Focal Point Issue One

Focal Point

In-house Magazine of the

Western Cape Watercolour Group 1

Focal Point Issue one

Editorial Welcome to “Focal Point“- produced by the Western Cape Watercolour Group for artists of all media. This is the first issue of our new magazine which we hope you will enjoy and learn from. It is envisaged that we will produce a new issue every quarter and for our circulation to increase as we bring more artists into our family and encourage new artistic enthusiasm and activities within our community. Copies will be distributed free of charge to members with e-mail, but for others we will need to raise a charge of R20 to cover printing costs.

I class myself as a “middling artist”. I have tried to master many of the basic skills, rules and problems that an artist has to be able to manipulate, but will I ever become a “good artist”? This is the question all creative people ask alongside, “How will I know that I have become a good artist?”

I think that it is an important point to remember that we are all creative beings, but many of us do not allow ourselves to be

June 2012

creative. We constantly put blocks in the way. Creativity requires activity – unless we create that painting, or experiment with that new tube of paint, how do we know what we are capable of creating?

I attend several art groups and constantly hear the same negative blocks people put in front of themselves:     

I’ll never be able to paint like that He makes it look so easy, but he’s been at it for years She uses the expensive brushes and paints that I can’t afford, that’s how she gets those results I don’t have the time to practise regularly Every book or article I read tells me something different – it just confuses me

Not one of us can take one giant step from being a practising-artist to becoming an acknowledged “good artist”. We all have to take the baby steps, take the criticism on the chin, to invest time, money and effort into our art.

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So let’s start with the basics. Why do you want to be an artist? Is it to become a famous artist or to just have fun? Artists need to be enthusiastic and enthusiasm is grounded in play. The artist within us is a child that needs to be allowed to play, to experiment, to have fun, to learn from mistakes and to be encouraged along the way. If we try too hard too soon we will fall and fail.

In this magazine we will try to explore some of the above ideas more fully and see how we, as members of the WCWG, can nurture the artist child along, both within ourselves and within our fellow members.

Let’s enjoy our art.

In this issue we will enjoy presenting to you: 

About the WCWG



Recent exhibitions



In conversation with Hazel Soan and Derric van Rensburg



Tutorial – No painting is a failure and let’s have fun; the dip and the spike



Art in South Africa Today



What’s On



Featured Artist – George Pemba



Stop and Sketch



“New Signatures” Competition winners



Obeying the rules



Different supports for artwork



Benefits of WCWG membership

Kathy Wivell Editor

Readers' queries In the next issue, due out in September, we want to include queries our readers have on any art related topics. Please send in your queries to kathy@trainexp.co.za and we will endeavour to find the solution for you. No matter is too trivial. If it bothers you we will try to help. Hope to hear from lots of you.

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Recent Exhibitions

Helderberg Nature Reserve March 2012

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“Across the Palette” May 2012 - Winning Paintings Artists featured in the cover photo (left to right: Charmé Southey, Marion Langton, Diane White, Bonnie Price)

Judge’s Choice – First Prize Charmé Southey: “Looking for…”

Highly Commended Minnie Gerber: “Magnolias in a Vase”

Second Prize Marion Langton: “Hernando’s Hideaway”

Joint Third Prize Bonnie Price: “Cock of the Walk

Joint Third Prize Diane White: “Simon’s Town”

Highly Commended Charmé Southey: “Trees on the Road”

Highly Commended: Diane White: “Stellenbosch” 5

About the Western Cape Watercolour Group The Western Cape Watercolour Group has a long and distinguished history.

Originally, some of our local watercolourists had belonged to the Watercolour Society of South Africa (WSSA), founded in 1975 and based in Johannesburg. However, it was difficult and costly for members who lived here in the Cape to enter WSSA’s exhibitions, and attend their meetings and workshops.

In order to cater better to local artists, a Somerset West branch of WSSA was set up by Mary Ellen York. The new group was able to arrange meetings for members locally, and workshops and demonstrations were given by artists such as Eugene Hunter, Dr John Anderson, Susan du Preez, Dr Marion Arnold and Ulrich Schwanecke.

In 1997, the membership made a complete break from WSSA and formed an independent group, the Western Cape Watercolour Group, under the chairmanship of Cherry Nicholls. The original aims of this new group were to provide a platform for lectures and demonstrations of watercolours and to arrange exhibitions in the local area.

Past chairs have included prominent local artists Marilyn Norton and Marion Langton who were instrumental in establishing and developing the group.

Today, the Western Cape Watercolour Group, chaired by Diane White, has a thriving membership of almost 100

artists working in and around Cape Town and Somerset West. Although the name suggests that the group are watercolourists, members also work in a range of media including oils, acrylics and mixed media.

The group meets every month on Saturday afternoons at the Library Hall in the centre of Somerset West.

Meetings have a friendly and informal atmosphere, and visitors are always welcome. The meetings are educational as well as social, with demonstrations and critique sessions given by skilled artists from the local area as well as further afield. For example, internationally renowned artist, Derric van Rensburg gave an instructive and entertaining demonstration at the group’s February meeting.

The Western Cape Watercolour Group holds two or three exhibitions of members’ work locally each year. For every exhibition there is a careful selection process by a panel of outside artists. Strict procedures govern the process which ensures that the paintings on show are of a high professional standard.

Membership of our group is open to all abilities and ages. If you are not already a member and are interested in joining, or would like further information about the group and its activities, please phone Diane White on 021 851 2520.

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In conversation with

Derric van Rensburg

Derric demonstrating his talent at WCWG meeting, February 2012

When did you first realise that you wanted to be an artist?

Initially at the age of about ten; but the defining moment came later when I was studying art and as part of an exam we were left in a room for three hours during which time we were required to do a painting. Then I knew: this was what I wanted to do.

Who has been the biggest inspiration or role model?

In common with many artists, Van Gogh; internationally it is Van Gogh. Locally though, Cape Impressionist, Pieter Wenning has been a great inspiration. I also think of Churchill, for whom painting was a distraction from the pressure of war.

He said that painting opened his eyes to things he had never seen. It is true for me too.

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Which medium do you prefer to work in?

Acrylic, because of the challenge it brings, but watercolours always surprise me. I get more of a thrill from watercolours - anything can happen, which makes it exciting. When I look at my coffee table book, I still love my old work in watercolour; and now, although I do fewer watercolours, they really give me a thrill.

What inspires you most as a subject matter?

Landscapes, because of the variety of subject matter. Landscapes take you worldwide, whereas wildlife for me is just Africa.

Have you ever experienced a real bolt of lightning – a moment that changed your art going forwards?

A Greyton farmer once asked me to paint his house and it was a very ugly house.

I told him we must drive away from the house and see it from a distance. When we were a long way away and the house was almost a small dot on the landscape, I told him this was from where I should paint it. It was then I began to paint the rich colours of the landscape that characterise my paintings now.

How do you feel about the South African art world at the moment?

It’s in great shape. It’s a small market, but incredibly vibrant and sophisticated.

For the size of the country, the number of artists we have here constantly surprises me.

This magazine speaks mainly to part time artists who want to improve their work. What advice can you give them?

Keep going. Keep practicing and wanting to practice. Never give up.

Interview by Chris Hall

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In conversation with

Hazel Soan - February 2012

When did you first realise that you wanted to be an artist?

At the age of 13 my great aunt came back from Hong Kong with two Chinese brushes from someone who had seen one of my pictures and wanted to encourage me to paint. I thought “Wow, I must have something, if someone is prepared to send me these beautiful brushes”. In actual fact, they were probably just cheap brushes, but I thought they were very beautiful.

I went to art college thinking that I would become a graphic artist or something similar, but there I learnt that there were living artists and I decided that I wanted to become one of them.

Who has been your biggest inspiration or role model?

Oh that is difficult to answer. There have been so many people - lots of the past masters, in fact almost every artist and my college lecturers. My grandfather was a painter and he encouraged me. There are many, many more.

Which mediums do you work in and which do you prefer and why?

I work in watercolour, oil, acrylic – any medium really – even emulsion paint. I prefer watercolour because you can do so much with it and it is easy to transport.

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What inspires you most as subject matter?

Light and shade firstly and then people. I love African subject matter because of the light.

Have you experienced a real bolt of lightning - a moment that has changed your art going forward?

Oh yes. One day at college I suddenly understood tone – tone is the most powerful aid. You need to see in tone to persuade your viewer that you work is more than a pattern on paper.

I had a second moment when I suddenly realised that my watercolours were selling. I then started to take watercolour more seriously.

How do you feel about the South African art world at the moment?

I think it has had a fantastic revival. In the 80s there were many artists in the Western Cape, but they had to teach to make a living. Now many live by selling their work. The heritage is there, but the downside is that South Africans cannot see great art in their galleries. Watercolours do not sell that well in Africa, because people living in sunny homes with large windows cannot hang watercolours to keep.

This magazine speaks mainly to part-time artists who want to improve their work. What advice can you give them?

Try to set aside some uninterrupted time each day – an hour or even half an hour.

Choose simple subjects such as a teapot. You need to keep your brush going to gain confidence. If I take a break for three weeks because I am busy with other work, I go rusty.

Teaching other people is also a good way because you have to explain and in order to do that you need to know what you are doing. You also need to simplify and plan when teaching another. So discuss things with your friends.

Interview by Kathy Wivell 10

Tutorial – No painting is a failure “Some succeed because they are destined to, but most succeed because they are determined to.” (Anonymous)

No painting is a failure. A painting may be less than you would like it to be, but it has value nevertheless. Be tolerant of failures. They teach and motivate more than success. Failures tell you that you can do better. Listen to them. Success can lull you into a false sense of security.

It is great for our egos, but I caution you to be aware of its insidious quality…complacency.

When this occurs, growth ends and potential may never be realised. Too many artists are seduced by the exterior appearance of success … fame, money and outward adoration.

In truth, it is the very act of painting, the moment of creating that provides our greatest happiness, adventure and true reward. If your work is honest and sincere, you will know its worth. That is what matters. Have faith in yourself. You are your best teacher. Learn all that you can …. And then some. Work hard. We, as artists, are tapped into a universal spirit that is not available to everyone.

Aren’t we lucky?

Enjoy the ride.

From “In conclusion” by Mel Stabin in his book “The figure in Watercolor”

Let’s have some fun Start with a ream of copy paper and some pencils – different thicknesses will be good or maybe a few coloured ones. Use the paper freely and don’t be concerned about the end result. We are not creating art here, we are having fun with our creativity.

Now look around the house and find familiar objects e.g. a handbag, a teapot, a shoe, a brush.

First of all look at it carefully from all angles – touch it, smell it, feel it and notice its hard and soft edges. Now make several drawings on the one sheet of paper of the same object from many angles. (Maybe crop the edges of the object too) We all tend to look at things without really seeing them. Artists need to focus on discerning things usually overlooked. Train your senses to move around and refocus. Do this exercise with lots of different objects. Use lots of paper freely.

Now you test your ability to observe and recall. Study a single object, take your time and look at it carefully. Feel its shape and texture and its edges. Tap it with your finger or pencil – does it ring, clink or thud? Now put the object away and draw the object with as much detail as possible. Repeat this exercise with the same object every day for a week, on a new page and without looking at your previous attempts. On the last day draw the object without first observing it. Then compare your pages and see what differences you have experienced. Does the daily experience result in improved observation in the final drawing?

From “The New Creative Artist” by Nita Leland 11

The Dip and the Spike Learning takes place in jumps and starts. You may struggle with a problem or new skill for many weeks, months, or even years. Then all of a sudden you master it and your level of skill jumps to a new and higher level. Often when you are struggling to learn a new skill, your paintings will get worse, not better. This is usually a good sign because it shows you are pushing yourself to master new skills and it is an indication that you are about to reach a new level. The apparent worsening in your paintings is probably because you are concentrating so much on one aspect of painting that the other aspects receive less attention. This is good. After the paintings get worse for a while, they will then jump up in quality to a new level.

Sometimes the opposite happens: you might do a great painting soon after you learn something new. Usually though I have found that this is a once-off event, and you cannot repeat the performance. This is because your skills have not yet quite reached the new level.

Eventually though, after much more time, your skills will catch up and all of a sudden you will find your work has improved and has jumped to a new and higher level.

Barry John Raybould Virtual Art Academy, Inc.

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Art in South Africa Art Today From my research into this topic in preparation of this magazine one fact kept re-appearing – there is a serious lack of art education for 95% of our population.

I watched an episode of “Edition” on the eNews channel in March where the subject of this article was discussed and I repeat below notes I took: South African art is sought after internationally nowadays – there has been a huge improvement over the past 10 years, but this is largely due to overseas buyers.

Zwelethu Mthethwa (internationally acclaimed artist) stated that a few SA artists are making waves overseas but we are still in the red because: “We don’t have art education” – he sees art as vital because it influences the way we think in so many ways. There are many gifted people in SA but they don’t receive nourishment because it is

not there – we don’t have the basics in place. He also thinks that the portfolio of the Ministry of Arts and Culture is not taken seriously enough in SA. Politicians think only of the economy, but Mthethwa says that art is an important part of the economy.

He also thinks that artists need to learn the business of art if they want to be successful.

Andrew Lamprecht (Senior lecturer Michaelis School of Fine Art) stated that in other countries money was available for art, whereas in SA artists had to make do with what they could find. This tradition has put us in a very strong place. Our artists are imaginative and creative in using things often found on junk heaps.

Imagination and passion are more important than money. But he also states that more effort needs to be put into the education and nurturing of art.

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Township art shows life as lived in these spaces, but there are few places to show such art in the townships. Iziko Museum is trying to overcome this in the Cape with its travelling bus and it has found that young and old come flocking with interest. Iziko feels that art is of the utmost importance - it is part of who we are as people.

Riason Naidoo (curator of the National Gallery) said that many people are intimidated by the idea of going to a museum or gallery, but we need to encourage them to visit and then think how that art has moved them. It isn’t necessary to have an art degree to appreciate fine art. We need to educate and encourage the public to engage with art.

Nabela Mohamed (a young artist) says that art is certainly growing in SA, but it is a small elite who attend gallery openings – we need to widen the audience. We need to make an effort to understand one another’s art.

The conclusion to the programme said that we have a lot to be proud of and we are starting to see more visitors to our galleries, but there is still a lot to do.

When asked how we can create change in South Africa Andrew Lamprecht said: i) ii)

We need to bring art into the educational system Fine arts communities need to get out more and show their work to a wider audience

In the words of Francis Bacon “The job of an artist is to deepen the mystery”.

What do you think? Do you think we, as the WCWG, can help to enlighten some of the 95%? We would like to hear your ideas. Please send an email to Kathy@trainexp.co.za.

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What’s on…

Cape Town Association for Visual Arts, 35 Church Street, Cape Town T 021 424 7436 E art@ava.co.za

Opening 4th June till 29 June "Nothing new under the sun" - Solo exhibition of paintings by Catherine Ocholla

Barnard Gallery, 55 Main St, Newlands T 021 671 1666 E gallery@barnardgallery.com

24th May until 17th June "Another man's vine" by Barry Sullivan

Iziko SA National Gallery, Cape Town T 021 467 4660

16 March until 8th July - The art of Peter Clarke 26 April until 22nd July "A celebration of the life and work of Barbara Tyrrell”

Stellenbosch IS Sculpture, Tokara Delicatessan, Helshoogte Road, Banhoek T 021 876 8443 E isart@lqf.co.za

Rupert Museum, Stellentai Avenue, Stellenbosch T 021 888 3344 E saw@remgro.com

On-going until 1 September 2012 Sculptures and unique drawings by Willem Strydom

Somerset West Imibala Art Centre T 021 851 7246 E leo@imibala.com

Until 15 June “Exquisite Bronze” Sculptures by Xhanti Mpakhama 15

Featured artist – George Pemba (1912 – 2001) On 2nd April the SA Post Office issued a set of stamps commemorating 100 years artist George Pemba.

The SA Post office will issue a set of 10 stamps as well as a miniature sheet of George Pemba’s best known, amazing artworks.

“Grand Master of South African art” is a well-deserved title for Dr George Pemba, who is internationally recognised as one of South Africa’s greatest artists. Many have been inspired by his works, his dreams and his vision for the arts being a healing and expressive medium in Africa to promote tolerance among cultures that are as diverse as their art.

Born in 1912 in Hill’s Kraal, Korsten in the Eastern Cape, George Pemba is described by the George Pemba Art Foundation as “the miracle who painted during South Africa’s darkest years, when no black South African was expected to do so, or supported when doing so.” He is further described as “a symbol of the rich artistic potential of black South Africans; his artistic genius triumphed against all artistic odds with the arts fraternity; his history and story is one of persevering and proving racial stereotypes wrong.”

George Pemba’s work reflects the richness and diversity of South African life, including its oppressive past. It also captures the essence of the country’s people in paintings of rural and township life and portraits ranging from men and women in traditional attire to children and mothers with babies.

During the 1940s, while working for the Department of Native Administration in Port Elizabeth as a clerk, he met John Mohl and Gerard Sekoto, who encouraged him to work as a full-time artist.

“No Work” (1948) Watercolour

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Pemba longed to travel and work in Europe to broaden his horizons and gain experience, but his financial responsibilities made this impossible. In 1944 he secured a grant from the Bantu Welfare Trust, which he used to embark on a grand tour of South Africa to see and experience the different peoples in their natural surroundings. He travelled to Johannesburg, Durban, rural Natal, Basutoland (Lesotho) and Umtata (Mmtata), expressing particular interest in the indigenous cultures and tribal life of the different regions. He made numerous sketches, which he later used to produce watercolours depicting the different rural peoples in their tribal dress.

Portrait of a young Xhosa woman (1946) Watercolour

In 1948 he had a successful solo exhibition in Port Elizabeth and resolved to devote all his efforts to painting. Unfortunately, he struggled to support his family as a professional artist and had to supplement his income by opening a small general dealer’s store, which he and his wife ran until 1978.

Pemba has also taught art to children at the SA Institute of Race Relations and in 1979, he was awarded an Honorary Master of Arts Degree from the University of Fort Hare.

A highly successful exhibition comprising paintings from the 1940s on, was held at The Everard Read Gallery in 1991. A second exhibition in 1992 at the King George VI Art Gallery, in Port Elizabeth commemorated his 80th birthday.

“Toyi Toyi” (1989) Oil Despite years of adversity and poverty, George Pemba’s painting career spanned six decades – providing a remarkable visual history of what he had witnessed in a transforming South Africa.

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Stop and Sketch A well-used sketch book is an artist’s best friend. It allows you to put ideas down quickly before you lose them. You should date each page and never erase anything.

So go out straight away and buy a sketchbook – any form you like and some pencils or felt tip pens or other mark making implement. Use it every day.

In your sketchbook you can make mistakes, write notes, make lists of ideas, doodle and draw, work out compositions before an activity, try out new colours etc. You can also use it to sketch on location outdoors.

Sketching outdoors The primary advantage of painting or sketching outdoors is that nature and activities are constantly supplying fresh ideas, colour schemes, hitherto unseen details, and the passing effect of many moods. The artist's imagination is constantly stimulated. Select a time of day when the light is interesting and fairly steady.

Always carry a small pad with you – put a few things in a small bag or box and keep them in the car so that you always have a basic kit to make a sketch when you have a few minutes to wait around or when you see something you want to make a note of.

If sketching on location make several sketches - they can be rough and do not have to be large – 3 x 3 inches will suffice.

This is time well spent, for a pleasing composition will excite and sustain interest in the subject until it is completed in the studio.

Painting or sketching outdoors can be a lot of fun…. but if you're not prepared, it is likely that your efforts will be wasted.

Therefore, it is important that you plan your day out carefully for you to have a productive and satisfying artistic experience.

Whether you complete your painting/sketch in one sitting or return to the spot on successive days depends upon both your technical ability and what you are attempting to do. A fleeting effect has to be captured at one time, but an exhaustive study, or series of studies, can be made for several days. Of course, the weather and the season of the year are vital factors.

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Preparing for working outdoors: Travel As Lightly As Possible

Check Your Equipment For starters, you should make sure that all the materials you need are in your bag or box. There is nothing worse than finally finding an ideal subject and then discovering that a certain item is missing (e.g. a holder for your water).

When painting outdoors, you should always carry a reserve board/paper. Carry at least one extra board even though you intend to limit yourself to a single painting. If you get off to a poor start it is better to discard the canvas/sheet for the moment, since reworking into a wet canvas generally produces muddy colour and a fresh board/sheet with its inviting white surface will be more of an inspiration to start afresh. The light may change drastically when you are halfway through a painting.

Rather than attempt to adjust the painting to a cloudy sky or some other change, start a new picture.

If you have a considerable amount of walking to do to reach your outdoor sketching spot, travel as lightly as possible.

To be exhausted by the time you are ready to sketch/paint certainly will not help you to produce your best work. The easel can often be temporarily dispensed with if you are working on a board size that will fit your satchel, bag. If the weather permits, a rug can be substituted for a sketching stool, or you might even find a convenient rock to sit on.

Dress Appropriately for Sketching Outdoors You should dress sensibly for the season of the year. It does not take long to lose enthusiasm if you are shivering while painting on a cold day and you will be less subject to eye-strain as well as heat if you wear a hat with a brim or a peak during bright sunshine.

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Some thoughts on sketching from other artists (from letters page “Paint” magazine September 2006) “I don’t so much stop and sketch as much as sketch every time I stop, or even sometimes on the move. I’m very lucky because the subjects that interest me are people and people-related activities. So I sketch on buses and trains at bus stops and stations and even walking down the street. I use A6 pads which fit into jeans pockets or my handbag.

On one rare occasion when I didn’t have a sketchbook on me a typical family on holiday passed me going down to the sea. I could only whip out my tiny shopping pad and do a quick biro sketch, but it became one of a series of local cards I had an idea for a year or so later…and it sells well.”

15Ros minute Sheard sketching activity

“I always carry a small 5”x4” ring bound sketch pad with me and a half chewed 2B pencil in my pocket. The pad when open allows me to sketch about the size of a paperback book.

What inspires me is the phrase: “anytime, anyplace, anywhere”, oh, and any weather. I am always out and about and whether it is the countryside, town or city centre, I always stop at something that might fit in a picture: a tree, a portion of a wall, an animal, a winding lane, trying to catch several parts of a picture from different areas. I find that this way I can use a particular tree over and over but in different surroundings.

How many people miss a possible picture with rainy showers and the different reflections it makes for the sake of stopping in a doorway for a couple of minutes for a quick sketch?”

Glenn Stallard

Try this…

Fill a sketchbook page in fifteen minutes. Don’t necessarily create a picture. With your chosen implement write, draw or scribble anything that comes to mind, from your imagination or within your view. Use different coloured pens, pencils, a ballpoint etc.

Do a drawing every day The only way you can become better at drawing is to draw at every opportunity. You learn to draw by drawing.

Instead of just watching TV – sketch from it – I find quiz programmes good as you have repeated viewings of the same person – or sketch the newscaster or weather man. If you want to catch action – turn to a sports channel and make rapid gestural drawings - really capture movement.

Or you can sketch someone watching TV. A small sketchpad is very unobtrusive and can be pulled out and used in restaurants without drawing attention. Sketch fellow customers, waiters, table settings etc. I also sketch at concerts in the park or on the beach.

The opportunities are endless and you will soon find that you can easily fill at least one page a day.

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“New Signatures� Competition May 2012 Open to members and visitors to discover and nurture artistic talent

First Prize Kalnisha Govender

Second Prize Thora Ford

Third Prize Joalda Coertzen

Highly Commended Anita Glenister 21

Obeying the rules Prior to selection day for a WCWG art exhibition, the committee sends out rules and regulations along with an entry form – it is up to each artist to ensure that they receive these.

Times will also be stipulated for submission of entries.

Now imagine that you are one of the committee members who are ready to receive submissions and you have been allocated a specific job to ensure that the procedure runs smoothly. The first few artists arrive with their work correctly labelled, their forms completed in full and their monies ready to pay. All is running smoothly. Then the rush comes and with it the following problems: -

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One artist arrives without a form and asks to borrow a pen to stand and complete it Another arrives with more than the stipulated number of paintings and asks everyone to help them decide which to submit and which to take home Another artist cannot decide how much to charge for their work and so they have not completed that information on their form and hang around asking others what they are charging and for advice Another person arrives with a picture far larger than stipulated and a tape measure has to be found to confirm its size Another person has failed to cover their name and put a title on their picture – they need some tape and a pen please Another cannot think of a title for their work and asks others for ideas Another brings in one painting and says that the other one will arrive later in the day (after the closing time) Just as the doors are closing a late arrival bangs on the door for admittance

We can receive almost 100 paintings for selection and chaos could easily ensue when each person has to break off their allocated task. Remember that every artist wants their work to be selected.

On the actual hanging day we experience further problems -

No hanging string attached The frame is insubstantial and liable to fall apart Artists want to change the information given on their entry form – change of title or price (we pre-print labels) Portfolio works arrive without a name, title or price shown on the work Pictures have not had the tape that covers their name removed or they have dirty glass

In future we would like all artists to adhere to the rules and regulations and arrive adequately prepared. Please help us to help you to have your work selected and displayed well. In other organisations work not submitted correctly would just be rejected, no matter the quality of the work or the prestige of the artist. You have been warned!

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Different supports for artwork In this issue we will concentrate on watercolour papers only

Many watercolour teachers urge beginners to work on good quality paper. This is a good practice as even experienced artists have problems with poor paper.

So how do you judge whether paper is good quality or not? Firstly use a brand name that is recognized by other artists as being good paper.

Most papers come in three surfaces: hot press (smooth surface), cold press (medium and rough surface). In addition watercolour paper comes in various weights. The most popular are 140lb and 300lb.

140lb cold-pressed paper is an excellent support to work on, especially for beginners.

Cold pressed paper, which has some tooth (slight roughness) to it, allows for a faster absorption of paint than smooth, hot-pressed paper. Cold-pressed paper also dries more slowly, thus giving the painter added thinking time. 300lb paper certainly accepts thorough wetting, but unless you wish to scrub out a lot or work very large, you don’t necessarily need the heavy paper.

You need to try different papers and find what works best for your art. Many artists prefer different paper for different tasks.

Understanding the definitions It's understandable that some people get more than a little confused when shopping for artist watercolor paper. There are a lot of different brands of paper, different weights, surfaces and it goes on and on from there.

Mould made: Some of the biggest names in watercolour paper, like Arches, have been making watercolor paper in a mould since 1492. Back before you and I were ever around, these very talented artisans would use a wooden frame that had a fine screen stretched inside it and run this "mould" through a mixture of gelatine, cotton fibres and fresh spring water. These cotton fibres would stick to the inside of the screen in a nice even layer. Then this screen was allowed to dry. This screen full of cotton fibre was then pulled away from the screen or mould to reveal a beautiful handmade piece of paper. Since the Industrial Age, moulds have been altered just a bit and the screens are now stretched on a long roll. These moulds now produce a much longer sheet in a pass...but more about how that works later.

Deckled Edges: When you are looking for fine art paper or watercolor paper you will see that there are papers that have "deckled edges". These edges are created when the paper is made in mould.

When the cotton fibres attach to the mould, they don't line up all even. Like everything in nature, this irregular edge is better and far more beautiful. When the brand new paper is removed from the much longer moulds that are used today, they have two natural deckled edges and then the other two are torn. The sheets are measured out and torn apart to leave the other two deckled edges.

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Sizing or Gelatine:

Soft Pressed:

All watercolor paper is sized. That means that the fibres that make the paper are treated with a gelatine to make them less absorbent. If they were not, it would be like trying to paint on a cloth napkin. Gelatine for many years was made from animal products, more recently they are made from synthetic ingredients. Some papers have the sizing mixed right in to the mixture with the fibre, this is called gelatine permeated. This means every single fibre is treated evenly. Other art papers have the sizing painted on after the sheets are manufactured. This means that the surface is sized, but the fibres in the middle are not. So, careful when you scrub on sheets that are made with this technique.

The term soft pressed is yet another term that describes the surface of watercolour paper.

However, this term you will see much less often since this surface is only available in watercolour paper in the Fabriano Aritstico line. The texture of soft pressed paper is in between cold pressed and hot pressed art paper.

Cold Pressed: The term cold pressed refers to the surface of the watercolor paper that you are looking at. Cold pressed paper is the most common and the most popular among watercolor artists. Cold pressed watercolour paper has a texture that is right in the middle between smooth and rough. Cold pressed watercolour paper gets its name from a finishing process employed by the paper makers. After the moulds of paper are created, they are then milled through a set of cylinders to get the cotton fibre to lay down. These cylinders are cold, therefore the name cold pressed.

Hot Pressed: The term hot pressed is another term that describes the surface of watercolour paper. Hot pressed watercolour paper is also milled through a set of cylinders to smooth the cotton fibres down.

In the case of hot pressed watercolour paper, these cylinders are heated. This causes the fibres to lay down in a much smoother arrangement. It is just like ironing your cotton shirt with a hot iron.

Hot pressed watercolour paper is the smoothest texture available and preferred by artists who use lots of detail in their artwork.

Rough: This is the last of the terms regarding watercolour paper surfaces. Rough watercolour papers are those that are not treated at all. These papers have a rough surface because they are pulled directly from the mould and are not run through cylinders at all. This surface has the highest tooth of any watercolour paper.

Paper Weights: You will often see numeric values that describe the various watercolour papers are on offer. The higher the number you see, the heavier the paper.

But, we bet you didn't know how that number is arrived at. Actually, they make a pile of 500 sheets of the standard size paper and then they weigh the stack. The numbers correspond to the weight of the various stacks: 1400lb paper is heavier than 90lb and so on. The most important factor that you need to understand about watercolour papers is that papers made from cotton rag are just like your favourite cotton shirt. When they get wet, the paper will wrinkle up. So, when you paint with 140lb paper it will wrinkle up if you don't stretch your paper first. However, 300lb paper is thick enough to resist the wrinkling of the cotton fibre; this weight paper does not require stretching prior to painting.

Much of the above article is taken from www.cheapjoes.com Paper is measured either in pounds per ream (lb) or grams per square metre (gsm). The standard weights are : 90 lb (190gsm): 140 lb (300gsm): 260 lb (356 gsm): 300 lb (638 gsm) 24

The Italian Artshop (who gives WCWG members 10% discount) has started to import Cartiere Magnani paper from Italy. Several qualities of paper are produced and fuller information is available from Kathy Wivell or Di White. Below is given details of their most popular papers for watercolour techniques.

Six Hundred Years of Italian Fine Art Paper

Le Carte mill in Pescia

ANIGONI: An excellent choice for watercolour, acrylic, charcoal, pencil and pastels ANNIGONI ANNIGONI ANNIGONI

cm. 70x100 cm. 50x70 cm. 35x50

250 gsm 250 gsm 250 gsm

R 78.00 R 40.00 R 21.00

It is a 250gsm, mould made paper composed of 100% cotton with the addition of wool fibre and colorants and is acid free. Each sheet is watermarked and has four deckled. It is ideally suited for watercolour techniques,

acrylics, charcoal, pastel and pencil.

ACQUERELLO: Designed for watercolours, but this is an all-round paper suitable for almost all media such as pastels, print making, ink, charcoal, pencil, acrylic ACQUERELLO ACQUERELLO ACQUERELLO ACQUERELLO ACQUERELLO ACQUERELLO ACQUERELLO ACQUERELLO ACQUERELLO

cm. 70x100 cm. 56 x 76 cm. 50 x 70 cm. 70x100 cm. 56 x 76 cm. 50 x 70 cm 70 x 100 cm 56 x 76 cm 50 x 70

550 gsm 550 gsm 550 gsm 400 gsm 400 gsm 400 gsm 300 gsm 300 gsm 300 gsm

R 190.00 R 115.00 R 95.00 R 145.00 R 85.00 R 70.00 R 104.00 R 68.00 R 56.00

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Blocks of 20 sheets: ACQUERELLO ACQUERELLO ACQUERELLO ACQUERELLO

18 x 26 cm 23 x 31 cm 31 x 41 cm 36 x 51 cm

300 gsm 300 gsm 300 gsm 300 gsm

R 220.00 R 280.00 R 430.00 R 550.00

Acquerello is an incredible sheet which features one of the strongest surfaces ever created for painting with watercolours. Unlike many sheets today, this one is free from optical brighteners, is neutral pH, acid-free and chlorine-free for maximum archival quality. Its surface is a bit finer than traditional cold pressed and the hot press is a true hot press.

Colours pop off the surface and are easily lifted and reworked as needed. Made entirely of 100% cotton on slow rotating mould machines using marking felts of an exclusive Magnani design. The off white colour compliments and dignifies virtually all art giving it a very rich look.

Use for all wet media including watercolour, gouache, acrylics and pen and ink. Use in mixed media applications by combining washes with pencil, pastel, charcoal and crayon. We guarantee you won't be disappointed.

3 different textures: smooth hot pressed, fine grain cold pressed, and rough grain cold pressed PORTOFINO: really smooth hot pressed for the finest botanical work as well as drawing techniques

Portofino is the hot-press companion to Italia, Acquerello's fine cold-press papers. It delivers a beautiful, silky smooth surface that gives traditional wet techniques a new look.

TOSCANA: rough grain cold pressed

This is a wonderful cold pressed paper with an unusual grain. Due to its rough grain, it is a very popular paper for pastels and drawing techniques, even though its primary design is for water media.

ITALIA: fine grain cold pressed Acquerello Italia is the Cold Pressed surface, and is more than simply a watercolour paper. It’s unique texture also makes it an excellent choice for all drawing applications.

Acquarello is heavily sized to give it the perfect surface for watercolour. The sizing helps to hold up the heaviest wash.

Great for gouache or acrylic, it can be used either primed or unprimed for oils. The extra sizing renders the surface really tough for more aggressive drawing techniques.

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Today, Magnani paper mills maintain their worldwide prestige for the production of fine art papers, made entirely by hand, for lovers of luxury and refinement. ‘

AMAZING NEW RANGE OF PAPER HAS ARRIVED FROM ITALY When a paper mill dates back to the 15th Century and whose customers have included Napoleon Bonaparte and Giorgio de Chirico, you might get a little curious as to why their paper is so special. Born on the banks of the Pescia River of Italy, the Magnani Mill still produces a limited number of handmade papers at its ancient mill known as "Le Carte". So the next time you happen to be looking for a drawing or printmaking paper, consider those produced by a mill with a few centuries of experience under its belt…..

Here’s what a well know watercolour teacher had to say:

“I’m really impressed by the watercolour papers. I would say that this paper is the best I’ve seen for watercolour painting” ***************

Mail order our specialty- R25.00 postage irrespective of size of order.

We have stunning 300g watercolour paper, both hot and cold pressed available in glued pads as well as loose sheets.

EXCELLENT QUALITY, AMAZING PRICES! TO SIGN UP TO OUR NEWSLETTER, SEND US AN EMAIL:

info@italianartshop.co.za Subject ‘Subscribe’

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The Benefits of WCWG Membership For only R120 per annum you can join the Western Cape Watercolour Group (which caters for artists of all media). The benefits of membership are many and include:  Ability to enter our regular art exhibitions  Reduced admission fee to our monthly meetings  Discount of 10% at Deckle Edge and The Italian Artshop and discount at Rialto Framers  Ability to attend workshops we organize with well-known artists e.g. Derric van Rensburg and Di Ackerman.

Our membership currently stands at just short of 100 and we welcome new members. They can contact us through Di White on 021 851 2520 or by email to diane@pennylanelodge.co.za. Or just bring your friends to one of our meetings. ******** We hope you have enjoyed this magazine and your comments would be welcome to the Editor, Kathy Wivell on Kathy@trainexp.co.za.

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