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Artist's Palette

Artist's Palette No 169

Artist's Palette is the perfect magazine for the aspiring and accomplished artist alike. Provides insights on, as well as step-by-step demonstrations from, Australian and international artists. Featuring the latest in news, reviews and products from the art world as well as exhibition previews and reviews. Artist's Palette is sure to stimulate your artistic sense.

Les mer
Land:
Australia
Språk:
English
Utgiver:
Sunray Publications Pty Ltd
Hyppighet:
Bimonthly
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7 Utgaver

i denne utgaven

2 min.
captivated by genesis

I have been drawing since I was a child, although many thought it was a waste of time and energy; and that I could divert my skills into a more productive direction. I have never given up on my dream to paint, and perhaps one day have my own studio. I never really started to paint until I was at high school and my arts teacher encouraged me to pursue my dream. She was a very inspirational woman who helped me tremendously with figure work and portraits. After high school, I entered the Melbourne Art Institute, via correspondence. I passed the entrance exam with Honours. I studied composition, market advertising, figures, portraits and book illustration. I have also had tuition with landscape artist Tom McGeoun, who was a great believer in on-site…

3 min.
wildlife enthusiasm

Sarajane Hinton was born at Kyabram in Victoria but she grew up in a small town on the mid north coast of New South Wales. After completing her schooling, she moved to Newcastle to earn a Bachelor of Design (Visual Communication) at the University of Newcastle. After she completed her university course, she moved with her husband to Bourke … where they met local gallery owner Jenny Greentree. “Jenny encouraged me to continue with my art,” says Sarajane. “Now, after spending three years exploring the area around Bourke, we have moved again to live at Yamba on the New South Wales north coast.” This pastellist is enthusiastic about animals and wildlife which she loves to use as subjects in her work. She loves to capture unique details of her subjects, and their expressions. “Artistically…

2 min.
feline friend

STEP ONE To do the initial sketch, I create a scaled drawing of the subject on paper (working from photographs). I concentrate on key lines around the eyes, nose and ears. Getting these details correct now is essential to creating a real likeness to the subject. Often I will use a few grid lines to help scale up a subject. I then transfer this sketch onto my Colorfix pastel paper. STEP TWO In establishing a connection with the subject, I always start with the shading of the eyes. I then work my way around other key facial features such as the nose, ears and mouth; or any other feature that defines a particular subject. At this stage, I am using ‘Cretacolor’ pastel pencil – a harder variety of pastel – for greater detail. STEP THREE Next,…

4 min.
addressing the light source

Some might say that John Murray’s current home at Lightning Ridge in New South Wales makes a dramatic contrast to his Melbourne birthplace – but it doubtless feeds his passion for the Outback landscape. John has a Diploma of Art, and he has always nurtured the same artistic interests. “My full-time career started 25 years ago in Lightning Ridge,” he reveals. “My enduring passion is for painting and working with paint … I love the stuff!” As a professional artist, John has used oils, pastels, crayon and charcoal; but he prefers and consistently works with acrylics. “I love the landscape and the animals that inhabit it,” he relates. “The landscape is such a dynamic and changing thing; with colour and intensity … and it is interesting to watch animal life adapting to its rhythms.” John…

2 min.
lake eyre

STEP ONE I have drawn in my initial lines and composition with chalk. This can be easily reworked or removed with a cloth, leaving no pencil lines or commitment. Next, I establish my light source by blocking in the poles and shadows with paint. In this case, the light shines from right to left. STEP TWO Even though I am going to have a white surface of the salt lake in the finished picture; in trying to establish the feel of the hot earth under the salt pan, I have applied washes of earthy tones as my underpainting. STEP THREE I have now used a colour blend for the sky. I used Cadmium Yellow blended through to white, then white blended through to blue. The reason for this was to try and portray the feeling of heat…

1 min.
master hints and tips

• I use 8-10 ounce cotton duck canvas (unprimed). • The canvas is stretched tightly over the wooden stretchers and is first treated with Matisse Polymer Gloss Varnish and Anti-Mould Solution. • I use Matisse Impasto Medium as a further base for my canvas. Both the mediums dry ‘clear’ or transparent rather than opaque like a white primer would. This ensures the paint colours remain very bright, like a painting on a glassy surface. Working on a white primed surface absorbs the brightness of the natural pigments and tends to give a more ‘pastel’ effect.…