Issue No.33 R50.00 incl vat
FEATURED ARTISTS: Dalila de Matos • Elise Macdonald Ennock Mlangeli • Ilse de Villiers Justin Abelman • Melisa Liebovitz Sabrina Rupprecht • Sharon Strydom Suzanne & Izak Troskie • Yvette Beneke
• palette knife techniques • creating realistic fantasy • the business of art
THE BUSINESS OF ART
by Malcolm Dewey
MALCOLM DEWEY is an artist and art teacher based in the Eastern Cape. He paints landscapes, seascapes and figure studies. You can view his gallery, sign up for FREE art lessons and more at his website.
turning professional
do you know why? In this series we are going to explore ways to start your art business, promote and grow it. It is a dream for most artists to either start an art side hustle or dive into full time art business. Very few take the plunge despite having plenty of talent. This is not surprising.
’s Malcolm hop rks next wo lfred: in Port A 2018 ly 19-20 Ju
In this four-part series, I share my choice of palettes to suit the seasons. In Issue 31 I discussed the autumn colours and in this issue I share my winter palette for the same scene.
THE WINTER PALETTE Hookers Green
In some parts of our country the landscape transforms into a winter wonderland with the occasional flurry of snow. Snow really isn’t white and just like anything else we paint, the colour depends on the lighting, time of day and neighbouring objects. By adding some greenery you can create a realistic-looking scene.
Cadmium Orange Cobalt Blue Burnt Sienna Alizarin Crimson
STEP 1: I start with a very basic sketch just showing the outlines of the main features - the stone cabin and the trees. Horizon line approximately 1/3rd of the way up and the focal point also located in the magical 1/3rd area. STEP 2: I wet the area where the smoke is rising from the chimney and then paint the sky around that using cobalt blue, a little alizarin crimson and the fade down to yellow ochre on the horizon to give a bit of mystique to the finished product. STEP 3: Using the same colours that I used in the sky, I paint in the lake area, warming a bit with burnt sienna as the foreground gets closer. STEP 4: Using a rigger I paint in the trees without leaves using burnt sienna and cobalt – later I darken a tad by adding in a tiny bit of indigo – the further away the trees are, the more faded and blue they appear. See the ones on the horizon. 13
realistic
fantasies
It was Van Gogh who said “I dream my painting and I paint my dream.” You would be forgiven for thinking that Elise Macdonald’s magical paintings are the result of something she dreams about, but they are in fact a combination of her own photos and other references which are put together and tweaked using Photoshop. “My aim is to paint fantasy realistically. Sometimes I’ll have an idea and I’ll scout out photographic references that I can use. Other times I come across an image that sparks an idea. Although I belong to ‘the generation of limited computer skills’ the computer has become an essential part of my process. I photoshop my ideas - juxtaposing images, changing backgrounds, introducing new elements, manipulating colours, refining the composition.... this is where I get to play ‘make believe’ - imagining and creating strange and wonderful scenarios. It is my favourite part though it can bring out the obsessive/compulsive side of my nature - I can’t stop until I get what I’m looking for. I carry on evolving the narrative by shifting things around until it feels right and makes some kind of sense to me. I’m slow. A painting takes about a month to complete - if all goes well.” Elise spends a lot of time preparing her painting surface. If she is painting on board, she seals with at least four coats of primer and sands until it is smooth; for canvas she applies gesso to the surface to minimise the weave. Until recently her preference was to paint on board but lately she has been working on canvas and finds that it is a more forgiving surface when it comes to blending colours. “Once I have the painting drawn up I print my reference images in black and white and I’m ready to start with a greyscale layer. I use a mix of ultramarine blue, raw umber and white to make my grey - in that way I can shift the grey from cooler to warmer as well as from dark to light. Although it will be completely painted over, it is crucial that the greyscale layer is as accurate as possible - I can assess if the composition is working and it makes the initial colour layer so much easier to apply because I instantly know what value is needed. I do multiple colour layers until I’m satisfied. My paint is fairly thin so the underneath layers add richness and depth. Finishing a painting can be problematic - it’s difficult to know when you’ve taken something as far as it can go. As Leonardo da Vinci once said ‘Art is never finished, only abandoned’. Elise has a BA (Fine Art) from Wits, and in retrospect has mixed feelings about the benefit of an academic art training “especially if the emphasis is on intellectualising, analysing and conceptualising art rather than acquiring techniques and the craft of painting or sculpting. If I'd had a more classical training it would have saved me a lot of time”. She has a wide variety of influences. “It’s impossible to pick out a single artist from the pantheon of master painters. Lately I’ve been looking at the works of French artist Louis Treserras. 17
FEATURED ARTIST: ENNOCK MLANGELI
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what’s
in store...
Amazing products and great giveaways to inspire you!
PEBEO ARTIST SOAP COMBO
PREMIUM BRUSHWASHER
This olive oil soap block will gently remove all paint stains from your hands. Made from vegetable oil only, and free from dyes. Suitable for sensitive skin and kind on the environment.
Brushes are held in place by sliding through the slots in between the ‘spring’ at the top of the brush washer, which allows you to suspend the brush in your solvent or water, avoiding damage to the brush hairs if the brush is immersed in the washer for a considerable amount of time. The lid prevents fumes from escaping into your working environment when the washer is not being used.
This 500ml Natural Olive Oil Black Soap from Pebeo is made with a concentrated formula of olive oil and is a multi-purpose soap for artist’s brushes and materials. It will work as a degreaser, cleaner and remover. Because of the formulation it gently cleanses brush hairs which will help them to remain flexible and preserved over time. The soap is made with 100% vegetable oil, has no colouring or preservatives and has no chemical additives. The soap is also biodegradable.
Height: 15.2 cm Diameter: 15.2 cm
Value: R340
Value: R490
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mixed media &
found objects
Using found objects in your mixed media work can bring an extra dimension to your painting. Inspired by the art of mixed media which began around 1912 with the cubist collages and constructions of Pablo Picasso and Georges Braque, Johannesburg artist Dalila de Matos often adds materials such as copper wire or beads to her work: “I like using materials that are part of the African experience. If the painting calls for it then I will use it. Some other options would be sand, tissue paper, bubble wrap, texture paste, stencils and charcoal. I use acrylic gels as glue and acrylic paint to integrate. These materials anchor the artwork in both time and context.” She begins with an armature, which is a visual structure on which she can pin her subject matter. This often takes the form of black and white collage which is glued to the canvas in a shape that suits the composition. “If it’s a portrait I will use text that relates to the sitter’s personality, interests or work. I then flood the canvas with acrylic ink in colours that suit my artistic vision. The wonderful colour mixes that ensue are a really good basis for the next step. I then draw my subject on this foundation (if it’s a portrait) or manipulate it further with texture and pattern if it’s a landscape”. Once the subject is drawn, she switches to oil paints, using a palette knife if it’s a portrait. “The colourful background will help me choose the colours that I will use to mix the skin colours. I have found, that as long as the value of the colours are correct, you can basically use any colour on the skin and the person will still look like themselves - only in a more painterly way! Materials are an important part of my artmaking process and I try to get to know my products well so 37
Above: Dripping Forest 1 500 x 250 mm acrylic inks Below: Queen of Hearts 760 x 920 mm mixed media
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Win a Hamper worth ove r R3,000!
The winner will receive a hamper of products from Jimnettes Superstore: • Mont Marte Black French Box Easel • Mont Marte Storage Case • Mont Marte Acrylic Brush Set • Mont Marte Brush Washer • Mont Marte Hand Mannequin • Monte Marte Male Mannequin
RULES: 1. This competition is open to all permanent residents of South Africa. 2. Works created using software or other digital means are not allowed. 3. The five artworks deemed to have best interpreted the reference will be chosen as the finalists. 4. The onus of delivery of the prizes falls upon the prize sponsors. The SA Artist magazine does not, in any way, take responsibility for the loss of prizes during transit or non-delivery by the sponsor. 5. Prizes are not transferable nor can they be exchanged for cash. 6. To download a larger version of the reference photo please go to the ‘competition’ link on our website: www.thesaartist.co.za 41
naivety &
humour
Giorgio de Chirico said it best: “To become truly immortal, a work of art must escape all human limits…But once these barriers are broken, it will enter the realms of childhood visions and dreams.” Justin Abelman’s paintings are happy, colourful and fun, paying special attention to detail, choosing his subject matter from everyday happenings as well as creating situations in his mind which he translates onto canvas. A little red heart is hidden in all his paintings. He says: “Naïve art is a manifestation of joy, taking us back into the Garden of Eden where all life began. The purity and beauty has been stolen from many of us by the intellect”. The popularity of his art is understandable. He brings ease and modesty to his work, planting the seeds for an intimate and celebratory way of seeing the contemporary world. Justin responds to life by portraying it in its simplicity, naivety, and humour. His biggest influences include Mark Chagall, Henri Rousseau and Modigliani. “I love the ethereal, colourful, magical world of Chagall, The beautiful long necked portraits of Modigliani and of course the Above: Clarisse 355 x 455 mm
Top right: Big Mamma 355 x 455 mm
Right: High in the Sky 500 x 700 mm
all acrylic on canvas
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All paintings acrylic on canvas. Above: On the banks of the Mara River 80 x 45 cm Below: Last glance 37 x 30 cm
painting for
conservation Artists for Conservation is a Canadian based international non-profit organisation which represents 500 artists from 30 countries, in the nature/wildlife art genre, who are committed to conservation. Many of the world’s most recognised names in the field are actively involved. Their mission is to support wildlife and habitat conservation and environmental education through art that celebrates nature. Through international art exhibits, collaborative art-science expeditions, annual festival, awards, publications, and leading online initiatives, they engage, inspire and inform the public, and empower passionate professional artists as effective ambassadors for the environment. They dedicate their resources to nurturing their world-class community of artists, and leveraging this unique pool of talent to support their mission through a variety of programs and initiatives. Ilse de Villiers has been involved with wildlife conservation for many years and a member of “Artists for Conservation” for the past six years. Every year they have a juried competition and all members are invited to enter up to three artworks. Of all the work entered, around 200 are chosen and published in the annual yearbook. “I was very fortunate that two of my artworks were featured in both the 2014 and 2017 yearbooks, and I am also honoured to have been selected for 2018. A percentage of all proceeds from artwork sold through the Artists for Conservation website and at their annual three day event in Vancouver, goes to the Conservation Organisation of the artist’s choice”. In 2017 she partnered with the Timbavati Conservation Fund and the Hoedspruit Endangered Species Centre (HESC). “Both of these projects 48
Words and photos: Pieter Jacques Krugel
plein air painting̀ :
the colour study
Artist RenĂŠ Snyman plein air painting in Namibia.
palette knife petals Painting a vase of flowers can be a technical challenge, and it doesn’t always result in images that are packed with energy and movement. Western Cape artist Yvette Beneke’s palette knife florals are a riot of colour and texture with bright swathes of yellows, pinks and blues dancing across the canvas. The result gives the viewer a joyful experience and that is exactly what she is looking for.
realised I wanted to paint seriously and also with a knife and not a brush. Firstly because I always forgot to wash my brushes and ended up having to replace them for almost every painting session, but also because I was after the texture that characterises impasto palette knife paintings”. After a year of learning the basics she locked herself up in her studio and watched hundreds of online videos about palette knife painting. “I also soon realised I wanted to paint wet in wet as I was impatient for
After ten years of working as an architect, she closed her practice in 2010 and started painting. “I attended classes for about a year but 66
impressions in
pewter design
Being a graphic designer by trade I have designed the piece to suit the client’s needs, as well as personalising it with her name to add more detail. I have made a photocopy which I will be sticking with masking tape to the pewter sheet to trace onto the Lead free pewter. I will then begin to use my range of pewter tools to create a 2D raised piece that will be stuck onto a Keepsake box for the client. The process of creating a piece of pewter work is unique, exciting and simple once you know the basic knowledge. This demonstration shows a piece I have created of a personalised hamsa design. Join me as I take you through the process of creating this piece. Once the design has been traced onto the pewter, I then begin to use a number of techniques known as Repoussé & Chasing. Repoussé is a metal working technique in which a malleable metal is ornamented or shaped by pushing from the reverse side of the sheet to create a design in low relief. Chasing is the opposite of repoussé, and the two are used in conjunction to create a finished piece. It is also known as embossing. An ancient form of embossing on metal.
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