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Artist Drawing and Inspiration 3
Issue No.38 2020
ontents 60

28
Artist insights And
demonstrAtions
10 Helene Ruma
20 Leese Padget
38 Jan Jury
52 Narelle Joyce
60 Carole Elliot

FeAtures
28 Drawing Inspiration - Nola Clark
32 Canvas and Paper
48 Drawing Inspiration - Joy McPadden

48

4 Artist Drawing and Inspiration

32

IN THE GALLERIES
68 In the Galleries - Bloomhill Cancer
Help Centre

REGULARS
6 Readers Gallery
72 Books and DVD's Store

Cover image by: Jan Jury

10

52 38

Artist Drawing and Inspiration 5

Woodland's gallery
ARTIST’S DRAWING & INSPIRATION magazine artistic goals. This ‘Gallery’ segment provides a place to
seeks to showcase the works of talented Australians display pictures by people who may not have the means or
producing art at a whole range of skill levels, whether the opportunity to be extensively featured in our magazine.
they are accomplished creative people with a long history Submissions are sought from such people for future Issues.
of achievements or beginners (of all ages) striving This issue I am pleased to display the work of another five
to build their identities and reach their particular enthusiastic artists.

Bill Barlow Bill Barlow Bill Barlow

Bill Barlow Bill Barlow Bill Barlow

BILL BARLOW
I am attending an art class taught by Janice Timmons at the Neighbourhood House facility in Traralgon. My
project is a series of portraits of rock stars. Although based on photographs, all the drawings are executed free
hand; there is no tracing, mechanical or artificial means of transposing the image. I rely on my hand-to-eye
coordination. I estimate the whole thing will cover around 150 subjects. I have also been writing essays to go
with each of the drawings. Ultimately, I’d like to publish it all – portraits and essays – on the internet.

6 Artist Drawing and Inspiration

These feature pages are reserved for displaying the work of emerging and
developing Australian artists; as well as other unknowns whose efforts may
provide interest for our readers.

Denise Balson

Denise Balson Denise Balson

DENISE BALSON
I love reading your Artist’s Palette Magazine and would like to submit some paintings for Woodland’s Gallery. I love
painting in ink of old houses, hotels and schools. I’ve worked as a teacher aide in the art department at St. Hilda’s School
on the Gold Coast for 14 years. Currently I’m travelling in a motorhome around Australia with my husband Tony, painting
while exploring our wonderful country.

Artist Drawing and Inspiration 7

Woodland'sgallery

Corrina Mclaughlin Corrina Mclaughlin

Corrina Mclaughlin Corrina Mclaughlin

CORRINA MCLAUGHLIN
I am currently studying creative arts at uni with one year to go. I have always
enjoyed creating art with more of focus on portraiture. I prefer to use graphite
pencils or colour pencils but also use arclyic paints and mixed media college.

8 Artist Drawing and Inspiration

NATHAN WERNER
I’m submitting these to the Woodland’s Gallery as a developing artist because I read
about it in artists palette No.107.

Nathan Werner Nathan Werner

Nathan Werner Nathan Werner

If you are a developing artist and would like to see your own work in Woodland’s Gallery, please submit some good
quality images (300dpi) on cd or dvd or photographs of the painting/s you want to display in the magazine. If you
would like to, you may include a photograph of yourself to accompany the picture/s of your art. Please also supply
a brief description of your background, your creative motivation, and your artistic aspirations.

Artist Drawing and Inspiration 9

 I N S I G H T

Helene Ruma

The Dog Portrait Artist

Honing her career by working with horses, this talented artist found
her niche drawing animal portraits, specialising in dogs.

W
here do I begin?
Do I start at primary school
where, like so many children
before and after me, I drew my
favourite cartoon characters?
Do I start at aged 12, drawing my
guinea pig (I wasn’t allowed to have a
horse) who courageously sat through
hours of being used as a life model?
Do I start in high school where I was
taught to draw with the “right side of
my brain” and was really impressed
when my drawings actually looked like
what it was supposed to?
Or do I start aged 38 when I decided
to live in the moment like the animals
that inspire me and become a full-time
artist?
Let’s start in university… After
finishing the HSC doing 3-unit Art, I
was “steered” by my parents to stay
away from working with the horses
I was obsessed with and go into an
artistic career path that didn’t involve
poverty. So off I went to university
to study Graphic Design majoring in
Illustration. What a buzz! This is when
I really discovered coloured pencils and
was taught illustration by an Australian
Geographic artist who would create
Australian wildlife calendars each year.
As we all know, the real world
is very different to the glamour of
university and my first job was as a
Toby graphic artist, drawing car parts and
designing parts catalogues in the motor

10 Artist Drawing and Inspiration

 I N S I G H T

Basset Bash

My Baby with big teeth

industry. The next 10 years involved
other desktop publishing and graphic
art work, working for well-known
companies such as MYOB and MLC.
It wasn’t until I was 32 that I
decided to give it all away (inspired
by my pet Cocker Spaniel Sam), to
pursue a childhood dream of working
with horses. To say it in two words …
LOVED IT! Unfortunately my middle-
aged bones didn’t agree, but it was
there that I rediscovered my love of
art and animals and decided to become
an animal portrait artist, specialising
in dogs.
My art career started with creating
drawings with my coloured pencils
and from there my techniques
extended to other styles and
mediums due to demand and also
wanting to offer a wider range
in price and style. My favourite
medium would have to be pencil and
even though I started with coloured
pencils, I do love the black pencil on

Artist Drawing and Inspiration 11

 I N S I G H T

Snoopy My Baby with long legs Scout

white paper and the white pencil on It was after I attended a day of letting the paper become part
black paper drawings. workshop with a water-colourist that I of the artwork, but I really took to
I started doing the white pencil was hooked and in true Helene Ruma watercolour. At the risk of sound like
on black paper drawing because I style, the next day I went to the art I have a huge ego . . . I thought I was
just wanted to be different and set store and spent hundreds of dollars awesome with just one lesson!
myself apart from other people. It was buying everything I would ever need I know I have a lot more to learn in
inspired by the technique of scraper to create watercolour portraits. Maybe that department but at the moment I
board drawings (which was something it was because I was already used to love experimenting with watercolours
I tried during my university years). creating artwork using a technique and even using mixed media like

A Curious Meeting My Baby with big ears

12 Artist Drawing and Inspiration

 I N S I G H T

pencil and watercolour to create

artwork.
I haven’t always been one to
experiment with my artwork. It wasn’t
until I started teaching art to young
children that my imagination has gone
wild and I have become more fearless.
After all, you should practice what
you preach. I was recently approached
by one of my local primary schools to
teach all levels within the school from
Kindergarten to Year 6. I was excited
and at the same time apprehensive,
not knowing if I was capable of
doing it. What an experience it has
turned out to be. It’s great to have an
opportunity to teach children about
drawing techniques rather than craft
which is what a lot of them learn at
primary school. Just to be able to teach Kai
children the same right brain drawing
techniques I was taught and to see
the same reactions I had is absolutely
amazing. I now teach at two different
schools and the popularity of my
classes seems to be growing.
As well as teaching young children
at schools, I have been approached
by a few art societies including the
“Newcastle Society of Artists” and the
“Maitland Region Society of Artists”
to give weekend workshops to their
members and guests. I have been told
by both the organisers as well as the
students that my workshops are very
informative (and of course fun), giving
detailed information on how to use
their pencils. I’m happy to say that
all Art Societies have asked me back
and I will now start my own weekend
workshops teaching people how to
draw and shade animals.
As well as using my art to teach
adults and children, I will often
donate my time to fundraising events
held by animal rescue groups. It’s
not uncommon to see me at a charity
event or a doggy fun day doing quick
sketches of people’s pets on the spot
and donating part of the proceeds
to saving cats and dogs in need.
After all, it is my two rescue cocker
spaniels, Amber (employed as my PR Ringo the Pug
Manager) and Clarke Kent (my QA

Artist Drawing and Inspiration 13

 I N S I G H T

Tips Piglet

Rocky Officer) who keep me on my toes

and without them, I would be lost.
I would love to tell you that I have
been doing this for years and that I’ve
won numerous art prizes but the truth is,
it has only been in recent years I have
come out of the “artist closet” to show
fellow artists, whom I now call my
friends, what I’m actually capable of.
I have only just started to enter
competitions and to date I have won
first prize in the “Casterton Kelpie
Acquisitive Art Competition” and two
highly commended and a people’s
choice award at the “Newcastle Art
Society” exhibitions.
More of my art work can be seen on
my website www.heleneruma.com or
on my Facebook page www.facebook.
com/thedogportraitartist

Special thanks to Jenny Parker from

“Shoot-Ya-Pooch Pet Photography”
for allowing me to use her photos for
my portraits.n

14 Artist Drawing and Inspiration

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

Pencils

Cavalier in
Black Pencil By Helene Ruma

Meticulous attention to detail brings Archie to life in this gorgeous drawing.

I
had just got off the phone from calls to tell friends and family and So in this day and age of new
talking to Artist’s Palette (when posts on social media has stopped… technology I decided to follow the
they called and asked me to submit I’m now left with the not so easy masses of trying to explain step
an insight and demo), the screaming, task of explaining how exactly I go by step how I create my work and
jumping up and down, the phone about doing one of my drawings… take photos along the way, but

FINAL STEP

16 Artist Drawing and Inspiration

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

also to embrace new technology

that’s at our finger tips and create
a time lapse video of this drawing
of a Cavalier as it comes to life.

THE TIME LAPSE VIDEO

For those of you who are interested in
creating a time lapse video of their own
artwork, this can be easily created by
downloading the “Motion Pics” app
on your iPad, iPhone or iPod. You’ll
be able to find an equivalent app if
you use Android. It’s really easy and
straightforward to use so I’m not going STEP ONE
to get into explanations here. If you are
techno-illiterate or simply a techno-
phobe, have no fear! Tech support is as
far away as your six-year-old grandchild,
child or in my case, niece and nephew.
The time lapse video of my demo is
available online at the following web
address http://youtu.be/Kev8Y27IHEo
Enjoy!
Now let’s get back to old school…

STEP ONE
I’m sure I’m about to send a whole
bunch of traditionalists into a spin
with what I’m about to say… how
you get your preliminary drawing STEP TWO
down on paper is up to you. Whether
you freehand draw, trace, project or
draw grids, it’s up to you. I would
like to say that I draw freehand when

M AT E R I A L S

• Faber-Castell Polychromos
pencils: In an A3 size drawing
I'll need about 6-7 Black
(199) & 1 White (101)
• Smooth Archers Watercolour
paper or Smooth White
Museum grade mount board
you get from the framers
• Bond or tracing paper
• 2B pencil
• Pencil sharpener
• Electric eraser (optional) STEP THREE

Artist Drawing and Inspiration 17

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

STEP FOUR A STEP FOUR B

I create quick sketches of people’s With your 2B pencil, very lightly you don’t end up with a distorted
pets at markets from photos on their add in your shading spots. Break image. You don’t want your stocky
mobile phone. When it comes to my your drawing into shapes; where Cavalier looking like a Greyhound.
detailed portraits (like this demo), are your highlights and where are
whether I am gridding an image or your shadows? Doing this will help
freehand drawing, I will always draw you plan your drawing and make STEP TWO
onto normal bond paper first and your life a whole lot easier. I like Everyone will tell you that a portrait
then create my own transfer paper by to always do this part freehand is all in the eyes and I will blindly
shading the back of the paper (use a because it helps me to understand chant along with them and say it like
2B pencil so you can easily rub out what I am drawing. It’s up to you a mantra “It’s all in the eyes!” “It’s all
lines you don’t want later). Then trace what your preference is but I find in the eyes!” “It’s all in the eyes!”
the image onto the good drawing paper that if you try to grid or trace every So that’s where you need to start.
or board where the final portrait will line, when it comes to drawing That way, if you don’t get them right,
end up. This way you can make all the portrait you will be sitting you can start again. And yes! I have
your mistakes on the “scrap” paper and there thinking, “What’s that line ripped up a drawing a few times in
not mess up the good paper or board doing there?” Do this step with the past and started again because
you have spent lots of money on. your drawing up on an easel so I made a mistake with the eyes.

ARTIST’S HINTS AND TIPS

• Print your reference photo the illusion of hair which tapers off. • Draw your lines in the
in black and white. • Avoid using an eraser to fix mistakes direction of the hair.
• Your pencil needs to be so sharp because it will only smudge your • When it comes to realism there
that it can be used as a stabbing pencil work and you will lose that is no better teacher than your
weapon. Turn your pencil after crispness which is what I love so reference image. Observe how
every couple of strokes to get a much about using pencil. How do hair falls. Pay attention to how
longer life on your sharp tip. you fix big mistakes? Start again… the hair sits on top of each
• When starting a new area of the sorry artists, no help from me there. other, especially curly hair.
drawing, always start with the shade • If you feel you’re getting stuck or • Always think of what you are
that you consider to be the “black” confused, either leave the drawing drawing in terms of shapes and
of your tones (the darkest). Then add for a while or move to another part tones. I always tell my students
your mid tones. Be careful to start of the drawing. Jumping around that if you want to draw a dog…
light and then add more dark. It’s the portrait is a great technique I don’t try to draw a dog.
easier to go darker if you need to. use to keep the drawing on the go. • Special thanks to Jess Hardy from
• Pencil strokes should preferably • Overlap your lines so you don’t “JA Photography” for allowing
start in dark areas and then flick to end up with a hard edge. You don’t me to use the photo of her
the light areas. This helps to create want to see your lines joining. Cavalier for my demo portrait.

18 Artist Drawing and Inspiration

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

This is where the fun begins. With

the tip of your black pencil, using
short strokes, start to “colour in” (kids
love it when I say that) the darkest
parts of the eyes. I always like to
plot my dark areas first as it serves
as a reference of how dark you can
get your pencil work and then adjust
your lighter shades from there.
You are only using the one coloured
pencil (Black) to get all shades, so
when you start to shade your mid
tones start with a very light pressure.
Add more pressure to the strokes
until you get more familiar with using
pencil and you get the strokes to a STEP FOUR C
darkness that you are happy with.
Make sure your pencil is sharp and
use the tip. Your pencil always needs
to be sharp. As soon as you start to
get a fuzzy edge in your line work,
you need to sharpen it again to a fine
point. You may get to use 5-10 strokes
before you need to sharpen again.
When it comes to the eye ball, I will
actually draw the shading strokes in
the direction of the roundness of the
eye ball to simulate the roundness but
then I will also lightly cross-hatch my
lines to hide the pencil strokes and
to make the eyeball look smooth.

STEP THREE
I may focus on one area (e.g. the dog’s STEP FIVE
left eyebrow) and shade in my mid
tones, therefore establishing a standard
of what my greys will look like. You may get head spins by this my darks have to go darker? Do I
stage, that’s ok, this is normal. need to exaggerate some darks to
make it look more realistic or to
STEP FOUR get more of a dramatic effect? Are
I will then move around the portrait STEP FIVE my tones consistent throughout the
where I will first shade in the darkest Now it’s time to work on the white drawing? Do I need to add more
areas and then join those areas with the areas (e.g. the white fur around the tone? Do I need to start again?
mid tones. In those mid tone areas, be nose). Because I have established This is also where I will add
careful to start light and then build on my dark and mid-tones, I know that the shadows on the “floor”
the darker shade. You can always go I have to use a very light touch to that the Cavalier creates.
darker but you will make a potential add the shading within the white fur. Finally, I will use a white pencil to
mess if you have to go lighter. Use extremely light strokes in these draw in or an electric eraser to pull
As you establish your grey areas. I will then add subtle tonal out areas where white whiskers are.
areas, you should be using your differences in the very light grey areas.
original image as a reference as
well as referencing the greys you OPTIONAL FINAL STEP
have established in one tonal FINAL STEP Grab a glass of wine, a beer or a
area of your drawing to help you This is when I sit back and have a litre of ice-cream and celebrate the
keep everything consistent. look at my drawings as a whole. Do drawing you have just created. 

Artist Drawing and Inspiration 19

 I N S I G H T

Leesa Padget

Landscapes from the Heart

Always inspired by the natural world but through a surrealist’s eyes,
this artist believes you should always follow your own instincts and
paint from your heart.

Twisted

20 Artist Drawing and Inspiration

 I N S I G H T

Golden afternoon Pinnacle moods Things of stone and wood

A
s a child, I was always creative sides with countless craft kits had no idea what to expect, but as
drawing, colouring, knitting, and activities, however this usually it turned out it was also a success
sculpting with clay, basically meant that any painting and drawing as it resulted in my first sale.
anything arty and creative that I could materials that I had optimistically When I began painting again I started
find would keep me quietly amused cobbled together normally disappeared with acrylics as that seemed to be the
for hours. This passion followed me during the school holidays. My cheapest and least technical place to
into high school where I took every daughter has since grown into an start. Or, so I thought! Acrylics are a
art subject available at the time. accomplished artist in her own right forgiving medium but that does not
Unfortunately not many realistic with sales and awards to her name mean they are easy. They can be as
opportunities existed for artists to earn already, however my son thinks it’s simple or as complex as you want to
a practical living and so my creative all a bit silly, but he can always be make them and I really enjoy their
side was put on the back-burner for relied on for brutally honest opinions! experimental qualities. There are
some time once I left school and As my family got older, I found many good student paints and brushes
entered the ‘real world’. After meeting myself inspired by amateur art shows available but learning does use up a lot
my husband our lives were filled and once again began to create. At paint, especially going over mistakes!
by work, running a small business, first I was just trying to fill up some It is a lot more affordable now to buy
building three homes, raising two kids, blank walls in our house and it took artist quality canvases and once you
etc,etc, you know, that old chestnut! me quite a while before I had the have progressed to the point where you
I have been fortunate enough to be a courage to enter an exhibition. My would like to exhibit it is well worth
stay-at-home mum and when my kids first public exhibition was a nerve- buying artist quality paints as buyers
were small I always encouraged their wracking experience for me as I will expect their paintings to last. I

Evening firebreak Desert hatchlings

Artist Drawing and Inspiration 21

 I N S I G H T

wouldn’t recommend buying a huge

collection of brushes as I find I use the
same three or four brushes constantly.
One thing I would recommend
investing in is some good art books.
In my case I have bought books
dedicated to landscape painting in
all mediums, composition and some
I bought just because I liked the
artists who contributed to them. All
of them are helpful tools and I find
them much more useful than DVDs,
but that’s just me. Remember also,
treat them like cook books and be
prepared for them to get dirty!
A couple of years ago I noticed
that the artists I most admired were
mainly pastellists and watercolourists.
Churchmans rockface I also noticed that I was drawn to
landscapes and this was a big turning
point for me as I live in a rural
community surrounded by National
Park hiking trails through foothills and
unspoilt bushland, and also I have a
husband who loves any excuse to go
mountain biking. As such I have an
almost endless supply of photographic
opportunities and most importantly
the ever elusive inspiration. Having
already tried watercolour without much
success (it still eludes me to this day)
I bought a cheap set of pastels and
found they instantly clicked for me.
I now have a huge pastel collection
and it has become my favourite
medium to use for landscape, however
Fig many paintings go into storage as
framing costs need to be justified.
Finding my individual style was
one of the most difficult things for
me to overcome as there are so many
artists I admire. At first I couldn’t help
but try to emulate them, however,
as Oscar Wilde said; “Be yourself,
everyone else is taken”. This is a
sound piece of advice. Over time I
have developed my own different
styles for acrylic and pastel, in fact
my whole creative process seems
to be different for each medium. I
have recently begun dabbling in oils
and there seems to be another style
emerging there too. Obviously it’s my
different personalities coming out!
Tawny devils I had been aware for many years of
a well-known local art group called

22 Artist Drawing and Inspiration

 I N S I G H T

The watchers Waterhole

the Armadale Society of Artists and chance to meet like-minded people. feeling knowing that someone wants
joined them a few years ago, not really Some of my favourite artists include to collect your work. I am a regular
knowing where this would take me. Australian artists Chris Lees and exhibitor now throughout the year in
As it turns out this was a great move Warwick Fuller, who are both landscape as many shows as I can, including
for me as I have made some good oil painters, and American artists some “Invitation Only” exhibitions and
friends and met some very talented and Richard MacKinley, Phil Bates, Albert this has resulted in my pieces being
friendly people who are generous with Handell and Kim Lordier who are held in private collections all over the
their time and knowledge and have landscape pastellists. On the surface country. I would like to hold a solo
given me so much encouragement and these artists seem a very diverse group exhibition in the next year but I am
support. As a bonus they also hold two but when I analysed why I am attracted still mustering the courage. My son
or three society exhibitions each year to them I realised they all have a is currently in the process of creating
and have many other opportunities surrealist feeling running through their a website for me to display my work
available for solo and joint exhibitions. work, with interesting colour choices and, hopefully, provide me with some
Joining a society or club is something and loose, almost abstract forms. more exposure. If nothing else, art
I would recommend to anyone as it Regular sales have encouraged me is an important part of my life that
opens up a network of opportunities now to think of my painting as more I had forgotten about and now that
and resources, not to mention the than just a hobby, and it is a great it is back it, it always will be. n

The hike Fightclub

Artist Drawing and Inspiration 23

 d e m o n s t r a t i o n

Pastels

Sunkissed Leesa Padget

A view of the world

through my eyes

FINAL STEP

24 Artist Drawing and Inspiration

 d e m o n s t r a t i o n

M AT E R I A L S

• Art Spectrum Colourfix

Paper Beige 100 x 70cm
• Four values of Art Spectrum
Flinders Blue Violet ranging from
the darkest to the lightest
• Art Spectrum Jacaranda two values
• Two values of Art Spectrum
Flinders Red Violet
• Art Spectrum Warm Grey
• Art Spectrum Aust. Leaf
green, Grey green, Greenish
Umber, Pthalo Green/blue
• Art Spectrum Pilbara Red three values
• Senneliers in lightest yellow, STEP ONE
brick and turquoise
• Eraser
• 1 or 2 inch paint brush

STEP ONE
These sun bleached trees with their twisted
shapes are irresistible to me, whilst some
people find them spooky, if you look at them
from a different point of view you will see
the elegant shapes and gestures in their bare
branches. I began this piece with a very basic
charcoal sketch directly onto the paper. As I
already had a clear idea of where I hoped this
painting would end up, it was really just to
get the size of different elements in relation
to each other and give some idea of whether STEP TWO
the composition/concept was sound. In this
particular piece I am only using the reference
photo as an idea, ie the dead tree, the slight rise
in the foreground, the background hills etc.

STEP TWO
Next I lightly brush off the charcoal with a
soft brush. If you do this carefully, it will leave
a faint outline of your initial sketch. The sky
was painted with peach, pale blue, pale pink
and yellow, lightly layered and even more
lightly blended. When blending I try to let
the pastel sticks do the work rather than use
my fingers as I find this keeps the colours
clean and avoids muddiness from mixing the
pastel particles into each other. Then I block
in the hills and sky with a couple of different
values each of green, violet and peach, keeping STEP ThREE
the deeper shades for the closer hills.

Artist Drawing and Inspiration 25

 d e m o n s t r a t i o n

ARTIST’S
hINTS AND
TIPS
• 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 STEP FOUR
don't need to use large amounts and
many papers can be washed off.
• Don't sacrifice a good piece by leaving STEP ThREE still working and the colours are
in an element that you know doesn't Once I am happy with the first layer harmonious and pleasing together.
work but took you lots of effort to add. on the hills, I add some middle In this particular case I have used
• Finding the right value and the ground. At this point I am still some of my reds and warmer
right temperature is more important feeling my way with colours, if violets, as well as greenish umber.
than finding the right colour. they are obviously wrong I brush
• Try using watercolour, thinned oil them off and try again (sometimes
paint or pastel wet with water and this can produce some happy STEP FOUR
brush as an underpainting to get accidents). At this point it can Normally I work from top to
you started as it can help overcome sometimes look a bit of a mess bottom, left to right so I don’t
that empty blank page and remind but I try to keep in mind a clear dirty finished parts of the piece
you of your original idea. idea of where I want to end up. with falling pastel dust and I don’t
• Step back from your painting I am usually able to tell whether smudge anything with my hand.
regularly so you don't get bogged it is working or not by stepping At this stage I have established the
down in meaningless details back often and just analysing foreground base colours I want
and lose the “big picture”. the colours and temperatures to to use and suggested some trees
• View your finished work through make sure that the perspective is along the bottom of the hills - these
a mirror and upside down. Let it
sit out of sight for a day then put
it somewhere you will see it by
accident, this helps you spot any
composition or colour problems.
• Stop work when you think
you are ALMOST finished
because you probably are.
• Ask for other peoples’ opinions
and don't sulk if you don't like
it (and if you can do this you're
a better person than me!)
• Check out as much work by other artists
as you can and try their techniques,
but if they don't work for you don't
worry, there are no hard and fast rules.
• Don't rush to adopt any particular style,
just find subject matter that inspires
you and your own style will find you.
STEP FIvE

26 Artist Drawing and Inspiration

 d e m o n s t r a t i o n

STEP SIX

were an afterthought as it looked a and greys to the shadows on the dead etc. It is also important to keep in
bit empty... I also brushed off a bit tree and very lightly scuff some raw mind where the shadows are and use
of the colour in the mid ground as it umber in it lightest value over the sunlit cooler, darker values in and around
looked a little too red. Don’t be afraid side. Then I soften the farthest hills by them. Using my softest pastels I add
to change parts of your composition if dragging some sky colour down over little dots for highlights above the grass
you find it lacks impact or is distracting them. I try to be adventurous in the to describe where the sun is hitting
from your focal point. I try to match middle ground and add unexpected the hill. This is also when I add a few
my strokes to the direction of the colours like turquoise blue, orange and more colours into the shadows on the
land so the topography reads better. violet to the shadows; they can always tree and some peach to the sunlit side
At this point in the piece it is hard be erased if they look strange. When I where the yellow light of afternoon/
to describe my colour choices as I paint foliage I like to use some warm evening is catching it. I change the
am just trying to follow my instincts colours such as Burnt Sienna or Pilbara shape of the tree for the last time.
to describe the way that I see this Red under the greens. If you use a light
landscape. Sometimes when I get to touch you will still see these colours
this point in a painting I start to doubt peeking through, also I like to use FINAL STEP
myself and it can be tempting to try warmer greens, tending towards yellow, I step back a few metres and look at the
to tone things down but then I remind for foliage when you want to capture piece from every angle. At this point, I
myself that there is still a long way to afternoon or evening light. You might decided to make a few of the grasses a
go and besides, I like lots of colour. also notice the dead tree changing bit longer as they seemed a bit uniform.
shape; it evolves all the way through I tidy up any little smudges and rough
this piece mostly due to outside input! edges, sign and burnish. Burnishing
STEP FIvE means laying some glassine paper over
Okay, back to the top of the picture the finished piece and rubbing your fist
and working my way down, this is STEP SIX firmly over the painting from top to
where it starts to get fun. I avoid I start adding the grasses to the bottom. Do this on a firm, flat surface (I
the foreground at this stage as I still foreground, using the side of the use our pool table!). I do this instead of
haven’t resolved it in my head yet. pastel, I tap it onto the paper in random using fixative to push any loose pastel
This is when I really add some colour directions. I try to add some vibration into the tooth of the paper. I avoid
and some form to the hills and trees to the grass by using orange over violet, using fixative as I think it dulls the
and the focal point. I add some blues yellow over blue, violet over orange sparkle that makes pastel special. n

Artist Drawing and Inspiration 27

 d r a w i n g i n s p i r a t i o n

Charcoal

Dressed for Work

By Nola Clark

FINAL STEP

28 Artist Drawing and Inspiration

 STEP ONE STEP TWO

STEP ONE drawing onto cream coloured velour proceeded to fill in some of the gear,
Pencil drawing in sketch book. paper, then drew over the outlines once again with willow charcoal.
with “willow charcoal” followed
by a paper stump (lightly dragged
STEP TWO over the lines) to set the charcoal STEP THREE
Using carbon paper, I transferred the and stop it being smudged, then I I started from the top, using

STEP THREE STEP FOUR

Artist Drawing and Inspiration 29

 d r a w i n g i n s p i r a t i o n

my finger and a small hog hair brush to

soften the lighter areas where necessary.

STEP FOUR
I continued to fill in and blend with
fingers, working left to right and top
to bottom (as I am right handed).

STEP FIVE
A light application of charcoal was applied
to the face and blended with fingers, lightest
areas on the face were partially removed
with a paper stump as I felt the paper was
a little bright, the lights were picked out
with a paper stump, e.g. rings and buckles
on gear and highlight in the eye.

FINAL STEP
I altered the eye, adding lashes and
pulled out the highlight with a sharp plastic
eraser, then felt that he was finished, so I
STEP FIVE signed with a fine graphite pencil. 

ARTIST’S HINTS AND TIPS

• A few hints on using soft your drawing paper then fold it • Charcoal is very forgiving (except
“Willow Charcoal” lengthwise - half can be tucked for compressed charcoal, which is
• Willow Charcoal is actually made under your drawing paper and the much denser, very black and hard
from willow branches (burnt to other half will form a tray which can to move once applied). To soften
a crisp so to speak) and being be taken off and emptied into a bin, regular charcoal, just lightly touch
powdery when used it obviously wiped as above or just thrown out. with your finger, paper stump, tissue
creates a bit of dust, is messy • Sometimes a little bit of the , rag etc, and to remove completely
and definitely not good for the charcoal stick is rough and - first remove the excess the same
nose! However a little care will scratchy. Just rub the rough bit on way then use an ordinary plastic
solve these problems. (Same a separate piece of paper, a piece eraser. For highlights it’s best to
treatment as for pastels). of sandpaper or an emery board remove as suggested then use a
• I use an upright easel with a small and continue using as normal. small piece of plastic eraser (I cut
ledge at the bottom of the work • I’ve had students who said that off a corner and use the sharp edge).
surface, and any dust just falls charcoal was scratchy and hard • Large drawings can be quickly
down to the ledge where it can be to work with, and found that they drawn with the side of a thick piece
wiped straight into a bin with a had been using cheap drawing of charcoal and finer drawings can
tissue or rag etc. If an upright easel paper with no texture (I agree it’s be easily achieved with a thin piece;
is not an option, a drawing board awful) when I provided them the sticks come in various sizes and
or table easel can be used, just use pastel paper to work on they a pack of several sizes is very cheap.
a firm piece of paper about 5 or all thought it was like using a There is no excuse not to start soon
6cm wide and a little longer than different medium, and loved it. and the main thing is to have fun!

30 Artist Drawing and Inspiration

Artist Drawing and Inspiration 31
 P r o d u c t F e a t u r e

Canvas and Paper Contributed

Here's plenty of information about the most popular canvas and paper
products available in the marketplace, including the newest trends.

AMAZING CANVAS AND PAPER FROM S & S

Fredrix Oil Primed Linen Canvas the finest quality flax and artist grade are a work of art in themselves. The
Oil primed linen was one of the first linen. The goal of harvesting and pure Belgian linen is prepared from
surfaces developed for ‘modern’ processing flax is to obtain flax seeds start to finish entirely by hand, using
day painting. For hundreds of years, and fibres. The fibres are attached century-old techniques in the Fredrix
oil painters have recognised that to the hollow woody core of each factory in Jacksonville. Each canvas
traditionally prepared oil-primed plant. Flax fibres are 36” in length, is first stretched on large specially
Belgian linen is the ultimate support compared to 1” cotton fibres, which designed frames and thoroughly
for their artwork. With the advent gives it superior strength. They are picked over by hand to remove
of acrylic and watercolour paint round and uniform, rather than flat irregularities. Then every square
along with the development of faster ribbon-like cotton fibres, which gives inch of the canvas is smoothed
production methods for less expensive linen a bold texture that can be seen using volcanic pumice stone. The
cotton fabric canvas, the use and and felt through layers of paint. next step is the application of warm
popularity of traditional oil primed Linen is traditionally the preferred animal hide glue, carefully spread
linen steadily declined over the past fabric of painters. It offers the artist using long stainless steel spatulas to
50 years. With the introduction of the most permanency, strength and seal the linen. As the glue cools, the
cheap, poorly constructed, non-archival beauty of any canvas material. It is linen tightens. It is pumiced smooth
canvases, many oil painters are now the most durable fabric on which to again. Next a fine preparation of old-
turning back to the original (and best) paint. Its warp and weft threads are world lead white is applied. Made
painting surface for oil painting. equal in weight and strength, making from a carefully prepared mixture of
The Phoenicians introduced flax to it less susceptible to expansion and lead whiting and linseed oil, this oil
Europe and the quality varies according contraction due to moisture. The priming applied over the carefully
to soil and weather conditions. Ireland, irregular character of the weave can be prepared linen yields a surface
Poland, Hungary, Romania and Russia seen through layers of paint, imparting prized by oil painters everywhere.
produce linen of varying qualities. a sense of depth to the finished Artists who have painted on well-
However, Belgium is the leader, in painting. It retains its natural oils over made oil-primed linen have experienced
growing and producing time, preserving fabric flexibility. the highly receptive quality of its
Oil paint is a combination of pigment surface. The tactile, sensual feeling
and linseed oil, which is of painting on oil primed linen is
derived from flax. unique. No other surface accepts
Linen canvas is paint quite like it. The oil paint and
also made from ground seem to “know” each other like
flax, thus making oil long-lost brothers, and the finished
paint and linen highly painting exudes a rich, luxurious
compatible. The oil quality prized by knowledgeable
Fredrix Oil
primed linen boards buyers and collectors. Fredrix Oil
Fredrix Cotton Canvas Panels Primed Linen
produced by Tara Fredrix Primed Linen Boards are the closest

32 Artist Drawing and Inspiration

 P r o d u c t F e a t

you can come to painting on a are constructed from finely woven

surface like the Old Masters. cotton canvas mounted onto heavy
cardboard backing, usually with
Fredrix Watercolour Canvas acid-free glue. The glue provides a
For years, watercolourists have been barrier between the board and canva
restricted to painting on watercolour helping to maintain longevity. The
paper. While many great watercolour surface of the canvas panel usually
artworks have been produced on has a very definite paint-gripping
paper, artists had to work within the ‘tooth’ with minimum absorption,
limitations of watercolour paper. providing a perfect painting support
Watercolour paper has a tendency for oil, acrylic, gouache and temper
to buckle when wet and requires colours. All sides of the canvas
special care such as stapling or panel are glued and turned in, to Langton Prestige Pads
taping to a firm surface. It also prevent fraying and separation.
can tear quite easily when wet and generally mould-made or hand-made.
artists must be very careful when Watercolour Paper They are usually more expensive
practising traditional watercolour Watercolours are a difficult medium because of the cost of the raw
techniques. Previously, galleries have to work with. Using quality materials materials and cannot be mass produced
been reluctant to acquire and sell makes the experience much easier and like machine made paper. They are
watercolour works because they are the first place to start is with the paper. also of a better quality. Cotton fibres
on paper and not of archival quality. There are two philosophies when it are stronger, more absorbent and
Tara Fredrix watercolour canvas is comes to beginning watercolourists durable than wood pulp. One hundred
made of 100% cotton artist canvas and the choice of paper. One thought per cent cotton papers represent
covered with a specially formulated is that a beginner should start with the highest quality of watercolour
acid-free coating that performs similar an economy grade paper so that they papers. Blended papers create a
to a cold press or rough watercolour don’t have to worry about wasting bridge between the cotton and wood
paper while providing a distinctive paper if the artwork doesn’t suit pulp papers. Papers such as Fabriano
look that can only be achieved on them. This can encourage practise “Studio”, “Classico 5” and “Torchon”
canvas. In addition, artists can use and experimentation without are excellent examples of blended
all the techniques that are used with inhibition. The second perception watercolour paper. Fabriano “Studio”
watercolour paper. Repairs and is that lower quality paper can be and “Torchon” are both machine made
adjustments can be performed easily too difficult to work with and cause with a higher percentage of wood
and when using pre-stretched canvas too much frustration and discourage pulp whereas Fabriano “Classico 5”
and boards, there is no buckling – a beginning watercolourist. is mould made and contains 50%
even with the wettest of applications. Watercolour paper is generally made cotton. These papers possess all the
In the past, watercolourists have from either wood pulp, cotton or a attributes of pulp and cotton based
been restricted in the size of their combination of both. Wood pulp based papers and suits all applications for
painting due to paper size. The fact papers are machine made and tend to artists, students and beginners alike.
that watercolour canvas is available be less expensive. Wood pulp papers All the top quality watercolour
in rolls means there is now no can vary in quality tremendously - papers are manufactured from 100%
restriction on the size of watercolour from ‘economy’ grade up to a ‘student’ cotton and mould-made. They are
paintings. Artists will also find that or ‘leisure painter’ grade. The better chlorine and acid-free and generally
gallery acceptance of watercolours quality wood pulp papers are buffered have been buffered with calcium
may increase as they can now be and acid-free with either a hot, cold or carbonate and subjected to mould
shown or hung in the same way as rough finish. ‘Aquafine’ watercolour resistant treatments to ensure archival
an acrylic or oil painting and the paper by Daler-Rowney and Richeson quality. Papers such as Daler-Rowney
painting will stand the test of time as student watercolour papers are “Langton Prestige”, Fabriano
it is painted on an archival surface machine made papers manufactured “Artistico”, Richeson Professional
. with 100% virgin wood pulp. They and Stonehenge are top of the range
Cotton Canvas Panels are acid-free and treated with calcium watercolour papers suitable for the
Cotton is the most popular artist carbonate to prevent the deterioration most demanding watercolourist.
grade canvas fabric. Cotton fibres of colour and preserve the integrity of
stretch more than linen, allowing for the paper over time. These watercolour Daler-Rowney Langton
a tighter mounted canvas with less papers are at the top end of wood pulp Prestige Watercolour Paper
straining Cotton canvas panels offer based papers and provide an excellent Langton Prestige is a superior-quality
the artist an inexpensive, versatile starting point for watercolour work. watercolour paper manufactured
and portable canvas to paint on. They Blended and cotton based papers are using 100% cotton pulp; the highest

Artist Drawing and Inspiration 33

 P r o d u c t F e a t u r e

quality material for papermaking. extremely absorbent. Fabriano with watercolour, oil, acrylic tempera,
Made traditionally on a cylinder Artistico has four deckle edges and gouache and other aqueous based
mould machine, the paper features a is luxurious yet durable and can media such as ink.
natural whiteness with a soft touch and handle lifting, scraping and other
distinctive texture. This is a top quality techniques without compromising its Richeson Untempered Artists’
acid-free, naturally coloured paper integrity. It is ideal for all watercolour, Hardboard Panels –
with excellent absorption and very gouache, acrylic and ink work. Formaldehyde Free
good colour rendering. It is embossed What is Hardboard (Masonite)?
with “Langton Prestige 100% cotton” Stonehenge Watercolour Paper Hardboard is high density; wood based
for easy identification and has been Originally created for printmaking fibreboard, or engineered timber,
subjected to mould resistant treatments work, Stonehenge paper has become first invented by William H. Mason
guaranteeing excellent durability. recognised as one of the finest papers in 1924. Hardboard is manufactured
Additionally, the surface is gelatinised available for watercolour, gouache and by breaking down 100% certified
for strength and resilience and has acrylic work. It is a traditional fine art FSC timber into its basic fibres
also been treated with an alkali reserve paper with a flawless vellum surface, then rearranging the fibres to form
to preserve finished pieces of work manufactured from 100% cotton, is engineered panels that are stronger,
and protect against discolouration. acid-free and has been treated with denser and harder than the original
Langton Prestige is ideal for all calcium carbonate to protect artwork timber. Using the “wet-dry” process
wet techniques – watercolour, from contaminated environments. the fibres are randomly oriented
gouache, acrylics and inks as well in two dimensions with all fibres
as calligraphy and drawing. Fredrix “Naturecore” remaining parallel to the surface
Painting Boards to create a 3.2mm thick panel with
Fabriano Artistico New from Fredrix! Fredrix Painting an exceptionally smooth finish of
Watercolour Paper Boards are a new, eco-friendly superior paintability without the use
Fabriano has been manufacturing painting surface. They are boards of chemicals. Richeson Untempered
paper since the 13th century, so has manufactured using Naturecore – a Artists Hardboard Panels offer artists
had plenty of time to refine and perfect combination of vegetable and recycled a rigid and smooth painting which
their manufacturing techniques. The components – and stretched over allows you to produce fine details.
result is Fabriano Artistico watercolour with either 100% Belgian Linen or As they are untempered, paints
paper – a stunning watercolour paper 100% Fredrix Artist Cotton Canvas. will adhere completely. They can
that delivers the purest bright white These lightweight boards are durable, also be primed with gesso for oils
available without the use of optical easy to transport and ideal for plein or acrylics or add gel and impasto
brighteners or bleaches. Fabriano air painting. They are pre-primed mediums to build a unique surface.
Artistico is mould-made in the with acid-free titanium gesso so you These boards can also be used as
traditional way using 100% cotton, can begin painting immediately. palettes and are ideal for stretching
chlorine and acid-free, pH neutral and The Belgian Linen painting boards and taping watercolour paper.
archival. It is internally and externally are ideal for use with acrylics, oils,
sized using a synthetic sizing as alkyd and tempera paints. The 100% Richeson Tempered and
opposed e a true mixed- Gessoed Hardboard Panels
are ofte ard. They work well To produce tempered hardboard,
untempered hardboard is further
treated with a thin coating of
linseed oil and then heat-treated in a
circulating hot-air oven for several
Fabriano Artistico hours to cure the oil. This produces
a hardboard surface with maximum
adherence and scratch resistance of
subsequent painted finishes. The
3.2mm thick tempered hardboard
is then coated with two coats of
artists’ quality, acrylic gesso using
the “waterfall” application method to
produce the ultimate, lightly toothed,
read-to-use, formaldehyde-free,
Langton Pads
34 Artist Drawing and Inspiration
 P r o d u c t F e a t u r e
Naturecore Mixed Media

painting substrate for all media. The waterproof so the artist can apply
properties of the Richeson tempered water to soften the edges of the
hardboard surface ensures that the pastel without altering the surface.
gesso bonds perfectly to the board You can also scrub around the colour
ready to accept all media thus making with a rag or any pastel-blending
it the perfect panel for all painters – product. Since it is waterproof, inks,
professional and students alike. Finally gouache, acrylics, oils and even
all gessoed panel surface edges are watercolours can be freely used.
bevelled and the panels individually Fredix Naturecore –
labelled and shrink-wrapped to Daler Painting Boards Belgium Linen
protect the painting surface. When returning to England from a
German prison camp after World War
Richeson Premium Pastel Surfaces 2, Terry Daler, along with his brother
As a pastellist you want the surface to Ken and brother-in-law Arthur began
interact with the pastel. Jack Richeson a sign writing business. During the
& Co. has created a range of premium war, shop signs and road signs had
pastel surfaces specifically for pastel been painted out so that any invading
work. These pastel surfaces are German troops would not know where
available on three substrates - Gator they were. As a result, the business
board, hardboard and heavyweight thrived in the years that followed the
paper. Each surface is screen printed end of the war as shop signs were Daler Painting boards
with the sanded primer, ensuring re-painted once more. Another little
even and complete coverage. known shortage of wartime was the
inability for artists to obtain canvas.
Gator Board is one of the toughest, Typically, an oil painting requires a
most durable laminated foam panels sealed, toothed surface to pull the
on the market. Gator board panels thick oil colour off the brush. Arthur,
are made from a durable core of rigid a talented artist himself, improvised to
polystyrene foam bonded on both create a new surface to replace canvas.
sides by resin impregnated wood fibre Cardboard was sealed and primed
veneers. The result is a laminated through a mesh (possibly a kitchen
foam panel with an exceptionally net curtain), which when removed left
Richeson Tempered
hard, smooth surface that resists a perfectly textured surface. Arthur’s
Hardboard
dents, punctures and moisture while canvas substitute was eventually
remaining very lightweight, making developed into a commercial product
it ideal for plein air painting and for and the ‘Daler Board’ was born. The
workshop artists who work large. Daler board is a favourite amongst oil
Gator board is about 5mm thick. The painters, particularly in the UK. They
Hardboard substrate it is similar to 1/8 provide an inexpensive alternative
inch thick masonite. It is very rigid to canvas and are more robust than
and can easily be used in the studio oil painting paper. They are double-
or outside for plein air painting. It is primed and extremely lightweight.
also very easy to frame. The paper They are easily transportable and
substrate is a sheet of 300gsm, acid- ideal for plein air painting. The Richeson Untempered
free watercolour paper screen printed unique Daler board surface allows Hardboard
with the specially formulated primer. for a sharper finish that is perfect for
The texture of these pastel delicate oil colour works. Daler boards
surfaces is like no other. With an are available in a range of sizes from
exquisite ‘toothy’ finish, pastels can the very small, 5 x 7” up to 20 x 30”
be applied with ease as the surface boards for larger works. Daler boards
grabs and holds the pigment, layer have been designed specifically for
after layer, allowing the artist to oil paint and are not recommended
achieve great depth in composition. for use with acrylics or watercolours. Richeson Premium
These pastel surfaces are also Pastel Surfaces

Artist Drawing and Inspiration 35

 P r o d u c t F e a t u r e

CHOOSING AND PREPARING A PAINTING A SURFACE FOR THE NEW ATELIER FREE FLOW

The new Atelier Free Flow from Atelier Free Flow can be used on should also be used to achieve gouache
Chroma is a fluid acrylic with amazing any weight of watercolour paper. like results with Atelier Free Flow.
flow, spreadability and coverage. Heavy weight boards (400lb and up) One big advantage that Atelier
It can be used on both canvas and can be more convenient to use since Free Flow has over watercolour and
paper however if the wrong surface they are less prone to buckling and do gouache is that it can be safely used
is chosen or it is poorly prepared not requiring stretching but they do on canvas. The gum arabic binder
the results will be disappointing. cost a lot more. A mid weight paper used in watercolour and gouache
Here are some tips to choosing and of 140lb is a good option but in most is not flexible enough to properly
preparing your painting surface so cases it will need to be stretched adhere to a canvas. When choosing
that you can get the best performance unless you buy it as a “block” which a canvas to paint on, there are two
out of this exciting new product. comes with all four sides glued down. important factors to consider: what
Atelier Free Flow has a smooth The texture of the paper used is the canvas made of and how
fluid consistency that dilutes really should be chosen to suite your has it been primed. Most cheap
well with water so it is great for style - Hot Press has a very smooth canvases are made from cotton and
watercolour techniques. Perhaps surface and is good for extremely tend to be lightweight and of poor
surprisingly Atelier Free Flow fine detailed work. It is also less quality; these canvases do not make
is even easier to use for some absorbent than the more textured a good painting surface and are not
watercolour techniques than a papers so it helps to accentuate the recommended, however a heavy cotton
traditional watercolour. Layering already amazing flow characteristics duck canvas (12-14oz) can perform
and glazing become much easier of Atelier Free Flow. Cold Press quite well. Linen is widely regarded
because Atelier Free Flow does has some texture and is the most as the highest quality canvas however
not smudge or re-wet when over- commonly used water colour paper so polyester is actually more resistant
painted like watercolours do. if you are looking to get that authentic to rot and expands and contracts
When using Atelier Free Flow watercolour look with Atelier Free less during temperature changes.
for watercolour techniques, as with Flow then Cold Press would be the Regardless of what your canvas is
regular watercolour, it is important best choice. Rough watercolour paper made of, it will need to be properly
to choose the right type of paper. For is very textured and can give some primed to get the best results. Pre-
best results a good quality watercolour really interesting effects for example primed canvases can vary greatly in
paper is a must because it contains the pigment in washes tend to clump the quality and are sometimes coated
“sizing” that reduces the absorption together in the indentations of the in a thin waxy residue designed to
of the paper, this allows the paint to paper and the super strong colours stop them sticking together during
flow and spread more readily and of Atelier Free Flow really pop. production which unfortunately also
the colours dry a lot brighter since Atelier Free Flow dries to a beautiful stops paint sticking to them! The
the pigment remains on the surface smooth neutral finish that appears very best option is to always prepare your
instead of being drawn into the paper. similar to gouache. Watercolour paper painting surface with at least two coats
of a high quality primer like Atelier
Gesso. When the canvas is properly
prepared the paint will go on easier,
adhere better and dry brighter because
the pigment is sitting on top of the
surface rather than being absorbed into
the substrate. A really good cost saving
trick for beginners and hobby artists is
to take a cheap pre-primed canvas and
prime it yourself with Atelier Gesso -
you can get surprisingly good results!
With a well primed high quality
canvas or high quality watercolour
paper you can really explore the
remarkable characteristics of Atelier
Free Flow. Tasks like blocking in
large areas of colour, sweeping
gestural brush strokes or fine detail
work have never been easier.

36 Artist Drawing and Inspiration

 I N S I G H T

Jan Jury

Passion for Portraits

An old school friend sparked a flame inside
of this artist to rekindle her love of art.

I
have lived on the Central Coast of books. Title pages were masterpieces! I got into ceramics, which was a great
NSW most of my life, where we I also enrolled in a correspondence time, painting delicate flowers and
are blessed with beautiful beaches, course which included sign-writing and designs on jugs, plates, and ornaments,
national parks, abundant in lots of I loved doing that with pen and ink. and getting them fired was exciting to
species of birds and animals. During After leaving school I got a job at see how the finished product would
my school years I chose art classes Hornsby Council as a receptionist and turn out. I even sold a few things which
which I looked forward to the most of continued working there for about was a boost for me. I enrolled in a
all my subjects. Caricatures, cartoons six years until I married and had two folk art course and my dad was pretty
and animals were always in my art daughters. While the girls were playing handy at carpentry so he would make

38 Artist Drawing and Inspiration

 I N S I G H T

wooden kitchen trays and I would paint massages, which was a busy time in my the constant work of doing six massages
flowers, houses, and birds on them. I life raising my girls after a divorce. The a day was very wearing on my body.
got a few orders for them and my range good thing about working there was I decided to make the break and had a
of designs grew to chooks, pigs, farm my girls could come with me and swim two-room shed built out the back of my
sheds and lots of Australian flowers. in the pool while I worked. They got place and over the years built up a good
I have been a massage therapist for pretty well known there! I also sold a clientele. I am still working as a therapist
roughly 20 years and at the beginning few trays as commissions from visiting but not as many hours, as I do prefer
of my career I was employed at Terrigal holiday makers, so that was a bonus. I to draw and spend many hours doing
Crowne Plaza in the health club doing worked there for around seven years but portraits and acrylic paintings.

Artist Drawing and Inspiration 39

 I N S I G H T

We visited an old school friend,

Theresa, at Mini Waters, who has
always been creative in different ways,
and I was so impressed by her artworks
adorning her walls. Something inside
of me stirred and as soon as we got
home I had to start my own journey
and have continued ever since. I am
remarried now to a wonderful man
who encourages me in every way
of my life and supports all of my
decisions. He has helped me with
videoing my art, setting up markets,
helping me with my solo exhibitions
and he is a whiz at the computer with
graphics. Both of my girls are very
talented in art also. My youngest
draws amazing botanical work, life
drawings and has done great animals.
My eldest has drawn great pictures in
the past but recently has been creating
fantastic cakes and decorates them with
different themes. She has also found
a niche for sewing children’s clothing
since having her own little ones. Yes,
that makes me a Nana! A proud one.
Which comes to my drawing
portraits. I have albums full of
photos from which to choose. My
nieces have children also, so there
is an unlimited supply of pictures. I
started up a Facebook art page about
two years ago and was blown away
by the reception I got from people
wanting portraits and paintings. I
wanted to improve my portraits to
make them more life-like so I found
a website called 5Pencil Method and
bought their DVDs, studied them and
practiced all the time. It is a layering
method starting with 4H working to
a 2H, HB, 2B and for darkest tones
4B. It creates a smooth finish to your
subject and highlights, whiskers and
fine hairs can be easily taken out
with a kneadable rubber that has been
moulded to a fine point. My portraits
can take up to eight hours, capturing
the person’s character and personality
or the animal’s cheeky expression.
Testing all sorts of papers, pencils,
lighting, even sharpeners and erasers
has been part of my ongoing journey
to create portraits I am happy with.

40 Artist Drawing and Inspiration

 I N S I G H T

My husband encouraged me to do animal portraits. I

was a bit hesitant at first... doing fur and whiskers was
something that scared me and I didn’t want to go down
that path, but after watching the DVDs I kept up the
practice and started enjoying drawing them. I love it now
and have had lots of commissions over the last year selling
internationally and nationally. The warmth I feel from the
owners’ remarks when they receive their portraits is the
best feeling in the world. It means so much to me knowing
others want me to capture their little furry loved ones in
graphite to put on their wall in their homes. The walls in
my room where I do most of my art are plastered with my
drawings of dogs, horses, and different birds including
cockatoos, pelicans, pigeons and bower birds.
I have had two solo exhibitions, one in Terrigal
and the other in Matcham, which were wonderful
experiences for me to grow in self-confidence, and
be able to witness people admiring my art. Central
Coast Grammar School exhibited my artworks and the
feedback was encouraging. In May we have the annual
Gosford Show in which I will be entering three of my
 I N S I G H T

EXHIBITIONS
paintings, so that is exciting. They are what I have done for them, share it
of galahs, kookaburras and lorikeets, with their friends and spread the word Group
done in acrylics on canvas 50 x 75cm. to others so I can generate more work. 2012 – Central Coast Gramma School
My paintings nearly always include Each new portrait brings an excitement 2013 – Gosford Regional Show
trees, moons, birds, suns, and clouds. I in me from the very first line to the Solo
have sold many paintings nationally. finished subject and if I can keep 2011 – Matcham Community Hall
I try not to categorise my art as I pleasing people with my art in the years 2012 – Terrigal Scouts Hall
love to do different subjects. I might to come, I will be one happy lady. I feel
do graphite portraits for a couple of very blessed and honoured that Artist’s My artworks can be viewed at
months, change to acrylics, then do Palette has given me the opportunity to http://jansimpressions.weebly.
some pastels, as I think I would get share my art and would like to thank com/
too burnt out if I did the same thing my daughters, my husband and friends http://www.redbubble.com/
all the time. My overall goal is to have for believing in me and supporting me people/jansimpressions
the owners of my art fall in love with through this journey. Email: janvan85@hotmail.com n

42 Artist Drawing and Inspiration

 d e m o n s t r a t i o n

Pencils

The aby By Jan Jury

There is a wonderful depth of feeling in this captivating portrait.

stEP ONE
Box up your picture you are copying
from into squares and do the same
with your art paper. Do this really
lightly on the blank sheet, so it can be
erased. Lightly pencil in the outline
of your portrait and when happy
with it start rubbing out squares. An
electric eraser is great for this job.
Secure your work on a board which
is a size that is easy to rotate, for
getting the right angles for layering.

stEP tWO
Starting with 4H, hold the pencil
lightly towards the non-pointy end and
layer the face leaving no gaps. Avoid

M At E r i A L s

• Bristol smooth 260gm paper

• Staedtler pencils ranging
from 4H to 4B
• Electric eraser
• Kneadable rubber
• Tortillon
• Ruler
• Pencil sharpener
• Really clear reference photo
FiNAL stEP

44 Artist Drawing and Inspiration

 d e m o n s t r a t i o n

stEP ONE stEP tWO

eyes and mouth. When a full coverage is

done the eye (depending which side you
are working from) eyebrow, nose and
mouth can be drawn in detail. Change to
2H, layering to gain more shadows and
darken lip areas. Use a kneadable rubber
to pull out highlights. It is handy to place
a piece of clean paper under your drawing
hand to prevent oils from your hand
getting on the page. I am left handed so
work right to left. When happy with this
side, start on other side. I do the hair last.
Work clothing the same way with layers.
When happy with the face and
clothing move onto the hair.

stEP tHrEE
With 4H do the first layer of hair
lightly, following the flow and noting
sections, if any. Add the next layer of
2H, making highlights or shine with an
electric eraser or kneadable rubber. HB
or 2B can be used to separate sections.
Use tortillon to blend hair for more
tone. Fly away strands can be made
with sliced off tips of an electric eraser
or knead your rubber to a point.

FiNAL stEP
For the final stage, darken any areas stEP tHrEE
with 2B or 4B. Take a break and
Artist Drawing and Inspiration 45
 d e m o n s t r a t i o n

come back to it and have a look to see if it

needs any touch ups. I am always changing
bits right until the end. Sometimes I fade out
my portraits at the bottom and other times I
put a smokey border around. Sign your work
and seal it so it doesn’t get smudged.

My artworks can be viewed at http://

jansimpressions.weebly.com/
http://www.redbubble.com/people/
jansimpressions
Email: janvan85@hotmail.com n

Artist’s HiNts AND tiPs

• A good clear reference photo, • Always have a clean piece of paper • Take regular breaks to avoid eye
preferably in black and white under your drawing hand to prevent strain and tight muscles. You will
and one also in colour oils from your skin touching paper get a better perspective when
• Use a good quality paper • Depending on what hand you write away from it, and come back
• Keep pencils sharp with, work from the opposite side • If something is bothering you about
• Make squaring up really • Hold pencil lightly and towards non it, leave it for a day and you will be
light on your blank paper pointed end, except for small detail surprised how it pops out at you

46 Artist Drawing and Inspiration

 D R A W I N G I N S P I R A T I O N

Ink and Watercolours

Secret Support By Joy McPadden

“Don’t be restricted
by only colouring
the subject, or
sticking to the
colours that you
see,” advises
this watercolour
specialist. “Create
what you want.”

M AT E R I A L S

• Arches Watercolour Paper 185gsm.

• Pen: Uni-pin 0.8, waterproof
pigment ink.
• Rowney watercolour
paints: Olive Green; Naples
Yellow; Cobalt Blue; small
touches of other colours.
• Paper towel.
• Size 12 brushes (two).
• Masking tape.
FINAL STEP • Easel (optional).

48 Artist Drawing and Inspiration

 D R A W I N G I N S P I R A T I O N

STEP ONE STEP TWO

STEP ONE
I placed the lilies in a position where their stamens
were not going to stain cushions, paintings, or anything
else if they dropped (I learnt this the hard way).
I taped the watercolour paper to a support
board to prepare for a later stage of dribbling
paint, when I would need it to stand up.
I sketched some of the feature lilies. I intended to
add a couple more lilies after the washes of paint.

STEP TWO
I applied the first colours, some of which were thrown on
as the substrate leaned against a wall. The paint was loaded
up on wet brushes and flicked on and dashed on. I also
poured and dribbled some paint, letting it make vertical
lines. Some of the watercolour paint was gently washed in.
I wanted to have a random quality about the work;
but I still planned the flicking and I watched it closely. I
also thought about it, in between painting the artwork.
Wildly throwing paint with your eyes
shut, however, can work too!

STEP THREE
Back to scribbling with the pen.
I used my fingernails as stoppers when shading petals.
I was also adding details and making the image stronger.
I wanted the flowers to be standing vertically, and firmly,
like they were supportive; with a few of them ‘delicate’
as well. I was aiming for a ‘floating’ quality in the
background – instead of having these lilies floating. STEP THREE

Artist Drawing and Inspiration 49

 D R A W I N G I N S P I R A T I O N

STEP FOUR FINAL STEP

STEP FOUR
I added bigger areas of wash, ARTIST’S HINTS AND TIPS
while watching the negative shapes
forming and making sure they were • Follow your own instinct. paint dry; take the tape off
where I wanted them to be. This • Be confident. and look at the work freshly
was a good time to be playing with • The best way for grey graphite (you can re-tape the paper
the elements of the artwork. lines not to show, is to not put to the board if you decide
them there in the first place. that it needs more work).
• Don’t press too hard on one • Practice selecting subjects to
FINAL STEP section of the tape while paint, regardless of whether
At this stage, I was tinkering and you are drawing. Relax. you end up painting them.
bringing it altogether. The blue paint • Let the washes and splatterings • Be alert to when you have
increased the energy. I carefully dry before using the pen again; finished the painting – so
painted some detail with the Olive and this tip is recorded for you don’t overwork it.
Green again, trying not to cover too myself to read as it is something • Please yourself. Only you
many of the earlier vertical lines. I don’t always remember in the can paint your art.
Lastly, I splattered on paint as excitement of the process. Who • When using Arches
though it was from the lilies (that wants to wait for paint to dry? Watercolour Paper, choose
lovely powdery staining they have). • If you think that you are really before painting where you
I took the tape off and sat back stuck or confused, let the want the watermark to go.
to enjoy my painting. 

50 Artist Drawing and Inspiration

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 I N S I G H T

Narelle Joyce

My Creative Pursuits
By Narelle Joyce

With a background in sculpting, Narelle excels in capturing the typical

poses and movements of her favourite subjects.

Pastel Palm Cockatoo Pastel Butterfly

I
came to two-dimensional creative Born in Sydney, my schooling, and in Adelaide, when my oldest child
pursuits less than 10 years ago, thus my career path, was directed was 12 months old, saw me enjoying
having been a potter and clay firmly to university study, and artistic the contact with clay which I have
sculptor since 1970. I completed the interests were to be shunned. I worked continued the rest of my life.
Certificate in Studio Ceramics in as a psychologist for some years I always believed that I couldn’t
Brisbane in 1981. until the opportunity to do pottery draw, however, but always had a

52 Artist Drawing and Inspiration

 I N S I G H T

Pen and Wash

two chooks

yearning to do so. With a move to Toowoomba and learnt the basics. Since Most of my paintings have been from
the Sunshine Coast Hinterland, I then I have done many workshops and photos which call to me and create
decided that it was “now or never” courses and moved into acrylic painting a strong urge to be painted. I have
and found myself a tutor in 2003 who, and pen and wash. experienced “en plein air” situations
over 12 months, helped me to break I love colour and experimenting with with a weekend workshop at Redland
through the barrier that was preventing different effects. Some of my most Bay, Queensland, and a week at Norfolk
me from drawing. satisfying paintings have been where Island in 2008 with a group and tutor.
In 2004, deciding to progress to I have changed the colours, relying on I have discovered that my best and
pastel painting because it is “hands tone to give identity to the object or liveliest paintings, no matter what the
on” like clay-work I spent two weeks animal. Like clay, pastel lends itself to subject or where painted, happen when I
at the McGregor Summer School at a sculpting approach. can work quickly, taking a few “risks”.

Acrylic chooks Pastel Norfolk Island Geese

Artist Drawing and Inspiration 53

 I N S I G H T

Pastel Cat Pastel Green Tree Frog

Despite some success with acrylic painting and brushes which

were previously foreign objects to me, I prefer pastel as my
medium and pen and wash as my second favourite. Chooks are
ideal as subjects for pen and wash.
I have painted landscapes, seascapes, still life and
animals. Animals are my favourite subject. I have always
lived closely with animals and birds of all sorts and love
studying their behaviours. My paintings try to capture
typical poses and movement.
I like to take the opportunity to exhibit my work wherever
possible and I exhibit regularly in a gallery of my local arts and
crafts group and enter shows three times a year with this group.
Over the years I have exhibited at local galleries and belonged
to art co-operatives. I have exhibited in shows throughout
Queensland, having had some success in winning prizes
and selling my work. Towns where I have exhibited include
Brisbane, Kenilworth, Montville, Gympie, Murgon, Woodford,
Maroochydore and Bribie Island. Each year I enter the Maleny
Art Awards. I am, at present, a member of a self-help art group
Pastel Cow and a pastel group that meets once a week with a tutor.
My goal is to continue to paint and work with clay,

54 Artist Drawing and Inspiration

 I N S I G H T

Pastel Tasmanian Devil Pen and Wash chickens

although there is always a dilemma a particular work of art is mentally different. There is always something
between the two which is usually stimulating and always gives me a to learn from other artists but the real
resolved by the need to fulfil a sense of achievement when the process learning comes from the doing of the
particular commitment. is completed and new skills learnt. artwork. So, while I continue to paint,
I find all my creative pursuits very My art work is also a means to social I know I shall never stop learning and I
enjoyable, exciting, satisfying and communication with like-minded people hope to continue with my art for many
relaxing. The challenge to complete who often inspire me to try something years to come. n

Pastel Kangaroo

Artist Drawing and Inspiration 55

 d e m o n s t r a t i o n

Pastels

Bovine Beauties By Narelle Joyce

I often paint my neighbours, the ladies who live in the paddocks behind my
back fence. They are beautiful animals and I always try to capture in my
paintings their calm curiosity and the rich and glowing colour of their bodies.
This painting will be using three cows from two photos.

Final step

56 Artist Drawing and Inspiration

 d e m o n s t r a t i o n

M at e R i a l s

• Mi Teintes Pastel paper

• Selection of soft pastels
• Kneadable eraser
• Pastel pencils
• Workable spray fixative

step one
step one
I always do a rough sketch on A4
paper which helps me to work out
placement, composition, perspective
and focal point. I determine the
direction of the light source and
what can be left out from the
picture. I mark on the sketch
where the darkest tones will be.

step two
Select the paper. This is Mi Teintes
of a sandy colour which is light
enough to show up the darker tones
of the cows but similar to one of
the pastel colours in the cows. I
attach my paper to an easel and
like to work standing up, moving step two
back from my work frequently. My
reference photos are clipped at the
top. I draw the cows with a white step thRee
pastel pencil, referring to both my
rough sketch and my photos for
information on shapes, proportions,
and placement and negative spaces.

step thRee
Choose pastel colours. I like to
keep my colour palette small. I
start to block in large areas of
colour, starting with the darkest
darks – Windsor blue violet – and
then other mid tone colours in red
browns, browns through to yellow
browns, blending and sculpturing
the shapes with the pastels on their
sides and using my fingers, keeping

Artist Drawing and Inspiration 57

 d e m o n s t r a t i o n

an awareness of the tonal differences

and the direction of the light which
is from above and to the right.

step FouR
Moving to the smaller areas and
lighter tones, I use pastel pencils
to work on the areas around the
noses, mouths and ears, looking
for the areas of light and detail and
still blending and sculpting with
step FouR the colours. I move back from the
painting and look critically and
then spray with workable fixative
so that further colour can be added
without the effect becoming muddy.
I then go away from my work
for a break of around 20 minutes
and find something else to do.

step Five
Return to the painting and deal with
the detail. The cows are unhappy
without eyes so I draw them in with
pastel pencil. They are now starting
to come alive especially when the
lighter tones are added. I fill in the
background grass, something that will
draw the animals together but remain
step Five as background. Then I move around
the painting doing small adjustments
where the painting calls me, looking
for the areas of lightest light and how
to guide the observer’s eyes through
aRtist’s hints anD tips the painting. The final touch is a spot
of Schmincke white in each eye.
• I always have the following pastels layers vibrant, but does flatten
in my pastel box - Schmincke the painting. I work over the flat Final step
White – for the whitest whites, areas again to bring them alive.
The painting is signed and left on the
Art Spectrum Flinders Blue Violet • A soft flat paint brush is good for
easel in my studio for a few days.
D520, Art Spectrum Flinders removing pastel from pastel paper.
When I come back to my work I
Red Violet D517, Art Spectrum • Paint for enjoyment and
often find something small to adjust
Phthalo Green D570 and Unison don’t allow yourself to be too
which can make an improvement
pastels – their clear bright colours constrained by “rules”.
but which wasn’t obvious when I
always add zing to a painting. • Find the subjects and medium
was still working on the painting.
• I use workable spray sparingly. It that you enjoy and paint the
It is then photographed before
is necessary to keep colours in pictures that call out to you.
either being framed or stored
away under glassine paper. n

58 Artist Drawing and Inspiration

 I N S I G H T

Carole Elliott

Why I started Painting

When her youngest child was a toddler, pastel artist Carole Elliott decided
she needed some ‘me time’, and began fine-tuning her artistic abilities,
enabling her to be the talented artist she is today.

60 Artist Drawing and Inspiration

 I N S I G H T

I
have always been creative. From not have continued with art if I hadn’t with pastel, blending and rubbing
about the age of 12 I started making discovered soft pastels. I have also the pastel into the paper to form
and designing my own clothes and dabbled in acrylics, quickly returning to a smooth base colour on which to
continued to do this right through to pastels after discovering that I could not apply my other layers. I quickly
adulthood. My brother was the artist in replicate the immediacy of pastels..... discovered that sanded paper was
the family and, being two years older, and I love getting my hands dirty! not very kind to your fingers and
his paintings were always a lot better Technique rubbed my fingers raw when I first
than mine. It wasn’t until my youngest I started using pastel pencils on paper started using it. I have heard of
child was about 18 months old that and then progressed to soft pastels, people actually drawing blood!
I decided to attend an art course to using fixative between layers. I have There are a number of tools you
provide some ‘me time’. Here I learnt now developed my own technique of can use to rub the pastel into the
all about drawing and tried my hand painting in pastels which has evolved paper, including tissues, polystyrene
at pencil portraits of family members. over the last 18 years through trial and brushes. However a tool that
Nothing like starting out with a hard and error. I am sure it will continue to I have discovered that works most
subject matter! We were taught all evolve as I experiment with different efficiently is the finger from a
about tone, shadows, highlights and methods of applying the pastel. disposable latex glove. I always
perspective. From here we progressed My current technique involves use this if I have a large area to
to water colours and I found the painting with soft pastels on sanded blend, which saves my fingers for
paintbrush was not particularly my paper. I usually use a mid grey the smaller areas, because your own
best friend. In fact, I probably would paper and completely cover it finger is the best tool. Sanded paper

Artist Drawing and Inspiration 61

 I N S I G H T

avoids the need to use fixative,

which dulls the colours, and allows
more layering. I don’t think I will
ever change, unless of course they
stop making it!
I always work from top to bottom
and usually from left to right. This
avoids smudging and prevents
the pastel dust from dropping on
already completed areas of work.
I also save my softest pastels for
final highlights.
When I first started using pastel
I just painted straight onto the
paper freehand and as a result
my horses had long bodies and
short legs. Then I started doing an
initial drawing in charcoal, which
was pretty useless because as the
painting progressed the charcoal
drawing became lighter as my
hand moved across it. I then tried
drawing up a graph on plastic and
sliding the photo behind it, which
didn’t really work. I have now
settled into a method whereby I
don’t do an initial drawing but
measure main points on the photo
and put a dot on the paper where
each part of the painting should go.
I work on a small area at a time
and I have been using this system
for a number of years so it seems
to work for me. I print my photo to
scale so, for example, if I measure
my photo where the top of a wave
should be and times it by the
scaling of the painting, I can then
measure down from the top and in
from the right of the paper and put
a dot so I know where to paint the
top of the wave.
I work from digital photos
which I can crop and adjust on
the computer before printing. It
is amazing what you can find to
paint in a seemingly useless photo
by zooming in and cropping.
Unfortunately most of my painting
is done at night so I have to rely on
my photos. My work is also quite
detailed and would not be possible
to complete on site.
Why I like to paint
Painting to me means relaxation and

62 Artist Drawing and Inspiration

 I N S I G H T

a sense of achievement. I am always my simple beach scenes evokes that I also work full-time. Even though
amazed at the fact that people are feelings of relaxation in them I love painting I can always find an
willing to spend their hard-earned because that is where they go to excuse not to do it and find something
money on one of my paintings. I think clear their head. Having said that, else to do instead. I have found the
that is the best compliment an artist unfortunately some of Newcastle’s only way around this is to organise
can receive. When I paint time just best beaches are in the CBD and, an exhibition and I have discovered a
disappears and I have heard many therefore, some of my paintings small gallery which is part artist-run
artists say the same thing. For this are extremely detailed with lots of where I can hold a solo exhibition
reason I try not to paint too much buildings in the background. I try approximately every 12-18 months.
during the day on weekends unless I not to be overwhelmed by detail This forces me to get off my butt and
am getting close to an exhibition and and handle a small area at a time. I start painting because I know if I stop it
running short of time. also try to mix up my painting time is extremely hard to get going again. I
I love trying new colours and and after completing a painting that once had a painting sitting on the easel
my favourite thing to paint is has required a lot of concentration for four years! I am currently preparing
water and managing to achieve the I then go on to do one or two more for an exhibition and vow once it is
translucency of a wave. I find that relaxing pieces. over I will just keep on painting in
sometimes the simplest scenes can Dealing with Procrastination readiness for another one instead of
make the best paintings and I have I find procrastination is my worst trying to do everything in the last few
had people comment that one of enemy, especially coupled with the fact months. We’ll see!n

Artist Drawing and Inspiration 63

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

Pastels

Wet & Wild Carole Elliott

The power of nature

is captured in this
wonderfully evocative
artwork.

My demonstration is a painting slightly

different to my usual beach scenes, which
are normally completed in landscape.
I had taken some photos on a really
cloudy day where rain was imminent
and I was sitting on the beach while my
husband was fishing. The unusual cloud
formation and wild seas really needed a
larger format and I thought a tall narrow
painting would be interesting. Note
throughout this demonstration there is
no pre-drawing of the subject however,
as mentioned in my article, I measure
and mark the main points of the painting
to ensure their placement is correct.
67cm H x 33 cm W
(Pastel on sanded paper)

M AT E R I A L S

• Mid grey sanded paper

• Rembrandt soft pastels
• Schmincke pastels (very soft)
• Kneadable eraser
• Dust mask
• Disposable latex glove
• Paper torchon
• Clear plastic ruler
• Calculator
• Photograph
• Computer

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

STEP TWO

STEP ONE STEP THREE

STEP ONE STEP FOUR Green Light for the backlit area and
After deciding where the horizon This stage involved a lot of blending Ultramarine Deep for the shadowed
line would be I blocked in the and then more blending. It was just area. I also included a strip of sand
clouds with Ultramarine Light. a case of adding more dark blues colour through the middle of the wave.
and light blues until the desired
result was obtained. Once the clouds
STEP TWO were complete, the sea was blocked STEP SIX
Using the finger from a disposable in using Ultramarine Deep with The front wave was completed and
latex glove, I then blend the pastel Ultramarine Light blended over the I was really relieved to get the result
so it covers all of the paper. This top. The back wave was then blocked I had set out to achieve. This would
will form the base for the clouds. in, using Permanent Green Light be the highlight of the whole painting
for the areas where the light was and it was important to get it right.
shining through the top of the wave. As you will notice I tend to finish
STEP THREE each section of the painting to almost
The unusual cloud formation completion, only requiring a bit of fine-
was then layered with different STEP FIVE tuning at the end with maybe a few
shades of Ultramarine. The back wave was completed and the tonal changes and added highlights.
front wave blocked in with Permanent

Artist Drawing and Inspiration 65

 STEP FOUR STEP FIVE STEP SIX

STEP SEVEN is ready for my signature. There are when to stop! I rely on my husband’s
The whitewater wash was blocked in probably some aspects of the painting fresh eye to glance over it and give me
with a green base colour and patches I could change but you have to learn the okay to sign and frame it. YAY! 
of sand. I mostly work from dark
to light depending on the colours.
Sometimes a really dark colour is
hard to cover so I would then use the
ARTIST’S HINTS AND TIPS
mid colour as I did with the clouds. • Don’t just rely on your eye...... remember there is subject matter
measure, measure and measure. in the shadows; don’t just make
• Try to vary your subject matter it a dark area of nothingness.
FINAL STEP and experiment with your palette • Try to have something to aim
The wash was completed with lots of to keep your work fresh. for to prevent procrastination,
messy whitewater and bits of green • Don’t be too scared to make either an art show or a date
showing in between. Sometimes the mistakes, pastel is fairly forgiving set for an exhibition.
messy parts are the hardest to paint. and can be erased, especially • I always wear a light face mask to
Finally the wet and dry sand were when using sanded paper. prevent breathing in pastel dust.
added to complete the scene. A few • When painting from photos • Enjoy yourself
minor touches here and there and it

STEP SEVEN FINAL STEP- CLOSE UP

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
 I n t h e G a l l e r I e s

This Is What We
Do On Fridays
Each week about a dozen people meet on the deck at Bloomhill Cancer Help
Centre, in Buderim Queensland, to enjoy one another’s company
and to paint. We are gently guided by our facilitator Eva King,
assisted by Johanna – a Bloomhill volunteer.

A
ll of these people have in the joy of creating paintings To quote some of them…
been touched by cancer in in a supportive environment. “An introduction to the art group
some way, but on Fridays Some of the group have painted has led to the most enjoyable
they can put their problems aside before; others have not picked up and rewarding world of acrylic
for a while and become absorbed a paint brush since schooldays. painting. It’s opened up a whole

68 Artist Drawing and Inspiration

 I n t h e G a l l e r I e s

a way of saying ‘thank you’ to carers.” laughter, and often discover to lead us in a ‘hands on’ workshop.
Some have come to regard they have hidden talent.” All this adds to the enjoyment and,
Bloomhill as a ‘home away from The primary purpose of the group is as Eva points out, “For many in the
home’, where they can be themselves to forget our health concerns for the group, it is also a way of reducing
and take great pleasure in learning day. We paint for the love of it, while stress and building confidence”.
things they have never done before. gaining skills in a variety of styles Johanna’s photos, which accompany
Undoubtedly the Bloomhill Art Group and exploring different techniques. this article, are but a sample of
is both social and therapeutic. To this end we sometimes invite paintings produced by our group.
To quote Eva… “They develop a local professional artist to What a boost to confidence to see
deep friendships, bond through demonstrate their individual style, and our paintings in your magazine. n
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