artists back_to_basi

ARTISTS’ BACK TO BASICS Issue 6_1 A$9.95 Incl GST NZ $10.95 Incl GST US $9.95 CAN $9.95 The PhoTorealisT Drawing insPiraTion Paul Margoscy ellen lee osterfield Pencils Down Buyer's guiDe Brett a Jones Paints & MediuMs Full oF Tips, ideas and Techniques

Contents 28 Issue No.12-3 2022 34 Pencils Down with Brett A Jones 12 Perception 50 The Enth Degree FeAture Artists 4 Paul Margocsy 16 Fernando Guimarães Correia 38 Cees Sliedrecht 58 Janet Smith ProDuct review 28 Paints & Mediums 38 FeAtures 26 Themed Sketchbooks - Leonie Norton 34 Drawing Inspiration - Afternoon Tea - Ellen Lee Osterfield 54 Gallery - Buderim’s Brush with Fame 64 Brush Strokes - Mark Waller 68 Teachers Pet Cover image by: Paul Margocsy

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Profile The Photorealist Paul Margocsy Self-taught and obsessed with photorealism, this artist has had two books of his incredible work published. 4 Artist’s Back to Basics

My first memories of art were Australasia in East Melbourne. I was from when I was about five so taken by the art that I decided years old and had a colouring- then to try to paint wildlife. in book, and I distinctly remember my mother saying how good it was Never having had a lesson, I spent that I stayed within the lines. After a lot of time learning and teaching leaving school I was involved in the myself; it was a hard road and I display department at Myers, which made a lot of mistakes. I found taught me a lot about composition and myself caught between fantasy and colour. In 1966 I was conscripted and reality, but I was directed by an artist served a year overseas. In 1971 I went named Colin Johnson to decide to England and continued window which way I wanted to go. I chose dressing and selling my art in London. reality, and became obsessed with I also painted murals in hairdressing trying to achieve a photo-realistic salons and children’s nurseries. style. It didn’t happen overnight – it took years of toil and paint. My wildlife art started in 1981 when I went to an exhibition by My major inspiration came from the Wildlife Artists’ Society of American artists, and after timeless studying of their art techniques Artist’s Back to Basics 5

Back to Basics I found, myself five years later, remember a young boy and his mother hanging next to them in the biggest standing in front of one of my paintings bird exhibition in the world. at an exhibition and she said to him: “What do you think of these?” and he Having two books of my works answered, “they are good photographs”! published has been a fulfilling experience, especially when people The lessons I have learnt include that show their delight at reading them. I you never do your best painting . . . 6 Artist’s Back to Basics

that is yet to come. Be proud of your work and never compare your work to that of another artist. Appreciate what other artists do, but be your own person. You will always get critiques, both good and bad. Weigh up the pros and cons of the comments and use them to help achieve what you want to do. Remember, the one big word in all forms of art is composition. I totally enjoy my medium and technique. Many artists ask me to try different styles but I always swing back to the original and it seems to work. Web: www.paulmargocsy.com.au Ph 03 9509 1519 In Sydney, Paul is represented by Kevin Hill, www.kevinhillstopten.com.au n Artist’s Back to Basics 7

Back to Basics Australian Laughing Kookaburras Paul Margocsy Our iconic birds are brought to life in this amazing “it HAS to be a photo” work of art. STEP ONE solutions of Sepia, Olive Using an Aquarelle pencil, Green, Neutral Grey and sketch in the subjects, then Ochre, create a background of use masking fluid to protect farmhouses and bush. Then the areas being painted with peel off the masking fluid and a brush. you will have a white area to start your detail work. STEP TWO Using Schminke airbrush MMAATTEERRIIAALLSS • Acid free mount board • Aquarelle pencil • No. 6 & 8 Hog Hair brush • Sable brushes: Roymac Nos. 000, 1, 2, 3 & 4 • Badger 350 Air Brush • Schminke Air Brush Solutions: Olive Green, Sepia, Neutral Grey, Ochre Windsor and Newton watercolour and gouache paints • Paynes Grey • Jet Black • Warm Sepia • Burnt Sienna • Raw Sienna • Orange • Yellow Ochre • Pale Blue Final 8 Artist’s Back to Basics

Step 1 Step 2 STEP THREE complete the blue sections with white HIHNITNSTSAANNDD TTIIPPSS Beginning with the bird on the right, and add highlights to the eyes with fine start to build up tonal washes using dots and concentrate on the edges • I enjoy painting on a very smooth the dry brush technique. Windsor of the feathers with Naples Yellow. surface and this allows me to push and Newton colours used are Black the paint around as I work using Sepia, Pale Blue and Orange. STEP SIX a dry brush technique. The fine Add the final barring of the brushes enable the feathers to STEP FOUR kookaburra’s cheek and stomach look life-like and the airbrushing Using dark tones under the neck with Raw Sienna and then start gives the painting depth of field and the belly will give the kookaburra on the bird on the left, following and hence a photographic look. form and shape. Detail is used on the the previous steps. You will find back and wing, so make sure you that dry brushing can enhance the • Try to get a number of images have the correct feathering as this feather work, thus cutting down of your subject so you get is the style that is photo realism. on the use of small brushes. to know its character rather than working off one photo, STEP FIVE STEP SEVEN which can be restricting. Next, work and rework the feather Use tonal washes of Paynes Grey, Sepia detail using a 000 Sable Brush, then and Burnt Sienna to work on the fence Step 3 Step 4 Artist’s Back to Basics 9

Back to Basics Step 5 Step 6 posts. Once the shading is done on one complete the detail. This can be done side then you can add detail of cracks with a No. 1 Sable Brush and this and rusty bolts. You can add wire if you adds interest to the timber fencing. want, as this will bring the painting to life. Web: www.paulmargocsy.com.au FINAL STEP Ph: 03 9509 1519 Add dry grass with olive greens In Sydney, Paul is represented by Kevin and Sienna and Naples Yellow to Hill, www.kevinhillstopten.com.au I Step 7 10 Artist’s Back to Basics



Pencils Down “Perception” by Brett A. Jones Fig 1: I haven’t got an image of the work Perception is a funny thing, also completely understands anything, that’s in green and red and even if I did I would by definition a very personal what makes life so joyful, interesting, never infringe on another’s copyright. thing. I have learned a great and challenging (and often annoying). This image is of an idea I had years deal over the years by slowly (and To illustrate what I am talking about ago for an abstract work, it’s based on sometimes painfully) becoming aware I am going to share a few personal what happens when you leave an inch of and analysing my own perceptions experiences which have had nothing of coffee in the cup for an indeterminate and every bit as importantly if not short of a deeply profound effect on my period (new ecosystem beginneth unto even more so, studying and trying to own perceiving the notion of perception. itself). It might not be some people’s idea understand the ramifications of the of art but it came from a very real artistic other human’s perceptions, both of Green and Red impulse so is definitely just as valid an my art specifically and art (and life) A few decades ago I was in a large abstract artwork as the green and red in general. Your own artistic journey gallery idly studying their current (or any other abstract) piece. Someone, is by definition a very personal thing exhibition as I’ve always done whenever somewhere would be positively affected but will be made far easier, more random chance arose, and as usual by the colours and composition whether enjoyable, and ultimately produce better for me (and I think most people) was they knew the reference source or results with the experience gained judging each piece as I got to it as to not. Depending on their perception. from contemplating how other people whether it was “good or bad art”, based perceive artistic creation. It is (has to solely on my own personal opinion. Fig 1 be) as unique as individual people are There was the usual mix, a few works themselves. I have had (and learnt that I thought were just beautiful, a lot 12 Artist’s Back to Basics from) lots of lessons in my life about that were O.K., and a few I thought were this concept which has helped me terrible. I was pretty much finished after better understand my own art, other’s about an hour or so, had sated my thirst art, and the other humans. To an extent for art for a bit and was just standing anyway, let’s face it, nobody really ever inside the door letting my brain re-jig before re-engaging with the bright sun, people, and traffic back in the “real world”. A middle aged couple walked in, started wandering down the first line of artworks until pulled up short by a large abstract work done all in rough blocks and slashes of bright fire truck red and Kermit green. The reason I noticed this was because of their wildly positive reaction to it. I glanced at the painting and recognised it as one of the ones that had quickly been consigned to my “terrible” pile. As they stood in front of it obviously enraptured and making comments to each other that left no doubt they thought it was just incredible I looked at the painting again more closely, searching for what I had missed. It still looked terrible to me. As the couple continued to enthuse over it I stood quietly in the corner and

Fig 2 Fig 3 studied them as they studied it and got interesting discussion about methods, Fig 4 the unerring feeling that I was witnessing techniques, and processes. The all something very important. I was. That but finished oil painting on his main was the day I learned there’s no such easel was just beautiful, painted with thing as “bad art” and “good art”, only his signature magical deftness of touch “art” (figure 1). One man’s masterpiece and obvious deep and long standing was another man’s garbage and vise- comprehension of composition, colour, versa. I’ve been turning that experience and light. The conversation eventually over and over in my mind for years. It turned to reference material so he would be very easy to say something like showed me the photo he had used. “I can’t believe I used to be so ignorant”, It was another epiphanal moment for but that doesn’t really cover it. You me. As soon as he stood it on the never stop learning and just because easel I saw the painting in a whole new you know more and more as you go light. All of a sudden it didn’t look as along doesn’t mean you were ever good to me. Up until I compared it to ignorant. You are only ignorant if you are the reference photo I thought it was a unwilling to learn new things, even broad beautifully striking work. All of a sudden perceptions of art (and/or life) in general. I found myself at another threshold of deeper understanding you just don’t Reference Choices get by only working on your own art. It A few years ago I was in a well known was a moment I’m sure will stick in my and highly accomplished master artist’s mind for the rest of my life. I realised studio enjoying the rare privilege of that in his painting I was truly looking seeing a such a highly skilled fine at “his impression” of the scene in the artist’s actual working space with current reference photo. If I had done an oil works in progress, and having a very painting from that photo the result would Artist’s Back to Basics 13

Pencils Down Fig 5 have been altogether different. A heap acting on them with every brushstroke of ideas and thoughts completely new to produce the kind of finished art I have always been to me fought for attention in my mind. he was after. I will be forever thankful fascinated with I would have gone to great lengths to to him for not only letting me see his capture a more intricate level of detail working space but for the unlooked pushing the limits than he had chosen to. The fact that for lesson learnt when he casually as far as being able he had simplified the fine detail and propped that photo next to his painting. colours overall into the kind of painting to draw the very he wanted to paint certainly didn’t All in the Detail finest of detail, make it right or wrong, or good or bad, I have always been fascinated with it made it his impression of that piece pushing the limits as far as being able 14 Artist’s Back to Basics of photographic reality. It really was a to draw the very finest of detail, in fact strikingly beautiful painting. It gave me it would have to be one of the main one of those oh-so-rare moments of motivating factors to me drawing at all. crystal clarity, in this case as to how I have always suspected that people other people might be seeing my own looking at my finished drawings weren’t art (both good and bad). I stood there really seeing all of the individual tiny with my brain going a million miles specific shapes and intentional super an hour soaking up this shiny new subtle tonal graduations and patterns perception like a bone dry sponge in the intricate detail but were being dropped into half an inch of water. I affected by it in an overall way as they have often wondered in the past when looked at the drawing as a whole. I I’ve shown people the reference material do it to the level I do for very personal for my drawings what they are actually (very possibly clinical) reasons which looking at and thinking as their eyes have been there at screaming hurricane go back and forth between photo and strength from my earliest memories, I drawing, and if they were seeing what don’t waste time questioning why, but I was seeing. It was most definitely a just follow my instincts blindly. It flies rare occurrence and pleasure for me in the face of reason as it means my to see another professional freehand drawings seem to take forever and artist’s reference photo next to artwork often cause me a lot of (self inflicted) my own perception had already told me mental anguish in the process. I was very top shelf stuff. It gave me an had a powerful threshold moment of unexpected glimpse of understanding of perceptive clarity and understanding what it must be like for someone seeing as to the effect this has on others and one of my drawings or pastels on a wall how unbelievably amazing human eyes in a gallery without ever having seen the and the brains the eye-wires lead to reference material, after all the many are at recognising and processing the hours of me staring closely at it during most minute visual information by a the drawing process forever taking away casual comment made by a friend of the chance of me even seeing it with mine recently. He was at the small local “fresh eyes” again, let alone with the neighbourhood supermarket nearby unique sets of eyes belonging to all the engaged in idle conversation when others. The resultant drawing is always he caught sight of something in his “my impression” of what I saw in the peripheral vision. He saw his daughter photo and other people’s perceptions (which got his attention straight away of my actual finished art must not as she should have been in school). only change if they saw the reference The absolutely amazing part was that material it sprang from but by extension his daughter’s eye was on one of my also make a quite different impression drawing workshop flyers that was on each viewer (figures 2, 3, 4, & 5). The pinned to a very cluttered notice board master oil painter wasn’t just painting that he was five or six metres from and the best he could. He was making the on quite an acute angle to. It wasn’t conscious and instinctual decisions the whole face, just one eye I had of a highly experienced fine artist and cropped out as one of three matchbox

sized examples of my drawing style registering on every human that gives it Fig 2: This photo is as good an example (figure 6). He told me that it registered even the most fleeting glance whether as any to explain what I mean. A room full instantaneously that he had seen her. they know it or not adding in an of artists could draw the same reference He couldn’t find her at second glance so unacknowledged and unconscious way image and no two would be alike. went looking and found the eye on my to the body of information they use and flyer flapping in the breeze on the notice constantly draw on to be who they are, Fig 3: And no two viewer’s perceptions board. Incredible enough but even more and by definition feed back in to who of any one of those pastels would be so was the fact that I hadn’t drawn her we are as a civilisation and a species. the same either. Mind boggling. This eye at all but rather all the tiny intricate Right down to the tiniest detail. Thinking is my own crack at my own reference shapes and tones that it was made about this almost makes me think for a image of that subject on that day. up of in that particular reference photo moment I might have a fleeting chance I had used. When you really study it one day of actually clearly understanding Fig 4: A fleck of red pastel among all closely you can see it’s really just a crazy what fine art, humans, the universe, and the neutral tones is enough to create collection of abstract shapes. It truly was everything in it is all about. Of course the perception of a child in red seen at a profound lesson for me on how others that’s just another event horizon that can a distance peering over the rail down are affected by their perception of how never be reached which is as it should into the water, any attempt at a more you have chosen to draw something be and what makes both art and life in “realistic” version of the boy on this scale and an unexpected welcome affirmation any form worthwhile in the first place. would have only ruined the effect. that all those maddeningly infinitesimal There is no destination, only the trip, but shapes in the finest details are every the more you perceive along the way Fig 5:The closer you get the easier it is bit as important (I do wonder) as every the better your drawing (art imitating to see how infinitely variable potential other aspect of the drawing process. life) will be, and the better the quality of artistic expression is and by extension It made me realise that we are all your compulsive creative input to the the endlessly unique variations to the constantly subconsciously scanning and universal pond we all bob around in. perception of those viewing it. processing our surroundings and even though the vast majority of information I’ve always been convinced we Fig 6:The awesome perceptual doesn’t seem to be being even noticed all see colours and light uniquely power of shapes and tones. (or even consciously acknowledged) too but that’s another story. I at all, on a subconscious level it’s all being noted, computed, and filed by Fig 6 our unbelievably complicated and sophisticated human brains. There is a thing they call paredolia which means that all humans are hard-wired to actually seek out the shape of a human face (or anything, like seeing bunny rabbits in the cloud’s shapes or monsters in the wardrobe) rather than see nothing at all. Part of that same state must be to be constantly subconsciously seeking out what is familiar to us, he obviously would love and feel protective towards his young daughter so would be subconsciously super-tuned to the shape of even one of her eyes in a half finished drawing. Seen from a distance, at an angle, among the thousands of visual distractions in a busy supermarket with overcrowded notice board. Just amazing. All things must be being noted and analysed by us like this on some level all the time. Astonishing. Then you add artistic licence to the mix. It boggles the mind to think of the ripple effect of your art on display Artist’s Back to Basics 15

Profile When man dreams, humanity advances! with Jennifer Marshall God, Life, Forces of Nature, Universal Creativity ... ... all we need is to have faith, humility to tap into our dreams and unblock the flow of creativity that is within reach of everyone who dares. Let me tell you about my dream – I, Fernando Guimarães Correia, was born on 30 December 1946 in Braga, Portugal to a traditional family of artists - father, grandfather (died before I was born), uncle and cousin all Sacred Art artists, living and working under the same roof. This was the environment that I was born and nurtured into until my early adulthood, with the artistic flair and genes of both sides of the family. I’m a third generation artist. ( I was born into this family to be an artist!) Storm First brush strokes. Apparently from a very young age, my favourite place was my father’s studio, watching him paint or kidding around touching here and there. My fascination was evident, contrary to the others six siblings. ”One particular day my father left me alone and when he came back found me happy, with brush in hand scribbling all over the work that he was busy with. Surprised, he grabbed me and at the same time that he was hugging me was thanking God saying “we’ve got another artist here! - Be patient my boy you’re still very young!” Prophetic words that my mother, 99 years old, still remembers to this day with certain nostal- gia. I was 3 years old!.... ..... But I had to wait until the age of 16 Artist’s Back to Basics

9 for my father to give me my own stuff of a scholarship to work and continue and spare me a corner in his studio, my studies by a leading technical com- where I could do my own projects. pany at the time - an offer that I refused I felt so proud and happy, when to to my parents’ big disappointment as my surprise one day, I found my first they felt this would have been such a painting properly framed and hung in promising future but I, rather and gladly, the best spot of our home.This gave accepted a very, very exciting and me a incom- mensurable boost of creative position as a textile designer. I confidence that even today still makes had such a wonderful couple of years my heart content by the recollection. until the company closed. By then it was army time and that brought me to this As I grew older and became more magical land of Africa - it was love at the and more involved as an apprentice and first site. I felt at home and called it home helper in my father’s affairs, however ever since. At the time no positions for under condition that my studies were textile designers existed, money from more important and obviously my painting was erratic, I was in a strange first obligation. Secretly in my heart, land and failing wasn’t an option so I my true love was in that studio not at had to compromise somehow. I found school. The proof of this came later a position as a graphic designer. when I matriculated and got an offer Artist’s Back to Basics 17

Profile The next 37 years proved that it going to dedicate myself only to art, wasn’t a compromise at all as I loved as a beacon of hope that helped me it so much that in all those years, I to go thought some of the vicissitudes never took an hour of sick leave as that sometimes life throws at us. an employee or as an employer (I use this as a joke, but its true). As I grew January 2007 just like any of the older so grew the responsibilities, it previous New Year’s came with a new was time to constitute a family and resolution: winding the busi- ness and with more mouths to feed I started retiring to have time to paint full time depending more and more on a fixed and develop my sole. Matters that I income, so, regrettably I had less and strongly believe go hand in hand. I less time for my studio, with years and consider painting to be the purest form years passing by without touching of meditation. This time, the desire my dear, dear brushes. The love for to change was too overwhelming - I painting didn’t diminish, in fact it grew had to do it. Never guessed what a stronger as did the frustration but I change of life this was going to be and always promised that one day I was it has, by far, excelled all of my wildest dreams, the only regrets were “why I 18 Artist’s Back to Basics

waited so long and the lost legacy?” Like a repentant prodigal son returning home after wasting so many years away, I didn’t want to waste anymore time. I had the background and technique of the beautiful art of painting from the years with my Late father and so many other years of exposure and connection to the greatest creative minds of graphic arts in the country. If I combined these two experiences together I felt that there could only come some astonishing results ....I knew that everything was going to be perfect and started painting with a vengeance. It was a tough process, a complete rebirth but I didn’t expect anything less. Definitely I’ve found the best part of my life after retirement. A truly wondrous journey of self-discovery. In the beginning, I painted all sorts of genres that had been queuing for years in my patient mind, clearly the sacred art style that I learned 40 years back in my Late father’s studio was evident - the old “Esfomato” technique that turns the brush strokes seamless in the painting, still widely used today in my home town “Braga” (portuguese capital of sacred art) that has been traditionally passed from generation to generation, for centuries. However, on an occasion when somebody complimented on my work and said: Oh, this is so beautiful, your artwork is so real it looks like a photograph! The person tried to be polite, I knew that much, but it saddened me as I wished my art to reflect more than a comparison to a photo. This made me a dignified talented copyist, so certainly something had to change! After some introspection, I hoped to be able to insert more creativity, spontaneity, more surprise and excitement but still retain some marvel and elegance from the past, so I thought of mixing the “the old and the new”, so I tried ... and I’m very excited about the result. What I expect to achieve for the remainder of my life? My art is the voice and mirror of what goes on in my heart. Love, beauty and inquietude! After the big change and witnessing

Profile the surprising results, I was so glad by 20 Artist’s Back to Basics God’s Grace, that I made a promise that “for the first couple of years I would work for Love”. Up to now 87% of all earnings related to my art, have been distributed one way or another to charity. This covers love and beauty. Now it’s time to listen to the voice of my inner inquietude, that is getting louder and louder since my visit to William Ricketts Sanctuary in Dandenong. At the time I was in Melbourne for the christening of my dear grand- daughter Cyanne in March this year. The more I read and learn about William Ricketts’ philosophy, the more I relate it to my own beliefs - I’m not alone - the interconnectivity of all living things, self empower- ment of our mental, physical and spiritual energies and the relation between integrity of the soul and the purpose of being. The disturbing erosion of the moral fibre by the dishonesty encroached in our politics, business, science being used for our self destruction and even some churches are teaching us the wrong word, is all too much to be reconciled in spiritual terms. When I came home I brouht with me the W.Ricketts (perturbed) spirit, that is inspiriting me for my next big thing. There are 130 countrys in the world with detached defenceless minorities many of whom stauchly hold onto their traditions, resiliently fighting away unfair multi-faceted enemies. It’s a matter of time that they will be no more than a faded memory. I intend to glorify their existence through a very ambitious project which I’ve already started, called: “ We were so beautiful!” It’s a project that will take 4 to 5 years to conclude, the research in itself is intimidating! General Info: Fernando is married to Dina and has three children - Vanessa with three grand-chil- dren live in Melbourne, Australia. Marco is living in Sao Paulo, Brazil and Nicole lives in Johannesburg with two grand-daughters. My website can be found at www.southafricanartists.com/ home/FernandoCorreia.



Back to Basics The Zulu Chief Corriera The majesty of the awesome Zulu Chief is brought to life in this marvellous painting. STEP 1 to germinate. I gather as many I always start with an inspiration elements for reference as possible, which many times comes by but only select a few (5 or 6) surprise and stays dormant in with the features that will give my mind, like a seed waiting character to my painting. After this, my mind automatically puts the pieces together almost like a puzzle. I close my eyes and imagine what the painting is going to be, and then I’m ready. In the old days, canvasses were prepared with an oil based primer, which is not the case today. They are primed with acrylic gesso which is water based so I prepare a solution of linseed oil and turps 60% /40%, (can also add colour to the mixture) and cover the entire canvas. Never underestimate the importance of this; because the thinned oil will penetrate into the porous under-layer creating a good grip for the over-layer which is still to come, and preventing premature crackling and peeling. Still with the wet surface I sketched MMAATTEERRIIAALLSS Final • Canvas • Linseed oil • Turpentine • Flat brush no 18 ± (12mm) • Paints: Raw Sienna, Yellow Ochre, Burnt Sienna, Raw Umber, Indian Red, Paynes Grey, Cadmium Red Deep Hue 22 Artist’s Back to Basics

the puzzle image that is locked in Step 1 my mind onto the canvas, using a Step 2 flat brush no.18 ± (12mm). In this case no tracing was needed. The range of colours are normally the same when painting African themes - Raw Sienna, Yellow Ochre, Burnt Sienna, Raw Umber, Indian Red, Paynes Grey, that gives me a warm sunset and a savannah feeling. STEP 2 I allow the painting to rest for an hour or two, so the surface isn’t bone dry or over wet, it’s just tacky. I never lay new paint on the top of bone dry surfaces. I use the same mixture of linseed oil/turps at the same ratio and spread a thin layer over the area that I want to work on (wiping out the excess). This helps to keep the same character throughout and gives it a softer finish. As it’s a Zulu chief that I am trying to achieve and they are normally tall, aged, hard looking, and never friendly, and he is the symbol of the tribe that he commands with moral severity and wisdom. My first attempt doesn’t look bad, considering this face only exists in my imagination - my reference is for light only. I started with the face because it’s going to be my focal point, therefore the most important part of the composition. STEP 3 Because there’s no design I rely on my instincts. After I achieve what Artist’s Back to Basics 23

Back to Basics I want with the face, I progress for - bringing the man ‘forward’. outwards and roughly lay down the By doing that I exposed the body foundations of the complete picture. of the man and found that it was At this stage the first general view of too small so I had to increase the the composition starts taking shape leopard skin and play down the and makes it easier to see where I’m feathers in the headgear as they going. Special attention is given to were distracting, and give another the face, with parallelism of the eyes, layer to the face. Due to the fact nose and mouth and the distance that my references came in bits and between the eyes to be the size of pieces I used the technique of trial one eye, as a guide. If you apply the and error to achieve what I wanted. laws of perspective, the eye closer to you should be a fraction bigger. STEP 5 After this step the focal point (the Bringing the man ‘forward’ I noticed a face) has three layers of paint. mistake in my composition. The face is too far to the right - not centred, STEP 4 and the red in the background isn’t At this stage the painting was too very African. I had to strategize and flat, in other words the foreground took out the rabbit tail pendant on (man) and the background the right hand side and created didn’t have enough contrast so I decentralised feathers in the introduced Cadmium Red Deep headgear which together with the Hue as a contrasting background existing highlight on the left shoulder, and I achieved what I was looking helped to balance the image. Step 3 Step 4 24 Artist’s Back to Basics

natural curiosity asks me to turn it Step 5 around. Then I know that I’m ready to finish it. I apply all my resources on this session as whatever I do now is what is going to show forever. Normally I repaint the entire surface with fresh paint, which means the previous layers of paint that were showing are going to be covered. Almost like a ritual, without fail, I always do this in the morning when I feel inspired and fresh. I first meditate for 10 minutes or so followed by two or three hours of spontaneous and fast painting, and “vive la difference”. This is the first time that I have the opportunity to compare with the previous stage and appreciate the difference! At the end I still feel that my Zulu chief could have been 2cm or so to the left. Maybe, in time, I’ll dismantle and re-stretch it. n Artist’s Back to Basics 25

Themed Sketchbooks By Leonie Norton It is very rewarding to make by the cover sizes. your own themed sketchbook. It makes the sketches from The Fiji Sketchbook a particular place even more Take a small piece of inexpensive memorable and enjoyable. tapa cloth, which is a bark cloth made with traditional tools from The examples in this article the inner bark of the mulberry tree. are from Fiji and Bali and the Local fabric can also be used. Fold sketchbooks reflect this quite clearly. and paste it around two pieces It is surprising how easy it is to of heavy cardboard, which make find either local fabric or decorative both ends of the sketchbook. paper with which to cover the book, or even buy a book already Cut a length of watercolour covered, as in the Bali example. paper the same height as the covers, and make fold the same Other themed subjects apart size as AT each end of cardboard. from a travel destination could be To make a book with more folds, interesting and unique doorways cut two pieces of watercolour and/or windows in Europe, buildings paper and glue them together. from your home town, beaches, shells or any subject at all that Glue the first and last pages inspires and excites you. You are of the concertina to the inside of only limited by your imagination. the already covered cardboard front and back of the sketchbook. When making your own book, This covers the glued cover folds. it can be whatever size you When you pull the ends apart you prefer. This will be determined actually have a two sided book. Goddess at the Tirtaganga Water Palace Concertina Hibiscus 2 26 Artist’s Back to Basics

Balinese sketchbooks Gunung Kawi Temple carvings Raffia can be glued to the inside of • Craft Glue or PVA It is very rewarding the covers to wrap around the ends to Wood Glue to make your own keep the book closed. This is optional. themed sketchbook. • Brush for applying glue. With my themed book, I painted Foam brushes are good leaves from Fiji on one side, and hibiscus flowers on the other. • Paper or fabric of choice for covering book covers. Bali Sketchbook I also enjoy the beautiful fabric • Scissors covered books of Bali. Many of • Round coloured shoelaces, these have coloured paper inside which resemble handmade paper. raffia or material of These are the books I use to choice to make a book do my pen sketches with white tie (optional) highlights. The paper will take a • Thick cardboard for little colour, but it is preferable to book covers (backing use it primarily as a sketchbook. cardboard from watercolour and drawing Materials for Making pads suitable) the Sketchbooks • 300gsm cold pressed (not • 30cm metal ruler rough) watercolour paper • Craft Knife or Stanley Knife for the sketchbook pages Leonie Norton www.holidaysketching.com.au I Concertina Leaves 2 Cover 2 Artist’s Back to Basics 27

Buyer’s Guide Paints & Mediums Contributed by S&S Here’s a summary of some of the fabulous products that are now available in Australia, with plenty of hints and tips. Genesis For a number of years Genesis Heat- to get beautiful transparent glazes. Set Oil Paints have been regarded by With Genesis you can just start many as the world’s most versatile quality fine artist paint ever made. This painting each session without wasting is because it suits artists who are used time preparing your palette. All those to using oils, acrylics or watercolours. premixed colours, (no matter whether It also provides today’s artists and it was yesterday, last week, last month students with a wonderfully safe or even two years ago since you last medium to work with, without enduring touched your palette), you can just harmful toxins or solvents found in get them out, quickly work the paint many artists’ mediums. Not only are down with your palette knife or brush they non-toxic, they are also odour- to bring them back to their nice buttery free and contain NO heavy metals. texture, and start painting. Genesis Heat-Set Oil Paints stay wet on your Due to their very high pigment content, palette and brushes forever until you colours are strong and vibrant, even choose to dry them, then heat is after drying. Unlike acrylics there is applied at 130°C with a hand-held no colour shift from wet to dry state. heat gun or oven. Depending on how Genesis instantly gives your paintings thickly you have applied the paint, it depth and allows far better coverage. A can be dried in a couple of minutes. tiny amount goes a long way. Of the 87 colours in the Genesis range, 79 colours Genesis Heat-Set Oil Paint allows you are in category 1 for light fastness, and to work wet on wet. No stopping and 8 are in category 2 (diox/purple values). waiting like conventional oils force you to do. Simply dry the area you want to The full range of paints, mediums keep working on, then apply more paint, and varnishes all conform to ATSM or a wash or glaze straight over the D-4236 standards, guaranteeing strong top. If you make a mistake, just wipe it archival qualities. Genesis Heat-Set Oil off, and when you’re happy with a layer Paints are not solvent or water based. or area, dry it straight away – no more It has its own specially formulated base worrying about ruining you masterpiece! carrier. The full range of colours and Genesis offers fine control in mixing, their mediums are all certified Odourless blending and application. Artists will and Non-Toxic, so this allows the many achieve a very clean and crisp edge artists who suffer from allergies to that is required for detailed and realism get back to or commence using oils. style painting. Genesis is no different Genesis has a thinning medium, a in appearance to conventional oils. In glazing gel and a thick medium. The fact its colours are closer to nature’s thick medium allows impasto style true colours than any others. With painting and can be added to the paint Glazes, Washes, Impasto effects etc, to extend it without reducing the colour there are no limitations or restrictions! intensity. The glazing gel allows you to add the smallest amount of colour Genesis Heat-Set Oil Paint gives you the two ‘bests’ in an artist’s medium. 28 Artist’s Back to Basics

With traditional oils the length of cap jars, allowing you to see exactly drying time means we can lose our what the true colours are and access momentum in getting our ideas and all the paint to the very last speck. thoughts onto the canvas. With acrylics and watercolours, they can dry too Fantastic for schools, private quickly. With Genesis, you can apply teaching studios, or people with washes like watercolour artists do or confined room space and restricted blend to your heart’s content! You ventilation i.e. flats, units or caravans. can apply layer over layer just as you Genesis also opens up a whole new would with an acrylic, but Genesis world for the traveling artist, as they will also allow you to blend colours can dry their work at any stage. easily. You, the artist, at last has TOTAL control with the drying process. Genesis Heat-Set Oil Paints are only sold directly to the artist which is With Genesis there is virtually no another reason you will save money. We wastage. You will get to use nearly do not resell through art supplies stores. every drop of paint because these The exclusive and sole Australian outlet Heat-Set oil paints only dry when you is Genesis Artists Supplies Pty Ltd want them to. One good example of wastage is every time you wash your You can read more about the product brushes out, all the paint goes down at Australia’s Sole Suppliers website the drain. Not so with Genesis, as they www.genesisoilpaints.com.au where will always remain wet on your palette you can shop online 24 hours a day, or brushes. Genesis Heat-Set Oil Paints 7 days a week. Orders can also be are sold in easy to open clear screw made by mail or by telephone on 1300 66 11 65, 07 5426 4685 or 0437 183 173. Ring Lynn for more information. Daler-Rowney Cryla Heavy Body Artists Acrylic Cryla Artists’ Acrylic colour is a of price, those pigments that exhibit very heavy-bodied colour with a high only the highest levels of purity, loading of the very purest, permanent lightfastness and permanence along and lightfast pigments. Cryla are with providing clean rich colours and characterised by their thick buttery compatibility with the other ingredients consistency, their uniform eggshell finish contained within the colour are across all the colours in the range and used in the manufacture of Cryla. the minimal colour shift from wet to dry. The rapid drying time is one of the The unique heavy, buttery feel most popular features of Cryla Artists under the brush and knife is popular Acrylic colours. On average they dry with artists wanting to achieve a wide normally between 5 – 10 minutes. variety of impasto effects. Every Cryla Thicker brush strokes and impasto colour has been uniquely formulated to marks will skin over in a short time but ensure that each colour dries with the will take longer to thoroughly dry. The same body, consistency and working acrylic resin is usually full polymerised properties. Cryla Artists Acrylics contain overnight so it is recommended no dyes, toners or adulterants of any to varnish after 24 hours. Room kind. Only 100% acrylic co-polymer temperature and humidity will affect emulsion is used in the manufacture the drying time – warm dry conditions of the colours preventing yellowing speed up the process while cold, and minimising colour shift. humid conditions will slow it down. Each colour in the Cryla range is Most acrylic colours have a colour individually formulated from the purest shift from wet to dry. The reason for this pigments available to ensure only the colour shift is because of the acrylic strongest, cleanest colour is produced co-polymer emulsion being a pale milky with all the standard characteristics colour in the wet form. When the water of Cryla Artists Acrylic. Sourced evaporates and the colour dries this pale from around the world regardless milky colour disappears and becomes Artist’s Back to Basics 29

Buyer’s Guide transparent. Cryla has been specially with Daler-Rowney Gesso. System 30 Artist’s Back to Basics formulated to minimise the effect that Heavy Body can even be applied to colour shift has on the colours and, as difficult surfaces such as laminated a result, there is virtually no colour shift plastics, glass or glazed ceramics if from the wet colour to the dry colour. the surface is abraded, roughened, etched and/or suitably primed. Cryla acrylics can be used straight from the tube if a rich buttery heavy Casein Colours bodied consistency is required. However, Richeson “Shiva” Casein Colours it can be thinned with water if a more Few artist colours are as easy to flowing or thinner consistency is desired. handle or allow the artist to learn It can also be mixed with any of the such a variety of painting techniques. Daler-Rowney Artists Acrylic mediums Combining this variety of styles and to change its working properties. textures in a singular composition is what makes a Casein painting so Once completely dry, Cryla is water striking, an effect that is enhanced resistant and resistant to mild solvents. by their rich and intense colour. This stops the colour being re-dissolved They can be applied in any manner, when further layers of colour or varnish from impasto to thin watercolour are painted on top. The final film is washes. They have an exceptional very flexible and will withstand the integrity of colour and always dry to natural flexing of the surface that it a perfect matte finish which makes is painted onto. There are 87colours them excellent for art reproduction. in the range over 4 price series. Casein, though naturally matte, can Daler-Rowney System 3 Original be brought to a satin sheen by buffing with a soft cloth. If the artist desires and System Heavy Body a gloss finish, the painting can be Only the highest quality pigments varnished. Caseins may be used to are used in the manufacture of successfully produce a painting with System 3 Acrylics and they possess a the transparency of a watercolour, significantly greater pigment loading the smooth opacity of tempera and than comparable acrylic ranges in this gouache, the heavy textures of acrylics class. The comprehensive range of are and oils, or anything in between. Caseins highly permanent, water resistant and are water soluble, but they dry rapidly flexible once dry. System 3 Original and become impervious to moisture. colours can be thinned with water to pale washes or used directly from the All Shiva casein colours are chemically tube; each form dries quickly to create pure pigments and are permanent to an insoluble film. The quick drying light, gases, alkalis, and acids. They may properties enable the artist to work be applied on almost any grease-free quickly, superimposing or juxtaposing surface: canvas, board, wood, gesso, colours without unnecessary fuss. The paper, cement, plaster, wet or dry lime excellent covering power of System 3 walls and for painting on glass - their Original colours make them ideal for adhesive qualities are excellent. Where large works such as murals or where it often takes hours before a section of large amounts of paint are required. an oil painting can be reworked, it takes only minutes before a layer of casein can System Heavy Body is the perfect be applied over another. Also, it can be complement to System 3 Original continually reworked, making corrections acrylics. It is an ultra-thick acrylic colour or special effects easy without colours with an oil-like, heavy and buttery becoming muddy. Varnished casein consistency that dries with an oil-like painting closely resembles oils with gloss. System Heavy Body colours comparably rich colours and textures. are suitable for painting on any semi- After the painting has completely dried, porous surface that is free of grease one or more thin applications of Shiva and dirt. As with System 3 Original Casein Varnish will enhance this effect colours, they are ideal for use on canvas and paper but are also suitable Egg Tempera for painting on brickwork, plaster, Daler-Rowney Egg Tempera hardboard, MDF and fabrics if primed

Egg Tempera is one of the oldest colours in the range. They are produced mediums for fine art painting, dating to the same exacting standards as Daler- back to Roman Egypt and used by Rowney Artists Oil Colours. They are most of the Great Masters during carefully blended and tested to produce the Renaissance. Egg Tempera the most brilliant colour and match tint imparts pure translucent colour with and texture from batch to batch. All 54 a distinctive luminosity and matt colours have fine working qualities and satin finish. Today, Daler-Rowney is a high degree of performance. Daler- one of the few artists’ colourmen to Rowney Georgian Oil Colours are ideal offer it ready-mixed in tubes-widely for use with a knife or a brush, allowing used by professional art restorers. for a variety of effects to be achieved. Available in 38ml, 75ml and 225ml tubes. Gouache Five litre tubs are available upon request. Daler-Rowney Designers Gouache Maimeri Puro Superior oil Colours Daler-Rowney Designers Gouache is Puro Oils contain pure pigment and oil a brilliant opaque artist’s quality body – nothing else. Each colour in the range colour, developed for professional contains pigments of maximum quality, designers working on illustrations for purity and stability combined with top graphic reproduction. It is also widely quality safflower-poppy seed oils that do used in fine art painting, both on its not yellow, to produce a perfect impasto own and with transparent watercolours. with the highest possible degree of The high quality pigments and lightfastness for each colour. There are superior reflective qualities of the fine 80 colours in the ranges over six series. white calcium carbonate specified by The transparency and lightfastness of Daler-Rowney ensures that Designers each colour is indicated on each tube Gouache retains its pure bright along with the chemical composition. colour across all 88 colours in the range. All colours are intermixable Richeson “Shiva Series” to allow the designer to achieve a fine degree of colour matching. Artists Oil Colours Daler-Rowney Designers Gouache Richeson “Shiva Series” are is characterised by its fine flowing professional quality, superior oil colours texture, tinting strength and excellent that commenced production in the covering power and is best applied USA in 1929. They are hand-crafted with brush, ruling pen or airbrush. in the Richeson factory using only pure, artist grade dry pigments, each Oil Colours ground to its own unique degree of fineness then formulated with the finest Daler-Rowney Artists’ Oil Colours grade of alkali-refined linseed oil under Daler-Rowney Artists’ oil colours are exacting laboratory controls. After professional quality paints designed manufacture, the colours are cured for durability and permanence and from 90 to 120 days to ensure they are made using only the very best ready for packaging and each tube materials available. Only the best label then displays an actual sample pigments are used regardless of of the colour contained in that tube. cost to ensure absolute perfection for the discerning artist. The distinctive Richeson Oils are guaranteed to buttery consistency of Daler-Rowney be permanent, free from darkening, Artists’ Oils derives from the use yellowing, fading and cracking. These of linseed oil and wax, which acts professional quality oil colours are as a plasticiser, helping to prevent available in 59 colours and feature even heavy impasto from becoming traditional, Olde World pigments brittle and cracking over time. The to produce brilliant, rich colours 82 colours in the range are available of buttery, reliable consistency in 38ml tubes in five price series. yet are priced for everyone. Daler-Rowney Georgian Oil Colours Coarsely Ground Oil Colours Georgian Oil Colours offer artists Coarsely Ground oil colours are exactly high quality and performance at an what the name implies – they have economical and uniform price across all been manufactured with pigments Artist’s Back to Basics 31

Buyer’s Guide that have been coarsely ground and Orange, Vesuvius Yellow, Damascus 32 Artist’s Back to Basics rare semi drying oils such as walnut oil Yellow, Provence Rose Lake, Sevillea and safflower oil, exactly in the same Red, Salento Green, Ercolano way as paints were made throughout Blue, Capri Blue, Grasse Violet and Renaissance Europe. The result is a Green Obsidian from Pantelleria. paint that is more opaque, has a thicker paste density that accentuates the Terra Grezze d’Italia (Italian Natural brush strokes and a rougher finished coat. The application and finished result Earth Colours) by Maimeri of paintings using Coarsely Ground These colours have been created oil colours are markedly different from from the ancient pigments used those done with modern colours. to decorate the monuments and facades of palaces throughout Italy. The artist will not only need to adjust Italian Natural Earth colours are their techniques accordingly to get the not only for traditional techniques best out of these paints, but also the but also satisfy the needs of mediums they use, specifically when contemporary artistic expression. thinning out these colours. It is highly There are 11 colours in this range recommended that these colours are and each colour is named from the not thinned with the traditional solvent place where it has been obtained. based thinners such as White Spirit and The colours include Carrara White turpentine but instead use walnut or Earth, Herculaneum Orange Earth, safflower oil. It is also recommended that Rome Yellow Earth, Verona Yellow hard bristle, ox hair or synthetic brushes Earth, Raw Sienna, Venetian Red are used to get the best finished results. Earth, Sardinian Red Earth, Burnt Sienna, Verona Green Earth, Renaissance Oil Colours by Maimeri Verona Antique Green Earth and Each colour in the Renaissance range Florence Brown Earth. These has a high pigment concentration colours are formulated with natural and is prepared with grain size and pigments only which means that dispersion in walnut oil similar to those there will be slight discontinuities of Renaissance compositions. Most of in colour tones from batch to the pigments in this range correspond batch which signifies the authentic to the originals; however the more toxic, and natural origins of the paint. unstable and hard to mix pigments have been replaced with modern alternatives. Paintstiks This is a small range of 11 colours over Shiva Artists Paintstiks three series with some of the colours Shiva Artists Paintstiks are professional having been unavailable to the modern grade, artists’ oil colours in a painter for 100s of years. The colours convenient stick form. They are include Ceruse, Michelangelo Blue, manufactured from quality pigments Mummy, Bistre, Vasari Yellow, Kermes blended with refined linseed oil and Lake, Paris Red, Vermillion, Murano Blue, solidified with a wax base. Shiva Artists Greek Green and Malachite Green. Paintstiks can be used in conjunction with conventional oil paint surfaces, Mediterraneo Oil Colours mediums and varnishes using the Mediterranean) by Maimeri same techniques. As there are no Throughout history, the Mediterranean unpleasant odours or fumes, Paintstiks has been a place that has united can be used virtually anywhere at cultures and civilisations and, along any time and form a protective “self with it, colours and tints that are sealing” film when not in use - just peel unique to this beautiful area. The the seal before using. This ensures colours in this range are especially that Paintsiks remain moist and fresh suited for warm, bright and luminous and have an indefinite shelf life. paintings. There are 11 colours in Paintstiks are available in 68 shades. the range and each colour is named from the place where it has been Watercolours obtained. Colours in this range Maimeri Blu Artists Watercolours include Santorini White, Trinacria Maimeri Blu Artist Watercolours have been developed with pigments offering

the greatest transparency, clarity and pigments in these watercolours and lightfastness. Of the 72 colours offer an extended range of brilliant in the Maimeri Blu range, 52 of the colours, designed to create perfect colours consist of a single pigment washes of pure transparent colour. bound with authentic, top quality There are 80 colours in the range gum Arabic from Sudan and distilled available in 5ml and 15ml tubes. water, providing the user with a Daler-Rowney Aquafine watercolour that has a transparency, Watercolours purity and clarity unlike any other Daler-Rowney Aquafine watercolours brand. Available in 72 colours over offers artist high performance colours four series in large 15ml tubes. at an economical and uniform price across all 37 colours in the range. Daler-Rowney Artists Watercolours Aquafine watercolours are produced Artists’ Watercolour is a professional to the same exacting standards as quality watercolour that has been used Daler-Rowney Artist’s watercolours. by such renowned artists as Turner and The full range gives rich, free Constable. Based on the finest modern flowing transparent colour with and traditional pigments, it is precisely excellent tinting strength and working formulated to offer unparalleled properties. All colours can be used performance and permanence. Only to produce beautiful and delicate the very best pigments, regardless washes. of cost are used in the manufacture of Daler-Rowney Artists’ Watercolour. For further information please visit Suspended in an aqueous solution www.arthousedirect.com.au n of the finest Gum Arabic the colours AUSTRALIAN STRUCTURE MADE & OWNED Matisse range of professional artist acrylic paints and mediums are man- ufactured with the highest quality pigments and ingredients. Available in 95 intense, vibrant colours covering the full spectrum, including several uniquely Austral- ian colours. All colours have the highest light- fastness rating of ASTM 1 or 2 and are of archival quality - so you can create with confidence knowing your artwork will stand the test of time. Derivan Pty Ltd 02 9736 2022 Unit 4/23 Leeds St., Rhodes NSW 2138 www.derivan.com.au Artist’s Back to Basics 33

Drawing Inspiration Afternoon Tea By Ellen Lee Osterfield and some sheep in the front yard. I could imagine it having Ilove bringing old houses back been a homestead on a thriving to life! I had a photograph that farm many years ago and I had taken on a trip from the set about trying to capture south coast of Victoria of this one. a moment from it’s past! The house was fairly run down with long dry grass all around it Final Step 34 Artist’s Back to Basics

Step 1 Step 2 Step 3 Step 1 Step 3 In this painting I I have chosen to work on a creative This close up of the house reveals wanted to capture edged canvas 20”x24”. After the broad -brush strokes. I have them “ at home” in roughly sketching my design I start also added some Cadmium yellow their own surrounds off with an Acrylic underpainting to the highlights on the roof and on with no worries in Violet and Ultramarine, I have the tree at the side of the house. and no onlookers taken care to keep the shapes of to disturb their the key elements in the painting. Step 4 peaceful life. I decided to grow a nice pink blossom Step 2 tree beside the house, (Rose madder I purposely chose a loose style for and Warm white), as the one thing I this painting, as I wanted the casual remember quite vividly was the presence nature of life back then to come through of fruit trees in the back yard when I was in every aspect of the design. Once growing up! It also adds a nice soft touch blocked in I selected my oil colours. I am to the rich colours developing in the using Cobra (formerly Van Gough) water painting. Tonal balance is achieved by based oils, Ultramarine, Titanium White, using the same colours in various areas Cobalt blue, Viridian, Rose madder, throughout the painting. For instance Permanent violet and Yellow Ochre. I have used the same combination of The background trees came first using colours in the ground around the house both of my selected blues with a small as I have in the roof and the trees. amount of violet and Titanium white. Step 5 For the roof of the house; Rose I wanted a really sunny afternoon madder, Yellow ochre and violet. glow and used a mix of Yellow ochre, Yellow light and Cadmium The house itself was a mixture of the roof colours with more white added. Step 4 Step 5 Artist’s Back to Basics 35

Drawing Inspiration Step 6 Step 7 orange for this. I dropped I also added more warm white to these colours onto the roof and the boards on the front of the house to foreground leaves as well. create the sunlight. I painted the view into the windows using Ultramarine I loved the big old Pine tree beside and violet and a little Rose madder. the fence and enjoyed the challenge of shaping and shading it. Viridian made Step 7 up the underpainting, to this I added What is a farm without chooks? I Yellow ochre, Ultramarine and Violet. can remember feeding them when I was young, scattering the seed on I found that my fan brush the ground and helping mix up the on its side worked best for the pollard to put into the feed dishes. branches and foliage. I have gone over my underpainting Step 6 carefully selecting which birds are going I needed to lighten the pink blossom to be which colour. I thought I would tree by adding more Warm white have a variety here as it makes the tones to the Rose madder mix. Step 8 Step 9 36 Artist’s Back to Basics

all come together. The white chickens I have also strengthened the ground HIHNITNSTSAANNDD TTIIPPSS are a mix of Titanium white with violet, colours in the bottom right hand side Cobalt blue and some Burnt umber of the painting using Rose madder, • Choose an underpainting blended in for the shaded areas. Raw Raw sienna and Cadmium yellow. in vibrant colours if you umber and Ultramarine were the mix want the finished painting for the dark neck feathers, then Rose I am happy with the result, to be rich in colour. madder, Yellow light and Cadmium it has the richness and free Red for the wattles and combs. painting style I was looking for. • To soften background trees All that’s left to do is to sign it. and images simply add white Step 8 to your mix, this will also give I drop in highlights as I work back Happy painting! I more depth to your painting. and forth across the painting using my palate knife! The brown chooks Step 10 are a mixture of Raw Sienna, Burnt umber, Yellow ochre and violet and Step 11 Rose madder for the shading. The black chooks are Burnt umber, Ultramarine and violet, with some Warm white for highlights. Step 9 Things are really coming together well, the old fence by the side of the house adds a little more interest, let’s face it there is always work needing to be done on any aging property! I have deepened the shadows on the ground in the foreground of the painting by using Raw Sienna, Burnt umber and violet. Step 10 I have set the work aside to peruse for a few days and to note any changes that might be needed. It is important to ensure that all of my shadows are cast in the right direction and that there are shadows underneath the chooks. Step 11 I have decided to extend the foreground shadows on the left hand side of the painting and added more colour highlights underneath the Pine tree using Viridian and Raw sienna and violet plus Yellow ochre. I have added patches of grass showing through the shadows and more grass near the fence. Final Step I have strengthened the sunlight in the middle of the painting by using Yellow light with a small amount of Titanium white just to soften it slightly. Artist’s Back to Basics 37

Profile Interpretations Edited by Trevor Lang This artist has progressively developed his approach into something truly recognisable. His definitive style is representational of his way of creating and experiencing art. Cees Sliedrecht was born imaginary figures from stories. in Holland. He started His father was an amateur artist drawing at the age of three – copying little cartoons, and making who endowed him with enthusiasm pictures of his home, his pets, and for drawing and painting. Often they would go outdoors, driving 38 Artist’s Back to Basics

from one windmill to another, painting the Dutch scenery which inspired many of the Old Masters. This early stimulus drove him to become further interested in art. An art teacher at secondary school acknowledged him as a better art student and gave him great support. Cees followed courses at arts academies in The Hague and Rotterdam. Before to moving to Australia in the early ’70s, he completed studies as a College Teacher in Business Management. In Australia, he started building a career in the retail industry – while remaining faithful to the arts. Over the years he produced numerous detailed drawings of old cottages and National Trust listed buildings in Melbourne, Sydney and Brisbane. He also made waterscapes exercised in pen with added watercolour washes. In 1988, he started a business producing three dimensional drawings for developers and builders. Concurrently he began teaching management related courses at TAFE colleges, as well as art classes. To develop his artistic involvement he joined the Watercolour Society of Queensland; the Royal Queensland Art Society; and The Halfdozen Group of Artists and Visionaries. He led workshops, conducted art seminars, participated Artist’s Back to Basics 39

Profile 40 Artist’s Back to Basics

in many art shows, and held work, a whole new world was opened “In Australia, solo and mixed exhibitions. up for me,” he relates. “From there Cees admired the onwards, my work became much fine details and A recent achievement for Cees more spontaneous and free. I started shapes of the Sliedrecht was winning first, second to work in inks, pastels, coloured public buildings” and third prizes in a number of pencils and charcoal. The style I categories at the Brookfield Show developed became very recognisable in 2007. He has also judged at … purely representational of my way various art shows. His work has been of creating and experiencing art. I featured in art galleries, hospitals, would categorise my painting style restaurants, businesses, and as ‘semi-abstract’ but I still want private venues. He was honoured my paintings to offer some familiar by a request to tutor in drawing shapes or settings. Often the viewer and painting at the prestigeous interprets parts of my paintings Grafton Artsfest in April 2008. in different ways than I saw them; but that is fine with me. In every In Australia, Cees admired the painting there must be something fine details and shapes of the public to discover. I believe in the thought buildings. He also appreciated the that the artist begins a story in the cute workers’ cottages with their painting, and the viewer continues open decks, the large but quaint to build on it and make it personal. homesteads in the country, the grand In my view, a painting should convey bridges over the rivers, the colourful a certain emotion, a mood (whether boat harbours, the busy markets and pleasing or challenging), providing the lush tropical rainforests. Initially, a form of escapism for the viewer.” he thought that only the greatest amount of detail would be acceptable Cees nominates a number of to do justice to what he saw. But later artists who were particularly helpful he discovered his preference to give in his development: French artists an interpretation of the scenery rather Raoul Duffy and Henri Matisse; than focusing on detailed renderings. German artists Franz Marc and August Macke; Australian artist “When I started to become more relaxed and less confined in my Artist’s Back to Basics 41

Profile “It is surprising Lloyd Rees; and English artist great interest in art – it gives them how effective William Turner. His latest admiration an opportunity to think creatively and is for the American artist John produce something they admire, in these two media Marin – due to his use of charcoal contrast to the high powered and can be together, in combination with watercolours. stressful positions they may have whilst in fact they held in their working lives. He believes are each other’s “It is surprising how effective that, for many people, relaxation and these two media can be together, stress reduction are requirements for opposites,” whilst in fact they are each other’s leading a happy and healthy life. opposites,” Cees explains. “Marin was wonderfully creative Cees offers lessons during the in his shapes, toning and texture. week and also on weekends. There When applying the charcoal, one are eight weeks of three hours per needs to bear in mind that the session per term, with different watercolour must be applied first themes every week. Students to maintain colour freshness.” use pens, watercolours, coloured pencils, acrylics and charcoal. In 2006, Cees Sliedrecht started his own art school where everyone with For enrolment or further information, an interest in art may join – whether people can contact Cees by telephone at a beginner’s level or a more on 07 3399 1217; or by email: advanced level. He claims that ‘Baby [email protected] I Boomers’ in particular have shown 42 Artist’s Back to Basics





Back to Basics The Sun Goes Down Over the Blue Mosque By Cees Sliedrecht Inspiration for this painting was drawn from memories of Istanbul, where the artist was impressed by the mystical history and culture of the ancient Turkish city. 44 Artist’s Back to Basics

My inspiration for this painting of delicately knotted and beautifully MMAATTEERRIIAALLSS related to memories of coloured Turkish carpets and rugs. Istanbul. I was overwhelmed • 300gsm full size Hot Pressed by the city’s mystic, history and Those were the colours I Archers paper, taped on a culture. Visiting the mosques; had in mind… at the same laminated board (for a finished wandering through narrow, streets; time I wanted to capture the painting size of 560 x 760mm). being surrounded by the shoe atmosphere of the ancient city polishers and attentive soft drink in all its riches and elegance. • 2B pencil. vendors; smelling the perfumes mixed with the unfortunate air STEP ONE • Taklon brush, square, Size 1/2. pollution; inspecting exotic foods I started off with a rough sketch of the Orient and soaking up an of the Blue Mosque and its • Winsor & Newton atmosphere only the Turks could surroundings, using some old watercolours: Ultramarine; create. Sounds of donkey hoofs photographs. I rarely copy from Antwerp Blue; Indigo; Cadmium on cobbled pavements, calls to these. If I cannot work on site (which Yellow; Lemon Yellow; Yellow prayer, beeping horns of passing I prefer because of the atmosphere Ochre; Alizarin Crimson; cars and people speaking in foreign and mood), I use a combination of Rose Madder; Phthalo; tongues completed the mystery. I photographs taken from the area Emerald; Burnt Sienna. visited the bazaars, and one of the to make a specific composition on highlights was watching a display paper. Photographs are merely a • Compressed charcoal. source of information. They help • Faber Castell coloured pencils and Faber Castell Polychromos colour pastels – both matching the watercolours. Artist’s Back to Basics 45

Back to Basics “Starting with me to organise my thoughts and paid to where I let the light come a basic pencil provide some practical details. In from – I had planned a sunset sketch was also this instance, it was not my intention coming from somewhere on the right. a way to break to paint a realistic image of the the starkness mosque but rather paint a feeling, a I painted the main dome in Antwerp of the paper” sensation, an impression exercised Blue and added Alizarin Crimson on in colourful brush strokes. If the the left side to create a cool feeling viewer could recognise the Blue whilst the right side was painted in Mosque, that would be a bonus. Ultramarine with added Cadmium Yellow, resulting in a warm greenish When doing the sketch, I made look which enhanced the atmosphere sure there was a solid composition I wanted to create. Sometimes, and good balance in the foundation rather than mixing two colours on the upon which I was building my palette, I wet the area which I intend painting. Starting with a basic to paint on. Following that, I add one pencil sketch was also a way to well pigmented colour with a break the starkness of the paper. fairly dry brush. Whilst the colour is spreading in the wetted area, When applying my paint or I add the second colour (wet-in- charcoal, I did not necessarily fill wet method). The two colours in shapes I had drawn initially; or mix locally on the paper – trace the outline of my pencil lines. creating an interesting effect. Often, I made a new drawing on top of the earlier one. I usually I painted the facade underneath start painting by putting on some the main dome in Yellow Ochre colours of interest – both warm with Alizarin Crimson in arches and cool – starting from a focal surrounding the windows. I point. In this instance, I began by coloured the secondary domes painting the roof of the Blue Mosque in a similar way to the main and then worked my way down. one. I was careful not to make the shapes identical – I hate STEP TWO predictability and favour variations This is a close-up of how I started in shape, colour and texture. the painting. A little attention was STEP THREE I added a few more pastel colours. Some pinks (like Permanent Rose) on the left side; more interesting shapes in Antwerp Blue; creating textures whilst progressing. The second major dome received similar colours to the first one (Yellow Ochre combined with Alizarin Crimson). I actually drew, with my brush, a new painting on top of the initial pencil outline. A square brush helped me to be more direct in my lines, better suiting the architectural shapes in the work. I painted geometrical patterns, as these reminded me of the mosaics found in Turkey. I added some Ultramarine to the sky, using short brush strokes. The application was not a ‘smooth and 46 Artist’s Back to Basics

neat’ one; I wanted to create an patterns with colour … all of these HINTS AND TIPS interesting, uneven look. I often reminded me of the Turkish rugs. work fairly dry, hardly diluting the • When painting in watercolours, paint, actually painting with a damp STEP FIVE charcoal and pastels to create brush. Here and there I added I felt that I had started to capture the a semi-abstract painting, some Indigo to the darker areas, intended atmosphere of the lowering the following suggestions to establish depth in the painting. sun, and I could finish the picture in should be helpful. the ‘warm’ look; or alternatively make STEP FOUR the whole painting cooler. A personal • Fill your paper with a I painted the sun lowering itself choice. I decided to add some cool pencil outline of your down the back of the mosque, colours and also intensify the colours topic, not too detailed. using Cadmium Yellow and Alizarin – already used. I did this by using both individually and as a mixture. A more pigmented paints; and also • Start painting the area great orange was the result. I adding pastels and coloured pencils. you feel most attracted to added these warm colours to other I used Indigo before adding more first – this is your focus. parts of the painting where I felt of my intense blues like Antwerp most of the light would be present. Blue and Ultramarine – particularly • Leave areas where the light This process was impossible to in the sky and on the shadows. falls untouched (white of the analyse – I went where the brush Strengthening of the colours was paper) for as long as possible. wanted to go. I then painted in necessary to give more power and more detail such as tree shapes presentation to the painting. It also • Use glazing for the shadow and hints of buildings in the front gave a more solid look. I realised areas – Indigo is a good choice; of the painting. I found that most that the picture was more or less wet-on-dry with broad strokes. of my initial pencil lines had ‘halved’ – one side being bluish cool disappeared and new lines had and the other with a yellow/orange • Paint sky and water areas taken over – things had taken their feeling. Something had to be done. last, unless they are own direction. It is best not to features in your work. resist such development; I like to STEP SIX give the ‘accident factor’ a chance. I added detail and texture, weighing • Apply charcoal for strength, I created different shapes and off the colours, creating balance, definition and character (applying watercolours over charcoal lines is not an option as it badly affects the freshness of the work). • To brighten lines or areas, use pastel oil sticks or light coloured pencil on top of the watercolour applied. • Remember that your painting becomes more interesting when you make it a ‘story’ … let things happen in your painting. • Make your work more interesting by adding calligraphy marks and interesting shapes, and working with light contrasts and texture. Artist’s Back to Basics 47

Back to Basics “I continued reinforcing some shapes and to ‘add up’. The artist’s vision adding more reducing others. This was the may not coincide with reality. solid colours and most difficult stage of the painting created a harmony – judging what to add and what to I continued adding more solid between the right leave alone. Periodically I put the colours and created a harmony and the left of painting down and rested. Then between the right and the left the painting” I looked at it again and decided of the painting (this harmony whether my views and feelings had had previously been lacking). 48 Artist’s Back to Basics changed. In due course I decided to add charcoal, more pastel, and STEP EIGHT some more coloured pencil. With charcoal, I refined the shapes of the domes; added STEP SEVEN shade in the windows; and I decided to paint another gave an extra lift in places with tower in front of the setting sun pastel and coloured pencils. to enhance depth and make the The painting was finished … a painting look more balanced. conclusion which proved to be Some may ask: Was the tower correct after putting it away for actually there? For me that was a couple of days before looking irrelevant – my intention was at it again. There was nothing to present an imaginary scene. left to be done. A spotlight on Things did not necessarily have the painting would help to add even more atmosphere. I