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12
ARTIST INSIGHTS AND
DEMONSTRATIONS
12 Margaret Ann Wilsom
20 Tracey Choyce
28 Pamela Pretty
38 Jacqueline Cleijne
52 Terry Bailey
60 Kevin N. Roger
68 Sheryl Billings
FEATURES
48 Drawing Inspiration -
Drawing Animals Conrtibuted by
John Cornwell
28
REGULARS
4 Editor's Letter
8 Reader's Gallery
76 Books and DVD's Store
82 Next Issue 38
20
Cover Image By: Tracey Choyce
48
Woodland’sgallery
Hi,
My name is Tracey Dawes and I live near Mackay and the Whitsundays in Queensland.
I started painting with folk art classes in Sydney in the 90’s, and have developed ever since. Art was only a hobby until I moved to
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I love acrylics, but have recently discovered watercolour and pastels - why limit yourself to one media?
I'm sending a copy of Annette Sherratt's work – a 'Creative Artist' reader from NZ. Annette is very taken with the pen
stipple style and has incorporated it into her artwork and been practising with my photography from the 'Shooting
For Art' articles, she has sent me some copies for appraisal. Her work has a lovely contemporary application which
is well suited for textile designs of which she likes to produce on T-shirts.
Kind Regards
Margaret Hodgson OAM
Mail your submission to: Woodland’s Gallery, Artist's Drawing and Inspiration magazine,
PO Box 8035, Glenmore Park NSW 2745 or e mail to ap@woodlandspublishing.com.au.
Be sure to include a contact telephone number with your submission.
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%YE OF /BSERVATION
By Margaret Ann Wilson
Draw, draw, and draw some more; develop your artist’s eye of observation.
Sterling advice from a lady who believes that seeing shapes in paintings
requires a truly ‘arty’ eye.
Pastels
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)MPORTAN By Margaret Ann Wilson
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Tracey Choyce
T
racey was born in Melbourne would often talk about her love for Tracey also admires the work of
but relocated to Brisbane as the art and architecture of Florence contemporary artists including David
a child in the late 1980s. Her and Rome. Her mum was also a Kassan, Steve Caldwell, Julian Meagher,
fondest memories from this time life drawing model at the local art Mary Jane Ansell and Carla Fletcher.
are the countless hours spent in school, although she never told After leaving school, Tracey studied
the family art room, drawing with Tracey’s grandparents about this a Diploma of Visual Arts while she
her brother. Like most siblings, endeavour. worked for a children’s fashion
Tracey recalls how they were very “When I was about ten years old she designer in Brisbane. In 2006, she
competitive and would hold drawing gave me the book ‘The Story of Art’ completed a Bachelor of Fine Art at
competitions for their parents to by E H Gombrich. I was fascinated Queensland College of Art, majoring
judge. Her parents encouraged them by the beauty, mystery and realism in Digital Media. Tracey put her
to draw, with her dad’s consistent of artists like Rembrandt, Vermeer, drawing on hold for a few years while
sketching of people and architecture Botticelli and da Vinci, and I was she pursued a career in digital media.
a source of inspiration. Her mum convinced I wanted to be an artist It wasn’t until 2012 that she picked up
had spent time travelling in Italy and when I grew up.” the pencils again, after seeing some
beautiful portraits by a local artist suited her style. She describes still about the process of drawing, about
that had been drawn in Prismacolor discovering new techniques and ways getting to know the person behind the
pencils. of working, recently finding a love for face and of observing the intricacies
“I bought myself a set to experiment the blend effects on wood panel. She of their features in order to depict
with and instantly rediscovered my also works with charcoal pencils and something more below the surface.
love of portrait drawing. It took has started incorporating pastel into “The drawings I am the most
me a while to learn how to use the some of her portraits. satisfied with are those where I’ve
Prismacolors to their best advantage; “Ever since I started drawing I’ve had the chance to connect with the
being a wax-based pencil they are not always had a fascination with portraits. subject on a personal level; this
very forgiving.” Any chance I could I was sketching a connection brings another dimension
Like all artists, after a little trial and face, either from my imagination or of that translates into the artwork beyond
error Tracey worked out how to best anyone who was willing to sit for me.” just a representation of the subject on
blend and burnish and which paper For Tracey, it’s always been so much paper.”
FINALIST
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Contact Details
Tracey Choyce
Email: choyce1@bigpond.com
Website: www.traceychoyce.com
Instagram: @traceychoyce_ Q
Pencils
I’ve created this portrait using Prismacolor pencils. By using various shades of
green, I’ve been able to create striking eyes that pop out of the portrait.
STEP ONE
Start with your reference image.
For accuracy and for a perfectly
proportioned drawing you can use
the grid method. I overlay a grid onto
my image in Photoshop and then
using a ruler and a B pencil, draw up
a grid with the same dimensions on
my blank paper. Keep the pressure
as light as possible so the lines can
easily be erased later, and so as not
to leave an indentation in the paper.
STEP TWO
Using the B pencil draw in the
main outlines, paying close
attention to your reference image.
I also mark in any areas where
the fur changes colour and main
markings so I know where to work
later. This is the framework that
your drawing will build on so it’s
important to get these just right.
STEP THREE
With the kneadable eraser, gently
erase the pencil grid lines. Then
using a colour that will blend in
with the fur (I used Sandbar Brown)
lightly draw over your line work,
FINAL STEP using the kneadable eraser to rub
out the pencil lines as you go.
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the direction of the fur growth, colours, creating a seamless blend STEP SEVEN
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reference photo. Your aim at this give depth and a smooth finish. blending with the white pencil until
stage is to start building up layers Draw lightly at first just in I was happy with the colour tones.
of colour to get the main tones case you need to add more colour There is a highlight across the top
and shading correct. Take note in - as once the pencils are fully and down the middle of her nose,
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to the eyes and black areas into the fur.
Contact Details
Tracey Choyce
Email: choyce1@bigpond.com
Website: www.traceychoyce.com STEP TEN
Instagram: @traceychoyce_ I
Pamela Pretty
A Passion for
Sea and Sky
Attracted to subjects with strong light emanating from them, this artist is
currently focused on creating multi-layered pastel paintings.
To the Sky
Evensong
F
or as long as I can remember,
I have been attracted to wild
places. My favourite places are
high rocky outcrops to view the setting
sun, or the first rays of light as they
kiss the morning hills.
The presence of water makes these
scenes more memorable in my mind,
so it is hardly surprising that my love
for the wild open spaces fostered a
love for bushwalking and also a desire
to paint these places.
I believe that passion for one’s
subject is the critical element in
painting. We need to connect in a
meaningful way with the subjects
we paint to bring them to life. By
now you can probably tell that I am Koi 3
a passionate plein air painter! I find
Oberon
Riptide
My connection with this medium March –April 2013. I won the Pastel I have participated in solo and group
was instant, and I was fortunate to Prize at the Camberwell Rotary Art exhibitions including:
receive a Best Pastel Award in the first Show with “Lofty” in 2014, which ([SUHVVLRQVRI/LIHZLWK-DQ
show I entered as a pastellist, so I was was judged by David Chen. Lowe)
encouraged to continue. I continued to Other awards include Seasonal $XVWUDOLDQ$UWRI([FHOOHQFH$ZDUGV
receive awards for my pastels in many winner at AGRA, (Winter 2013) and (Invitational) 2013
different shows, including Best Seascape Best Pastel at the Mornington Rotary $XVWUDOLDQ$UWRI([FHOOHQFH$ZDUGV
at the Pastel Society of Victoria Australia Art Show 2016. 2014
(PSVA) 2012, followed by the Best in I am a member of AGRA, where I $QLPDOVLQ$UW
Show (PSVA) 2013. was awarded Signatory Membership in $XVWUDOLDQ$UWRI([FHOOHQFH$ZDUGV
I was awarded two honourable 2013, and have served as a Counsellor. 2015
mentions in the prestigious Pastel I am also a member of the Pastel 8QIRUJHWWDEOH6HSW
100 International Pastel Competition Society of Victoria, Australia, and +RUL]RQV1RY)HE
2016. “The Pool” and “Jan Juc” were Ringwood Art Society where I am a $XVWUDOLDQ$UWRI([FHOOHQFH$ZDUGV
published in the Pastel Journal in Tutor in Pastel and Watercolour. 2016
Pinnacle Refuge
Safe Harbour
Contact details:
Ph: 0419 323 923
Email: pamela.pretty3@gmail.com Silver Lining
Web: www.pamelapretty.com I
Pastels
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Contact details:
Ph: 0419 323 923
Email: pamela.pretty3@gmail.com
Web: www.pamelapretty.com I
STEP FOUR
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Artist’s Drawing and Inspiration 37
I N S I G H T
Jacqueline Cleijne
Celebrating Animals
and Nature
Beautiful interpretations of native and domestic life
J
acqueline “Jacqui” Cleijne is a
self-taught artist with a passion
for depicting Tasmanian animals
and nature, a delightful task given the
state’s natural picturesque serenity
and unique native animal life. Born
in Hobart, Tasmania, Jacqui lived and
worked for a period as an Architectural
Draftsperson in Queensland, returning
back to Tasmania in the late 80’s to
pursue her drafting career and follow
her passion for art. “My work as a
draftsperson was full of challenges
inherent in the building industry, but
it taught me so much and it further
developed my natural ability to draw.”
Many fundamental lessons for being a
good artist were learnt and the drafting
career gave Jacqui the tools to pursue
her passion for art.
Her mother Robyn McNeil, who is
also an accomplished artist, has naturally
been influential in her career. “From a
young age, my mother would take me
to the park and to places surrounded by
nature. I believe she planted the seed
for me to grow as an artist, as I had a
natural ability to draw, and she would
nurture the seed by instilling into me
an appreciation and love for nature. I
remember being fascinated with little
critters and especially animals. My
mother noticed my ability to draw from
a young age and I was lucky in that
she did her best to allow me to develop
myself as an artist early on.”
Jacqui’s own style is unique and
she paints her subjects with passion
and enthusiasm. Being self-taught, her
experience has been gained through
sketching regularly on location and
reading about techniques used by many
great artists. Doug Sealey, in particular
for oil paintings and Jack Absalom,
for his unique painting technique
using a palette knife. These two artists
were the most influential as she was
growing up. “I have learnt to always
paint from the heart, developing your
own style which is unique to you.”
Opposite
Top left: Tyler
Top right: Twighlight Glow
Bottom left: Madge
Bottom right: Wombat Sunday Snooze
Each new day brings Jacqui joy, Jacqui has seen great success over hung with some of the greats including
knowing that she has the choice to the years, having exhibited in local Peter Glover, Kahn Wilson and Terry
create something new. “I like to draw group exhibitions. Her picturesque Gough. One particular exhibition saw
first and foremost and enjoy painting wilderness landscapes, seascapes her work displayed alongside famous
for a change of technique. Art brings and native animal paintings have watercolour artist Richard Bacon,
out my true self, my nature, and I been popular among galleries, with a a memorable highlight for Jacqui.
feel a sense of calm when in the growing number of people following Her work also hangs in collections
present and creating. It is being in the her work, and her pet portraits gaining throughout Australia and overseas,
moment, mindfulness, connecting with popularity more each year. She has including England, Ireland, Canada,
my emotions.” had the privilege of having her work United States of America and Japan.
Above left: Tulip She lists The Archibald Portrait Prize, Sketching and drawing from life helps
Above right: Lake Crescent Shack The Doug Moran Portrait Prize and build strength and confidence within,
Below left: Dewey Leaves The Glover Art Prize as a few of her and battling with the elements with
Below right: “I'm the prettier one!” favourite art prizes. plein air painting teaches patience and
Little Corellas As with any artist, Jacqui has learnt persistence. “I have learnt a lot about
many lessons over the years. The first myself during my art journey and have
Opposite is that learning to draw is critical in found art a mindful experience like no
Top: Rhododendron Delight learning to paint. Mistakes can be other.” Lastly, Jacqui states that one
Bottom: Green Rosella assets and if it is wrong, it is better to does not need to be perfect or sell in
leave it rather than fix or start anew. excess to be successful. One just needs
EXHIBITIONS
:DOFK·V *URXS $UW ([KLELWLRQ
Hobart Tasmania
7DVPDQLD 6KRS *DOOHU\ +REDUW
Tasmania – 2007
6DODPDQFD *DOOHU\ $UW 3UL]H )LQDOLVW
Hobart Tasmania 2007
6DGGOHUV &RXUW *DOOHU\ 5LFKPRQG
Tasmania – 2008
Contact details
Jacqui Cleijne
Ph: 0498 711 427
Email: jacqui@petartstudio.com.au
Web: www.petartstudio.com.au Q
Pencils
FINAL STEP
M AT E R I A L S
pencils, with a nice point, which to the dog’s right ear (working over the white, which picks up
will bring out the separation of the from left to right of the paper to the glossy coat of the dog.
fur layer over layer. Softly build prevent smudging). The nose can be
curved lines following the flow and completed at this stage and it should
direction of the dog’s fur, layering have the look of a ‘cold wet nose’. STEP FOUR
over colours from light to dark, paying Continue layering light colours to Move onto the body of the dog and
attention to light and dark, shade and dark, using a soft hand to apply line the background areas, filling in the
highlight. Leave any light areas white over line, building up the layers of elements of space the dog is set in.
paper. Continue with this pattern, fur. Do not use a back and forward Keep building up layers of colours
following the direction of the fur, motion, but more of a sweeping soft from light to dark using different
working outwards from the eye area. motion following the furs direction. strokes and applying varying
Use the darkest colour for shadows pressure to achieve the depth of
under fur that is highlighted, as colour and texture that suits your
STEP THREE per Tyler’s lovely highlighted tufts subject. In this example I put Tyler
Continue building up the fur, from of fur under his eyes. Leave white in a natural setting, showing rocks
the eyes outwards into the broader paper for the lightest highlights and behind him which he loved to dig
areas of the dogs face, moving use silver for the subtle shadows under, finding lizards! It is good to
ARTIST’S
HINTS AND
TIPS
&KRRVH D VXEMHFW WKDW LV SOHDVLQJ WR
you and make lots of small sketches
getting familiar with your subject.
For example; wildlife animals are
easier to find in wildlife parks and
sanctuaries where they are visible.
Spend time getting to know their
habitat, pay attention to their features
ie; shape, fur texture, feet, claws,
feathers, their eyes and so on.
7DNH ORWV RI UHIHUHQFH SKRWRV DQG QRWHV
/HDUQ WR GUDZ EHIRUH WU\LQJ WR
paint, as this will improve your
overall experience and technique,
making your work more balanced
and appealing. To do this, draw
from life to master perspective. STEP SIX
7U\ GLIIHUHQW PHGLXPV DQG
find one that suits your style
and preference best. put an animal in the scene where shadows between the eyes using
$OVR WU\ D YDULHW\ RI VXEVWUDWHV they are most comfortable, their D VRIW +% JUDSKLWH SHQFLO $GG
pertaining to the different mediums. natural environment, as it will wispy bits of fur around the edges
For example I like to use different bring out his/her true character. of the dog, using a light colour
watercolour papers from smooth to Take reference photos to use more blended with darks. This will
rough, depending on my subject. than one photo if needed to make a soften the overall coat of the dog.
For oil paintings I use linen for pet composition from both the animal
portraits due to its smoother surface and a different background, if
and cotton canvas for landscapes. unable to get a photo of the dog STEP SIX AND FINAL STEP
:KHQ VWDUWLQJ RLO SDLQWLQJ OHDUQ WR in the scene you would like. The finished artwork should look
use the three primary colours only like a work of art, not a photograph.
ie; red, blue, yellow and mix these Take the time to go over the whole
three to make most of the colours STEP FIVE drawing carefully and add the final
for your subject. Add Titanium Move into the final stages of touches of detail and then put it aside
White for lightening the colours. the drawing, completing the and walk away, so as not to fiddle
Buy a colour wheel to help with background and working on the with it, which, from experience,
learning about colour and tone. foreground. Add detail to the dog’s can overwork a drawing. It is time
0LVWDNHV KDSSHQ RIWHQ DOORZ \RXU fur in this stage. To achieve the now to sign your work. To finish,
self to make many, which will be white fur over the background I use a good quality fixative to
rewarding in the long run. It is better colour I used a putty rubber to draw spray my work lightly to prevent
to leave a mistake, than try to fix it. the wispy fluffy edges of the fur smudging. Use an acid free, colour
Sometimes mistakes can improve in over the graphite background. free fixative. By doing this it protects
a painting. If it is unfixable, paint This sets the background behind the the drawing from smudges, light
over it, tear it up or start again. dog. I then built up the background damage and transference of the
1HYHU FRS\ RU FRPSDUH \RXUVHOI WR shadows and area under the dog’s pencil dust sticking to the glass
others, be true to yourself and find chin. To give the white fur some once the drawing is framed.
your uniqueness. It is not important definition, use the 2B Graphite,
how many artworks you sell, it is PC1051 Warm Grey and PC949 Contact details
more important to enjoy the journey. Silver to add some shadows. Fine Jacqui Cleijne
([SORUH \RXU FUHDWLYLW\ DQG tune the detail and add character Ph: 0498 711 427
HQMR\ \RXUVHOI +DYH IXQ marks, ie; the freckle near Tyler’s Email: jacqui@petartstudio.com.au
nose, his collar and the fine Web: www.petartstudio.com.au Q
mean that one animal is more beautiful smaller and thinner and moves with with short legs and little hooves;
than the other; just that they are different. a high-stepping gait which gives it and heavy, arched necks; with
I could go on forever about how the a speed it can maintain for miles. pretty little heads, long manes and
stock horse differs from the popular For some of my paintings, I like to tails … but some are more like the
American Quarterhorse. The latter has a do historical reconstructions of Cobb small sized horses which were very
very pretty, smaller head; but a bigger, and Co coaches, Australian Light popular for pulling light vehicles.
rounded rump – specially bred into him Horsemen, and artillery teams. Each To draw a horse, or any animal,
to give enormous power and speed for of these has a type of horse that was you must first decide what
short distances. These horses are finely specially developed; and they are attitude you want: Standing; full
bred for working cattle in enclosed types that you rarely see these days. side on; angled towards you or
areas. They have to be fast and Cobb and Co brought their own breed away; front on or back on.
manoeuvrable to cut out lively cattle. out from America, but quickly interbred On your paper, lightly give yourself
This gives them a slightly downhill with the local stock for their coaching some guides as to the general shape
look from the rump to the withers. horses. They were not very good and size. Then start to sketch in the
The mighty Shire horses and the looking, but were splendid for their body shape, neck, head and legs. It is
Clydesdales are bred for pulling work – having very strong and enlarged best to consult some good reference
great weights. Their great necks and necks and shoulders, and strong such as photographs or illustrations.
shoulders and cow-hocked hindquarters hindquarters. A very similar horse was I have attached some diagrams
give them extra pulling power. used in artillery work, but the Light which show the proportions.
The Shire is the bigger and Horse ‘Waler’ was a lighter riding horse My advice is to get the best
stronger of these two breeds. A – very strongly built with heavier lower reference you can. Get a book (or
pair of Shires is claimed to have limbs. The endurance of the Light books) on anatomy, and photographs
moved a load of 19 tons from a Horse Walers made them sought-after of horses (or whatever animal you
standing start. They are the second- for cavalry mounts all over the world. have chosen) from all the angles,
strongest animals after elephants. Going to smaller horses, there and in various poses and colours.
The Clydesdale, on the other are dozens of different pony types. A lot of valuable reference can be
hand, while a massive horse, is a bit Generally they are barrel bodied found at shows, draught horse field
DIAGRAM SHOWING
PROPORTIONS
In this diagram, the different coloured
lines are all the same length.
Draw a rectangle so that the length
(green) is twice the height (red).
One quarter in from one end,
draw a square equal to the height
of the rectangle (red). This gives
you the length of the legs, as well
as the position of the legs.
Extend the red line at the back of the
forelegs, up to the top of the rectangle,
and this will position the withers.
From the right-hand top corner of the
red square, draw a line to the withers; the length of the head and the distance The diagram is meant only as an
and extend it the length of the red lines. between the gaskin and the rump. approximate guide because there are
This extended line gives you the back Again, from halfway along no hard and fast rules. All horses and
of the neck to the tip of the ears. the green rectangle, draw a breeds have their own peculiarities, as
Halfway up the left end of the line 30 degrees (red) and you in humans. The horse in the diagram
rectangle, draw a line to the withers. have the position of the gaskin is a thoroughbred stallion … but it
The length of this line (purple) is also and the point of the rump. is pretty safe as a general guide. O
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53
ONSTRATIO
Post to: Artist’s on
NS
Terry Bailey
My ‘Arty’ Life
Terry shares his tale on how art now colours his life.
Woman in Cairo
Email: tweet111@tpg.com.au I
What me worry
Mel’s Hibiscus
Pastels
Rainbow Lorikeets
By Terry Bailey
FINAL STEP
STEP ONE
I
M AT E R I A L S e to use primary colours, and
se Rainbow Lorikeets certainly My palette. I select some colours before
e me the opportunity to do that. I start, and add to them as required.
$UW 6SHFWUXP &RORXUIL[ Iw on Colourfix paper because of
Paper, Terra Cotta its holding ability. I like to push the
pastel hard and deep into the paper STEP TWO
3DVWHOV 0DLQO\ $UW VSHFWUXP
Rembrandt, and 1 or 2 to get a finished result in one stroke, The “Drawing” was done with
hard, Faber – Castell thus using the brilliant, instantaneous pastel pencil. A neutral colour, very
&RORXUV &DGPLXP 'HHS colour that pastels can give. Obviously lightly applied, and later dusted
Red; Flinders Blue Violet, this cannot be done with every stroke, off, so as to be just visible.
as mixing on the paper will always be
(dark and mid tone); Grass
required. However in this painting it
Green; Australian Leaf Green; STEP THREE
is easy to see many of the first strokes
6SHFWUXP <HOORZ %ULJKW made are still evident in the final Fun time. I am searching for basic
<HOORZ 2UDQJH 8OWUDPDULQH stage. The “terra cotta” colour of the colour and tone, but these guys are so
6N\ EOXH 7HUUD &RWWD DQG paper used here in this is one of my bright the colours pick themselves.
various tones of each. favourites. It makes a good under-paint, I use small pieces of pastels flat on
or can stand alone as a background. their sides. This spreads the load
on the pastel and leaves a lovely required. Being aware of the oranges front bird seem to have done this nicely.
variation of tone with each stroke. (red/yellow) and greens (yellow and
blue), that I will be looking for later.
FINAL STEP
STEP FOUR Time to start placing the “jewellery”
Here, I’m still searching for colour and STEP FIVE ie the sharp details. These details
tone, and the under painting starts to As I progress I am conscious of the can be critical to a painting as they
build nicely. I have pushed the pastel contours to be achieved so as not to show the personality and mood of
hard into the paper to produce a strong leave the painting looking flat. The the subject. I think these guys are
base to apply other colour over if light tones on the chest and back of the looking quite relaxed and happy. I
Kevin N. Roger
Back to the
Drawing Board
Kevin gives some wonderful tips on getting back to the basics.
W
e all have fond memories
of drawing on scraps of
paper when we were kids.
Smudging those messy oil crayons
around a giant sheet of butcher’s
paper drawing Mum, Dad and your
brothers and sisters in front of that
square house with the mandatory
smoke billowing chimney was
where it all started. It was here and
throughout school that most young
artists were inspired enough to pursue
art as a career. Some of us loved
those art classes where others loved
mathematics and chemistry. But
once the call of art is heard, it is nigh
impossible to deviate from that calling.
To be a good artist I believe one
must be able to draw proficiently
first and those skills need to be honed
on a regular basis; pulling them out
of the cupboard and dusting them
off so to speak. I do not agree with
some art instructors who say you
do not need to be able to draw well
to be a good artist. It would be like
owning a Ferrari without having a
driver’s licence. I believe an artist
must be able to draw perspectives
and understand the basic principles
of anatomy etc before painting, as I
have tried to get exact perspectives
with a paintbrush only and 90 per
cent of the time, I have failed. I must
pre-draw my paintings with a pencil
first and most times I will do three
or four drawings prior to painting
so I get my composition and tones product to enhance acrylic paints. how the Masters used to do it. Masters
right before touching the canvas. It is hard to pull yourself away like Pablo Picasso, Monet and Van
Not only do we need to re-evaluate from the wonderful world of colour Gogh were all amazing traditional
our skillset, but we need to integrate and that feeling of laying paint down artists before they found their own
new technologies and products into on a canvas is hard to leave and go styles, but all three of them were
our arsenal. One such product I have back to a pencil and paper… but don’t advocates for excellence in drawing.
found to be cutting edge for artists despair, the feeling of that pencil lightly I live in the tropics 600 kilometres
is the Zest-it product range. They building up a tonal base on a sheet of south of Darwin in a little village
have revolutionised drawing by paper still holds an addictive charm called Daly Waters with a permanent
inventing a liquid which when used and not only that, but the portability population of five people so the only
with a Tortillon or Blending Stump of the skill is also a drawcard ie, you thing that changes in my life is the
has an amazing ability to blend tones can sit in a café, railway station, bus visitors to this tiny township. From
perfectly. They also make products stop or anywhere and pull out your November to April the weather is
for oil painting and are working on a pencil and paper and off you go. This is unbearable without air-conditioning.
The build-up to the ‘Wet’ is from to the comfort of my air-conditioned (remembering I can only paint
September to December and in the home and change my artistic pursuits between May – August each year) for
daytime temperatures reach around to watercolour painting and drawing. the big night in July each year. So
45-50 degrees Celsius until the rains I have found this diversification very what is my second entry going to be?
come. It is not uncommon to have satisfying because by the time winter … It must be a drawing but what? I
temperatures of 54 degrees around comes around I am champing at the started doodling and came up with
4pm each day during this period. So, bit to get back to acrylic painting. the inspiration of drawing 36 pencil
why have I just bored you with the It is a very pleasing cycle of life. portraits of people in the Northern
local weather report? Well, during So here I am in my nice air- Territory to place into a frame 1m
this build up and through summer conditioned room and wanting for x 1m. Last year I received a highly
it is almost impossible to paint with inspiration as the Katherine Prize art commended and sold a painting for
acrylic, even Atelier Interactive competition is looming on the horizon. $1800 which inspired me to do better
paint tends to dry very quickly, not Artists are only allowed to put two this year, so in order to do that I had
only that but where I paint is in a 20 entries into this annual prize and I to go ‘back to the drawing board’,
x 10 metre studio which is almost only have two months to come up and by doing this, it has motivated
impossible to cool down. So I retreat with a one-metre painted masterpiece me to become a better artist.
I have found two inspirational etc and they have a strap to keep wrap I can be a little more robust in
books which are a must for any artist them all in place. I keep a supply of my handling of the pencils as I know
when it comes to back to basics at least four pencils of each grading. they are protected. If you do not have
stuff. They are “What Painting Is” by Make sure you have a quality pencil access to the pencil wrap then you can
James Elkins and “Carlson’s Guide sharpener. I recommend the A5 Helix use any old box or fishing tackle box
to Landscape Painting” by John F. sharpener as they have five settings so long as you wrap your pencils in
Carlson. Both these books illuminated and give the pencil a wonderful long bubble wrap or equivalent. I like to
my perception of people, objects, lead with amazingly sharp points. keep my drawing sheets separate in a
nature and art. Little phrases like “you I have a small stock of kneadable clear plastic wallet which I attach to a
must paint the message you want to erasers but I much prefer to use the foolscap clipboard. I just take the sheet
portray to the viewer”, and “what are Faber Castell Dust-Free eraser, so I out and put it on my clipboard which
you trying to tell the viewer?”. This have a stock of at least six of these. I gives the paper a more solid backing
taught me that rather than replicate use one for blending so it has a soft than leaving the sheet in its pad.
an image you must tell a story first, rounded corner. The second one has You can make your own Tortillons at
as most art buyers want the story first a sharp corner which I keep sharp by this website: http://monologues.co.uk/
and foremost … I suppose what you slicing a fine edge off the end of the Portraits/Tortillon.htm
are doing is selling the sizzle not the whole eraser. This gives me the ability and the Zest-it range can be found at:
sausage. I had to sit back and let this to remove small amounts of graphite http://www.zest-it.com/products.htm
statement sink in, and eventually it in detail. The other four erasers can . I recommend you visit these sites
did. So you see, sometimes by going be moulded to your own taste. if you are keen on improving your
back to basics you can stimulate Only ever buy good quality cartridge drawing skills. Furthermore there are
artistic thought, because I am sure paper which is acid free and has so many drawing and painting tutorials
as an art student you had a couple a minimum weight of 150gsm. on YouTube and many free PDF
of sick days and missed a couple of Once the drawing has been downloadable files regarding basics in
very pertinent statements like this. completed I put it in a plastic art, so do your art a favour and hang
So my basic drawing wallet but firstly I spray it with up your paintbrushes for a while, make
kit is as follows: workable fixative from Westart. yourself a cuppa and start drawing
A pencil wrap (36 pencil capacity). These items are just so portable so family portraits and the world around
These wraps have little pockets for I take them everywhere in my little you in pencil … you won’t regret it!
erasers and small pencil sharpeners backpack. Because I have a pencil Cheers. I
Pencils
Jane
Captured in pencil, this monotone portrait is a delight.
By Kevin N. Rogers
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Sheryl Billings
Enjoying My Art
Studying up on history, art instruction books and DVDs,
this talented artist successfully paints from a wide range of subjects,
including Ned Kelly and Sovereign Hill.
B
eing the last one born in a
family of six siblings, I always
wanted to paint people’s faces
but I just did not have the confidence.
I was very influenced by my brother
Allen, who was a very talented screen
printer, and at high school I received
an (A+) for graphics. I started painting
for relaxation in my late twenties after
a diagnosis of Repetitive Strain Injury
and Carpal Tunnel surgery from typing
and other repetitive jobs from my
workplace.
When I first started art, I had three
teachers, including Carol Boothman,
who was a mentor and the president
of the Waverly Art Society in
Victoria. Because of the chronic pain I
experience, now I am just a self-taught
artist. I also have a fascination with
colour and light, so I do a lot of study
from art instruction books and DVDs.
I did have some trouble understanding
colour so I studied a book called
“Colour, a Course in Mastering the Art
of Mixing Colour” by Betty Edwards.
I have also studied a book called
“Painting Skin Tones with Colour and
Light in Oil, Pastel and Watercolour”
by Chris Saper. I found two DVDs
very helpful as well, “Colour Mixing
and Theory with Mary Gibilisco” and
“Focus on Colour Therapy” from the
library of Kingslan and Gibilisco. My
mediums are oil paint and pastels. I My art subjects can vary between Kelly. I also have a fascination with
work from coloured or black and white people, animals, landscapes, the goldfields township of Sovereign
photos or even my own sketches. beachscapes and the bushranger Ned Hill in Ballarat, Victoria. As practice
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Third Prize in the Annual Spring
Art Show, 1998, and Commended
in 1999.
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The first oil painting which won
me a prize (Highly Commended),
was in 2000. I won Third Prize
and Commended in the Annual
Spring Art Show in 2002, Third
Prize in the Stringybark Art Show
in 2002, and Third Prize at the
Stringybark Art Show in 2009.
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Horticultural Society
Annual Spring Show, Highly
Commended, Oil painting, 2013. I
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STEP FOUR
STEP FIVE STEPS SIX AND SEVEN
R Sea and Sky In Acrylics 27.99 R Trace and Paint Watercolour 31.99
R Drawing, A Complete Guide 20.49 R Terry's Top Tips for Acrylic Artist's 20.49
R Creative Acrylic Landscapes 20.49 R Terry's Top Tips for Watercolour Artist's 20.49
R Alwyn's Top Tips for Watercolour Artists 20.49 R Understanding Perspective 17.99
R David Bellamy's Winter landscapes 20.49 R Watercolour Wheel Book, The 19.99
R Oil Paint Colour Wheel Book, The 19.99 R Wendy's Top Tips for Acrylic Artist's 20.49
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R Acrylic Painting Step-by-Step 27.99 R Introduction to Drawing the Human Body 27.99
R Draw Portraits 18.99 R Keith's Top Tips for Watercolour Artist's 20.49
R Art Answers: Watercolour Painting 22.99 R Painting Acrylic Landscapes the Easy Way 27.99
R Geoffs Top Tips for Watercolour Artist's 20.49 R Pastels Unleashed 31.99
R How to Paint: Acrylics 18.99 R Watercolour for the Absolute Beginner 27.99
R How to Paint: Colour and Light in Watercolour 18.99 R Wendy Tait's Watercolour Flowers 33.99
R How to Paint: Drawing Techniques 18.99 R What to Paint: Boats and Harbours 22.99
R How to Paint: Flowers in Watercolour 18.99 R What to Paint: Hills and Mountains 22.99
R How to Paint: Oils 18.99 R What to Paint: Trees, Woodlands & Forests 22.99
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R Drawing and Painting Flowers with Coloured Pencils 33.99 R Drawing Step-by-Step 27.99
R Drawing & Painting Horses (New in Paperback) 33.99 R Sea and Sky In Acrylic 27.99
R Drawing & Painting Sports Figures 31.99 R From Sketch to Painting 19.99
R Drawing & Painting Wild Animals 31.99 R How to Draw Animals 27.99
R Drawing & Painting with Water Soluable Media 33.99 R How to Draw Flowers & Trees 27.99
R Drawing Light & Shade 18.99 R Trace & Paint Flowers 27.99
R Drawing Masterclass: Flowers 27.99 R Trace & Paint Watercolour Landscapes 27.99
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