A U S T R A L I A N

HOW TO Acrylics
PAINT
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ACRYLIC
IDEAS
FOR ALL
Artis Palette

SKILL LEVELS

STEP-BY-STEP
DEMONSTRATIONS

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AND TECHNIQUES

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Glenmore Park NSW 2745 Fax: 02 4733 8583
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 itor's Note
n our first issue of Australian How to Paint, our
topic was Acrylics. We, after four years of various
topics and ideas, thought it was time to create a
second issue of Australian How to Paint – Acrylics.
This issue has seven creative artists and their
demonstrations using acrylic paints. There are some
great techniques and ideas for you to discover. If you
would like to send us some examples of your pastel
art or any artwork, please send us an email or letter
with photos of your work. You might also like to send
us an email or letter if there is a particular topic or
area of art you would like us to cover.

Please send them to Woodlands Publishing,

PO Box 8035 Glenmore Park NSW 2745
or [email protected]

Paint to enjoy!

Drawn to the West

With Artist Derek L Newton

Early in 2015 Derek will be leading a Pen and Ink 7 day

tour of the Historic Port City of Fremantle and beautiful
Rottnest Island WA. This first class tour will include
most meals and accommodation, studio visits of leading
Fremantle Artists and a guided tour of Fremantle and
Ferry to Rottnest Island. Interested? Why not register
your name and email address for more details. The
group will be limited to 15 with a minimum of 10.

Email your details to Derek at:

[email protected]

4 A u s t r a l i a n How to Paint
ntents 8

20 ARTIST INSIGHTS AND

DEMONSTRATIONS
8 Donna Gilbertson

20 Kate Williamson

28 Joy McRae

36 Bill O’Shea

44 Steve Cardno

54 Pauline Roods

64 Michael Jones

REGULARS
4 Editor’s Letter
74 Books and Dvds Store
82 Next Issue

Cover image by: Steve Cardno

54

36

28 20
 0 5 : 0 . / ;

Donna Gilbertson

Love of Art
Rekindled by Chance
After a wonderful childhood of singing, dancing and ballet, Donna made the
move to the visual arts in the 1980s, turning her talents into a profession.

Christmas in the bush

8 A u s t r a l i a n How to Paint
 0 5 : 0 . / ;

D
onna has been involved in the
arts most of her life; coming
from an artistic family she
flourished in the performing arts
throughout her youth, taking ballet
lessons at one of Sydney’s most
Masquerade
prestigious academies, the Scully
Borovansky. Singing lessons and piano
tuition also filled her week, leaving
little time for youthful socialisation
(parties).
On leaving school Donna tried
full-time study in classical ballet but
yearned for the stage. It wasn’t long
before she was auditioning for any
shows that she would be performing
before an audience. This included the
club circuit in Sydney and Burlesque…
ooh la la! Then Donna scored a part as
a cast member of the original Australian
cast of Jesus Christ Superstar in the
‘70s, and during this time she painted
many pieces for friends including a
huge mural that hung in the dressing
room that she shared with other cast
members of JC Superstar. After the
birth of her daughter Shannon, Donna
got back into dancing club work and it
wasn’t until a decade later that she got
down to some serious art!
Art was always encouraged at home
with a talented water colourist for a
mother and creative woodworker for
a Dad. Brother Clive is an artist also
creating stage sets and wall murals Golli and friends
in Sydney. It wasn’t until the 1980s
 0 5 : 0 . / ;

Circus Lives of the Past Frilled Neck Lizard

that Donna moved into the visual arts the idea of pastelling a row of old and built a solid reputation throughout
professionally. With no formal training teddy bears with a raggedy clown; this NSW with her children’s art and
and beginning in oils she started painting not only took out first prize theatrical portraits.
painting landscapes and entered a few but also sold. This was the start of a Once Donna discovered Matisse
art charity shows with some success. decade of painting in pastels using her Acrylics she powered forward with bot
Donna then moved onto watercolour theatrical background as the resource fine art and decorative art. She began to
pencils and pastels. She was stuck for for her inspiration. experiment with transparent techniques
a subject to enter in a Still Life section She opened a picture framing using Matisse Flow Paints integrating
in one of those shows (Orange Blossom business in Baulkham Hills, Sydney pastels into her work too. She still
Festival Art Exhibition and Show in and this consumed most of her time. loved painting children’s art with old
Castle Hill, Sydney) and struck on Donna entered many charity shows toys and teddy bears and still does, and

Cup Cake Floral Abstract

10 A u s t r a l i a n How to Paint
 0 5 : 0 . / ;

this continues to be an important part

of her art market. For children’s art and
clowns, theatre figures and musicians
she uses a lot of imagination. “I quite
often begin with a photograph then put
it away and allow my intuitive side
to flow forth. Needless to say the end
result often bares little resemblance
to the photograph that inspired me,”
Donna says.
Experimenting with various
Matisse Mediums and Structure
Paints brought out another angle to
her style, and this gave her a good
balance between the delicacy of
colour in the transparent techniques
and the richness of colour and texture
that the Matisse Structure paints
deliver. “I love swapping from one
area of my art to the other,” says
Donna. “I enjoy both equally, then
there is the decorative art world
too that I get a real kick out of! It
allows my frivolous side to emerge,
I thoroughly enjoy creating three
dimensional pieces that are quirky
and functional, and this is also a
wonderful area to teach in as most
of the painters that come to me in Eastern Rosella
decorative art classes have little or
no experience in the arts. I introduce
them to Matisse Paints and they
are hooked both on the paints and
painting. Many of my early pupils
who began this way are now painting
in the fine arts world in art groups,
have works hanging in galleries,
are entering art competitions and
generally enjoying their art.
Travel teaching both in Australia
and overseas, Donna has conducted
workshops to mature students of all
levels of art ability, and she also shares
her knowledge by writing “how to
projects” and has had more than 180
articles published with Fine Art And
Decorative Painting, Artist’s Palette
and Handmade magazines.
Drawing on her theatrical
experiences and a fertile imagination,
Donna is constantly creating new
ideas from clowns to mystical
magic, Aussie life to caricatures. Her
fascination with portraiture began in Winning
her school days when she sat drawing

A u s t r a l i a n How to Paint 11
 0 5 : 0 . / ;

many of her school friends when she

should have been studying! Life got
in the way of her artistic pursuits for
a while but once the love of painting
was rekindled quite by chance she
just kept on going. Donna feels
that not having any formal training
in visual arts besides as a school
subject, has helped her develop her
own style through experimentation
and working alongside other artists.
She says, “I looked around at
what everyone else was doing and
tried hard not to repeat what was
already out there, I have tried to be
different.”
Donna paints for galleries, shops
and exhibitions throughout Australia
and has a major solo exhibition due
in 2013 at Boyd Fine Art Gallery
NSW. She has won many awards
along the way including the Dobell
Art Prize, and most recently “Best in
The Gardener Show” at Morisset Lake Macquarie
Show 2012, Highly Commended in
Gosford Regional Gallery Overflow
Winter In Australia. Exhibition 2011, 2 X Commendeds
at Ryde City Art Prize 2011, 1st
in both landscape and decorative
art sections of the Henry Lawson
Festival 2010, Best in Show at Taree
2010, and Highly Commended at
the Adelaide Swift Show, Gladstone
2009.
She has had two major solo
exhibitions in NSW and many
shared exhibitions. She was invited
to exhibit as part of an Austrade
initiative in Dubai 1995 and has
had her work used in licensed
products including greeting cards
with Amway, notebooks in Wal-
Mart USA, a variety of products
for Australia Post and a range of
children’s art prints for Art Nouveau
Publishing which proved to be their
biggest and fastest seller at the
time. Donna has had a project book
published for worldwide distribution
entitled ‘Donna’s Mystical Forest’.
(Viking Folk Art Publications).
Donna paints a wide range of subject
matter including wildlife, particularly
birds. Using Matisse Mediums and
Structure Paints are her favourites.
 Tricky Nicky

Her clowns and theatre figures are her her passion for painting. “These Email:[email protected]
passion but she dabbles in landscapes workshops are particularly rewarding Mobile: 0439 745 419
and some humorous works depicting as they challenge the class members to Address: PO Box 129, Toukley,
Aussie life. create something from a blank canvas NSW, 2263.
Donna is now teaching again and and challenge me to inspire non-art You can view her extensive
uses her art experience to teach mature participants. So often these workshops range of products on line @
painters as well as leisure therapies teach me as much as I teach the www.artbydonnagilbertson.com
in the aged care, mental health and students.” even follow her on Facebook at
disability areas while continuing Donna’s contact details: ArtByDonnaGilbertson. I

A u s t r a l i a n How to Paint 13
 D E M O N S T R A T I O N

Acrylics

Colour in Flight By Donna Gilbertson

Donna used a variety of techniques to create this artwork, including layering,

dimensional applications, mixing paint and mediums, wet on wet, and texture
techniques using painting knives and other implements.

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14 A u s t r a l i a n How to Paint
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A u s t r a l i a n How to Paint 15
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16 A u s t r a l i a n How to Paint
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A u s t r a l i a n How to Paint 17
 D E M O N S T R A T I O N

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18 A u s t r a l i a n How to Paint
 0 5 : 0 . / ;

Kate Williamson

7ILD !T (EART
By Daniel Williamson

Throwing herself deeply into her paintings,

Kate creates an amazing body of work.

K
ate paints in an unconventional She moves around the canvas Jackson subject. While painting dynamically,
way, with her canvas flat on Pollock style, quickly capturing the Kate physically engages her whole
the ground or on a huge easel. movement and life energy of her body, moving vigorously around the

Boatshed Perch

20 A u s t r a l i a n How to Paint
 0 5 : 0 . / ;

Invercargill Water Tower Reflections on a Low Tide II

horizontal canvas. Her brushes aren’t perspective and with lots of room so whether it is representing the living
what you’d expect either as she uses that I can let the paint rip. It’s also sands of the cockle beds of Otakou
them upside down as sticks of various a very natural and ancient way of Bay with glowing luminosity, or the
sizes. I also spotted a cooking utensil in painting,’ Kate says. The outcome imbued essence of the light flickering
her toolbox covered in paint. is alive, vibrant and fresh. This is through trees, around flowers and
‘It can turn into a yoga workout (not ‘action abstraction’ yet not so abstract birds, the zipping, zapping and
so good for my back) requiring various that the subject matter is rendered zinging of nature. These are electric
movements, balance and rhythmic unrecognisable. heart-warming paintings, which speak
strokes. Although mindful that a lot ‘I won’t stop painting until I have to your subconscious with feeling
of subconscious magic happens, I captured the vibration and light of so that it becomes a transcendent
still have to trust that my actions the subject; life is never flat, dull or pleasure viewing these expressive
will reveal themselves on the canvas. static’, she says. Kate also believes painted landscapes.
Looking down on a large canvas from acrylic paint is the best medium to On the wild Otago peninsula, artist
a standing position gives me a great morph into liquid flowing beauty Kate and writer Daniel Williamson

Chiming the Godwits Return (HOPE) Wild Garden series 3

A u s t r a l i a n How to Paint 21
 0 5 : 0 . / ;

live in a seaside cottage in Otakou, a

small historical settlement located not
far from the famous Royal Albatross
Colony and the Yellow Eyed penguin
tourist colonies.
Kate’s energetic paintings capture a
wilder version of Monet-like garden
scenes and huge atmospheric tidal
zones in her Cockle Hunter series of
large contemporary art works.
All are painted from her studio and
its immediate environment literally.
The wagon wheel painting is of her
front lawn garden, the paintings of
cockle hunters and beachcombers
in melting painterly environments
are also the front lawn, so to speak.
Straight out the front window of the
cottage studio is a spectacular view -
Port Chalmers with Mt Cargill across
to the west, and striking cliffs above
Aramoana over the Otago harbour
entrance to the east.
An impressive succulent garden full
of huge masses of flowers surround
the house, which is named Bumblebee
Aramoana Cottage due to the resident bumblebees
flying from flower to flower.
‘We have a special catch and release
system for the bumblebees that fly
inside, which includes our Bichon Frise
dog raising the Bumblebee alarm so
they can be returned stress free to their
flower business’ she said.
Kate has an art website paintinglive.
co.nz and is represented by BONZ
contemporary art gallery, Queenstown.
Her work has been snapped up by
visiting New Zealanders as well as
international art buyers with her work
been recently flown as far a field as
Dubai and China. One large Cockle
Hunter painting sold as soon as it
arrived at BONZ gallery, Queenstown,
while still being in the process of being
unwrapped. ‘That’s real fresh art’, Kate
laughs.
It hasn’t been all plain sailing for
Kate, who survived cancer at the age
of 25. Her life changed from ski
field industry work and summers tour
guiding around the South Island to an
art school in Wellington, following six
Reflections on a Low Tide months of chemotherapy for Hodgkin’s
disease.

22 A u s t r a l i a n How to Paint
 0 5 : 0 . / ;

Scintilla Light Steps in a Wild Garden

Kate says, ‘I found the art curriculum Achievements Favourite artists

at high school constrictive so I was Invited to work in France on a giant Jackson Pollock for his amazingly
surprised to discover this alternative scale performance work painted during rhythmic organic large-scale paintings.
art school. My life has been marked the 24-hour Le Mans car race with The Action Abstraction movement who
by really odd events as if cosmically Yvan Mauger. dumped the paint brush.
persuading me to paint.’ Years later Receiving a diploma of art & Aboriginal horizontal painted
Kate is working full time on her creativity (Advanced) from the TLC artworks for their amazing patterns
grand paintings, and is surprised by alternative art school, Wellington, and often-topographical view point of
the finished artworks, which she feels New Zealand. landscape scenes.
have a life of their own. She believes Painting many commissioned Gustav Klimt and Ferdinand Hodler
flicks of paint shouldn’t be deliberately canvas works, and large-scale for their mosaic landscapes. Peter Doig,
placed during the painting process, murals. My favourite is a mural Philip Clairmont and Alan Pearson for
but should come together and relate in for the Royal Albatross Centre not their colours and how they see beyond
fascinating ways that speak of the intent far from my house, in a tunnel 40 the subject matter to create a unique
of the work, bringing it to fruition. metres long, which challenged me viewing experience. Bill Hammond,
‘The subtleties and magic of a fluid to paint three surfaces, ceiling and Euan Macleod and Ralph Hotere for
medium are almost self-creating. It’s sides together. It gave me a great the profound connection to the land and
very exciting when the ‘ta-da’ moments opportunity to paint my interpretation passion expressed in every painting or
happen’. of bird migration, which has always installation work. Also all the artists
Kate is a Christchurch, New fascinated me. that I’ve mentioned have a strong
Zealand born artist, whose work is in Winning the Lula Currie Award from identity that is instantly recognisable
collections locally and overseas. Her the Otago Art Society, 2010 for an when seeing any of their artworks - the
studio is open by appointment, contact abstract work. work is them and they are the work.
details are on her website paintinglive. International sales and positive My favourite inspiration comes
co.nz. If you’re planning a visit to the feedback from the people purchasing from New Zealand filmmaker and
Otago peninsula, New Zealand or are my art. installation artist Vincent Ward, for his
just an avid art lover, Kate’s studio is *I am currently represented by BONZ atmospheric masterworks, which speak
well worth the visit. Gallery, Queenstown. straight to your heart. O

A u s t r a l i a n How to Paint 23
 D E M O N S T R A T I O N

Acrylic

$USKY ,IGHT
By Kate Williamson

Part of Kate’s popular Cockle Hunter series, Dusky Light

is brought to life under her skilful instructions.
 D E M O N S T R A T I O N

N
IN S P IR AT IO

STEP ONE
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STEP TWO
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STEP ONE

M AT E R I A L S

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A u s t r a l i a n How to Paint 25
 STEP THREE
I paint the undercoat colours quickly,
which warms me up to the vigorous
action of painting. Moving the
canvas to change the direction the
paint runs starts to set the mood of
the work. Dusky Light is a ‘melting’
painting, the colours from the start
morphed into layers, dropping
reflections like illusions. Being an
intuitive process and depending on
the temperature and humidity of the
day that I’m painting on dictates to
me where to go next while working.

STEP FOUR
I painted the sky upside down to
STEP THREE capture the upward running tendrils
of sunset cloud and colours. I used a
pot of polyurethane on the wet paint
to freeze the sun and sunset on the
water; this lets the paint bleed but not
run as to fix the melted moment. This
needs to be done successfully. Once
each area of abstract movement I like
is framed and stands out enough, I let
it dry. I also find the colours seem to
set and look better when allowed to
dry in a cool place away from the sun.

STEP FIVE
The next step is using mediums,
gels and paint thinners; also, dry
brush to highlight textures, using
colours that jump off the background
creating more illusionary perspective,
space. This space can be horizon,
distance, or the sand around pools
when the tide has gone out. It can
also be currents or light dapples on
the water…this is for the viewer to
discern, engaging them directly in
the reading. My goal is to capture
the natural mystery in my work.
I will assess the whole work
layering translucent light layers
and heavy deep colours to cut
back into the painting.
The effect I want is fluid and
multicoloured, with transparent
areas set amid floating ribbons of
paint; it is a balancing act, effective

STEP FOUR
from a distance, drawing the viewer
into the scene. A large canvas
can absorb your whole vision,
immersing you in the painting.

FINAL STEP
The last step is to find relaxed playful
figures from everyday scenes. I
have plenty of references to pick
from as I live next to a very popular
cockle picking spot), one particular
family has been the subject of many
of my works. They have a dance-
like quality in this environment
and help ground the atmospheric
painted landscape/seascape. I am
not finished until I feel the whole
effect is transcendent with ribbons
of floating light - vertical drops of
paint curtaining reality in natures
amazing sunset and watery realm.
I use golden tar gel and self-
levelling gel to finish the painting
with a high gloss surface. I believe
the final layers of varnish and gel
polymers are most important for a
high quality professional finish.
I hope this demonstration encourages
experimentation, enjoy the process. O STEP FIVE

ARTIST’S HINTS AND TIPS

‡ )RUHJR XVLQJ WRROV VXFK DV energy and expression in my work. surprised by the finished result is
overhead projectors and tracers ‡ $OO JUHDW ZRUNV RI DUW JR WKURXJK D IDQWDVWLF IHHOLQJ )LQG \RXU RZQ
as I believe they stilt the painting the ugly duckling stage, just keep rhythm and “hum” in your practice.
process especially if you want to working through it, being open ‡ , ODFNHG HQWKXVLDVP IRU SLFWXULQJ
capture expression and atmosphere to the uniqueness and bringing and I found the whole process
in your work. Believe in your this forward. As I said, it takes boring and too easy, especially
intuition and have guts. guts (especially working on such with the tools available to artists
‡ 'RQ·W JHW KXQJ XS RQ SLFWXULQJ a large scale) and trust yourself. now. I decided to do a new
the landscape realistically, instead ‡ 7U\ SDLQWLQJ RQ D ZHW FDQYDV course offered in abstract art. It
create paintings which speak of sprayed with a water bottle first, revealed fresh ways of looking
your unique interpretation, believe amazing natural effects happen at the painting process and I
me people do respond to this. Try which can never be achieved with have been totally obsessed with
painting with your canvas on the D SDLQW EUXVK 'RQ·W JHW KXQJ XS experimentation and feel really
horizontal plane, like Jackson on paint brushes, there are so many proud of my new work. It is now
Pollock, using paint thinners and other ways to manipulate paint. a living process, which continues
the wrong end of your brush as a ‡ 'RQ·W EH VSDULQJ ZLWK \RXU to inspire me. My last advice is
dribble stick. This has helped me products, my painting style uses up to be open to change and most
loosen up and find loose lines, lots of paint, yet in the end being of all challenge yourself.

A u s t r a l i a n How to Paint 27
 0 5 : 0 . / ;

Joy McRae

No Excuses!
Increasing age and ill health should never deter an artist –
Joy’s story is truly inspirational.

28 A u s t r a l i a n How to Paint
 0 5 : 0 . / ;

I
s born in the Redlands district
uthern bayside Brisbane) when
area was bush or farmland.
As sult I was able to spend a
very carefree childhood becoming
familiar with the abundant flora of
native banksias, hakeas, grass trees,
wild orchids and many other smaller
varieties of native flowers such as the
bluebells and wild irises. Of special
charm to us children were the tracts
of beautiful pink boronia blooming
profusely each season. A particular
vivid childhood memory is of a
playmate and myself dragging a wash
tub full of boronia bunches to the
main road, with a placard “Boronia, 3
pence a bunch”. However, when a car
eventually stopped, presumably to buy,
we fled in fright, leaving it to them.
Needless to say, that venture never
became a money spinner.
Sadly, the boronia seems to be
extinct now, as have the mangroves and
marshland of the bay, giving way to
canal estates, housing and commercial
development. These changes we have
to adapt to, just as we need to adapt
to the inevitable changes in our own
life, perhaps involving health or the
advancing years.
This was brought home to me very
suddenly with a diagnosis of breast
cancer. Several operations and a
chemotherapy regime left me feeling
a little jaded but a great incentive to
regain my health was the desire to
resume painting.
Which brings up the question as to
why we have such a strong urge to
express our feelings in paint? Is it
primarily to make money? Hardly,
since most of us will more likely be
out of pocket, than make our fortune.
It has been written that Van Gogh
never sold a painting in his lifetime. Is
it to become famous? Again, hardly
likely, unless we win the Archibald,
which is even less likely.
Speaking for myself, I love
everything that goes with producing a
painting, i.e. the designing, composing,
choice of subject and colour, even the
smell of paint. All these aspects add up
to a feeling of exhilaration.

A u s t r a l i a n How to Paint 29
 0 5 : 0 . / ;

As a therapy for pain I thoroughly endorphins, over-riding the pain. I am retirement for artists, only wonderful
recommend losing oneself in the in awe of what the foot and mouth opportunities. Having now reached the
creative process. I can testify that I painters must overcome physically octogenarian status I have the same
have often be in pain from one thing and mentally to produce the wonderful zest for learning, experimenting with
or another, but have chosen to paint work they do. different mediums and subjects as
instead of “resting up”, only to find Having disposed of indifferent in earlier years. Recently I ventured
that during the hours of painting I health as a reason for giving up into the field of portraiture, a subject
have been oblivious to the pain. The painting, what about the excuse, “I I had previously skirted around,
pain is still there, but the sheer joy and always wanted to paint, but now I’m and now I have completed a pastel
involvement in creating something too old”. That excuse has no validity portrait of my granddaughter Jordan,
new has released all those “feel good” at all as there is no compulsory an oil painting of Ophelia, the young

30 A u s t r a l i a n How to Paint
 0 5 : 0 . / ;

daughter of my Japanese friend and

an oil painting of Devon and Arabella,
my two great granddaughters. I can’t
possibly think of dying, as I have many
more offspring to paint. May they keep
coming (i.e. the offspring.)
By continuing to paint into old age,
we can join the illustrious company
of those such as Lloyd Rees who
continued painting into his nineties,
despite failing eyesight. His painting
“Evening 1” is full of light with little
attention to detail, reminiscent of
J.M.W. Turner’s work.
Who has not heard of Grandma
Moses, who didn’t start painting
until she was in her seventies, yet
gained world wide recognition of
her delightful naïve or primitive
paintings? Her work was all about the
homely things she knew and loved,
as evidenced in her painting entitled
“Beautiful World”.
The works of Margaret Olley will
live on long after her recent death
at the age of 88, when she was still
actively producing her wonderfully
colourful interiors and still lifes,
so filled as they were with sheer
exuberance of life and colour.
If you need a reason to get out
of bed in the mornings, then either
start painting now or don’t stop if
you are already involved. You will
wipe forever the word “boredom”
from your vocabulary. Horizons can
always be widened by absorbing the
lessons in magazines such as Artist’s
Palette. Thanks to this magazine
many, including myself, have found
inspiration and new direction from the
help provided through its pages. I

A u s t r a l i a n How to Paint 31
 D E M O N S T R A T I O N

Acrylics

"ANKSIA By Joy McRae

Here is an artist who lives by her own wonderful advice: Paint what you
know, understand and love … but always leave your mind open to new ideas
and experiments.

FINAL STEP

32 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

M AT E R I A L S

‡ 0DWLVVH DQG $WHOLHU DFU\OLFV 7LWDQLXP

White; Napthol Red Light for underpainting;
Cerulean and Cobalt Blue; Pthalo and Sap
Green; Hansa Yellow Light; Cadmium Yellow
0HGLXP 1DSOHV <HOORZ DQG 5DZ 6LHQQD 5HG
Gold; and Alizarin Crimson, Ultramine Blue
and Burnt Sienna for mixing darks.
‡ $FU\OLF SDLQWLQJ PHGLXP DQG UHWDUGHU
‡ 6WUHWFKHG DQG SULPHG FDQYDV

I
nspiration for this demonstration came from
a very ordinary source – the hardy Banksia
bushes planted by the local Council on our
median strip. Armed with my digital camera
STEP ONE
and dodging heavy afternoon traffic, I took
several shots of the Banksia flowers ranging
from lovely new lime coloured cones to the
daggy disintegration of the ‘old man’ flowers.
Next came the interesting part. I printed out my
digital photographs, arranged them in front of me
and tried to visualise an interesting composition
or two. I asked myself: Should I choose landscape
or portrait configuration? A stylised or realistic
design? Could I increase the drama of the
colours? What size canvas should I select?

STEP ONE
Using a charcoal stick, I drew a couple of rough
‘thumbnails’ to familiarise myself with my subject
(and to try for an interesting composition).

STEP TWO
Having decided on a simpler design, I taped STEP TWO
butchers’ paper to my canvas board – 24 x 30
inches in this case. Using a medium soft charcoal
stick, I loosely drew my design onto the paper.
When satisfied, I took a softer piece of charcoal and
created a tonal pattern I could follow in my painting.

STEP THREE
Taping the right side of my drawing to a window,
again using charcoal, I drew on the reverse side of
the paper – following the original lines carefully.
The glass reflected these lines very well.

STEP FOUR
I prepared my palette: Two layers of paper towel
well moistened, topped with a sheet of baking
paper on a large plastic tray. A second tray served STEP THREE
as a lid which preserved my paints for as long as I

A u s t r a l i a n How to Paint 33
 D E M O N S T R A T I O N

STEP FOUR required, providing that I sprayed the

paint with water and acrylic retarder
(ratio about l0:1) when not in use.
I covered my canvas with a
transparent red (Napthol Red Light) very
thinly. I welcomed the streaks and drips
as an interesting background. When
completely dry, I taped the wrong side
of my drawing to the canvas, and traced
the design using the pointed wooden end
of my brush – checking that the design
had been transferred satisfactorily.

STEP FIVE
Using a large brush (2.5cm), and no
details at this stage, I blocked in my
lights and darks – resisting any urge
to use a smaller brush because I was
only interested in achieving correct
tonal values. This was also the stage
when all my negative feelings came to
STEP FIVE
the fore, such as: ‘Wrong design, looks
a mess, can’t paint, should abandon
project’. This was the time to walk
away, have a cup of coffee, and turn
the CD player on (a little reassurance
from family or friends could also help).
All was well, and I was ready
to pick up the brush again and
overcome any problems.

STEP SIX
Changing to a 2cm brush, I moved over
the whole canvas – strengthening darks
and lightening lights where called for,
but still avoiding details or highlights.
It was important for me to establish
the right value for my focal point (the
fresh green flower) so I could keep all

MASTER HINTS
AND TIPS
‡3DLQWZKDW\RXNQRZXQGHUVWDQG a masterpiece, just have fun. you for many years. I have one
and love – but always leave ‡$OZD\VSXWRXWVXIILFLHQWSDLQW that I do most of my painting
your mind open to new (and a bit more). A ‘stingy’ palette with, which I have used for 20
ideas and experiments. can result in a ‘stingy’ painting. odd years. Always clean your
‡)RUDUWLVW·VEORFNWU\XVLQJ ‡0\ILQDOVXJJHVWLRQFRQFHUQV brushes thoroughly after every
mixed media … such as adding brushes. After all, they become session, moving bristles back
pastel or inks to watercolours or DQH[WHQVLRQRI\RXUDUP)LQG and forth over a cake of soap;
acrylic paints. Using collage is those that work best for you; care rinsing until the water runs
great, too. Don’t try to produce for them, and they will serve clean. Reshape before drying.

34 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

other values a little subservient. I toned STEP SIX AND SEVEN

down the bottom red brush to this end.

STEP SEVEN
I had been all over the painting,
strengthening here and there, and
toning down other areas. For me it was
crucial to now walk away, preferably
for some hours; then come back and
take a fresh look. With a more objective
eye, I turned the painting upside down
and also viewed a mirror image – to
check for a pleasing balance.

FINAL STEP
Right away, I could see that the leaves
at the top right were too strong and
needed quietening. Having adjusted
this, I finally allowed myself to use a
small brush; also a liner brush for details
such as leaf veins, the serrated edges
on the leaves, and the fine needles on
the brushes. Then it was time to stop
before the fiddling urge set in. O

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A u s t r a l i a n How to Paint 35
 I N S I G H T

Bill O’Shea

Heart of the
Country Edited by Trevor Lang

Perhaps only a handful of people have been able to comprehensively portray

life in western New South Wales through art. Bill O’Shea is one man with a
paintbrush on the pulse of his rural surroundings.

36 A u s t r a l i a n How to Paint
B
orn in Sydney in 1934, William
(Bill) O’Shea is widely regarded
as one of Australia’s best-selling
painters. Bill is a true ‘country boy’ at
heart … and with his own unmistakable
style he makes beautiful pictures which
dramatically typify our Australian
scenery.
Contrary to the evidence of his chosen
lifestyle and work, Bill (the youngest
child in a family of six) describes himself
as ‘the city boy’ … he was the only
sibling not born in the bush, as his family
had moved from their dairy property at
Kempsey before his arrival. His father –
who had been a Light Horseman during
World War 1 – was killed in a building
accident before Bill was born.
He became a ward of Legacy, which
later helped to shape his working life.
“Legacy people with some influence
helped me to find a job in ticket writing,”
Bill explains. “It was after World War 2,
and many artists came home to Australia
but could only find jobs as ticket writers
at that time. Through working with these
old hands, I picked up many tips.”
Staple subjects for this artist have been
woolsheds, shacks, mining and farming
scenes, timber mills, homesteads, and
I N S I G H T

country pubs. His pictures have the power to invoke an aura of

the real Australian bush wherever they are hung.
A fourth generation Australian, Bill worked in poster design
and silk-screen printing early in his career. While living in
Sydney he also lectured part-time on stencil cutting and silk-
screen printing at the Sydney School of Graphic Arts in Ultimo.
In 1974, he took the bold step of committing himself to art on
a full-time basis. To placate his employer at that time, he
persuaded a friend to take over his day job before cutting
himself adrift to face an uncertain future.
“Selling any painting, back then, for up to $20.00 was
considered ‘not bad money’,” claims this unassuming artist.
It proved to be an excellent career move for Bill, and put him
on the pathway towards far greater accomplishments.
He recalls becoming interested in art as a boy, thanks to a
friend of his mother.
“I would get her to draw, when she visited,” he explains. “I
would try to follow her example. It felt magical, drawing things
on paper.”
Seven years of ticket writing experience provided his only
form of art training.
“I just picked it up as I went,” he says. “Self-taught, I suppose.”
As his skills developed, so did his notoriety. By the late
’70s, Bill O’Shea had become well known – largely due to his
exhibitions and his generous support for charities.
Stuart Town (located between Orange and Wellington) became
an important place for this artist. Formerly known as ‘Ironbark’,
the town was immortalised in Banjo Patterson’s poem ‘The Man
from Ironbark’. Bill staged an exhibition for Stuart Town locals
to raise money for the restoration of their Railway Hotel.
“I selected some subjects from the township and nearby
locations in the district,” Bill relates. “People came from
everywhere, and the exhibition was a sell-out.”
 Another important landmark in Bill O’Shea’s life was a move
to the central west of New South Wales in 1981. He established
the successful Bakers Swamp Gallery at ‘Glenmore’ near
Wellington, and for more than 20 years produced numerous
works at his studio in this charming rural setting.
In 2003, Bill relocated to Dubbo – where he continues to
operate a busy studio and gallery. Bill O’Shea has clearly
found his true home in the heart of the country, surrounded
by boundless inspiration for a seemingly endless succession
of paintings.
He has held many one-man exhibitions over the years,
and has been extremely active in supporting charitable
causes through his art. His work has found its way into
many overseas collections, aside from countless homes and
businesses in Australia. He is particularly proud of his role
in preserving our country’s natural and architectural heritage
on canvas.
Bill was awarded a Fellowship by the Australian Institute of
History and Arts in May 2001, in recognition of many years of
contribution to the field of Traditional Art.
In his tireless and continuing artistic career, Bill O’Shea
FAIHA still does commission work for eager collectors.
Many of his paintings are also featured on calendars, cards
and souvenirs. ■

A u s t r a l i a n How to Paint 39
 D E M O N S T R A T I O N

Acrylics

Warne Street,
Wellington By Bill O’Shea

Commissioned by Wellington’s Council for a departing staff member,

this painting features an instantly recognisable streetscape of the rural
New South Wales town.

FINAL STEP

STEP ONE STEP TWO STEP THREE

I coat my craft board with two coats of I lay down a warm underpaint, using The main subjects are sketched in,
Gesso Primer (rolled by preference). Yellow Ochre and White, so that any using HB pencil. For this work, the
The board needs to be well sealed, to unpainted board (in the final painting) painting will be 2.5 times as large as
give an even finish on the painting. will not look cold. the photograph.

40 A u s t r a l i a n How to Paint
 M AT E R I A L S

‡ &UDIW %RDUG
‡ *HVVR 3ULPHU
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Cadmium Yellow; White;
Cerulean Blue; Ultramarine
Blue; Light Red Oxide; Burnt
Sienna; Burnt Umber. STEP 1
‡ +% 3HQFLO
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Series 900 (4, 8 and 12).

STEP FOUR
The sky is rendered in Cerulean Blue,
White and Cadmium Yellow. In this
painting, the sky is light in tone to
provide contrast with the main
subjects.

STEP FIVE
The mountain is a prominent feature
in the landscape. It is initiated with STEP 2
Ultramarine Blue and a mix of the
above palette.

STEP SIX
Burnt Umber is added to the
Ultramarine Blue to make a ‘greying’
colour for the roofs on the foreground
buildings. Tree images are scumbled
with Burnt Umber stipple.

STEP SEVEN
I paint in the building colours, using
Light Red Oxide, Yellow Ochre and
White; adding Burnt Umber and Burnt STEP 3

STEP 4
STEP 5 STEP 6

MASTER HINTS AND TIPS

‡ 7R DFKLHYH RLO SDLQW UHVXOWV ZLWK DFU\OLFV,XVHWKH
opaque colours … although transparent colours are
appropriate if working with glazes.
‡ :KHQ RYHUSDLQWLQJ ROGHU SDLQW , DGG PDWWPHGLXP
or varnish; or brush old work with matt medium or
varnish and paint over that coating.

STEP 7 Sienna for darker areas. Bold areas are painted in the
foreground and the buildings.

STEP EIGHT
I highlight the trees with Cadmium Yellow (adding some
White); and dry-brush the light road areas.

STEP NINE
Detail and figures are added. Fine detail is done with a
Number 4 Nylon Liner (finer if needed).

FINAL STEP
I sign the work and add three birds (my own distinguishing
feature) before selecting a frame and presenting the painting
STEP 8 to the customer for approval and payment. ■

STEP 9
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Presented by
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 I N S I G H T

Steve Cardno

It’s all about

the Feeling
Ocean art is not so much about its technicalities but rather
it’s all about the feeling of the sea.

S
andgate is a small coastal
town on Brisbane’s northern
outskirts in Queensland. It was
here that artist Steve Cardno grew up
and developed a love for the sea – a
passion which years later manifested
itself in his beautiful seascapes
and environmental art of coastal
Queensland.
Steve’s interest in art began from a
young age. ‘I remember when I was
about 10 yrs old, my parents enrolled
me in art lessons with a talented old
local artist named Harold Shute. His
home studio was stacked with half-
finished canvases, easels, and the smell
of oil paints and linseed oil.’ Steve
recalls how his early mentor Shute’s
passion for art rubbed off on him from
that early age. ‘I also remember how
my early school assignments were all
especially rich with my hand-drawn
illustrations and my teachers would
wonder what I’d come up with next!’
After school Steve attended the
Queensland College of Art from
1977-1979 and studied under many
talented tutors in fine and graphic arts
and animation. ‘I recall how all of
us as students hated having to study
various ‘academic’ subjects when
what we really wanted to learn was
art.’ Together with a few other friends
during his College years, Steve was
given a part-time job working for a
Gouldian Finches
small publishing company illustrating
magazines. ‘I worked also at that

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

Looking to Mudjimba Island

time as a principal contributor to an time – so when a short film was five advice which I was given at College
animated promotional film for the minutes long that added up to a lot of when an instructor told the class that a
Royal Flying Doctor Service which drawing!’ painting is only as good as the drawing
was great fun and experience. During After graduating with honours, Steve beneath it.’ Although Steve trained and
this project I had the opportunity to took on various graphic art, design, applied his skills to commercial art
meet and receive advice from a highly and illustrating roles in the following projects he always felt that this advice
talented Brisbane-based animation years, learning a great deal about the was applicable to everyone practising
artist named Max Bannah. In those printing and publishing industries art and he’s always loved simple
days before computers, all animation in the process. ‘Using computers drawing with a pen or pencil. ‘Another
was done by drawing and painting and graphics programs certainly has valuable skill I learned at college and
individual transparent cells to make up given me wonderful skills which I continued to grow in experience with
the illustrations for a film. We needed can use in various ways for my art’ during later years was in the use of
to do around 12 separate drawings, says Steve, ‘but my first love has the airbrush. These are great tools for
all then individually inked and always been painting and illustrating. certain soft effects and the temptation
painted, for just one second of screen I’ve never forgotten a piece of good can be to use them to excess, but I

Glasshouse Mountains by Moonlight

A u s t r a l i a n How to Paint 45
 I N S I G H T

Mooloolaba Memories

believe they should be used sparingly at the Logan Art Gallery and later have sold to collectors in the region
only to enhance a particular effect.’ displayed his work at the Gallery and beyond. More recently Steve
Whilst privately practising his Beneath – a beautiful and iconic enjoyed exhibiting and selling at the
various seascape themes, in the beachside gallery at Mooloolaba on beautifully-situated Gallery LA51
early 2000s Steve became President Queensland’s Sunshine Coast directed in Brisbane’s inner-city suburb of
of the Queensland Wildlife Artists’ by Claire Torrance. ‘Many art lovers Paddington. ‘I believe Directors
Society and won several awards have benefited from Claire’s keen Laurence Barlow and Belinda Lownds
whilst exhibiting with other talented eye for good art.’ Many of Steve’s have done a great job of encouraging
artists. He held his first solo exhibition iconic Sunshine Coast-themed pieces the region’s artists and creating

The Meeting Place Lorikeet on Agapanthus

46 A u s t r a l i a n How to Paint
 A Rough Day at Alexandra Headland

a highly attractive art-space for

exhibitions.’
I became inspired to paint seascapes
both from my upbringing near the sea
and later from the work of talented
modern seascape artists such as
Byron Pickering, E. John Robinson,
and Christian Reese Lassen. Today,
Mudjimba Island (also known as Old
Woman Island) is recognisable as a
favourite element in many of Steve’s
amazingly colourful seascapes of
Queensland’s Sunshine Coast. ‘I’ve
always been fascinated by this island,’
says Steve. ‘Since as a little boy
my dad would tell me stories about
aboriginal legends associated with the
island. I used to sit wide-eyed as he
would tell me how that long ago, an
aboriginal woman was stranded on the
island and that she would light fires to
keep herself warm during winter time.
After she died, during certain cold
winter mornings, one could apparently
see a column of smoke rising from the
island’s interior where her spirit would
still be trying to keep warm by a fire. I
remember how the island always held
a kind of mystique for me after that.’
Many of Steve’s works are painted
in acrylics, although he is increasingly
also using oils for his seascapes. ‘I
find acrylics are great for their vibrant
colours and quick drying times. Also,

A u s t r a l i a n How to Paint 47
 I N S I G H T

Early Morning Waves at Alexandra Headland

coming from my background of

commercial illustration, they share
some similar qualities to other water-
based mediums such as gouache. I’ve
loved using gouache for my wildlife
art and fine illustration because of its
amazingly rich colour and suitability
for painting fine details.’ Gouache is
a form of watercolour paint except
that it’s opaque rather than transparent
and dries with a flat finish - which is
especially suitable for commercial or
wildlife illustration. Whilst gouache is
resoluble and can be rewetted, acrylics
tend not to be and Steve found them
more suitable for his larger-scale
art. ‘Acrylics are perhaps not the
easiest medium for blending colours
or creating the translucence in ocean
waves – the blending qualities and fast
drying times of acrylics tend to permit
only a short time to achieve the desired
results. This is not a problem however
if one can master the techniques
required to render these effects very
quickly. I invite you to take a look
over some of my art at my website
www.oceanscapes.com.au’
Steve’s love for the sea and coastal
areas extends to the whole ocean
environment as well. ‘I love the feeling
one gets from coastal areas and the
beach – the smell of salty water in the
breeze, the ever-changing moods of the
sea, and the fresh clean air and colours

Snowy Owl
 I N S I G H T

Angry seas at CottonTree

Mooloolaba Morning

of the water. Perhaps only those there in the real place at that moment
who share a love for the ocean can you can remember a special time or
understand this special sensation. This create that emotion. Connecting with
feeling is the essence of what I like to the feeling and emotion of a scene and
capture in my art – and to bring that to appreciate its beauty is to me much
feeling into a home or office - so that more important than the details of its
although you may not be able to be portrayal.’ I

Early Morning Waves at Alexandra Headland

A Heron's Head A Perfect Day at Mudjimba Beach

A u s t r a l i a n How to Paint 49
 D E M O N S T R A T I O N

Acrylics

Painting by
Imagination By Steve Cardno

This piece is by imagination showing the iconic Mudjimba Island off

Queensland’s Sunshine Coast by moonlight. The only reference used was just a
small photograph I’d taken of the island some years ago.

T
his piece began in my work I’ve frequently been required images which may be just an
mind – inspired by the real to produce concept drawings or expansion on the real-life scenery.
scene I’ve so many times fantasy art for various projects and
observed. I paint many of my scenes I think this gave me an interest in
from imagination and in varying developing some of my art into more STEP 1
degrees use my photographs as than just what is there in real life. For this art piece I began with a
extra reference for elements such Whilst I also enjoy painting real- drawing, refined it, and then placed
as this island. In my commercial life scenes I love creating imaginary it into my Artograph projector. I then

FINAL STEP

50 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

STEP TWO

M AT E R I A L S used the projector for quickly and easily for the moon, which was outlined
getting my small drawing enlarged onto with a suitably-sized bottle cap. The
my 1200 x 600 canvas. I feel these moon’s colour is just the white of the
‡ $UWRJUDSK 3URMHFWRU
projectors are a great way to easily get a canvas. Next I used an airbrush to
‡ &DQYDV 3UHVWUHWFKHG
hand-drawn piece of concept art enlarged add a subtle glow around the moon.
canvas 1200 x 600
onto a canvas or larger area without
‡ %UXVKHV 0L[WXUH RI IODW
the hassle of having to trace or re-size
and round brushes. STEP 3
smaller art by more traditional methods.
‡ 3DLQWV $WHOLHU :LQVRU
Then I painted the clouds along with
1HZWRQ 6FKPLQFNH 0DWLVVH
some highlights to portray the moon’s
² &RORXUV STEP 2 glow. For the clouds I used a small
Ultramarine Blue
I used a long ruler to draw my horizon house-painting brush with strokes
Cerulean Blue
line across the canvas. Following this I in differing directions to create their
Yellow Ochre
used low-tack masking tape (available softness and randomness. They were
Burnt Sienna
from Bunnings) along the horizon created using a mixture of Payne’s
Burnt Umber
line to paint the sky against, which Grey with a dash of Cerulean Blue,
Forest Green
left a nice straight marker between then simple white on a dry brush
Payne’s Grey
sea and sky. I then painted in the sky for the first stage of highlights. The
0DUV %ODFN
using a mixture of blues with a dash masking tape was then removed
Titanium White
of black - in this case leaving a circle leaving a perfect horizon line.

STEP THREE

A u s t r a l i a n How to Paint 51
 D E M O N S T R A T I O N

blend into a white mass where the

foam and waves meet and those in the
foreground are wider and further apart.

STEP 6
I then drew the island over the painted
background using dark green and
brown to indicate the foliage and
rocky areas. After this was dry I
added more highlights to the clouds
and dotted in the stars, again using
Titanium White and a fine brush. I
STEP FOUR
proceeded to thicken up the white onto

STEP 4 where I used a larger brush to sweep

I began on the painting’s lower half across the canvas in broader strokes.
with the beach. I made the sand Whilst the paint was still wet I took a ARTIST’S
two-tone using a mixture of Yellow smaller flat brush turned slightly on its
Ochre and Burnt Sienna colours and side to drag through the sea colour to HINTS AND
blending them to create the crossover create the few waves which are there.
between the dry and wet sand. This Adding in the foam and sea wash
TIPS
darker wet sand stretched underneath over the sand and water not only
the foreground sea wash. I also represents the reality of the beach but ‡/DUJHIODWEUXVKHV,ILQGEHVWIRU
used a mixture of Ultramarine Blue helps to form the connection between large areas of colour such as sky
and Cerulean Blue for a base coat shore and sea. Titanium White was or the base coats for water. I tend
for the water. I often use an acrylic used for the wash with a small No. 4 to hoard old brushes as I’ve found
retarder when doing waves and round brush. Painting this type of sea them very useful sometimes for
areas where I need maximum drying wash or foam needs for a recognition creating various dry-brush effects.
time in order to blend sea colours. of perspective and direction. If one’s Generally speaking I find flat
viewpoint is the centre then the wash brushes of differing sizes the
needs to appear to flow backwards from best for water effects and smaller
STEP 5 the centre of the painting. In regard to round ones ideal for finer effects.
Then I used the same mixture of perspective, the zig-zags of the wash For example, I use smaller
Ultramarine and Cerulean Blue with and foam become closer together the house-painting brushes for
a tinge of black to further create the further away from the foreground ‘feathering’ cloud effects in the
sea and its deeper shades. This is they get. Those at the rear eventually sky. When I’m painting wildlife
with gouache paint I like to use
smaller round Taklon brushes
because I find them very flexible.
‡,ILQGDQDLUEUXVKYHU\XVHIXOIRU
creating small soft effects like this
when using acrylics since their
blending qualities can be quite
limited due to how quickly the
paint dries. Airbrushes are great
but are a high-maintenance item
which need constant cleaning to
keep in good working order.
‡2QHDGYDQWDJH,ILQGZLWK
acrylics is that you can easily
add effects or elements soon
after completion because
STEP FIVE the paint dries so fast.

52 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

the foreground sea foam and wash to

accentuate the moon’s glow where its
shine comes across the water in the
foreground. Also added in a few more
stars and highlights in the water.

FINAL STEP
Finishing step. The final step was to
add highlighted areas to the green
to suggest the moon’s glowing light
across the island. I used a fine round
brush to paint in the foliage and
also add the highlights. I decided to STEP SIX
add a reflection of the island in the
water to suggest a calmer and more
serene image. This was something I imaginary night. I put a thin line of piece. I wanted to create a piece of
had envisioned in my original rough Burnt Umber under the sea wash in art which was based on the real-life
concept but was not sure until the the foreground to indicate the shadow scene but also with an added feeling of
very end that I was going to add it. which the light would cast across the mystique and quiet serenity about it.
I dragged my brush through the sea water’s opaque areas. I mixed some
over this part to indicate subtle ripples Payne’s Grey and used a smaller flat For further info on my art
in the water and add to the effect of a brush to illustrate the moon’s features please see my website
serene calmness in the water on this and this was my final touch on this www.oceanscapes.com.au I

’
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A u s t r a l i a n Ho t Paint 53
 I N S I G H T

Pauline Roods

The Butterfly Emerges

After being told she had no artistic talent by her high school art teacher,
Pauline turned to other interests, and it wasn’t until years later that she
re-engaged with her artistic side, and, as she explains, her creative
personality began to emerge, like a butterfly leaving its cocoon.

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

M
y art career mainly grew
alongside my children.
That’s not to say I wasn’t
interested in art. I still have pictures
I drew when I was 10, so my interest
in art began at an early age. But other
interests became my focus, I put this
down to the fact my art teacher in
Year 8 at high school told me I had no
understanding of art and should pursue
other interests. Life took over and my
interest in art was packed in storage.
When my children were born my life
slowed down and I began to see the
world in a more refined way. I enjoyed
introducing my children to the world Comissioned Portrait
around them, but then I also became
aware of things I had previously Below Tacking Point Light House
overlooked. I began to see fine detail,
the reflection of light, the depth of
dark, shapes and colours.
A love of the Australian bush was
instilled in me by my parents and I
intended on infusing this same joy
into my children, so on our bush and
beach walks we would collect feathers,
shells, and other gifts Mother Nature
would leave for us. I began sketching
my treasures. Finally after having
lain dormant for so long, my creative
personality began to emerge, like a
butterfly from its cocoon.
I ventured into the world of paint
by attending a local weekend folk art
course, which taught me the basics of
acrylic painting. It was also a great
place to learn brush strokes, colour
blending and how to hold my paint
brush correctly. After that weekend,
I was off and painting, there was so
much to catch up on, I painted on
everything, and my husband was
worried if he stood still too long I’d
start painting on him.
My style emerged and my
confidence grew; I started entering
art and craft competitions and
began receiving awards and
commendations. After entering a
Family Circle competition I was
chosen as the NSW state finalist
in its craft and painting category.
I didn’t win, but was asked by
a couple of Australian national

A u s t r a l i a n How to Paint 55
 I N S I G H T

King of the Bush Molokai

publication magazines to exhibit other mediums; I still didn’t feel I only dabbling and experimenting. My
works in their magazines and to was an artist. main distraction was the same as most
create projects for their readers. One So I signed up for weekend art young families, my spare time was
feature was a 4-page spread on a courses, a water colour course which needed by my family and children, the
hen and chicken series. It was at this introduced me to painting on paper, “me time” was not a priority. I’m sure
time I became aware of my love of then a mixed media course, which you can all relate to this!!
painting Australian flora and fauna. opened up a magic world of endless In 2000 I enrolled at our local TAFE
But I wasn’t happy to just stay with painting possibilities. Even though my in the Fine Arts Certificate I-IV/
folk art, I felt I wanted to explore painting style was evolving I was still Diploma Course, and, with the support

After Aundre Derain Octopus' Garden

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

and encouragement of my husband and

three sons, I spent the next three years
blissfully learning everything about art.
Finally I was going to become an artist!
I was like a sponge. I learnt everything
- history, life drawing, photography,
sculpture, painting, printmaking and so
much more, and with this new found
knowledge, my confidence grew. Magpie
My TAFE teachers were nothing like
my high school art teacher, they were
so encouraging and I hung on every
word. “White is not pure white, when
you paint white it absorbs and reflects
the colours around it”, said Pav, one of
my teachers. I began to look at classic
paintings and masters differently. I was
firstly impressed by the Flemish still
life artists, the detail was so careful
and intricate, capturing a moment in
time, like a photograph. Then Frida
Kahulo for her emotive story and fine
detail of her paintings, and Salvador
Dali and the interesting dream-like
twist in his paintings, and I realised I
liked the story and detail of a painting.
During this time I was a finalist in
the 2001 and 2002 TAFE, State and
National Fine Art awards. I exhibited
works in group and solo exhibitions,
entered local art competitions and have
a book full of awards and achievement
certificates. I was also commissioned
to paint art works for private and Comission - RAR Platoon Brisbane
cooperate art collections, both in
Australian and overseas. In 2003 when
I graduated from TAFE, I had diaries
full of my three years as a student and
a head full of ideas.
My art works were becoming more
popular, and commissions and entering
the odd art competition kept me painting.
I had drifted back into my old habits and
other priorities were taking the place of
time with my art. Then in 2012 with my
sons now in the adult work force I found
I suddenly had more spare time, so at my
husband’s encouragement I dedicated
one full day a week to my art. I treated
it like a job. I would enter my art studio
(son’s converted bedroom) at 9am and
would be committed to painting until
5pm. This has worked marvellously; I 4 Hello Koalas Sculptures
was painting and selling my works, I

A u s t r a l i a n How to Paint 57
 was a calmer happier person. “I think
I’m an artist!” … well maybe.
In 2013 I submitted works to the
Hello Koala Sculpture Project, in
Port Macquarie, NSW. This project
asked artists to submit designs for 50
x 1 metre high fibreglass koalas that
were going to be placed around my
home town of Port Macquarie and the
surrounding districts, and this would
become a walking trail to attract
tourists and promote local businesses.
I was chosen by four different
companies to paint the koalas they
had sponsored. This has kept me busy
for the past nine months, culminating
with a media launch on 1 September.
The Hello Koala Sculpture Trail has
launched my art works into the public
forum in ways I had never imagined.
My style has been described as
botanical/mixed media, I have settled
into painting and discovering the unique
Australia landscape and wildlife, and
Approaching Storm recently I have branched out into
portraits. I have also gone back to
Town Beach Aquarium studying the art masters. Andre Derain’s
influence on Fauvism has intrigued me,
the use of colour reminded of my TAFE
teacher, Pav, and his lesson on white,
well it’s not just white I see differently
anymore! I now see all colours
differently, they are a creation of their
surroundings and external influences.
I have become popular for my marine
art works and portraits. Currently I am
catching up on my painting commissions
for Christmas, and preparing for an
exhibition next year. I think I can safely
say I have finally achieved the status of
artist!! . . . But actually in hindsight, I
think I could have claimed that title in
the beginning, regardless of what I was
told. “Follow your dreams and beliefs!”.
. . Be a butterfly!! . . .

Pauline can be contacted at:

Pauline Roods Paintings
Mobile: 0419 408 426
Facebook: Pauline Roods
Paintings Page
Email: paulineroods@bigpond.
com I

58 A u s t r 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

Acrylics

Birds of a Feather
The object of this painting is to create the backdrop of a misty
eucalyptus forest, pushing the main subject forward,
and giving more dimension to the painting.

By Pauline Roods

M AT E R I A L S

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62 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

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A u s t r a l i a n How to Paint 63
 0 5 : 0 . / ;

Michael Jones

,IFELONG 0ASSI Contributed by the Artist

This amazing man takes great pleasure in discussing his devotion to art …
and the fascinating journey he is enjoying in an endless pursuit of creativity.

M
y name is Michael Jones. To Presently I am living in Maroochydore position as it allowed me to travel back to
my friends and throughout on the Sunshine Coast of Queensland Broken Hill on many occasions.
my life I was always (and with my lovely Chinese bride of six After October 1998, I was pensioned
probably always will be) ‘Jonesy’. In years, who is a wonderful artist in her off from the Police due to being ‘hurt
the immortal words of Spike Milligan, own right. Previously I was a bricklayer on duty’ during an accident in a high
“I was born at an early age.” for about 13 years; then I joined the New speed pursuit, so now I am a pensioner.
My birthplace was Macclesfield, South Wales Police Force and performed The good thing which came out of all
Cheshire, in the North West of England; many and varied duties. I rode a police of that was being able to pursue my
not far from Manchester, but in the motorcycle for over three years; I was the lifelong passion: Art!
countryside. I came to Australia in May District Community Relations Officer in Artistically, I am passionate about the
1968 (aged 12) with my sister Carole Broken Hill for a couple of years; I was Australian Outback. I really love that
and parents Doug and Joan. Dad was a in charge of the District Court Security at laser-like light which is found
bricklayer, then a builder, so that’s the Campbelltown for a couple of years; and ‘out bush’.
trade I was pressed into. I thank him for finally I worked as a Police Prosecutor,
dragging me to work with him; it has travelling the Western areas of New I M P O RTA N T M E N TO R S
stood me in good stead. I have saved a South Wales filling in for the permanent I mentioned that I worked in Broken
lot of money in building my houses. prosecutors … I really enjoyed that Hill. During a visit to the city in 1988,

64 A u s t r a l i a n How to Paint
 0 5 : 0 . / ;

I had a chance introduction to Pro Hart the Toyota 4x4 ute. We would head still messy, but they were instant! This
and family and the next year (when straight out past Silverton and on to was what I had been missing, with the
I moved to Broken Hill) I looked up ‘Eldee Station’, run by Naomi and long drawn-out drying period of oils.
Pro and rented out one of his houses. Stephen Schmidt – about 35 minutes I was becoming frustrated with that
It was the ‘dome house’ on the corner from Broken Hill. We would stay medium and lost the impetus I required
of Chloride and Thomas Streets. Pro in the shearers’ quarters and paint to finish a piece of work.
and I became friends. He saw some all weekend. It was here that Clark After I had used Phil’s pastel set for a
potential in my drawings and gouaches gave me my ‘night eyes’. When week or so, I took half a dozen finished
and assisted me by selling my work in the sun was going down, he started works back to him. He framed them
his gallery ‘The Anthill’ which was run the generator to the shearing shed and sold them in his gallery.
by his sister Margaret Hyde (who I also and turned on some of the lights … It was just around this time when I
owe a debt of gratitude to). wow, what an image that was, like a met another artist, Peter Browne from
I spent many evenings in Pro’s studio, cathedral lit up; and so many different Silverton (about 39 dips in the road
engrossed in conversation which went colours emanating from it … so Clark from Broken Hill). I showed some
off in tangents, typical of Pro’s style. lit the gas light and we set up the of my pastels to Peter. He also loved
Also typical of his hospitality, he would painting tables, and put out the paint my work and immediately took me
make us both coffee with his ‘Bamix’. on the palettes. That was it. I was an down the road to the ‘Horizon Gallery’
Great memories. Anyway, I had entered ‘Outback’ artist and I was hooked! and introduced me to Mark Albert
into the inner sanctum of one of Although Monday to Friday was Woodroffe and his wife Bronwen. They
Australia’s art icons and I was totally in spent dressed up in a suit and tie, also loved my work and started to
awe … just absorbing everything around answering to ‘His Worship’ the exhibit my pieces in their gallery.
me in those cluttered surroundings, Magistrate and asking tough questions When we got back to Peter Browne’s
amongst some of the greatest paintings of some miscreants, come Saturday gallery, he invited me next door to
ever to grace our shores. and Sunday it was into the painting his house for a cuppa. We discussed
Another of my mentors in Broken gear and off ‘out bush’, staying in the numerous arty things. In the end, he
Hill was Clark Barrett, an American shearers’ quarters of properties like asked me what kind of pastels I used
(born in Nicaragua) who lived all over ‘Mt Woolwoolhara’, ‘Gum Park’ and and I told him that they were borrowed
the world as a child of an American ‘Sunnydale’. from Phil Jones.
ambassador. He came to Broken Hill Peter disappeared for a couple of
to teach high school in 1975. Clark THE MEDIA SEARCH minutes and came back holding a
took me under his wing and we are still I painted in oils for many years and large wooden chest with ‘Rembrandt’
great friends after 20 years of painting had a modicum of success, although I embossed on the lid. “Here, ’ave a go
together. Clark introduced me to ‘en found oils to be somewhat messy and at these.” He opened the lid and slid
plein air’ painting and the way of smelly; so I also used gouache, graphite out three draws full of beautiful sticks
expressing the light, especially at night. pencils, coloured pencils and ink pens. of pastel, which were unused. “You can
Picasso said, “You don’t become an In 1989, I moved to Broken Hill and have these if you swap me one of your
artist … you are one.” met another Jones. Phil was his name paintings.”
If you think about it, that is very true. and he ran a local gallery and framing That was the start of another great
Well, it is for me. business. He persuaded me to borrow friendship. It wasn’t long after gaining
I have painted for as long as I can his own pastel set and “Give ’em a go!” the Peter Browne pastels that I started
remember, but the defining moment I found pastels to be very to have some more success and
for me was meeting Clark Barrett. He accommodating to my style. They were exhibited in some more local galleries,
really opened my eyes to the use of
and the mixing of colours; and subject
matter and light.
After I moved away from Broken
Hill (back to the Southern Highlands
of New South Wales to begin my
duties with the Prosecution Branch), I
had to travel from time to time around
the District and back to Broken Hill
– sometimes for up to three weeks
at a time. I would ring Clark and let
him know which flight I would be
on; always on a Friday afternoon.
He would meet me at the airport,
with the painting gear in the back of

A u s t r a l i a n How to Paint 65
 0 5 : 0 . / ;

one of which was the ‘East End I used to exhibit in quite a few and the boiling of Billys; cooking
Gallery’ run by Elizabeth and Clark galleries dotted around New South pots and camp ovens. I am finding the
Barrett. Clark was also a pastellist; Wales and a couple in Queensland. scope for this series is endless. I have
he and I hit it off immediately. He I even won a competition once, in many photographs of camp fires with
introduced me to Matisse ‘Flow 1992. It was the ‘Brush with the Bush’ different Billys and ovens and pots;
Formula’ acrylic paints, which I have competition and the first prize was I don’t think I will ever run out of
used since 1989 – on paper or board or $500. All the paintings were hung on material. When I finish a new painting
stretched canvas. the trees at Tahmoor’s ‘Wirrimbirra and bring it up into the house to show
Sanctuary’. I won with a small $350 my wife, she says, “Well, having that
THE SUBJECT painting called ‘Sunday Arvo’ depicting in the lounge sure cuts down on the
M AT T E R S a family picnicking and swimming at heating bill.”
I don’t have any particular favourite the river. When advised of the win, I
subject. I enjoy painting, full stop. But immediately put ‘NFS’ on the painting A F F I L I AT I O N S
I try to vary the things I paint. I think and collected the cheque. Needless Recently an artist friend of mine
that the subject is secondary to the light to say, the painting went on sale at a Shane Gehlert (a Broken Hill guy)
and the effect and the emotion which it gallery the next day for $550, proudly and I were talking about attending a
evokes in a viewer. displaying the winning certificate – and life drawing group. We came across
There are a few idioms which I it was sold promptly. a gallery in Eumundi, just up the
employ when I am painting. Edgar More recently I have collected art road from both of us. It is run by the
Degas said, “I don’t so much paint what competition application forms, only lovely Katie Ransom; called ‘Ransom
I see, I paint what I want other people to watch the deadline dates come and Gallery’. Katie conducts a weekly
to see.” When I am painting there are go. I would love to enter some of the drawing group with live male and
these mantras running through my competitions which are around these female models. We have been a few
thoughts which, in effect, steer me in days (there are so many and the prize times; the group is mixed – both
a certain direction or (more correctly) money is really very good), but you gender and expertise – and it is a fun
make sure that I don’t go down the have to be super organised to do it and night with great music and a very
wrong direction. Something like a that’s not me, I’m afraid. relaxed atmosphere.
painter’s GPS. The Australian Outback is the I am also one of the proud ‘ute
Having said that, I do enjoy painting major player when it comes down to artists’ – these are a great bunch of
the Australian Outback and all it inspiration. Just about everything one guys and dolls. Although we painted
encompasses. After living in Broken would come across on a bush trip can our ‘utes’ individually and at different
Hill for a few years and travelling many find itself onto one of my canvases. times, when we eventually all got
kilometres of dirt, the dust gets in your For instance, presently I am painting a together we found an affinity with each
blood and … well, I just love it! series of images depicting camp fires other because of the common bond. I

66 A u s t r a l i a n How to Paint
 0 5 : 0 . / ;

am looking forward to our exhibition while. Eventually we woke up and the Clark’s wife Elizabeth came out to stay
together in October in Katoomba, New girls prepared an evening meal while a night and then take the ‘children’ back
South Wales. I am really quite proud of Clark and I walked downtown … if to Broken Hill to prepare for Emma’s
the images which I produced on the old you could call it a town. A few houses, birthday.
1956 Holden ute, part of the ‘Utes in a shop and pub and a service centre; Clark and I stayed on for another
the Paddock’ project at Burrawang West a post office and a pool which didn’t night’s painting, then packed up and
Station near Ootha. My contribution have any water in it. We scouted for left for Broken Hill. On the way back
was a tribute to Indigenous stockmen. possible painting sites, and got back we stopped off at a property called
The main image was one which I had to the dugout just on sunset. We ate ‘Cootawundi’ on the Wilcannia Road.
painted before (sold to a boutique hotel a hearty meal of spag bol and garlic We arrived about noon and made
in the Sunshine Coast hinterland). The bread. We lived well on those trips. ourselves known to the manager and he
project was featured in Artist’s Palette After tea we put the painting gear directed us to the shearers’ quarters.
magazine Issue 72. in the truck and headed for ‘town’. “Sorry, I haven’t cleaned them for a
I haven’t had any artistic disasters, as We set up at the end of the main while, we ’aint shearing for another six
such; but many artistic adventures. I’ll drag, facing Turley’s Hill. Clark lit months,” he said.
share a couple here. up the gas light and we started to He was right. They looked and
paint the lights of the pub and the smelt like they had never been
C O O TAW U N D I B E A C O N beautiful orange light-rendered areas cleaned. Anyway, we set up camp
About January 1999, whilst I was living surrounding the street lights. Any in the 50 degree C heat. We dragged
in Broken Hill, Clark Barrett and I were vehicles which ventured downtown the old shearers’ beds with the kapok
going on a painting trip to White Cliffs. were quickly sketched in and notes mattresses onto the veranda, set up
My three daughters (April, Emma and were made of how the headlights the mossie nets and got the shower
Amy) came to visit me from Sydney looked and what they shone onto. working; and then cooked some
and Clark’s two daughters (Andea This went on until the early hours of afternoon tea. We scouted the property
and Taylor) came as well. We played the morning when the publican turned for painting matter, did some sketches,
numberplate cricket on the three hour off all the hotel’s outside lights. We took some photographs and later on
drive to White Cliffs from Broken Hill packed up and got back to the dugout, painted some nice night scenes. By
and the temperature was soaring – to find our kids (well, they were almost leaving some of the lights on around
about 53 degrees C – when we arrived young adults) were playing hide and the quarters, we created some great
at the door to ‘Churchie’s Dugout’ on seek in the complete darkness of the images – painting into the early hours
Turley’s Hill, White Cliffs. dugout. You couldn’t see your hand in of the next morning.
We unpacked the Toyota and went in front of your face, it was so dark. A bite We slept until about 9.00 am when
for a snooze in the cool (22 degrees C) to eat and back to sleep again; probably the heat woke us up; then found some
of the white stucco walls and ceiling by daybreak. Only to do the same thing shade and painted the sheds until early
of the dugout. We all slept for quite a again for the next three days, until afternoon. After a bite to eat and a

A u s t r a l i a n How to Paint 67
 0 5 : 0 . / ;

snooze, we packed up about 4.00 paint what we were witnessing at that would love to have a yarn about your
pm. We stopped off at the manager’s moment. What a great image! paintings, out there.”
residence and had tea with him and his While painting in the change room,
missus. The farewells were said. THE GETTING OF I was listening to Rolf doing his gig.
Driving away, we got about ROLF’S WISDOM Sure enough, after everybody had left,
200 metres from the homestead I was painting a commission, a series he and I walked around the walls of
when something caught my eye in of five paintings for the ‘Wool-Away’! the woolshed and chatted about my
the rear vision mirror. What a sight woolshed restaurant in Picton, New paintings. Rolf was giving me some
it was to behold! South Wales. One of the paintings was really good advice about where I could
I stood on the brakes and skidded a mural 4800 x 2400 mm painted on improve the tone here, and which
to a halt in a cloud of dust. I let out a four 2400 x 1200 mm MDF panels, colours these should be, and so on
sharp “Whoa!” which I had to prop up in one of the … we swapped some great anecdotes
Clark was shaken up. back rooms of the restaurant whilst about the Outback.
“What … the?” I painted it. I had half finished this The next day, Rolf was doing
“Turn around, mate and look at that painting, which depicted the inside another matinee and I was again
behind us!” I said. of the woolshed with all the coloured in the back room painting. At the
With that we both jumped out of lights and the band on the stage and intermission, Rolf came into the
the truck and ran to the back and just some cartoon sheep (dancing and change room and insisted that I
stood there in awe, with our jaws cavorting to the music). go out to the front and watch him
dragging on the ground. We looked at I went down to the woolshed one complete one of his ‘large brush’
each other, then back at the homestead day to continue the work. In through paintings, which was most impressive.
– which was lit up like a beacon with a the door to the room where I was After the gig I grabbed my palette
phosphorous flood lamp. It looked like working walked an entourage of and proceeded to make the slight
the ‘Milky Way’ emanated from out of people … along with Rolf Harris. You alterations to the painting on the wall
the roof. could have knocked me down with which Rolf had advised the previous
“That … has GOT to be painted!” a feather. Here was one of my idols, day. Rolf was impressed that I had
Clark said. who I had grown up watching on listened to him and acted on his
We were heading back for my television. Restaurant owner Harold advice. To show my appreciation, I
daughter’s birthday, but we both introduced me to Rolf. presented Rolf with two of my small
agreed that the day after we would Rolf said, “Gee, I like your work. pastels depicting Aboriginal children
be straight out to ‘Cootawundi’ to After I have finished today’s gig, I playing in the sand.

68 A u s t r a l i a n How to Paint
 0 5 : 0 . / ;

Rolf showed great respect for my fantastic oil painter; and Eris Fleming, all my colours out on the palette …
work and, as the true gentleman he is, because of his irreverent style and the same colours in the same place
graciously received them. So now I dry ‘bush’ humour. I also admire Tim on the palette, every time. As I use a
can say that Rolf Harris has my work Storrier’s paintings because they are limited palette of colours, this is quite
in his collection. ‘out there’. a simple process for me and it quickly
During 2008, my wife and I took gets me in the ‘zone’.
COLLECTIONS a trip to Europe to explore the many My limited palette consists of
In my personal collection, I have famous galleries and museums in Matisse brand ‘Flow Formula’ paint.
some large pieces – mainly because London, Paris, Rome, Florence, Placed on a polystyrene meat tray,
they are too cumbersome to move Venice, Athens and Berlin. We spent from the one o’clock position: Burnt
around from gallery to gallery. I have 12 hours in the Louvre, from 9.00 Sienna; then clockwise around the
learned that lesson: Don’t paint too am until 9.00 pm. A similar amount palette, Hookers Green, Cadmium
large! Often I keep my paintings for of time was spent divided between Red, Magenta, Cadmium Orange,
a while to study them; sometimes L’Orangerie and Musee d’Orsay, Cadmium Yellow, Antique White,
they need adjustments here and there. where we were both enthralled by the Cerulean Blue and Cobalt Blue.
Then they go to galleries – either out Impressionists. Standing in front of From these colours, I mix every
at Broken Hill, or Silverton, or here in Michelangelo’s ‘David’ and ‘La Pieta’ colour I need.
Queensland. I have a small collection were extraordinary moments, and Another habit which I touched on
of other artists’ work which I swapped being able to stand so close to Monet’s earlier is grabbing and using quotes
during my time living in Broken Hill. ‘Water Lillies’ murals in L’Orangerie from famous artists. Some of these
A few famous people have was breathtaking. include: “Big brush, large strokes,
collected my work, over the years: Closer to home, whilst training to don’t get bogged down in the detail,”
Pro Hart, Raylee Hart, Kym Hart become a Prosecutor in Police HQ, I from Clark Barrett (this needs to be
(artist), Peter Browne (in his used to walk up to the Art Gallery of repeated in the mind, when painting
words, the ‘second best artist in the New South Wales during my lunch outside). Another one from Julian
west’), Shane Gehlert (artist), John breaks and just stand and stare at some Ashton is “We don’t teach people how
Fahey MP (former NSW Premier), of the Heidelberg school paintings to draw here, but we do teach people
Ian Armstrong MP (former NSW by Arthur Streeton and Tom Roberts. how to look!”
Deputy Premier), Peta Seton (MP for These artists really inspired me. John Singer Sargent, was once
Southern Highlands), NSW Police I have conducted workshops asked by a student in his watercolour
Force (Goulburn Academy Chapel), in the past and given painting class, “How do you paint good water
‘Where Waters Meet’ (boutique demonstrations. I painted at the colours?”
hotel, Bellthorpe Qld), Revesby RSL Adelaide show one year. I also painted He replied, “You have to paint
(portrait of a past president); as well on the Matisse stand at the Sydney thousands of bad ones first!”
as many tourists from Japan, China, Easter Show. I quite enjoy passing And brilliant portraitist Dave
England, America, Germany France, on the knowledge which I have Thomas is renowned for saying, “You
Italy, Singapore and Indonesia. At benefited from over the years … it don’t paint the object, you paint light
the present time my art can be found is also a means of re-enforcing my hitting the object!”
mostly in the ‘Tree Frog Gallery’ at own mantras.
Maleny; ‘Art on Argent’ in Broken THE GRAND PLAN
Hill; and ‘Peter Browne Galleries’ in USEFUL HABITS Ultimately, I would like to have my
Warren and Silverton. One of the many things which I have paintings on the walls of average
absorbed over the years from reading Aussies.
M O T I VAT I O N A L numerous art books and articles, and I think that people can identify
INFLUENCES listening to other artists, comes from with my images and that they evoke
I feel lucky that I can count some of the book ‘Drawing on the Right Side reminiscent feelings of more leisurely
the most talented artists in Australia of the Brain’ by Betty Edwards. She times or of camping holidays or a
as my friends. They include art explains that you need to prepare your more romantic Australia … of drovers,
teacher Clark Barrett, because I have brain in order to draw and paint. To do shearers, swaggies, and the like.
learned so much from him; wonderful this, you need to switch hemispheres At one time I had visions of the
scallywag artist Peter Browne, now – from the left (or ‘logical’ side) to the grandeur of owning my own gallery,
living in Warren, New South Wales; right (or ‘creative’ side). To do this, but I’ve been there and done that
Alpaca breeder Shane Gehlert, the you should perform some kind with ‘Red Door Gallery’ in Derby,
painter of ‘Roboroo’ (a chrome of ritual. Tasmania … and I have come to the
kangaroo) and his chrome nudes; The way in which I do this, is conclusion that artists should paint
my sister Carole Elliott, pastellist firstly prepare my canvas – by and gallery owners should sell the
extraordinaire; my wife Sushu, a coating it with red gesso. Then I place artists’ work. O

A u s t r a l i a n How to Paint 69
 D E M O N S T R A T I O N

Acrylics

"ILLY´S "OILE By Micha

A master of the acrylic medium describes in M AT E R I A L S

careful detail his technique for creating this
‡6WUHWFKHGFDQYDV
glowing work of art … with realism that makes ‡$UWLVWV·TXDOLW\DFU\OLFSDLQWV
‡$UWLVWV·EUXVKHV
it almost too hot to touch.

IMAGE ELEVEN

70 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

IMAGE ONE IMAGE TWO

IMAGE THREE
IMAGE ONE
I chose a 16 x 12 inch stretched canvas, from ‘Highly Strung’
Picture Framers of Eumundi in Queensland, which I primed
with a liberal coating of Red Ochre Gesso. Using a white
charcoal pencil, I drew in my guide lines. The canvas was
placed at my work station, with my reference photographs.

IMAGE TWO
I started the sky: Some Cerulean Blue and Antique White, with a
touch of Magenta to make a lovely mauve, using a large ‘Teklon’
brush with strokes from one side of the canvas to the other,
bringing the mauve down to three-quarters of the way to the
horizon line. Then using white with a smidgin of Magenta, and IMAGE FOUR
again with the broad strokes from side to side, I started from the
horizon line dragging this pink up to blend in with the mauve.
I mixed a little Cadmium Yellow with Cadmium
Orange and white. Starting at the horizon line, I carefully
blended that up into the pink – but not as far as the
mauve this time (otherwise I would get a grey).
The horizon colour for the land was the same mauve mix
as the sky, but with a little more Magenta and some Hookers
Green to kill off the Magenta. Starting on the horizon line,
I brought it down the canvas to meet the tree line.
To get the dust line, I simply smeared a line of
Cadmium Orange on the horizon line itself; then using
a dry brush (from side to side in broad stokes) I blended
the dust line into the sky and land at the same time. IMAGE FIVE

IMAGE THREE
With a 12mm wide flat brush, I mixed the background dark:
Magenta, Cerulean Blue and Hookers Green – with a bias
towards the Magenta to get a nice ‘chocolatey’ brown. Using
a ‘cross-hatching’ brush stroke, I pushed the paint around to
create the silhouettes of the trees and rocks. Whilst the paint
was still wet, I got the corner of a damp rag and wiped away
areas randomly – exposing the underpainting – thus creating
the basis of rocks surrounding the campsite. This gave the
rocks the appearance of reflecting some of the fire light.

A u s t r a l i a n How to Paint 71
 D E M O N S T R A T I O N

IMAGE SIX IMAGE SEVEN

IMAGE FOUR IMAGE SIX some of the ash onto the darker ash
Here I added a touch of Cadmium I mixed a little Magenta into some mix, making sure to leave some of
Orange and a smear of white to the Cadmium Red, and placed this at the darker colour showing through
background mix to get a highlight the extreme edge of where I wanted (and alongside) the lighter ash.
colour, which I used in defining the the fire to penetrate. Just abstractly,
tops of the bushes in the background I put this mix here and there where
and the reflected light from the I wanted a little coolness to the fire. IMAGE EIGHT
sky. Then I took some more of Then with some pure Cadmium I mixed some Cadmium Yellow into the
the background colour and added Red, I filled in the gaps around the Cadmium Orange and ‘coloured in’ the
Cerulean Blue and a little Hookers blobs of cool red – until there was no base of the flames, making sure to keep
Green, making this a blue bias, and background colour in the fire zone. some of the previous colour showing
then blocked in the logs on the fire next to the new brighter colour; and
and the carbon encrusted Billy. following the same principal I added
IMAGE SEVEN this brighter colour to the ‘hot spots’
With some of the cool red mix, I put in the fire zone. Then with some
IMAGE FIVE some reflections in the Billy. With Magenta and white, making a pale
By adding a little white to the blue some Cadmium Orange added to pink, I had a look at where the edges
bias dark which I made for the logs, I Cadmium Red, I picked out some ‘hot of the coals were in the fire zone, and
was able to get a great colour for the spots’ in the fire and built on these … outlined these with the pale pink –
first coat of the ash on the burning logs also creating some flames with this forming small pockets of ‘hot’ coals.
… so I roughly placed this around, ‘firey’ orange. I added a little white I kept refining this until it looked
using a 12mm flat brush again. into the ash mix and highlighted realistic. It can be surprising how this

IMAGE EIGHT IMAGE NINE

72 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

starts to come alive … just balance the IMAGE TEN

lights and the darks in the fire and the
reflected light this will give off, touching
just about everything in the vicinity.

IMAGE NINE
I blocked in the Billy lid with some darker
mauve than the sky colour; added some
more white to the lightest ash mix, and
gave that part a tweek (to brighten it up). I
put some Cadmium Red with that new ash
mix and had a look at where the fire would
reflect onto the ash on the logs, and just
gave them a quick flick of that pinky grey.
Using the blue bias dark mix, I blocked
in the Billy lid handle. With the same
mauve as the Billy lid, I gently gave all
the exposed rocks and some of the closer
bushes a lick over the top edge (using a
small rigger brush) to reflect the sky again.
IMAGE TWELVE

IMAGE TEN
I finished off the Billy lid by putting in
the reflections from the fire on one side
and the reflections from the sky on the
other side (using a weaker mauve than
the sky). I painted in the Billy handle
using the blue bias dark, with the fire
reflecting on one side and the sky on
the other; then did the same with the
connection to the side of the Billy.

IMAGE ELEVEN
The Finale. I just generally tweeked the fire
a bit more; added some coals at the side
and front; and put in a few wafts of smoke.
I sometimes like to have fun with
IMAGE THIRTEEN
some sparks, which are quite easy to do.
Small tadpoles of Cadmium Red, then
just add a ‘decreasing in size’ tadpole
in brighter and brighter oranges, then
yellows, until the last dot is Cadmium
Yellow and White. Voila! A spark.

IMAGE TWELVE
My humble workspace.

IMAGE THIRTEEN
The Palette (with an added colour, Raw
Umber, which I don’t ordinarily use –
but it was used unmixed in a previous
painting to match a frame colour). O

A u s t r a l i a n How to Paint 73
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82 Artist’s Drawing and Inspiration