Rowney Designers Gouache
Daler-Rowney Designers Gouache is
a brilliant opaque artist’s quality body
colour, developed for professional
designers working on illustrations
for graphic reproduction. It is also
widely used in fine art painting,
both on its own and with transparent
watercolours. The high quality
pigments and superior reflective
qualities of the fine white calcium
carbonate specified by Daler-
Rowney ensures that Designers
Gouache retains its pure bright
colour across all 88 colours in the
range. All colours are intermixable
to allow the designer to achieve
a fine degree of colour matching.
Daler-Rowney Designers Gouache
is characterised by its fine flowing
texture, tinting strength and excellent
covering power and is best applied
with brush, ruling pen or airbrush.
Maimeri “Extra Fine”
Designers Gouache
These professional, extra-fine, opaque
designers’ colours are manufactured
in Italy from the highest grade and
finely ground pigments, producing
uniform, brilliant matte colours. They
are perfect for use on canvas and
prepared cardboard, porous surfaces
and paper. The top quality binder
and high pigment concentration
 P R O D U C T
and tinting strength makes Maimeri
Designers Gouache perfect for
airbrushing (with appropriate dilution)
and all types of graphic work.
All colours are completely water-
soluble and can be intermixed to
create any desired shade. Maimeri
Extra Fine Designers Gouache is
available in 58 brilliant opaque
colours including four metallics.
Oil Colours
Daler-Rowney Artists’ Oil Colours
Daler-Rowney Artists’ oil colours are
professional quality paints designed
for durability and permanence
and made using only the very best
materials available. Only the best
pigments are used regardless of cost
to ensure absolute perfection for
the discerning artist. The distinctive
buttery consistency of Daler-Rowney
Artists’ Oils derives from the use
of linseed oil and wax, which acts
as a plasticiser, helping to prevent
even heavy impasto from becoming
brittle and cracking over time. The
82 colours in the range are available
in 38ml tubes in five price series.
Daler-Rowney Georgian Oil Colours
Thomas and Richard Rowney began
manufacturing artist’s colours in
England over 200 years ago and Daler-
Rowney Georgian Oil Colours have
been the UK’s favourite oil paints for
decades. Georgian Oil Colours offer
artists high quality and performance
at an economical and uniform price
across all colours in the range. They
are produced to the same exacting
standards as Daler-Rowney Artists
Oil Colours. They are carefully
blended and tested to produce the
most brilliant colour and match tint
and texture from batch to batch. All
54 colours have fine working qualities
and a high degree of performance.
Daler-Rowney Georgian Oil Colours
are ideal for use with a knife or
a brush, allowing for a variety of
effects to be achieved. Available in
38ml, 75ml and 225ml tubes. Five
litre tubs available upon request.
F E A T U R E
Maimeri Puro Superior oil Colours
Puro Superior Oil Colours by
Maimeri are regarded by many as the
world’s finest oils. Puro Oils contain
pure pigment and oil – nothing else.
They offer colour and purity like
no other brand. Each colour in the
range contains pigments of maximum
quality, purity and stability combined
with top quality safflower-poppy seed
oils that do not yellow, to produce
a perfect impasto with the highest
possible degree of lightfastness for
each colour. There are 80 colours
in the ranges over 6 series. The
transparency and lightfastness of each
colour is indicated on each tube along
with the chemical composition. The
40ml aluminium tubes are presented
in a unique gold finish which reflects
the superior oil colour they contain.
Maimeri Classico Oil Colours
Classico Oils contain the best pigments
including cadmium and cobalt offering
the highest degree of lightfastness for
each colour - all at one price!! The
pigments are exceptionally finely
ground and blended with only the
best quality oils - they do not contain
modifying siccatives and fillers which
reduce colour performance. Classico
has always been a bridge between
student and professional paint because
the Italians rely on factory processing
to bind their colours (repeated grinding
of the pigments), instead of the waxes
that most other student oils have as a
binding agent. Artists of all abilities
get better results without wax because
mixing with cleaner tones avoids
mud, and the extra grinding which
serves to hold the paste together,
makes a smoother paint that flows
and covers and brushes with ease.
Classico Oil colours are available
in a range of 74 brilliant colours.
Richeson “Shiva Series”
Artists Oil Colours
Richeson “Shiva Series” are
professional quality, superior oil
colours that commenced production in
the USA in 1929 and have continued
to be one of the leading brands in
the USA oil paint market. They have
now been re-formulated to satisfy
today’s artists and are hand-crafted in
the Richeson factory using only pure,
artist grade dry pigments, each ground
to its own unique degree of fineness
then formulated with the finest grade
of alkali-refined linseed oil under
exacting laboratory controls. After
manufacture, the colours are cured
from 90 to 120 days to ensure they
are ready for packaging and each tube
label then displays an actual sample
of the colour contained in that tube.
Richeson Oils are guaranteed to be
permanent, free from darkening,
yellowing, fading and cracking and
have generated positive response from
America’s master oil painters Daniel
Greene, Ramon Kelley and Kate
Palmer. These professional quality
oil colours are available in 59 colours
and feature traditional, Olde World
pigments to produce brilliant, rich
colours of buttery, reliable consistency
yet are priced for everyone.
Coarsely Ground Oil Colours
There are several new ranges that
allow the artist to ‘go back in time’
and paint in the way of the Old
Masters. The Maimeri Paint Company
of Italy has “re-developed” 3 ranges
of Coarsely Ground Oil Colours that
faithfully reproduce the colours; style
and type of oil paint that was first used
over 500 years ago and was common
until the advent of the Industrial
Revolution, when machinery was
developed to produce smoother oil
colours. Coarsely Ground oil colours
are exactly what the name implies
– they have been manufactured
with pigments that have been
coarsely ground and
rare semi
Australian H to Pa 47
 P R O D U C T
drying oils such as Walnut oil and
Safflower oil, exactly in the same
way as paints were made throughout
Renaissance Europe. The main
difference between Coarsely Ground
oil colours and the more modern or
‘traditional’ oil colours is the pigment
size. Modern paint manufacturing has
enabled the pigment grinding process
to become more refined. Most (if not
all) modern colours are triple-ground
through big, heavy mills that ensure
the smallest pigment size possible,
allowing for the production of smooth,
buttery oil colours that are commonly
used today. Coarsely Ground oil
colours are not as finely ground as
modern oil colours, and have been
prepared with the same grain size and
dispersion as paints used in the time of
the Renaissance. The result is a paint
that is more opaque, has a thicker
paste density that accentuates the
brush strokes and a rougher finished
coat. The application (whether with
a brush or palette knife) and finished
result of paintings using Coarsely
Ground oil colours are markedly
different from those done with modern
colours. The artist will not only need
to adjust their techniques accordingly
to get the best out of these paints,
but also the mediums they use,
specifically when thinning out these
colours. It is highly recommended
48 A u s t r a l i a n How to Paint
F E A T U R E
that these colours are not thinned with
the traditional solvent based thinners
such as White Spirit and Turpentine
but instead use Walnut or Safflower
oil. It is also recommended that hard
bristle, ox hair or synthetic brushes are
used to get the best finished results.
Renaissance Oil Colours by Maimeri
This line of oil colours have been
“re-developed” to offer the modern
painter the tonalities of the Master
Artists of the Italian Renaissance – in
paint composition, in pigment size and
the use of rare semi-drying oils that
are non-yellowing and crystal clear.
Each colour in the Renaissance range
has a high pigment concentration
and is prepared with grain size and
dispersion in walnut oil similar to
those of Renaissance compositions.
Most of the pigments in this range
correspond to the originals; however
the more toxic, unstable and hard to
mix pigments have been replaced
with modern alternatives. This is a
small range of 11 colours over 3 series
with some of the colours having been
unavailable to the modern painter for
100’s of years. The colours include
Ceruse, Michelangelo Blue, Mummy,
Bistre, Vasari Yellow, Kermes Lake,
Paris Red, Vermillion, Murano Blue,
Greek Green and Malachite Green.
With the exception of Kermes Lake
and Bistre all these tints are made
with inorganic pigments based on
non-hazardous metallic salts that
successfully imitate the shades of
traditional pigments based on lead,
mercury and copper. These colours
can be thinned solely with Walnut
oil or Safflower oil but it is best to
avoid thinning with the solvents
typically used to dilute oil colours –
e.g. White Spirit and Turpentine.
Mediterraneo Oil Colours
(Mediterranean) by Maimeri
Throughout history, the Mediterranean
has been a place that has united
cultures and civilisations and, along
with it, colours and tints that are
unique to this beautiful area. The
colours in this range are especially
suited for warm, bright and luminous
paintings. There are 11 colours in
the range and each colour is named
from the place where it has been
obtained. Colours in this range
include Santorini White, Trinacria
Orange, Vesuvius Yellow, Damascus
Yellow, Provence Rose Lake, Sevillea
Red, Salento Green, Ercolano Blue,
Capri Blue, Grasse Violet and the
delightfully named Green Obsidian
from Pantelleria. These colours can
be thinned with Walnut or Safflower
oil but not with traditional solvent
thinners (eg White Spirit, Turpentine)
 P R O D U C T
as they weaken the paste. To achieve
the best results with these particular
colours it is recommended by to
prepare the canvas with uniform,
soft coats of pastel pink or yellowish
pink obtained with ochre or the
Italian Natural Earth colours. The
Blue and Green tones of this range
are particularly enhanced using
these complimentary bases.
Terra Grezze d’Italia (Italian
Natural Earth Colours) by Maimeri
These colours have been created from
the ancient pigments used to decorate
the monuments and facades of palaces
throughout Italy. They are reflected
in colours of Roman houses, Venetian
palaces and of the Umbrian and
Tuscan hill-towns that dot modern day
Italy. The composition of this range
is similar to those of the shades used
by the old masters Tiziano, Tiepolo
and others. Although the milled
grain size of the dispersed pigments
is larger than for other oil colours,
natural earth oil colours can be used
alone or mixed with any oil colour or
even yolk-based tempera’s to produce
a denser, full-bodied oil colour that
appears to give a more opaque, natural
tone due to a different refraction of
light. Italian Natural Earth colours are
not only for traditional techniques but
also satisfy the needs of contemporary
artistic expression. There are 11
colours in this range and each colour
is named from the place where it
has been obtained. The colours
in the Terra Grezze range include
Carrara White Earth, Herculaneum
Orange Earth, Rome Yellow Earth,
Verona Yellow Earth, Raw Sienna,
Venetian Red Earth, Sardinian Red
Earth, Burnt Sienna, Verona Green
Earth, Verona Antique Green Earth
and Florence Brown Earth. These
colours are formulated with natural
pigments only which means that
there will be slight discontinuities
in colour tones from batch to batch
which signifies the authentic and
natural origins of the paint.
F E A T U R E
21st Century Colours
Maimeri Olio Oil Colours
Olio is an innovative new range of oil
paints ideal for students and beginning
oil painters. The range contains 38
high quality, well-balanced colours
all at one price. Olio colours have a
buttery consistency, good pigment
concentration and the average drying
time for the range is considerably
less than for other oil colours. This
decreases work time and allows the
artist to use painting techniques and
utensils more associated with acrylic
colours while still providing the
brilliance of oils. Olio oil colours
are very flexible when applied in
thick layers and very easy to work
with and are compatible with all oil
mediums. Olio colours have been
manufactured with lightfast pigments,
26 of which have maximum light
resistance and 22 of the colours have
been formulated with just one pigment
in order to create a clean, intense and
luminous shade. In addition, Zinc
White has been created with the much
safer zinc sulphide pigment rather
than zinc oxide which is classed
as hazardous to the environment.
Oilo is the first oil colour range to
be packaged in recyclable plastic
tubes. Composed of layers of
plastic material coupled with an
impenetrable and impermeable barrier,
these Coex tubes are exceptionally
resistant, manageable and practical.
Maimeri Oilo HD Oil Colours
Olio HD is a brand new range of 30
vivid, brilliant and modern colours
based on high concentrations organic-
synthesis pigment. These colours are
the colours of the younger generation.
They are the colours of the virtual
world – not opaque and muted but
luminous, vibrant and transparent.
Olio HD is formulated with very
fluid and very bright drying oils.
The composition and grinding of the
pigments in Olio HD diffuse the light
that passes through them. They are
particularly suited smooth or semi-
rough surfaces with a base that is
white, pale or pearl in colour. When
applied in a thin coat HD oils will
dry in 24 to 48 hours depending on
the colour used. This makes them
excellent for glazing techniques as
the colour can be superimposed in a
short amount of time. All tints in the
range are free of substances considered
harmful to your health and the
environment. All colours are available
in environmentally friendly coex tubes.
Paintstiks
Shiva Artists Paintstiks
Shiva Artists Paintstiks are
professional grade, artists’ oil colours
in a convenient stick form. They are
manufactured from quality pigments
blended with refined linseed oil and
solidified with a wax base. Shiva
Artists Paintstiks can be used in
conjunction with conventional oil paint
surfaces, mediums and varnishes using
the same techniques. As there are no
unpleasant odours or fumes, Paintstiks
can be used virtually anywhere at
any time and form a protective “self-
sealing” film when not in use - just
peel the seal before using. This
ensures that Paintstiks remain moist
and fresh and have an indefinite shelf
life. Paintstiks are available in 68.
Watercolours
Maimeri Blu Artists Watercolours
Transparency and clarity of pigments
is the key to top quality watercolours.
Maimeri Blu Artist Watercolours have
Australian H to Pa 49
 P R O D U C T
been developed with pigments offering
the greatest transparency, clarity and
lightfastness. Of the 72 colours in
the Maimeri Blu range, 52 of the
colours consist of a single pigment
bound with authentic, top quality gum
Arabic from Sudan and distilled water,
providing the user with a watercolour
that has a transparency, purity and
clarity unlike any other brand.
The materials and manufacturing
processes used by Maimeri ensure
that Maimeri Blu watercolours are
among the best available on the
market today. Available in 72 colours
over 4 series in large 15 ml tubes.
Daler-Rowney Artists Watercolours
Artists’ Watercolour is a professional
quality watercolour that has been used
by such renowned artists as Turner and
Constable. Based on the finest modern
and traditional pigments, it is precisely
formulated to offer unparalleled
performance and permanence. Only
the very best pigments, regardless of
cost are used in the manufacture of
Daler-Rowney Artists’ Watercolour.
Suspended in an aqueous solution
of the finest Gum Arabic the colours
and pigments in these watercolours
offer an extended range of brilliant
colours, designed to create perfect
washes of pure transparent colour.
50 A u s t r a l i a n How to Paint
F E A T U R E
There are 80 colours in the range
available in 5ml & 15ml tubes.
St Petersburg Artists Watercolours
These are professional quality
watercolour manufactured in a
country rich with art history. These
liquid-poured, semi-moist, full pan
(3cc) and tube (18ml) watercolours
are manufactured in a St. Petersburg
factory that has been producing colour
for over 100 years. The liquid-poured
process is thought by professionals
to produce the highest quality grade
watercolour pans. The finest raw
materials and pigments are used to
guarantee the highest possible light
and colourfastness. The watercolour
pans are soft, rubbery and sticky and
never totally dry in the pan, since
they are not pressed into a mould
but poured. They are useable at the
first touch and avoid unnecessary
wear of your brushes. There are 55
colours in the full pan range and
36 colours in the 18ml tubes.
Daler-Rowney Aquafine
Watercolours
Daler-Rowney Aquafine watercolours
offers artist high performance colours
at an economical and uniform price
across all 37 colours in the range.
Aquafine watercolours are produced
to the same exacting standards as
Daler-Rowney Artist’s watercolours.
The full range gives rich, free
flowing transparent colour with
excellent tinting strength and working
properties. All colours can be used to
produce beautiful and delicate washes.
Maimeri Venezia Extra
Fine Watercolours
The Venezia range comprises 36
colours in 15ml Tubes at a single
price. All shades have been produced
using “state of the art”, recently
developed and most transparent
pigments available. This guarantees
the highest level of lightfastness
possible at the lowest price. Inorganic
cadmium and cobalt pigments
have been deliberately avoided
in the Venezia range, using only
substances of maximum safety and top
performance. All colours are certified
non-toxic and are ASTM-D4236 rated.
Cretacolor Watercolour Block
The Cretacolor watercolour block
(Aqua Bric) is a unique painting/
drawing tool. It is a watercolour
block, which can be used for
standard watercolour painting but is
versatile enough to use for drawing
by hand. The block measures 45 x 22
x 12mm and is equivalent to 12.5ml
of paint. The Watercolour block is
suitable for a variety of techniques
including watercolour painting and
drawing, sketching and drawing,
sgraffito, blending and frottage. It
can be used on a variety of surfaces
including paper, canvas and wood
and will also stick to smooth
surfaces like glass and plastic. It is
exceptionally lightfast even when
used as a watercolour and conforms
to the three top lightfastness
categories. Available in 20 colours.
 P R O D U C T F E A T U R E

GENESIS HEAT-SET OIL PAINTS

Genesis Heat-Set Oil Paints are a

unique paint which offers a non toxic,
odour free and non-allergenic product
as well as an unparalleled level of
control when it comes to drying time.
Genesis Heat-Set Oil Paint gives
you the two ‘bests’ in an artist’s
medium, allowing you to work the
way you choose. With traditional oils
the length of drying time means we
can lose our momentum in getting our
ideas and thoughts onto the canvas,
while acrylics and watercolours can
dry too quickly. With Genesis, you can
apply washes like watercolour artists
do, or blend to your heart’s content!
You can apply layer over layer just as
you can with other paints, but Genesis
will also allow you to blend colours
easily if you desire. You, the artist, at
last have TOTAL control of the drying
process. Simply dry the area you want
to keep working on, then apply more
paint, or a wash or glaze straight over
the top. If you make a mistake, just style painting. Genesis is no different Category 1 for light fastness, eight are
wipe it off, and when you’re happy in appearance to conventional oils. in Category 2 (diox/purple values).
with a layer or area, dry it straight Due to their very high pigment The full range of paints, mediums
away – no more worrying about content, colours are strong and vibrant, and varnishes all conform to ATSM
ruining your masterpiece! Genesis even after drying. Genesis instantly D-4236 standards thus guaranteeing
offers fine control in mixing, blending gives your paintings depth and allows strong archival qualities. Genesis
and application. Artists can achieve good coverage. A tiny amount goes Heat-Set Oil Paints are not solvent or
the very clean and crisp edge that a long way. Of the 87 colours in water based. It has its own specially
is required for detailed and realism the Genesis range, 79 colours are in formulated base carrier. The full
range of colours and their mediums
are all certified Odourless and Non-
Toxic, this allows the many artists
who suffer from allergies to get
back to or commence using oils.
In addition, Genesis Heat-Set
Oils are great for reborning artists
as the paint and mediums allow
you to create the lovely skin
texture required for reborn dolls.
You can read more about the product
at Australia’s sole supplier’s website
www.genesisoilpaints.com.au where
you can shop online 24 hours a day, 7
days a week. Orders can also be made
by mail or by telephone on 1300 66 11
65. Our customers normally receive
their orders via Express Post within
2-4 working days, no matter where
you live in Australia. You can ring
or email for a free information kit.

A u s t r a l i a n How to Paint 51
 P R O D U C T
IT’S 2012 – SHOULD YOU GO WITH THE FLOW? – OR STRUCTURE?
Since 1964 Derivan has been
committed to providing the arts
community with the world’s finest-
quality artist acrylic colours and
mediums. The founders of the
company had a vision “to make
available to artists worldwide a
premium paint, whilst remaining
environmentally and socially
responsible”. Derivan has
consequently grown from a tiny affair
(operating out of stables in Sydney’s
inner city) to the multinational
operation that it is today. Derivan
products are available not only in
Australia, but also the USA, Canada,
Asia, Europe and South Africa.
Derivan continues to provide the
finest products that can be made,
guided by the requirements of its
customers. Our Matisse range of
premium acrylics and mediums
are all manufactured to the highest
standards to ensure not only the
most brilliant and pure results but
also safe in the knowledge that
your work will not crack, fade, or
change over time in any way.
Although many companies sell
many different types of acrylic paint,
Matisse colours go one step further.
We sell our paints in two ranges:
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Matisse Structure Formula
is an impasto paint. Impasto
paints are known for their thick,
52 A u s t r a l i a n How to Paint
F E A T U R E
dense formulas. Brushstrokes are
immediately visible, making it
particularly suitable for textured
three-dimensional effects.
Available in 95 colours, Matisse
Structure Formula paint can also
be applied with a palette knife for
striking, highly textured finishes
and dries to a semi-satin finish
within a few hours under normal
conditions. Matisse Structure
Formula is completely compatible
with all Matisse Mediums, these
being supplementary products
that can be added to enhance
or change the characteristics
of the paint application.
Matisse Flow Formula is a more
flowing paint with a thinner viscosity
that dries to smooth finish with
virtually no texture. It is ideal for
creating blocks of flat colour and
for fine brushwork and does not
need to be diluted. The smooth
finish of this paint can also be
enhanced with the use of fine natural
or soft synthetic hair brushes.
Matisse Flow Formula is
highly suited to mural work,
acrylic canvas painting, theatre
backdrops, geometrics, hard edge,
and photorealism and fine detail
brushwork. Even watercolour
techniques can be simulated quite
easily. Matisse Flow Formula can
also be used for airbrushing with
the inclusion of specific mediums.
Matisse Flow Formula is completely
compatible with Matisse Mediums.
Both the Structure and the Flow
Formulas can be used together
on the same painting for different
effects. The colour range for
both formulas is identical as
are the permanency ratings.
Our Top 5 Selling Flow
Formula Acrylic Paints:
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Our Top 5 Selling Structure
Formula Acrylic Paints:
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Aussie colours, Aussie
colours Oi! Oi! Oi!
There are also several Australian colours
in both Structure and Flow formulas
that were inspired by the natural
elements of our unique landscape.
The story surrounding the
development of these colours began
with a trip by Derivan’s CEO Steven
Patterson to Alice Springs, Uluru and
Kings Canyon. As he travelled through
these areas he was struck by just how
unique and beautiful these landscapes
are. In particular, the harsh Australian
sunlight highlighted colours that he
believed had not been created before in
acrylic paints, and would be ideal for use
by our many landscape painters. These
colours include Australian Sap Green,
Australian Yellow Green, Australian
Red Violet, Australian Blue Gum,
Australian Sienna, Australian Sky Blue,
Australian Salmon Gum, Australian
Olive Green and Southern Ocean Blue.
If you paint landscapes then
these colours are worth checking
out at your art store, and if you
haven’t been to Alice Springs, Kings
Canyon or Uluru, then perhaps a
painting expedition is in order!
Our must try for 2012 …
We say that this is the year to try a
colour you love in a different formula.
So if you normally buy Matisse
Structure Formula in Titanium White –
and it appears there are a lot of you out
there - then consider buying the same
 P R O D U C T
colour in Matisse Flow Formula and
experiment with the smooth texture.
Fading into the Background …
Although we are well known for our
artists’ paints, we also have a range
of paints that are formulated to act
like a gesso for our artist paints. Not
surprisingly, these are referred to
as Matisse Background Colours.
Matisse Background Colours are an
all-purpose acrylic paint that can be
applied to almost any surface. They
are a highly pigmented low tooth
gesso, the word “tooth” referring
to the roughness of the dried finish.
Used directly onto wood, Matisse
Background Colours will not only
cover and create a suitable surface
to paint on, but will also seal the
surface as it has a built-in sealer.
Matisse Background Colours
are also compatible with Matisse
Mediums. Use MM26 Transparent
Gesso mixed with the Matisse
Background Colours to create a
coloured primer with extra tooth for
painting and use with dry pastels.
A more pronounced tooth can be
achieved by increasing the amount
of MM26 Transparent Gesso mixed
with the Matisse Background Colour.
All Matisse Background Colours are
specifically designed and selected for
use on canvas, board etc. However,
they can be used for interior domestic
decoration when stenciling or creating
faux finishes. Matisse Background
Colour spreads easily with brush or
roller and can be applied directly from
the container. This product should be
applied in thin coats (no more than
0.5mm thick) to reduce the risk of
cracks forming. Cleaning up is easily
done with soap and water. The range
comes in 250ml plastic containers,
with a selection of the most popular
colours available in 1 Litre pails.
Matisse Background Colours dry to
a matt-velvet finish within a few hours
under normal conditions. However,
their low tooth surface is more prone
to marking if left unvarnished. Artists
can use either MM6 Polymer Matt
F E A T U R E
Varnish or MM7 Polymer Gloss
Varnish and Gloss Medium as a final
layer to create a more resilient surface.
Ready, set, PAINT!
Know a lapsed artist or someone who
has always wanted to give it a try but
has never got around to it? Then one
of our themed sets within the range of
Matisse sets available could get them
off to a good start. Each theme may
provide that extra bit of inspiration
to someone who may be in need of
a few ideas. All you need to do is
add a canvas or two, a set of brushes
and you’ve got a thoughtful gift.
‡ $XVWUDOLDQ 6HDVFDSH 6HW
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‡ $XVWUDOLDQ &RORXUV 6HW
Another must try for 2012
- Impasto Medium
Matisse mediums are additional
products designed to make acrylic
paint more versatile. They can be used
with either the Matisse Structure or
Flow acrylic formulas. You already
know our top selling paint colours, but
which medium is our top seller? This
award goes to our Impasto Medium.
This medium is designed to be
combined with acrylic paint to achieve
impasto effects by increasing the
thickness and density of the paint. The
word impasto refers to the application
of a thick paint that leaves visible
brush or palette knife marks. Although
pigment-free and white in colour, it
does not alter the colour of the paint. It
dries to a low sheen subdued finish very
similar to that of Matisse acrylic paints.
MM2 Impasto Medium can be added
to either Matisse Flow or Structure
acrylic paints, but is particularly
compatible with the Structure formula
due to its thick and full-bodied
qualities. MM2 Impasto Medium can
also be applied unmixed from the tub
directly to a primed canvas with either
a palette knife or brush. Once dry,
it can then be painted over with the
Matisse acrylic paint of your choice.
MM2 Impasto Medium dries with
a very open matrix that allows blends
of this medium and Matisse colours
to be applied much more thickly in a
single application than paint, without
the fear of shrinking or cracking.
However, extremely thick layers and
extremes of temperatures/humidity
whilst working are best avoided.
We’ve put on our painting caps …
Actually, we’ve put the painting caps
on our paint tubes! Innovation is all
in the details and at first glance our
new cap may not look all that different
from our old one, except for the fact
that it is now clear. However, closer
inspection reveals that this cap now has
a unique flip-top action, making it easy
to use and practical. Features include:
Single handed use. Hold, flip,
squeeze, and flip back down. All
with one hand. Much easier than
screwing around with screw caps.
Clear colour enables you to
see the colour in the tube even
when the cap is on and closed.
Can be used as a screw cap as well
like our previous caps. We didn’t
want to rock the boat too much!
Look out for our news caps in 2012
next time you are at your local art
store. Remember, the new ones are
clear and the old ones were white.
DERIVAN –
Inspire Innovate Create
For further information or location
of your nearest stockist of
Matisse products please visit
www.derivan.com.au or contact
Derivan on 02 9736 2022 or
email derivan@derivan.com.au
Australian H to Pa 53
 P R O D U C T
Not all paints are created equal.
They are manufactured for a
particular user level and budget.
There are expensive professional
quality paints for serious artists, very
cheap paints for young children and a
wide variety of categories in between.
This article will help you understand
just a little about how paints are
made and what the important
differences are between them.
All paints are made up of two main
components – pigments and binders.
Pigments give the paint its colour
and the binder is the clear substance
that the pigment is suspended in.
Pigments
The quality and amount of pigment
used is the single most important factor
in determining the cost of a paint.
Pigment Load - How much
colour is in the paint?
In simple terms, if a paint contains a
lot of pigment then it will have a strong
colour and tend to be expensive and
cheaper paints contain less pigment. It
can be tempting for paint companies to
cut the cost of their paints by reducing
the pigment load to a minimum
and while this will certainly lower
costs, it also dramatically affects the
quality of the paint. A paint with a
low pigment load will not cover well
and usually dries to a dull lifeless
colour. All paints tend to look nice
and bright when they are wet but to
54 A u s t r a l i a n How to Paint
F E A T U R E
CHROMA PAINT CLASS 101
really put them to the test, paint them
out over a high contrast pattern like
on our Leneta card and let them dry.
It does not take an expert to see that
some paints cover better than others
and dry with more vibrant colours.
Pigment Cost
The cost of each different coloured
pigment can vary dramatically, from
a just few dollars up to hundreds of
dollars per kilogram. This is because
some pigments are made from very
cheap plentiful materials whereas
other colours are derived from rare
expensive resources or involve
complicated chemical reactions to
create. For example, the brown colours
like Raw Sienna are based on different
coloured clays that are readily available
and easily processed into pigments.
Cobalt Blue on the other hand is the
result of a series of chemical reactions
using rare minerals and metals. The
lengthy process and cost of the rare
materials involved makes Cobalt Blue
one of the most expensive colours.
Series
Due to the big difference in price
between certain pigments, artists’
colours are sold in different series.
The cheaper pigments are in series one
and the more expensive pigments in
higher series. Atelier Interactive has
six different series ranging from about
$8 a tube for Raw Sienna in series 1,
up to $30 for Cobalt Blue in series 6.
Hue
Some higher series colours are so
expensive that we have given consumers
a choice by creating cheaper pigment
mixes that closely match the expensive
colour. These colours are called “Hues”
and you will find the word “Hue” after
the original name eg in the Atelier
Interactive range Cobalt Blue Hue is in
series 2 and Cobalt Blue in series 6.
Lightfast Pigments - Will the
colours fade in the sun?
Pigments come from many different
sources and some are resistant to
fading and others are not. As a general
rule lightfast pigments cost more than
the ones that fade. The term “Artist’s”
paint has previously been reserved for
lightfast paints only but now this is not
always the case so choose carefully
- If a paint makes no specific claim
to being lightfast then it is almost
certainly not. Lightfastness is a very
strong selling point for artists’ quality
paints that are much more expensive to
manufacture so it is always mentioned
somewhere on the tube or colour chart.
Lightfast Testing
The ASTM – American Society for
Testing Materials has an internationally
recognised method for testing the
permanence of paints. An ASTM
Lightfastness rating of 1 or 2 means
the paint will not fade and is suitable
for use by professional artists. The
BWS - British Wool Scale also known
as the Blue Wool Scale test is another
reputable test for lightfastness. Chroma
Artists’ paints like Atelier Interactive,
Archival Oils and Jo Sonja’s all meet
these international standards. Some
companies have their own method of
rating colours for lightfastness using
various symbols like stars etc. to rate
permanence. These claims need careful
consideration by judging the reputation
of the brand. Well known and respected
manufacturers are unlikely to risk
their reputation on false claims but
a cheap import from a company you
have never heard of that claims to be
lightfast should be treated as suspect.
Lightfast pigments alone are NOT a
guarantee of high quality paint - it is
actually pigment load that determines
the colour vibrancy and covering
power. A paint with low levels of
an expensive lightfast pigment
will still give very poor results.
Opacity
The transparency of pigments vary
- you can see through some colours
no matter how much pigment is in
the paint and others cover really
well, completely blocking out the
colour beneath. Chroma describes
 P R O D U C T
the different levels of transparency
as Opaque, Semi Transparent and
Transparent. These characteristics are
shown on our labelling and colour
charts by little circles that are either
filled in, half filled in or empty.
Opaque colours aren’t always an
indicator of enhanced colour strength
or quality. Transparent pigments
are actually very useful for glazing
techniques. However if a paint has a
low pigment load then all the colours
will tend to be transparent. When
every colour in a range is transparent,
the paint is frustrating to use.
Single Pigment Vs Mixed Pigment
Some colours are made with just one
pigment and others contain a mix
of different pigments to create the
desired colour. High quality artists’
paint always uses single pigments
where one is available but cheaper
paints will often use a low cost mix of
pigments. The single pigment options
work best because the colour tends to
be cleaner and it creates better mixes.
When colour mixing, you tend to get
superior results with fewer pigments
as lots of different colours mixed
together give dull muddy results.
White Is Important
White is by far the highest selling
colour in most paint ranges and it is
a very important mixing colour for
lightening tones and overpainting.
A lot of cheap paints contain very
little white pigment at all which can
be difficult for the untrained eye to
spot until you actually try to do a
painting. A white that does not cover
F E A T U R E
well is very frustrating to use and
unfortunately is so common in schools
that a lot of teachers and students just
assume you cannot effectively cover
a dark colour with one coat of white.
Chroma does not compromise on
white so even our school paints like
Chroma 2 and Chromacryl have quite
powerful whites that covers well.
Another cost cutting “trick” used
with whites is to pack them full of a
cheap chalky filler that makes them
cover very well but this does not
make them good for colour mixing.
More white than normal is needed
to lighten colours and the resulting
mixes end up looking flat and chalky.
What makes a good value paint?
It is normal for everyone to want to
get a great bargain however usually
you get what you pay for and with
paint it is no different. A cheap paint
that is also poor quality is not really
good value at all is it? At Chroma we
make paints that fit all levels of quality
and price however we always attempt
to create the best paint possible for
each category. Where compromises
have to be made we do it carefully so
as to have a minimum impact on the
overall quality. Here are the important
factors to consider when judging the
real value and quality of a paint.
Pigment load must be as high
as possible to get strong colour
and covering power. Fillers like
chalk and clay can enhance
covering power but will spoil the
colours and create dirty mixes.
Watering down paint to lower the
cost will reduce the price but can
make the paint weak and runny.
The low quality of the paint really
shows when it has dried and all the
water has evaporated - the colour
darkens, the texture shrinks and the
paint can crack, even in acrylics.
Reds and yellows are some of
the most expensive colours to make
but should not be downgraded to
save on costs because they are
important primaries and mixing
colours. Always look at the reds
oranges and yellows to check the
quality of a paint, not the blues.
Whites should also be examined
closely as it is the highest selling
colour and a very important mixing
and covering colour. A strong white
with weak colours can actually
be a negative because it can be
difficult to use for colour mixing.
Lightfast pigments are the optimal in
artists’ quality paints but only give good
results when used in high quantities.
A small amount of high quality
pigment will still give poor results.
The consistency and handling
qualities of paint takes great skill and
experience to get right but does not add
significantly to the cost so even cheaper
paints should have a nice quality feel.
Chroma Australia Pty Ltd
Phone: 61 2 9457 9922 Email:
marketing@chromaonline.com
Australian H to Pa 55
 0 5 : 0 . / ;

Kathryn Hede

The Passionate
Painter
Always creative, this artist is now the proud owner of her
very own studio gallery.

Rusty Reflections

56 A u s t r a l i a n How to Paint

I
e always enjoyed being
eative” and when I was young
as forever making some type
of t or sewing. I loved art at
school and couldn’t wait for class,
but I didn’t believe I could paint, my
love being drawing and sculpture.
It wasn’t until many years later
when my husband David and I were
running a business in western Victoria
that I found I needed an outlet to take
me away from my daily routine, so I
decided to pick up a paint brush again
after being inspired by my mother
who had taken up oils in her later
years.
I dabbled in a few paintings of the
local scenery and painted miniatures,
making them into magnets and put
them up for sale in the foyer of the
motel where, much to my surprise,
they sold, and the magnets became a
great tourist sale point. One night, a
local dining in our restaurant noticed
my work and contacted me and asked
whether I would like to be part of an
art exhibition they were holding at the
Old Convent. This was my first time
exhibiting my work and it was rather
daunting participating in what I called
“the real world with real artists”. I
Nature
successfully participated and was
then asked to participate in a further
exhibition called 12 x 12 (12 artists,
12 paintings each). The response to
my work was most encouraging with
numerous sales so I continued to
paint.
Moving to the far south coast of
NSW some years ago, there was still
not enough time available for me
to spend at my “art” as David and I
continued operating our own business
seven days a week and had two school-
aged boys, Robert and Matthew. I
would paint whenever I could, dragging
my paints and canvases out of the
cupboard to the kitchen table after
clearing away dinner and painting away
until the late hours, losing myself in the
enjoyment of painting.
My first experience of participating
in a “judged exhibition” came
about when I joined the Merimbula
and District Arts Group in 2004
and entered the Annual Art
Exhibition. I was thrilled when I
won an Encouragement Award and
a Highly Commended in the Best
Contemporary Painting category
with the judge commenting “an
exciting, adventurous and strong
Magpie
picture. Good use of tones, texture
and colour. The composition is full
of purpose and reminds me of some
of Brett Whiteley’s approach to
Sydney’s foreshores in the 1970s and
‘80s. Well done!” These comments
blew me away and I have kept them
as they are a continual source of
encouragement. From there I have
gone on to win numerous awards and
have had work published in Artist’s
Palette magazine in the Gallery
section, and in the Australian Artist
Magazine.
My husband David realised my
need to paint was very strong and a
couple of years ago he set me up with
a small studio, sacrificing his old bar
area in the process. This area now
housed everything I needed to be able
to continue with my passion and I
now could paint away happily without
disturbing the family.
Originally being self taught, I was
keen to learn and over recent years I
have attended numerous workshops
with local and interstate artists and
completed further art study at TAFE,
obtaining a Distinction in Painting and
a Credit in Contemporary Craft.
Painting for me started as a way to
Australian H to Paint 57
 

relax, turned into an enjoyable pastime

and then became a passion. I was
hooked. From the moment I put the
first mark on the paper, there is a need
for me to interact with the journey I
am taking.
I enjoy painting a full range of
subjects - seascapes, landscapes and
Monarch Butterfly birds are particular favourites. My
painting styles are contemporary,
abstract expressionism and semi
realistic in acrylics, pastel, gouache
and oils. There is a certain restlessness
in me and I cannot be restricted and
confined to one style of work. If I have
been painting landscapes today, I may
then work on a seascape tomorrow,
from the figure to the abstract. I try
not to limit myself and by keeping
the door open, anything is possible.
I am also continuing to explore
sculpture using different techniques
and elements to create a number of
sculptural pieces. A number of my
artworks and sculptures have travelled
as far afield as Canada, Sweden and
the U.K.
Living on the far south coast of
NSW is a mecca for an artist. The
Plover Study sea and the lake is an ever changing
view I see everyday from my studio
window. Here I see the seagulls and
the pelicans wading in the shallows,
the boats and the fishermen, and
the children playing on the sand.
I also have the beautiful farming
lands and the misty views across
the undulating hills of neighbouring
areas. Inspiration is everywhere!
Now semi-retired and with my
children grown, I have time to
spend in my studio and paint most
days, something I find I must do
even though the creative path
is challenging, exhilarating and
frustrating, all rolled into one.
Longpoint Gallery, my studio
gallery, was opened in June 2011. I
Gulls now have an area for people to come
and view my work in an inviting

58 A u s t r a l i a n How to Paint

Zebra
coastal environment which is open
to the public and by appointment
for private viewings. (www.
longpointgallerymerimbula.com.au)
“Art is making people see the
ordinary in an extraordinary
fashion.” (anon)
EXHIBITIONS
Basil Sellers Art Prize 2012
Countryscape 2011 $35,000 Landscape
Art Prize - Bathurst Regional Gallery
The Outback Open Art Prize and
Exhibition 2009/2012- Broken Hill
0 5 : 0 . / ;
Morning Ritual
Regional Gallery
The Lions/Snowy Hydro Exhibition –
2009/2010/2011
Bega Valley Regional Gallery Art
Awards 2008 and 2010
The Meroogal Women’s Art
Prize and Travelling Exhibition 2009
The Merimbula and District Arts
Group Easter Exhibitions – 2004/
05/06/07/08/09/10/11/12
“Shimmer” Exhibition –
The Crossing Gallery 2009
“Candelo Exposed” Joint Exhibition-
The Crossing Gallery 2009
Reflections of the pier
“Interiors” Exhibition 2007 - The
South East Modern Arts Group
The Bega District Show 2007
“Figuratively Speaking” Exhibition -
The South East Modern Arts
Group 2006
The Wyndham Art Show – 2006
and 2009
The Environmental Art Exhibition
Warrnambool 1999
The Convent Artworks Exhibition
1998 and 1999
The City of Warrnambool Art
Show 1998
Rolling Fog
Australian to Paint 59
 0 5 : 0 . / ;

Country Roads

AWA R D S
2012 Finalist Basil Sellers Art Prize
2012 Encouragement Award Outback
Open Art Prize - Broken Hill Regional
Gallery
2011Finalist – Countryscapes – the
$35,000 Essential Energy Art Prize for
Landscape Painting
2010 Finalist Bega Valley Regional
Gallery Art Awards
2010 Second Prize– Merimbula &
District Arts Group Easter Exhibition
2010 Highly Commended – Merimbula
& District Arts Group Easter
Exhibition
2010 Peoples’ Choice – Merimbula &
District Arts Group Easter Exhibition
2010 Finalist in the Australian Artist –
Still Life and Floral Challenge
2009 Second Prize – Merimbula &
District Arts Group Easter Exhibition
Boat Hire Reflections 2009 Finalist in the Outback Art Prize,
Broken Hill Regional Gallery

60 A u s t r a l i a n How to Paint
 0 5 : 0 . / ;

Roar of the Sea Bega River- After the Rains

2009 Finalist in the Meroogal Women’s
Art Prize
2008 Finalist in the Bega Valley
Regional Art Awards
2007 Second Prize Contemporary
Painting – Bega District Show
2007 Second Prize Drawing, Portraiture
– Bega District Show
2007 First Prize Pastel - Bega District
Show
2005 First Prize - Best Painting of
Show – Merimbula & District Arts
Group Easter Exhibition
2004 Encouragement Award -
Merimbula & District Arts Group
Easter Exhibition
2004 Highly Commended in the Best
Contemporary Painting – Mer. & Dist.
Arts Show Easter Exhibition
P U B L I C AT I O N S
Artist’s Palette Magazine Issue No. 94
Australian Artist Magazine – June
2010, September 2010
Q U A L I F I C AT I O N S :
Visual Arts & Contemporary Craft
– Illawarra Institute of TAFE Cert
III obtaining Distinction in Painting
/ Credit in Contemporary Craft.
Tutorial workshops with local,
interstate and international artists
COLLECTIONS
Private collections: local/interstate/
international
I currently exhibit at: The Village
Gallery, Oaklands Barn, Pambula,
Spiral Gallery Bega, Longpoint Studio
Gallery, Merimbula.
Kathryn Hede
Ph: 02 6495 3398
M: 0412 961 529
Email: seaside6@bigpond.com ■

Country Plains Not so Perfect Pair

Australian H Paint 61
 D E M O N S T R A T I O N

Acrylic

Slim Pickings
By Kathryn Hede

A wonderful, simple painting of magpies scratching amongst the dry earth.

62 A u s t r a l i a n How to Paint
 D E M O N S T R A T I O N

CE
REN
REFE

STEP ONE

STEP ONE
I roughly painted my canvas by
using up remaining paints from a
previous painting in earthy tones.
I rubbed out some areas and added
more paint into sections and left
any marks that will represent
the dry earth and twigs etc. As I
do not intend to paint a realistic
depiction of these magpies, I need
the background to be quite loose.

STEP TWO STEP TWO

Once I have decided on my images
from my reference material, I lightly
draw in the birds using a watercolour
pencil. Sometimes I have already
worked out where I want the birds

M AT E R I A L S

Canvas: underpainted in
leftover colours from palette
Paints: Atelier Interactive
Acrylics: Paynes Grey, Burnt
Umber, Titanium White,
Yellow Light, Cadmium Red.
Assorted brushes STEP THREE

Australian H to Pa 63
 STEP FOUR

to be placed but once I start to

draw my images on the canvas,
I may change the positioning.

STEP THREE
I quickly block in the darks of
each bird. I do not use black but
a mix of Paynes Grey and Burnt
Umber. I mix up a grey from the
original dark mix and paint in some
STEP FIVE lighter tones on the magpies.
Even though I am not intending
to paint all the feathers of each
bird, I do need to remember about
the direction of the feathers. At this
point, I no longer use my reference
material. That’s when painting
comes in - otherwise you are
painting a photograph and will try
to depict every feather you see.

STEP FOUR
I now bring in the white and gradually
build up the white areas of the
magpie, keeping in mind a light
direction. I also continue to see where
I need to make the darks darker.

STEP FIVE
STEP FIVE- CONTINUED I now paint in the eyes of the
magpies, using a mix of Cadminum

64 A u s t r a l i a n How to Paint
 CLOSE UP
Red and Yellow Light. I adjust
this, adding more yellow or red
to the eyes as needed. I also paint
in the legs of the magpies using
the original dark mix with added
white. The beaks are also painted
in, again the grey mix is adjusted
to suit. At this point I adjust the
bodies of the birds adding in
more darks or lights to suit.

FINAL STEP
This is where I make any adjustments
to the background adding in washes CLOSE UP
of colour where needed to work
in with the finished magpies. ■

Australian H 65
 0 5 : 0 . / ;

Renée Treml

By Renée Treml

Although currently on a ‘relocation’ theme – placing animals that were evicted

from their natural environment in unnatural settings – this artist would love to
illustrate a children’s book or start a new series of benefit art exhibitions.

I
was born in Bryn Mawr,
Pennsylvania (USA) in 1974. These
days I live in the Brisbane suburb
of Yeronga. I moved to Brisbane in
December 2007 with my husband
Eric, who is a marine biologist at the
University of Queensland.
I have a small studio below our home
that is actually a converted garage
space. I work in the studio at least
three days a week. I also work three
days a week as a research assistant in
the School of Geography, Planning
and Environmental Management at the
University of Queensland.
I have always been involved in art
classes, starting from when I was a
young child. While at University,
I decided to study ecology and
environmental science rather than fine
art. Throughout this time, I continued
enrolling in art classes both at
university and at local art centres.
After several years of working as
a remote sensing scientist for the US
government, I decided to leave the
sciences and begin studying scientific
illustration. I completed a professional

66 A u s t r a l i a n How to Paint

certificate in botanical illustration
in 2004 (from the North Carolina
Botanical Gardens in Chapel Hill, NC,
USA). This focused study helped me
realise I was interested in creating fine
art and illustrations.
Over the past several years, I have
continued enrolling in art classes and
workshops to help me grow and learn
as an artist. I believe I had some of
the best art teachers and mentors (and
a supportive arts community) while I
was studying art in North Carolina. I
0 5 : 0 . / ;
am finding a similar community
of artists in Brisbane and I look
forward to having that supportive
network again.
I am passionate about the
environment and bringing awareness
to environmental issues with my
work. I used to just paint and
illustrate birds, hoping to bring
awareness of the species and the
environment through this focused
work. Recently I have tried to become
more active with this message by
creating art that gently points out bad
habits (such as habitat destruction)
with aesthetically pleasing and
sometimes humorous imagery.
I am currently on a relocation
theme – placing animals that
were evicted from their natural
environment in unnatural settings,
such as birds nesting in tea cups and
bilbys sleeping in birds’ nests. I do
not want my pieces to be negative
or accusatory, and I do not want to
force my messages on anyone. In fact,
Australian H to Paint 67
 0 5 : 0 . / ;

you could just look at my images and find them interesting

without having to consider the larger message.
I have always been interested in the natural world with my
artwork and my motivation comes from the environment. I
have difficulty painting things when I am removed from the
environment. For example, every time I go scuba diving I want
to create marine paintings; but the minute I get back home, I
am looking at the sky again.
I began my art career in North Carolina, USA. The
community of Durham and Chapel Hill seemed to be a magnet
for artists and everyone was so open and supportive. Two
things really pushed me along in my career: One was a series
of classes I took with Luna Lee Ray and her regular students
(with Luna’s guidance, we started ArtReach-NC and hosted
benefit art exhibitions); the other big push came from my
membership in the Guild of Natural Science Illustrators (GNSI)
Carolinas Chapter. GNSI-Carolinas was an amazing group of
supportive, encouraging artists where everyone wanted each
other to succeed. I know that my successes are largely a result
of my interactions with wonderful artists. As a result, I believe
I have become a giving and supportive artist.
For the past year I have been working solely with
scratchboard. I tend to switch back and forth between painting
with acrylics and watercolours or illustrating with scratchboard.
I am not sure if I get bored; or if I just get inspired with other
imagery. Black and white can be a really powerful medium, but
sometimes I miss working in colour with big brushes.
I almost always paint birds or other wildlife. I studied
biology and ecology at university and that just seems to be my
ongoing inspiration.
I try to exhibit my work regularly. It is a lot of work to keep
up, but I love participating in events and it is really good for

68 A u s t r a l i a n How to Paint
 0 5 : 0 . / ;

me to be focused on a goal. I would like to get my work to

cities outside of Brisbane … but I imagine that will come
in time. I am still learning the way things work in Australia
and I hope to exhibit in some of the national exhibitions
in due course. I am currently a member of the Guild of
Natural Science Illustrators (GNSI); Artworkers Alliance
Incorporated; and Queensland Wildlife Artist Society Inc.
I am not sure if I have a favourite outstanding piece of
art … I seem to always love the most recent piece I have
completed.
I have no talent for wheel thrown pottery. I am really
comfortable drawing and painting, so I sometimes enjoy
taking classes like pottery that challenge me … and it is
fun (sometimes) to be the worst one in the class.
My personal collection of my own works is meagre. I
love showing my work – and nothing makes me happier
than when someone else loves it too. I do have a few
whimsical paintings of my dog in a tutu which I will never
part with.
I regularly show my works at Kiln Gallery in Paddington
(Queensland). I also send work back periodically for studio
events and exhibits in North Carolina, USA. Early on, a lot
of my friends were my collectors … these days I am not
always sure who collects my images. I meet some of the
buyers at events and exhibits, but sometimes they just slip
by without me ever knowing.
I have a tendency to work realistically with familiar
subjects, so my works seem accessible to a wide audience.
I also like to work small – which naturally keep the prices
at a level where almost anyone who wants them can afford
them. I also make lots of cards and prints.
I love to teach and I have had several years experience
teaching biology at university. My ideal career would be
teaching a few art classes each week and working full-time
in the studio.
I think being an ‘outdoorsy’ type of person really
helps sustain and enhance my creativity. My husband
and I regularly go on long hikes and country camping
trips; and we travel to parks, beaches and other
countries. I always come home with a million ideas for
new pieces; almost always based on the local wildlife
and environmental issues.
My advice to other artists is based on personal
experience: If you do not have formal arts training, do
not let it hold you back. You can always find excellent
art teachers through community or TAFE courses. I also
firmly believe that interacting with other artists, seeing
their work, collaborating on projects and taking classes
should be a lifelong process.
You should always be open to growing, experimenting
and changing.
I would love to be able to continue growing and exploring
creatively; and I would love to illustrate a children’s book or
start a series of benefit art exhibitions again. O

Australian to int 69
 D E M O N S T R A T I O N

Claybord and Ink

฀ ฀ By Renée Treml

This talented
scratchboard artist
always tries to
spend some time
just observing a
piece of her work
before deciding it
is complete.

M AT E R I A L S

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1XPEHUVDQG 
FINAL STEP

70 A u s t r a l i a n How to Paint
 STEP ONE
C
laybord is made up of a
hard panel that has been
coated with a fine layer of
smooth clay. When I work on white
Claybord, I like to combine painting,
drawing and scratching to create a
piece with a unique style and texture.
I created this piece ‘Who Needs
Trees?’ for an environmental art
exhibit and it exemplifies why I love
this technique … I can create very
realistic looking animals and place
them in highly unlikely settings,
and yet they still look believable.
STEP ONE
I trace the completed drawing onto a
piece of tracing paper and transfer it to
the Clayboard. For this example, I put
a piece of graphite paper (shown here)
under the tracing paper and lightly
traced over my lines with a ballpoint
pen. I am careful not to press too
hard because it will indent the clay.
When I do not have graphite paper
STEP THREE
ailable, I lightly shade over the
nes on the back side of the tracing
per using a soft 2B pencil. I then
ut the tracing paper right side up
n the Claybord and lightly trace
ith a ballpoint pen or hard pencil.
STEP TWO
I make a concentrated mixture of ink
using about one drop of ink to three
drops of water. I never paint with ink
straight from the bottle because it is
too thick. For my initial washes, I
dilute the mixture even further until it
resembles wet watercolour paint. I paint
the ink on the Claybord in thin washes,
allowing it to dry between layers.
Claybord is very absorbent and
dries quickly, so do not be surprised
if you see ‘blooms’ or other
irregular marks in your washes.
At this stage I begin building up
the volume and roundness of the
Frogmouth’s head and chest.
STEP THREE
STEP TWO
STEP THREE
I continue adding washes and
developing the shape and texture of
the bird. I think shape and volume are
most important to develop first – you
can always add texture and detail
later. I also begin drawing defining
lines and markings with my ink pens.
I continue drawing and painting until
I feel satisfied that the piece has good
depth and a coarse level of detail.
STEP FOUR
To recreate the mottled appearance
of the Frogmouth’s feathers, I
choose to splatter the bird’s body
with different concentrations of ink.
Splattering creates random patterns
that I think mimic the irregularity
of the Frogmouth’s camouflaging
feathers. To splatter without ruining
my white background, I create a mask
for the background from the piece of
tracing paper I used in Step One.
STEP THREE – CLOSE UP
Australian H to Pa 71
 D E M O N S T R A T I O N
To make the mask, I cut the
Frogmouth’s body from the tracing
paper and carefully lay the cut paper
over the Claybord so that it is covering
the background. I wet my brush with
ink and splatter the piece – I can be
rather carefree because the mask
is protecting the background.
If any splatters do get onto the white
STEP FOUR background, I wait for these to dry and
scrape them from the surface using the
broad side of my blade – being careful
not the gouge the surface of the clay.
STEP FIVE
After the splatter dries, I add a few
more bold washes of ink to the
Frogmouth to deepen the overall
shadows on the body, as well as some
STEP FOUR specific areas under the beak and near
the eyes where I want depth. Now
I am ready to begin scratching.
Scratching with the knife quickly
sharpens the details and adds even
more volume to this drawing. I use
the knife lightly, trying not to cut
into the clay too deeply. I can always
go back and add more pressure if I
want a thicker or whiter line. I also
remember to keep my scratch marks
moving with the direction of the shape.
See how my scratch marks are
following the curves on the head and
adding to the feeling of roundness.
STEP FIVE STEP SIX
Now that I have added detail to the
entire bird, I see some areas where
the whiteness of the scratched clay is
bringing things forward that should
be kept in shadow. For example,
the white markings and feather
details on the wing are too eye-
catching and taking away from the
feeling of roundness and volume.
To push those white areas back
into shadow, I lightly apply washes
of ink over the wing. I also add
some washes underneath the bird’s
belly, and to the back of the head.
As a final step, I want to add detail to
the egg cup without drawing too much
STEP FIVE
attention away from the Frogmouth.
72 A u s t r a l i a n How to Paint
After lightly painting and drawing my
design on the shadowed cup, I lightly
scratch over the areas of the egg cup
that are not in shadow with a very
fine piece of steel wool (or sandpaper)
and the broad edge of my knife.
FINAL THOUGHTS
When I feel ‘finished’, I put the piece
on an easel in my studio so I can
look at it for several days (or weeks,
if time permits). After looking at this
piece, I see the need for a few more
white highlights on the chest – and
maybe some darker shadows – before
I sign off. I always try to spend
some time just observing the piece
before I decide it is complete. O
MASTER
HINTS
AND TIPS
‡:RUNRXW\RXUGUDZLQJ
completely before beginning – it
is extremely difficult to fix a big
mistake neatly on Claybord.
‡&OD\ERUGLVJUHDWIRUKLJKOLJKWV
and shadows. Identify the light
source and shadows for your
subject before you begin.
‡%HVXUH\RXUEODGHLVDOZD\V
very sharp. A dull blade
will not cut through the clay
smoothly. I keep a sharpening
stone nearby and discard any
blades with broken tips.
‡<RXUVFUDWFKHVVKRXOGIROORZ
the direction of the fur or
feathers and the shape of the
body to help add to the feeling
of volume and roundness.
‡'RQRWVWDUWVFUDWFKLQJLI\RX
have wet ink on the Claybord,
as the clay ‘dust’ will adhere to
the wet ink and your washes will
appear dirty and feel grainy.
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EUAN MACLEOD. Alice. Archival Oils on canvas, 2006, 137 x 180 cm
Image courtesy of Watters Gallery. www.wattersgallery.com

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