Innholdsfortegnelse for Issue 40 i Australian How To Paint

• 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…

MATERIALS • Cotton duck canvas, titanium primed single thick• Selected acrylic paints• Monte Marte Two Seasons acrylic set• Brushes - medium and line (Bristle : Taklon)• Container of water• Spray bottle of water• Masking tape• Damp cloth STEP ONE Working from several reference photographs I decide to paint a dry sclerophyll forest scene. I want to create a painting that captures the strength and beauty of tall gums and the atmosphere of a forest on a misty morning with the sunlight illuminating the trees. The scene I am painting is derived from bushland I am very familiar with – in the Brookfield area in South East Queensland area where I grew up and still visit frequently. I have taken many photographs of the area that I use as reference. Working…

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.…

• Collect photographs and ideas for future works so you are ready to go when the creative urge strikes. • Ensure you paint in good light. Natural light is the best. • When using acrylics, if the paint is drying too quickly to finish off the area you are working on, lightly spray the area with water. Water sprayed over paint on the work can also create interesting effects, particularly for background areas. • You can correct mistakes by using a damp cloth to remove paint, even if it has dried a little. Otherwise just over paint the area you want to correct. • Be cautious when using very dark colours as your work can become ‘muddied’. If possible use very dark colours in small amounts. Replace your water and…

MATERIALS • Canvas 450 x 910 mm.• Artists’ quality acrylic paints.• Various brushes.• Spatular.• Matisse Gel Medium 4. During the summer months in the hinterland State forests around Pomona on Queensland’s Sunshine Coast, the flooded gums shed their bark and show a body of reddish glow. When the sun comes out after a shower, these trees stand out with a glow that cannot be missed. After making a trip into the forest and taking quite a few photographs, I came across the tree which is the subject of this Demonstration. It was large – with a diameter of around 1.25 metres – and it stood proudly all by itself amongst a lot of ironbark gums. It just had to be painted. STEP ONE I loaded the photograph onto my computer…

• Keep a thick piece of folded rag nearby so you can continually wipe your pastels and your hands clean to stop colours contaminating each other. • Take your own photos to avoid any copyright issues. • An ordinary lead pencil eraser works very well for taking off small mistakes. • Don't be scared to experiment, try all the different surfaces and pastel brands that you can, you don't need to use large amounts and many papers can be washed off. • Don't sacrifice a good piece by leaving in an element that you know doesn't work but took you lots of effort to add. • Finding the right value and the right temperature is more important than finding the right colour. • Try using watercolour, thinned oil paint or…

MATERIALS • A primed canvas board with a light orange mix of acrylic paint• Paints are a mix of Winsor and Newton Artists oils and Art Spectrum oils:• Titanium White• Ultramarine Blue• Rose Madder• Burnt Umber• Cadmium Yellow• Cadmium Orange• Indian Yellow• Yellow Ochre• Indian Red• Brushes• A selection of firm flat brushes of assorted sizes and makes with a couple of liner brushes• Mediums• Art Spectrum odorless solvent• Refined linseed oil ½ mixed with turps STEP ONE Draw in the main structure and shapes with no detail, just the main shapes with a mix of Ultramarine Blue, Rose Madder and small touch of odorless turps. The tree trunk bark is started with a mix of Titanium White and Ultramarine Blue with a touch of Indian Red. STEP TWO Block…

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 • Paper: I generally use Arches 300gsm NOT paper, taped to a craftwood board using good quality (Painter’s) masking tape. (I do not stretch the paper unless I am going to do a very wet-in-wet painting.) Good paper is essential. • Brushes: The best you can afford. I now have two Winsor and Newton Pure Squirrel Mops sizes 6 and 4; Alvaro Castaonet NEEF 4400 No. 8. I find I can do almost all my paintings with these three brushes. Prior to this I used Taklon and hair brushes and a Hake brush. Sizes 12, 8, 6 and a Rigger sufficed. • Pigments: I use a variety of brands, primarily Sennelier and Winsor and Newton tubes. I squeeze out into a large deep-well palette which I spray lightly using…

I have had a passion for art from early childhood. My first painting was the interior of a wall-bed cupboard when I was nine years old. The large white interior surfaces were too tempting. I climbed onto the bed with a mug of red house paint and a few tiny tubes of other colours and a brush. The big back panel has a huge sad clown with a ladder, a dog on a fat leash and a row of sunflowers above his head. The sides and doors have butterflies, birds, gardens, trees and dogs. But the “pièce de résistance” is Ned. Ned is a small, happy clown with my brother’s wild curly hair, long knobbly legs and big grin. Even sophisticates sleeping in the bed enjoy Ned smiling down at…

• If there’s only one message I can convey to anyone reading this to further your artistic ability it is this - draw and paint from life and what you see in front of you whenever you can. • A good drawing gives you the basis of a good painting, and the only place to start, I believe, is to draw what is right in front of you in real life. • We see in 3D so why not draw it and paint it how we see it? • We see perspective, foreground, distance, colour, tone, form and atmosphere different to how a camera reproduces it. • There is a place for photos, and I have painted from many of my photos over the years, and still refer to them,…