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Artists Back to BasicsArtists Back to Basics

Artists Back to Basics

Issue 9 Volume 3

Artists Back to Basics is an entry level magazine for all artists. From setting up a studio to what easel to choose it’s a must for all artists. Featuring the latest in news, reviews and products from the art world as well as exhibition previews and reviews

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access_time6 мин.
a history of pigments

Pigments are the basis of all paint, formed originally by using different colours of ground clay, earth and rocks. They were made into a paint medium by mixing with animal fat or human saliva. For such an interesting and fertile subject, there is only time in this article to discuss some of the basic pigments which would be found in an artist’s pallet. Ochre and red oxides are some of the oldest pigments used by human kind. Evidence of ochre has been found in ancient burial sites such as Lake Mungo in Australia, where bones dated to around 65,000 years ago were found to be painted in ochre earth pigments. Ochre is usually a yellow or brown colour, and pigments can extend into purple and red hues. The mineral which creates this…

access_time10 мин.
magic pencil tricks

When it comes to freehand drawing, the pencil in your hand is so much more than simply the means of making marks on the paper. It’s also an absolutely indispensible tool that allows you to make any number of proportional judgements in the course of turning your blank sheet of paper into a finished work in graphite. In fact it’s the only tool you need with the added elegant serendipity of already being in your hand every time you need it. This article will be dealing with some of the many tricks and techniques a pencil is capable of as far as making positional and proportional judgements while drawing and exactly how to utilize them to make drawing freehand accurately a reality for anyone (fig 1). and subject and Any every…

access_time25 мин.
artists’ canvas and other substrates

ART BASICS PROMOTES DELUXE PASTEL PAPERS FROM SCHMINCKE A unique and beautiful pastel support available is the premium quality Schmincke Sansfix pastel paper. Prepared on 360gsm acid free paper, the superfine coating of grit on the surface allows layers and layers of pastel to be put down – whilst retaining the ability for fine detail from the first stroke. This surface has a very high tooth allowing excellent pigment adhesion and decreasing the need for fixative. The Sansfix colour is unaffected by fixative and is lightfast. It is available in a limited range of soft tones; and the paper size is 50 x 65 cm. It is designed specially for use with soft pastels and charcoal. It is perfect for fine detail and also broader work. It has high durability due to its…

access_time5 мин.
nothing but the best

I have reached the magical French milestone of being ‘a woman of a certain age’. My life began in Sydney quite a few years ago. Now I live an almost idyllic life with my husband Tom … on our hill near the Queensland town of Agnes Water 1770. Five years ago, I left my professional life as a systems engineer and project manager in computer-telephony interfacing. Tom and I retired and decided to follow a relaxed lifestyle and enjoy the warm winds in our little part of paradise. After designing our new home, I felt an irresistible urge to start painting. That occurred on 16 October 2007, to be precise. My studio looks out over green valleys to blue hills … with the only sound being the native birds as they chatter amongst…

access_time5 мин.
down the barcoo

MATERIALS • East Art stretched canvas – 30 x 40 inches. • Atelier Gesso Primer – White. • Winsor & Newton Artists’ Oil Colours. • Floor easel. • Sandpaper – P240 and P400. • Faithful gesso brush. • Vine charcoal. • Kneadable eraser. • Workable Matt Fixative. • Shaving brush. • Three long-handled bristle brushes. • Twelve short-handled brushes in a variety of sizes. • Walnut Oil and Low Odour Turps. • Winsor & Newton Artists’ Retouching Varnish. • Imagination and memories. STEP ONE I often work from plein air sketches done with oil crayons and combined with photographic references. However ‘Down the Barcoo’ arrived in my favourite way – just as an almost finished image in my mind’s eye. After preparing the canvas with two additional coats of gesso, lightly sanding at each coat, I loosely measured up the canvas into thirds vertically and horizontally. This brought…

access_time4 мин.
fired art gallery and retreat

I love the human body, it seems … because I return to it time after time in sculpture, painting and drawing. Maybe I got the bug from poring over ‘Gombrich’ or ‘The History of Art’ – both long time art reference books – losing myself in fascination with the past. From fleshy, sinuous Rubens paintings to ‘The Nike of Samothrace’ (a winged but headless woman, marvelously sculpted); or the colourful and pleasure-giving abstractedness of Paul Cezanne. I loved it all. I spent my childhood learning how to draw from ‘how to draw’ books. I loved horses, so I drew them over and over – using ovals and boxes in constructing form. My early efforts weren’t remarkable, but there was something there. I was an average, artistically minded kid. But when the…