Innholdsfortegnelse for Issue 22 i Australian How To Paint

One of the most frequent questions we get asked at Australian How to Paint is, ‘How do you paint landscapes?’ The Australian landscape, especially, is an inspiring landscape varying and changing and has beautiful awe about it, no matter where you are. We have compiled a number of artists in this issue, all with a passion for landscapes, and each artist providing their own landscape demonstration for you enjoy and maybe even have a go. As a special extra for this edition of Australian How to Paint, we include a pastel inspiration by Heather Jones. She takes us through a step-by-step demonstration of a beautiful setting in the Flinders Ranges. We would love to see your creations so please send us an email or letter with photos of your work.…

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…

MATERIALS • Full sheet of Coloured Pastel Paper with a rough surface. • Good quality mixture of Artists’ Soft Pastels. STEP ONE I printed out a photograph which I took of a bushy track in the Flinders Ranges; and I chose a dusty pink for the background paper. Using a bit of artistic license, I started with a dark pastel making a few lines where the feature trees would be. I marked in a track to get some depth into the subject. STEP TWO I blocked in some sky with two shades of blue. I used at least two shades of blue and some mauve to blend in the sky, as this gave a more interesting vibrancy. Next, I blocked in some light green for background foliage – also mixing…

Some people know from a very young age that they are destined to be an artist. For me, although I recall having an artwork framed and hanging on the wall in primary school, there was nothing to predict the course my life would take. After finishing school, where my main achievements were as an athlete, I trained as a nurse and a midwife. It was only when I had my children that I realised I needed a source of income that allowed more flexibility. Fabric painting sparked my interest so I decided on some classes in order to learn more. Three weeks into the class the instructor was asking me how I did things and achieved the effects I was creating. The timing was right and a series of events…

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…

MATERIALS • Canvas 1000x1500mm • Disposable rubber gloves • Lead pencil • Eraser • Brushes: Round head - small medium and large, Detail Sabre brushes 0000 and 0 sizes • Low odour gum turpentine • Paints: Art Spectrum ultramarine blue, cobalt blue, medium yellow, brilliant red, titanium white. STEP ONE You can first start by doing a light cobalt blue wash over the canvas. In this instance I haven’t used the wash. Secondly start by constructing a grid which will help you accurately draw the landscape scene. Try to minimise the grid as much as possible, as the more square the more complex the drawing becomes, the more errors can be made. Typical landscape scenes without buildings or structures do not require intensive grids. Once the canvas has been broken…

Glenn Barnett of Port Lincoln in South Australia is a Member of Mouth & Foot Painting Artists Pty Ltd. He delights in painting beautiful landscapes with brushes held in his mouth. Like many artists, Glenn has developed his skills over the years and experimented with a whole range of mediums. “After a few years of painting with watercolours, I turned to oil paints. I enjoyed their flexibility; the way they worked into each various colour, and the ability to wipe off a mistake,” Glenn explains. “Then, in the mid 1970s, I tried acrylics. At this time I was talking to schools and community groups and demonstrating how I painted. It did not take long before I found it very difficult to actually achieve much of a result painting quickly with…

MATERIALS • Stretched canvas 20 x 24” • Atelier Gesso • Palette knife • Fan brush no. 4 • Art Basics 2200 Taklon 000 • Art Basics Stiff Synthetic Filbert 95-KF No. 12 • Art Basics Bristle Flat 101-F No. 6 • Art Basics Bristle Bright 102-B No. 7 • Art Basics Stiff Synthetic Bright 95-B No. 2 • Art Basics Stiff Synthetic Bright 95-B No. 0 • All Art Spectrum colours – Titanium White – Cobalt Blue – Burnt Umber – Light Red – Cadmium Yellow – Raw Sienna – Yellow Ochre STEP ONE Lightly draw out with a HB pencil the outline of the gumtree, horizon line and the mountains. Mix Cobalt Blue and Titanium White and paint the top of the sky. Then mix Light Red and…

MATERIALS • Canvas pad. • Artists’ acrylic paints: Burnt Sienna; Red Oxide; Yellow Oxide; Mid Yellow; Brilliant Alizarine; Cadmium Red; Cerulean Blue; Prussian Blue; Ultramarine Blue; White and Black. • Various brushes. Painting with a brush held in the mouth, I work in sections. I begin with the sky, as I prefer to work from the sky to the foreground. I usually do not do preliminary sketches. My normal method is to complete a base and/or a complete section in one sitting. Fast drying acrylics can sometimes be an asset in my style of painting; while occasionally presenting problems. Working ‘forward’ from the sky means that I sometimes need to paint over completed sections to progress the work. Steps 6 to 11 continues on page 28.…

Dorothy-Rae Sullivan’s career as a painter began only a decade ago … but it is already blossoming. She has completed numerous successful works and developed a recognisable style which would be the envy of many developing artists. This lady derives her main inspiration from Outback Australia. She endeavours to capture the colour, light, soul and vastness of this ancient land from all perspectives. “The Kimberley and Pilbara areas of Western Australia are special to me, as are the desert areas of South Australia and the North Territory,” she relates. “These are places that I have visited – and I use my photographs as reference for my paintings.” Dorothy-Rae’s work is done mainly with acrylics. “My preferred medium is acrylics due to the fast drying time,” she says. “Working with acrylics…

MATERIALS • 16 x 20 inch prepared canvas board. • Reeves, Atelier and Rowney acrylic paints: Cadmium Red, Cadmium Yellow, Cadmium Orange, Gold Oxide, Red Oxide, Paynes Grey, Violet, Turquoise, White, Cobalt Blue, Cerulean Blue, Ultramarine Blue. • Brushes: Hogs hair in various sizes and a large bristle brush for the washes; also one small sable for detail. • Micador Satin Sealer. I enjoy the arid interior of Australia, which I have visited, so selecting my subject was easy … as the Kimberley and Pilbara are very special to me because of the richness of the colours. This painting is of part of the Old Anthill Road at Nullagini in Western Australia and it is called ‘Castle Hill’. STEP ONE For the base coat, I used an application of washes…