Mars Mag - Issue 10 by Marsmag

ISSUE 010

ISSUE

STAEDTLER Ambassador Robert Mckenzie

African languages and art

School Must Haves

#together Competition

At the office

#ME Competition

Easy Tutorial Cute Giraffe

#freedomday Competiton

Seasonal Colours

Artists on the rise

STAEDTLER Ambassador Aubrey Mathebula

#FIMO Competition

Create your own Fantasy Creature

30 colour mixing tips for artists

56 Nelson Mandela Art Works

84 Yolanda Mazwana

CONTENTS

Tree Spirit Tutorial

Happy Easter

Art Quizz

EDITOR’S NOTE Welcome to our tenth edition of the exceptionally popular Mars Mag.

Welcome to issue 10 of Mars Mag. It is hard to believe that the first issue launched on 31 March 2018. The support from our readers has been amazing and the readership continues to grow on a monthly basis. We have come to realise that the creative talent pool in South Africa is astounding and we aim to continue to give as much exposure as possible to all these talented artists. This issue is again filled with great talent and of course we have included a host of tutorials to inspire you to explore your creativity. To supplement our tutorials we have just launched a video series of lessons entitled: “Art Sessions with Riaan” these are completely free of charge and you can register with this link: https://www.creativesouthafrica.co.za/artsessions We are really proud of our tenth issue and hope you thoroughly enjoy reading it. From all of us at STAEDTLER.

STAEDTLER AMBASSADOR Who are you? I’m currently living in Durban, you know that place that doesn’t have a winter season. I love art as a hobby and a past time. My inspiration is my grandmother, who was an amazing artist, in several mediums. Art was like breathing to her, she didn’t even have to think about it, her hands moved and the art appeared. Type of Art and Genre you specialise in? The genre of art that I like is sketching. Using either pencil or pen, but I prefer using black pen. I love the dark line that can be made with a pen that I battle to get with pencil. The shading that can be achieved with a pen is also one of the reasons I like using a pen. The different shading and texturing that can be achieved with a pen is amazing. To try and have the shading so fine that you can’t see the individual pen lines is a never ending challenge and one I seldom get right and normally only in small areas. I’m not that good that I can start drawing without using a pencil to plan the piece first. Pen is unforgiving and each line permanent, so when it’s there it’s there, its mark is made. . Done by ROBERT MCKENZIE

Done by ROBERT MCKENZIE 4

Done by ROBERT MCKENZIE

ROBERT MCKENZIE

Drawing is about being yourself.

Done by ROBERT MCKENZIE

Advice to give young Artist? Carry on, don’t let anyone stop you. The person who is most critical of your work is yourself. Draw beyond your self-doubt and self-criticism. Drawing is about being yourself. You don’t have to impress other people with your work, you're already better than you think. If it didn’t come out perfect like you imagined in your head, well its better than the last one and the next one will be better. The art work is yours, own it, it’s your creation, no one can change it, no one else can make what your making and creating. See other artists as inspiration not competition.

Done by ROBERT MCKENZIE

Hopes and Dreams for your Art? Art has no finish line to say, I have learnt it all. I would love more time for art and to expand on the mediums I’m proficient at using. There are so many art mediums that can be used, that I haven’t even tried yet. I have used water colour paint, the medium is lovely but there is a simplicity with water colour that I have not achieved, I always try put too much detail using the water colour paint. I think most artists would love more time to do art work, especially artists who do art recreationally. Life is so busy that unless you schedule time, there won’t be time.

Done by ROBERT MCKENZIE

Contact us E-Mail: Robertmckenzie27@yahoo.com Phone: 0763218238 Instagram: @robzart_za Facebook: Robert Mckenzie Done by ROBERT MCKENZIE 6

Done by ROBERT MCKENZIE

Your 1 Wish? One wish. No way there are just too many to be limited to one, so I will keep it art related and still keep three wishes 1. A buy all you want voucher at the art shop, every time I went. 1. To have some of my grandmothers paintings and drawings 1. For my children to realise the art talent they have and develop it to their full potential. To tell someone, especially someone that you don’t know about yourself is difficult. Do you give the standard, stereotypical answer that would be easily accepted? Or do you open up more, show more of who you are and what makes you feel you. What if you explain it wrong or the person doesn’t understand it the way you see it. That’s what I love about art. It takes the needing to explain away and the art, in my case drawing, can show a part of who I am. It shows a part of me that people don’t know and or don’t expect. Show details about me that I can’t explain to people but can show them using black lines on a white page. So the easy answer is am a paramedic, working in a training college, training and developing paramedics to go into in imaginable situations and to make a difference in people lives. A profession that most times if not all the time requires a certain persona to be displayed. But then there is the real me, someone, who I battle to explain and someone who is often not understood and or misunderstood. Traits and feelings that I battle to explain but that are explained in my drawings. My love for detail but not carbon copy. The value of authenticity. Wanting to try something new but being caught between doing it or playing it safe by sticking, to what I know. The list could go on. Some people can’t stand their family, but in my case blood is thicker than water I’m dependant on mine. My wife Charline is an amazing woman and more than I could ask for and has done more for me than I could ask for. I have three children, two boys and my bubbly, talk to anyone daughter (which she defiantly get from her mom). Charline also has an artsy side, she is amazing at designing making mosaics and all of my child love drawing. My eldest son wants to be an artist and animator at a movie studio, I keep on telling him to go for it. 7

ROBERT MCKENZIE

Done by ROBERT MCKENZIE

Art has the power to transform, to illuminate, to educate, inspire and motivate.

AFRICAN LANGUAGES AND ART

AFRICAN LANGUAGES AND ART DONE BY JUDY NEMETH

One of the very best ways of beginning to understand other people, is to study their language. One does not have to be totally fluent in speaking another tongue to be able to grasp a great deal of information regarding their culture. African languages tend to be descriptive by their very nature and very often the true essence of the original meaning of the prose may be lost through translation. One has to remember that only once missionaries arrived on the African continent did many of the languages become formalized. However, it is not necessary that words have to be physically spoken in order for their meaning to be made apparent. Language as an art form has been recognized from the earliest of times when the spoken word was substituted with signs and pictures such as those discovered by archaeologists whose job it has been to decipher the intricate symbols covering the sides and floors of the tombs of ancient Egyptians. Those pictures allow us to gain some understanding of how important it was to prepare for the afterlife of people who lived thousands of years ago. The writings which were discovered in the tombs all seemed to be connected to rituals and spells which would guarantee a safe passage once a person had left this world and travelled to what they believed to be the next. Nowadays, when we mention language, we tend to immediately think of the ability to read and write in order to convey information to other people. However, we must never lose sight of the importance of the many ways in which art can be seen as language. Children are a typical example of how they communicate their feelings and worries through art. Many child psychologists are able to identify unspoken fears and traumas by getting a child to draw a picture instead of asking them often distressing questions. By the same token, when one studies a painting or a sculpture in an art gallery it is often very clear what the mood of the artist was when the item was created, due to the feelings that are evoked. Within the context of African languages, before the advent of the written word, stories and myths were handed down from generation to generation, usually by the elders to the younger generation and probably with everyone gathered together, under the shade of a tree or seated around a communal fire close to their attractively decorated traditional homesteads.

It would have been customary for such stories to involve wild animals who were endowed with human qualities and no doubt such tales would have had a moral aspect. Living in towns and cities, there is often the availability of well stocked municipal lending libraries. Like everything, lives have been changed due to people receiving formal education, as well as the fact that over the years there has been an exodus from many rural areas into the cities. The emphasis on literacy which is constantly gathering momentum means that the number of readers appears to be on the increase as well as an awareness of the availability of books being published in one’s mother tongue. Smaller publishing companies have realized the importance of making available books from previously little-known African authors and this trend is apparently growing slowly but surely. Unfortunately, for many readers the cost of purchasing their own copies of published books tends to be prohibitive, but there is a move afoot in various sectors of society to provide reading material in areas where there is an obvious lack of books. This is being done by various organizations donating to schools or centres where there is a serious need. A recent newspaper article mentioned the formation of a stokvel (for books instead of cash) amongst a group of enthusiastic African readers which seemed to be gaining popularity. Fortunately, for many people If one is able to express oneself well through the written word, then the doors of opportunity are well and truly open. Now language really does become an incredible art form and the advantages to each child being taught to be literate, whether in their mother tongue or a universal language, and preferably both, has to become the aim of every parent in the world in which we are currently living.

"We must never lose sight of the importance of the many ways in which art can be seen as language."

SCHOOL

MUST HAVES

Noris® coloured pencils • Brilliant colours • Ergonomic soft surface • Attractive stripe design

STAEDTLER pencil cases • Removable sliding tray • Internal subdivisions • Ruler slot

STAEDTLER oil pastels

• Suitable for colouring, over-colouring and for scraping technique

STAEDTLER Scissors Multi-use Scissors length 140mm

STAEDTLER Fibre-tip pens • Washes easily out of most textiles • Line width approx. 1mm • Available in 24 brilliant colours

STAEDTLER Adhesive glue stick Glue stick 40g

triplus® whiteboard chisel tip

• Can be dry-wiped from whiteboards and surfaces like glass and porcelain without leaving a trace • Certified AP non-toxic, xylene-free • Cap features convenient hang hole

#together COMPETITION Write a story about what the world would be like if we all work together. This can be a funny story like everyone working in the same company or a more serious one about working together to make the world better.

Win one of five STAEDTLER hampers to the value of R1 250,00 per hamper 14

T&C'S APPLY

#together Competition T&C’s 1. The competition is open to all South African citizens except directors, members, partners, employees, agents, service providers and consultants of STAEDTLER South Africa as well as their spouses, life partners, immediate family members, business partners and associates referred to as ‘The Organisers’. 2. The competition closing date will be at the discretion of the organisers, but no later than 31 May 2021 at midnight (12pm). 3. In order to enter the STAEDTLER #together Competition, write a story about what the world would be like if we all work together. This can be a funny story like everyone working in the same company or a more serious one about working together to make the world better. E-mail your entry to info@ trendforward.co.za 4. All ages are allowed to participate. 5. Any late entries received will not be taken into consideration. 6. The competition sponsors and/or their advertising agents will contact the winners ONLY, via telephone, email or a Facebook inbox message. Winners who are not contactable by telephone within 7 (seven) days after the closing date will be disqualified and a new winner will be drawn and contacted. 7. STAEDTLER, and their agents, accept no responsibility for any problems or technical malfunction of any communication network or any late, lost, incomplete, misdirected, incorrectly submitted, delayed, illegible or corrupted entries. STAEDTLER, and their agents are not liable for any costs incurred, responses received, or any other consequences of user error. 8. The competition shall result in a prize of the following: one of 5 STAEDTLER hampers to the value of R1250 each. 9. The judges’ decision is final, and no correspondence will be entered into. STAEDTLER, and their agents will not be held responsible for any disputes arising from the competition or prize rewarded. 10. Winners shall use the prize at their own risk. STAEDTLER, and their agents shall not be liable for any loss, damage, personal injury or death that is suffered or sustained (including but not limited to that arising from any person's negligence) in connection with this competition or accepting or using the prize. 11. STAEDTLER, and their agents reserve the right to cancel, modify or amend the competition at any time, if deemed necessary in its opinion, and if circumstances outside of their control should arise. 12. By entering you agree that STAEDTLER can publish the winners’ name/s, photograph and entry in any printed, digital media, or any other relevant promotional media. 13. The risk in the prize shall pass to the winner, once possession thereof has been taken. 14. Entry into the competition implies the acceptance of the above.

STAEDTLER Correction pen Correction pen, metal tip, 8ml

triplus® highlighter chisel tip • Bright, fluorescent pigmented ink • Certified AP non-toxic, xylene-free • Cap features convenient hang hole

Noris® scissors Multi-use Scissors length 210mm

STAEDTLER Ballpoint pen

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STAEDTLER Pigment liner

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triplus® fineliner • Fineliner with superfine, metal-clad tip • Ergonomic triangular shape for relaxed and easy writing • Water-based ink

triplus® permanent chisel tip • Excellent smudge-proof and waterproof qualities on almost all surfaces • Certified AP non-toxic, xylene-free • Cap features convenient hang hole

AT THE OFFICE

e t i r u o v a f r u o y g n i o d u o y f o e r u t c t i i p a r a t r o w a p f l Dr e s a w a r sport / D hashtag ith the w e g a gram p or Insta e g a p k aceboo n our F o it t s Po

#me

COMPETITION Ages 2-18 years 18

T&C'S APPLY #me Competition T&C’s 1. The competition is open to all South African citizens except directors, members, partners, employees, agents, service providers and consultants of STAEDTLER South Africa as well as their spouses, life partners, immediate family members, business partners and associates referred to as ‘The Organisers’. 2. The competition closing date will be at the discretion of the organisers, but no later than 31 July 2021 at midnight (12pm). 3. In order to enter the STAEDTLER #me Competition, Draw a picture of you doing your favourite sport/ Draw a self-portrait. Post it on our Facebook page or Instagram page with the hashtag #me 4. Only ages 2 years to 18 years are allowed to participate. 5. Any late entries received will not be taken into consideration. 6. The competition sponsors and/or their advertising agents will contact the winners ONLY, via telephone, email or a Facebook inbox message. Winners who are not contactable by telephone within 7 (seven) days after the closing date will be disqualified and a new winner will be drawn and contacted. 7. STAEDTLER, and their agents, accept no responsibility for any problems or technical malfunction of any communication network or any late, lost, incomplete, misdirected, incorrectly submitted, delayed, illegible or corrupted entries. STAEDTLER, and their agents are not liable for any costs incurred, responses received, or any other consequences of user error. 8. The competition shall result in a prize of the following: First prize: R3000 cash, Second prize: R2000 cash, Third prize: R1500 cash 9. The judges’ decision is final, and no correspondence will be entered into. STAEDTLER, and their agents will not be held responsible for any disputes arising from the competition or prize rewarded. 10. Winners shall use the prize at their own risk. STAEDTLER, and their agents shall not be liable for any loss, damage, personal injury or death that is suffered or sustained (including but not limited to that arising from any person's negligence) in connection with this competition or accepting or using the prize. 11. STAEDTLER, and their agents reserve the right to cancel, modify or amend the competition at any time, if deemed necessary in its opinion, and if circumstances outside of their control should arise. 12. By entering you agree that STAEDTLER can publish the winners’ name/s, photograph and entry in any printed, digital media, or any other relevant promotional media.

Beginners

Easy tutorial

CUTE GIRAFFE This tutorial is going to be fun and easy for most people, young and the not so young should be able to do this one. We are creating a giraffe with a little round body and short stubby legs. Once we have baked it we will use STAEDTER's acrylic paints to add those lovely spot on it. Lets get started.

1. STEP 01 We will use light brown for the giraffe. If you do not have light brown you can mix a lighter brown by adding white to it.

2. STEP 02 Roll a thin cylinder of the brown and do the same for the white.

STEP 03 – 06 Lay the two colours next to each other and twist them together. Fold this spiral in half and roll it firmly into a tight cylinder again. Fold it again and twist it and roll into a tight cylinder again. Keep repeating this process until you feel that the colours are sufficiently mixed.

STEP 07 Roll the clay into a thick cylinder and divide it roughly into three parts.

STEP 08 The biggest of the parts are rolled into a ball and will be the body. Cut a third of one of the other pieces. (see the cylinder in the middle)

10.

STEP 10 Roll these into stubby cylinders. Roll the last bit of clay into a ball and cut a small bit of for the ears.

12.

STEP 12 Pinch one of the ends to make the ear pointy

STEP 09 Take the small disk and cut into half and half again. (Grown ups call this quarters) This will become the giraffe legs.

11.

STEP 11 Cut the little piece you remove from the head in half. Using the tool with the ball shape press a deep dent in the clay to shape the ears.

13.

STEP 13 Attach the ears to the head very close to the back and let them hang down a bit. Cut two small piece from the long cylinder for the small horns.

14.

STEP 14 Place the two horns close to each other between the ears with the thicker part at the top. Giraffes have bushy hairs at the tips of their horns, that is why we make the ends slightly thicker.

16.

STEP 16 - 18 Cut the black ball in two. Now we need to make space for the eyes in the head. Using the sharp ended tool make a hole on each side of the head as big as the eye balls. Then carefully place the eyes into their sockets.

15.

STEP 15 We need a small bit of black for the eyes. Don't worry if you don't have black. You can always paint the eye black later, but you still need to add little balls for the eyes.

17.

18.

19.

20.

STEP 19 Using a metal pin, poke four holes close to each other in the bottom of the body. Make sure the holes are facing down otherwise you giraffe's legs will be spread too far apart. Also make holes in the legs with the metal pin. Cut a toothpick in four and stick it into the legs.

STEP 20 Stick the legs into the body. We are using toothpicks to help the legs support the body's weight. If we don't, the legs will start to become shorter and shorter as we add more weigh to the giraffe.

21. STEP 21 Next up is the neck. Roll the last bit of clay a bit thinner and cut it so that the toothpick's ends are sticking out on both sides.

22.

STEP 22 Using the metal pin poke a hole through the centre of the neck. To make the metal pin go in easier turn it between your fingers to guide into the clay.

23. STEP 23 Now it will be easy to stick the toothpick into the neck. Toothpicks are harder to guide through the clay than the metal pin.

24.

STEP 24 Poke holes in the body and the base of the head where the toothpick needs to go in. The hole in the body needs to as straight down as possible otherwise the head will lean too much forward and the giraffe will fall over. Look carefully at the angle I poked into the base of the head too.

25. STEP 25 Attach the head, neck and body to each other. Make adjustments so that the head and neck lean a bit backward to prevent the giraffe from falling forward and loosing its teeth.

26. STEP 26 Your giraffe will now start to look something like this and will be happy for all the love and care you give it.

27.

29.

28.

STEP 27 - 29 Roll a thin cylinder. We will use this to make a better bond between the body and the neck. Place this cylinder around the base of the neck where it is attached to the body. Use a round ball shape tool to smooth this into the neck and body. STEP 30 - 31 We are nearly done. Do not forget to give the little giraffe a tail with a brush end. Preheat the oven to 110 Degrees Celsius and bake for 30 minutes. Paint spots on using acrylic paints.

30.

31.

#freedomday

COMPETITION Enter a Freedom Day artwork by yourself as well as another up and coming artist (with permission), both will receive a hamper. Win one of 5 STAEDTLER Artist hampers to the value of R1500 each. STAEDTLER will also give an Artist hamper to the same value to the up and coming artist that was tagged by the winning artists. 5 x artists winners 5 x up and coming artists

T&C'S APPLY 28

Freedom Day Competition T&C’s 1. The competition is open to all South African citizens except directors, members, partners, employees, agents, service providers and consultants of STAEDTLER South Africa as well as their spouses, life partners, immediate family members, business partners and associates referred to as ‘The Organisers’ 2. The competition closing date will be at the discretion of the organisers, but no later than 30 April 2021 at midnight (12pm). 3. In order to enter the STAEDTLER #freedomday Competition, Post a Freedom Day artwork by yourself as well as another struggling artist (with permission), tag the artist on either our STAEDTLER Facebook page or Instagram page with the hashtag #freedomday and both of you can receive a hamper. 4. Only ages 18 years and older are allowed to participate. 5. Any late entries received will not be taken into consideration. 6. The competition sponsors and/or their advertising agents will contact the winners ONLY, via telephone, email or a Facebook inbox message. Winners who are not contactable by telephone within 7 (seven) days after the closing date will be disqualified and a new winner will be drawn and contacted. 7. STAEDTLER, and their agents, accept no responsibility for any problems or technical malfunction of any communication network or any late, lost, incomplete, misdirected, incorrectly submitted, delayed, illegible or corrupted entries. STAEDTLER, and their agents are not liable for any costs incurred, responses received, or any other consequences of user error. 8. The competition shall result in a prize of the following: one of 5 STAEDTLER Artist hampers to the value of R1500 each. STAEDTLER will also give an Artist hamper to the same value to the up and coming artist that was tagged by the winning artists. 9. The judges’ decision is final, and no correspondence will be entered into. STAEDTLER, and their agents will not be held responsible for any disputes arising from the competition or prize rewarded. 10. Winners shall use the prize at their own risk. STAEDTLER, and their agents shall not be liable for any loss, damage, personal injury or death that is suffered or sustained (including but not limited to that arising from any person's negligence) in connection with this competition or accepting or using the prize. 11. STAEDTLER, and their agents reserve the right to cancel, modify or amend the competition at any time, if deemed necessary in its opinion, and if circumstances outside of their control should arise. 12. By entering you agree that STAEDTLER can publish the winners’ name/s, photograph and entry in any printed, digital media, or any other relevant promotional media. 13. The risk in the prize shall pass to the winner, once possession thereof has been taken. 14. Entry into the competition implies the acceptance of the above.

- Dalai Lama

The purpose of our lives is to be happy.

SUGAR PLUM

GOLDEN SUN

LEMON & LIME

FRESH AIR 31

Lime is a colour that is a shade of yellow-green, so named because it is a representation of the colour of the citrus fruit called limes. It is the colour that is in between the web colour chartreuse and yellow on the colour wheel.

LEMON & LIME

https://en.wikipedia.org/wiki/Lime_(color)

SUGAR PLUM Plum is a purple colour with a brownish-gray tinge, like that shown on the right, or a reddish purple, which is a close representation of the average colour of the plum fruit.

https://en.wikipedia.org/wiki/Plum_(color)

Tan is a pale tone of brown. The name is derived from tannum used in the tanning of leather. The first recorded use of tan as a colour name in English was in the year 1590. Colours which are similar or may be considered synonymous to tan include: tawny, tenné, and fulvous.

FRESH AIR

https://en.wikipedia.org/wiki/Tan_(color)

GOLDEN SUN

The colour sunset is a pale tint of orange. It is a representation of the average colour of clouds when the sunlight from a sunset is reflected from them. The first recorded use of sunset as a colour name in English was in 1916. https://en.wikipedia.org/wiki/Sunset_(color)

ONLINE ART CLASSES BEGINNER Apr il

1st

NOVICE

202

EXPERIENCED ART

SES SIO BY RIA NS AN

Drawing, Painting & Sculpture. Learn to do it all with the STAEDTLER Design Journey range and FIMO

Riaan Marais is a professional artist and illustrator with over 30 years experience

SCAN TO REGISTER NOW

INTERACT AND ASK QUESTIONS

www.creativesouthafrica.co.za/artsessions 37

Artists on the Rise

Wanted-online rates the following as the top emerging SA artists in 2021

KATLEGO TLABELA

Credit: https://lh3.googleusercontent.com/ t3gTS1SdRGNvkd55qt3XVUWk0eXVJ8No5BzA_ P1guF2BjlGgAwuQu3GRqmQuEXfmo72AZhv_ MqKYrlY6kz190Bmh=s1500-pp

Credit: https://lh3.googleusercontent.com/ c1BedO2o_fyFIQtqqucRCNVypl0ridYN6fSSBBPRq xpeCkAgqHzmKD9Gp5dqVeqYVT3j9-4-AWR-El2XSOHBx_Q=s750

KATLEGO TLABELA

Another Michaelis graduate who specialised in printmaking is a newly self-taught painter, and Tlabela's brightly executed domestic scenes reflecting the intersection between capitalism and post-apartheid black identity, have already caught the eyes of gallerists and curators abroad in Brazil, Lagos, London, Poland and Portugal. Credit: https://artlogic-res.cloudinary.com/c_limit,f_ auto,fl_lossy,q_auto:good/ws-unitlondon3/usr/ library/main/images/katzc2020_web_8t1a0098.jpg

FANIE BUYS ‘A Painting That Now, Makes Me Think Of The Idea Of Biblical Grace (Donna Summer)’ Credit: https://s3.10and5.com/between10and5/wpcontent/uploads/2017/04/13091011/Donna-Summer.jpg

FANIE BUYS

Buys is a Michaelis School of Fine Art graduate who works in a figurative style that feels like going through the family album. His painted snaps and humorous titles are thick and quick with meaning.

Credit: https://unsungart.co.za/wp-content/ uploads/2020/08/Screenshot-2020-08-24-at-11.38.321024x1019.png

TALIA RAMKILAWAN

Credit: https://www.1-54.com/paris/wp-content/uploads/ sites/9/2021/01/Website-Image-Talia-Ramkilawan.jpeg

Credit: https://d7hftxdivxxvm.cloudfront.net/?resize_

TALIA RAMKILAWAN

A third Michaelis graduate and Kutti Collective member (a group that creates a shared space for South Asian artists,) Ramkilawan’s tapestries address her own experiences within that cultural and geographical identity. Having adapted rughooking, she uses a crochet instead of punch needle and experiments with wool and other material, with stretched hessian as her canvas. Her latest portraits and still lives are part of a solo exhibition curated by Jana Terblanche and titled Aren't we always having Indian dreams? Credit: https://s3.amazonaws.com/djwp/wp-content/ uploads/2020/04/16142508/Document_Kutti_11.jpg

Credit: https://admin.itsnicethat.com/images/ cDCePfnctUPgqi-fOFQM2od2Ft4=/197933/formatwebp%7Cwidth-2880/lunga-ntila-photographyitsnicethat-01.jpg

LUNGA NTILA

Credit: https://images.squarespace-cdn. com/content/v1/5d0242aca4ed010001319 7a0/1568714760079-H33BH7KF5W636X253OIN/ ke17ZwdGBToddI8pDm48kCXbIGZCF5ISkA_i8r8HbVd7g Qa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMW xHk725yiiHCCLfrh8O1z4YTzHvnKhyp6Da-NYroOW3ZG joBKy3azqku80C789l0kMlYkjvFlctRdmAM11rxFSdbx_99J Zwzhc9EL4JfGfzX23cSFIMy00fXD13UHqklA/2in1.jpg

LUNGA NTILA

Collage making, distortion and the gaze are three important themes and media used by Ntila to examine sense of self, largely in black and white. It hasn’t hurt that she collaborated with fashion designer Victoria Beckham on a fashion campaign to help with greater visibility of her conceptual photography as she continues to produce these self portraits which she manipulates using new media. She has also collaborated with local fashion label Artclub and Friends to further push the boundaries of where and how art should be shown and shared.

Credit: https://cdn.shopify.com/s/files/1/1462/8900/files/ LungaNtila_d5247eac-59ec-4fb1-ba38-2a4176a1d57d_ large.jpg?v=1580819584

BRETT SEILER

Credit: https://d32dm0rphc51dk.cloudfront.net/ ZjVw2dycJk4WjV4VU1MAIA/large.jpg

BRETT SEILER

Based in Cape Town, Seiler places displays of affection, gay culture and the tradition of camp front and centre of his quickdrying roof paint and woodcut paintings and installation. Tender, intimate and vulnerable, the longing and questioning are palpable in the text-based or portrait montages.

Credit: https://www.kznsagallery.co.za/Engine/Uploads/ Image/600/0/33197/image.jpg?strict=false

Credit: https://www.wantedonline.co.za/art-design/2021-01-06-eight-emerging-sa-artists-to-look-out-for-in-2021/

Other Africa artists that are on the rise in 2021 is,

Credit: https://images.squarespace-cdn.com/content/v1/5534a426e4b0ed810ce 8f891/1584977090968-7NWT3QRTXRGFK6NVDWBM/ke17ZwdGBToddI8pDm48kNxjhavlJleD2AZt_ ek3iwt7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLfrh8O1z5QPOohDIaIeljMHgDF5CVlOqpeNLcJ80NK65_ fV7S1USzlvOncgnWJJuhnOfNfLnfbfWfoUBm_Av33TXO_K_eckYMopTnIZsCXDvXWaRF-kA/HEADER.jpeg?format=2500w

Sungi Mlengeya B. 1991, Tanzania. Lives and works in Kampala, Uganda.

Sungi Mlengeya’s paintings show stark contrasts of dark figures against pristine white backgrounds; her work is characterized by this signature, minimalist black-and-white aesthetic. A self-taught painter, Mlengeya first pursued a career in banking before changing gears to focus on art full-time in 2018. She is inspired by ordinary, everyday women who freely live out their lives without inhibition. In her paintings, Mlengeya portrays Black women and their stories, while placing a particular emphasis on how contemporary women are making their mark on history. The white space we see throughout her works symbolizes her subjects’ desire for freedom to pursue their full potential without the limitations put in place by harmful cultural and social norms.

Credit: https://www.artskop.com/media/artskop/artist/ sungi-mlengeya-painting-artist-portrait-afriart-gallery.jpg

Credit: https://africanah.org/wp-content/uploads/2020/10/ MattAtugonza4.jpg

Richard Atugonza B. 1994, Fort Portal, Uganda. Lives and works in Kampala, Uganda.

Richard Atugonza is a rising artist who is carving out his own sculptural style with intention. He creates relief sculptures that portray people with dynamic textures and richness of material. Atugonza sculpts through a collaborative and sustainable process. His sculptures are built with recycled plastics and charcoal. His work translates body language into visual narratives, as seen from the series “Imperfect Perfection” (2020). This work focuses on the intricacies of body representation and how individuals view themselves. Atugonza created the works from casts he made of people he knows. The works explore the futility of trying to achieve perfection and demonstrate that imperfection can be beautiful.

Credit: https://media-exp1.licdn.com/dms/ image/C5603AQEgqXzHSx8RVg/profiledisplayphoto-shrink_200_200/0/15174603819 15?e=1621468800&v=beta&t=VACNQJDzfRX cp_bqGslu_FBte2mls39x-vDrKYo5-Cc

Kelechi Nwaneri B. 1994, Lagos, Nigeria. Lives and works in Lagos.

Kelechi Charles Nwaneri describes his work as “contemporary surrealism.” He employs Black fables, symbols, and allegorical imagery to relay his commentary on social issues. His striking figurative paintings—which feature deftly rendered figures and settings that nod to the aesthetics of the Surrealists—are inspired by current events, traditional indigenous African patterns, tribal markings, and literature. Throughout his work, Nwaneri uses a Black hybrid figure as a tool to portray stories that depict the relationship between humans, the environment, the history of his society, and mental health. In late October, Nwaneri opened his debut solo exhibition “Modern Marks” at EBONY/CURATED in Cape Town. While drawing on Surrealism and NeoExpressionism, these latest works explore impossible notions that were born from the artist’s subconscious. His work has also been shown at the 2020 editions of 1-54 Contemporary African Art Fair with EBONY/CURATED and Gallery 1957. In 2018, he won the annual Visual Art Competition organized by the Spanish embassy in Abuja, Nigeria.

Credit: https://artlogic-res.cloudinary.com/w_1200,c_limit,f_ auto,fl_lossy,q_auto/artlogicstorage/kristinhjellegjerde/ images/view/766348231329c9ff479aaed2a9597f37j.jpg

Credit: https://www.artandobject.com/sites/default/files/ styles/gallery_item/public/2kelechi-nwaneri-time-peopleand-change-2-2019-edited.jpg?itok=9HIScjAu

Credit: https://artandaboutafrica.com/wpcontent/uploads/2021/02/georgina-portrait-1scaled.jpeg

Credit: https://d32dm0rphc51dk.cloudfront.net/5RNeCtm2g8YfJZMF9GWnEw/large.jpg

Amanda Shingirai Mushate B. 1995, Bulawayo, Zimbabwe. Lives and works in Harare,

Amanda Shingirai Mushate is one of the most dynamic young artists in Zimbabwe. Since opening her first solo exhibition in 2018, at First Floor Gallery Harare, esteem for her work has been growing internationally. Her works explore interpersonal relationships and the dynamics between individuals and society. While she works across various mediums, her paintings often feature multiple ethereal layers that seem to float in and out of figuration seamlessly. In addition to the people in her life, Mushate mines inspiration from prominent Zimbabweans, like musicians James Chimombe and Paul Matavire, whose songs she listened to growing up. Her work is infused with personal emotions and frustrations, as well as her quest for self. Mushate’s exceptional and sophisticated use of color and its narrative properties has attracted critical support internationally. She was a finalist in the Emerging Painting Invitational 2019 and was selected to present a solo exhibition as part of “Tomorrows/Today,” a curated project of the Investec Cape Town Art Fair 2020. 46

Nicky Marais B. 1962, Rustenburg, South Africa. Lives and works in Windhoek, Namibia.

Artist, educator, and activist Nicky Marais is esteemed for her abstract paintings made up of dynamic, repeating shapes. She finds inspiration in her day-to-day life, as well as the history of Namibia, and approaches her work as a means to ground spirituality in the physical world. A key highlight of her artistic practice is her abstract paintings, made from a combination of stencils and traditional painting techniques, which explore both tangible and the intangible forces. Marais has described her practice as a “constant hunt for significant shapes.” These include her interpretations of everyday objects like turnstiles, tunnels, grave markers, and temples. She pares down and perfects these forms, then carefully and precisely paints and replicates them across her pieces in bold, vibrant hues.

Credit: https://gunsandrain.com/wp-content/uploads/2015/05/Connections-5_Nicky-Marais.jpg

STAEDTLER AMBASSADOR About Aubrey I am Art I am an Artist I am a Brand I am a free spirited human. I’m humble, I’m very kind and I’m very patient. I tend to be very talkative when I’m around people, that’s the humour in me. I love to travel to get myself inspired and learning new cultures and other things, I’m an open minded person with ambition. When I’m not working on my art, I go out with friends or stay indoors watching movies and series. I regard myself as a versatile artist because I always think out of the box, I don’t limit my creativity. I’m always learning new things around art and also try to do some of the art styles. I’m running a small business which is art based. It is called Artwear. I paint on t-shirts, customize sneakers and so forth. Being a first time STAEDTLER Ambassador in 2019 played a major role in my art career, because it fuelled my desire to become even better artist than I was. It helped me to nurture my talent and never doubt my skills. I know one of these days I’ll be one of the best in the world, through dedication and consistency. I’m passionate about my art and I take critique of my art as a compliment. They don’t break me, but they build me to be better than ever.

Who are you? I am AUBREY MATHEBULA known as Ma’Os Art. I’m from MPUMALANGA - a small village called NGONINI, but I’m currently residing in North West (Rustenburg). I am a versatile Visual Artist and upcoming Entrepreneur. Art is my passion.

I wish no matter how hard the going gets, I never quit doing Art.

Done by AUBREY MATHEBULA

AUBREY MATHEBULA Type of Art and Genre you specialise in? Realism Portraits in Pencils.

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Advice to give young Artist? My advice to young Artist is to stay true to yourself. Be patient, never wait for the right time, no matter how hard it can be - keep drawing. Never be afraid to ask help from other Artist.

Hopes and Dreams for your Art? I hope I get the break through with my Art. I dream of owning my own Art Studio and also have my own Art exhibition.

Your 1 Wish? I wish no matter how hard the going gets, I never quit doing Art.

Done by AUBREY MATHEBULA

Done by AUBREY MATHEBULA 50

Done by AUBREY MATHEBULA

Contact details Phone number: 071 515 9447 FB page: Ma’Os Art & Designs Twitter: @ma_os_art Instagram: @ma_os_art

Done by AUBREY MATHEBULA

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Done by AUBREY MATHEBULA 52

Drawing is the honesty of the art. There is no possibility of cheating. It is either good or bad. - Salvidor Dali 53

#FIMO COMPETITION Show us what you can create with FIMO.

Post it on our STAEDTLER Facebook page or Direct Message us on our STAEDTLER Instagram page with the hashtag #fimo.

Win one of five STAEDTLER hampers to the value of R1 300,00 per hamper 54

T&C'S APPLY

#FIMO Competition T&C 1. The competition is open to all South African citizens except directors, members, partners, employees, agents, service providers and consultants of STAEDTLER South Africa as well as their spouses, life partners, immediate family members, business partners and associates referred to as ‘The Organisers’. 2. The competition closing date will be at the discretion of the organisers, but no later than 30 June 2021 at midnight (12pm). 3. In order to enter the STAEDTLER #FIMO Competition, Show us what you have created with FIMO. Post it on our STAEDTLER Facebook page or Direct Message us on our STAEDTLER Instagram page with the hashtag #fimo. 4. All ages are allowed to participate. 5. Any late entries received will not be taken into consideration. 6. The competition sponsors and/or their advertising agents will contact the winners ONLY, via telephone, email or a Facebook inbox message. Winners who are not contactable by telephone within 7 (seven) days after the closing date will be disqualified and a new winner will be drawn and contacted. 7. STAEDTLER, and their agents, accept no responsibility for any problems or technical malfunction of any communication network or any late, lost, incomplete, misdirected, incorrectly submitted, delayed, illegible or corrupted entries. STAEDTLER, and their agents are not liable for any costs incurred, responses received, or any other consequences of user error. 8. The competition shall result in a prize of the following: one of 5 STAEDTLER FIMO hampers to the value of R1300 each. 9. The judges’ decision is final, and no correspondence will be entered into. STAEDTLER, and their agents will not be held responsible for any disputes arising from the competition or prize rewarded. 10. Winners shall use the prize at their own risk. STAEDTLER, and their agents shall not be liable for any loss, damage, personal injury or death that is suffered or sustained (including but not limited to that arising from any person's negligence) in connection with this competition or accepting or using the prize. 11. STAEDTLER, and their agents reserve the right to cancel, modify or amend the competition at any time, if deemed necessary in its opinion, and if circumstances outside of their control should arise. 12. By entering you agree that STAEDTLER can publish the winners’ name/s, photograph and entry in any printed, digital media, or any other relevant promotional media. 13. The risk in the prize shall pass to the winner, once possession thereof has been taken. 14. Entry into the competition implies the acceptance of the above.

MOST FAMOUS Nelson Mandela Art Works Nelson Mandela Square

The statue of Nelson Mandela is a large bronze sculpture of the former President of South Africa and anti-apartheid activist Nelson Mandela, located in Nelson Mandela Square in Johannesburg. Credit: https://en.wikipedia.org/wiki/Statue_of_Nelson_Mandela,_Johannesburg

Nelson Mandela Capture Site Just outside Howick, some 90 km south of Durban, South Africa, on the R102 highway, Nelson Mandela was put in handcuffs and led away to be incarcerated for the next 27 years on Robben Island. It was August 1962, and after his arrest by apartheid security forces, Mandela was charged with treason and sentenced to life imprisonment. Credit: https://www.cntraveller.com/gallery/nelson-mandela-sculpture-tourist-guide

Statue of Nelson Mandela, Union Buildings

Nelson Mandela is a bronze sculpture on the Union Buildings grounds, Pretoria, Gauteng. The statue was unveiled on the Day of Reconciliation (16 December 2013), bringing the official mourning period of ten days to a close, after Mandela had died on 5 December. Credit: https://en.wikipedia.org/wiki/Statue_of_Nelson_Mandela,_Union_Buildings

Statue of Nelson Mandela, Cape Town City Hall The iconic moment in which Nelson Mandela gave his first speech as a free man in Cape Town in February 1990 has been captured forever in a new monument which was unveiled at the City Hall in 2018 Credit: https://www.westerncape.gov.za/news/media-release-new-madiba-statue-unveiled-capetown-city-hall

Intermediate

CREATE YOUR OWN

fantasy creature

1. STEP 01 After drawing the concept we first need to build an armature (internal “bone” structure) to support the clay. Most clays, even non FIMO clay, needs an armature.

2. STEP 02 Here I've added aluminium foil to build up the volume of the body to save a bit on clay. I also add a few windings of thin wire around the thicker wire to help the clay stick better to the armature.

In this tutorial we let our imagination take flight. I've always gravitated towards all things fantasy. Books like Lord of the Rings and Magician has wonderful creatures. I found a few nice samples on the internet, but like always we need to make this creature our own and that is why it is important to draw your own concept. (See my concept drawing by clicking on the link below) The concept drawing will help you understand the shapes and volumes of your creature better and here you can add as little or as much detail as you want. I kept my concept rather simple. Time to dive into the process.

STEP 03 Just to make sure the foil stays in place, I add a few windings of thin wire around it. Make sure that the armature is bent exactly like you want the creature to be posed before you start adding the clay. Posing the creature later after lots of work will destroy your efforts.

STEPS 04 - 06 I use left-over clay from previous sculptures to build up a first layer of clay.

6. STEP 07 Time to choose your creature's colour. I chose a FIMO effects pink with glitter. It is the FIMO Kids version which later gave me some hassles because it is so soft. I suggest you use a firmer clay like FIMO Soft or FIMO Professional if you plan to make your creature large.

Continued

STEP 08 I made my clay soft by rolling and folding it a few time and then I press a little ball flat between my fingers. You can use a roller, but I prefer the unevenness of pressing it between my fingers. It looks more natural.

STEP 09 I place this thin slab of clay over my base and flatten and smooth it over the head.

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13. 62

STEP 10 - 11 I repeat the process for the rest of the body.

STEP 12 Here I squeeze two balls of clay into a triangular shape for the shoulder blades and place it, well, where shoulder blades should go.

STEP 13 Then I smooth the shoulder blades into the body with my fingers. You can use tools, but in most cases it is better to use your fingers.

STEP 14 Our creature will be a crawler if it did not have hind legs, so lets add those fleshy thighs on each side.

14. STEP 15 Smooth the thighs into the body.

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STEP 16 Let's give this creature front legs. I roll a thin cylinder and cut it open along the length. Then I fold this over the armature and shape it into a leg.

STEP 17 Bend the leg where the wrist should be and add a bit more volume for the hooves.

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STEP 18 The hind legs are shaped in a similar fashion except we do not have an armature for the hind legs. This is not a problem, because the hind legs are closely attached to the body. You will need armatures for it if you plan to have the legs away from the body. 63

Continued

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STEP 19 The right hind leg folds over the left leg and the hove hangs over it. Try to make it look like it is relaxed and hanging loosely over the other leg.

STEP 20 I shape a short stubby cylinder for the ears and dent it on one side to shape an ear. Use the tool with the ball shape to sculpt the ears.

STEP 21 Then stick the ears just behind the horns and smooth it into the head and neck. Make sure that the ear is attached thoroughly, but leave the tips to hang a bit loose.

STEP 22 I used black for the eyes and shape two small balls.

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STEP 23 Stick this to the sides of the head and press is a little flat. Do not make it too flat though.

STEP 24 Then roll a thin cylinder and cut into shorter pieces, just long enough to serve as the eyelids.

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STEP 25 I used a small metal ball tool to smooth the eyelids into the face, but I do not touch it where it is closest to the eye balls. This will create the thickness of the eyelids.

STEP 26 For the hooves we need to shape a flat triangle and place that over the tip for the feet. I used black for my creature, but you can use any other colour.

28.

STEP 27 - 28 Flatten it and shape it slightly into place without blending it with the creature's main skin colour.

Continued

29.

STEP 29 Now it is time for the creature's horns. Pick a colour that will compliment the animal's skin colour best or go wild and pick a colour that will contrast with the skin colour.

STEP 30 - 32 Roll and cut a cylinder so that we can open and fold this over the horn's armature.

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STEP 33 - 34 Sculpt the horns into whatever shape you see fit. My creature's horn grows up and bends at a sharp angle backwards. Let your imagination go wild and shape the horns into whatever shape you want it. Make sure to bend the armature before you sculpt the horns.

STEP 35 Decorate your creature with an fluffy main, scales or spikes on its back.

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STEP 36 I added a thin cylinder around the horns and smoothed the lower parts into the head. Leave the edge touching the horns sharp to make it look like the horns are growing through the skin.

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38. STEP 37 - 38 Do the same for the hooves.

39. STEP 39 Here I am using one of the metal pins to add some fine detail to the main on it back.

40. STEP 40

End product 67

ARTISTS

IN THE

MAKING Mars® Lumograph® black 100

• High quality drawing pencil • Special lead formulation containing a high proportion of carbon for matt, jet black results

STAEDTLER Watercolour pencils

• Coloured pencil in classic hexagonal shape with watercolour lead • Soft lead for amazing bright effects on watercolour paper with water and paintbrush • Also for dry colouring

STAEDTLER Eraser set

• Art Eraser set • Kneadable eraser: Special- purpose & cleaning eraser • Easily lifts off & removes traces of pastel, graphite & charcoal • Smudge-free

STAEDTLER Double-ended lettering pens • Double-ended brush lettering pens for expressive hand lettering styles with thick or thin strokes • One pen - two tips; flexible brush tip and fine tip • Great effect with tip-to-tip blending

STAEDTLER Brush set

• Synthetic brushes • Excellent elasticity and shape retention • Durable, synthetic fibre

STAEDTLER Pastel chalk 2430 • Studio quality, brilliant colours • Lightfast, fixing recommended • Soft, smooth performance

Ergosoft® 157 • Coloured pencil in ergonomic triangular shape for relaxed and easy drawing • Unique, non-slip surface with name field • Especially soft and richly coloured lead

DIFFERENT GRADES OF

PENCILS

Have you ever wondered where pencils come from? Or how graphite was really discovered, leading to the development of numerous kinds and types of pencils that are currently available?

very first wood-cased pencil. Basically, the graphite was inserted in wooden sticks that were hollowed out. So it looked like sticks of graphite were being enclosed within similarshaped wood cases or coverings.

If you must know, modern pencils owe a great deal to an ancient writing instrument that belonged to the Romans back called a Stylus. Stylus is basically a thin metal rod that was used by the Scribes to leave a light readable mark on papyrus, which was a form of paper used in those times.

According to history, the first-ever pencils were mass-produced in Germany in 1662, making it the birthplace of these pencils. Soon enough, companies like Faber-Castell and STAEDTLER came into existence, forming an active global pencil industry that continued to develop throughout the period of the 19th Century Industrial Revolution.

However, the history of the ever-evolving pencils doesn’t stop there.

Ever since the pencil industry began to flourish, different types and kinds of pencils were discovered and were categorized according to their hardness levels and the amount of black colour they were able to produce.

Then came the widespread use of graphite after a huge graphite deposit was discovered in Borrowdale, England in the 1560s. Graphite started being greatly appreciated for being really dark, darker than lead. However, it They were also split in terms of how light or proved to be really brittle and soft and dark they were, as well as how heavy or light required a proper holder for one to be able to their lead was. contain it. The following are the main categories of Initially, graphite sticks were properly wrapped pencils that are still being used in modern in strings, and later, these graphite sticks were times. presented in wood-cases, giving birth to the

How to Mix Colours When Painting

Colour Mixing Tip 1. You Can't Mix Primary Colours When combining colours to obtain new hues, there are three basic colours that cannot be made by mixing other colours together. Known as primary colours, these are red, blue, and yellow.

Colour Mixing Tip 2. What Happens If You Mix Primary colours? If you combine two primary colours, you create something called a secondary colour. For example, mixing red and blue produces purple; yellow and red makes orange; blue and yellow combined make green; red and blue make purple. The exact tint or shade of the secondary colour you create depends on which red, blue, or yellow you use (light or dark), and the proportions used. If you mix three primary colours, you get black.

Colour Mixing Tip 3. Which Specific Primary Hues Should I Mix? It depends what secondary colour you want and what tint or shade of that colour you're aiming to create. Mixing a deep cadmium yellow with red ochre produces a slightly different orange from that created with a titanium yellow. Basically, each differing pair of primary colours will produce a differing secondary.

Colour Mixing Tip 4. Judging How Much of Each Primary colour To Use The exact proportion of (say) red-to-yellow you mix when creating orange will determine the exact type of orange you get. For instance, if you mix more red than yellow, you get a reddish orange; if you add more yellow than red, you get a yellowish orange. Play around with the colours you have and try out different combinations and proportions. Just remember to keep a record of your experiments!

Colour Mixing Tip 5. Can I Buy Pre-mixed Reds, Blues and Yellows? Yes. Nowadays you can buy a very wide range of primary reds, blues, and yellows, like: cobalt blue, Caribbean blue, cerulean blue, Prussian blue, and Sevres blue, among others. Types of red include alizarin crimson, cadmium red, cadmium scarlet, carmine, and Venetian red, to name but a few; while yellows include cadmium yellow, Naples Yellow, lemon yellow and yellow ochre.

Colour Mixing Tip 6: For The Brightest Colours Use Single Pigments For the most intense, luminous results, use the minimum number of pigments. Ideally, make sure that the two colour paints you are mixing are each made from one pigment only. If in doubt, check the label: most "Artist Quality" paints itemise the pigment(s) used.

Colour Mixing Tip 7. How to Get Tertiary Colours? Mixing a primary and a secondary colour (like red + green) or two secondary colours (such as orange + green) produces something called a tertiary colour. The latter, in particular, results in muddy colours - browns, greys and blacks. Tertiary colours like Blue-Purple, Yellow-Green, Green-Blue, Orange-Yellow, Red-Orange and Purple-Red are all created by combining a primary with a secondary colour.

8. 9.

Colour Mixing Tip 8: Always Add Dark to Light When combining colours, remember that it requires only a small amount of a dark colour to change a light colour, but it needs a lot more of a light colour to change a dark one. So, always add dark (e.g. blue) to light (e.g. white), not vice versa.

10.

Colour Mixing Tip 10: Always Add Opaque to Transparent Similar to the situation when mixing dark and light, remember that only a small amount of opaque colour is needed to change a transparent one. So make a point of adding opaque to transparent, not vice versa.

Colour Mixing Tip 9. How Do You Get White or Black? Although these two are used to lighten or darken colours, neither are used to "create" colours, so they are not usually included in colour mixing theory. Most painters buy specific white or black paints, although it is possible to create the colour black by combining red, blue and yellow (or cyan, magenta and yellow).

30 COLOUR MIXING TIPS FOR ARTISTS 73

How to Mix Colours When Painting

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Colour Mixing Tip 11: Mixing Complementary Colours Each primary colour - red, yellow, blue - has its own, exclusive, complementary colour (its complete opposite in colour theory terms), which sits opposite it on the colour wheel. Thus blue and orange are complementary; as are red and green, purple and yellow. A primary's complementary is made by mixing the other two primaries. However, take care when placing a primary colour next to its complementary hue on a canvas. This is because their totally different wavelengths can cause problems for the eye and create optical distortion. On the other hand, placing complementary colours next to each other tends to make each other appear brighter and more intense. Colour Mixing Tip 12: Don’t Mix Colour Too Thoroughly When combining two colours on your artist palette, don't mix them too completely. Don't wait until you have a totally consistent blend result. You get a much better and more interesting effect by briefly mixing them, and then applying the mix to the canvas. Colour Mixing Tip 13: Mixing Warm and Colours Each hue is considered to be either slightly "warm" or slightly "cool". For instance, as a group, yellows and reds and considered to be warm colours, while blue is cool. Furthermore, within each colour there are tints and shades which are warmer or cooler within its colour group. So you can have a "warm" sky blue, or a cool lemon yellow, although yellows will typically remain warmer than blues. The point is, mixing two warm colours produces a warm secondary, while adding (say) a warm to a cool colour yields a more neutral effect. Colour Mixing Tip 14: How to Create a Clean Green To create a clean green colour, add Phtalo Blue to Lemon Yellow.

Colour Mixing Tip 15: How to Create a Muddy Green To create a muddy green colour, add Ultramarine to Lemon Yellow. Colour Mixing Tip 16: What's the Best Palette For Making Clean Colours? A good fine art palette for creating clean colours might contain the following paints: Cadmium Red (yellow-shade red); Permanent Rose (blue-shade red); Phtalo Blue (green-shade blue); French Ultramarine (red-shade blue); Viridian (blue-shade green); Phtalo Green (yellowshade green); Lemon Yellow (green-shade yellow); Cadmium Yellow (redshade yellow).

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Colour Mixing Tip 17: Mixing Greys and Browns The tertiary colours greys and browns contain all three primary colours. They are made by combining either all three primary colours, or alternatively a primary and secondary colour - remember, secondary colours are composed of two primaries. To obtain the required tone, experiment by (say) mixing different combinations (and proportions) of the three primaries. Colour Mixing Tip 18: What's the Quickest Way to Create a Brown? Consult the colour wheel and mix a primary colour with its complementary. (Remember a primary's complementary is made from a mixture of the other two primaries). For instance, add red to green, yellow to purple, or blue to orange. Each of these combinations produces a different brown. Colour Mixing Tip 19: How to Make an Earthy Brown? To create an earthy brown, mix red and green colours. Colour Mixing Tip 20: What's the Quickest Way to Create a Grey? Mix orange with blue, then add white. You will need more blue than orange, but play around with white and see how much you need. Alternatively, mix blue with an earthy hue like raw umber or burnt sienna.

How to Mix Colours When Painting

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Colour Mixing Tip 21: How to Make a Delicate Grey? To create a delicate grey, add white to red-green mixtures.

Colour Mixing Tip 22: How to Make a Warm Grey? To create a warm grey, mix purple with yellow. Colour Mixing Tip 23: How to Tone Down Colours? If a colour seems too strident you can tone it down either with a complementary colour or with an earth colour. For example, you can tone down reds and greens with raw umber. Or, you can cool down a hot red with a little green. In comparison, adding black to a colour tends to dull it. Colour Mixing Tip 24: How to Stop Tertiary Colours Becoming Muddy? Basically, the more colours you mix, the greater the danger of producing a muddy result. So, if your brown or grey is getting muddy, scrap it and start over, rather than adding more colour. Colour Mixing Tip 25: Use Pure Colour For Maximum Chroma For maximum chromaticity (colourfulness/brightness) it's best to use a pure colour rather than a mixed colour. When two pigments are combined, their relative intensity declines. So, for example, if you want an intense green, use a single green pigment rather than mixing blue and green.

Optical Colour Mixing Tips

26. 27. 28. 29. 30.

Colour Mixing Tip 26: For Brightest Intensity Use Optical Colour Mixing Optical colour mixing is regulated by our "perception" of colour, rather than the mixture of colours on a palette. In other words, instead of mixing two colours then applying the mixture to the canvas, place the two un-mixed single colours next to each other on the canvas and allow the viewer's "eye" to do the mixing. The effect will be similar, except that when the eye mixes the colours the result is usually brighter. This technique of optical colour-mixing (Divisionism) was exemplified in the Pointillism style of the Neo-Impressionist painters Georges Seurat (1859-91) and Paul Signac (1863-1935). See also: Italian Divisionism (c.1890-1907). A modern practitioner is the Irish Impressionist artist Arthur Maderson. Colour Mixing Tip 27: Juxtaposing Certain Colours Increases Intensity In order to make bright colours stand out more, place them next to neutral colours on the canvas. For example, a regular red will appear richer and more intense when placed alongside a grey hue. Similarly, a dark tone (e.g. dark blue) will intensify if surrounded on the canvas by a light one (e.g. lemon yellow). Colour Mixing Tip 28: Using Glazes For Optical Colour Mixing Glazing is another method of producing optical colour mixes. For instance, by applying a blue glaze over a yellow ground, the green produced is much livelier than one produced by mixing yellow and blue pigments. This is because light enters the transparent film and is refracted from below, producing a rich, glowing effect. Colour Mixing Tip 29: Using the Counter change Technique Counter change is the method of placing light shapes against dark, and vice versa. This optical colour mixing technique not only makes the lighter shapes stand out, it creates extra "movement" by leading the viewer's eye from light to dark and back again. One of the greatest exponents of counter change was the Dutch Realist artist Jan Vermeer. Colour Mixing Tip 30: How To Create Depth and Space Another optical colour mixing technique is the juxta positioning of warm and cool colours. The point is, the eye perceives cool colours as being further away than warm ones. Thus, for example, placing warm earthy colours in the foreground of a landscape painting, and progressively cooler colours towards the horizon, causes the viewer's eye to perceive greater depth in the canvas. http://www.visual-arts-cork.com/artist-paints/colour-mixing-tips.htm

ART AND CHILDREN Done By - Judy Nemeth

Give a toddler some crayons and let him loose without any supervision and you are asking for trouble. Before you can blink you may find your favourite wallpaper has been ruined, or the lounge carpet has been coloured in, or your freshly painted dining room now boasts a Picasso-style work of art which is impossible to remove! On the positive side, there is nothing more rewarding than watching a child learn to handle the tools he needs to create a work of art, which you will pin on the fridge door with feelings of pride and enjoy for years to come. Those first chubby wax crayons are ideal for tiny hands to manoeuvre and before long they are replaced with normal sized waxies and then pencil crayons. The availability of big sheets of paper, colouring-in books, finger paints, play dough – there are so many ways in which children can be encouraged to develop their artistic abilities. Even if funds are limited, there are often household items which can be used for creating works of art – even play dough is cheap and simple to make at home.

Children who are fortunate enough to attend formal foundation stage schooling usually have various forms of art included in their day- to- day activities. However, there is no reason why drawing, painting, cutting out, gluing – all those messy things can also be done at home although some adult supervision is needed. Being artistically creative should not include taking the scissors and cutting one’s own hair or that of a sibling or best friend! Art for the sake of art has many interpretations! Singing songs and dancing in time to the music are all fun activities for little people. It is fascinating to see just how children view their home environment due to the way in which they draw pictures of themselves and their family. The person they perceive as the most important in their life is very likely to appear to be larger than the rest of the family members. Emotional problems can very often be identified through the drawings which a child may produce. By the same token, when children are asked to make, for example, a Valentine’s card for their parents, even the youngest ones will be full of pride at what they have been able to achieve, when they hand over their work of art to their Mom or Dad or caregiver. It is clear that being able to make something with one’s own hands and to give it to another person has serious psychological advantages to both the artist as well as the recipient. Partaking in various forms of art is part and parcel of most children’s childhood days, and should be fun as well as educational. However, there are those children who have so much talent that it quickly becomes apparent that they are way above average, and their aptitude needs to be nurtured. This talent may be far removed from paints and crayons and manifest itself in music or dance forms. Unfortunately, where a child’s raw talent becomes a parent’s driving force, the initial enthusiasm of the child to learn and study to perfect their specific art, can be thwarted. Artistic talent in any form needs to be handled carefully. There are many adults who had dreams and desires during their own childhood years which for one or other reason they were unable to pursue. By identifying a similar talent in their own children, they may try to restore their dashed dreams through those of their offspring. The child who has any kind of artistic talent and the desire to perfect it should not be overshadowed and destroyed by the needs of an over ambitious parent. In conclusion, the opportunities for children to pursue art in any of its varied forms is often dictated by the financial circumstances of their family. However, there are those who may be lucky enough to have their artistic ability spotted by an educator at their school and there may be a way in which assistance could be provided to enable them to pursue their dream. What would the world be like without our artists and their work in all its many shapes and forms!

HISTORY OF With his ambition of selling pencils worldwide, Johann Sebastian Staedtler laid the foundation back in 1835 for what is now the STAEDTLER Group. In 1853, the pencil maker from Nuremberg showcased his wares at the Exhibition of the Industry of All Nations in New York; just a few years later, these high-quality, German-made products had already made a name for themselves in France, Britain, Italy, Russia, America and the Middle East. For Johann Sebastian Staedtler, a fascination for pencils ran in the family: his ancestor, Friedrich Staedtler, worked as a ‘pencil-making craftsman’. In 1662, Friedrich Staedtler was mentioned for the first time in the official records of Nuremberg as a "lead pencil maker" – and his descendants are continuing the family tradition. The pioneering spirit of Johann Sebastian Staedtler shapes the company to this day. After all, ideas lead to progress, and progress leads to advancement. As one of Germany’s oldest industrial companies, STAEDTLER can draw on a unique treasure trove of experience and has been developing top-quality brand innovations for decades. STAEDTLER turns ideas into products – and writing instruments into people’s favourite pens. This combination of tradition and innovative excellence is what makes STAEDTLER so unique. It is a core component of our corporate culture – and will continue to make history in the future.

Whenever an idea or sudden inspiration comes to mind, what's the first thing you do? Right - you reach for a pencil or pen to write, scribble, draw or highlight your thoughts to show them to others or to remind yourself later. Thus, every idea starts with a pencil. It's therefore no wonder that STAEDTLER can proudly claim to give form to the ideas of people the whole world over. STAEDTLER sees its products as helpful tools for promoting the flow of creative thoughts, coupled with the exceptional writing comfort and innovative product features that are sure to make a STAEDTLER your favourite writing instrument. So that the customers of the company may always enjoy the good feeling that comes from holding a genuine STAEDTLER pen in the hand, STAEDTLER continuously strives to develop even better writing, colouring and drawing instruments. Product ideas that captivate through their intelligent design and finess, and above all meet the exacting demand for quality.

YOLANDA MAZWANA 82

Yolanda Mazwana

Born in the Eastern Cape, Yolanda is a self-taught artist expressing herself with paint and brush. Her work circulates around mental illness, popular culture phobias, relationships and storytelling. Her artistic expression falls somewhere between abstract expressionism and neo-expressionism with a heavy reliance on symbolism. Through her work and art, Yolanda Mazwana investigates the hypochondriac as a figure. Her solo show: Symptoms of Nothing (2019), which took place at Kalashnikovv Gallery, became a simulator of experiences, scenarios, thoughts, panic attacks and environments that were shaped into characters, those depicting the hypochondriac. In Symptoms of Nothing, Yolanda uses colour and texture to mimic the intense experiences of a person suffering from hypochondria. This symbolic use of colour and texture speak to the idea that the hypochondriac is not necessarily aware of what exactly it is they are experiencing and why. In this regards, Symptoms of Nothing, becomes an extension of Yolanda’s first solo exhibition at Daville Baillie Gallery, titled Secret Homegirls (2019). “I paint unusual formative characters to connect the dots about the questions I have in my mind [around] the female body and what it goes through. I vent about the vulnerabilities of the mind, the emotions, the reproductive system and how our physical and physiological [responses] to trauma affects us. How our bodies respond to medications and the things that go misdiagnosed, the things that go dismissed and forgotten, the things we have to protect ourselves from. The things we choose to keep hidden to be healed and protected.” In these words one could say Yolanda expresses an unhappiness with modern medicinal technologies and in a way asks for a natural response to such difficulties. In closing the artists shares her current mode of making with me, “during lockdown I have been making illustrations according to my insomnia and the overwhelming thoughts that go through my mind. I have been looking at each piece as a study some works are subtle and others are strong. But they all reflect a story only told after midnight”. Credit: https://bubblegumclub.co.za/art/yolandamazwana-uses-different-modes-of-expressionismto-speak-about-the-psyche/ .

Yolanda Mazwana

“I paint unusual formative characters to connect the dots about the questions I have in my mind [around] the female body and what it goes through."

Yolanda Mazwana

Advanced

Tree Sprite

In this tutorial we will be creating a cute little Tree Sprite. I will guide you step by step through the process. The very first thing we need is either a reference picture to work from or a concept drawing. This is important, because the sculpting process demands a lot of concentration. Having a reference picture or concept drawing will ease the process. You can watch me draw my concept drawing by clicking on the link below. Lets jump into it and get that little critter into this world.

By - Riaan 84

STEP 1

Choose your colour. For this tutorial I use two blocks of brown FIMO soft clay.

STEP 3

Cut the tube into four equal parts.

STEP 2

Roll a tube roughly 13-15cm long and 2.5-3cm thick.

STEP 4

Start shaping the head by tapering the bottom part and flatten the top of the head.

STEP 5

STEP 6

Using the FIMO sculpting tools set, I use the half rounded tool to press the sockets where the eye will go.

Using the round flat ended tool I press and shape the opening for the mouth.

STEP 7

STEP 8

In this step I place a slither of white FIMO clay for the sprite's teeth in the upper half of the mouth.

Using a round ball shape tool I deepen and open the eye sockets.

STEP 9

STEP 10

Using black clay I place a little ball into the socket.

Here I secure the eye base by pressing it gently into the sockets.

STEP 11

STEP 12

Roll a very thin tube which we will used as eye lids.

Cut off small pieces and place it where the upper eye lid needs to go. Make sure to follow the shape of the eye.

STEP 13

STEP 14

Using a small ball shape tool I smooth the eye lids at the top into the rest of the face.

STEP 15

Here I add a small black ball of clay for the right eye. Sometimes the first set of eyes might be deeper than you planned after adding the eyelids.

Now we repeat the process for the lower eye lids.

STEP 16

Do the same for the other eye if that eye seems a bit too deep. Adjust the ball size to accommodate the size you want to eyes to stand out.

STEP 17

I add a very fine slither of black in the lower part for the mouth underneath the teeth.

STEP 19

STEP 18

I cut a few triangular shapes that are not too sharp. This will for the top of his his head.

STEP 20

I stick the triangular shapes to the top of his head, making the parts in the middle taller than the sides.

I smooth the parts into the rest of the head, leaving the top parts jagged.

STEP 21

STEP 22

Here you can see that the head is “broken” at the top and the pieces we stuck on the head is now smoothed into the rest of the face.

In this step we shape the body. Flatten the chest area a bit and pinch the pelvis to make place for thighs to fit into.

STEP 23

Here I use one of the FIMO skewer pins to make a deep hole. I will use a tooth pick to pin the head and body together. It is best to use the metal pins to make holes rather than wooden tooth picks. Toothpicks are not smooth enough and will pull and deform the clay too much.

STEP 25

STEP 24

Also poke a hole into the head for the toothpick.

STEP 26

Now the toothpick should go into the hole without pulling and deforming the clay.

Put the head and body together.

STEP 27

STEP 28

Next up the legs, grab one of the remaining pieces of clay and start to roll it so that it tappers more in the middle. The thicker ends will from the feet and the slender ends the legs.

Cut this in half.

STEP 29

STEP 30

Cut the ends off at an angle to make fitting it to the pelvis a bit easier.

Place the legs like I have done and attach each to the pelvis.

STEP 31

STEP 32

Don't let the reference picture or concept drawing dictate your creativity too much. Here I decided to pull up his one leg and keep the other one straight. Note the thin roll of clay next to him!

I roll and cut a thin roll of clay which will become his arms. Again using the metal pin I poke a hole through the clay. I want to place a toothpick inside the arms to support the clay, otherwise the clay will start to droop.

STEP 33

STEP 34

I insert the toothpick carefully into the arm,

letting about 1cm of toothpick to stick out. We will stick this part into the shoulder to attach the arms.

Before you stick the arms into the shoulders, remember to use the metal pin to poke a guide hole for the toothpick to go into.

STEP 35

Here you can see the arms attached. I start to prepare a small ball of clay for the hands. Press it flat so that we can cut the hands from it.

STEP 37

STEP 36

I cut to small triangular shapes of equal sizes. Cut the tips of where the palms will end.

STEP 38

Cut the wider ends into three parts that will form the fingers. I use my sculpting tools to refine the fingers.

Time to attach the hands. Carefully pick up one of the arms and slide the hand into place. Merge the arm with the hand. Remember to use your blades to pick up delicate sculpts like hands to prevent small bits from tearing off.

STEP 39

STEP 40

Here I am preparing the thumbs, making the base thicker that the tip of the thumb.

Attach and smooth the thumb into the hand. Look at your own hands if you want to see how a thumb is placed on a hand.

STEP 41

STEP 42

Here I am making sure the hand and fingers are nicely smoothed into the arm.

Form a small teardrop shaped ball of clay and attach it to the shoulder to finish this area.

STEP 43

STEP 44

Here you can what it looks like before I start to smooth it into the chest and arms.

Now the fun begins. I use my sculpting tools to add texture. I use long strokes to simulate the texture of tree bark. I do this all over his little body. Be careful not to tickle him too much.

STEP 45

STEP 46

Cut long shallow lines for his toes.

Then I smooth these into the rest of the leg.

STEP 47

I roll small balls and press them flat. Then I place these disks on the bottom of his feet to give the illusion of pads or stumps.

STEP 48

Using the sharp edge of the sculpting tool I create finer detail by sculpting in deeper fine lines for texture. I do this over the whole body.

STEP 49

r e t s a E Happy COLOUR ME IN AND CUT ME OUT, MAKE A 3D POSTER AND LEAVE IT OUT FOR THE EASTER BUNNY TO COME VISIT YOU.

Pen

DRAWING TECHNIQUES

Unlike charcoal, pastels and graphite pencils, pens often have a narrow, inflexible nib and don’t always flow as easily as those other drawing mediums. This means that, if you are already accustomed to softer mediums, you may need to adjust your drawing style to suit. New artists, however, might take to this art form easily. For instance, if you are using a marker pen or felt tip pen, you may quickly find that the amount of ink on your paper decreases with extended use, creating inconsistent lines or that applying strong pressure causes a build up of ink on the paper. As a child, you may remember making holes in paper due to holding your felt tip pen down for too long? If so, you’ll understand just how hard it is to create a masterpiece using ink as a medium. And, with no way of erasing such mistakes, this makes pen art all the more challenging. With pens, you are forced to be much more deliberate with your marks than if you were drawing in pencils or crayons. You can't just rub out the marks that you don't like, so you are naturally more careful and considerate of the lines that make it onto your surface. Learning how to draw using a pen or ink in general is not easy, precision is necessary. Using various pen types, for example, ballpoint and fountain pens can produce very different results. 96

Felt Tip Drawing There’s no getting away from it, most of the time felt tip drawings just end up looking like a page from a children’s colouring book! But what if you could get some inspiration from other users of this medium to help you to produce something great and unique? Take a look at Holly Wales' lessons on how to draw anything and everything using felt tip pens. When it comes to drawing with pens, there are endless options offered by numerous manufacturers - more so even than pastel or chalks. So which brand do you choose? With pen art, line quality is paramount. The line quality, or thickness and thinness, should ideally be varied. Felt tip pens are also a great tool for adding colour and producing more contemporary patterns. As with most things, the best choice of pen for you will come down to personal preference. There is no use looking at others' drawings for this kind of advice or asking cashiers in art shops, This is something you will have to work out for yourself. Thankfully, this isn't a hard task; pens in all varieties are normally available at most corner shops and there are a huge variety of pen sets to test versatility but also consider how pens feel in your hand; the grip is often the deciding factor. Drawing With Marker Pens While drawing with marker pens is similar in a way to using a smaller felt tip pen, there is one big obvious difference - the size. As such, marker pens are better used in larger scale, perhaps looser or rougher sketches than those requiring delicate or precise lines. One positive to marker pens is that, depending on which brand you opt for, you can use it on far more surfaces. This means that, instead of being restricted to just paper or card, you could create pieces of art on wood, metal and many more materials. Rolling It Out With Rollerball Pens Rollerball pens, as with biros, don’t offer as much flexibility as felt tip or marker pens but what they do offer is consistency. So long as you have plenty of ink (which you can normally see through a transparent casing) then you can almost guarantee that each stroke

will look similar to the one before it if the pen is held in the same position. The only thing that applying pressure might do, especially if onto ordinary printing paper, is tear a hole in the surface. It's harder to vary your lines and draw lightly, as you can when drawing with charcoal. This medium, therefore, can be quite slow so you really have to know what you want to be drawing and will usually produce lines much slower than using gliding pens like the above options. All of this could impact on or restrict your creative flow. Draw a small image to begin with and build it up over time; you'll find that this is a good way for beginners to start this style of drawing. Ball Pen Sketches Last but not least, ball pen sketches are a fantastic way of learning to draw, but can also allow you to produce some very attractive drawings. A very talented artist as well as DJ, presenter, and novelist, Fearne Cotton illustrates her recent book release with various small ball pen sketches. The multitalented celebrity mum often posts similar sketches on her Instagram account which she confirms help her to get the ideas out of her head and onto paper quickly. A lot of artists would only use a ball pen if that was all they had at reach when an idea came to mind, but Cotton seems to take lots of enjoyment from the medium and clearly places value on the rawness it offers. A Final Note On Pen Art Don't be intimidated by pens; even though they leave more or less a permanent mark, it doesn't mean that you can't start over if you really want to. Despite being unworkable after application, at least it is a low-cost form of art enabling you to just reach for another sheet of paper in the pad when you have had enough of one drawing. If you were working with oil paints on a canvas, for example, you might not be so quick to start on a new, expensive canvas or board (remember that oil paints take a long time to dry so it wouldn't be as simple as painting over the top of your existing work!) Pens are generally associated with the world of writing and literature, and less so with the visual arts. Just think of it like this, by using any type of pen in art, you are merely substituting the written word for a visual representation.

Credit: https://www.superprof.co.uk/blog/drawing-with-a-pen/ 97

What art style is this: 1. Art Nouveau 2. Abstract Art 3. American Pop Art 4. Fauvism

What is this painting called? 1. Starry Night 2. I and the Village 3. Girl with a Pearl Earring 4. The Birth of Venus

1. 2.

This is a recreation if which classic painting: 1. The Last Supper 2. I and the Village 3. Girl with a Pearl Earring 4. Mona Lisa

This painting is called: 1. I and the Village 2. The Musicians 3. American Gothic 4. Floral Still Life

https://images2.minutemediacdn.com/image/upload/c_fill,g_auto,h_1248,w_2220/ v1555436026/shape/mentalfloss/546kjh46kjh.png?itok=Pk_rHMRJ

What is this painting called? 1. Starry Night 2. I and the Village 3. Girl with a Pearl Earring 4. The Birth of Venus

https://www.vangoghgallery.com/img/starry_night_full.jpg

This painting is called? 1. False Mirror 2. The Potato Eaters 3. Skull with Burning Cigarette 4. Campbell's Soup Cans

t r A

https://i.pinimg.com/originals/1b/45/3f/1b453f6e6d3c359799394229b00c92f4.jpg

Art Quiz Answers: American Pop Art, Girl with a Pearl Earring, Mona Lisa, American Gothic, Starry Night, Campbell's Soup Cans

facebook.com/StaedtlerSA StaedtlerSA

EDITED AND COMPILED BY TREND FORWARD

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