№177, May 2021 Artist’s Palette

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THE MAGAZINE FOR ALL ARTISTS

A U FA ST V RA O U LI R A IT ’S E

Palette No 177

FULL OF TIPS, TECHNIQUES AND IDEAS

IN THE GALLERIES MANY HANDS ART CENTRE MEET IMAN MALEKI WITH DALERIE PATTERSON

EXCITING ARTISTS’ DEMONSTRATIONS

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Issue No.177 2021

FEATURES

22 In the Galleries Ngurratjuta Iltja Ntjarra: Many Hands Art Centre flourishes at remote Alice Springs.

52 Meet Iman Maleki Technical Editor Dalerie Patterson introduces a truly amazing Iranian artist.

40 Journey of the North West Cape Kim Borschmann demonstrates the use of acrylics with an intriguing collage work.

INSIGHTS

a medium that fits between drawing and painting. 14 Don’t be Scared Isaac Mark Shelley has developed magnificently by painting only when he felt like it.

8 Link to Life Lynette McLeod adores pastels …

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26 Forever Learning According to Faye Doherty, there is no end to learning … where art is concerned. 34 Work Intensely David Kendall is a clever Queensland artist who likes to paint in concentrated spurts. 44 Eye of the Beholder Brisbane artist Jeff Caldwell has been gratified by the responses to some of his work. 56 Relocation Renee Treml 64 Reproductions Peter Goodsell

Cover image by: Lynette McLeod

DEMONSTRATIONS 10 To Be at One with Nature “My art is who I truly am,” claims talented Tasmanian pastellist Lynette McCleod.

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18 View from the Moon Isaac Mark Shelley defies convention and employs strange combinations of paint. 30 Possum Discover a new realm of printmaking possibilities with the talented Faye Doherty. 38 Lifesaver’s Flag A swift and basic approach works well for the gifted oil painter David Kendall. 48 Semarang: Feelings and Images of Central Java Jeff Caldwell has kept this mixed media painting fairly loose, with a limited structure. 60 Who needs trees? Renee Treml 68 Strange Food Peter Goodsell

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Lynette McLeod

Edited by Trevor Lang

This artist adores pastels … a medium which she believes can fall between painting and drawing. Her art is truly her link to life.

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orn in Burnie, Tasmania, Lynette McLeod resurrected her artistic talent some 12 years ago at the age of 55. At that time in her life she was a keen gardener. She also loved to read and would maybe sketch the odd drawing every now and then – in ink or pencil. Lynnette was artistically talented from a young age and had the opportunity to take an art scholarship thanks to the local newspaper. However, life has a way of taking us in other directions. It took a serious industrial accident to her husband Guy, many years later, to reignite the most wonderous talent that Lynette has been gifted with. Joining the local Burnie Coastal Art Group in February 1997 was the first step in developing ‘the artist from within’. Lynette became a student of renowned art teacher Margaret Brown of Sisters Beach. Lynette took along her box of hard pastels that had been given to her as a gift by her son Raymond. Margaret had not worked in that particular medium – but suggested that she was happy to guide Lynnette with her journey into the wonderful world of art. Never looking back since that day, Lynette is still enjoying classes with Margaret and her talented, friendly group every Wednesday. Margaret has tried valiantly to lure Lynette into testing other mediums and expanding her talents into a variety of areas, but to no avail. Lynette most determinedly stays with her beloved pastels. She was made a life member of the Burnie Coastal Art Group in 2007. A desired list of achievements began to fuel Lynette’s passion for her art work. Her first was to win a prize in the field of pastels – this she achieved by winning first prize in the Tasmania Art Pastel Awards in 2001. The second, to win a major art exhibition, was achieved by winning the ArtEx 2007 Central Coast Council Acquisition award; and thirdly she desired to hold her own exhibition. Lynnette joined with her son Raymond (who works patterned pieces and fantasies in pen and ink) in March Artist’s Palette

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2004. They called their exhibition ‘Combined Forces’, and it was held at the Burnie Coastal Art Group’s gallery in Upper Burnie. It was a most successful event, with Lynette selling several of her works. Upon request, Lynette agreed to have a second exhibition in her own right. This was held at Rialto Gallery in Burnie, in February 2008. Once again several works were sold and a commission was acquired. Pastels have been central to all of Lynette’s major art works, although she uses pencil and ink to sketch daily. Ink and pencil mainly enable her to work outside her art room, and at the same time keep her in touch with her family. Lynette takes her pencil drawings to her weekly art classes and makes them available ‘for a small donation’ – with the proceeds donated to her art group. The majority of Lynette’s subjects are wildlife – mostly native Australian. A speciality is our beloved but threatened species of Tasmanian Devil. Sprinkled in amongst these treasures are a variety of animals from birds to seals, penguins, horses, cows; and her favoured ‘seemingly imagined’ portraits. Lynette’s home proudly displays many framed pieces of her work, with an even greater collection of unframed art (just sitting waiting to be organised). As a complete hobby artist, Lynette’s success comes from entering local art awards. Once, venturing out as she says ‘to test the waters’, she entered the well known Camberwell Art Exhibition in Victoria. Her submitted work was selected, and it sold. It was a very proud achievement for the artist. Opportunities to view Lynette’s art are very limited, as she only enters two or three competitions each year. Her success however speaks for itself, supported by word of mouth … and once people see the beauty of her work, commissions are requested … especially for beloved pet animals. People with family and friends overseas also find her art a perfect heartfelt gift. 8

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In the early days, if Lynette felt that examples of her work were not up to her standard, she would destroy many pieces of paper. With more experience over time, she now chooses to rework disappointing pieces – having learned that by using the best quality paper she is able to wash off a complete area with a damp sponge, let the paper dry, and begin the area that needs reworking all over again.

Raymond Harris Ching is her most admired artist. Lynette says his work conveys the ultimate perfection. Lynette McLeod feels that her most outstanding piece of work is a picture which she called ‘A Helping Hand’. The hand holds so tenderly a tiny baby Tasmanian Devil. The structure of the hand portrays instantly the gentleness and security of the way

that the baby devil’s future is held within ‘all’ of our hands for its survival. They say that our eyes are the windows to our souls. The eyes are a particular area that Lynette captures so beautifully … and her heart and soul are inscribed in every piece of art work that she lovingly creates. Her art is truly her link to life.

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

Pastels

By Lynette McLeod

“My art is who I truly am, and it has given me a freedom to become ‘just me’,” claims this talented lady.

FINAL STEP 10

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STEP TWO

STEP ONE

STEP TWO STEP THREE

STEP THREE

STEP FOUR

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STEP FIVE

MASTER HINTS AND TIPS Measure proportions and positions of the subject roughly; then choose your paper carefully. Do not be frightened to break your pastels into smaller pieces. This enables you to use the smaller pieces to block in or draw with more comfort. Never tear your work up … if you have invested in good quality paper, the pastel will come off the paper if you dab it lightly with a

things out to achieve what I envisaged would be the final outcome. All of this was feasible because I had good quality paper, a moist sponge, a gentle hand, and abundant patience. 12

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damp sponge. Let the paper dry, and rework the altered area. I use my reference material to be just that … reference. It is important to me to have a main subject to work from. I then will include other subject matter and backgrounds to my picture for my final creation. Your own photographs are the best. Sketch every day if possible. This is the basis for all your work.

STEP FOUR I decided to fade the image of the young girl into the background behind the leaves and add a fine coverage of spider’s web. This was a real

challenge as I was used to producings faces clearly and with fine detail. Due to my art teacher’s determined encouragement to try something different, I gave in; and I have been very pleased with the outcome. STEP FIVE I continued to add the foliage and included vibrancy and colour with delightful little insects that exuded their own character. FINAL STEP With the final addition of a blue beetle, I felt the picture was complete; and I decided to leave the background clean and fresh. My picture was created step by step, progressively adding to the basic subject matter to achieve a personally pleasing result.

Isaac Mark Shelley

Edited by Trevor Lang

Random midnight painting frenzies in the cold rainy night air wearing only boxer shorts have featured in this young man’s creative development … painting only when he felt like it … and trying to paint from the soul.

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saac Mark Shelley’s life began in the Hawkesbury area near Sydney, in 1990. He has lived in the Blue Mountains west of Sydney for more than ten years. He worked at Glenbrook Nursery in the lower mountains for a few years; and more recently began working at his family’s cafe – known as the ‘Arts Café Katoomba Falls’. “My only art education really was doing art while at school; which was pretty much the only subject I was enjoying by the end,” he admits. “I always knew I wanted to be an artist when I left school. I’ve done a few short art courses here and there but I much prefer just working at home where I can make a mess and experiment. I left school in Year 11. All I wanted to do was paint and I basically felt I was wasting my time at school after that point … so that’s when my parents were kind enough to build their wayward floppy-haired son an art studio and let him potter away down there, playing strange music and throwing paint about the yard.” Isaac is passionate about the creative process in general; about witnessing other people’s creations; about getting covered in paint and making a huge mess; about epic mistakes and the many strange worlds hidden forever under the top layer of paint on a canvas – that will never be seen but are still there – that still manage to lend themselves individually to create the texture of the painting. He is passionate about the story of the painting as it tries to find itself; the history of it as a living thing almost – with all its memories physically visible, like the face of an elderly person with experience. “I’ve pretty much always wanted to be an artist, even when I was very young,” he explains. “My grandma, Norma Shelley, is a great artist and has always been there to encourage me to draw and paint … to stay true to my instincts and always remember to paint because it’s enjoyable. Both my parents have been very supportive since I was young – building an art studio in our back yard, helping me get my first exhibition organised, and

just through example. My dad, Mark Shelley, has been a musician all his life. He followed what he wanted to do even though it would’ve taken him a lot more effort.” “I am someone who just loves to paint, draw, and photograph, and if I can end up making a living from being a professional then that would be the icing on the cake; but either way I cannot ever imagine myself not creating things. I think I would go crazy without it.” For paintings, Isaac normally uses a mixture of acrylics, house paint, aerosols, natural materials, glue, turpentine and water on his canvasses – with a final varnish over the top. He likes using gravity, rain, slow evaporation, wind, luck, and a lot of faith to help in the process. He enjoys physically spinning and throwing his canvasses; and skidding them across the lawn to get the effect he wants is not a rare occurrence. “I don’t usually paint from direct observation of physical objects,” he reveals. “I normally paint from a mix of memories, emotions, nostalgia, sentimentality, happy accidents, the soul of a certain place and time … and whatever mood I’m in. Commonly what I’ve been trying to do lately is let the canvas feel more like a three-dimensional object rather than a two-dimensional image, to treat it like a sculpture on the wall almost; like someone found an old ancient object, and hung it.” Isaac held his first exhibition in June 2009, at Katoomba; and although the space was upstairs it was held during the town’s iconic Winter Magic Festival. Thankfully the timing worked out well. He rented a shop for two weeks and advertised with flyers and local newspaper coverage. Opening night was great, with an excellent turnout. He plans to exhibit his work quite a lot at the Arts Cafe, and also wants to hang the work of other artists he respects. “I’m extremely excited to be able to curate a gallery and help people to get recognised, while helping the art-loving public to discover new artists,” he says. Artist’s Palette

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This man’s creative development seems to feed on a boundless stream of motivation. “The major source of my inspiration would be how infinite the universe is … the fact I’ll be gone one day so I’d better create a little something while I’m here … making others inspired to be true to themselves,” he explains. “I am also greatly inspired by my epic family; my best friends; thunderstorms; my gorgeous girlfriend Cynthia; skateboarding with

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the crew; good sleeps; paradoxes; duality; spiritual experiences; ancient cultures; witnessing amazing art by the plethora of visionaries in our world; childhood memories; epic songs; kung-fu movies; time, space and spirit; kind-hearted selfless people like my mum; rainforests; hidden knowledge; regrets; having no regrets; adventures; travel; ageing; dying; living; pain; truth; trying to keep my soul while living in this strange world; wise old texts; the

scientifically-proven fact that solid objects are made of nothing but energy; and patterns in Nature. There are questions, too: What is fire? What am I? If the earth is an atom, what is the universe? I am inspired by the fact that the answers are not something you can be told, or know; only be.” One painting that Isaac does not want to part with is ‘Raindrops on Lilly Pads’ because it was the first painting he made after leaving school that he was happy with.

“It was kind of the start of a decision to really start getting into it properly, to experiment loads and enjoy the journey I took on each piece, and try to find my own style.” “Most of the paintings have many wrong turns underneath their layers, and they begin to tell a story,” he continues. “When you’re really into painting it becomes so spiritual, like you’re uncovering something that was hidden before; like you’re part of an archaeological dig, some lost story that you may be able to learn about if you follow the clues, and you have no idea where you’re going; but then, hopefully, it all comes into focus – and things you did that you thought were disasters turn into the best parts of the paintings, or lend to them strongly through textures that hint at tales underneath. All my unfinished paintings, or ones that I later decide to paint over/add to, sit in my studio – weathering stray bullets of splashed paint as their stories slowly get told.” People often seem to like Isaac’s paintings for completely different reasons than the meanings he sees in them personally, which is one of the great things about exhibiting. He likes to hear the different ways that people perceive things. He has praise for other artists, too. “I dig the work of my grandma Norma Shelley, for her skill and immense love; Martin Vandertoorn for his lead window work and creating some of the most amazing, spiritual paintings I’ll ever see; random hilarious drawings found in public toilets; Van Gogh; Jim Phillips for his classic skateboard graphics; Banksy; Islamic art/ calligraphy; Cynthia’s Zen parents; Chinese calligraphy; John Olson; Retna; Rolf Harris; Brett Whitely; Buddhism; Pollock; Gustav Klimt; PK3; the Grateful Dead; Dylan; Mark Tobey; James Willebrant; and Robyn Coughlin for her friendly, wise and encouraging words at an exhibition once,” he says. “Scott

Marr’s work is very cool, too. And I love Nicholas Harding; Blu; Alex Grey; Jos for being so damn psyched on everything; Dali; Michael Johnson; Bruce Lee; Pushead; Pose; Chaz Bojorquez; real hip-hop; Doze Green; Herbert Baglione; Swoon; Revok; Reyes; any and all madly skilled/passionate persons … I could go on forever.” Isaac is a true artist who revells in well chosen music, a cuppa tea, and random midnight painting frenzies in the cold rainy night air wearing just boxer shorts (but not even noticing how cold it was). He is committed to only painting when he feels like it … trying to paint from the soul. He likes having breaks, being open, and using his flaws. He encourages his peers to ‘go easy on yourself, and your self will go easy on you’! His basic advice to beginners is straightforward. “Just get a few canvasses, whatever paint you can find (even if it’s some old house paint), a tin of varnish and two half-full aerosol tins. Get inspired, feel strongly about something, and then paint about it. Or paint the opposite of it. Just as long as you’re painting, you’re improving – working out problems visually, so no paint is wasted paint. And don’t be scared when it comes to exhibiting,” he admonishes. “Either approach a gallery or rent out a room somewhere and do it yourself. Organise a group show with your friends. Enter competitions if you like. Perhaps be naughty and paint over one of the many horrible billboard advertisements (corporate graffiti) we get bombarded with each day without our consent. Just get out there any way you can and add some colour to the world. And live the life you want.” As an artist, Isaac’s ultimate goal is just to be able to paint and create things for a long time to come … and if people enjoy something or (better still) get inspired by something they see or feel, then it’s all worth it. Artist’s Palette

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

Mixed Media

By Isaac Mark Shelley

Bursting with unusual creativity, this young artist defies convention and does surprising things with strange combinations of paint. His Demonstration will be motivational for many of his peers.

FINAL STEP

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

STEP ONE STEP ONE I got a new canvas, wet it and threw leaves on it. I broke down the blank canvas with some aerosol and water. I mapped out what would become the sky, mountains and whatnot lightly; with trickled water still sitting in patterns underneath. I had no plan for what the painting would become in the end. I hoped it would work.

STEP TWO

up mostly underneath … just feeling around for what direction to go in; no idea yet what to let it become. STEP THREE I chucked some more leaves on, and added some white aerosol. I hosed off the canvas – taking away the aerosol paint that was sitting on the water, as well as any leaves.

STEP TWO I donned a mask to protect me from the aerosol/turpentine fumes. I brushed the leaves off, played around and applied some base colours that would end

STEP FOUR

STEP FOUR I misted some turps over the top, then heavily misted water over the top again so it would form into big droplets.

STEP FIVE

STEP THREE

Then I painted with different aerosol paints over the surface, washed off the droplets with water, and repeated the process a bunch of times. I squirted pink acrylic over the top, then stopped painting for the day as I didn’t feel creative any more. STEP FIVE I came back the next day with a fresh mind, and the painting finally began taking shape. I poured on an orange acrylic/house paint mix while trying to influence where it would run down; then waited until that dried. Lots of the turps/water/aerosol ‘wash off’ technique

STEP SIX

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

over the painting got the sky background happening. I started doing shadows and highlights and whatnot on the cliff face. I ran glue out of a tube over the top for some more watery-rock effect, and used it to create clear circles in the sky for texture later on. STEP SIX More of the turps/water droplets/aerosol ‘wash’ technique over and over again, still deciding what kind of feel I wanted … and therefore what mix of colours to overlap each other. The same water bubble/aerosol technique in the sky, putting bubbles of water over the greens/blue, then spraying dark colours/black over the top; then washing off. Repeated twice. STEP SEVEN

STEP SEVEN

I rubbed most of the black aerosol off the sky, leaving it in the cracks and stuck on the glue. I hit the cliff with different reds/purples, washing back; repeating. I vignetted the lower half of the canvas using darker aerosols, and washed back again. STEP EIGHT I re-did some navy/black in sky, and touched up little things. Beginning to feel that it was almost done, I accentuated highlights and shadows; misted with turps, then water to form globules of water again; used translucent metallic greens and blues on the cliff/rock face; washed off water bubbles … repeated a bunch of times. Got a bit nit-picky and did little things here and there. I shadowed with raven black, and washed off the water bubbles. I left the painting to dry for a few days. FINAL STEP

STEP EIGHT

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I hung the work up at home; scrutinised it. Lots of hmming and hah-ing. I decided on one last thing, about a month after it had been hung. I peeled away one of the circular glue spots in the sky, hoping and hoping that what was underneath would work with the painting. It turned out the bit of paint underneath looked a lot like the oceans of the earth … so I coloured in the continents with a green fabric pen. I stood back. Yay! I’m done! Sigh of relief. I hung the picture back up, and began a new one.

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G A L L E R I E S

Contributed

Beautiful art galleries are located all over this country, hosting and promoting the work of Australia’s diverse exponents of art. Artist’s Palette magazine showcases a broad selection of these venues. In this Issue, we focus on Ngurratjuta Iltja Ntjarra: Many Hands Art Centre at Alice Springs.

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gurratjuta Iltja Ntjarra: Many Hands Art Centre is proudly Aboriginal owned and operated and is situated in the township of Alice Springs. This art centre has been established to provide a place for Arunda artists to come together to paint, share and learn new techniques and ideas. Marilyn Armstrong who is one of the centre’s prominent artists, and also a Ngurratjuta board member, says of the art centre: “It’s a place where we can sit and talk together about the dreamtime and learn from each other.” The art centre is funded by the Ngurratjuta/Pmara Ntjarra Aboriginal Corporation – an association of those communities affected by the oil and gas mining operations at Mereenie and Palm Valley. Ngurratjuta supports a range of well established contemporary watercolour and acrylic artists who frequently exhibit interstate; as well as many new and emerging painters who are developing their skills. The centre produces four specific styles of art including watercolours, traditional dot style ‘bush tucker’ paintings, naïve style, and a more contemporary style. The artworks tell many different stories and are completed in a variety of styles including intricate and Artist’s Palette

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G A L L E R I E S subtle brush strokes and distinct and detailed dot work … as well as broad and often bold freestyle use of acrylic paints and colours. Ngurratjuta Iltja Ntjarra: Many Hands Art Centre currently supports more than 500 artists with a special focus on encouraging the ‘Hermannsburg School’ style watercolour artists, who continue to paint in the tradition of their grandfather Albert Namatjira – arguably one of Australia’s most famous artists of the 20th century. Albert Namatjira taught his children to follow in his unique style. They have since passed this knowledge on to their children, which has resonated in a legacy of watercolour artists in the Central Desert region. By continuing the Albert Namatjira legacy, these artists sustain an important piece of living history. Ngurratjuta is proud of its ethical work practices, and aims to return the greatest possible percentage of each sale to the artist. The art centre works in close association with DesArt – a members based organisation for those art centres which are professionally managed, ensuring ethical support for the production, marketing and distribution of authentic Aboriginal art. Such art centres are a vital part of remote community life in Central Australia. Artists are welcome to paint at the art centre on Mondays and Tuesdays – and on these days there are between five and 20 townbased artists painting on site. The art centre is located a short distance from the centre of Alice Springs (approximately a 15 minute walk) and is open to visitors Monday to Friday from 10.00 am to 4.00 pm. Visitors are welcome to come and talk to the artists at work, and browse through the completed paintings which are for sale. Ngurratjuta Iltja Ntjarra: Many Hands Art Centre. 29 Wilkinson Street, Alice Springs NT 0871. Telephone 08 8951 1953. www.ngur.com.au

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Faye Doherty

By Faye Doherty

According to this artist, there is no end to learning … at least where art is concerned. For her, creativity is a truly wonderful pastime.

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y home is in Hastings, a town on the Westernport side of the beautiful Mornington Peninsula in Victoria. I was born in 1940 at Carnegie, an outer suburb of Melbourne. Art was never on my agenda, even into my fifties. My life had been such a practical one – mainly focused on business and raising a family. I was starved of any artistic creativity … apart from my love of gardening when time permitted. Growing up I was always the tomboy. I loved animals, especially horses; and I dreamed of one day marrying a farmer and having a stud farm. I always felt a great connection to the land and Nature. Our family was a musical one and so I was taught piano and that was the extent of my artistic outlet. I never considered myself to be artistic. I thought that drawing was something other lucky kids were good at; but not me. At the age of 17, I met my future husband. By the time I was 19 I was running my own small secretarial business, saving madly to get married and buy a home. A few years later we started a commercial printing business, and a family, and at the same time we were showing and breeding Samoyed dogs. I still had 26

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the ‘stud farm’ dream and encouraged my three sons to love horses as I did. Eventually (although not the great stud farm) we bought a lovely 10 acre property on the Mornington Peninsula and made a home for our horses, a few sheep, two young steers called George and Mildred, some chickens, and our dog and cat. The printing business had its own art department and I was involved in the layout and design of brochures and magazines. This gave me a good feel for design and colour, and later it helped to give a good business focus to my art. Life goes on. Children grow up and leave home. And finally the day comes when one retires from the workforce. Now, what to do? I had always admired others who were artistic. An elderly friend was a hobby artist and when I said I wished I had her talent, she encouraged me to take lessons at a local art society. She said that if she could learn to draw and paint at her age, then anyone could. So finally, at the ripe old age of 56, I got up the courage to begin my journey into the world of art. In 1997 when I was 57, I set off on my own to spend some months backpacking around Europe and Britain. This was an amazing challenge Artist’s Palette

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and adventure and I discovered hidden strengths that kept me going when the going got tough and sometimes lonely. To see the other side of the world – the famous places of history and the magnificent places of beauty – was a humbling experience. I visited the great galleries and experienced a new appreciation of art and came home to our wonderful country (and all that it offers) as a much more confident person, wanting more than ever to pursue my newfound passion for painting. We have great art societies on the Mornington Peninsula. I enrolled in classes with different tutors, starting firstly in oils and then watercolours and acrylics. I began to have success selling at art shows and local galleries. In 2006, I enrolled in a Visual Arts Diploma course at Chisholm,

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Frankston campus. This course has widened my appreciation of art and I consider myself fortunate to have had the wonderful opportunity to study sculpture, drawing, life drawing, painting and printmaking. I am passionate about our natural environment and I feel that the pace of modern society is killing our souls. We are becoming more and more deafened to our spiritual selves. Taking time out to spend in that great cathedral called ‘the bush’ – to feel the silence – to paint a sunrise coming up over the mountains or a sunset by a stream – makes one become aware that there is a power behind creation bigger than we are. When I paint, I love to evoke all the vibrancy of colour, mood, harmony and emotion that I see in Nature and

the world around us. I try to use the effect of light and movement and the interaction of colours to express the character of my subjects, to hopefully stimulate both the intellect and emotions of the viewer. I hope the person viewing my art can make some sort of connection and feel what I feel. Since going to art school, I have moved from mainly traditional works to more contemporary, expressionistic and abstract styles; and I like to experiment with techniques, textures and mediums and choose the ones that best suit my current subject matter. I paint mainly in oils, but I also love to use acrylics, watercolours and pastels. The printmaking facilities at Chisholm are great, and I have learned such a lot from our wonderful teachers. As I am minoring in printmaking in my

final year, I have decided to do a woodcut print for my demonstration piece in this magazine. I enjoy the process of the woodcut and the beautiful textures that the grain of the wood can create. Although it can be hard work and time consuming carving the wood, it is always rewarding and can be quite surprising when you pull the first print off the press. Having created the plate, you have the options of printing different editions and adding colour with another plate, or by hand colouring, or chine colle. I exhibit my work at art shows and I am represented in two galleries on the Mornington Peninsula: A Mermaid’s Tale gallery at Hastings and Topaz Gallery at Tyabb. I am also a member of the ‘Red Bubble’ community which is a website showcasing artists’ work. My work can be viewed by going to www.redbubble. com/people/fayedoherty I would encourage anyone thinking of trying their hand at painting and drawing to enrol in art classes. Community centres often run classes that are ideal for beginners. Creating a piece of art is such wonderful therapy … one becomes lost in the moment and all the worries and troubles of life disappear. You are rewarded by creating something beautiful, but best of all you have achieved something that you thought you were not capable of – and this builds your confidence to go on. There is no end to learning. Art is truly a wonderful pastime. Artist’s Palette

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Printmaking

By Faye Doherty

Discover a new realm of possibilities in the world of printmaking. This artist’s careful instructions can help you to explore the pleasures of a different kind of creativity.

M AT E R I A L S

FINAL STEP 30

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

STEP ONE First I completed a sketch the same size as my piece of plywood. STEP TWO The plywood was next painted black with acrylic paint – this helped me to see where I wanted to make my cuts.

STEP ONE

STEP THREE Using tracing paper, I traced the sketch. The tracing paper was then turned and the image was transferred onto the plywood using yellow carbon paper. This reproduced the image in reverse so it would revert to the right way around when printed. STEP FOUR Using my cutting tools, I started to carve out the image – cutting away the negative parts and leaving a raised positive surface to print from. STEP FIVE

STEP TWO

When the cutting was complete I painted the plate with Shellac on both sides to seal the wood ready for printing. I also applied Shellac to another piece of plywood exactly the same size as my image plate – this would be used for my colour plate. STEP SIX I set up the press, making sure to achieve correct and even pressure. Next I rolled the ink onto the image plate to evenly cover it. I then roll graduated colour using white, yellow and red inks on my uncut plate. STEP SEVEN The inked colour plate was placed on my base plate – which was a piece of paper larger than the finished size of my image. The base plate had the size of the paper and the plate marked on it, to allow me to achieve good registration. My paper was carefully positioned over the plate and the top edge was fastened to the base plate with two small pieces of masking tape. It was then rolled through the press. STEP EIGHT The paper was carefully pulled off the plate, but still held in place with the masking tape. In order to line everything up,

STEP FOUR

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

STEP SIX

the image plate (rolled up in black ink) was next placed on the base plate and the paper was carefully lowered over the plate and then rolled through the press again. STEP NINE The moment of truth. I peeled back the paper to reveal my finished image. I find that the lovely grain of the plywood always creates a surprising and beautiful effect. FINAL STEP Having created the plate, there are several options. You may like the original one colour version of your image; or you might like

STEP SEVEN

to add more colour. You could do this by hand colouring the print using watercolour or acrylic paint, or by using a second plate (as I have done). Another possibility is to add chine colle to the plate before rolling through the press. Using lightweight paper (coloured rice papers or Japanese papers are best), cut out the shape of the area you wish to colour. Glue the entire back of the cut-out shape and place the glue side up on your inked-up plate. Lay down your paper and roll through the press. The coloured paper is printed over and (at the same time) glued onto your paper. Great effects can be achieved by using this method.

STEP EIGHT

STEP NINE

MASTER HINTS AND TIPS supply of baby wipes on hand. finished cut plate will print, lay thin paper over the plate and make a rubbing with a soft pencil. This gives you the opportunity to make adjustments before painting with Shellac.

or hang them up to dry. paper – these are artist proofs. You may wish to make some adjustments to your image at this stage. When you are happy with the results you are then ready to print onto more expensive paper.

paper cut to size and ready to go. not to leave dirty finger marks on your expensive paper), have a good 32

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papers such as Japon, Arches 88, Hosho and Stonehenge are preferable for relief prints.

your prints, it is advisable to press the finished work to ensure good even adhesion. printing press, you may obtain good results by rubbing with a barren or wooden spoon to transfer the image from the plate to the paper.

David Kendall

By David Kendall

This Queensland artist tends to paint in spurts. He will work like crazy, then do nothing for a while, then go again. He likes to listen to ’50s and ’60s rock music when painting.

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epression and anxiety, caused by a workplace accident, have become a part of my life. I had a fall, landing on my head. I have to really force myself to paint sometimes. Once I am painting though, it is good. I work mostly from photographs or imaginary scenes; or sometimes a scene from a television show or a movie will give me an idea. I was a late starter, only beginning to paint about ten years ago. A friend showed me some techniques; then I got some lessons working in acrylics. Now I paint mostly in oils. Just after my first lesson with Brisbane oil painter Terry Turner, I had my fall at work. I then had a couple of years with brain problems and a few years fighting my employer and workplace insurer. After several years of battling with all their doctors’ reports, I was eventually medically retired. I am told that my creativity increased after my accident. I was born in Sydney, but I have lived most of my life in Brisbane. My artistic passion tends towards seeing ordinary things in an artistic way. I like painting scenes to give an air of mystery … in an impressionist manner. My initial artistic interests were mainly centred on painting boats and dinghies. My subject matter is much broader now. I started my artistic career when my friend showed me how to paint wet-on-wet, and I tried the technique with acrylics. I am basically a hobby artist. I have put works into several different shows in the last few years; and (fortunately) I have achieved some sales. The Dalby Spring Art Festival and the Brisbane ‘Ekka’ have been successful for me, and I have sold quite a few works privately. I have done some commissions and I have also been a part of a successful showing at Martin Galleries in Nundah. Although I have used acrylics and tried pastels and charcoal, I do prefer oils. I paint in oils almost exclusively now. Artist’s Palette

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I like landscapes and seascapes. Being an impressionist, I find that it gives me more freedom to paint what I feel, in the colours I want … rather than being a realistic painter (which I think I would find too restrictive). My inspiration comes from many sources – including watching people in city scenes, rural scenes and beach scenes. I think that inspiration can be obtained from nearly any source or subject. I belong to a small informal ‘art group’ of friends who meet to paint together and share inspiration and information; and who critique each other. It is very pleasant when we meet

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and paint together, and I look forward to those days immensely. My favourite personal work was a contemporary scene of Uluru, done in an impressionist style. This started out to be a hotel in the outback but evolved into something completely different. It had about 25 layers of paint which gave it a great feeling of depth. It was my first painting sold at Martin Galleries. I don’t think there would be any artist who has not had a ‘disaster’ at some point. If they haven’t, they probably haven’t been trying anything new. One of my outstanding disasters is ongoing. For several years, I have

been trying to paint a scene from a photograph which I took of two of my grandchildren – holding hands and jumping in the puddles of the Dunwich low tide flats on Stradbroke Island. I have had quite a few attempts but have never been able to capture the essence of their spontaneity, and their sheer joy in each other’s company. One day, I hope, I will be good enough to capture it effectively. I still possess many of my own paintings, with about eight hanging at home. These are rotated now and then, when I feel like a change; or when I think a new one is worth putting up.

I have given one of my paintings to Queensland businessman Clive Palmer, as a ‘thank you’ for a lunch that we enjoyed. There are a couple of artists who I greatly admire. I like Monet (but not everything he did). David Chen is very gifted and talented. Sokquon is also unique and great to see. Colley Whisson would have to be my very favourite artist: I attended one of his workshops and it was fantastic to watch him paint. He was like an Olympic fencer with his brush strokes, and his grasp of his subject matter was truly inspiring. He is undoubtedly a truly great Australian artist. Wherever I go, I try to take a camera with me. I try to compose my photographs as I would compose paintings … I try to see ‘the painting’ in whatever I am looking at. My advice to developing artists would be to follow their instincts and paint what they feel, rather that what is in front of them. They should not limit themselves to the colours they can see; and they should not be discouraged if some people don’t like their work. I would urge them to use the best materials they can afford, and get good quality frames on their finished paintings. Like many artists, a major goal for me would be to become a finalist in the Archibald portrait prize. I feel that is definitely something to aspire to. Artist’s Palette

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

Oils

By David Kendall

A swift and basic approach works well for this oil painter, as demonstrated by this bright sunny image. This painting was done Alla Prima.

M AT E R I A L S

STEP ONE

FINAL STEP 38

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

STEP ONE

STEP TWO

STEP THREE

STEP TWO With a mix of Flesh plus some Titanium White and a touch of Cerulean Blue, paint in the sand. With Titanium White, scumble in some waves and blend in the wet sand. Blend in some texture into the sand, using a touch of Alizarin Crimson. STEP THREE Paint in the pole with strokes of Alizarin Crimson, Cerulean Blue, Flesh and Titanium White mixed with a bit of Gel Medium. Add some darker tones at the bottom of the pole on the sand. Add darker shadows on the right of the pole. STEP FOUR Using Brilliant Red and Yellow Ochre, paint in the flag. Using Brilliant Red and Medium Yellow, paint in the highlights on the flag. Add a touch of Yellow Ochre, Brilliant Red, Titanium White and Cerulean Blue to add a wisp of cloud below the flag. FINAL STEP Using Brilliant Red, Alizarin Crimson, Payne’s Grey and Titanium White, paint some figures in the background for perspective and interest.

STEP FOUR

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A C R Y L I C

I N S P I R A T I O N

Contributed by Kim Borschmann

An admirer of acrylics from Western Australia has submitted this intriguing collage work which showcases some of the endearing features of her inspiring surroundings.

M AT E R I A L S

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A C R Y L I C

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his painting is a collage of some of the wonders of Exmouth which is situated on the Ningaloo Reef in the Pilbara region of Western Australia. I selected some of the features

I N S P I R A T I O N

I wanted to include: Cape Range; Vlaming Head Light House; emus; whalesharks; the Ningaloo Reef; Yardie Creek; turtles; termite mounds; and the magical sky … the list could go on.

STEP ONE I painted the sky, the ocean and Yardie Creek. This took several layers of paint so that none of the white canvas showed through the blue.

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A C R Y L I C

I N S P I R A T I O N

On my palette I placed Yellow Ochre, Raw Sienna, Red Oxide, White, Raw Umber, Burnt Umber and Atelier Modelling Compound. I used either a dry flat brush or a palette knife to scrape the colours across the canvas to form the shapes and colours of the range and gorge. I tried not to combine the colours. White and a little Yellow Ochre were used to paint the sand, with a touch of Red Oxide and White in small sections. Through the middle section of the painting, I added some detail with green bushes, the sun setting (or the moon rising?) and the stars. Atelier Rich Gold – Micaceous was used for the stars. STEP TWO

I added corals and grasses of the reef with various colourful paints – again using Atelier Modelling Compound mixed in with the paint for extra

A Ar

ok

texture. I added fish referenced from photographs gleaned from snorkelling experiences. STEP THREE

Again working in the middle section of the painting, I added termite mounds, more bushes and one of my favourite subjects … the emus. STEP FOUR

To balance the painting I added some grasses and a green turtle laying her eggs on the beach. STEP FIVE

For an added feature, I scattered some beach sand on the painting and glued it to the canvas with PVC glue. Once everything was completely dry, I covered the painting with a layer of Atelier Gloss Medium Varnish.

en n y Shortla l nd

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Jeff Caldwell

Edited by Trevor Lang

A few paintings by this artist which have disappointed him personally have actually been loved by other people … confirming his belief that ‘beauty is in the eye of the beholder’.

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J

eff Caldwell began his life in Sydney, although he is now a resident of Brisbane. He has always been interested in art and he can remember playing with colours at a very young age. “I became a professional photographer, and for many years that was my artistic outlet,” he says. “My twin sister was very artistic and it was she who motivated me to pursue my artistic interests. Her style was totally different from mine … with her use of soft and subdued colours and textures. She was also an accomplished painter of Greek style icons. After her death a few years ago, I was motivated to continue my art with renewed energy.” Jeff has been fortunate enough to sell quite a few of his works, and his website (at www.jeffcaldwellart.com) has greatly assisted with his art sales. “I am a member of the Burleigh Arts Group, which wonderfully supports local artists and regularly holds exhibitions in the Gold Coast area and at Hope Island (‘Art on the Boardwalk’),” he relates. “I have entered a number of shows – but I tend to find them a bit stuffy, and some people take it all too seriously. Art should be about fun!” Over the past 20 years or so, this artist has been able to travel and work overseas for extended periods. He has even worked as a diplomat and spent part of his career with the United Nations. He often finds himself drawn back to Asia. “I have a strong attraction to Asia – it’s people, religions, colour, culture and history,” he admits. “I have also travelled throughout Australia quite extensively. I feel that my use of colours and textures reflects my travels both in Asia and Australia.”

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This talented man’s artwork is displayed in collections in Australia, London, Washington, Manila, Paris, Indonesia and East Timor. Jeff has always found that the hardest part of making a painting is that first brush stroke. His advice to any up and coming artist is: “Make that stroke and see where it leads you. We all have some disasters, but that is part of the essential journey. Interestingly, some paintings I have felt were disasters have been ones that other people really liked.” Art for Jeff Caldwell … like beauty … is in the eye of the beholder.

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

Mixed Media

By Jeff Caldwell

Working with an intriguing combination of mediums, the artist has tried to keep this painting fairly loose – with a limited structure – to express the feeling from Central Java.

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

M AT E R I A L S

THE PROCEDURE

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At this stage, I also added gold oil paint to the left of the painting and started to add the detail of the dancer with acrylics, oil sticks and oil pastels. I allowed the canvas to sit for a number of days, and then had a fresh look at my work – adding finer details to both the tops of the buildings and the dancer. I added some abstract shadows to the trees and buildings, too. I tried to keep this expression fairly ‘loose’ to create a painting with limited stucture which relayed the feeling from Central Java.

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P A S T E L

I N S P I R A T I O N

Contributed by Anita Stevens

Capturing the spirit and the likeness of a person through portraiture takes a significant level of skill and understanding. This clever lady does it with pastels.

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P A S T E L

I N S P I R A T I O N

STEP THREE

STEP ONE

M AT E R I A L S

the end I realised that they stood out too much and I reverted back to the Caput Mortuum shading.

paper with a smooth surface. STEP ONE Mortuum pastels.

T

here are times when something hits me in the eye and I know I have to draw it. The moment I saw this man’s face in a newspaper, I knew I had to have a go! As I am now a confirmed user of pastels, I decided to approach the painting from a different angle. I always seem to have difficulty using the method of measuring the different lengths and spaces required, so this time I used the grid method. For a change, I used one colour (mainly) with just a touch of black in the eyes. The colour I chose was Caput Mortuum. I had never heard of this colour until I attended a two-day workshop a few years ago. Initially I decided to make the eyes blue … but (as you can see) towards

Using the smooth side of half a sheet of pastel paper, I drew grid lines and did a fairly rough copy of the outline of the head, eyes, nose, mouth and ears. This was done using a Caput Mortuum pencil and a T554 pastel. I stood back to evaluate the positioning. STEP TWO Next, I tinted some of the skin area with V554. I did a bit of blending to make the skin appear smooth. The eyes were then filled with Lamp Black. STEP THREE I added age lines and started on the hair to get the general outline. I then concentrated on the eyes, and decided to make them blue! They certainly stood out. Next, I built up more area around the eyes and did some more blending.

STEP FOUR I like to move around a painting; not always finishing one area before moving on to another. I decided to put some shading in the background to bring the features forward. I did quite a bit of blending here, using P554. I also used V554 and X554 to build up the hair. At this stage I needed a break – so I put the painting away for a week. STEP FIVE The break was a good idea. It enabled me to look at the work through new eyes. I decided to concentrate on finishing the background and the clothing. I also worked on the neck area, which seemed too dark. After another evaluation, I felt that the eyes just stood out too much – so the blue was removed. Back to black. I then built the eyes up with Caput Mortuum shades. FINAL STEP I signed the painting and then left it alone. It can be easy to keep tweaking and fiddling. Knowing when to stop is the hardest thing, sometimes. I Artist’s Palette

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don’t often use fixative; I prefer to roll my painting with a rolling pin, placing tracing paper over the top (this helps to fix the pastel).

MASTER HINTS AND TIPS of your scene. important; along with a selection of pastel pencils. experiences and knowledge. STEP FIVE

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n a g L t o e n h t s i e g r e P T

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Renée Treml

By Renée Treml

Although currently on a ‘relocation’ theme – placing animals that were evicted from their natural environment in unnatural settings – this artist would love to illustrate a children’s book or start a new series of benefit art exhibitions.

I

was born in Bryn Mawr, Pennsylvania (USA) in 1974. These days I live in the Brisbane suburb of Yeronga. I moved to Brisbane in December 2007 with my husband Eric, who is a marine biologist at the University of Queensland. I have a small studio below our home that is actually a converted garage space. I work in the studio at least three days a week. I also work three days a week as a research assistant in the School of Geography, Planning and Environmental Management at the University of Queensland. I have always been involved in art classes, starting from when I was a young child. While at University, I decided to study ecology and environmental science rather than fine art. Throughout this time, I continued enrolling in art classes both at university and at local art centres. After several years of working as a remote sensing scientist for the US government, I decided to leave the sciences and begin studying scientific illustration. I completed a professional 56

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certificate in botanical illustration in 2004 (from the North Carolina Botanical Gardens in Chapel Hill, NC, USA). This focused study helped me realise I was interested in creating fine art and illustrations. Over the past several years, I have continued enrolling in art classes and workshops to help me grow and learn as an artist. I believe I had some of the best art teachers and mentors (and a supportive arts community) while I was studying art in North Carolina. I

am finding a similar community of artists in Brisbane and I look forward to having that supportive network again. I am passionate about the environment and bringing awareness to environmental issues with my work. I used to just paint and illustrate birds, hoping to bring awareness of the species and the environment through this focused work. Recently I have tried to become more active with this message by

creating art that gently points out bad habits (such as habitat destruction) with aesthetically pleasing and sometimes humorous imagery. I am currently on a relocation theme – placing animals that were evicted from their natural environment in unnatural settings, such as birds nesting in tea cups and bilbys sleeping in birds’ nests. I do not want my pieces to be negative or accusatory, and I do not want to force my messages on anyone. In fact,

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you could just look at my images and find them interesting without having to consider the larger message. I have always been interested in the natural world with my artwork and my motivation comes from the environment. I have difficulty painting things when I am removed from the environment. For example, every time I go scuba diving I want to create marine paintings; but the minute I get back home, I am looking at the sky again. I began my art career in North Carolina, USA. The community of Durham and Chapel Hill seemed to be a magnet for artists and everyone was so open and supportive. Two things really pushed me along in my career: One was a series of classes I took with Luna Lee Ray and her regular students (with Luna’s guidance, we started ArtReach-NC and hosted benefit art exhibitions); the other big push came from my membership in the Guild of Natural Science Illustrators (GNSI) Carolinas Chapter. GNSI-Carolinas was an amazing group of supportive, encouraging artists where everyone wanted each other to succeed. I know that my successes are largely a result of my interactions with wonderful artists. As a result, I believe I have become a giving and supportive artist. For the past year I have been working solely with scratchboard. I tend to switch back and forth between painting with acrylics and watercolours or illustrating with scratchboard. I am not sure if I get bored; or if I just get inspired with other imagery. Black and white can be a really powerful medium, but sometimes I miss working in colour with big brushes. I almost always paint birds or other wildlife. I studied biology and ecology at university and that just seems to be my ongoing inspiration. I try to exhibit my work regularly. It is a lot of work to keep up, but I love participating in events and it is really good for 58

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me to be focused on a goal. I would like to get my work to cities outside of Brisbane … but I imagine that will come in time. I am still learning the way things work in Australia and I hope to exhibit in some of the national exhibitions in due course. I am currently a member of the Guild of Natural Science Illustrators (GNSI); Artworkers Alliance Incorporated; and Queensland Wildlife Artist Society Inc. I am not sure if I have a favourite outstanding piece of art … I seem to always love the most recent piece I have completed. I have no talent for wheel thrown pottery. I am really comfortable drawing and painting, so I sometimes enjoy taking classes like pottery that challenge me … and it is fun (sometimes) to be the worst one in the class. My personal collection of my own works is meagre. I love showing my work – and nothing makes me happier than when someone else loves it too. I do have a few whimsical paintings of my dog in a tutu which I will never part with. I regularly show my works at Kiln Gallery in Paddington (Queensland). I also send work back periodically for studio events and exhibits in North Carolina, USA. Early on, a lot of my friends were my collectors … these days I am not always sure who collects my images. I meet some of the buyers at events and exhibits, but sometimes they just slip by without me ever knowing. I have a tendency to work realistically with familiar subjects, so my works seem accessible to a wide audience. I also like to work small – which naturally keep the prices at a level where almost anyone who wants them can afford them. I also make lots of cards and prints. I love to teach and I have had several years experience teaching biology at university. My ideal career would be teaching a few art classes each week and working full-time in the studio. I think being an ‘outdoorsy’ type of person really helps sustain and enhance my creativity. My husband and I regularly go on long hikes and country camping trips; and we travel to parks, beaches and other countries. I always come home with a million ideas for new pieces; almost always based on the local wildlife and environmental issues. My advice to other artists is based on personal experience: If you do not have formal arts training, do not let it hold you back. You can always find excellent art teachers through community or TAFE courses. I also firmly believe that interacting with other artists, seeing their work, collaborating on projects and taking classes should be a lifelong process. You should always be open to growing, experimenting and changing. I would love to be able to continue growing and exploring creatively; and I would love to illustrate a children’s book or start a series of benefit art exhibitions again. Artist’s Palette

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

Claybord and Ink

By Renée Treml

This talented scratchboard artist always tries to spend some time just observing a piece of her work before deciding it is complete.

M AT E R I A L S

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STEP TWO

STEP ONE

C

laybord is made up of a hard panel that has been coated with a fine layer of smooth clay. When I work on white Claybord, I like to combine painting, drawing and scratching to create a piece with a unique style and texture. I created this piece ‘Who Needs Trees?’ for an environmental art exhibit and it exemplifies why I love this technique … I can create very realistic looking animals and place them in highly unlikely settings, and yet they still look believable. STEP ONE I trace the completed drawing onto a piece of tracing paper and transfer it to the Clayboard. For this example, I put a piece of graphite paper (shown here) under the tracing paper and lightly traced over my lines with a ballpoint pen. I am careful not to press too hard because it will indent the clay. When I do not have graphite paper

STEP THREE

ailable, I lightly shade over the nes on the back side of the tracing per using a soft 2B pencil. I then ut the tracing paper right side up n the Claybord and lightly trace ith a ballpoint pen or hard pencil. STEP TWO I make a concentrated mixture of ink using about one drop of ink to three drops of water. I never paint with ink straight from the bottle because it is too thick. For my initial washes, I dilute the mixture even further until it resembles wet watercolour paint. I paint the ink on the Claybord in thin washes, allowing it to dry between layers. Claybord is very absorbent and dries quickly, so do not be surprised if you see ‘blooms’ or other irregular marks in your washes. At this stage I begin building up the volume and roundness of the Frogmouth’s head and chest.

STEP THREE

STEP THREE I continue adding washes and developing the shape and texture of the bird. I think shape and volume are most important to develop first – you can always add texture and detail later. I also begin drawing defining lines and markings with my ink pens. I continue drawing and painting until I feel satisfied that the piece has good depth and a coarse level of detail. STEP FOUR To recreate the mottled appearance of the Frogmouth’s feathers, I choose to splatter the bird’s body with different concentrations of ink. Splattering creates random patterns that I think mimic the irregularity of the Frogmouth’s camouflaging feathers. To splatter without ruining my white background, I create a mask for the background from the piece of tracing paper I used in Step One.

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STEP FOUR

To make the mask, I cut the Frogmouth’s body from the tracing paper and carefully lay the cut paper over the Claybord so that it is covering the background. I wet my brush with ink and splatter the piece – I can be rather carefree because the mask is protecting the background. If any splatters do get onto the white background, I wait for these to dry and scrape them from the surface using the broad side of my blade – being careful not the gouge the surface of the clay. STEP FIVE

STEP FOUR

STEP FIVE

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After the splatter dries, I add a few more bold washes of ink to the Frogmouth to deepen the overall shadows on the body, as well as some specific areas under the beak and near the eyes where I want depth. Now I am ready to begin scratching. Scratching with the knife quickly sharpens the details and adds even more volume to this drawing. I use the knife lightly, trying not to cut into the clay too deeply. I can always go back and add more pressure if I want a thicker or whiter line. I also remember to keep my scratch marks moving with the direction of the shape. See how my scratch marks are following the curves on the head and adding to the feeling of roundness. STEP SIX Now that I have added detail to the entire bird, I see some areas where the whiteness of the scratched clay is bringing things forward that should be kept in shadow. For example, the white markings and feather details on the wing are too eyecatching and taking away from the feeling of roundness and volume. To push those white areas back into shadow, I lightly apply washes of ink over the wing. I also add some washes underneath the bird’s belly, and to the back of the head. As a final step, I want to add detail to the egg cup without drawing too much attention away from the Frogmouth.

After lightly painting and drawing my design on the shadowed cup, I lightly scratch over the areas of the egg cup that are not in shadow with a very fine piece of steel wool (or sandpaper) and the broad edge of my knife. FINAL THOUGHTS When I feel ‘finished’, I put the piece on an easel in my studio so I can look at it for several days (or weeks, if time permits). After looking at this piece, I see the need for a few more white highlights on the chest – and maybe some darker shadows – before I sign off. I always try to spend some time just observing the piece before I decide it is complete.

MASTER HINTS AND TIPS completely before beginning – it is extremely difficult to fix a big mistake neatly on Claybord. and shadows. Identify the light source and shadows for your subject before you begin. very sharp. A dull blade will not cut through the clay smoothly. I keep a sharpening stone nearby and discard any blades with broken tips. the direction of the fur or feathers and the shape of the body to help add to the feeling of volume and roundness. have wet ink on the Claybord, as the clay ‘dust’ will adhere to the wet ink and your washes will appear dirty and feel grainy.

EUAN MACLEOD. Alice. Archival Oils on canvas, 2006, 137 x 180 cm Image courtesy of Watters Gallery. www.wattersgallery.com

Professionals Choose Archival Oils To see more artwork by Euan Macleod and other leading artists from around the world visit the Archival Oils section of the Chroma online art gallery at: www.chromaonline.com/gallery/archival_oils

CHROMA AUSTRALIA PTY. LTD. MT KURING-GAI NSW 2080 Free Call: 1800 023 935 | www.chromaonline.com | www.archivaloils.com

Peter Godsall

Edited by Trevor Lang

Subject matter for this artist is frequently work by some of the Old Masters … and in reproducing his own versions of famous pictures he enjoys the challenge of mixing the right colours.

Original by FM Bennett 64

Artist’s Palette

Reproduction by Peter Godsall

Original by Peter Godsall

P

eter Godsall lives near the village of Cobargo in the beautiful Bega Valley of New South Wales. Originally from the UK, he was born in south-east London. This man has been painting casually, with a group, for quite a long time. In the past he received advice of sorts from a French artist named Pierre, and he has also had training from Val Osbourne and Fred Martin (since deceased). Peter attributes most of his success thus far to Fred Martin’s excellent guidance. A period of studying portrait painting with the New South Wales Art Society was curtailed due to the travelling involved. With his limited training however, Peter tries to reproduce accurately what he sees in tone and colour … although there are times he would like to be less of a perfectionist and ‘let it flow’ as per Monet and the Impressionists. Although he admits that the subject matter for his paintings is quite diverse, Peter feels this is more a help than a hindrance.

Original by Peter Godsall

Original by Boucher 66

Artist’s Palette

Original by Peter Godsall

Reproduction by Peter Godsall

While he lacks an understanding of watercolours, this artist enjoys working with pastels, acrylics, and water-based oils. He has plans to embark on a serious venture to improve his skills with pastels. Many subjects attract Peter Godsall. He loves to paint the coastline, and the harbour at Bermagui. He enjoys the challenge of still life painting, and loves to create reproductions of works by the Old Masters (where mixing the right colours is sometimes a very daunting proposition). Work by Peter is displayed in a couple of local restaurants. He has entered some competitions, and has won a prize at Bega. This man has a compulsion to paint. He will see something and become obsessive to paint that subject. One of his favourite completed works is his reproduction of Louie David’s ‘Napoleon’. He also prizes a portrait of a businesswoman friend (he was inspired by a beautiful jade ring she wore). Monet, Pissaro and Sisely are among the artistic icons particularly admired by Peter Godsall. They doubtless provide him with a great deal of inspiration. He is also inspired by the peace and serenity of the farms and forests which surround his own small property. This artist also plays golf as a pastime … and he has been advised to take lessons to avoid some of the frustration inherent in the game. He believes that the same advice applies to artists. It is important to take lessons, read books, and visit galleries. He also advises his peers to purchase good quality paints and brushes. His goal is to become as good as his talent will allow … and he has some parting words of wisdom for other developing creative people to absorb: “Don’t give up too easily. It does take a while to produce a masterpiece. I am still trying after some 40 years.”

Original by Peter Godsall

Original by Peter Godsall

Original by Pisarro

Reproduction by Peter Godsall

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

Mixed Media

By Peter Godsall

The man who painted this charming work devised his own lengthy title for the picture: “Surely you’re not really going to eat that, old chap?” STEP ONE

STEP TWO

M AT E R I A L S

FINAL STEP 68

Artist’s Palette

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

STEP TWO

REFERENCE characters would look as though they were outside enjoying the fresh air. Acrylic colours used here included Burnt Umber, Cadmium Yellow, Blue/Black, Leaf Green, Ultramarine and Yellow Ochre. STEP THREE I started to outline the shadows very roughly. Then I painted the

figures in colour using acrylics. I also added a bit of blue sky with Ultramarine and white (although it didn’t show up very much). STEP FOUR After completing the acrylic work in the painting, I then proceeded to go over the whole painting with my water-based oils. If people say that

STEP TWO

greens are the hardest colours to render accurately, I agree entirely. Colours used here included Titanium White, Primary Yellow, Cadmium Yellow, Burnt Sienna, Madder Lake Deep, Cadmium Red Light, Burnt Umber, Green Light, Ultramarine Dark, Sap Green and Ivory Black. I mixed most of these colours myself to obtain the right hues.

STEP FOUR

Artist’s Palette

69

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

ARTIST’S HINTS AND TIPS

STEP FOUR

70

Artist’s Palette

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