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ontents

Issue No.168 2019

FEATURES

30

38 Back to School A wonderful array of students’ art materials to help you plan for the year ahead.

14 Patriotic Painter Peter Moore OAM is an ardent Australian painter with a proud military background.

38 My Art Journey Patricia La Rossa’s artistic studio ‘Perugina Art’ is her own special creative haven.

INSIGHTS

30 Never Say Never Kate Frawley is proud to hang her paintings alongside work by her able-bodied peers.

46 Just Like Breathing Maree Cameron’s enduring affection for painting has led her to artistic satisfaction.

6 Transport Art With a passion for ‘all things transportation’, Steve Leadenham has found his niche.

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54 Engrossing Hobby Guenter Barth finds free expression without constraints by maintaining art as a hobby.

62 A Sense of Love Sue McCutcheon creates loving works of art at her Soul Fruit Gallery in Victoria.

74 Light and Shade Marc Poisson’s atmospheric work displays a mastery of lighting, shading and tonality.

DEMONSTRATIONS

10 The 381 Bus to Dover Heights Steve Leadenham believes accuracy is paramount when painting transport subjects.

Cover image by: Steve Leadenham

22 18 Bushscape Our harsh bushland atmosphere glows in this acrylic work by Peter Moore OAM.

14 06

34 Green Tea MFPA member Kate Frawley holds a brush in her mouth to paint pictures like this.

42 The Garden God II A famous Australian artist helped to inspire this watercolour by Patricia La Rossa.

50 Rhapsody in Blue Queensland’s Maree Cameron loves quiet lagoons and their colourful plant life .

58 Glowing Landscape Guenter Barth describes how he captures light and warmth in a landscape in oils.

66 Approach to Silverband Falls Bright acrylic underpainting sometimes forms a basis for Sue McCutcheon’s work.

78 Street Scene in Hobart with Mt Wellington Marc Poisson prefers to suggest details … rather than intricately painting them.

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I N S I G H T

Steve Leadenham

Transport Art

Edited by Trevor Lang

This artist is passionate about ‘all things transportation’ ‌ he loves painting and he loves realism. His artistry has given him the means to combine these things beautifully.

S

teve Leadenham is a Sydney-based artist specialising in transport subjects. He paints in oils and acrylics on canvas. He was brought up in Doncaster, South Yorkshire (England) and while attending the local grammar school

was encouraged to undertake a number of short courses at Doncaster School of Art including life drawing and mixed media classes.

Steve pursued a career in the rail transport industry in Yorkshire and

London during the 1970s, finding time to produce the occasional painting.

In 1980, he married and emigrated to Australia to continue his logistics career in the transport and electrical engineering industries.

I N S I G H T

This artist maintains that he has always had the same basic interests.

“I remember having my train paintings posted on the classroom wall in primary school,” he reflects. “I won a prize of Adrian Hill’s ‘Watercolour Painting’ book for primary school artwork.”

In the last seven years Steve has produced an increasing number of paintings – many of which are in the possession of collectors and corporate clients in Australia, the United Kingdom, Europe, Japan and the United States.

Artist’s Palette

7

I N S I G H T His association with aviation photographer Sam Chui led to three paintings being displayed at the Airliners International 2003 convention in Columbus, Ohio in July of that year; and his work was selected by Brunel Promotions for publication in a transport calendar in the UK in 2005.

In 2004, Steve held his first solo exhibition at the Qantas Founders Museum at Longreach, Queensland. The following year he joined fellow aviation artists Nikyla Amanda Smith and Juanita Franzi in an exhibition entitled ‘Aerial Artistry’ at the same venue. He returned for a further solo exhibition in September 2006.

He regularly exhibits in western Sydney and is a member of the Australian Society of Aviation Artists, the Nepean Art Society and the Macquarie Towns Art Society.

“Semi-professional might be the most appropriate description for me as an artist, as I do earn a limited income from original work and print sales.” he says. “My accountant insists it goes on the tax return!”

Steve Leadenham has used watercolours, poster colours, conventional oils, acrylics, pastels, and pencil. His serious work during the past seven years initially used acrylics; but he converted to water-based oils due to their flexibility of use.

If you ask what subjects inspire him to paint, he answers without hesitation.

“Transport, transport and transport; plus occasional landscapes and very occasional portraits.”

While civil and commercial aviation figure prominently in Steve’s work, he is happy painting any form of transport. An increasing number of works are now being produced in response to special requests and commissions – both private and commercial.

A commission in 2007 was adopted by the Ambulance Service of New South Wales as the visual theme for the 40th anniversary celebrations of their Air Ambulance branch, including a personalised stamp issue through Australia Post. A limited edition print of that painting was released signed

by Australian aviation pioneer Nancy-Bird Walton who was instrumental in the establishment of the Air Ambulance Service in New South Wales.

In 2007, this artist completed five paintings commemorating the restoration of the first Qantas Airways Boeing 707 at Southend in England and its subsequent return to Australia. These painting now hang in the Qantas Founders Museum at Longreach in Queensland and prints of these and his other Qantas-themed paintings are available for sale through the museum.

In December 2007, Steve co-operated with the Sydney Bus and Truck Museum to prepare 8

Artist’s Palette

I N S I G H T a painting commemorating 75 years of government motor buses in New South Wales. Prints of this painting and other recent bus paintings are on sale through the museum at Sydney’s suburban Tempe.

Steve Leadenham finds inspiration in the works of two watercolourists: Joe Cartwright (another western Sydney resident) and Paul Civiletto (from Houston, Texas). He claims that they both exhibit a freedom in their work that he cannot even start to get his head around. He also admires works by the late Phil Belbin, the master of Australian (and Sydney) transport art.

“I have works in collections around Australia, in Japan, the UK, the Netherlands and the United States,” Steve reveals. “These works are predominantly held by aviation enthusiasts and professionals. I have sold original works to various commercial clients in general aviation. Recently Qantas Founders Museum presented framed prints of my work to Mark Vaile MP (then deputy prime minister of Australia), and Geoff Dixon (CEO, Qantas Airways Limited) on the occasion of the return of the first Qantas jet aircraft to Australia.”

Steve’s work is frequently used to support fundraising activities for a number of aircraft preservation projects internationally, and he has donated work in support of Australian charitable organisations.

He is soon to commence work on a project depicting first generation widebody airliners for a client in the United States.

This transport enthusiast is not reluctant to share advice with his artistic peers.

“Enjoy art,” he suggests. “It’s not hard – especially if you learn to paint what you see, not what you think you see. It’s all just shapes really. Even the most complex form can be broken down into a series of basic shapes.”

His ultimate goal is to have fun, enjoy painting, and produce what people like.

Steve Leadenham can be contacted by email at steve@leadenham.com n Artist’s Palette

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D E M O N S T R A T I O N

Water Mixable Oils

The 381 Bus to Dover Heights

By Steve Leadenham

Transport enthusiasts are extremely demanding ‌ accuracy is paramount when considering shape, colour and detail. Near enough is never good enough. Getting the proportions right is vital, too.

FINAL STEP

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D E M O N S T R A T I O N M AT E R I A L S • Canvas panel 50 x 40 cm.

• Reference photographs.

• Art Basics stiff synthetic brushes: Round 0, 2; Flat 0, 2; Filbert 2; Bright 6.

• Palette knife: 100/116.

• Pencil and ruler.

• Winsor & Newton Artisan Water Mixable Oil Colours: Zinc White; Titanium White; Naples Yellow; Cadmium Yellow; Sap Green; Phthalo Green; Burnt Umber; Burnt Sienna; Cobalt Blue; Paynes Grey.

• Winsor & Newton Artisan Water Mixable Linseed Oil. • Winsor & Newton Artisan Water Mixable Painting Medium.

STEP ONE

T

his painting of a 1950s Sydney double decker bus climbing through the suburbs above Bondi was produced at the request of an enthusiast who sought the recreation of this scene from his childhood. A detailed colour photograph was provided but, for the purposes of the painting, the model of the vehicle had to be changed to one illustrated in a second photograph provided for that purpose.

This demonstration provided a useful example of production of a painting for a critical audience; and the potential pitfalls that can be encountered.

STEP ONE

The reference photographs were provided as digital files, so to begin I prepared an A4 print of the main reference photograph and a grid five squares wide by four squares deep was applied in pencil.

I selected a canvas panel of an appropriate aspect ratio and gridded it into 10cm squares – producing an equivalent 20 squares. The scene was then sketched onto the canvas panel with the aim of preserving the proportions of the original scene.

The sketch was not detailed at this stage but it was critical that the important shapes within each square on the photograph were drawn in the exact equivalent position on the canvas. Transport enthusiasts are demanding.

Accuracy is paramount. Near enough is never good enough; and getting the proportions right will make or break the finished painting.

I rely heavily on photographic reference as a basis for my work; and, if not working directly from a single photograph, I will produce photo-composites using a computer graphics program as an aid to composition and lighting.

STEP TWO

STEP THREE

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D E M O N S T R A T I O N STEP FIVE

STEP FOUR

Transfer of a photo-composite onto canvas follows the same broad principles described above.

STEP TWO

Underpainting the background: At this stage the context of the scene was established. The paint was heavily diluted and the sky, the sea, the background buildings and the road surface were painted in that order. I aimed for the colours to be close to those required in the finished painting. In this way an appreciation could be quickly gained as to what worked and what would need adjustment. The light on buildings in the mid-distance would clearly require further attention.

STEP THREE

Underpainting the bus: The main subject of the painting was painted in. Again the paint was well diluted and this was a good time to gain an appreciation of the lighting and how it worked on the complex shapes at the front of the vehicle.

This wasn’t just a box on wheels!

The green used on a vehicle of this vintage is a difficult colour to capture.

It’s an acidic green leaning towards blue – and previous paintings of old Sydney buses had taught me that Phthalo Green combined with Sap Green, plenty 12

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of white and a touch of Cobalt Blue gets pretty close. The lighting in the picture was clearly coming from the right top corner as evidenced by the shadows, so the side of the bus would be lighter as well as having influence from the reflection of the sea and sky.

The recessed area alongside the driver’s cab, above the engine compartment, was where the real lighting interest happened – and it was this area that would be relied on to give the painting depth.

STEP FOUR

The time to start applying the thicker colour. The large areas first. The sky was a mixture of Cobalt Blue and Zinc White with the slightest touch of Naples Yellow to take the harshness out of the blue. The sea was predominantly Cobalt Blue. The road surface was various combinations of Burnt Umber, Burnt Sienna, Paynes Grey and plenty of white.

The colour on the bus, the buildings, the power poles and the foliage followed. The darks needed to be progressively deepened and the lights lightened. The pale cream around the bus windows would need many coats before it would ‘sing’.

It is usual at this stage in a commission that I will start to involve the client. The ability to transmit images over the Internet means that a work-in-progress can be viewed

and critiqued within minutes; and it also means there is less scope for a client to be disappointed should some aspect of the work not meet their requirements. In this instance I was advised that, for the model of vehicle requested, the destination box above the driver’s window was too wide and the ends should be squared off.

And wasn’t advertising requested on the sides of the bus? Time to recheck the original photographs.

STEP FIVE

From here on, it was detail, detail, detail! The issues raised above received attention and were adjusted or added as appropriate which involved a significant rework of the front of the bus and ‘that’ green.

The need to investigate the headlight mounting arrangement resulted in a field excursion to photograph the real thing at Sydney’s Bus and Truck Museum at Tempe. Meanwhile in the painting, the client had now appeared in a youthful guise at the kerbside together with his blue scooter leaning up against the roadside seating; and his mum was positioned in the front top deck window of the bus.

STEP SIX

Further emailed feedback indicated that the rework of the green had

D E M O N S T R A T I O N STEP SIX

taken the colour towards khaki rather than the intended green/blue. When working closely on a painting it is easy to correct a technical issue but create another problem like this at the same time. The input of an independent observer can be invaluable in pointing out such shortcomings.

I have yet to meet a transport enthusiast who won’t tell me when I have made a mistake.

A further rework was made. This was also an opportunity to enhance the panel detail between the upper and lower deck windows on the front of the bus. Detail continued to be refined especially on the bus and the buildings. Reflections needed to look convincing and highlights had to sparkle. Reflections had to be treated as simple shapes comprising their individual colours and tones, bearing in mind the shape of the surface on which they were being seen.

I constantly remind myself to paint what I see … not what I think I see.

FINAL STEP

The final fine details enhanced the believability of the scene: The correct registration and route number, the slightly slanted destination blind and the powerlines.

It might appear from the description above that my work consists of constant refinement and rework. While this is true for the need to ensure accuracy in both form and colour, there comes a time when I realise that further refinement will add nothing else to the work. This is the point when I consider the work to be essentially complete.

During the drying period, I may choose to further emphasise a particular highlight. Otherwise it just remains for me to add my monograph to a lower corner. I have always felt that full signatures can be intrusive on artwork – especially where long surnames like mine are involved.  Artist’s Palette

13

I N S I G H T

Peter Moore

Patriotic Painter

By Peter Moore OAM

This New South Wales artist with a proud military background describes himself as ‘fiercely Australian minded’. His patriotism shines through much of his work, and the way that he chooses to use it.

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I N S I G H T

T

he son of a scrap metal and bottle dealer, I was born at Leichhardt, Sydney, in 1936.

As a young man I was employed in various occupations including factory worker, salesperson and tram guard. Late in my teenage years, I hitch-hiked around parts of Australia including Victoria, South Australia and Queensland – working itinerantly in timber mills, on fishing boats, and in hotels as a barman.

I joined the Army in 1958. I served for 17 years. I was involved in the Malayan Emergency from 1951 to 1961. I went to Vietnam in 1966, serving in the Infantry and Catering Corps.

In 1984, I formed the Australian Vietnam Veterans Art Group in Sydney.

Prior to this, I had taken up painting and exhibited at various venues around Sydney including ‘Art in the Gardens’, the Commonwealth Bank, Martin Place, and Kings Cross streets and restaurants.

I was fortunate to have five paintings, 48 drawings and several books accepted by the Australian War Memorial in Canberra.

During the past few years I have exhibited in the ‘Bald Archie’ prize with some success.

I have exhibited in the USA with the American Vietnam Vets Art Group.

I have illustrated Vets’ Journals in Australia and the USA. Early in the ’80s I was awarded the OAM for services to veterans and the community. I also received the Federation Medal for services to veterans, their families and the community. I have been Artist’s Palette

15

I N S I G H T

awarded life membership of the Returned Services League of Australia.

I am proud to have written and illustrated several books about Australia’s peacekeeping missions in East Timor, including ‘The Dili Surf Club’.

While many of my paintings are donated to various charitable causes, I still exhibit with the three art societies which I belong to on the Central Coast of New South Wales; although ill health sometimes limits my activities.

As a self-taught artist with no formal art training, I consider myself fortunate to have been so successful in my artistic endeavours.

I have long admired the work of many great Australian artists including Arthur Boyd, Pro Hart, Albert Tucker and Hugh Sawrey. I am fiercely Australian minded.

In my spare time, I can often be found in Sydney … wandering through the galleries at Paddington, admiring the works of popular Australian artists of the day while feeding my ambition to one day create a recognisable style of my own. I would love to find acceptance for my work – from my artist peers and fellow Australians alike.

For now, I intend to keep painting and, as they say, ‘keep the dream alive’. n 16

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d e m o n s t r a t i o n

Acrylics

Bushscape

By Peter Moore OAM

The look and atmosphere of our harsh Australian bushland is cleverly portrayed by this accomplished acrylicist who describes his basic but effective methods here.

FINAL STEP 18

Artist’s Palette

d e m o n s t r a t i o n M AT E R I A L S

STEP ONE

• Rough watercolour paper – 300gsm.

• Matisse acrylic paints: White; Folk Black; Southern Ocean Blue; Australian Green; Australian Burnt Sienna; Australian Olive Green.

• Selected brushes.

• Steel wool.

STEP TWO

STEP ONE

I apply a coating of White directly to the paper. Three-quarters of the way down, I blend in a small amount of Australian Ocean Blue with the side of the brush. I check the colour before painting a dark line at the base.

STEP TWO

I dip a knob of steel wool into the paint and dab in a treeline for the background. I paint in the background tree trunks with fine lines of White. I proceed through the foreground and background, creating rough shapes as I go, and using all the selected colours.

STEP THREE

Moving on to the trees, I use a long fine brush for the trunks and branches.

Being careful not to overdo the number of trees, I work with a long thin brush and predominantly Black and White paint … then pause to check the effect.

STEP THREE

d e m o n s t r a t i o n STEP FOUR STEP FOUR

For the leaves or foliage on the trees, I dip my steel wool into Australian Green and dab areas around the branches of the trees lightly – to achieve a ‘leafy’ effect.

FINAL STEP

To complete the work, I check my painting and add bits of colour to the background where required … until I reach the point where I am satisfied with the result.

I hope that this Demonstration will serve as a useful guide for other developing artists to follow. n

20

Artist’s Palette

F e a t u r e

Back to School

Contributed

Early in the New Year, many student artists and keen amateurs will be planning to replenish their art supplies and learning tools for the months ahead. Some of your favourite art materials suppliers are ready with useful products to assist with the advancement of your creative education.

PROMOTE EFFICIENT LEARNING WITH HELP FROM MICADOR GROUP Micador Group offers a great range of quality art products to help students and art teachers to explore their craft with confidence.

Roymac Rains™ is a collection of watercolours and paper for artists. Both complement each other to create an excellent watercolour set for students and teachers.

Roymac Rains™ is the ideal choice to explore and develop the techniques of watercolours.

A carefully selected range of premium watercolours is available in sets of 12 and 32. Incorporating colours to suit the rugged Australian landscape, the watercolours are made with the finest quality pigments that allow richness of colour going from dark to light; and vivid transparency.

High quality binders keep the pigments moist and hold the colour well when diluted – also allowing for easy lifting of colour to reveal the undertone.

Featuring excellent lightfastness and terrific granulation for atmospheric effects, the colours will blend easily without disturbing the transparency.

The watercolours are complemented by premium Roymac Rains™ Watercolour Paper. The paper is sourced from France; made with 100 per cent cotton fibres with a cold pressed surface finish. It is felt marked on both sides with a pH testing at between 6.5 and 7. There are no optical brighteners, ensuring that your 22

Artist’s Palette

artwork is true to the pigments in Roymac Rains™ watercolours. The paper is available in loose sheets or in a pad of 12 sheets. The Rains paper is also a great multi-purpose paper, responding well to charcoal, pastels, pencils and many other mediums.

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Finding the right flesh tone can be difficult and that is why Roymac brings you Life. Roymac Life pencils feature a wide range of skin tones designed specifically for portraiture.

Roymac’s Life pencils have a high pigment concentration and creamy texture encased in a thick 6mm colour strip for greater colour lay down. The colours have been carefully selected with the specific intention of being used for portraiture. The colour

selection comprises graduated skin (flesh) tones (cool and warm), and white. Each pencil has a fully bonded 10mm natural wood casing giving the set a natural and organic feel.

Roymac Life paper is the ideal surface for using the Life pencils. At 135gsm the paper has an excellent surface grain for drawing and shading. The paper is acid free and is available in A4 pads of 25 sheets.

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F e a t u r e for watercolour practice; but they also make great multi-purpose brushes.

Roymac Greys – the ideal sketching set – features 12 grades of fine quality graphite. Perfect for shading, sketching and drawing, the pencils are full bonded and equally suited to the studio and college. The darker, softer grades have a wider graphite strip to ensure they will last longer.

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Micador Aerosols have been developed through Micador spending time finding out what the customers really want. Being the market leader in artist aerosols, Micador has discovered that the type of artist you are will determine what size of aerosol will suit you best. The range has been improved to better meet artists’ needs. The smaller Handy Pack is ideal for occasional single

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perfect for precision work; contouring; border lines; graphics; writing; and detailed drawing. The smooth brush tip (4.1mm diameter) is ideal for shading and calligraphic decoration. Artists can achieve fine, medium and bold strokes by changing pressure on the point. Both tips feed from the same ink reservoir to guarantee consistency of colour.

Call Micador Group on 1800 628 878 for more information on all your Back to School needs … or email: questions@micador.com.au

RESUME YOUR ART STUDIES WITH CANSON ACRYLIC COLOUR The versatile medium of acrylic colour has long been recognised as a springboard into painting; whether it is to a more advanced level in acrylics, or crossing over to oils or even watercolours.

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This range is formulated to offer excellent value for the beginning artist with good coverage, great colour intensity and overall permanence. Canson Acrylic Colour is ideal for art and craft applications utilising canvas, paper, wood and plaster.

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The tubes are also packaged in a convenient Studio Set of five tubes

(three primaries plus black and white) and an Acrylic Colour Painting Set with brushes, paper, canvas and an instructive colour guide that shows not only colour mixing, tints and shades – but also how to mix popular Australian landscape colours.

The Studio Set is ideal for students and the Acrylic Colour Painting Set is perfect for beginning artists.

Canson Acrylic Colour is available from leading fine art stores and newsagencies.

Artist’s Palette

23

F e a t u r e GLOBAL COLOURS OFFERS GREAT OPTIONS FOR STUDENTS Global Colours – ‘The All Australian Acrylic Paint’ – was established over 15 years ago but the commitment to producing a first-class product range remains as strong as ever.

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Global Colours Flow: Formerly known as Jukurrpa, this great range of vibrant colours mix easily and have superior colour strength and stability. Suitable for traditional and contemporary techniques including fine art, folk art, airbrushing and all decorative art. Use it on canvas, bark, shells, earthenware and all types of wood. 24 colours available in Flow formulation: 250ml bottles; 1 litre pails; 4 litre jerry cans; and 10 litre pails.

Global Colours Mediums: Professional formulae at an economical price. Available in a variety of sizes to suit any artist’s needs.

Binder Medium is a concentrated pure acrylic emulsion which increases gloss and flow effects. An ideal 24

Artist’s Palette

medium for glazing, sealing, bonding and collage work. Global Colours Binder is an excellent medium for the preparation of both rigid and flexible supports, creating a surface which is smooth and easy to paint. This should be followed by Global Colours Gesso Primer. Binder medium can be tinted with Global Colours Acrylics to create brilliant translucent effects. Gently mix with water to create an ideal thinning medium which increases flexibility.

Gloss Medium is a concentrated glazing medium for artists. It produces a final clear protective coating. It is harder polymer, designed for maximum gloss on surfaces where high flexibility is needed. Ideal for a decoupage glue and varnish and an excellent adhesive in collage techniques.

Retarder Medium is an additive to extend the drying or open time of the Global Colours Acrylics and mediums. Medium may be added to paint by dipping a brush into it as you go; or spread over an area to be worked on first, for wet-onwet techniques. Retarder is ideal for producing wash effects with water; stain-painting; and hard-edge

techniques – as well as ‘antiquing’ and other folk art techniques.

Impasto Medium is a semiopaque modelling paste applied with a brush or palette knife to produce three-dimensional structured affects. Mix the medium with Global Colours Acrylics as an economical extender and to maintain a firm buttery consistency.

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This medium will not crack. Flow may be adjusted by adding water or other Global Colours mediums.

Not suitable for use as a glue or for transparent effects, for which we recommend Gel Medium.

Gel Medium will increase the transparency and brilliance of Global Colours Acrylics without altering the smooth impasto consistency.

An excellent binder for powdered pigments, sand, and sawdust; as well as being an ideal glue for attaching heavy objects to hard surfaces.

Global Gel Medium dries to a smooth satin finish but can be mixed with water or any other Global Colours medium for a wide range of effects.

Gesso Medium is recommended for surface preparation and sealing. It is flexible, fast drying and permanent.

Surfaces should be free from dust and grease before application with a broad brush. Suitably dilute with water

F e a t u r e to allow for absorption into surfaces of varying porosity. To achieve a smooth surface, apply several thin coats with light sanding in between.

Speader Medium is a water sensitive binder that will maximise the flow and spreadability of Global Colours Acrylics. It dilutes the colour intensity to produce soft glazes. Apply to dry paint to give a wet-on-wet effect or to create transitional glazes between layers. This technique will also allow you to recreate the wet look of any colour for easy colour matching. Brilliant wash effects and watercolours can be obtained by combining Spreader Medium with water and Retarder Medium.

Textured Modelling Compound: is excellent for all types of work requiring built-up 3D textured finishes. This product has excellent

adhesion to most surfaces and dries to a firm flexible finish. The product can be mixed with acrylic colours and finished with various glazes.

Student Acrylic Impasto: With Global Colours Fine Art Student Acrylic Impasto, you are only limited by your imagination. Explore any art, craft or design activity with one set of affordable artist colours.

These brilliant pigments are ideal for bold structured techniques such as simulated oil painting through to delicate watercolours. This is the first time students have been able to use a

palette knife with an economical range of quality student colours. Available in 75ml tubes; 250ml and 1 litre bottles.

Acclaim Artroom Acrylic: brings the fun back to the artroom. The 18 vibrant colours, and easy-to-handle 2 litre bottles make this an ideal paint … not only for the classroom, but for any student project. Only available in 2 litre bottles.

Primary Choice: has been re-released with a new improved flow formula. Primary Choice is easy to manage and versatile. Use straight from the bottle for brushing, finger painting, block printing and stenciling. Now released in 2 litre bottles – ideal for kindergarten and junior classrooms; and available in a range of nine bright colours.

Students at all levels can benefit from the excellent Global Colours products.

START A NEW YEAR IN ART WITH MATISSE DERIVAN Classes start again soon … and Matisse Derivan can help you to be sure that you’re prepared!

Five dazzling new sets have supplemented the existing range of seven popular sets of exceptional artists’ quality acrylic paints from Matisse, now giving the artist 12 choices in total. The vibrant colours of three sets in Matisse Structure formula are now available in Matisse Flow formula. These boxed sets come in attractive packaging featuring original paintings by Australian artists.

For an economical choice while maintaining the Matisse high quality, the Flow formula Intro set in just five of the generous 75ml size tubes that artists prefer provides you with all three brilliant primary colours plus white, and a tube of Matisse Polymer Matt Varnish MM6. These basic colours will enable you to mix a huge array of colours and the Matt Varnish medium will allow you to finish off your painting professionally.

Containing the colours recommended by leading art schools to enable their students to have an unlimited range of colour mixing choices, the best-selling Matisse Primary set – now offered

in Flow Formula – includes luscious warm and cool versions of each of the radiant primary colours, plus black and white. It also offers two tubes of medium, Matisse Polymer Matt Varnish MM6, and Matisse Surface Tension Breaker MM3. These two high quality mediums will allow you to experiment extensively with various effects.

In stunning colours conceived

by Matisse Derivan to illustrate the nature of the Australian landscape, the Matisse Australian Colours set, already a favourite of artists in Structure Formula, is now available in Flow Formula. Recollecting the Australian countryside, and the wide Australian skies, it contains 75ml tubes of Australian Sky Blue, Australian Sienna, Southern Ocean Blue, Australian Sap Green, Australian Olive Green, Australian Red Violet, Australian Yellow Green, Red Oxide and the two tubes of medium.

Just right for the budget-minded or the beginning painter, the Matisse Sampler set contains 12 magnificent Matisse Flow Formula colours in cost-effective 12ml tubes.

Innovative Liquid Pencil is a graphite product that allows you to create

genuine graphite pencil effects using a liquid. Now available in a boxed set of 12 x 12ml tubes, this kit gives you an inexpensive opportunity to experiment with every colour in the range – in both the permanent and rewettable versions.

Complementing the two neutral grey tones, Derivan Liquid Pencil’s distinct graphite colours offer undertones of red, blue, yellow and sepia.

For more information about brilliant Matisse Derivan products, contact David McLachlan by telephone on 02 9736 2022 or via email: sales@matisse.com.au Matisse Derivan – Pure Brilliance, Pure Quality.

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F e a t u r e JASCO KNOWS ABOUT ARTISTS’ EDUCATIONAL MATERIALS

Winsor and Newton offers a range of visual diaries – essential for anyone who studies, creates and loves art!

These premium quality visual diaries are available in a host of sizes from A6 through to 11 x 14 inches, and they are acid free. The double wire spiral bound diaries have 120 pages (60 sheets) of 110gsm cartridge paper and are ideal for sketching ideas, drawings or outlines using a host of mediums; and storing clippings. For those who are constantly on the move, Winsor and Newton have hard bound visual diaries to protect you ideas.

These diaries have 120 pages (60 sheets) of 110gsm acid free cartridge paper. Winsor and Newton black paper visual diaries are excellent for pastels, calligraphy, coloured pencils, gel pens and more. With 80 pages (40 sheets) of 140gsm paper, these visual diaries make the ideal classroom companion.

Reeves Visual Diaries are great for art classes or note taking in general.

Featuring brightly coloured hard wearing front and back covers, the diaries are available in four funky colours – pink, blue, green and purple. Each diary is single wire, has 120 pages (60 sheets) and features 110gsm acid free cartridge paper.

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Jasart has a large and innovative range of visual diaries to suit a variety of study and classroom needs. Jasart Visual Diaries are single wire, acid free 110gsm cartridge paper and are available in assorted sizes. Jasart Black and White Visual Diaries (A4 and A3) are great for mixed media applications and displaying black and white photographs. Featuring 30 sheets of 140gsm black paper and 30 sheets of 110gsm cartridge paper, these diaries also suit pastels, calligraphy and gouache applications. Jasart Sketch and Write Visual Diaries (A4) are superb for recording every step of the creative process – containing 30 sheets of 110gsm cartridge paper and 30 sheets of lined paper with pages placed alternately. Jasart Sketch and Paint Visual Diaries give artists the versatility of sketching and painting in one diary. With 50 sheets of 110gsm cartridge paper and 10 sheets of canvas paper, you can record and build on your ideas.

Rotring offers a range of drawing boards that are ergonomically designed to suit technical drawing students and artistic pursuits that require a degree of accuracy or symmetry. The Rotring Profil A3 Drawing Board has an ‘L’-system straight edge, side clamp, and double locking facility; and includes a bonus Rotring Carry Bag at selected stockists, making it unbeatable value. Rotring also offers a range of technical pen sets including the four pen college set which is ideal for high school students. Featuring

four rapidograph pens, replacement leads, two capillary ink cartridges, a compass attachment and eraser, the set is the perfect classroom complement to the Rotring Profil A3 Drawing Board.

Winsor and Newton Designers’ Gouache is an opaque watercolour.

It is a superior quality gouache that has brilliant opaque colours of exceptional tinting strength and even flow. The unique feature of Winsor and Newton Designers’ Gouache is that it has an extremely high level of pigments. Cheaper gouache colours are made opaque by the addition of white extenders which affect colour mixing. Available in individual 14ml tubes; a basic set; plus a new CMYK set ideal for photography, painting and design work.

Winsor and Newton Artisan Water Mixable Oil Colour is a revolution for the classroom. The range of colours appears and works in a similar way to traditional oils, with the key difference being that they can be thinned with water and cleaned with soap and water, rather than solvents.

This range is ideal for school, TAFE or university classrooms; and highly suited to those who suffer allergies and artists working in confined spaces.

Reeves Acrylics have high quality pigments, excellent lightfastness and strong vibrant colours. They are water based and quick drying and are suitable for a variety of techniques and surfaces such as canvas, paper, wood and fabric. The superior acrylic resin used ensures excellent

F e a t u r e adhesion and a free flowing consistency. Available in a range of tube sizes and sets, Reeves Acrylics are the perfect medium in the classroom for learning acrylic painting techniques.

New for ‘Back to School’ are Reeves Water Mixable Oil Colour Sets which have been specifically developed to appear and work just like conventional oil colours. The key difference between Reeves Water Mixable Oil Colour and conventional oils is its ability to thin and clean up with water. Hazardous solvents are not necessary, making the medium ideal for students in schools or when they’re painting at home.

Reeves Pads are suitable for watercolours, oil colours, gouache, acrylic colours, charcoal, pencils, pastels and more. Each pad type is available in A5, A4 and A3 sizes, making choosing a size that suits you for transportation to and from classes an easy exercise; and all are acid free.

Reeves Sketching Pencils are high quality graphite lead pencils, ideal for student drawing and sketching. The wide range of lead softness allows for a huge array of different shading effects and techniques. The high quality graphite leads are strong and will not break easily when sharpened; and they last longer under heavy mark making and drawing pressure.

Jasart Pencils provide an affordable alternative for artists. They’re

available in a variety of tin sizes in sketching pencils, coloured pencils and watercolour pencils.

Jasart sketching pencils have a high pigment colour that allows artists to experiment with shading and higher pressure drawing. They have minimal excess particles, and are smudge resistant. Jasart coloured pencils are extra smooth with brilliant colours and are a delight to use.

Jasart’s watercolour pencil range is completely aquarellable and ideal for blending using wet or dry techniques (and each set comes with a brush).

Jasart also offers a range of storage solutions that help to keep your art materials in good condition and provide portability with ease. Jasart Pencil Pods keep pencils protected when on the move and provide easy access in the classroom. The Jasart Easel Pencil Box is another great storage idea which is conveniently

sized and provides pencil selection at a glance. Other great storage ideas are Jasart’s artists’ paint boxes, brush boxes and pastel boxes. All are great solutions to minimise clutter in the classroom and make portability easier.

Jasart interlocking hog brushes are fine quality hog bristles that are hand crafted, delivering excellent value. While specifically designed for use with oils, these quality brushes are equally suitable for acrylics. The natural curve of these bristles provides a brush that will be sure to retain its shape during use. The term ‘interlocking’ refers to the abundance of natural flags, or splits, on the tips of the bristles – deep flags that lock together and produce a smooth stroke even with thick or heavy paints. Brushes made with interlocking hog bristles have more spring and longer life; perfect for students at any stage of study.

Jasart’s Creativity Centre is suitable for schools, homes or offices as a student desk or workstation. The work surface is 90 x 61 cm with an adjustable angle and a pencil ledge. The unit features three pull-out drawers, four storage trays and a sturdy metal frame with lockable castors.

Further information about quality artists’ products can be obtained from JASCO – telephone 1800 676 155.

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F e a t u r e BACK TO SCHOOL WITH S&S WHOLESALE IN 2009 S&S Wholesale has a wide variety of items on offer for Back to School 2009.

From colouring and graphite pencils to charcoal, pastels, brushes, oils, gouache, paintstiks, sketchbooks and paper – students will find everything they need to make this year an artistic success.

A large selection of the Derwent pencil range is on offer for this year’s Back to School. S&S Wholesale is offering Derwent Coloursoft, Drawing, Artist, Studio, Watercolour, Pastel, Metallic, Graphitint, Tinted Charcoal and Sketching pencils along with some specially selected Collection Sets for students to begin their artistic year with a flourish. These selections of pencils are available in selected wooden boxes, tins, pods and blister packs. Derwent pencils are high quality drawing instruments suitable for amateur, student and professional artists. This range of pencils provides a wide choice of mediums for all pencil artists. The rich, luscious colour of Coloursoft and the bold, earthy tones of Derwent Drawing pencils are especially good for capturing landscapes and life drawings while the unique properties of Graphitint and Tinted Charcoal offer artists exciting new mediums to create beautiful pencil drawings.

For the sketching artists, there is a selection of graphite and sketching pencils, mixed media sets and charcoal. The Cretacolor Black Box

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set contains a useful selection of black drawing materials including charcoal, graphite and drawing pencils while the Bruynzeel Design sketching specialties set and the Cretacolor Artino and Primo sketching sets all provide a great selection of sepia, sanguine, charcoal and chalk pencils along with accessories like paper stumps and kneadable erasers. If you are looking for charcoal, the soft black willow charcoal from Coates is particularly well suited to satisfying a whole range of artistic needs.

Coates willow rods are clean and straight – top quality artist pieces!

If painting is your forté then try Maimeri Classico oil paints. These highly regarded Italian oil paints contain the highest quality and exceptionally finely ground pigments blended with the best quality linseed oil. Classico oil paints are the perfect bridge between student and professional oil paints. Due to the

unique manufacturing process of Classico oil paints, all 74 colours are the one price – so students will not be paying expensive prices for cadmium and cobalt based paint colours.

For a different take on oil painting, try Shiva Painstiks. These are professional grade artists’ oil colours in convenient stick form. Manufactured from quality pigments blended with refined linseed oil, they can be used in conjunction with conventional oil paint surfaces, mediums and varnishes, using the same methods and techniques.

S&S Wholesale is also offering Maimeri Gouache sets. These quality painting sets are ideal for students who already work in Maimeri Gouache or for those wishing to experiment with the medium. The Venezia watercolour ‘Travel Box’ is a unique, compact, folding ‘pocket’ case containing 10 x 1.5ml half-pans of concentrated Venezia watercolours, a 10-well mixing palette in the lid, and a convenient thumb hole for stability at the base; plus a short-handled quality hair brush. The Maimeri ‘Tempera’ fine gouache set contains a 17 x 25 cm 9-well mixing palette, 12 x 20ml gouache colours plus a 60ml white, five willow charcoal sticks, a 75ml bottle of fixative, two Ox-hair brushes and an artists’ sponge … excellent value!

To complete your painting experience S&S Wholesale is offering a set of either round imitation Golden Sable brushes or a set of flat and round Taklon brushes. Each

F e a t u r e

set contains five brushes in various sizes and all have nickel-plated brass ferrules and short timber handles.

To begin your masterpiece you will need something to work on. S&S Wholesale is offering a great selection of artist quality paper and sketchbooks from Fabriano and Derwent. Fabriano ‘Elle Erre’ is an acid-free 220gsm coloured card that is ideal for all art and craft activities. It is textured on one side and smooth on the other and features bright, vibrant and pastel colours.

Derwent and Fabriano sketchbooks are the ideal platforms for taking initial sketches prior to painting, or for plein air work. The Fabriano Artists’ Journals are available in several sizes and contain a selection of 90gsm Ingres paper in various colours; ideal for work in pencil, pastel, charcoal and ink. Derwent sketchbooks contain 100 per cent acid-free, 170gsm or 110gsm genuine cartridge paper – and they have durable, rigid covers to provide backing for field sketches and drawings. They are available in A4, A5 and A6 sizes.

Please contact S&S Wholesale Customer Service by telephone on 1300 731 529 for further information and stockists. n

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I N S I G H T

Kate Frawley

Never Say Never

Edited by Trevor Lang

Artists with the Mouth and Foot Painters Association believe they must hang their work alongside the work of able-bodied artists without fear or favour.

K

ate Frawley was born in Elmore, Victoria. In 1972, she moved to Melbourne to follow a working career with the Commonwealth Government. She had studied art throughout her schooling.

After leaving school she continued with art as a hobby.

In 1976, on a visit to Elmore to see her parents, Kate’s life changed forever. She was involved in a motor vehicle accident which rendered her a C3 quadriplegic – paralysed from the shoulders down. The accident also took the life of her partner. After almost 12 months of hospitalisation and rehabilitation, she returned to live with her parents in Elmore.

Sadly in 1980, Kate’s mother lost her life to cancer.

“It was always my mother’s dream that I should paint again,” she says.

“With this in mind, being paralysed so severely, I had no choice but to paint and write with my mouth.”

In 1993, after MFPA member artist Bill Mooney gave her the encouragement to submit work to the Mouth and Foot Painters head office in Liechtenstein, she was accepted as a scholarship holder within this association.

“It is the expectation, as a student member, that if no formal training has occurred that we must pursue this aspect,” she relates. “I have therefore undertaken an Art and Design course at BRIT in Bendigo, and I have private tuition from several tutors.”

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I N S I G H T

Kate is passionate about trying to achieve her best artistic work.

“I never rest on my laurels,” she maintains.

“I’ve always been interested in fashion; design in particular. Also interior design. I love writing and journalism, too.”

Before her accident, art was just a hobby for Kate.

So her art career really started with the Mouth and Foot Painters Association.

She likes to work with acrylics, pastels grey lead, and oils.

“I use oils now, because I find that this medium reproduces best for me,” she says. “I’ve used oil paints for so long that I’ve grown to like them.”

Still life work appeals to her because she likes trying to make her works of art look interesting, and as exact as possible.

Kate Frawley has held three solo exhibitions and has entered her work in several shows.

She greatly values her passion for art, and the way that art helps her to deal positively with her life circumstances.

“I didn’t want to get bored,” she relates. “Art is something I’ve achieved on my own. It gives me a feeling of self worth and achievement.”

Kate believes that the most outstanding work of art she has ever produced is a painting titled Artist’s Palette

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I N S I G H T

‘Universal Smile’ which depicts an Afrikaans girl.

Gallery Latte in Elmore has a few of her works displayed, but Kate does not have a collection of her own paintings.

“I don’t keep any; except one,” she says. “My god-daughter died at age 19, and she spent a day with me before she died. I was painting a picture of terracotta pots. She was putting colours down for me, and after she died I had the picture framed. It’s called ‘Something for Sarah’.”

Kate Frawley admires the art of Toulouse Latrec, and she enjoys sharing her own knowledge of art.

“Sometimes I give tips to people,” she reveals. “I am also considering teaching classes for children. I love interior design, too; and I’ve been told I have an excellent eye for detail.”

She advises developing artists to ‘never say never’. Her ultimate goal as an artist is to achieve full membership with the MFPA. She also yearns for everyone to accept her work alongside that of able-bodied artists without noticing the difference.

“As artists within the association we must wear three hats: Illustrator, artist and public relations representative for MFPA,” she quips. “The MFPA 32

Artist’s Palette

0 5 : 0 . / ;

telephone number is 02 9698 3933.”

The motto of this association of disabled artists is ‘No Pity Please’.

A

k

en

“Our work must hang alongside the work of able-bodied artists without fear or favour,” Kate concludes. “I trust my

work has this quality.”

The MFPA website can be found at www.mfpa.com.au O

ortll nd

Open Medium Open Medium, exclusive to Matisse, allows you more time to blend while maintaining the consistency of the paint.

Matisse Structure Acrylics will retain their impasto quality, while Matisse Flow Acrylics will keep their smooth flowing feel. Open Medium allows the paint to be blended on the canvas for longer. Paint mixed with Open Medium will stay fresh on your palette for several hours, depending both on the weather conditions and the amount of Open Medium you have used.

Your paint will acquire a smooth and buttery consistency, obtaining a beautiful glazed finish, almost like oil paint. Once you try Open Medium you’ll never want to be without it.

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Artist’s Palette

33

D E M O N S T R A T I O N

Oils

Green Te

By Kate Frawley

A talented MFPA member and mouth artist describes her careful process for creating this charming still life painting in oils.

FINAL STEP 34

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D E M O N S T R A T I O N M AT E R I A L S • Canvas board.

• Artists’ oil paints.

• Various brushes.

• Wax medium.

STEP ONE

I prime a 10 x 12 inch canvas board and tape it around the edges. I do this so that my artwork appears photographic and sharp. I divide the canvas (in this instance into background and foreground).

Using Van Gogh Ultra Marine oil paints, I loosely fill in the top portion of my canvas; and I fill in the bottom area with a mixture of white and Yellow Ochre.

STEP ONE

STEP TWO

Using a small brush and Art Spectrum Wax Medium, I load my Number 1 brush with Burnt Umber and sketch in three teapots. They juxtapose each other to create interest and form the mid-ground.

STEP THREE

I block in the small teapot to the right with the mixture of Yellow Ochre and white, and use Burnt Umber for the spout and handle. I block in the second teapot in the background with a mixture of Burnt Umber, Aqua Marine and Red Medium to create a rich earth deep colour.

The foreground teapot is blocked in with a mixture of Yellow Ochre, Yellow Light and Red Medium. The spout and handle are quickly filled in with a waxy mixture of Burnt Umber and Aqua Marine. I work quickly on blocking in.

STEP TWO

STEP FOUR

In the foreground, I want to place two chopsticks crossing each other. I now add more white to the Yellow Ochre foreground to create closeness. With another brush heavily loaded with Art Spectrum Wax Medium, I firstly lay

STEP THREE Artist’s Palette

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D E M O N S T R A T I O N

STEP THREE down one angled line of Burnt Umber for the shadow of a chopstick, then another until I am satisfied with their positioning. Using Ultra Marine, I then form half circles and loosely pattern the chopsticks which now appear from the Yellow Ochre with the shadow of Burnt Umber thrusting them forth.

STEP FIVE

I go back over my painting, shadowing areas with Burnt Umber. Once I have created my light source (which in this instance is from above and slightly to the right), all shadows are filled in to give the painting perspective and depth. Now, adding white, I make

STEP FOUR 36

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STEP FOUR the background much softer using a Number 2 brush with extensive use of Art Spectrum Wax Medium.

FINAL STEP

This is where I virtually repaint my picture – checking and rechecking all shapes and aspects of my creation. My picture is held to the mirror, as this is always a good indicator to reflect form, depth and trueness of subject matter.

I add oriental lettering to the first and the third teapots for interest; adding detail to the handles, knobs and spouts. Then I notice the middle teapot is a little misshapen, so I block parts out with the background

colour until I am satisfied with its form. Finally, I repaint the chopsticks by defining with a Number 0 brush loaded with Ultra Marine and white; then, using a Number 1 brush, I repaint shadows under the chopsticks and teapots until satisfied. I then remove the tape from all sides and hang the painting to dry in my sunroom/studio.

This is where my painting is up for criticism from my family and friends. By hanging up this painting I can view it from another aspect; and taking all criticisms into account, I can add and take away until my creation ‘Green Tea’ is pleasing to view and satisfies me. 

STEP FIVE

EUAN MACLEOD. Alice. Archival Oils on canvas, 2006, 137 x 180 cm Image courtesy of Watters Gallery. www.wattersgallery.com

Professionals Choose Archival Oils To see more artwork by Euan Macleod and other leading artists from around the world visit the Archival Oils section of the Chroma online art gallery at: www.chromaonline.com/gallery/archival_oils

CHROMA AUSTRALIA PTY. LTD. MT KURING-GAI NSW 2080 Free Call: 1800 023 935 | www.chromaonline.com | www.archivaloils.com

I N S I G H T

Patricia La Rossa

My Art Journey

By Patricia La Rossa

This artist’s gravitation towards the watercolour medium seemed a natural choice … facilitating expression with its flow, unpredictability and translucent qualities coming together to celebrate femininity with all its voluptuousness in shape and form.

M

y studio ‘Perugina Art’ is a special place where I spend my days creating and painting pictures. My journey started many years ago when I was a child. First and foremost, I paint what inspires and captivates me; and what I find beautiful. It could be the simplicity of a gum leaf or the complexity of a flower in full bloom.

Whatever the subject, you can be sure it has been painted with love, joy and passion.

Art has been the constant in my life. I am yet to find my niche in art; however, art has always been with me.

It is something that has always brought me great happiness.

I was told recently that art is ‘a journey’. This journey can be crazy at times, when I feel like I am possessed and driven, finding myself painting and drawing into the wee hours of the morning when an idea strikes … and sometimes not knowing where it will take me; often finding that it yields wonderful surprises. Stretching myself artistically as I step into the unknown can be both frustrating and very rewarding. I take strength from this.

Being taken out of the city of Sydney and my country of birth as a young

I N S I G H T child, and growing up to live in totally foreign places, made for a difficult childhood. I had to re-establish myself each time I was relocated.

My interest in art came more from necessity than inspiration, but my father Vincenzo Vannucci played a significant role in this art affair.

Art has always been there, and drawing facilitated communication right from the start. Beginning school as a non-English speaking student, I relied heavily on drawing as a way around the language barrier; often it was the only means of communicating with teachers and other children in class. My parents tell me that I initially spent most days drawing and crying. These were things I could always do on my own, regardless of where I was.

I was captivated by horses and I drew them all the time.

My father is still a very creative person. He and my mother are my staunch supporters.

My earliest memory of my father and his art is when he decided to decorate the walls of the play area in our first home. He took my favourite Walt Disney storybooks about Goofy and Mickey Mouse.

Without breathing a word to anyone, he grabbed some drab brown paint (I think it was Mission Brown, so popular in the ’70s) and started to outline the characters freehand – straight onto the brickwork which had been painted previously in a brilliant white.

He was always so spontaneous.

It was as though he delighted in the surprise as much as the activity itself.

I remember vividly we were all there standing mesmerised … my brother and school friends from down the street … I remember feeling so proud, and thinking ‘how lucky are we having these drawn onto our wall’!

I was hooked. I wanted to be able to do this too. And some years later, I did!

I am mainly self taught and my love of drawing was the preface for taking up painting.

Today, at my home in suburban Sydney, I try to dedicate some time each day following my artistic Artist’s Palette

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I N S I G H T

pursuits – exploring different mediums, techniques and styles producing works in graphite, oils, acrylics and (only recently) watercolours that depict my love of flowers, cats, still life, portraiture and female figure forms. I also like to create paintings in related themes.

When inspiration strikes, it’s ‘full steam ahead’!

In 2007, I formalised my interest by joining the Bankstown Art Society. I also took up watercolours to challenge myself, and I have since become devoted to the medium.

Starting my studio ‘Perugina Art’ has been a great source of motivation and constant inspiration; and its presence on the Internet has boosted its growth – with many artists and friends visiting, providing me with encouraging feedback. I have since joined other art societies in Sydney region, entering as many art exhibitions as possible (where some of my works have won awards and commendations recently).

I now belong to Bankstown Art 40

Artist’s Palette

Society; Oatley 101 Society of Artists; the Australian Society of Miniature Art (NSW); Blackheath Art Society Inc; and Northern Expressions (a collective of Sydney artists).

Following the start of a path, not knowing where it will take you, can yield wonderful surprises as you step into the unknown.

I love to work thematically. Perhaps this comes from having taught children with learning disabilities for a number of years. This discipline sees me presenting work in a way that will capture, motivate and create interest.

I have self-published a children’s story and picture book based on ‘Le Belle Ballerine’ – a series of eight watercolour works. These were initially inspired by my large acrylic work called ‘La Francesina’ (the Little French Girl). My fledgling skills in the watercolour medium were indeed tested here. I had no reference material (except for the concept in my head) to capture this delicate ballerina, going through her

performance, with the space on the Arches paper being her stage!

Watercolours, behaving very differently to acrylics, presented a challenge to create the same fluffy, voluminous, tulle gowns ballerinas wear with watercolour washes; and instead of avoiding those blooms, crawlbacks and cauliflowers which have most watercolourists running in the opposite direction – I utilised them to their fullest advantage.

One work followed another in quick succession. After four days, the series ‘Le Belle Ballerine’ was born and the children’s storybook simply followed.

My ‘Watercolour Ladies’ – an ongoing series which I started immediately upon taking up watercolours – continues to grow.

I love painting these. Although stylised, they are a direct expression of what I feel it is to be a woman.

They celebrate femininity with all its voluptuousness in shape and form … capturing strength and vulnerability as well as beauty.

I N S I G H T These are not large works. I refer to them as ‘Intimate Works for Intimate Spaces’, with each bearing an individual name and number.

My gravitation towards the watercolour medium seemed a natural choice, facilitating this expression. The flow, unpredictability, and translucent qualities of watercolours came together to create my ‘Watercolour Ladies’ which I hope to exhibit collectively in the future.

My themed works extend to a series of ladies each playing a musical instrument. Music also plays an important role in my life, so I add to this series of watercolour paintings periodically – with an adherence to the same style and colour palette. I have been told that these musicians with their upturned heads and closed eyes have a ‘blissfully absorbed and carried away with the music’ look about them. I hope this reflects the emotion and happiness which I experience when playing and surrounded by music.

A recent series ‘For the Love of the Mountains’ sees me painting watercolour works depicting the leaves that are responsible for that famous ‘blue haze’ giving the Blue Mountains area its name.

This place is the nearest thing to heaven I know; and the series with each painting titled ‘Beneath Blue Mountain Gums’ is my way of expressing my enduring adoration.

My works are very much inspired by my own direct experiences with emotions attached. I cannot simply paint for painting’s sake. I need that spark, a thought, which then sets fire to a concept, which is then developed and hopefully carried through to completion.

Sometimes the path is hard to find, but it can be the most rewarding experience – providing valuable opportunities to learn, gaining insights with each twist and turn. It is indeed a journey … and I wouldn’t want it any other way.

My email address is: Perugina.art@gmail.com n Artist’s Palette

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Watercolours

The Garden God II

By Patricia La Rossa

Often this artist is inspired by her own direct experiences and surroundings.

This painting is an example of what she tries to achieve after the first initial spark of inspiration strikes her.

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d e m o n s t r a t i o n M AT E R I A L S • Reference picture for drawing.

• Arches Watercolour Paper 300gsm – half sheet, not stretched.

• Graphite pencil ‘B’ for sketching.

• Watercolour paints – Art Spectrum and Winsor & Newton: Ultramarine Blue AS; Permanent Magenta AS; Quinacridone Gold W&N; Permanent Crimson AS; Permanent Mauve AS. • Brushes: Round, Number 0 to Number 8.

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his painting is a tribute to one of my many favourite watercolour works by Norman Lindsay. I bought a print of his painting many years ago, and each time I visit Lindsay’s home at Faulconbridge in the Blue Mountains (which is now a gallery and museum run by the National Trust) I immediately make a beeline for ‘The Garden God’.

I love the innocence and unashamed abandon of the beautiful young girl who is full of life and joy, with arms outstretched – standing before this grotesque, lascivious looking, small lifeless stone figure in the garden.

To see this work in real life and to walk about the grounds of the renowned

artist’s former home is heaven for me.

At my own home, in what I call my ‘upstairs garden’, a large stone plaque (with a face cast into it in relief) hangs on the western wall of the house, catching the last rays of sun each day. It is the ‘protector’ of this small private garden area.

Although there is no beautiful young naked maiden standing there in front of his gargoyle-like face, safely flaunting herself before his lifeless eyes … I have nevertheless called him my ‘Garden God’ in homage to Lindsay and his work.

I was compelled to capture this on paper as a watercolour painting.

I played around using my stone

Garden God in a photograph as the basis for a first draft. With very little underdrawing, I wanted to experiment with colour and practise my ‘wet-inwet’ technique. I went on to capture the image a second time, giving serious attention to the drawing and planning aspects of the work.

Given that ‘The Garden God II’ would be a very powerful piece, with its fierce stare, I utilised a pretty colour palette comprising Ultramarine Blue, Permanent Magenta and touches of Quinacridone Gold and Permanent Crimson to mitigate the inhospitable looks. There was a definite masculine versus feminine play here, creating balance within the composition.

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THE PROCESS

The eyes are intense and his gaze fierce. Despite this, I still saw the beauty within … perhaps it was in his strength of stare which engaged me! I almost always start a portrait of a face in relief, with the eyes.

His face being central and focal to the work, and the largest area to be covered using the ‘wet-in-wet’ technique, did present some challenges.

Careful consideration was needed in determining segments within segments, and which areas to wet first when contouring his features.

‘Wet-in-wet’ is just that – adding clear water to the paper first and allowing it to soak deep into the fibres, then waiting until it has a silky sheen before dropping in your colour.

In this case, I dropped in Ultramarine Blue and Permanent Magenta – gently pushing and prodding them together with the tip of my brush in areas where I wanted them to mix more thoroughly; but really allowing them to do their own thing, mixing within the water on the paper. Touches of Quinacridone

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Gold were also dropped in here and there, to add luminous highlights (as this is a transparent colour) allowing the white of the paper to show through.

Painting and drawing intuitively and endeavouring to incorporate my own interpretations to a piece, rather than just copying, for me has a sense of freedom. It presents an opportunity to infuse my own style.

Although the painting was based on my reference photograph, I wanted to bring my own interpretations and design elements to my work. There were strong rhythms in line and form here; and I chose to be deliberate with my painting of them. I find at times that I also paint and draw intuitively, letting the forms guide me; in this case with regard to colour, making decisions along the way as to what to make stronger/darker, remembering that with watercolours I like to start off lighter and build from there.

The God’s hair created undulating lines emanating from his face (being the central point). The hair was painted predominantly in

Ultramarine Blue with Permanent Magenta dropped into it, still using ‘wet-in-wet’. Each segment needed to dry completely before painting the adjacent strand.

The small sectors between his locks were for the most part Quinacridone Gold to add brightness and contrast, with touches of Permanent Mauve to obtain a good ‘dark’ and Permanent Magenta to add vibrancy.

Working on his locks of hair and painting them all in was vital, in order to set the tone for the leaves and to make decisions regarding their colouring.

Not wanting to introduce another colour, I decided to mix Ultramarine Blue with Quinacridone Gold to get my leaf colour. I made the leaves lean slightly towards blue on the outer edges of the plaque and set them towards gold within the confines about the face.

As the work neared its completion, determinations were made about adding more shadowing under the bearded sections and close to the leaves – to suggest depth. n

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I N S I G H T

Maree Cameron

Just Like Breathing

By Maree Cameron

A unique Australian with an enduring affection for painting shares the story of her fascinating journey towards artistic satisfaction in rural Queensland.

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I

was born some decades ago at Charleville in western Queensland – due to the simple fact that there was no doctor at Augathella where my parents lived.

Primary school was at the Augathella Convent; then I was off to boarding school at All Hallows Ladies College in Brisbane.

Mother insisted that I should do a commercial course … but the shorthand class was beside the art room and often I would wander in and see what was happening.

I worked as a telephonist at the Augathella Telephone Exchange for a few years. Then in 1971, I married a local grazier and we moved to nearby Tambo. My husband Jim had purchased a cattle property at Tambo in 1969 (with his two brothers); and because we were newlyweds Jim wanted a change of lifestyle – so we bought a trucking business in Tambo.

We sold the trucking business in 1973 and moved to a new home 36 miles from Tambo. For the first 15 years we had no telephone, electricity or mail service; but we did have a lighting plant. We had two children – Robert and Sandra – who I taught

by School of the Air. The School was based at Charleville and it was our connection to the outside world.

Our property was sold in 1989, and we bought a grain and cattle farm at Jandowae which is still our home today.

Flying Arts tutor Mervyn Moriarty used to travel out from Brisbane by car to bring painting techniques to the Outback. His workshops were the start of my serious painting career.

In 1979, I joined Flying Arts … and today I am the Flying Arts representative for the Dalby area.

For ten years I painted in oils, but I never showed my work because I thought I wasn’t good enough.

Finally – in 1985 – I entered a portrait in the Charleville Show. I won my first prize, and sold my first painting. David Andre was the judge.

For the past six years I have had entries accepted in the Flying Arts Awards at various places including

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Brisbane, Townsville, Rockhampton and Logan City.

Recently I have judged competitions at Jandowae, Dalby, Tara, Chinchilla, and several other places including Wondai.

I have now won numerous prizes and been involved with several rural art groups. I have held a string of successful solo exhibitions in rural Queensland.

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My passion for art is just like breathing and many have said that my work comes from the soul. I have an enduring hunger for knowledge which has led me to attend many seminars and workshops.

I am not a hobby artist. I sell some of my work for an income, and I do commissions. Perhaps I am semi-professional. It seems

pointless to continue painting if I am not turning work over, but I like to set realistic prices.

So far, I have not had an opportunity to approach a renowned city art gallery.

In 2007, Art-West asked seven artists including myself to take some of their work to Brisbane; and every year for more than a decade I have had entries in the Brisbane

I N S I G H T Agricultural Show. I also regularly exhibit at Toowoomba and Dalby.

In Jandowae, I display work at the Cultural Centre and Country Style Gift Shop. My fourteenth solo exhibition will be held at White Gums Gallery, Chinchilla, in May 2009.

Probably one of the most outstanding pieces of work I have produced is my self portrait. I love doing portraits although I am still learning the skills to effectively capture a likeness. I did a sitting with the famous R.M. Williams when he was 92. He told me to take the painting to Canberra … I replied that I don’t go past Brisbane. My son has possession of that picture now.

Harry Hart, Tom Offord, Warren Palmer, Jenny Kelly, Irene Amos, Don Hamilton and Peter Griffen have all influenced my progress. Years of valuable influence and learning have brought me to a point in my career where I can now teach and encourage others. I am Art Tutor of the Jandowae Art Group and I have also taught adults and children in other situations.

I believe that art is a gift and a challenge. As an artist I feel compelled to give something back to other people … so that they too can enjoy a special sense of achievement and creative satisfaction. n

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D E M O N S T R A T I O N

Acrylics

Rhapsody in Blue

By Maree Cameron

An artist in Queensland who is passionate about quiet lagoons and their plant life brings you a delightfully easy-to-follow exercise in painting with strong colours.

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ature has some wonderful treasures for us to discover.

Blue and pink native waterlillies are common plants which are found where quiet lagoons,

billabongs, lakes and swamps occur.

I am passionate about such native subject matter. The large flat floating leaves have very prominent raised networks of veins that spread from

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the junctions of the leaf stems on the undersurfaces. The upper surfaces are shiny bright green and water repellant; while the undersurfaces are often purple. I love purple.

D E M O N S T R A T I O N M AT E R I A L S • Premium wrap-around Canvas: 20 x 30 inches.

• Atelier Acrylics: White; Pthalo Blue; Cadmium Yellow; Pthalo Green; Green Yellow; Dioxazone Purple; Pale Gold; Blue Ink; Dulux White; Purple Madder; Paynes Grey.

• Roller and brushes.

• Mirror.

• White chalk or pastel pencil.

• Spray bottle with atomiser.

• Geranium leaves, various sizes.

• Assorted ‘fern-like’ leaves, or anything that makes an interesting imprint.

• Medium.

• Varnish.

STEP ONE Here is how I want to demonstrate my ‘Rhapsody in Blue’.

STEP ONE

I glue the wooden wedges into the corners of the canvas with PVA glue, to tighten the surface; and I assemble my reference materials. The leaves have been pressed in a heavy telephone book.

STEP TWO

I paint one-third of the canvas pale yellow (Cadmium Yellow and White); and the remainder pale blue (Pthalo Blue and White). I use a small amount of medium in these colours. When the background is dry, I use chalk to draw in the shapes of the leaves. I determine my focal points by dividing the canvas into nine segments – where the lines cross will be the centre of interest. Superfluous chalk is wiped away with a wet cloth.

STEP TWO

STEP THREE

Here I paint in the leaf shapes using Pthalo Green. Note the direction of light in my painting (it is coming from the left). Dark areas are added by using Dioxazone Purple and Purple Madder. I allow this work to dry.

To bring the painting to life, I take my pressed geranium leaves and paint their backs with Yellow Green before stamping them onto the canvas. I carefully press

STEP THREE

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MASTER HINTS AND TIPS

STEP FOUR

• Build a strong foundation so that when you experience disappointment you will bounce back again.

• Be an individual: Keep painting your way and the rewards will come to you.

• You never stop learning and discovering.

Experience the challenges of different mediums.

• Remember that as artists we are historians.

• Science is organised knowledge; art is organised emotion.

STEP FIVE along the veins to leave an imprint on the dark area below. I add medium to the paint and vary the colour with Pthalo Green before applying more imprints with the leaves.

STEP FOUR

Next I place some leaves randomly across the picture and, with my atomiser, I spray mist around the leaves to define their shapes. I paint in some petals and stalks, and add buds here and there; then allow the work to dry. Because I have a light area at the top of the painting, I now spray the bottom section with mist to make the painting ‘sit down’. This is how I become creative … and 52

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‘push and pull’ with dark and light areas; all the while remembering the focal point and the light source.

STEP FIVE

Now the painting is taking shape. I finish putting in the top flowers and buds – and decide that all the cool tones need some added warmth. I could use more yellow; but the brown area tells me to try some copper.

As I begin to feel the life within the painting, I get a knife and apply some quick swipes across the ‘water’ and then I spray this with my soft water mist to give a glassy effect. I resist the urge to repaint the flowers because the

foreground must sit down and allow the brighter areas to come through.

FINAL STEP

I am almost finished. I add some pale yellow to the middle ground and some Dioxazone Purple with White enhances the petals. I put some Pale Gold on the centres of the older flowers, and run the stems in with a round brush. I finish shaping the flowers and add highlights on the leaves.

I use a mirror to check that everything balances and to make sure that the painting jumps out of the canvas to demand attention. Then I sign the work and allow it all to dry before giving it a coat of varnish. 

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I N S I G H T

Guenter W. Barth

Engrossing Hobby

By Guenter W. Barth

Originally from East Germany, this accomplished oil painter likes to maintain art as a hobby ‌ so he can be free to express himself without constraints.

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y home and studio is at Leonay, an outer Sydney suburb. I was born in East Germany. My wife and I arrived in Australia in November 1960; and in 1966 we moved into a new house at Leonay where we have lived ever since.

I have had no formal artistic training, but my interest in painting and also photography has always been strong.

Painting has always been a hobby of mine, and I like it to remain that way; it makes me feel free to paint what I want to paint. This seems to work well for me.

A few years ago, my wife and I were stranded in a caravan park at Alice Springs for eight weeks – due to our

four-wheel-drive vehicle breaking down. I started painting local scenes (my paints go with me everywhere), and all my paintings sold there and then. One couple bought four paintings and sent us a photograph of the works which are now hanging in their house. Three other paintings were purchased by Alice Springs locals, and the remainder were bought by other tourists.

All my paintings are in oils. My main subjects are landscapes and seascapes. I have tried my hand on birds and flowers – but I keep going back to landscapes.

Since 2003, my wife and I have belonged to the Nepean Art Society.

The society hosts demonstrations on a regular basis, and I always attend.

I personally wouldn’t call any of my paintings outstanding – but I do have my favourites. One is called ‘Ormiston Gorge’ and another is ‘Morning Mood’.

My largest achievement so far is a seascape I called ‘The Breakers’ (750 x 900 mm).

If I think of disasters, it takes me back to a time when we lived in West Germany for three years before migrating to Australia. My landlord grew the most beautiful big Chrysanthemums and always gave us some for our large vase. So I got a canvas and started a painting, from the bottom upwards. The leaves

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turned out really well; as did at least one flower. But after several days my subject started to wilt and I didn’t know what to do. My frustration got the better of me … and a large brush in my hand ended up being driven forcefully through the canvas.

I haven’t got a large collection of my works, but I have made sure that my children all have a few of my paintings of their own choosing.

When I exhibit, we always deliver the paintings in person and collect the unsold ones again. I mainly exhibit at local art and craft exhibitions; or at the invitation of other organisations.

In recent years I have won several prizes and commendations for my art. n 56

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Oils

Glowing Landscape

By Guenter W. Barth

Capturing light and warmth in a landscape in oils requires insight and skill.

This clever painter describes his proven approach for the benefit of our readers.

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d e m o n s t r a t i o n M AT E R I A L S • Artists’ canvas.

• Artists’ oils: Titanium White; Cadmium Yellow; Jaune Brilliant; Naples Yellow (reddish); Yellow Ochre; Australian Red; Burnt Sienna; Raw Sienna; Spectrum Green; Cerulean Blue; Ultramarine Blue; Permanent Mauve.

• Brushes: Large synthetic flat; Number 5 and Number 16 bristle flat; Number 12 and Number 16 fan; Number 0 Sable detail.

STEP ONE

STEP ONE

I sketch a scene in pencil to make sure that everything is in the right place. With a large flat brush, I underwash the sky and clouds.

I use a Number 5 flat brush to underpaint the background trees and the tops of the mountains.

STEP TWO

Here I block in the sky and clouds. I also paint the cliffs and the background trees.

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STEP THREE

STEP THREE

I underwash the grass area and indicate the road in the foreground.

STEP FOUR

Here I paint the background trees; then highlight the clouds and cliffs.

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I block in the road and the grass. Then I paint the trees in the foreground.

For the bark on the tree trunks, I use a palette knife – to make it really stand out. For the foliage, I use a fan brush. n

I N S I G H T

Sue McCutcheon

A Sense of Love

By Sue McCutcheon

Soul Fruit Gallery’s operator wants to capture a sense of love and happiness in her art. This is her way to fight back at some of life’s sad realities of damaged relationships between men and women.

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I N S I G H T

O

riginally from Nowra on the Shoalhaven River in New South Wales, I now live and work at Stawell in Western Victoria – with the Wimmera region and the Grampians for inspiration.

I studied Fine Art at St George TAFE in Sydney between 1990 and 1993. I also did some diverse part-time studies after that – in graphic design, advertising, marketing, calligraphy and signwriting – at various other TAFE and business colleges.

Artistically, I tend to like images that are intriguing and beautiful; images that make powerful visual statements.

I don’t like to do a work and then be able to say ‘so what’ … I like a bit of a ‘wow factor’ with some colour and boldness in my work, whether it is serious or even a little bit humorous.

I used to just paint pretty images.

Landscapes, still lifes and flowery things. But eventually I knew I was going to start painting more meaningful pictures. That happened with the first

painting in my ‘love series’ which is a kind of tribute to my ex fiancée which I embarked upon after we had broken up to make other people happy.

I have used watercolours, acrylics, oil paints, gouache, oil pastels, soft pastels, coloured pencils, photography and printmaking techniques. I quite like lino printing when I have a press to use, and acrylics are handy when travelling; but the mediums that have most seduced me are soft pastels for drawing and oil colours for painting.

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I N S I G H T I really enjoy something about the traditional materials used in oil paints. I like the rich earth colours and beautiful mineral colours; and smells of linseed and sunflower oils and citrus turps. I like the use of materials that have such a long history of making art.

It suits me to use the versatility of a medium that has both transparent colours for glazing and opaque colours too; and I appreciate the way that different but similar hues can function neat, or tinted with white, or mixed with other colours.

My favourite themes are still lifes with flowers, portraits, rural Australian landscapes, and romantic love.

I exhibit my work at my own gallery. Located in the main street of Stawell, Victoria, it is called Soul Fruit Gallery and Studio. I occasionally put my work in group exhibitions and competitions … it seems to be popular with Sydney people, which is maybe not surprising as I studied art there and lived there for 15 years.

In the past, I have taught painting workshops, evening art classes and folk art classes. I am preparing to teach art classes again in 2009, at my gallery/studio.

One very useful habit that sustains me as a painter is that I try to live by a policy of putting brushes to canvas each and every day – even if it is only just a few marks to a work in progress.

Currently, as well as local landscapes within the Wimmera and Grampians region, some horse racing, and still life paintings, I am working on a series of paintings called the ‘love series’. Mostly they are imagined realities to express an original idea or essence of an idea exploring love relationships between men and women; mainly letting the paintings evolve on their own around a feeling … but often by the time a painting is finished it has taken a few new directions.

The paintings start with a dream, an insight or a past memory to do with love or friendship. They are more intuitively symbolic than deliberately so; they are about making paintings that speak of the positive power and beauty of love.

I believe that love is beautiful and worthy of painting, perhaps moreso than flowers and landscapes. It should not be taboo as an artistic subject. I also feel that it is a fairly universal human experience and should be quietly celebrated more in our society … instead of being treated as shameful or somehow wrong.

I try hard to allow my paintings in the ‘love series’ to express beauty and intimacy and gentleness, as a way to remind people of the good things in stable loving relationships in a world where a lot of relationships seem to fail.

Not all relationships are perfect, but I am trying to capture a sense of love, happiness and friendship; peace and mutual support. A kind of ideal to aim for and work at. This is my way to fight back at some other sad realities men and women experience … such as abusive 64

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relationships, lack of affection, and partner neglect.

I really enjoy working on the ‘love series’ because it’s a lot more organic than my other work. I simply let the brushes and paint tell me a story while I try to make a good picture. I enjoy the fact that I work on these with scant reference material, even though models would sometimes make things easier … but they are romantic paintings about emotions and the moment. I want to see what I can do when I let myself be inspired from within.

A current work in progress is a ‘love series’ painting about a mermaid. I would like to bring a more mythological influence into the series and make the point that not everything depicted in the paintings is a ‘real event’ – because some people get a bit confused at times.

If I am doing a landscape, a specific portrait, or a still life, I tend to be more objectively concerned with recording reality and I prefer some good photographs, or a real person in front of me; or perhaps I will set something up on a table or a shelf with a few of my favourite things and some flowers.

I can be contacted Soul Fruit Gallery and Studio, 175 Main Street, Stawell Victoria 3380.

Telephone 03 5358 3309. n

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Oils

Approach to Silverband Falls

By Sue McCutcheon

Sometimes a bright coloured acrylic underpainting forms the basis for a vibrant work in oils by this artist … who enjoys making layers of wonderful colours and brush marks.

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y favourite palette is a large traditional wooden one that sits on a painting table among jars of brushes and mediums, and gets scraped off and cleaned with turps every few paintings.

It is gradually becoming heavier with coats of paint residue, but I find that half dried out paint can be very useful at times.

Silverband Falls is a local landmark in Victoria’s Grampians just out of Halls Gap. What is amazing about this pretty little waterfall is that there is no pool of water at the base – instead the water disappears into the rocks and rubble and comes out in a stream some distance down the canyon. My painting is based on my first impressions as I came within sight of the falls.

I like to do paintings that have plenty of scope for exploring rich texture and gesture and making a lot of interesting painterly dabs and marks with paint.

D E M O N S T R A T I O N

STEP ONE

M AT E R I A L S • Commercially stretched canvas, 100 x 100 cm, primed with three additional coats of artists’ gesso; then underpainted with Magenta acrylic.

• Art Spectrum Oil Colours: Cadmium Yellow; Lemon Yellow; Spectrum Green Light; Lilac Permanent Mauve; French Ultramarine; Ultramarine; Paynes Grey; Prussian Blue; Naples Yellow; Mars Violet; Raw Umber; Vandyke Brown; Tasman Blue; Flinders Blue Violet; Australian Leaf Green Dark; Australian Leaf Green Light; Cadmium Green; Juane Brilliant; Naples Yellow Reddish; Yellow Ochre; Titanium White; Spectrum Emerald; Oxide of Chromium; Phthalo Green; Sap Green; Terre Verde; Burnt Sienna; Raw Sienna; Flesh Tint; Flesh Tint Deep.

• Art Spectrum Lean Medium.

• Refined Linseed Oil (which gets added more generously to the lean medium each painting day to make the medium ‘fatter’ as work progresses).

• Brushes: Mostly filbert shaped hogs hair; a few rounds, flats and brights (all hogs hair); a small round synthetic brush and riggers for details; and sometimes a fan brush for blending or textures.

• Citrus turps; rags; hand soap for cleaning brushes.

STEP TWO STEP ONE

After priming the canvas and underpainting the entire surface with a rich Magenta tint of acrylic paint, I made a few scant outlines with a pastel pencil to locate the main rocks and tree trunks (but no other details).

I then started painting in oils by placing a few of the darkest shadows and lightest highlights.

STEP TWO

I continued drawing in the picture, experimenting with placing a few brighter greens in

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D E M O N S T R A T I O N various foliage and mossy areas; and started to create form to the rocks with directional brush marks and lighter and darker tones. The work was already begining to create a sense of depth and perspective and an exciting energy between the green hues and Magenta; with free, energetic brush marks.

STEP THREE

STEP FOUR

More experimentation with marks and placement of colours developed form and foliage areas … drawing my picture with paint.

I knew there would be room for adjustment of the work in later layers. I was trying to keep areas from being overworked and heavy with paint. One of my goals was to allow little patches of the Magenta to show through the final painting – to help unify the picture and give it a vibrant sparkle.

I like to choose colours such as Magenta and deep orange or red to underpaint many of my landscapes, as this adds heat and brings out some wonderful greens by giving contrast. This underpainting helps to avoid having a picture that is ‘too green’; yet the greens become richer.

At this stage, I established more ‘darks’ and started to build up more texture on the tree trunks and rocks.

I considered the sky behind the trees at the top of the waterfall and built up the leaf litter on the forest floor.

STEP FOUR

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I worked on the background to establish the rock face that formed the canyon wall. I built up the rocks and boulders more, and extended the main left tree trunk down into a shadowy gully area on the left. I gave the main tree trunks more texture and colour and located a few sticks; and I began putting in some smaller rocks and dabbed in a few more leaves in the leaf litter. I stopped work at this point for a month or two, to work on other projects.

D E M O N S T R A T I O N STEP FIVE

Back at work, I created some darker areas on the left under the log, and on the background rock face and tree trunks – especially those in the centre and right of the picture. I put a lot more work into the rocks and boulders and bushes behind the righthand side boulders. I also developed vegetation on the forest floor.

STEP SIX

Using pure Titanium White, I dry brushed and scumbled the waterfall over the dry paint of the rock face, while maintaining freshness and spontaneity. I worked on the bushes behind the boulders; grasses above the horizontal section of the path; plants at the bases of the two main trees; and ferns on the right-hand bottom corner. I put in much of the light filtering foliage and branches on the background trees to the left. I began work on the final layer of the painting with a few dabs of Lemon Yellow Tint and ‘leaves’ that would become a young wattle sapling.

MASTER HINTS AND TIPS • Develop a sense of place and use your experience and knowledge to inform your work.

• Use good quality unique reference material. It is hard to get a likeness of something you can’t see or don’t have a good memory of. Always use your own photographs and sketches.

• Use citrus turps. It makes the studio smell nice. It’s a by-product of orange rind, and a little goes a long way. After

cleaning brushes, let the paint residue settle and pour off the stained (but still good) turps into another jar for later use. Keep lids on jars to prevent evaporation.

• Use mostly natural hair brushes such as sable or hogs hair, for oil paint.

• Allow drying time between layers.

• To prevent wrinkles and/or cracking in oil paintings, paint each session on a work with more oil in your medium than the previous session.

FINAL STEP

The finishing touches. I gave more definition and details to the fern at the side of the waterfall; and more leaves to the bushes behind the boulders, grasses and foreground foliage. I added more leaf litter to the foreground, and a few twigs and branches. I built up colour and texture on the rocks and further developed bark colours and textures on the two main trees … adding some knots and burls by cutting some daggy dryish skins of paint off my palette and pressing them into place over dabs of wet paint – then slightly blending them in with a few brush marks on the edges.

I painted in a trunk and branches for my wattle sapling; added flowers in several shades of Lemon Yellow and added more (lighter toned) ‘bluer’ green leaves. Finally, I looked for little things to adjust such as missing details and interesting shadows.

Upon deciding that the painting was finished, I signed it and tried to resist further fussing. This painting was a joy to produce from start to finish. 

STEP SIX Artist’s Palette

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G a l l e r I e s

Galerie

Contributed by Caroline Lunel

Quality art galleries are located all over this country, hosting and promoting the works of Australia’s diverse exponents of art. Artist’s Palette magazine showcases a broad selection of these venues. In this Issue, we focus on Balingup’s Galerie b in Western Australia.

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GALERIE B AT BALINGUP

I am originally from Holland where I worked for the Arts Council in Amsterdam. When I came to Australia, I completed a Diploma in Visual Arts Management and worked for a variety of art galleries and arts organisations in Perth for about 15 years.

In 2005, an opportunity came up to buy an empty shop in a small town in the south-west of Western Australia: A town called Balingup.

It was the perfect space for a small art gallery/ studio. It was a long-held dream come true.

I felt I was ready to leave the security of a steady job behind and take the plunge into the unknown.

As I am a practising artist myself, I know that having your own gallery space gives a real sense of freedom … not having to rely on other galleries and wondering whether they might accept your work.

I knew it would be a tough start, especially in a small town like Balingup. For any gallery it takes years to get established and to find an identity.

I suppose it is a like being an artist … you need to find a direction.

My initial thought was to exhibit contemporary art only, but I realised I was limiting my market and needed to be more flexible and yet maintain a certain standard.

I started sourcing local artists; there are many in the south-west region. Slowly I have built up a stockroom with paintings, works on paper, ceramics and sculptures.

In between exhibitions, I usually show a mix of different artists (including myself).

As Balingup is also a tourist attraction, we get many visitors from interstate and overseas. Tourism, however, is seasonal – and there are times when it gets very quiet in town. I had many moments of doubt and thoughts of throwing it into the ‘too hard basket’ and finding myself a ‘normal’ job.

But now the gallery is slowly starting to take shape.

A number of local artists are discovering the convenience of exhibiting locally, and some have approached me for solo exhibitions.

Last year one of our local artists, Sally Darling, had her first solo exhibition of still lifes. It was a complete sell-out at opening night. Sally did her Arts Degree at Claremont School of Art – many well established West Australian artists have had their arts education there, including Leon Pericles and Antony Muia. Sally’s exhibition was a fantastic encouragement for her to keep painting and to find appreciation for her work.

The year 2008 was filled with some very exciting exhibitions.

‘Icons 2008’ was a group exhibition where artists were invited to interpret the theme with an open mind. The result was a fantastic eclectic mix of artworks. Artists included Wendy Holmes, Ian Molyneux, John Pascoe and Frank Wilkinson. The exhibition has a history of more than three years, and each year has seen the standard improving.

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One of the more memorable exhibitions was by 92-year-old Trudy Smith, who works under the name of ‘Rillawood’. She has been painting since she was 50 (while her husband was away), but she has had no formal arts training. She felt she was ready for her first exhibition and ‘just wanted to have a party’ with no expectations.

I thought it was very brave of Trudy to approach a gallery, as many artists experience ‘stage fright’ when it comes to exhibiting. It turned out to be one of the most successful shows. The standard of her work really caught me by surprise. Over many years she had developed a very individual style of good quality.

Trudy Smith is planning her next show already.

That event taught me that, as a gallery owner, it is important to keep an open mind and to be flexible about who and what you would like to exhibit. Many established galleries have such a tight niche, and that makes it very

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difficult for artists to find a gallery where they feel comfortable exhibiting.

I have recently hosted an exhibition of exquisite watercolours and acrylic paintings

by Su Berghuis-Garde, wife of well-known artist John Garde; and hand-made books by myself. Su’s work is inspired by her many walks in Nature and her response to it. My hand-made books are a collection of small watercolours and etchings bound in hand-made covers of silk and leather.

Operating the only gallery in the area, I feel I have an obligation to the local art scene and the community.

So I am determined to keep going.

In the meantime, I am trying to produce some of my own artwork as well (not an easy task, because I can’t always make the transition from one side of the brain to the other).

Enquiries from artists are welcome at Galerie b. It is located at 16 South West Highway, Balingup WA 6253; telephone 08 9764 1441. The gallery has a website, too: www.galerieb.com.au n

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Marc Poisson

Light and Sha e Edited by Trevor Lang

Here is a broadly successful artist who experiences international acclaim for his range of atmospheric works which display his mastery of lighting, shading and tonality.

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M

arc Poisson enjoys painting landscapes, street scenes and figure studies with an emphasis on the dramatic effects of light and shade … creating works which often capture the beautiful atmosphere of his favourite subjects.

Born in 1952, Marc displayed an interest in art from a very early age.

Mostly self-taught, he became interested in pastels and developed his distinctive style – culminating in a group exhibition with the well known South African artist Wallace Hulley.

Following the success of his first solo exhibition in 1981, Marc established his career as a professional artist with a view to capturing the beauty of the South African landscape in both oils and pastels.

He then went on to join the highly-regarded Brush and Chisel Club while continuing to hold annual solo exhibitions in major centres.

Marc also exhibited in many group exhibitions, including the Artist’s Palette

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‘Top 40 Realists’ exhibition – held in Johannesburg in 1989.

In addition to being represented in galleries throughout South Africa, Marc’s work has been sought after for many private collections internationally – including collections in Britain, Ireland, Canada and Japan.

Over the past 28 years Marc Poisson has exhibited through commercial galleries throughout South Africa, where his works are now much in demand. He has also exhibited and sold works in Sydney, the Blue Mountains and Dubbo.

A list of some of his achievements makes impressive reading: 1978, first solo exhibition – Johannesburg; 1981, solo exhibition – Nelspruit; 1983, solo exhibition – Johannesburg; 1989, Top 40 Realists exhibition – Johannesburg, Sandton; 1990, solo exhibition – Vereniging; 1997, group exhibition – Fourways, Johannesburg.

In South Africa, Marc is represented by: Ferreira Art Gallery, Johannesburg; Henry Taylor Gallery, Johannesburg; The Little Gallery, Johannesburg; Gallery on the Side, Johannesburg; Bedford Gallery, Johannesburg; Art Etc., Johannesburg; Gallery Cresta, Johannesburg; Fine Art & Framing, Johannesburg; Al Tiley Gallery, Clarens, Free State; Al Tiley Gallery, Denysville, Free State; Graphics Art & Decor, Durban, Natal; Nad’s Art Gallery, Durban, Natal; Uvongo Art Gallery, Uvongo, Natal; Carmel Art, Constantia, Cape Town; Stellenbosch Art Gallery, Cape Town; and Johan Coetzee Gallery, Stellenbosch, Cape Town.

In Australia, he is represented by: Bandamora Art Gallery, Katoomba, Blue Mountains; Proud’s Art Gallery, Sydney; Castle Gallery, Castle Hill, Sydney; Old Northern Gallery, Dural, NSW; Noela Byne Gallery, North Sydney; Fine Art Collectables, Lower Portland, NSW; and Tom Mathieson Australian Art Gallery, Ramsgate, NSW. Some of the artist’s works are held in corporate and private collections in Australia, South Africa, Austria, Britain, Canada, Germany, Ireland, Japan, and Cleveland (USA).

Marc Poisson has a website at marcpoisson.com n 76

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d e m o n s t r a t i o n

Oils

Street Scene in Hobart with Mt Wellington

By Marc Poisson

This artist believes that suggesting details is far more effective than intricately painting them ‌ with the added advantage of not detracting from the overall painting and the atmosphere you may be striving to create.

FINAL STEP 78

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d e m o n s t r a t i o n M AT E R I A L S • Canvas 45 x 60 cm.

• Artists’ oils: Titanium White; French Ultramarine Blue; Cerulean Blue; Burnt Sienna; Yellow Ochre; Raw Sienna; Cadmium Red; Cadmium Yellow Deep.

• Brushes: Hogs hair Numbers 2, 4, 6 and 12.

STEP ONE

STEP TWO STEP ONE

This was a rough but accurate sketch done on canvas with a Number 1 or 2 round hogs hair brush using a mixture of Ultramarine Blue and Burnt Sienna diluted with turpentine.

The whole canvas was then covered with a mid-tone, turpentine-diluted mixture used in the initial sketch with some Raw Sienna added – so that the white of the canvas did not show through.

It is easier to gauge tonal values if the darks and mid-tones are washed in with the initial steps. It can be quite daunting to mix the full spectrum of tones and apply them to a white canvas!

All the darks were blocked in next, using the initial mixture of Ultramarine Blue and Burnt Sienna; wherever

possible connecting the dark areas to form a strong design of interlocking lights and darks; minimising the detail and sticking to the basic big shape.

STEP TWO

With the use of colour, all the big shapes were blocked in. Cerulean Blue, Titanium White with a touch of Raw Sienna and Ultramarine Blue for the sky. Titanium White, Burnt Sienna and Yellow Ochre with very little Ultramarine Blue was used for the clouds. The buildings consisted of greys using Ultramarine Blue, Burnt Sienna and Yellow Ochre with the sunlit areas Cadmium Yellow and white. Ultramarine Blue, Raw Sienna and Yellow Ochre were used for the mountains and the road. Greens

were mixed with Ultramarine Blue and Yellow Ochre with Burnt Sienna to tone the colour down. Too much detail was avoided at this stage; this would come later. As the shapes receded, edges were softened to describe atmospheric perspective – ensuring that the tones and focus became lighter and softer as shapes receded into the distance.

STEP THREE

The larger shapes were given more definition using a variety of tones and adding interest in those areas with broken colour.

This could also be achieved by using a painting knife; but care should be taken to ensure that the Artist’s Palette

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STEP THREE paint is not over-mixed. If bits of unmixed colour show through in the mixture, the colours are kept lively and interesting.

Flat over-mixed colours never look lively and exciting. In Nature, colour is nearly always broken up; and is usually a combination of more than one colour.

At this stage the original design of inter-locking light and dark shapes started to come together as the intermediate tones were starting to hold the overall concept together.

FINAL STEP

Edges that were not achieved in earlier stages were attended to here.

Edges work along with the composition to guide the eye through the painting, adding a more natural ‘feel’ to the work so that shapes don’t look pasted 80

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on. Although sharp edges attract and lead the eye, there are a variety of edges that can be used … from sharp to undefined edges there are a whole variety of edges that can be utilised.

An undefined edge, of which there are plenty in Nature, can be obtained by having one tone gradually change into another so that no edge is definable. For example, notice the softness in the clouds or the imperceptible changes of the effect of light on the road.

Now for the details … in the windows (for example), or the branches of the trees combined with the highlights that were now added to the painting to achieve that extra impact of light contrasted with shadow.

It is important not to overdo these details as this would be inclined to make the painting tight and even amateurish. n

MASTER HINTS AND TIPS • A mixture of a colour to dominate the painting may be used to create a harmony of all the colours used. For example, you might mix an orange or warm grey and use a touch of it in each mixture used for the painting – thereby tying all the colours together. This is what is referred to as ‘mother colour’.

• The eye of the viewer will not wander away from the subject of the painting if your strong sunlit areas or bright colours are kept away from the edges of the picture.

• Don’t overmix the colours. Use complimentary colour mixed loosely on the brush to reduce pure colour.

Avoid mixing too many colours together – as this can quickly result in a dull, muddy painting.

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

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