Australian How To Paint magazine chooses a topic or style of art each issue and gives you a comprehensive guide for you to develop your skills. Over the series we will cover all major painting technques plus popular paint ideas.
Our first issue of Australian How to Paint Trees was so successful, we couldn’t wait to organise another edition for you to enjoy. A tree, both in nature and on an artist’s drawing board is an amazing living creation that we all can admire. In this issue, we have nine inspiring demonstrations on how to paint trees. Every medium is covered and each demonstration goes into step by step detail on how to achieve amazing results. This issue of Australian How to Paint is a must for all budding artists. We are sure you will find the artists and their demonstrations inspiring, so painting trees will become enjoyable! We would love to see your artwork and hear from you. Please send an email or letter with photos of your work.…
Once upon a time, there was a boy who drew stick figures … I kid you not! At the age of seven, I did just that. And school friends were always asking me to draw things for them. I coloured in, and stayed within the lines, never realising that my early formal training had begun. None of us really know where life will lead us, as we become swept along in life’s current, heading down the stream of destiny fulfilling our lifes’ purposes. I began to paint for a living in 1975. Leading up to that year, I had no idea that one day I would find success in the art world. Even now I stand in awe of the events that brought me to this moment in time. Prior…
MATERIALS • Gesso board prepared by the artist.• Art Spectrum oil paints: Ultramarine Blue; Cadmium Yellow; Alizarin Crimson; Cadmium Orange; Raw Sienna; Burnt Sienna; Viridian; French Titanium White. STEP ONE When I begin a painting, I seek to arrange the composition as best I can. Drawing and placement of the elements is important at this stage. It is crucial to get positioning right at this early stage, or I will suffer the dreaded re-corrections later. I begin all my paintings with a rough sketch of thinned wash, preferring Burnt Sienna and Ultramarine Blue – these two colours won’t bleed and affect any colourings later, as they are neutrals. I keep the sketch rough. Time is of the essence when working outdoors, and most of the sketch will be covered in paint at…
I first began painting in the early 1970s – a great time for emerging artists. I had just returned to Australia after spending 10 years of my youth in England with my mother and stepfather. I had a baby and young child, and was looking for some form of work that could be done from home. So when I was reunited with my natural father after my 10 year absence it was fascinating to find that he had become a professional artist and was making a good living out of his art. He was very well known in the ‘70s – ‘80s, and living a rather exotic lifestyle on his boat, moored in Sydney harbour. Coincidentally, at around the same time, I met a young woman who was also painting…
MATERIALS • 51 x 61cm good quality canvas board. Quality canvas is essential. As you do not want a board that is not well primed and sucks the life out of the paint – nor one that is too slippery.• Art Basics 101 Flat Bristle in all sizes• Eterna 579 (a cheap ‘hairy bristle but useful for some effects and softening edges)• Monte Marte ‘Rake’ brush - great for grass• Art Basics Bristle – round 1 & 2• Eterna 582 Bristle round• I also cut my own brushes with sharp scissors using old brushes I no longer use. These are great for a variety of uses where texture is required.• Thin willow charcoal Colours • Art Spectrum Australian Red Gold• Art Spectrum Pilbara Red• Art Spectrum Cadmium Yellow• Art Spectrum Ultramarine Blue• Art Spectrum Manganese Blue• Spectrum Burnt Sienna• Spectrum Transparent Red Oxide• & Newton…
1. When you mix your colours, always mix a good amount of paint. Remixing colours in the middle of a critical part of your painting is annoying and often ends up leading to a different colour to the original. The other temptation is to thin the paint with too much medium to make it go further. 2. Be aware of repetition in your painting and avoid it i.e. painting a row of trees or rocks that all look the same. 3. Use a large palette. Running out of room when mixing colours can lead to a muddy painting. It can also be frustrating when you have to clean your palette mid-painting. It is easy and cheap to buy a laminated board from the hardware store and cut it to size.…
