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Editor’s
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4
4 4 i aHow
A u sut rsat lr iaal n to to
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4A uA i aHow
Asut rsat lr iaal n to to
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Paint
Australian How to Paint 5
Contents
Issue No.11 2014 30

16
ARTIST INSIGHTS AND
DEMONSTRATIONS
8 Kelli Mac
P R O D U C T F E A T U R
16 Geoff Hale

30 Marcia Mayberry

46 Aaron Gan
Back to Scho
58 Sydney Roland Nelmes and Univers
64 Mellissa Read-Devine
Early in the New Year, many student artists, keen amate
artists will be planning to replenish their art supplies and
FEATURES
busy months ahead. A selection of your favourite art ma
ready with useful products to assist with the enhancem
26 First Marks for Beginners
education in 2014.
- Jenny Greentree
ARE YOU LOOKING FOR SOMETHING TO GIV
EDGE? THEN TRY GENESIS HEAT SET PAI
56 Drawing the Australian Landscape
With all the pressures of uni, school or can choose to keep working long into

72 Nature Study - Gail Por days

TAFE, it can sometimes be very hard the night and not have to wait hours
Croome
to meet those assignment deadlines. for your paint to dry. Or, if
Genesis Heat Set Oil Paints could just you can only grab a few minutes here
be your saviour. With these paints you and there, you can just pick up your

38
36 Artist’s Palette

36-42 AP131 Feature_BacktoSchool.indd 36

 56

PRODUCT GUIDE
38 Super Buyers Guide

REGULARS
ool 4 Editor’s Letter

sity
78 Books and Dvds Store
82Contributed
Next Issue

eurs and established

d learning tools for the
aterials suppliers are
ment of yourCover image by: Geoff Hale
creative
64

VE YOU AN
INTS.
46 8
palette and brushes and get to work,
then down tools and run to catch that
bus. No need to mix up a fresh batch
of paint every time you want to paint.
Mixed up the wrong colour? No
worries, just put it in a glass jar and it
will keep indefinitely, just waiting to
be used in another painting. Scrape off
your used palette and store the paint
for another project. With these paints
you have minimal waste - an important
feature for those on a budget. With
excellent coverage capability they
are economical to use. Another
bonus is they never dry (at least until
heat is applied), so you won’t end
up with lots of dried out tubes.
Genesis Heat-Set Oil Paints are a
unique paint which offers a non toxic,
odour free and non allergenic product
as well as an unparalleled level of
control when it comes to drying time.
Genesis Heat-Set Oil Paint gives you
the two ‘bests’ in an artist’s medium,
allowing you to work the way you
choose to. With traditional oils the
length of drying time means we can
lose our momentum in getting our
ideas and thoughts onto the canvas.

14/01/14 10:25 AM
 I N S I G H T

Kelli Mac

Essence of
the Territory Edited by Trevor Lang

This talented Darwin-based artist has combined her love of our natural
environment with her passion for colour and light to create works that capture
the very essence of the Territory lifestyle.

850A uArtist’s i a n How

s t r a lPalette to Paint
 I N S I G H T

K
elli Mac was born in country heavily on art during the past few and appreciation for the natural
Victoria and later lived in years. Mainly self-taught, Kelli bushland. From a young age, Kelli
various parts of Australia has also built her skills through began drawing the forest trees and
including Perth and Alice Springs participation in regular workshops and landscapes surrounding her country
before finally moving to settle in contact with other creative people. home. A love of horses as a young
Darwin in the Northern Territory. Being raised in the Victorian girl gave her another favourite
In Darwin, this lady has found a diary farm belt close to the Murray subject.
strong and renewed passion for her River and surrounding forests, Although she regularly sketched
painting that has led to her focusing Kelli developed a long-term respect her surroundings when she was

How Palette
A u s t r a l i a nArtist’s 519
to Paint
 I N S I G H T

quite young, her career as a professional building

designer provided the greatest outlet for her creativity.
Her experience in architectural design heightened
her awareness of space and negative shapes and the
compositional dynamic they create.
It wasn’t until Kelli Mac was encouraged to join an arts
group in Alice Springs in the late 1980s that she developed
a real passion for painting. Since that time, Kelli has made
provision in her daily schedule to practice and develop her
skills as an artist.
Another turning point came after receiving a digital
camera for a birthday present some years ago …
providing a whole new world of painting opportunities.
Being too self-conscious to sketch in public, Kelli
had not considered figurative works; but armed now
with her trusty new camera she has begun to haunt the
weekend markets which are such a strong feature of the
Darwin lifestyle.
Bright morning sunlight on the bright market umbrellas;
throngs of locals and tourists strolling among the many
colourful stalls; these subjects were just begging to be
painted. Kelli now combines her training in design with
an unerring sense of the aesthetic to produce her striking
figurative paintings. While they are essentially studies in
composition and colour, her images convey a feeling of
the warmth and energy that is intrinsic to the Northern
Territory lifestyle.

52
10 AArtist’s
ustra l i a n How to Paint
Palette
 I N S I G H T

This lady’s interpretive landscape of the Northern Territory; they also She prefers to work with acrylics
paintings reflect and focus on the recreate the ambience and the ‘feel’ of because the quick drying time suits the
diversity of Nature and the importance being there. spontaneous style and free brush strokes
of the relationship we have with our Highly concerned with mood which have become her trademark.
natural environment. She is also asking and atmosphere, Kelli intentionally A strong interest in her latest works
the viewer to acknowledge Nature and exaggerates tone and colour to create has provided the catalyst for this
accept what it has to offer in the way a strong visual impact in both her emerging artist to pursue a career in
of healing and beauty. Her paintings figurative and landscape works. She arts. Since resigning from her position
offer the solace and respite found in likes to push the colour boundary as an office manager, Kelli has accepted
the original locations that provide – creating vibrant, confident and a position to teach specialist art classes
the inspiration for her works. These eye-catching works that are charged whilst working on a new series for her
paintings not only encapsulate the with positive energy and exuberant upcoming solo shows in the Northern
essential elements, colours and features brilliance. Territory and Queensland. 

A u s t r a l i a n How
Artist’stoPalette
Paint 53
11
 D E M O N S T R A T I O N

Acrylics

Fallen By Kelli Mac

This Northern Territory artist likes to push the colour boundary … creating
vibrant, confident and eye-catching works that are charged with positive
energy and exuberant brilliance.

FINAL STEP

54
12 Artist’s a l i a n How to Paint
A u s t rPalette
 D E M O N S T R A T I O N

M AT E R I A L S

• Selected stretched canvas panel.

• Artists’ acrylics: Phthalo Blue; Cobalt
Turquoise; Brilliant Violet; Permanent
Alizarin; Vermillion; Yellow Ochre;
Cadmium Yellow Light; Phthalo Green;
Permanent Green Light; Titanium White.
• Clear painting medium.
• Assorted brushes.
• Palette knives.
• Cardboard strips.

STEP ONE
Start with a strong all-over background STEP ONE
colour of Phthalo Blue mixed with a touch
of Phthalo Green to create a vibrant summer
feel to the entire painting. Prepare your
composition using reference photographs,
taking care to ensure that the fallen tree
trunk perspective takes the viewer’s eye
across the water and into the far bank.
Using a warm mix of Phthalo Blue and
Permanent Alizarin, roughly brush in the far bank
and background foliage. A small house paint
brush purchased at your local hardware shop
is ideal for this early background work. Next,
using a slightly cooler mix thinned with clear
painting medium, draw in the fallen tree and
the reflected shadows. Then with a cool mix of
Phthalo Blue and Cadmium Yellow Light (again
thinned with painting medium), brush some of
the reflected foliage onto the water colour.
STEP TWO
STEP TWO
The far bank is to be bathed in sunlight with
the balance of the painting in soft shadow,
creating an image of an early morning
scene before the heat of the day sets in.
Commence blocking in the background
trees, working from the back and building
depth by painting the closer foliage over
the background trees. The colours should
be warm and the brush strokes loose; the
shadows should be complementary to
create vibrancy and strong contrast.
Use strips of cardboard and/or palette knives
to create the spikey Pandanas leaves and to help
build strong highlights. Keep building the layers
and don’t be afraid to use plenty of colour;
lastly start adding some of the warm colour
reflections into the water closest to the bank, STEP
STEPTHREE
THREE
and work in the highlights to the fallen tree.

A u s t r a l i a n How to Palette
Artist’s Paint 55
13
 D E M O N S T R A T I O N

STEP THREE
Now, using a large flat brush and
cool greens made from Phthalo Blue,
Cadmium Yellow Light, Yellow Ochre
and Titanium White, begin work on the
closer foliage that overhangs the water.
Study how the sunlight changes the
subject and highlights the texture. Some
of the foliage is lush and rounded while
some can be rough and spiky – creating
a random pattern. Again, use strong
colours. The leaves in shadow can be
a strong mix of Phthalo Blue while the
dead leaves and glimpses of the ground
can be painted from the other side of the
colour wheel in warm orange/red colours.
The highlights can be pure
white in the lightest areas; then
picking up a little of the local
DETAIL colour where the light thins.
Once you are reasonably happy
with the main foliage, mirror image
MASTER HINTS AND TIPS the overhanging branches onto the
water; then brush in the background
• Working from photographs is • Working from photographs is tree trunks from the far bank.
great – but spend time with your great – but spend time with your The water on the top right of the
subject matter. If you are doing subject matter. If you are doing painting is in full sunlight – so a wash
a landscape, go bush as often as a landscape, go bush as often as of very light Phthalo Blue and white is
you can and study the random you can and study the random brushed in, and some more definition
wonder of Nature. If painting wonder of Nature. If painting is created on the main tree trunk.
figurative works, join a life figurative works, join a life
drawing class to build your skills drawing class to build your skills
in body proportions and texture. in body proportions and texture. STEP FOUR
• When working with acrylics • When working with acrylics To add some sparkle and energy
(especially in hot and humid (especially in hot and humid into the painting, start adding great
conditions like Darwin), use conditions like Darwin), use dollops of colour into the cooler
only quality paints. The Atelier only quality paints. The Atelier water colour and the shadows of
Interactive range is great. Interactive range is great. the bank. Aqua and a cool green
Keep a spray bottle handy and Keep a spray bottle handy and are placed into the water, creating a
mist your work as you go. mist your work as you go. dappled effect. Don’t overmix the
• Don’t overmix your colours. • Don’t overmix your colours. colours here but allow them to sit
Place complimentary colours Place complimentary colours beside each other on the canvas.
beside each other on your palette beside each other on your palette Specks of light and suggestions of
and load both colours onto your and load both colours onto your movement in the water help to build
brush. I use colours straight from brush. I use colours straight from an illusion of shimmery liquid. To
the tube and rely heavily on the the tube and rely heavily on the build colour unity into the work, brush
colour wheel theory to create colour wheel theory to create in some of the aqua onto the nearest
energy and impact in my work. energy and impact in my work. leaves of the overhanging Pandanas.
• Try not to get too finicky. Work • Try not to get too finicky. Work Once again, dollops of colour are
on bigger surfaces and you will on bigger surfaces and you will dotted into the brightly lit areas to
be able to loosen your style be able to loosen your style provide an illusion of dancing sunlight.
and become more spontaneous and become more spontaneous Let the painting dry off completely,
TEP FIVE with your brush strokes. with your brush strokes. then add glazes of Phthalo Blue,

56
14 Artist’s a l i a n How to Paint
A u s t rPalette
 DD EE M
M O
O NN SS TT RR AA TT II O
O NN

Phthalo
PhthaloGreen
Greenandandsome
some
Warm
WarmYellow
Yellow(thinned
(thinnedtoto
approximately
approximately1:50)
1:50)totoadd
addjust
just
aahint
hintof
ofcolour
colourwith
witheach
eachglaze.
glaze.
This
Thiswill
willadd
adddepth
depthtotothe
thewater
water
and
anddefine
definethe
theshadowed
shadowedareas.
areas.
Keep
Keepbuilding
buildingthetheglazes
glazesuntil
until
you
youare
aresatisfied
satisfiedwith
withthe
theresult.
result.

FINAL
FINAL STEP
STEP
After
Aftersome
somecontemplation,
contemplation,
some
somepatches
patchesof ofsunlight
sunlightcan
can
be
beadded
addedtotothethewater
wateratatthe
the
front
frontleft
leftof
ofthe
thepainting
paintingtoto
encourage
encouragethe theviewer’s
viewer’seye
eyeinto
into
the
thepainting.
painting.Soft
Softhorizontal
horizontal
brush
brushstrokes
strokesareareadded
added
around
aroundwhere
wherethethewater
watermeets
meets
the
thetree
treetrunk
trunk––suggesting
suggestingaa
slight
slightcurrent
currentininthe
thewater.
water.
Sign
Signyour
yourwork
workandandfinish
finish
off
offwith
withtwotwoor orthree
threecoats
coats
of
ofgloss
glossvarnish.
varnish. � � STEP
STEP FOUR
FOUR

A u s t r a l i a n How toPalette
Artist’s
Artist’s Paint
Palette 57
57
15
 I N S I G H T

Geoff Hale

My Driving Force
“Every child is an artist. The problem is how to remain
an artist once he grows up.” ~ Pablo Picasso

I
always knew deep down that I
wanted to be an artist. Even as a
young boy growing up in Brisbane
I would draw as often as I could -
filling my sketch pad with depictions
of family holidays, cartoon characters,
people and wildlife. I remember
sketching pictures for friends back in
primary school and participating in
several local drawing competitions,
resulting in a few small prizes along
the way. In secondary school, I became
even more passionate about art, but
the perfectionist in me also enjoyed
the detail and preciseness of technical
drawing. My interest in these two
subjects led me to study interior design
at a tertiary level. By the end of the
3-year course I had lost much of my
original enthusiasm for interior design
as a career choice but I became very
interested in a painting subject that I
elected to do in my final semester. This
was my first introduction to gouache,
a medium suited to architectural
illustration.
I worked for about six months
with an interior design company
after graduating from university but
continued experimenting with gouache
in my spare time at home, producing
a collection of detailed artworks. It
was these artworks that facilitated
my next role change. My portfolio
Paros Alley of illustrations enabled me to secure
a position as an architectural artist, a

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16 AArtist’s
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role which involved painting detailed

perspectives of buildings by hand
using gouache. Due to using this same
medium every day at work, I decided
to try something different at home
to maintain my artistic enthusiasm.
I bought a box of soft pastels and
the very first pastel artwork I ever
attempted was a portrait of my parents
- a surprise Christmas gift that they
still have hanging proudly on their
wall at home despite my work having
improved since then! I particularly
enjoyed this new medium and began
spending many hours in the studio
producing a variety of works and
improving my skills.
Initially, art was simply a leisurely
pursuit and a way of brightening up
my own walls at home. As I produced
more pastel works I started to frame
some of them to prevent them from
becoming damaged. One day I was
taken by surprise when a framer
offered to buy an artwork from me
Sunset From Currumbin Rock
on the spot. A few months later the
same framing gallery hosted my
first solo exhibition in the Brisbane
CBD which turned out to be quite a
success. That was over 13 years ago
now. Since then I have had six solo
exhibitions of my work, numerous
group shows and completed more than
150 commissions.
Some of the exhibitions I have
entered in recent years have
incorporated The d’Arcy Doyle Art
Awards, Kenilworth Arts Festival,
Live Life Villages Art Prize, Royal
Queensland Show, Tattersall’s Club
Brisbane Landmarks Exhibition,
Pine Rivers Annual Art Awards, and
a variety of school shows including
Nudgee College, Terrace and Brisbane
Grammar School. I was honoured
to win 1st prize in the d’Arcy Doyle
Art Award for Landscape in 2011,
and to be awarded Overall Winner
and People’s Choice at the Live Life
Villages Art Prize in 2010. Two of
my original pastel works have also
been recently acquired by the Gold
Coast University Hospital for its art Sandgate Pylons
collection.

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Ellery Creek Big Hole
18 A u s t r a l i a n How to Paint
 Sunday Afternoon Moorings

Despite my passion for art, I still though, so it’s not all bad - just a case impatient when I’m motivated about a
continue to work as an architectural of finding the right balance between painting, so pastels are often an ideal
illustrator. Due to the advance of the two professions. medium for me. Using a combination
technology over the years this type Having experimented with a wide of underpainting, a thick application of
of work is now produced entirely range of media over the years I have colours, and a high level of detail, my
on computers rather than painted by found pastels to be my preference, pastel artworks are often mistaken for
hand. I currently run my own digital although I still look forward to oil paintings or even photos.
3D visualisation business, balancing producing more oil paintings when As a realist artist, I always work
this job with my fine art practice. I I find the time to experiment further to create highly detailed images, but
consider myself fortunate that I do with this medium. I particularly like I am also particularly interested in
not have to rely entirely on my art to the versatility and immediacy of creating works that play with depth
pay the bills, however it can often be pastels. Being a dry medium, it means and perspective. Some of my more
frustrating when things get so busy I can work on an artwork at anytime contemporary works have involved
with my other job that my time in the without delay – there’s no need to playing with unusual angles and
studio is restricted. I really do enjoy wait for layers of paint to dry before altered imagery, distorting the rules
the architectural illustration work advancing further. I can be quite of conventional composition. Much

Nikki and Spooge Ocean Side

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 I N S I G H T

of my inspiration is drawn from the beauty

and contrasts of the natural environment.
Water has always been a favourite subject
of mine to paint. I enjoy the challenge of
representing the movement and translucency
of water in a still image and I find the
subject itself quite tranquil and relaxing.
I am lucky to have lived in Brisbane
most of my life and be equidistant to two
beautiful coastal areas - the Gold Coast
and Sunshine Coast. I often visit these
beaches for artistic inspiration. With the
ever-changing tides and light there is
always a new scene to capture each time
I visit. The beach has special meaning to
me because it evokes happy memories of
my childhood. I love breathing in the fresh
sea air and listening to the rhythmic sounds
of the ocean - the perfect environment for
relaxing the body and clearing the mind. I
have always loved the idea of being able to
live right on the beach, but until that day
arrives I get to experience the sand and
water through the artworks hanging on my
walls at home.
Creative inspiration and enthusiasm
seem to come in waves for me – some
days I simply don’t feel creative and other
days I’m so motivated that time seems
to fly by when I’m in the studio. I have
recently returned from a trip to Italy and
France where I gained much inspiration
for new works. Travelling to distant places
is certainly a great way to rekindle the
enthusiasm for painting. I also love listening
to music when I’m in the studio- the style
of music varies depending on the subject
matter and my mood at the time. I often
listen to lounge/chill-out music or relaxing
soundtracks of nature - in particular, sounds
of the ocean whilst I am working on coastal
paintings. It’s a great way to heighten the
senses and immerse oneself in the artwork.
Other times, it can be more modern music
or a collection of amusing podcasts.
Regardless of the selection, music is a must
when I am in the studio.
My passion for art is something that has
always been inside me- it’s a driving force
that I just can’t shake. I’ve worked in jobs
before where all I did was look up at the
clock every five minutes, willing the day
to be over.. that is soul destroying. I would
Beach Path encourage anyone with a passion to follow

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20 AArtist’s
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Jesse Beach Puzzle

their heart and pursue their dreams. such a purpose is well worth it. Mine my passion and make a living from it
It’s certainly not meant to be an easy is an on-going journey. There is always at the same time.
journey - mistakes will be made and still much to learn … exploring new
your confidence will be tested many techniques and mediums, and travelling Web: www.geoffhale.com.au
times - but the sense of satisfaction and to new places for inspiration. I consider Facebook: www.facebook.com/
euphoria one receives from realising myself very lucky to be able to pursue geoff.hale.fine.art n

Ghost Gum and Devils

Cedar Creek, Eatons Crossing Marbles, Early Morning Light Frenchman's Beach, North Stradbroke Island

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

Pastels

Tree of Solitude
By Geoff Hale

A great deal of thought and skill has created

this magnificent work of art.

STEP ONE
The first stage is to plan the format
and composition of my artwork.
In this case I have chosen a square
format - a square is a solid shape
with a natural sense of balance and it
seems appropriate for this particular
subject. I have placed the tree slightly
higher on the page because it will
be counterbalanced by the strong
reflection in the water and would
otherwise appear too ‘bottom-heavy’.
I have also ensured that the horizon
line is positioned a bit off centre as this
would appear to cut the artwork in half.

M AT E R I A L S

• Canson board (Canson paper

mounted on acid free board)
• Art Spectrum Colourfix Primer
• Art Spectrum Gouache
• Art Spectrum Soft Pastels
(occasionally some Windsor
Newton, Rembrandt)
• Art Spectrum Extra Soft
Pastels for highlights
• Conté sticks and Faber
Castell/Conté/Derwent pastel
FINAL STEP pencils for fine detail

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22 Artist’s a l i a n How to Paint
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A simple sketched outline of

the subject will do at this stage.
Although the intended final result
is a detailed representation of the
subject matter, there is no point
getting too carried away with detail
in this first stage because all parts
of the board will be completely
covered as each stage progresses.

STEP TWO
Here I block in the major areas using
Art Spectrum Colourfix Primer applied
with a large brush. The acrylic primer
is quick drying and provides extra
tooth for holding the pastel. I generally
cover the entire working surface with
primer, tinting various sections using
a small amount of gouache mixed
with the primer (and thinned down
a little bit with water for a smoother STEP ONE
finish). I leave the majority of the tree
untouched as I will come back to this
later. When applying the primer I am
not too concerned with detail, nor am
I wasting too much time matching
colours exactly - the main purpose is
to block in tonal values and get a better
feel for the contrasting elements in the
image before starting with the pastels.
This makes it easier in the following
stages to determine if certain areas
need to be lightened or darkened. It
makes sense to match the bulk of these
larger areas reasonably close to the
desired colour, however these sections
will again be completely covered with
pastel in the following stages anyway.

STEP THREE
It’s time to bring out the pastels. The
general rule I follow for most artworks,
particularly pastels, is to work from the
background to the foreground and from
top to bottom. Pastel dust falls down
the board and can affect areas below
so I try to finalise the upper sections
first before spending too much time STEP TWO
on the rest, otherwise it may need to

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

be reworked. So I begin by working

up the sky/clouds by blending various
shades of blue (Phthalo, Cerulean,
Tasman, Ultramarine), grey and white.
The background hills are added in
using a combination of soft greens,
ultramarine blues and greys, and then
the intermediate hills are portrayed
using stronger, darker colours and
more detail which helps to emphasise
a sense of distance in the scene.

STEP FOUR
Now that the sky is finished I can
continue blocking in the remainder of
the tree using pastel primer - this time
without thinning down with water.
The thicker coat of primer gives even
more tooth, leaving a rougher surface
which I can use to my advantage
later when expressing detail on the
STEP THREE truck and branches. Bulkier parts of
the foliage are blocked in with tinted
primer using a dry brush. Again,
these elements will be completely
covered with pastel, but the rougher
surface will now enable the pastel to
be applied more easily and reduces
the chance of being contaminated
by the light colours of the sky.

STEP FIVE
I now begin to add lots of detail to
the tree using soft pastels. For the
finer twigs I use Conté sticks and/
or pastel pencils (Faber Castell
and Conté). The square profile of
the Conté sticks makes them more
suitable for handling some of this
finer work, which is very difficult to
achieve using soft pastels. It’s back
to the soft pastels for the foliage - I
work up the darker colours first and
apply the highlights on top. Now that
the majority of the top section above
the horizon line is completed I can
start working on the lower section.
I apply pastel to the entire area of
STEP FOUR water at this point, now starting to
depict some of the lighter reflections

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24 Artist’s a l i a n How to Paint
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and ripples in the foreground. I am

after a smooth, silky appearance here,
particularly with the water in the
foreground, so there is some blending
involved using the tips of my fingers.

STEP SIX
In this next step, the water is
enhanced further with highlights and
stronger, more defined, reflections.
The dark reflections on the right help
to emphasise the ripples in the water
and add some weight to that lighter
section of the composition. We are
beginning to get more of a feel of
movement in the water at this point.
Now that the upper (more distant)
section of water has been completed,
the rest of the tree trunk is added in.

FINAL STEP STEP FIVE

In this final step, more detail is added
to the trunk. The thicker coating of
primer applied earlier helps out here
by providing a nice toothy surface
with which to apply further layers
of pastel. Adding finer detail to the
surface of the trunk helps to contrast
this coarse element against the smooth
surface of the water which in turn
brings this foreground element even
further forward. The dark reflection of
the tree in the water is then carefully
added. It is my intention to illustrate a
clean sharp contrast between the dark
and light reflections on the surface
of the water so I do my best not to
contaminate the pale blues with the
darker browns and blacks. A few more
highlights and finer details are added
to the trunk, branches and water.
I find it’s always useful to review
your work some time later so you can
look at it with a fresh perspective.
I almost always come back to a
newly completed artwork a few
days later and add some last minute
finer touches, as I did with this
one. The artwork is now complete STEP SIX
and it’s time to sign the work. 

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 D R A W I N G I N S P I R A T I O N

First Marks for Beginners

Contributed by Jenny Greentree

As you thoughtfully observe trees, you will draw them better. Observe their basic
structures, lines and shapes; their bark and leaves; their direction and the way
that light affects them.

D
rawing is often lots of fun and afraid to make the first marks because opportunity for enjoyment and
a wonderful and satisfying they are already convinced that they success with drawing. The technique
experience for many people. can’t draw, or they fear failure, or is not for beginners alone, as artists
However, over my years as an art they just don’t know where to start. of different experience levels
teacher, I’ve encountered many who In this article, I want to encourage and abilities have also expressed
long ‘to be able to draw’ and are quite such people and give them the gratitude for these ideas.

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26 Artist’s a l i a n How to Paint
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 D R A W I N G I N S P I R A T I O N

STEP 2

M AT E R I A L S

• Paper.
• Drawing pencil (6B, 7B, 8B
or 9B) or charcoal pencil.
• Kneadable eraser.

As a landscape pastel artist,

my ability to draw trees is
essential – therefore I have
chosen trees as my subject.
It is vital to familiarise yourself with
the different kinds of trees and draw
them in your landscapes appropriately.
I live at Bourke in Outback New
South Wales – our native trees are
mainly Gidgee, Coolibah, Mulga and
a selection of different Eucalypts
(Box and Ironbark). Because of our
dry and harsh environment, our trees Practice twigs
usually have thin trunks; and their
leaves are thin and spindly. However,
our Darling River is lined by mighty STEP 3B
River Red Gums with thick trunks,
strong branches and long lush leaves.

STEP ONE
Observe a tree and imagine it
without leaves. The structure that
is left (trunk, branches and twigs)
comprises only lines – some straight,
some curved or zig-zaggy or thick
or thin, or very fine – but only lines;
and everybody can draw lines.
Note that the lines are thick at the
bottom and gradually become thinner
at the top. Also note that there are no
two trees the same anywhere; therefore
there is no ‘right’ tree – they are all
different. The more unusual ones are
the most interesting in works of art.
If you can draw lines, you can’t
make a mistake with a tree (unless
you put thicker lines above thinner
lines … because that’s not how
trees grow). So, let’s have a go!

A u s t r a l i a n How to Paint 27
 D R A W I N G I N S P I R A T I O N

STEP 4 STEP TWO

For the trunk and main branches, begin at the bottom
of your tree and draw three, four or five curvy lines.
Draw living things in the direction that they grow. These
lines will become your trunk and main branches.

STEP THREE
When it comes to drawing twigs, practice making flicks
with your pencil – marks similar to ticks where the end
of a mark is finer than where your flick (or tick) began.
Add these flicks to the top of your tree like thin twigs.

STEP FOUR
Thicken your trunk(s) and main branches.
Add some roots to the tree.

STEP FIVE
To add the other branches, practice some looser
strokes by letting your hand freely draw lines rather
than tightly controlling the direction of your lines.
Draw these lines coming from your main branches.
They will become the other branches for your tree.
Practice branches
STEP SIX
Thicken these ‘other branches’ appropriately
and add more twigs (flicks) at the ends.

Practice leaves

STEP 5 STEP 6

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STEP 7

STEP SEVEN
When it comes to adding light and
shade, decide where light is shining
on your tree and rub back some
of your pencil or charcoal in these
places. Carefully re-draw some marks
to show the texture of the bark.

STEP EIGHT
Use the side (not the point) of your
pencil to sketch bunches of leaves.
Press harder to make dark leaves in
the shade and press lightly to show
where light is shining on others.
Add a few more twigs or thin
branches if needed. Use the side
of your pencil to draw a tree
shadow in the appropriate place.
Indicate a horizon line behind the
tree; and finally a few pieces of
grass around the base so that it is
anchored to the ground. 

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 I N S I G H T

Marcia Mayberry

Early Morning Artist

Being surrounded by natural beauty gives Marcia
endless inspiration for her art.

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F
rom as far back as I can remember that I became very popular for a time, handyman propped up from behind. We
I could always sew and draw. painting weird and wonderful things were extremely proud of our efforts.
Now, I can account for my sewing with sandshoe cleaner mixed with ink That was it! School over, dances and
ability as my Mother was an excellent on my school mates’ letters, until I was friends, years went by, a marriage and
dressmaker as was my Grandmother, so finally reprimanded, so ending my new three lovely children.
I guess some of it had to rub off on me, found fame. Suddenly all of my children were at
but to my knowledge there has never Each year the school would put school and I had time on my hands .....
been anyone who painted or drew, in on a performance at the local town thoughts of art classes crept back and
fact they were all musically inclined. hall and in my last year a friend and very soon I was off to buy art supplies.
When I was at boarding school we I volunteered to paint the backdrops, On the day of my very first lesson
wrote home each weekend and I found which were massive trees, which the tragedy struck our little family and art

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 I N S I G H T

was put aside for many years. From husband Col has taken many lovely keen photographer, also gave me some
time to time I did have a go but with photographs worthy of being painted, interesting landscapes.
not much enthusiasm. so there was lots of material readily One day in early 2010, I suddenly got
Over the years on our travels my available. My granddaughter Emily, a the urge to ring around and found an

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32 Artist’s
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art class operating nearby, so I signed hanging in pride of place in the Visitors me to give her some paintings to put
myself up for a term. These lessons Information Centre. in her window and finally I gave in
were invaluable as I was taught to hold My family is very supportive of my and within two weeks she had sold two
a palette correctly, how to mix paints art interests, and took out a subscription early morning mists, so maybe that’s
and many other invaluable skills. Kurri to Artist’s Palette and I have really the way to go.
Kurri (The Town of Murals), the town in looked forward to each edition as it I like painting early morning scenes,
which I live, has more than 50 wonderful arrives via post. After having read a so I hope your readers enjoy my
murals and I belong to the committee few magazines I decided to enter the demonstration painting. We live on a
and am very proud of everything this Gallery competition in order to win beautiful property which has the most
little country town has achieved in the some good quality paints. Unfortunately wonderful gums and grass trees, a pond
nine years in which we have been active. I didn’t win, but my work was with eight Japanese Coi Carp, one of
Our last achievement in pride of place published and I was thrilled about that. which allows herself to be patted, lots
in Rotary Park is our giant kookaburra, I am impatient to improve all the time of breeding ducks, and a multitude of
made out of old car metal skins, with but I do realise that the only way one birds....... an artist’s dream. To sit on
eyes made out of aircraft landing can improve is to paint, paint, paint! our patio and watch nature in all its
lights.I painted the kookaburra from a My cousin Robyn, who works in the art beauty is something to behold. The best
photograph Col had taken and it is now store where I buy my supplies, urged things in life are free....I know. n

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

Oils

Spectacular Spikes
By Marcia Mayberry

You can almost feel the texture of Marcia Mayberry’s Australian grass trees.

Final step

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 M at e R i a l s

• 50cm x 40cm Mont Marte canvas

• Mont Marte Gesso
• Mont Marte Titanium White
• Mont Marte Sap Green
• Mont Marte Ivory Black
• Monte Marte Yellow Ochre
• Monte Marte Raw Umber
• Winton Alizarin Crimson
• AP Cobalt Blue Hue
• Mont Marte fan brush
• Monte Marte fine brush
• Monte Marte round brush size 12 step One

step One
Having given the canvas one coat
of Gesso the day before, I painted
roughly half the canvas with a light
mixture of Titanium White and Cobalt
Blue mix, added a little Alizaria
Crimson and Titanium mix and finally
added whispy white clouds with
Titanium White, all painted with the
one brush. Next the ground area was
painted with a thin mixture of Raw
Umber, Yellow Ochre and White.

step tWO
With a mixture of Sap Green and
Ivory Black I painted the shadows
and background trees, then kept step tWO
lightening the mixture for the
foreground trees by using more
green, using the no.12 brush. step tHRee

step tHRee
The trunks of the grass trees
(Xanthorrhoeas) were roughly painted
with Raw Umber and a little black
using a small brush, and grasses were
added here and there with the fan brush.

step FOUR
Again with Raw Umber and a little
black, the stems of the grass trees
were painted in with a kind of dabbing

A u s t r a l i a n How to Paint 35
 d e m o n s t r a t i o n

effect to show that they are naturally

rough and uneven; I did this with small
pieces of cardboard. Then, I used my
fine brush to paint the spikes of the
grass trees using Sap Green, Ivory
Black and a little Yellow Ochre.

Final step
I finished off the spikes, adding
a few in Alizarin Crimson, added
more grasses using the fan brush and
generally tidied up the whole painting.
I was fortunate with this painting as
these grass trees are on our property
and I can see the beautiful sunrises
over the bush forever changing and
always beautiful. I was told that an
artist must never use black and yet
an early morning bush sometimes
looks very black to me, so for this
very reason my painting has lots of
step FOUR black in it. I hope you all like it. 

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36 Artist’s a l i a n How to Paint
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AP135_DerekNewton.indd 1 13/05/2014 11:19 pm

 P R O D U C T F E A T U R E

Back to School
Super
andBuyers Guide
University Contributed
Contributed

EarlyIninthis
the issue
New Year, many
we have an student
arrary ofartists, keenA amateurs
art ideas. selection and established
of your
artists will be art
favourite planning to replenish
materials supplierstheir art supplies
are ready and learning
with useful productstools
to for the
busyassist
months ahead.
with A selection ofofyour
the enhancement yourfavourite
creativityart
formaterials suppliers are
2014/2015.
ready with useful products to assist with the enhancement of your creative
education in 2014.

ARE You
YOU LOOKING
LooKinG FOR
foR SOMETHING
SoMEThinG TO
To GIVE
GivE YOU
You AN
An
EDGE? THEN
ThEn TRY GENESIS
GEnESiS HEAT
hEAT SET PAINTS.
pAinTS.

With all the pressures of uni, school or can choose to keep working long into palette and brushes and get to work,
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to meet those assignment deadlines. or days for your paint to dry. Or, if bus. No need to mix up a fresh batch
Genesis Heat Set Oil Paints could just you can only grab a few minutes here of paint every time you want to paint.
be your saviour. With these paints you and there, you can just pick up your Mixed up the wrong colour? No
worries, just put it in a glass jar and it
will keep indefinitely, just waiting to
be used in another painting. Scrape off
your used palette and store the paint
for another project. With these paints
you have minimal waste - an important
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Genesis Heat-Set Oil Paints are a
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Genesis Heat-Set Oil Paint gives you
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choose to. With traditional oils the
length of drying time means we can
lose our momentum in getting our
ideas and thoughts onto the canvas.

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38 Artist’s a l i a n How to Paint
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 P R O D U C T F E A T U R E

Acrylics and watercolours can dry too you can shop online 24 hours a day, 7
quickly. With Genesis, you can apply days a week. Orders can also be made
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blend to your heart’s content! You can 11 65 or 07 5426 4685 or 0437 183
apply layer over layer just as you could 173. Our customers normally receive
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away – no more worrying about ruining Maxine’s Mop Brushes
your masterpiece! Genesis offers A wide range of brushes
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at Australia’s Sole Suppliers’ website Pattern Packs
www.genesisoilpaints.com.au where DVDs and books

A u s t r a l i a n How to Palette
Artist’s Paint 37
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 P R O D U C T F E A T U R E

SUPER
BACKBUYERS GUIDE
TO SCHOOL WITH
WITH S&S
S&S 2014
2014

S&S has a wide variety of items These pencils have a softer texture
on offer for Back to School 2014. and improved performance than the
From colouring, pastel, sketching previous Derwent Pastel pencils.
and graphite pencils to charcoal, The colours are vibrant, intense and
brushes, oils, acrylics, watercolours, blend easily allowing you to create an
gouache, paintstiks, easels, infinite number of hues and tints. All
sketchbooks and paper, students Derwent pencils are now manufactured
will find everything they need to with an environmentally friendly,
make this year an artistic success. water-based, solvent free coating.
A large selection of the Derwent For the sketching artists, there is a
pencil range is on offer for this year’s selection of graphite and sketching
Back to School. S&S is offering pencils, mixed media sets and
Derwent Inktense, Coloursoft, charcoal. The Cretacolor Black Box
Drawing, Artist, Studio, Watercolour, and Artino graphite sets contain a
Pastel, Metallic, Graphitint, Tinted useful selection of black drawing
Charcoal and Sketching pencils materials including charcoal, graphite
along with some specially selected and Nero drawing pencils while the
Collection Sets for students to begin Cretacolor Artino and Primo sketching
their artistic year in style. These sets provide a great selection of sepia,
selections of pencils are available in sanguine, charcoal and chalk pencils
selected wooden boxes and tins. along with accessories such as paper
Derwent pencils are high quality stumps and kneadable erasers.
drawing instruments suitable for The ‘Silver Box’ by Cretacolor
amateur, student and professional is the perfect complement to the
artists. This range of pencils provides Black Box. It contains a selection of
a wide choice of mediums for all quality graphite drawing materials
pencil artists. The rich, luscious including graphite blocks, sticks,
colour of Coloursoft and the bold, pencils, monolith woodless graphite
earthy tones of Derwent Drawing pencils plus accessories presented in
pencils are especially good for a beautiful silver tin. The Cretacolor
capturing landscapes and life “Artist Studio” Drawing 101 set is
drawings while the unique properties ideal for all art students. This excellent
of Graphitint and Tinted Charcoal value, introductory set contains three
offer artists exciting new mediums graphite pencils (HB, 2B, 4B), an extra
to create beautiful pencil drawings. soft oil charcoal pencil, white chalk
Inktense pencils are pure, vibrant pencil, sanguine pencil, sepia pencil,
colour pencils that combine the three charcoal pencils (soft, medium,
intensity of pen and ink with the hard) plus paper blending stump.
versatility of line and wash. Use For something a little different try
dry to create strong, vivid tones the Cretacolor “oil pencil” sketching
then apply a light wash to achieve set. This set contains a selection of oil
a translucent ink-like effect. Once pencils that are perfect for all types
dry, the colour is permanent and of drawing, sketching, landscapes
can be worked over with both and portraiture. This set contains oil
soluble and non-soluble media. pencils in white chalk, sepia (light
Derwent Inktense pencils are and dark), Nero (soft and extra soft)
incredibly versatile and can be plus Sanguine. If you are looking
used to create a diverse range of art for charcoal, the soft black willow
from Japanese Manga and vibrant charcoal from Coates is particularly
silk painting to more traditional well suited to satisfy a whole range
watercolours and stunning botanical of artistic needs. Coates willow rods
illustrations. Now available to are clean and straight – top quality
Australian art students are the newly artist pieces! S&S is also offering
re-formulated Derwent pastel pencils. Daler-Rowney’s willow charcoal

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40 Artist’s a l i a n How to Paint
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 P R O D U C T F E A T U R E

for back-to-school this year. This blended into these pastels to produce boards are probably the best value-for-
premium quality charcoal has a deep exceptionally smooth drawings. money drawing boards of their type
black hue and uniform texture and is For protection of your work, available. Manufactured from high-
available in a range of thicknesses. Nuart workable fixative gives clear impact plastic, the board is supplied
Bruynzeel Pastel pencils are protection to prevent smudging complete with locking straight-edge
available for back-to-school this year. or dusting of your valuable ruler, 1800 protractor and anti-slip
These pastel pencils are regarded drawings. Nuart workable fixative feet. The Richeson lightweight metal-
by many as the best pastel pencils has been specially formulated edge drawing boards feature a smooth
available. Manufactured from the for charcoal, graphite, coloured hardwood laminate surface with core
highest quality pigments, they offer pencil and pastel drawings. of honeycomb matrix, providing the
a high degree of light fastness and To transport your pencils around, user with a warp resistant surface.
maximum purity. With a soft, smooth then look no further than the Derwent S&S is also offering a selection of
and fine texture, they are excellent Pencil Wrap. Made from heavy cotton fineliners and markers to students this
for landscape, portrait, fine and canvas they are available in pocket year. The Cretacolor Artstik is a fine
broad work. They are water-soluble size (holds 12 pencils) or standard line writing pen with a metal encased
and the cedar barrel allows for easy size (holds 30 pencils) and have a nib containing permanent black India
sharpening and prevents splitting. small pouch for accessory items such ink. These pens are available in three
Sakura Cray-Pas Oil Pastels as erasers and sharpeners. They are nib sizes (0.3, 0.5 and 0.7mm) and are
are a serious painting medium small enough to be carried in your ideal for sketching, technical drawing
providing both a pastel and oil pocket, bag, portfolio or backpack. or fine writing. The Sakura Pigma
colour effect. These round oil pastels Ideal for the Artist on the move!! Micron fineliner contains the unique
are smooth, easy to use and the A stable support is necessary when Pigma ink which is permanent, water-
high pigment loading guarantees drawing. To help you achieve this, the proof, colour and light fast. Pigma
extremely intense and vivid colours Bieffe and Richeson drawing boards Micron pens will write on virtually
with excellent lightfast properties. offer a firm support for working alone any porous surface and will not bleed
Superior oils and waxes have been or at an easel. The A3 European Bieffe through paper. They work very well

Artist’s
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on tracing paper. Pigma Micron is many years. Georgian Oil colours offer oil, they can be used in conjunction
available in black in a variety of line artists high quality and performance with conventional oil paint surfaces,
widths from 0.2mm to 0.5mm for both at an economical and uniform price mediums and varnishes, using the
technical and artistic drawings. There across colours in the range. They same methods and techniques.
is also a range of eight colours which are produced to the same exacting For Watercolourists, the Venezia
are great for cartooning, illustration, standards as Daler-Rowney Artists’ “Pocket pan” set contains 12 1.5ml
Manga, scrapbooking and journaling. Oils and are carefully blended and half-pans in a soft rubber-like case
Bruynzeel Markers are perfect for tested to produce the most brilliant with twin folding lids, three mixing
the younger student. This set of 50 colour and match the tint and texture wells and removable plastic palette.
quality felt tip markers contain a from batch to batch. Daler-Rowney Alternatively, you may like to try a 12
high quality ink that will not dry Designers Gouache is characterised x 8ml tube introductory set of Daler-
out in the barrel and will wash out by its free-flowing texture, tinting Rowney Aquafine watercolours.
from most types of fabric. Markers strength and excellent covering A stable platform is essential for
feature a safety cap with ventilation. power. It is a brilliant, opaque, artists’ painting and this year S&S has a
ShinHan “Touch” Twin Markers quality body colour made using selection of top quality easels on offer.
are now available to Australian only the highest quality pigments For outdoor or plein air work, look
consumers. Every aspect of the and calcium carbonate ensuring no further than the Richeson field/
“Touch” Twin marker has been that it retains its pure, bright colour sketching easel. It is lightweight,
designed to out-perform every other across all 87 colours in the range. compact and easy to transport. The
Artist marker available on the market Maimeri Classico oil paints are Daler-Rowney “Artsphere” is a new
today. They are odourless, non-toxic, also on offer for Back-to-School. concept in easel design. It has a small
permanent and contain the highest These highly regarded Italian oil base and large work surface area that
quality ink with very few additives. paints contain the highest quality can be positioned flat or in portrait/
The rich and intense colours are fade- and exceptionally finely ground landscape style. Ideal for artists,
resistant and non-streaking and will pigments blended with the best quality designers, hobbyist and crafters the
not dissolve toner inks allowing them linseed oil. Classico oil paints are Artsphere has a unique ball and
to be used safely on copied drawings the perfect bridge between student socket joint that allows the large
without the use of smudging. ShinHan and professional oil paints. Due to A3 drawing board to move in any
Touch Twin markers are available in the unique manufacturing process of direction. For those whose space is
this Back-to-school period in sets of Classico oil paints, all 74 colours are limited, the “Angelina” aluminium
12, 24, 36 and 48 assorted colours. the one price, so students will not be table top easel is the ideal solution.
If painting is your forte, then check paying expensive prices for cadmium Manufactured from black anodised
out the offers from Daler-Rowney and cobalt based paint colours. For a aluminium the Angelina features
and Maimeri. S&S is offering sets different take on oil painting, try Shiva adjustable ‘wings’ to support or
of Classico oil colours, Georgian Oil Paintstiks. These are professional display large pieces (up to 24 x 36”
Colours and Daler-Rowney Designers grade artists’ oil colours in convenient canvas boards) and a collapsible back
Gouache. Georgian oil colours have stick form. Manufactured from quality leg allowing the angle of the easel to
been the UK’s favourite oil paint for pigments blended with refined linseed be easily adjusted. The entire easel

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42 Artist’s a l i a n How to Paint
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 P R O D U C T F E A T U R E

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 I N S I G H T

Aaron Gan

“Look! Look! That’s

my Daddy’s painting!”
Inspired by his daughter, this accomplished artist
quit his day job to follow his dreams.

Beauty

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 I N S I G H T

Beacon Hope Roots 1

A
s a boy, Aaron Gan dreamt Aaron’s love for landscape painting, he says. With that conviction in mind,
of being a professional particularly nature, grew during his Aaron closed down his business and
artist. While other children university days at the University plunged headlong into the arts.
wanted to grow up to become doctors, of Western Australia. “We were The first few months were extremely
lawyers, firefighters or the president, surrounded by beauty everyday. We tough. He realised that watercolour
deep inside he knew that his calling had a beautiful clock tower, Swan is an extremely unforgiving medium.
was to be an artist. Lake was at our doorstep and peacocks Even after painting every day for
“Ever since I could hold a crossed our paths as we walked to months, his paintings still looked
pencil, I was always drawing. My class,” he says with a smile. unrefined.
mum is still telling stories of how By age 33, he has become an Undeterred, Aaron started reading
my kindergarten teachers always accomplished watercolour artist. voraciously on watercolour techniques.
asked her if she has been doing my People say that your life changes He borrowed more than 100 books and
drawing assignments for me,” once you become a father. That was videos on watercolours from libraries all
says Aaron. true for Aaron. Although he had been over the country. He learnt Western and
High school came and went. While running his own business successfully Eastern techniques from masters of the
Aaron stopped learning art as a for several years, he never gave up on past and the present from books. He read
formal subject when he reached 14, his childhood dream. “I felt that as a broadly, often on watercolour, drawing,
he continued to carry a sketchbook father, I should one day be able to look oil and also Chinese painting to gain
wherever he went and drew whenever at my daughter in the eyes and tell her insights in the essence of great art.
he could. “Art was therapeutic for that life is for living, and that she owes One of his takeaways from the
me,” he says. it to herself to live out her dreams,” experience was the importance of

A u s t r a l i a n How
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 I N S I G H T

understanding the medium. “Do not

fight the medium. Oil, watercolour,
pastel and acrylic all have their
distinctive characteristics, strengths
and weaknesses. If you paint
watercolour like how you paint oil,
you are very likely to end up with a
muddy painting,” he says.
“I believe watercolour’s greatest
Sungei Buloh strength to be in its fluidity,
transparency and freshness. To
achieve this, I minimise glazing or
layering my paintings to strive for a
painting that always looks fresh and
pleasing to the eye.”
Aaron’s favourite artists include
his teachers Cheng Yoke Kion and
Chan Chang How, artists Wu Guang
Zhong, Chen Wen Hsi and Australians
David Taylor, Joseph Zbukvic, Alvaro
Castagnet among many others.
To bring his watercolours to the next
level, Aaron sought advice from senior
artists and galleries. Their criticisms,
while well-intended and accurate, were
often harsh (as any good advice should
be). At that time, he always carried
this quote in his heart: “Don’t be angry
Swing
when someone criticizes your art. If
they’re wrong, there’s no need to. If
they’re right, you can’t afford to.”
Those early times were bruising for the
ego but good for the soul.
As Aaron heeded their advice and
worked on his shortcomings, his
paintings improved by leaps and
bounds.
During the past year, Aaron has
achieved many personal milestones.
Currently, he is represented by an
established gallery, Utterly Art, and
sales have exceeded his expectations.
In July 2012 he was chosen to
participate in the International
Watercolour Biennial in Belgium
alongside international watercolour
heavyweights such as Nicholas
Simmons of USA. He was also
Beauty 2 featured in a full-page article on the
local newspaper.

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Quiet Contemplation

“My watercolour journey has helped him with grant applications also to explore the limits of the
been rewarding. I had the privilege and even invited him to their plein- watercolour medium.”
of having great watercolour air watercolour sessions. Their His ultimate goal is to leave a
teachers who instilled in me all the generosity was immeasurable. legacy of work that can be viewed
fundamentals required for success.” Aaron says his watercolour journey by the public for many generations
Senior watercolourists readily is going to be a long one: “While I to come. He longs for the day that
shared with him their trade secrets, have achieved much success, often his daughter will one day walk into
including techniques for adapting with the help and kindness of others, the art museum and proudly declare:
to various types of watercolour I will continue to work hard, not “Look! Look! That’s my Daddy’s
paper and paintbrushes. Others only to push my own limits but painting!”

Sungei Buloh House Pengarang

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

Water Colour

Nature’s Beauty
Aaron Gan

Gorgeous autumn hues are used with stunning effect in this evocative painting.

FINAL STEP

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50 Artist’s a l i a n How to Paint
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 STEP ONE
I do a thumbnail sketch of the
composition I have in mind. While
the thumbnail sketch shown is very
loosely done, I have at the back of
my mind a very detailed vision of
how the finished painting will look STEP ONE
like. This is in part because I love
painting nature landscapes and am STEP ONE
quite experienced with the subject.

STEP TWO
I do not tape my watercolour paper. I
simply place it onto my easel at a 70
degree angle. I draw in the horizon line
and the shape of the river. I usually
paint with little or no pencil sketches.
I like to draw and paint directly with
my brushes as I feel that it makes the
painting more dynamic and forceful.

STEP THREE
I paint the sky with a mop brush
using Yellow Ochre and Cobalt
Blue. While it is still wet, I paint
in the distance trees with a mixture STEP TWO
of blues and green to cool the trees
so that fade into the background. STEP TWO

M AT E R I A L S

• Large Watercolour Paper

(rough) 37 x 55cm
• Mop Brush
• No. 3, 8, 10 Sable brush
• Paints: Permanent Yellow,
Permanent Orange, Ultramarine
Blue, Cobalt Blue, Cerulean
Blue, Burnt Sienna, Burnt
Umber, Yellow Ochre,
Light oxide red, Permanent
Red Violet, Vermillion,
Permanent Green, Sap Green,
STEP THREE
Viridian, Phthalo Green

STEP THREEA u s t r a l i a n How to Palette

Artist’s Paint 53
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 D E M O N S T R A T I O N

STEP FOUR
The river was a light wash of
Cobalt and Cerulean blue.
Going from left to right: I
used my no. 3, 8 and 10 sable
brushes and painted in the darks
to define the bushes and trees.
The darks are the previously used
colours but with little water and
sometimes mixed with Burnt
Umber, Viridian and Vermillion.
The shrubs on the right are painted
with a mixture of greens and browns.

FINAL STEP
I painted the upper right tree with
STEP FOUR
Burnt Amber. For this section, I
decided to just paint in the branches
Going from left to right: The bushes the tree so that it will stand out. without adding in an additional
are painted with a mixture of greens The trees on the upper right are layer of leaves as I wanted the
and Permanent Red Violet. The lone painted loosely with a mixture of viewer to be guided by this tree
centre tree is painted with a mixture greens and browns. I intentionally into the centre of the painting.
of greens and Yellow. Permanent painted the bottom right in a light I finished off by painting a
Orange is mixed in when painting wash as I want to paint in shrubs later. few birds in the distance. 

STEP FIVE

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A u s t r a l i a n How to Paint 53
artist 51
 D R A W I N G I N S P I R A T I O N

Drawing the
Australian Landscape
A considered approach to landscape drawing from the recognised expertise
of an accomplished artist and sculptor who loves the Australian bush.

Contributed by Brett ‘Mon’ Garling

T
hroughout my life, I’ve been
impressed by the Australian
landscape. As a child
holidaying on the coast; at my homes
at Lightning Ridge and Narrabri. The
landscape has always evoked a deep
emotional response.
At times the immediate response to
the landscape can be best caught with
the spontaneity of the humble pencil.
When I was young, it was rare for me
not to be drawing – preferring to have
pencil in hand moreso than anything
else. As I matured, both physically and
artistically, I felt it necessary to take a
logical step and paint. Painting was
seemingly an acceptable medium to
produce ‘finished’ works.
It wasn’t until I met the magician of
landscape painting, Les Graham, that I
discovered that drawing could be an
end product in itself … not just a
means of working up ideas.
Les produced magnificent large-
scale landscape drawings which
captured all the magic of the
landscapes – with a pencil. His
inspiration led me to pursue landscape
drawing as a finished medium.
Drawing outdoors can be extremely
rewarding, but also overwhelming for
the beginner. Just finding a subject can
quite often be difficult with so much to
choose from. I find the best way is to
use a viewfinder – whether it be a
cardboard cut-out type, or simply
using my hands to form a ‘window’.
Once a subject is located it is often
difficult to concentrate on just the

5 4 AArtist
54 u s t ’s
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l i a n How to Paint
focal area of the scene. As you cannot The greatest joy for me in working of the experience … and it is usually
draw and hold up a viewfinder outdoors is the thrill of being there – difficult to part with these pieces.
simultaneously, it is important to place experiencing the moment. At first you
reference points down on your page might battle with developing your skills The gallery of painter/sculptor
first – locating the drawing. to cope with working outdoors. But Brett ‘Mon’ Garling is located in
With all of my drawings, I tend to once you have conquered the challenge, Railway Street, Wongarbon –
use only HB and 4B pencils, thus your enjoyment will be immense. Each near Dubbo in the central west
simplifying the choice of materials. of your works then becomes a memory of New South Wales. 
Many of my plein-air drawings are
done within five to ten minutes, with
colour notes attached for use when
painting later (because time did not
allow me to paint on-site).
These drawings are usually very
broad and spontaneous … whereas
major drawings done plein-air (like
painting plein-air) may take one to two
hours, depending on light conditions
and subject. Some studio time finishing
off is common with larger works.
Taking a photograph can be useful
as a reference for a later date, but try
not to rely on photographs too much –
using them dulls the spontaneity of
working from life. Works done from
photographs often appear flat and
lifeless. I’m not saying don’t use them
… just don’t get into the habit of
relying on them solely.

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 I N S I G H T

Sidney Roland Nelmes

My Love of Art
Having his first art lesson in 65 years certainly refuelled
the artistic passion of this humble artist.

F
or as long as I can remember I been most beneficial in helping me and butcher, a resort maintenance person
have always enjoyed drawing and encouraging me to try new mediums. and vineyard worker, but most of my
painting, but it is only in recent I suppose I should begin this working life was as a Master Painter
years that I have had the opportunity to article by writing a little about my and Decorator, of houses that is. Art
concentrate on improving my art skills background. I am now a retired work of a different kind.
and extend my interest in art to working pensioner, but because of my many About 10 years before my retirement,
with charcoal and pastels. interests I find I am always busy. Some my wife Jenny and I had a small
Coming across Artist’s Palette people might call me a Jack of All orchard in the New England area of
magazine at my local newsagent has Trades, as I have worked as an A-grade New South Wales. During those years

54
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 I N S I G H T

we were kept very busy and worked that is not true. Try drawing a picture bring me down to earth again, but if
hard but we were also rewarded with, for a three-year-old child, say of a you want an honest opinion, ask your
what I think, were the best tasting dragon or of a horse, and see the smile kids what they think. Anyway, my
cherries in the area. on their face. That sort of response good friend George thought that some
Even with a busy working life is worth more than any art critic’s of my sketches were okay, and without
I have always had many hobbies, appraisal and isn’t that what we set out telling me booked me in for a one day
including painting (art work this time) to achieve when we start our drawing Art Workshop organised by the local
and drawing, bonsai, woodwork, or painting? library. The course was free-of-charge,
gardening, fishing and playing my Since moving from Tenterfield and being a pensioner the word free
guitar. to Crows Nest in Queensland two had a very nice ring to it and was all
They tell us that left-handed people years ago, I promised myself that I the encouragement that I needed.
use the creative side of their brain would spend more time with my art Well-known artist and illustrator
more than those who are right handed, work. My wonderful girls (wife and Lynelle Zita Westlake, author of
and if that is true I suppose as a lefty daughters) immediately supported many popular children’s books and
my hobbies may reflect this. me by supplying me with pencil kits, conductor of art workshops for
I have always loved to sketch and sketch books and the other materials schools was to be our mentor for the
occasionally paint, but an art critic I that I needed. workshop, so I told George I was up
am not. I believe that God has given I began by doing sketches of for it. My first art lesson in 65 years!
each of us talents of some kind and varied subjects including a few of I arrived at the art course full
whether artistic or otherwise, once we my family. One day I was showing of anticipation but with a little
realise what they are we should take them my sketches and I remember trepidation, and I was completely
the time to use and enjoy them. my daughter’s response to a portrait blown away by the incredible talent
I have often heard people say, “Oh, sketch that I did of her, “Dad, tell me and ability of Lynelle and the high
I couldn’t draw to save myself”, but that is not me!” Well, her words did quality of the other students’ art work.

A u s t r a l i a n How
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 I N S I G H T

It wasn’t long before I realised that I

had so much to learn about drawing
and painting, and how it would help
me to accomplish more in my own
art work. I was immediately excited
and encouraged by my decision to
attend the course and look forward to
attending other courses as they become
available.
We are fortunate to live in an area
where there are many and varied forms
of art on display. My wife and I often
visit these exhibits, as well as the local
yearly Art Trail which showcases our
talented regional artists.
I enjoy using most mediums of
art but sketching is the medium
that I enjoy the most, and I am able
to combine two of my hobbies by
sketching my favourite bonsai trees.
This is very rewarding for me as these
trees are also another art form. I am
still trying to get a handle, or should I
say brush, on pastel and at the moment
am enjoying drawing with charcoal.
I have had some success with acrylic
but nothing to talk about. No matter
what art medium I try, I will continue
to enjoy what I am doing and will
continue to encourage others to give
their creative art talents a go, whether
they are lefties or righties.
I really felt out of my depth when
I was asked to contribute this article
in Artist’s Palette magazine, as
my only other claim to fame was
a photo taken for the ‘Tenterfield
Star’ newspaper, when I was helping
with a sausage sizzle that the RFS
put on to raise funds for people
affected by the Canberra fires.
However, it is only through viewing
other artists’ work and reading their
helpful comments in the magazine
that encourages us budding artists in
our art work. I have found that this
opportunity has stretched me even
further in my own art work and for
that I say thank you. n

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Pencils

The Bonsai Tree

By Sidney Roland Nelmes

Many years of experience,

plus admiration of his
subject matter, gives
depth, realism and
beauty to this scene.

M AT E r I A L S

• F pencil
• 2B pencil
• 4B pencil
• Staedtler rubber
• Canson drawing paper 110gsm
FINAL STEP

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61
 d e m o n s t r a t i o n

STEP ONE STEP TWO

STEP 1
After selecting the paper size I am going to use for
my drawing, I determine the size of the subject and
where the horizon should be. I do a rough sketch at
this time, taking care that the horizon is not in the
centre or near it, because wherever the horizon is
placed it will always be seen at eye level. I use a faint
line so that it is easy to remove later on. The subject
must then be put into perspective (lines tapering away
to vanishing point), as this gives the drawing a sense
of depth, three-dimension, solidarity and realism.

STEP 2
At this point, still using an F pencil, I only draw
light lines because the paper can be easily marked if
applying too much pressure. I sketch freely at this
stage and don’t worry about unwanted fine lines as
a good soft rubber has always been a part of my art
kit. I now draw in everything that is important, that is
the basic size and shape, and this way I don’t end up
running off the sheet when drawing in any extra detail.

62 STEP THrEE
A u s t r a l i a n How to Paint
 d e m o n s t r a t i o n

ArTIST’S
HINTS AND
TIPS
• To produce a successful
drawing, the extra work
you do at the beginning i.e.
planning and setting out pays
off. Taking a close up photo
of the subject and the different
surfaces enables you to draw
the intricate details that will
make the picture appealing
and enjoyable to look at.
• I have found from past
experience, especially for
us lefties, when doing the
detail work it is a useful
practice to start working
from the top so as to not
to smudge the art work.
Sometimes it is impossible
to keep your hand off the
surface of your drawing, so
I place a sheet of paper or
cardboard about half the size
of the sheet of art paper and
carefully rest my hand on it
without moving it around.
• Using a penknife to keep your
pencils sharp is helpful as I
have found using a sharpener
frustratingly breaks the leads.
• Using a blending stump is
helpful however your fine
detail work can be spoilt if
it is not used correctly.
• Avoid using a ruler, and
STEP 3 to a 2B or 4B pencil and once I practice drawing straight
Now the general layout of my drawing have determined where the light lines as this can only be
is almost complete I continue using is coming from I begin shading helpful in your art work.
the F pencil to draw in more detail. the darker areas that is, the trunk, • Using superior quality
I study each section looking for bark and juniper needles (leaves). paper and materials will
anything that I may have missed to enhance your art work.
erase and clean up any smudged areas. Who knows it might turn
FINAL STEP out to be a masterpiece, so
At last the drawing is coming to why not use the best?
STEP 4 life and I am mindful not to rush
With the general layout of my the final step. The intricate detail is
sketch complete, I have come to the what sets the drawing apart from just stones and moss around the tree, and
time I enjoy the most. I’ve always being a sketch, so I concentrate on lastly the Chinaman ornament resting
said like all good contracts, the the various shadings of the container, under the bonsai. This is what gives
quality is in the detail. I change the bamboo mat it is placed on, the the drawing character and life. n

A u s t r a l i a n How to Palette
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 I N S I G H T

Mellissa Read-Devine

Dancing with
Brushstrokes
“It is easy to be
captivated by the
powerful immediacy
and extraordinary
colour emerging from
Mellissa’s paintings
on a purely aesthetic
level. They are visually
spectacular and invite
the viewer to search
for further harmony
and empathy with the
natural landscape.
She brings the natural
landscape and birds of
Australia to life with her
original, spontaneous
and vibrant paintings.”
Robyn Williams, Purple
Noon Gallery NSW.
Cockatoo secrets

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Actinotus Touching the Sky

M
ellissa was born in England encouraged her personally to develop It was while visiting her mother
in the 1960s and as a child her painting. that a Christmas card project making
immigrated to Melbourne As a young adult, artistic pursuits linocuts introduced Mellissa to
with her family. She has studied and took a backseat as Mellissa was busy printmaking, and another medium
practiced printmaking and painting seeing the world, working diverse became a happy obsession.
continuously for the past 16 years jobs and eventually starting a family After a move with the family to
and her work ranges between vibrant with her husband who was then Sydney, Mellissa quickly joined
interpretations of her local landscape in the military. A posting in Darwin a local art society in order to
to intricate wood and linocuts. Her was a turning point, when, needing meet people and learn about the
combination of quirkiness and calm some personal space, she enrolled art community in her area. More
blend to create works with a strong in a painting class. Watercolour, exhibitions and awards followed
spiritual base. oils and pastels were all explored while she continued to learn and
With a creative mother as an avidly, and painting groups with practice her craft.
example, childhood was an idyll like-minded artists were created, Another move to a property
of ballet lessons, drawing, writing exhibitions taken part in and along the Hawkesbury River brought
poetry and poring over many with her first sale to a local the opportunity to have a large
picture books bought and politician, Mellissa knew that studio space in order to create large
borrowed. Mellissa remembers being an artist was the career she scale paintings and print works on
primary school teachers who had been looking for. a newly acquired etching press.

A u s t r a l i a n How
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 I N S I G H T

Rhythm and Blues Doryanthes

Mellissa is active in the local

community promoting and supporting
emerging artists and tourism with
a community gallery in Wisemans
Ferry and being a founding member
of the Hawkesbury Artisans Trail.

TECHNIQUES
Proficient in most media, Mellissa is
happiest with both acrylic
painting and printmaking with lino and
wood blocks.
Mellissa has developed her own
impressionistic style with which she
portrays her local landscape, flora
and fauna.
Her vivid acrylics on canvas are
popular with collectors and she
continues to hold regular exhibitions
Flannel Flowers
as well as have success in juried
art shows.

28 Artist’s Palette
66 A u s t r a l i a n How to Paint
 I N S I G H T

A C H I E V E M E N T S TO
D AT E I N C L U D E :
• 1st Prize Pirtek Still Life Award,
Bowral
• Finalist Kogarah Art Prize (Packers
Room Prize)
• Finalist Mount Eyre Art Prize,
Norvill Art Prize
• Finalist Eutick Memorial Still Life
Awards, Coffs Harbour
• Finalist (Highly Commended)
Northbridge Art Prize,
• Finalist Prometheus Visual Arts Rockery
Award
• Finalist Westmead Art Prize
• Finalist Redland Art Awards
• Finalist Redeemer Lutheran College
Foundation Christian Art Award
• Finalist (Highly Commended) Cancer
Council Vic Arts Awards

PUBLIC COLLECTIONS
• 1st Armoured Regiment, Darwin
• The Australian Print Collection of the
Wagga Wagga Regional Art Gallery,
NSW, Australia
• Spencer Museum of Art, University
of Kansas, USA
• Oregon State University, USA
• Westmead Hospital, Sydney

GALLERIES
Sydney - Purple Noon Gallery -
www.purplenoongallery.com.au
Melbourne - Tusk Galleries -
www.tuskgallery.com.au
Gold Coast - 19 Karen Contemporary
Artspace - www.19karen.com.au

Melissa has a solo show at

"Breathing Colours", Sydney.
www.breathingcolours.com
10 -21 April 2013.
More about Mellissa including her
next exhibitions can be seen on
the website www.readdevine.com

S TAT E M E N T
“Why do I paint? I love the process
of painting - a dance of brushstrokes
across a large canvas, representing Sheltered
light, movement and joy. “ n

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

Acrylics

Kaleidoscope -
Impressionist Bushland
A dance of flickering light and colour
Mellissa Read-Devine

M AT E R I A L S

Canvas
• I stretch my own canvas using
heavy weight primed linen
on heavy duty stretcher bars.
This is then primed again
with several layers of gesso.
• I would suggest, if you are
buying a ready-made canvas,
to buy the best you can afford.
Make sure the canvas is strong
and the stretcher bars are
thick to minimise warping.
Brushes
• I use flat bristle brushes, sizes,
8, 10 and 12. You may like
to experiment yourself with
filberts or round brushes.
• I also use a painting knife
when I need a straight edge.
Paint
• Matisse Derivan Structure
Acrylics: Titanium White,
Naples Yellow, Cadmium
Yellow Medium, Cadmium
Red Medium, Alizarin,
Pthalo Blue, Cobalt Blue,
Permanent Light Violet,
Permanent Green Light.
Varnish & Mediums
• Gesso
• Acrylic Painting
Medium - if needed
• Gloss Varnish (See
FINAL STEP Artist’s Hints and Tips)

30
68 Artist’s a l i a n How to Paint
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 D E M O N S T R A T I O N

STEP ONE STEP TWO

STEP ONE
With an old brush - a badly looked after round bristle
is my favourite - draw in the main areas of the scene.
Same brush and colour, with lots of water - block in the
dark areas. Follow this with a wider brush and use
your darkest dark - Pthalo blue in this case. As you are
using cool colours, block more areas with your blues
and greens.
Let the painting dry between stages. As I use a lot
of water early on, it is very important not to muddy
your colours by painting different hues over wet
paint . It won’t take too long - the joy of acrylics,
and you have an excuse to have a cup of tea.
As per the cool colours, introduce the warm - reds
and yellows. Feel free to allow a lot of drips. There is
no careful planning here. It is fun and splashy and the
aim is to cover all of the white canvas with a colourful
underpainting.

STEP TWO
I’ve had another cup of tea and I am ready to make
sense of the image. With a careful hand - use a painting
knife if you like; add the sky, leaving your tree trunks
and branches as silhouettes. I also started to paint
the foreground.

A u s t r a l i a n How to Palette
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 STEP THREE
Blocking in more ‘natural’ colour. Don’t use
too much green - as long as you have the right
tones (light to dark), you can use other colours
such as pinks and reds for foliage. Work on the
tree trunks with lights and darks. Even though
this is an impression of a landscape, you still
need to observe where light falls on an object
- e.g. the light on the right of the main tree.

STEP FOUR
Here is an example of how you may ‘see’ different
colours on a different day. This day I decided I
wanted more blue and dark in the painting. For
the ‘black’ areas I mixed my darkest tones –
Alizarin and Pthalo blue.

STEP FIVE AND FINAL STEP

Take time to look at your work. After several
more cups of tea , I made up my mind that it
was going to be a light ‘high key’ painting after
all. Time to take a ‘dance’ with the canvas. 

Email: readdevin [email protected]

STEP FOUR

ARTIST’S HINTS
AND TIPS
• Find a style of brush you are
comfortable in using and stick to it.
My paintings are all about the stroke,
and the brush is intrinsic to this.
• Gloss Varnish - this is my choice. You
can use an acrylic water based one or a
turps based one. Satin is a better option if
a high gloss will not be suitable for your
painting. It is important to add varnish
to your acrylic paintings as it keeps the
colours vibrant and protects the work.
• When I add a new colour into the work,
I also have a lighter and darker version
mixed and ready on the palette. This keeps
the momentum of working from one side
of the canvas to the other, always keeping
an eye on my original scene/photo. It truly
is a dance of sorts - I may be using violet,
then decide I want one area to have yellow,
another area to have more green. Place your
brushstrokes boldly on the canvas and leave
them there, don’t scrub. If the colours start
to mix and muddy on the painting, wait
for it to dry before you start again. I may
take several weeks to finish a painting.

32
70 Artist’s Palette
STEP FIVE
A u s t r a l i a n How to Paint
A u s t r a l i a n How toartist
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35
 D R A W I N G I N S P I R A T I O N

Nature Study Contributed by Gail P. Croome

A self-taught Queensland artist describes her painstaking

technique for rendering clear and intricate images of
natural subjects using an Artline ink pen.

I
was born, raised and educated my own style from what I’ve farm hosting an abundance of subject
in Mudgee, New South Wales. observed in art reference books. matter. I began by taking photographs
After marrying at the age One artist who I greatly admire of old wrecked cars scattered about
of 19, I moved to Gladstone in is Claudia Nice, an American. the property; then moved on to
Queensland and I have resided in I enjoy drawing specific aspects old trees and exposed tree roots
this area for more than 35 years. of the landscape, as opposed to in the banks of a local creek.
My only ‘formal art skills’ were panoramic views favoured by most I am a member of the Miriam Vale
acquired at high school … I guess artists. My inspiration to start Art Group comprising seven local
you could say I’ve been self- drawing again (following a 30-year artists. We meet fortnightly and enjoy
taught and I have developed break) came after I visited a local a range of painting styles and mediums.

52
72 Artist’s a l i a n How to Paint
A u s t rPalette
 D R A W I N G I N S P I R A T I O N

M AT E R I A L S STEP ONE STEP TWO

I draw the basic outline of trees and tree I start adding more detail to the
• Artline ink pen – 0.1. roots. I always draw directly with ink tree trunks and the creek bank.
• 300gsm A3 acid free paper. pen on paper. Usually, I prefer Artline I also begin to darken the
pens (0.1 to 0.8), or Rotring pens. hollow in the creek bank.

A u s t r a l i a n How to Paint 73
 D R A W I N G I N S P I R A T I O N

STEP THREE
I continue with the creek bank MASTER HINTS AND TIPS
shading, adding rocks as I
progress; and drawing varying • As a matter of interest, I recorded • Photographs of my subjects
lines to give the effect of soil. the time it took to complete are essential for this type
this picture. I was surprised of work, because of the
that it totalled 50 hours. detail and the time factor
STEP FOUR • Ink pens are a great medium to use involved in achieving a
I render the shading of the root system when travelling as there isn’t a lot finished drawing.
and finish the foreground detail. Eyes of equipment to pack – just the pens • I always take a camera with me
are added in the shadowed area within and a good quality drawing pad. on holidays and excursions.
the root system, as a signature quirk. 

54
74 Artist’s a l i a n How to Paint
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82 Artist’s Drawing and Inspiration
Artist’s Palette 71