SA Artist Issue 41March 2019

Issue No.41 March 2019 R55.00 incl vat

FEATURED ARTISTS: Rika de Klerk Diek Grobler • Oliver Scarlin Lebohang Sithole • Sarah Pratt Nicky Botha • Nicole Sanderson

• demo: how to paint roses • the benefits of life drawing • acrylics for beginners

Issue 41 ISSUE 41

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A note from the studio

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Feedback 5

page

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Quick Art Quiz

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What’s Happening?

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First steps with acrylics part 1: Malcolm Dewey

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FEATURED ARTIST: DIEK GROBLER

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Art Snippets

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FEATURED ARTIST: OLIVER SCARLIN

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Oil painting essentials part 5: BRENT DODD

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page

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FEATURED ARTIST: MARITHA VAN AMEROM

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NEW PRODUCTS: Italian Artshop

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FEATURED ARTIST: RIKA DE KLERK

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Choosing the right canvas

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FEATURED ARTIST: LEBOHANG SITHOLE

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FEATURED ARTIST: SARAH PRATT

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FEATURED ARTIST: NICKY BOTHA

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GRANT WOOD: Watercololour workshop part 5

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INTERNATIONAL ARTIST: NICOLE SANDERSON

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Quiz answers

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Life of a working artist: ANA DE VLIEG

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Student’s Gallery

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Q&A

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Classes and Workshops

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By Malcolm Dewey

new series!

first steps with

acrylics

Everyone agrees that watercolour is the most popular medium for beginner painters. This is odd since watercolour is fiendishly tricky to master. No doubt the appeal is that we all started with watercolours as children. The name is also comforting: Watercolour. What could go wrong?

Plenty actually. This is why I recommend acrylics for beginners instead. The most versatile medium there is. Perhaps that is not a catchy sales pitch.

Versatility is boring right? Not if you use acrylics to their full potential.

In this series we will explore acrylic painting for beginners. From materials to painting demonstrations you can try yourself.

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BRUSHES Synthetic brushes are excellent for acrylics as they work better with water. I am not a fan of using natural hog bristle with water based paints. Synthetic hair does not absorb water and this improves the longevity of the brush. But be careful when choosing long hair and short hair brushes.

THE HISTORY

TWENTIETH CENTURY DREAM MEDIUM It is appropriate that acrylics were invented in the twentieth century. A synthetic binder holding pigment dissolved in water. Yet drying quickly into a flexible and even film that is impervious to cracking or fading.

A perfect medium to give instant colour and pizazz to the modern, plastic world of abstraction. Do acrylics make you think of Warhol, Hockney and wild times? Or do you prefer the serenity of landscapes or portraits? All of this and everything in between can be created with acrylics.

If you want to paint with thick undiluted acrylic then short haired brushes (brights) will be best. The long flat brushes tend to be a little soft for picking up thick paint. However if you dilute the paint a little, with a medium for instance, the long flats will perform fine.

Now let’s consider the materials you need to start with.

A basic selection of brushes should include:

SHOPPING LIST

• • • •

Finding acrylic paint in shops is easy. But the choice is vast and confusing. Unfortunately paint quality is often poor and the hobby shops are packed with cheap acrylics. Okay for poster painting and such, but not ideal for fine art. It will pay you to spend a little time learning about what the better brands offer.

You can get away with only three brushes ranging from sizes 4, 6 and 10. A cheap household brush will be fine for priming panels or toning a canvas quickly.

Consider each range of acrylics from student quality to professional.

Also note their colour charts. Some colours are not available in acrylics, for example Alizarin Crimson. You may have to use Magenta instead. Acrylics are available in traditional tubes, jars and even squeeze-bottles. This variety suggests acrylics are used in a wide range of applications so find the paint type suitable for your plans.

Much however depends on your choice of subject. I am assuming that you will be painting representational subjects like landscapes and portraits in an impressionist style.

In addition to brushes a few palette knives will be useful. Longer blades that can handle a good volume of paint will be more versatile.

They can be used to mix colour and to paint with. Palette knife painting with acrylics is immensely rewarding for the bold artist. More on that in future articles.

If you want large paintings filled with bright abstract colours and shapes then pots of pourable acrylics are best. Large brushes and palette knives will be ideal too. Alternatively a traditional painting approach will call for tubes of thicker acrylic paint.

SUGGESTED PAINTS This is my approach to paint selection whether for oils acrylics or watercolour. Consider colours based on their temperature. This approach suggests the following colours: Yellow lemon (cool)

Yellow ochre (warm)

Yellow deep (warm)

Burnt sienna (cool)

Magenta (cool red)

Orange

Red light (warm red)

Burnt umber

Ultramarine blue (warm)

Titanium white

Rounds - sizes 4-8 Long flats - sizes 6-10 Short flat sizes 6-10 Rigger size 4

Cerulean (or Cobalt) (cool) These cover the basic primary colours in warm and cool plus a few convenience colours included. I have not included green since the yellows, orange and blues will make perfect greens for representational painting. However if you want bright greens for modern painting ideas then add a few of the high-key colours on offer.

Add a few extra tubes of Titanium White as one tends to use a lot more white paint.

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various mediums

FEATURED ARTIST: DIEK GROBLER

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All works this page: gouache on paper Above: Olive Thrush and his daughter 29 x 42 cm

Right: Small Talk 21 x 29 cm Right below: Some microscopic life forms 36 x 50 cm

the power of

social media

Social media platforms can either be a total waste of time or a great source of income depending on how you utilise your online presence. Apart from having a personal page (where you can chat with friends, express your political opinions and post jokes), you also need an exclusive account for your business for art-related posts and which you should keep professional.

Pretoria-based artist, Diek Grobler regularly uses his Facebook page to fund specific projects. “Facebook is your friend. I like to do small project-related auctions on Facebook. In 2014, the year I turned 50, I posted and sold a small painting every single day for the entire calendar year: I was raising money to participate in the 2015 Venice Biennale. It is a great way to keep your creativity sharp. It is the fine art equivalent of being a stand-up comedian.”

Diek earned a BA Fine Art degree from the University of Pretoria; a Masters from Wits University; and is currently working towards a PhD on animated poetry-film at Unisa. In addition to studying, he also teaches. “I do many 15

FEATURED ARTIST: OLIVER SCARLIN

Moira West Photography

oils

Above: Shell in a blue bowl 30 x 40 cm; oil on panel

knowing when

to stop

Oliver Scarlin received a BA in graphic design from the Stellenbosch Academy of Design & Photography. His interest in representational art grew, and he took evening classes at the Stellenbosch Atelier, which gave him the nerve to submit an application to the world-renowned Florence Academy of Art. “I was lucky enough to be accepted to their full-time program in 2012. To help pay for my tuition I applied for scholarships and worked for a while as a janitor at the school.

In my third year I was given a part-time teaching role which was a wonderful learning experience in itself.”

His time at the Florence Academy taught him that painting is a discipline, and he now works from 8am until the light fades.

“Some days I will take time off to do admin, buy equipment or prepare new boards for painting. I usually ease the monotony 21

Below: Cling Peaches and key 40 x 45 cm; oil on panel

life drawing

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the importance of

life drawing

Maritha van Amerom is a full-time artist, jeweller and photographer with a Master's degree in Psychology. She spent three years at art school with tutors like Carl Jeppe and Diane Victor, and today she is integrating her psychology background into her art. “Because I firmly believe that life drawing forms the base for all kinds of art, and also enhances the quality and intensity of the artist's work, I feel that regular drawing from life is essential for any artist.�

Drawing has long been considered the foundation for work in all the arts. In the 1500’s art students first trained in drawing before going on to painting, sculpture, or architecture. In the late 31

FEATURED ARTIST: RIKA DE KLERK

oils

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Above: Linda Sleeping 76 x 102 cm oil on canvas

Right: Mother and Daughter 50 x 38 cm oil on canvas

in search

of the light

For Gauteng-based artist Rika de Klerk, capturing light in a painting has always been of the utmost importance. Her biggest influences are artists such as Rembrandt, Sorolla and many of the modern American Impressionists who use light and texture in their work. “If a painting does not have light it does not catch my attention. Texture is the other aspect which has always fascinated me.�

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FEATURED ARTIST: LEBOHANG SITHOLE

photo: Richard Ncube

charcoalte&ls soft pas

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Above: Red 70 x 100 cm Charcoal and Soft Pastels

Right: Two of us 100 x 70 cm Charcoal and Soft Pastels

homage to my

Grandfather

Lebohang Sithole was born on the same day that his Grandfather died.

Mfana Enoch Sithole was a singer and organist for the Amajembe Jazz Band, and Lebohang feels a strong connection with him. “Almost everything that my grandfather did during his lifetime is similar to my own life. He is the only person in my family with whom I really feel connected and my artwork is inspired by the journey travelled by him. When I visit my Grandfather’s house, I feel like I have lived there. When I touch his musical instruments, I feel like I have played them. When I look at his photos, I see myself. Discovering his strength and beliefs has encouraged me a lot as an artist. My work is dedicated to him.”

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FEATURED ARTIST: SARAH PRATT

gouache

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Both paintings: gouache on 300gsm paper Above: Right: Noon Crisp morning 23 x 32 cm 32 x 23 cm

flights of

fancy

Sarah Pratt is inspired by birds, animals and pattern - the more detailed the better and she is interested in the juxtaposition of different creatures - creatures that would not ordinarily meet naturally. “Once I started to research nocturnal animals, I started to think about how it would be if a nocturnal animal bumped into a diurnal animal. I found the concept amusing, and thus the paintings began to take shape. I suppose I like playing with them, like a child with a doll’s house. I assemble different creatures into unusual meeting places, plan out my image and then begin painting.”

She currently lives in a cottage in Pembrokeshire, Wales with her partner, artist Andrew Lovell and their energetic Australian Cattle Dog ‘Lulu’. A small plastic table in the lounge serves as her studio, but in time, the couple aim to find a commercial space to rent where they can both make their art.

When working towards a solo exhibition, her routine is breakfast, walk the 53

FEATURED ARTIST: NICKY BOTHA

oils

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Above: Garden roses 38 x 76 cm

Right: Mixed bunch 35 x 40 cm

coming up

roses

Nicky Botha has tried her hand at painting figures, portraits and landscape, but at the moment it is her love of flowers, and in particular roses, that captivates her.

Current influences include Nicole Pletts, Kyle Ma, Quang Huang and Dennis Perrin.

A few years ago when she began selling her work, she started getting commissions from people who were not in her friends or family circle. This was the start of her parttime career as an artist. “I currently work from home, so every day is different. I deal with clients and when I have free time, I paint.� contd. on page 60

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TIPS AND TECHNIQUES

PART 5

Sea Fever – by John Masefield I must go down to the seas again, to the lonely sea and the sky, And all I ask is a tall ship and a star to steer her by, And the wheel's kick and the wind's song and the white sail's shaking, And a gray mist on the sea's face and a gray dawn breaking.

I must go down to the seas again, for the call of the running tide Is a wild call and a clear call that may not be denied; And all I ask is a windy day with the white clouds flying, And the flung spray and the blown spume, and the sea-gulls crying.

I must go down to the seas again, to the vagrant gypsy life, To the gull's way and the whale's way, where the wind's like a whetted knife; And all I ask is a merry yarn from a laughing fellow-rover, And quiet sleep and a sweet dream when the long trick's over.

What John Masefield captures in this poem shows his intimate emotional attachment to the sea and is what you as the artist should endeavour to capture when you attempt to paint the sea on a pristine sheet of white watercolour paper!

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I have spent many hours just sitting and watching the magnificence of the sea and I have experienced first-hand, its many moods and idiosyncrasies – I still strive to be the best watercolour seascape artist in the world! A really tough ask but we all need to have a goal or destination in our lives and can spend the rest of our time, journeying consistently towards it – with passion and commitment, no matter what!

If you find a reference photo you would like to work from, always get permission from the photographer. This photo of a stormy sea was taken by George Watson of Umzumbe, and he has kindly given me permission to use it as my reference.

I will demonstrate the techniques that I have developed and which I have found useful in capturing the sea, using the natural white of the paper in a style which presents a slightly more abstract interpretation of the subject. This lends itself to spontaneity and a bit of drama as well!

Although the scene is quite dramatic, I will introduce some rocks into the foreground to create some perspective while keeping the wave as the focal point of the painting.

I will keep the sky grey but use a stormier colour for contrast: Indigo, Alizarin Crimson and Payne’s Grey; plus a very limited palette of Cobalt Blue, Indigo and Hookers Green Dark.

The rocks will be a mixture of Burnt Sienna for warmth and French Ultramarine for shade – the sun is shining from 11 o’clock on the left hand side.

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I will use white gouache if necessary to pick up a few dramatic highlights and for the foam in the wave face – mixed with a touch of blue for the areas in shade.

STEP 1: COMPOSITION Sketch of the composition showing the darkest values and the rocks as well. Keep the sketch simple with the tonal values clearly shown. 2 minutes maximum to keep it loose!

Tip: Blur your eyes to get an overall impression of darks vs lights.

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If the focal point is in the lower right third (darkest shadows) then the rocks will be placed in the left lower corner to balance the final composition. The wave must be located on the lower third of the paper to accentuate the dominating effect of the stormy sky.

STEP 2: Use a sheet of 600gm paper or a stretched piece of 300gm.

With clear water and a wash brush, wet the area where the spray is – be sure to give the damp area some direction as this will give you the movement of the spray as well. Hold the paper at an angle to the light so you can see the glisten of the wet area – you will be painting around it!

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INTERNATIONAL ARTIST: NICOLE SANDERSON

Zimbabwe

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All paintings are oil on canvas Above: Sky Dance 90 x 140cm

Right: Nesting Time 170 x 120cm

the call of

nature

Zimbabwean artist Nicole Sanderson and her family recently spent three months travelling around Namibia, setting up a makeshift studio at various locations along the route. “Although I missed the convenience of a home studio where I have the luxury of consistent lighting, no crazy winds and a permanent easel setup, I loved working amongst the birds with the sweet smell of Africa in the air.

Exploring the ever-changing light was a sensory feast which inspired me beyond my imagination.”

The family have now settled in Victoria Falls, where Nicole is yet to setup her permanent space. She believes that a studio should be alive with music, plenty of air, lovely light and “far enough away from the world to allow enough time and space to connect to your creativity.”

A typical day in the studio starts anywhere from 4am when the world is at its quietest. She begins with a morning meditation which helps her to focus. She usually gets a good two hours of work done before 67

watercolours

LIFE OF A WORKING ARTIST: ANA DE VLIEG

painting life

from a tin

Statistics show that the act of making art has proven to alleviate stress, increase tolerance, empathy, compassion and alter the pain that we at times endure, physically and emotionally. Ana Pereira de Vlieg is an artist, teacher, trainer with a keen interest in colour mixing, study sketches on the go and the use of art for healing.

Instagram: Ana Pereira de Vlieg_artist | website: www.anapereiradevlieg.com 71

A tin can be a box containing items of a sweet or savoury nature. They may contain home made organic soaps or perhaps motivational cards or gifts of sorts. Some are collector’s items found in Antique stores.

At least that is what some tins start out with until you reuse them to tell a different story.

tin. I noticed in my recent travels abroad that some countries have done away with the plastic bubblegum packaging due to the advent of sensible plastic elimination. And so I eagerly tell you that I have also used watercolour card to hold my pools of paint. The amount squeezed out need not be much if you use best quality paints. You can of course use paint pans purchased in art stores. Permanent Ink Pens in sizes 0.1 and 0.5 and a thin brush pen are what I choose to start off with.

There is a tin that carries a life inside. It holds within its walls and rooftop a moment in time that becomes a tangible memory to record forever. One such tin is where I store my travelling paint kit. Paint and paper that I wish to pull out in a moment and record life as it unravels within the next 10 to 30 minutes.

Watercolour paper (200 to 300 gsm). Using Prestick, fix a sheet to the inside of the lid - a hinged tin acts as a kind of easel.

You see, life can feel unsafe and perhaps the “Life in a Tin” offers a place of peace. Just as our stories can be told by the contents of the boxes and tins we keep over the years, so too can we choose to preserve and record inspirational stories just outside the window of our eyes.

Add a number 2 or 4 wooden handle brush which can be cut down to fit inside the tin. Sandpaper the end of the handle to remove any rough edges. Add a sheet of aluminium, wood or resin as your mixing palette.

I have previously travelled with oils however, I find that watercolours are speedier, dry faster and are therefore more practical when all you may have is 15 minutes. I am mindful that I am often with friends and not on my own at an artists retreat where I would possibly then carry my oils for the benefit of ‘plein air’ painting.

Any creative can pop this tin, into their bag and go off into the landscape of their day. Leonardo da Vinci coined the sketches he made from daily observation as the very ‘assistants and masters’ that should be preserved (“A Treatise on Painting” - note 141). I have used these observation studies in later art works, as gifts. The time spent on them helps to process life, savour it and slows it down for me.

Da Vinci goes on to describe the delight of observation: “Be quick in sketching these with slight strokes in your pocket book, which should always be about you, made of stained paper, as you ought not to rub out”.

With careful measure I squeeze out 10 liquid watercolours from carefully picked paint tubes into the pockets of an empty bubblegum 72

student’s gallery this month’s winner

Above: “Through my eyes” by Lianke McDonald; 50 x 30 cm; acrylics St. Dominics School; Gauteng Art Teacher: Ms De La Hunt

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A monthly selection of art by talented high school students in South Africa.