Artist's Palette

Artist's Palette No 176

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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.

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Sunray Publications Pty Ltd
kr 51,44
kr 199,52
7 Utgaver

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4 min.
the thrill of starting

I am an Australian by birth and I have lived at Castlereagh near Sydney for 38 years where my studio is situated. I travel all over the Hawkesbury region of New South Wales (and beyond) to paint en plein air. I have attended six Bathurst workshops, and another four at Meroo in Kurrajong – run by CASS. I feel very strongly about the mood and the light of a subject. Drawing has always been a fascination for me, and I trained as a commercial artist after leaving school. I was employed in that field for around six years, and freelanced for a few more years; after which I worked as a potter for about 16 years. Some six years ago, I began to paint – after my two sisters-in-law took me off to Bathurst…

2 min.
early morning,tumut

MATERIALS • Saunders Rough 300gsm paper. • 2B pencil. • Winsor & Newton watercolours: French Ultramarine; Cobalt Blue; Cobalt Turquoise; Brown Madder; Light Red; Raw Umber; Raw Sienna; Aureolion; Quinacradone Gold; Permanent Rose. • Brushes: Number 12 Raphael Sable and a Number 8 Escoda synthetic. STEP ONE I sketched a simple drawing to identify the main shapes. STEP TWO My first wash was from the top down, wet-in-wet. I painted with my board on a 30 degree angle. I wet the sky area, then added a soft wash of Raw Sienna followed by Permanent Rose then Cobalt Blue. I allowed gravity to do the work, allowing the flow to the horizon line; then went straight into the foreground with Raw Sienna – adding more pigment as I came down the page and adding Raw Umber mixed with Cobalt…

1 min.
artist’s hints and tips

• Always set up your paints on the left, if left-handed; and the right, if right-handed. I have seen many beginners going across their paintings to reach paints and water. • Have everything ready at hand before you begin. • Squint, squint, squint to eliminate detail and get to the basic shapes and tones. • Do simple pictures in one pigment to help with tonal values. • Go to galleries and exhibitions and look at lots of pictures. • Learn from your mistakes. Remember, it is only a piece of paper; turn it over and start again. • Do swatches of different pigments in varying densities to see what happens. A good reference for this exercise is Richard Schmids’ ‘Alla Prima’. • Always have your colours in the same position on your palette, and use the best…

5 min.
sustained by dreams

I was born at Royal North Shore Hospital at North Sydney. According to my mother, there were koalas in the gumtrees within the hospital grounds. Members of my father’s side of the family have resided in the Manly area for many decades – after one of my ancestors was originally transported from England for ‘borrowing’ a shirt to wear to work. That was young Jonathon, who was very well educated and worked as a clerk in London, doing bookkeeping and correspondence for a large company I remember . when I was only seven or eight years of age, at school, I did a Christmas painting. The teacher was so impressed that she kept the painting, and I never saw it again. Growing up in the Manly area was great. We always went…

1 min.
let the rivers run

MATERIALS • Artist’s canvas.• Teaspoon and large bowl.• Clean newspaper.• Jar of water.• Bristle brushes: Quarter-inch and half-inch.• Paint rag.• Matisse Gesso.• Matisse background paint.• Matisse Structure or Flow paints.• Matisse Gel or Poly-U High Gloss Varnish.• Matisse Dry Mediums STEP ONE Always give the canvas a good coat or two of gesso – sanding in between coats and also after the second coat. STEP TWO Apply two coats of background paint, to give the ensuing paint plenty of tooth to grip. STEP THREE Using Matisse Structure or Flow paint, give the area that you wish to cover with dry medium two thick coats – allowing the paint to dry thoroughly between coats. STEP FOUR Choose the dry medium you want to use and have it on hand, together with a small teaspoon. STEP FIVE Using a quarter-inch or half-inch bristle…

1 min.
artist’s hints and tips

• Always place hanging screws and wire onto the back of your canvas before starting work. • Always use a complementary colour when using dry medium … for example Yellow Oxide or Unbleached Titanium for gravel or sand; Red Oxide or Copper for crushed garnet; Silver for mica and glass beads; Black for black hex flakes. • Always take time to properly prepare your canvas or board. Your work will last a very long time if prepared properly. • If using canvas with sides, always paint to the edges. This gives purchasers the option to choose their own frames; or alternatively to hang the pieces ‘raw’. • Put down finer mediums first: For example black hex flakes, crushed garnet, mica, sand, glass beads, and then finally gravel/bauxite. • Enhance landscapes by adding dry mediums to…