Artists Drawing and Inspiration

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EVERYTHING EASELS
PASTELS
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CREATIVE ARTIST'S
TECHNIQUES
A CHANGE OF PACE
COLLEEN PALMER
SIX DR A WING DEMON STR ATIONS

HOW TO DRAW SERIES
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Editor’s Note
I
n this issue of Drawing and inspiration we have 6 fabulous
drawing artists using pencils and pastels and a creative drawing
inspiration completed by Bernard West. Our whimsical
cover drawing is by Colleen Palmer who is a talented artist with
an exceptional eye for detail. There are some great ideas and
techniques presented by our selected artists this issue so we hope
you enjoy and enhance your own skills.
It’s that time of year where people are looking to purchase a
new easel, so we have a great buyers’ guide for you this issue to
give you some ideas. Whilst you’re shopping we have also added a
huge range of books that start as low as $9.99. There are so many
drawing and other art books for you to choose from I’m sure you
will want more than one. Check out the range of books throughout
the magazine.
Bernard West
We would love to see what our readers are doing so please
send photos of your work to Drawing and Inspiration Magazine,
PO Box 8035 Glenmore Park NSW 2745 or simon@wpco.com.au. I’m really
looking forward to seeing your artistic work and creativity.
And one last thing, you can now follow us on Facebook so you keep in
touch by liking our Facebook page.
Keep on drawing, Simon and team
4 Artist's Drawing and Inspiration

20 Artist’s Palette
Contents
Issue No.15 2014
12
P r o
60 ARTIST INSIGHTS AND
DEMONSTRATIONS
12 Colleen Palmer
E
20 Robyn Hughes
32 Louise Green
50 Carol Coventry
60 Corrina McLaughlin
70 Ann Russell
FEATURES
In the
28 Drawing market for a new ea
Inspiration
42 Easels
Never fear – here’s a com
including the newest idea
JB10 and bag app

app
its s
idea
T
mar
Bee
than
to l
the
T
occ
and
Aus
Oak
woo
42 eve
Richeson
Lyptus Aztec the
Lancaster
thei
Choosing the right easel is an integral uni
part of the painting process. The A
importance of having the correct easel fiel
76
32
d u c t F e a t u r e
REGULARS
4 Editor's Letter
Easels
8 Readers Gallery
40 Subscription Page
76 Books and DVD's Store
82 Next Issue
Contributed
asel, but confused about what is best for you?

mprehensive report on what’s currently available,
20
as and products, and the perennial favourites.
70seleCTioN
eAsel 50
plied. The colour, grain and overall Table easel - As the name suggests,
pearance of Oak combined with is a small easel that fits onto a table
strength and hardness make it the top. Table top easels are generally
al timber for easel manufacture. scaled-down versions of a tripod,
The majority of easels on the lyre, studio or box easel although
rket today are constructed from there are some such as the Daler-
echwood. Beech is a softer wood Rowney Artsphere which have been
n Oak so screws have a tendency specifically designed for table use.
loosen over time and cause These are ideal where space is an issue.
easel to shake and vibrate.
The new ‘Lyptus’ wood, a naturally lyre or A-frame easel - Triangular
curring hybrid of Eucalyptus Grandis shaped easels with two front legs and
d Eucalyptus Urophylla (both single rear leg that form the shape of
stralian natives) is comparable to an “A” when in use. The single rear
k in strength and hardness. Lyptus leg is collapsible on most types of Lyre
od has a straight grain and fine, easels allowing for easy storage and
en texture. As it is plantation grown, for use in corners and tight spaces.
trees are hand-pruned throughout Generally, A-frame easels do not tilt
ir growth years leading to very forward of the painting surface.
iform wood with few knots.
Aluminium is generally used for Tripod/field easel - Generally
ld easels. It is lightweight, strong and easy to handle and fold up. They are
Woodland’sgallery
Woodland’s gallery
Woodland’sgallery Prize
Winner
Sidney Nelmes
Sidney Nelmes
Sidney Nelmes Sidney Nelmes
SIDNEY NELMES
I have always enjoyed drawing and painting but it is only in recent years since I have retired that I have had the
opportunity to concentrate on improving my art skills and extend my interest in art to working with charcoal and pastels.
Coming across Artists Palette Magazine at my local newsagent has been most beneficial in helping me and encouraging
me to try new mediums
8 Artist’s Drawing and Inspiration
These
These feature
feature pages
pages are
are reserved
reserved for
for displaying
displaying the
the work
work of
of emerging
emerging and
and
developing
developing Australian
Australian artists;
artists; as
as well
well as
as other
other unknowns
unknowns whose
whose efforts
efforts may
may
provide
provide interest
interest for
for our
our readers.
readers.
Ken Bonner
Ken Bonner
KEN BONNER
Ken lives in Noosa, Queensland at the moment but is due to leave these shores for Santé Fe in the USA to continue
his painting and to extend his exhibitions.
Ken has been very successful at international exhibitions - New York and most recently Hong Kong and this new
venture is to further his art, yet again.
Artist’s Drawing and Inspiration 9

Artist’s Palette 15
Maxie
Woodland’sgallery
Woodland’s
Woodland’s gallery
Woodland’sgallery
14-17 AP128 Wo
Luisa Gomersall Luisa Gomersall


LUISA GOMERSALL
LUISA
Hi! My GOMERSALL
name is Luisa, I began a drawing course last year and was briefly introduced to pastels, I then bought some “how
Hi!
to” My name
books andisstarted
Luisa,experimenting
I began a drawing course last
and realized howyear andI love
much was this
brieflmedia.
y introduced
I have atolot
pastels, I then
to learn andbought some “how
I am enjoying the
to”
process. I have 3 children and every night I unwind by working on a piece. Thank you for giving me an opportunity to the
books and started experimenting and realized how much I love this media. I have a lot to learn and I am enjoying
process.
show youI my
have 3 children
work, which and everykeep
I mainly night I unwind
hidden by working on a piece. Thank you for giving me an opportunity to
away.
show you my work, which I mainly keep hidden away.
ene Pescud Maxiene Pescud
MAXIENE PESCUD
My Name is Maxiene Pescud and I am living on the road travelling with my husband around
Australia. I love painting our Australian wildlife and in particular birds, but I also do pet portraits
These
for peoplefeature
as I travel, pages are great.
which has been reserved for other
I keep up with displaying
artists as wethe
travelwork of emerging and
via facebook
and I am growing all the time. I have been a member of a couple of art societies which helped me
developing Australian artists; as well as other unknowns whose efforts may
alot, on the road it is a different thing, but so inspiring and I hope that my art can inspire others
about our wonderful
provide interest Australian
for our wildlife.
readers.
Kind Regards
Maxiene Pescud
Maxiene Pescud Maxiene Pescud

oodlandsGallery.indd 15 2/10/13 1:55 PM
Maxiene Pescud Maxiene Pescud
MAXIENE PESCUD
My Name is Maxiene Pescud and I am living on the road travelling with my husband around
Australia. I love painting our Australian wildlife and in particular birds, but I also do pet portraits
for people as I travel, which has been great. I keep up with other artists as we travel via facebook
and I am growing all the time. I have been a member of a couple of art societies which helped me
alot, on the road it is a different thing, but so inspiring and I hope that my art can inspire others
about our wonderful
If you are a developing artist and Australian
would likewildlife.
to see your own work in Woodland’s Gallery, please submit some good
quality images (300dpi) on cd or dvd or photographs of the painting/s you want to display in Kind Regards If you
the magazine.
would like to, you may include a photograph of yourself to accompany the picture/s of your art. Please Maxiene Pescud
also supply
a brief description of your background, your creative motivation, and your artistic aspirations.
Mail your submission to: Woodland’s Gallery, Artist’s Drawing and Inspiration magazine, PO Box 8035, Glenmore Park NSW
2745 or email to ap@woodlandspublishing.com.au. Be sure to include a contact telephone number with your submission.
I N S I G H T
Colleen Palmer
A Change of Pace
Searching for a change of pace from her professional photography
business, this artist made the leap to drawing and painting,
rekindling her love of all things art.
I
began my working life as a handled professional processing. Back control contrasts and tonal values while
professional photographer, then my real love was hand developing developing black and white images.
photographing mainly weddings and my own black and white pictures and Colour processing taught me how to see
portraits. I worked for a professional medium format photography. colour hues and balance them. When
studio as well as for a lab which As a natural part of this, I learned to chasing that ultimate photo, looking for
Life is Colourful – pencil
54 Artist’s
12 Drawing
Artist’s Paletteand Inspiration
I N S I G H T
the light and knowing how to use it as

well as composition became invaluable
lessons that I still draw upon for my
art today.
I had worked successfully in my
own professional photography business
for 26 years until the time when I felt
I needed a change of pace. Before I
retired from photography, I started to
draw as a way to relax, to find some
peace. I had drawn for a short time at
school, but with a busy business, three
kids and other commitments, there was
never the time to explore this, though The Old Place – pen
the desire was always there.
I have a deep faith in God and I Back Creek – pen
believe that we are all incredibly gifted
and talented in some way or another
because we are made in the image of an
incredibly creative God, we just need to
explore what we are actually capable of
... but sometimes when life is so busy
we don’t get the chance to discover who
we really are. My love for drawing and
art reawakened during a season where I
was unable to sleep well; I decided to do
something constructive with this time.
I purchased a journal and that night I
decided to roughly sketch in the shadow
area of a face to see if I could make a
distinguishable mark. The results, though
rough, were encouraging. I showed it to
my mentor who immediately encouraged
me to do it again but bigger. And that
was the beginning.
Since then I have developed my
skills in drawing in both pencil and
pen and love to play with just about
any medium I can get my hands on.
At the moment I am exploring pastels,
oils and acrylics and watercolour. My
mother is a very talented and popular
artist as well and even though I am
mostly self taught, her guidance has
been invaluable in developing my
gift as well as helping me to launch a
career as an artist.
I enter judged exhibitions around
the state and have placed well many
times as well as having my pictures
purchased for public and private
collections. I have had the privilege
of drawing to illustrate a book cover
and receive commissions to do
personal work. Just Kidding – pencil
Artist’s DrawingArtist’s
and Inspiration
Palette 55
13
I N S I G H T
Smokey Cape – pencil

Another area that has developed is that of
Prophetic Art ... painting a message of what
we see in our spirit as a way of encouraging
and helping and bringing healing for other
people. I am involved in mentoring other
people into this area as well.
To further develop my skills, I have
enrolled in a couple of different types
of classes and workshops to see what
I could learn. I love the process of
discovery, and have several different
works on the go at any one time. My
photographic studio has been converted
into my art room where I have a much
loved drawing desk, easels set up with
my ongoing creations and I have a
cupboard full of wonderful art supplies
to play with. I have the hanging system
Safe Landing – pencil
still on the wall from photography days
and use this to display what work I have
at home that is not out on exhibition.
My first award was won in 2011 when I
won the Grace Church Pastors Prize for the
religious section at Port Macquarie Easter
Art Exhibit ... My first show!
Other achivements:
• 1st prize at Port Macquarie Easter Art
Exhibit 2012
• 1st prize Joan Newton Drawing Prize
HVFAA Summer Exhibition 2012
• 1st prize Goulburn Annual Art Prize 2013
• 2nd prize HVFAA Summer Exhibition
2013
• Sponsors Choice HVFAA Summer
Exhibition 2013
• 1st prize Gosford Agricultural Show 2014
• 1st prize Camden Haven P.A.H. & I
Society 2014
• Highly Commended RNCAS
Canberra 2014
• Highly Commended Cootamundra Wattle
Time Art Exhibit 2014
• 2nd prize Henry Lawson Festival 2014
These I won for drawing as well as
having also sold at numerous exhibits.
In addition to exhibiting across the
state, I have shown my work in our local
gallery, run by Hastings Valley Fine Arts
Association of which I am a member. I
was part of “Line and Brush”, an exhibit
held with two other artists at Long Point
Vineyard and exhibit at Masterpiece
Framing and Gallery.
For inspiration I am drawn to a variety
of subjects. I love the texture and line work
56 Artist’s
14 Drawing
I I NN SS I I GG HH TT
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do
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take a lot of photographs (being the materials you are
the materials you are using?using? gives the artwork character. Learning
gives the artwork character. Learning
photographer)
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usually draw drawfrom
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start
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with Colleen Palmer
Colleen Palmer
photos
photos are just a guide and my
are just a guide and myjob
jobisis confidence and wisdom.
confidence and wisdom. Email:
Email:colleenmpalmer@gmail.com
colleenmpalmer@gmail.com
to create. • Mistakes in art are necessary. You Ph: 0408 652 396
to create. • Mistakes in art are necessary. You Ph: 0408 652 396
Jess – pencil Early Morning – pencil

Jess – pencil Early Morning – pencil
I have a story to tell – pen

I have a story to tell – pen
and Inspiration
Palette 57
15
D E M O N S T R A T I O N
Pencils
The Beauty of
the Cows
By Colleen Palmer
With great attention to her subjects, this artist creates a wonderful portrait.
FINAL STEP

M AT E R I A L S
• Paper: For this demonstration I

used a sheet of Stone Henge torn
in half. You can purchase it in a
range of tones. I like soft, warm
tones; they are easy to frame,
easy to hang in homes and give
the picture a sense of warmth.
Other times and particularly
for pen work I love Arches HP
300gsm watercolour paper.
• Pencils: I use a combination of
Rotring mechanical pencils in
sizes .35, .5 and .7. They don’t
go blunt like normal pencils and
allow me to keep a consistency STEP ONE
in my line work. I use H, HB, B,
and 2B leads in these.
STEP ONE STEP THREE
I need a blend of hard and
soft pencils to achieve my As my drawing will be a compilation I wanted to make one cow the feature
techniques and so I love General of a few photographs, I map out a so I started with the nose. It gives
Kimberley and Derwent Graphic quick sketch to help me visualise what me a reference point to set the rest
pencils. I use a range of B, 2B, it may look like. This is only a guide; of my values by. I was fascinated
4B, and 7B when needed. I find I like to change things to better by the shin on the nose and wanted
• Blending stumps: Used to suit what I am working towards. I also to replicate the paws etc. I let my
smooth strokes and spread soft chose my light direction at this stage. pencil do tiny squiggles and erased
shading. I use a variety of sizes. a few spots as highlights to show
• Erasers: These are not just the sun catching the surface.
STEP TWO
for mistakes but are an
important tool. I used Derwent I normally draw a rough border around
the outside to remind myself where STEP FOUR
kneadable rubbers, Derwent
soft rubbers and a hard rubber the mat will sit for framing and then Next I worked the eyes and ears,
for strong highlighting. proceed to draw over this in most again to balance the darker values.
• Sharp knife: To cut sharp cases. I then start with rough block And then began to establish line
edges into my erasers. shapes to allot areas and then begin to direction for the fur, leaving to
• Support: I have a large drawing define the actual shapes of my subject. top of the head until later.
desk that I use, but if I need
to be mobile I will tape down
my paper to a strong piece
of board with a laminated
surface such as MDF. I don’t
like to use clips as they shift
and can dig into your paper.
• Fixative: I only use this at
the end as it interferes with
the surface I am drawing on,
leaving a grit that creates a
texture that I am not wanting to
show. I will only use a fixative
that says it is non-yellowing.
• Spare paper: I use a piece of
A4 paper to rest under my
hand at all times to prevent
smudging and transfer of oils
from my skin onto the paper. STEP TWO
Artist’s Drawing and Inspiration

17
STEP THREE STEP FOUR STEP FIVE
STEP FIVE with a mechanical pencil to STEP SIX

The body was brought in next. maintain stroke with and Next the second cow. Although dark,
Again, attention was paid to the conformity. I also started to I still maintained short directional
direction of hair. The fur took six place some shadowy marks strokes. I looked to the main highlights
layers to complete. First I laid on top of the head. to shape this cow. I am happy to leave
down a layer and then with a } I darkened under the ear on her left side dark in the shadow.
freshly cut eraser, brought highlights the right as I wanted to see if I
back into the fur, would do the next cow very dark.
(one layer) then another layer of The idea was to use the contrast STEP SEVEN
small directional lines etc. Do this to push the first cow forward. The shed was next. I first established
STEP SIX STEP SEVEN
STEP EIGHT STEP NINE
60
18 Artist’s
Artist’sDrawing
Palette and Inspiration
STEP TEN STEP ELEVEN
the lines of the panel work to give me stages. I need some reference in the Height has been added to the cow’s
a feel of direction. Next I worked on foreground to see how I should proceed head to tip its head forward so it’s
the roof. Focusing on shadow I shaded with the upper part of the drawing. looking at you more squarely.
with pencil and then smoothed the line At this point I decide to highlight
with a blending stump, being careful the chest on the darker side of the
again of the direction of the lines. STEP ELEVEN dark cow.
Sky is added with a blending stump
and trees to add some interest. I
STEP EIGHT darken the post on right to start to FINAL STEP
Here I began to put detail into the move it forward. Nearly finished. I step back and
timber: cracks, nails, and broken panels. look at composition, tones etc. I
I lightly shaded the timer, blended with decided there was too much vacant
a stump and then built up more detail. STEP TWELVE space in front of the shed, so a
I add the second roof on the left to sleeping calf is added for interest.
see how far I need to come down with I darken shadowing in front of
STEP NINE the sky on the left. I am looking the shed and anchor the calf
The silo is softly blended in for balance and a pleasing line leading with a shadow. The post to the
over light pencil stroke, getting through the drawing. right is given more shadow.
lighter where the sun is hitting.
For all enquiries please contact:
STEP THIRTEEN Colleen Palmer
STEP TEN Dark shadowed walls are added to Email: colleenmpalmer@gmail.com
Fence posts are now added in beginning make the first cow’s head stand out. Ph: 0408 652 396
STEP TWELVE STEP THIRTEEN

19
I N S I G H T
Robyn Hughes
Homage to Beauty By Robyn Hughes
This lady’s art pays homage to the beauty of wildlife, plants and our natural
environment – in a realistic fashion. Yet humble buildings somehow live in
harmony with their surroundings, and display a true beauty all of their own.
I
was born in Sydney, and moved to
the New South Wales Central Coast
where I spent my childhood as
part of a large family on a small hobby
farm surrounded by grassy paddocks
and bushland. For as long as I can
remember, I loved drawing. I spent lots
of time drawing pictures for my friends
– copied from cute greeting card
illustrations or photographs of horses.
My favourite place to be was sitting
up in a tree, or walking through the
bush looking for echidnas and lyrebirds
in the hills behind our farmhouse. I
think I was born with a love of Nature
and the animal world.
I studied science subjects at
school rather than art, because it was
considered difficult to achieve high
marks in art at the time. I studied
to become a physiotherapist; and
after spending some time working in
Sydney, I returned to the Central Coast.
A defining moment for my art
occurred while visiting Mogo on
the south coast 15 years ago, when I
walked into a small gallery featuring
pastels by Lee Miller. I had been keen
to embark on developing my drawing
as a serious hobby, and to see beautiful
and bright paintings created with sticks
of pure colour was thrilling. As soon
as I returned home, I found a set of
pastels on sale at a local store … and
I knew it was meant to be. Since then,
I N S I G H T
I have also expanded into acrylics and

the occasional heat-set oil painting; but
pastels remain my first love.
I have had no formal training. I have
developed my art through lessons with
several well known local artists. Now I
have three young children, and I have
tried to continue painting whenever I
can – snatching time here and there.
Pastels lend themselves well to the
demands that come with a young
family, as I can leave the painting at
any stage and return later. Genesis Heat
Set Oils are also ideal in this respect.
I read many books and magazines,
where there is a huge wealth of
information and encouragement to be
found. But I must learn by the act of
doing, and allowing myself to simply
enjoy the process of making marks on
paper or canvas. I find it a joy and a
challenge to render a subject faithfully
– whether it is a simple loose sketch or
study, or a large scale work.
As a busy mum, I always work
from my own photographs. This is
quite easy in the digital age, and I
work from my own images in order
to avoid copyright issues. It’s a
pleasure to get out there and see the
world around me, while absorbing
the atmosphere and translating my
impressions into my work.
I have hundreds of paintings in my
head and piles of photographs that are
I N S I G H T
waiting to make their way onto paper

or canvas. I am known around my area
for my intensely colourful, yet realistic
seascapes … featuring Norah Head,
The Entrance and Terrigal. I also paint
native flowers and birdlife. My other
passions artistically are the big cats and
African wildlife.
Just like little children, the trees and
birds and animals live their lives without
any awareness of their own beauty. As
artists, some of us are blessed with the
desire and ability to see it and express
it. I am now developing my portraiture
skills and I am hoping to increase my
commission work in this field.
I feel that I have been driven to draw
and paint. It is simply within me, part
of who I am. I can’t help but notice
the beauty all around us in the natural
world. I also find beauty in man-made
structures that seem to incorporate
some sense of harmony with our
surroundings – such as lighthouses
and country sheds. Perhaps it is partly
because many are created from wood
or stone that come from the natural
34
22 Artist’s
Artist’sDrawing
I N S I G H T
surroundings in which they are placed;

and they give me some kind of hope
that we can live in harmony with our
planet if we try hard enough.
I now find myself in demand as
a tutor, for workshops and home
lessons. I sell works on a regular basis
at a local community gallery. I have
sold about 70 pieces over the years. I
participate regularly in local art society
exhibitions.
Whether or not you think you can’t
draw, try it anyway! You will improve.
You will enjoy it. You will learn
something. You will appreciate art on a
deeper level. And in time you will gain
skills and experience, and find a new
passion in your life. Remember that
you are allowed to make mistakes – it
is part of the learning process.
American pastellists Harley Brown
and Richard McDaniel are among my
favourites. They have the ability to render
beautiful realism while maintaining
dynamic pastel strokes. My absolute
favourite artist is Vincent van Gogh. He
barely sold any works in his lifetime, but
he never gave up. He painted pictures full
of colour, movement, brightness and joy.
My ultimate goal is to be a full-
time professional artist … but as
long as I can continue to paint in
pastels and further my skills in other
mediums, I will be happy. To earn an
income doing what I love would be
the best job in the world. n
Artist’s Drawing Artist’s

and Inspiration
Palette 35
23
d e m o n s t r a t i o n
Pastels
The Guardian By Robyn Hughes
This artist finds pastel pencils useful for sketching and adding fine detail to
a pastel painting because graphite pencils may leave indentations on pastel
paper which cannot be lifted out.
FINAL STEP
STEP ONE forefoot inspired the idea of a provide a slight amount of ‘give’. I
My aim was to create a hot, matriach protecting her family sketched my ideas onto a half-sheet
dusty sunset in Africa – based from strangers in her homeland. of warm Burgundy paper with white
on a single photograph of an The paper was clipped to a piece pastel pencil. Sketches on tough
elephant from Dubbo zoo. Her of MDF board with at least three Colourfix paper can easily be re-done
flared ears and prominent right layers of plain paper underneath to if needed – using a kneadable eraser.
36
24 Artist’s
Artist’sDrawing
STEP ONE
STEP TWO
Using pastels broken into thirds, I quickly laid in sky
colours with side-strokes of the pastels in colours ranging
from dark Burnt Siennas through to touches of Gold and
Lemon Yellow. The pastels blended themselves on the
surface with the use of a few layers. As always, I was more
concerned with finding a pastel of the correct tone and hue,
rather than which brand (softness) of pastel I was using.
I loosely filled in the distant elephants in shades of
raw and burnt umber. Overall they remained cooler and
less detailed – further away – than the main elephant.
I placed three tones on the main elephant to
establish her form: Light Grey, mid-tone Burnt
Umber and Art Spectrum ‘Bordeaux’ for a lively,
warm, dark crimson shadow colour. I left plenty
of the underlying paper showing through.
STEP THREE
Next came some more Burnt Siennas and creamy tones STEP TWO
for the foreground, with a touch of green to add some life.
Notice how the cast shadows from the elephant are the same
colour as her form shadows, connecting her to the ground.
STEP FOuR
Now that the paper was covered, I went back and added
refinements to the whole piece – such as strokes of
M AT E R I A L S
• Art Spectrum Colourfix Paper – Burgundy colour.

• Variety of Soft Pastels: Winsor & Newton,
Art Spectrum, Rembrandt and Schmincke.
• Pastel Pencils – Black and White.
• Pastel erasing tool.
• Kneadable eraser.
• Workable matt fixative. STEP THREE
Artist’s Drawing and Artist’s

Inspiration 2537
Palette
grass and more detail on the elephant’s face and trunk. I

added a streak of fading sunlight on the ground, which
demonstrated that there was enough light left on the plains
to give my elephant her bright flickering highlights.
STEP FIVE
On the main elephant, I added some warm Burnt Sienna
to the mid-tones and some black pastel pencil scribbled
into the darkest dark shadows. I added grass using fine
strokes here and there in various foreground tones.
STEP SIX
For some icing on the cake, I created bursts of dust stirred up
by the feet of the animals. I carefully cut out shapes in tracing
STEP FOuR paper that revealed where I wanted the dust to appear. Using
tracing paper as a mask allowed me to accurately cut and
position the paper over the painting. I rubbed a light cream
pastel on a slightly damp toothbrush, and then flicked it onto
the paper, creating a fine dust. The damp specks of pastel soon
dried off, and I could add more layers and vary the colours.
FINAL STEP
Throughout the painting process, and day by day, I moved
back to view the painting from a distance. Having done
this for the last time, I sprayed a little more dust around
the elephant’s foot (which she was stamping down to make
her point clear). Then I sealed the painting, signed it, and
photographed it before it was framed under glass. n
MASTER HINTS
STEP FIVE
AND TIPS
• A pastel artwork is described as a ‘painting’ if the
image covers the whole piece of paper, even when
there is no use of the pastel in a wet form or the use
of paint brushes. When there is a large portion of
the paper remaining, it is referred to as a sketch.
• Pastel pencils are useful for sketching and adding
fine detail to a pastel painting. Essential colours
include white and black; although a whole set is
beneficial. Graphite pencils may leave indentations
on pastel paper which cannot be lifted out.
• I consider medium to dark toned pastel
papers easiest to work on.
• Use warm and cool colours to enhance your painting.
Throw violets in your shadows to bring them to life.
• Use warm and cool versions within an area of
a single colour, such as warm and cool reds in a
waratah, or warm and cool blues in the ocean.
• Seal your finished work with a couple of light coats
STEP SIX of fixative (heavy spraying will darken your work).
38
26 Artist’sPalette
s i X c r e aT i v e d e Mo n s T r aTi o n s s i X a ma z i n g d e mo ns T RaTio ns si X a ma zi ng d emo nsTR aT io ns
’ ’ ’ TI ’
siX amazinG artists’ Demonstrations FULL OF TIPS AND TECHNIQUES FULL OF TIPS AND TECHNIQUES
A
ARTISTS ARTISTS ARTISTS ARTISTS

AR
ARTI Artist’s
U
THE MAGAZINE FOR ALL ARTISTS FA ST
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d r A w i n g & i n s P i r At i o n d r A w i n g & i n s P i r At i o n d r A w i n g & i n s P i r At i o n d r A w i n g & i n s P i r At i o n

proDuct GuiDe
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Palette
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04 an admiRaTion FoR animals 01 02
Meet the talented Ed Labadie
Issue 9 Issue 10 Issue 11
special BuyeRs’ guide JACOB DITCHMEN
A$8.99 HoliDay sketcHinG tips
Gallery Visit A$8.99 soMeThinG For everyone A$8.99 Issue 12 Meaghan roberts ISSUE 13
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Heaps of tips anD iDeas for all artists Full oF Tips and Techniques Full oF Tips and Techniques SIX A M A ZING D EM O NSTR ATIO NS SIX D R A WING D EM O N STR ATI ON S
Full oF Tips and Techniques
FIVE EXCITING DEMONSTRATIONS
Issue 9 Issue 10 Issue 11 Issue 12 Issue 13 Issue 14
Post to: Artist's Drawing & Inspiration Magazine PO Box 8035, Glenmore Park NSW 2745

D R A W I N G I N S P I R A T I O N
It’s All
In The Details
By Bernard West
Bernard’s amazing
attention to detail
brings this street
scene to life.
M AT E R I A L S
• Strathmore Bristol paper 300

series, in this case A3 size.
• Rotring Rapidograph pens;
13mm and .20mm. (Edding,
Pitt and Aristo produce fine
line pens which could easily
FINAL STEP be used as an alternative)
5428Artist’s
Palette
D R A W I N G I N S P I R A T I O N
STEP ONE STEP TWO
STEP ONE
Whether I am working from a sketch made at the
scene or from a photograph I always square up
the page using 4, 5 or 6cm squares, depending
on detailing shapes of buildings for accuracy,
and in this instance I used 5cm squares. The
sketch was slightly smaller and that I had also
covered with squaredtracing paper. Using a pencil
I prepared an accurate outline of the picture.
STEP TWO
Carefully draw the outline of the buildings, using
finer point until you have an accurate outline
of the picture.
STEP THREE
I always start from the top of the picture slowly
working down to complete the buildings. I begin
with the roofs. Note that the wood beams vary
in light and darkness, width and shape and using
longish strokes in line with the timber grain
brings best results, and by increasing the number
of strokes you can achieve light or dark wood STEP THREE
beams or panels. The roofing tiles are not quite

DD EE M
M OO NN SS TT R
R A
A T I O N
STEP FOUR
STEP
STEP FOUR
FOUR
STEP FOUR STEP FIVE

STEP
STEPFOUR
FOUR STEP FIVE
STEP FIVE
perfect through age, so neatly sketch within. Note the woodwork and the different framing with small baskets
perfect
the
perfect through
tilesthrough age,
in to get soso
the
age, neatly
effect ofsketch
neatly tiling.
sketch within.
within.Note
brickwork ofthe
Note thewoodwork
the new building
woodwork and the
andnext different
of framing with
plants framing
different hanging withsmall
alongsmall baskets
the overlap.
baskets
theThe
tiles in to get the effect of tiling.
the tiles in to get the effect of tiling. in
same is true with the brickwork brickwork
door. The of the
bricks new
were building
a light
brickwork of the new building next
colour; of plants
plants hanging
hanging along
alongthe
theoverlap.
overlap.
Thethe
Thesame
sameis istrue
background truewith
withthe
areas thebrickwork
of the drawing.
brickwork inin door.
the The
Thebricks
lining
door. of were
were aa bricks
individual
bricks light
light colour;
with the
colour;
thethe backgroundareas
background areasofofthe
thedrawing.
drawing. spatter of
thelining
the dots
liningof worked
ofindividual effectively.
individual bricks
bricks with the FINAL STEP
spatterof
spatter ofdots
dotsworked
worked effectively.
effectively. FINAL
FINAL
The new building on STEP
STEP
the front right
STEP FOUR also has
newabuilding
The new balcony,on
building this
on thetime
the front
front with
rightan
right
STEP
STEP
Moving further FOUR
FOUR
down, the building STEP FIVE open door.
also has Draw in the couple looking
has aa balcony,
balcony, this thistime
timewith withan an
on the further
right with darkthe windows was STEP
The buildingSTEP FIVE
on the FIVE
left side of the into
openthe shop, thenin
Moving
Moving further down,
down, thebuilding
building door.
door. Draw
Draw infinish
the the wooden
thecouple
couple looking
looking
a
onon restaurant
thetheright and
rightwith had
withdark lighting
darkwindows
windowswasinside
was picture
Thebuilding
The has a on
building tiled
on the front
the left and
left sideside.
side of theThe
of framing
into the and
shop,bricks,
the shop, then notingthe
then finish
finish thewooden
the darker
wooden
thus givingand
a restaurant
a restaurant aand
darkhad
had reflection, not
lightinginside
lighting inside lower section
picturehas
picture is
hasaatiled a shop,
tiled front
front andwhilst
and side.theThe
side. front
The bricks
framing next
framing and to the
and bricks, footpath.
bricks, noting
notingthe Next draw
thedarker
darker
light
thus
thus as in aothers.
giving
giving adark Itreflection,
also hadnot
darkreflection, lights
not windows
lowersection
lower are dark, the
sectionisis aa shop, window
shop, whilst
whilst thein the
the front
front in the
bricks lady
bricks next entering
next to
to the shop
the footpath. on
footpath.Next the left.
Nextdraw
draw
breaking
light
light the darkness.
asasininothers.
others.It Italso I
alsohadcarefully
hadlights
lights alley
windows
windows is well lit,
aredark,
are dark,withthean
the impression
window
window in the
in the Now
in theadd
in the ladythe
lady coupleshop
entering
entering in theon
shop centre.
on the
theleft.
left.
pencilled
breakingthe
breaking indarkness.
the the window
darkness. frames
I Icarefully
carefully of products
alley
alley wellfor
isiswell lit,sale.
lit, with Note
with the steps
an impression
an impression With
Now all
Now addaddpeople
the in place,
the couple
couple in
inthecomplete
the centre. the
centre.
and areas of
pencilledininthe
pencilled light from
thewindow
windowframes lamps
frames and up in the
ofofproducts alleyway.
productsfor forsale. The
sale. Note next
thebuilding
Note the steps
steps brickwork
With
With all and
all people
people in windows
in place, of the
place,complete
complete newthethe
andthen
and inked in
areasofoflight
areas the glass
lightfrom
fromlampsto leave
lampsand the
and has a balcony
upininthe
up thealleyway.under
alleyway. The the roof
The next with
next building
building building.
brickwork Finally
brickwork and add
and windows an
windowsof impression
ofthe newof
thenew
frames
then
then inked white,
inkedininthe and light
theglass showing
glasstotoleaveleavethe from
the plants. The lower
hasaabalcony
has balcony under
under framed sections
the roof
the roof with have
with cobbles
building.and
building. the drain
Finally
Finally add
add anpathways.
animpression
impression ofof
frameswhite,
frames white,and andlight
lightshowing
showingfrom from plants.The
plants. Thelower
lower framed
framed sections
sections have
have cobbles
cobbles andand the
the drain
drainpathways.
pathways.
56 Artist’s
30 Artist’sDrawing
20 Artist’s Palette Artist’s Drawing and Inspiration 5
I N S I G H T
Louise Green
I N S I G H T
Louise Green
An
An Equine
Equine Love
Love Affair
Affair
A romantic realist, Louise touches the lives of many
A romantic realist, Louise touches the lives of many
with her stunning works of art.
with her stunning works of art.
LL
iving on a farm on the Mid and mountains, with the Lansdowne to speak. As I write this we are at the
Northiving on aoffarm
Coast NewonSouth
the Mid andmeandering
River mountains, with
its waythe through
Lansdowne the to speak.
start of theAs I writeand
calving thislambing
we are at the
season
Wales with my partner, ISouth
North Coast of New River meandering its way
property. Livestock on the farm through the
consists start of the calving and lambing
which means there will be many new season
Walesvery
consider myself withblessed
my partner, I
to have property. Livestock on the farm
of beef cattle, a few crossbred sheep consists whichtomeans
babies there will
photograph for be many
future new
works.
lots of subjects to paint right outsidehave
consider myself very blessed to andofmy
beef cattle,
Paint anda Palomino
few crossbred sheep
horses – babies to photograph for
I can’t remember a time when I future works.
lots ofdoorstep.
my front subjects We
to paint
haveright
an outside and my Paint and Palomino horses
giving me a variety of animals to paint – I can’t
wasn’t remember
drawing – I’vea time
been when I
passionate
my front doorstep. We have an giving me a variety of animals to paint wasn’t drawing – I’ve been passionate
abundance of wildlife and birds, bush every day - inspiration on the hoof, so about horses since a very early age,
abundance of wildlife and birds, bush every day - inspiration on the hoof, so about horses since a very early age,
Warrawillah Cattle 2006.

Warrawillah Cattle 2006.
62
32 Artist’s
Artist’sDrawing
I N S I G H T
drawing them from the age of three.

My family migrated from Newcastle,
Australia to New Zealand when
I was very young and my parents
encouraged me with my art. They
bought paints, oil pastels and pencils
to supply my constant passion for
drawing horses. I would sit for hours
on the floor of my room sketching
horses, wanting to be an artist when
I grew up. I pestered my parents so
much for my own horse they relented
and bought me a young foal at the
age of 13 which I kept in our large
house yard in Auckland. That foal
“Frosty” was so cheeky she would Gypsy Fire.
often stick her head through the
kitchen window looking for a treat.
My first art competition success
at the age of 13 was a drawing of
her entered into an equine magazine,
where I won 2nd prize. I took Art
as a subject at High School but I’m
sure my art teachers were frustrated
with me wanting to only draw or paint
horses. My final year exam folder
was full of equine subjects instead of
still life studies. I remember my first
commission was a horse drawing for
one of my father’s friends while I
was still at school. My family moved
back to Australia and I eventually
found my way to the Mid North
Coast where I settled in 1992.
Having bred, ridden and shown my View Towards Sydney - pastel.
own horses for many years, worked
with racehorses as a teenager and
undertaken equine courses, I loved
living the horse life. During this time
I still painted the odd commission but
eventually gave up the show circuit
to focus on my painting, following
my lifelong purpose. After enrolling
in a short pastel course at the local
community college with Vivien
Walter in 1996 I became hooked
on this medium, starting out with a
few Rembrandt pastels, and painted
landscapes and equine subjects. At the
same time I attended private tuition
in oil painting, joined the local Art
societies and began exhibiting my work.
On the weekends I would often
travel to local markets with a few
Sunlit Billabong - Brick Kiln Creek.
sketches and paintings to display

33
I N S I G H T
on a stall or car boot to get my work

out there for people to see. I would also
attend the occasional horse show with
artworks. I advertised in magazines, put
up display posters and flyers and got a
business card professionally printed to
kick start my art as a business. People
and friends began commissioning me
to paint their animals or properties
and before long I was on my way.
I took up the opportunity of doing
workshops with some of Australia’s best
artists such as Ross Paterson, Colina
Grant, Amanda McLean and Graham
Cox, because as an artist you can never
Afternoon Storm, Arrawarra Headland. stop learning. Workshops keep me
inspired and help me strive to constantly
improve my work to the next level.
I have been involved in more than
100 exhibitions and art shows, won
more than 70 awards and held my first
exhibition with some artist friends in
2010. We felt very honoured to have
Graham Cox open our show at a local
gallery and we received wonderful
feedback plus some sales from many
people who visited the display of our
works. Following on from that, I had
another group exhibition and a small solo
exhibition at a local cafe earlier this year.
Pastels are definitely my favourite medium
and I use several different brands such as
Art Spectrum, Micador, Winsor & Newton,
Evening Tapestry - McDonald's Farm, Dyers Crossing. Rembrandt, Schminke and Sennelier. I
also use Derwent Pastel Pencils. I love the
Unison range of pastels which I layer on top
of the other brands – being softer and with
more vibrant colours; I think they are the
icing on the cake! Colourfix pastel paper
is the perfect marriage for pastels. When I
feel like a change I switch to oils as I like
their richness and the layering of glazes.
Because I love colour (I bred coloured
horses for many years) I often paint in
acrylics. The childhood love of drawing has
not left me and I still create the occasional
pencil work and at times a watercolour.
My inspiration is from a variety of
sources – the flora and fauna of our
unique Australian landscape, flowers and
dragonflies in the garden, a fascination
for magic and fantasy and my love for
all things equine. I would describe my
work in the “romantic realist” style
Thunderhead Over Lansdowne - pastel 1996.
and I hope this magic touches the
64
34 Artist’s
Artist’sDrawing
I N S I G H T
Platypus Haven - Warrens Crossing, Lansdowne. The Golden Unicorns..
hearts of all who view my art. My other

passion is photography and I like to take
many reference photos for future works.
Often paintings form and weave themselves
during my dreams or wake me at night
and I see the artwork as a complete piece,
sometimes accompanied by the title, and I find
it hard to go back to sleep – hardly waiting
for the next day to arrive so that I can capture
the magic on paper or canvas. I have a book
full of many such ideas, all waiting for the
right time to be created. I think I have enough
subjects to keep me painting into the next life!
Artists who have inspired me all
my life are J W Waterhouse, Orren
Mixer and Susan Seddon-Boulet.
Highlights of my career so far would be the
sale of an equine painting to a Texan winery,
which was also used on the wine label for a
special release in 2009. This gave me exposure
across the USA. I was also approached by
The Trail Of Painted Ponies in Arizona to
submit designs for its highly collectible equine
models and it is one of my dreams to become
one of this organisation’s official artists.
"Works have sold across Australia, New
Zealand, USA and France. I also have
paintings displayed in a few local cafes.
Having previously sold from a gallery in
Bellingen on the Far North Coast of New
South Wales, I am currently looking for
another gallery to represent my art."
I can be contacted via my website.

Email: louisegreen4@bigpond.com Andalusian Spirit – pastel.
Web: www.painteddreamsstudio.com

Pastels
The Wizzard’s Fire
By Louise Green
For this demonstration I

chose to paint something
that is close to my heart.
H
orses have always been
my passion. The reference
material for this painting is
from my own photo taken of a friend’s
gorgeous Friesian stallion in western
Sydney known as “The Wizzard.”
To start I attached a sheet of black
Colourfix pastel paper to a board
on my easel. You can use masking
tape or strong clips to attach the
paper to the board. The pastels I use
are Art Spectrum, Unison, Winsor
& Newton, and Rembrandt.
M AT E R I A L S
• Art Spectrum Colourfix

pastel paper 50cm x 35
cm – black colour
• Selected artist’s soft pastels
– Titanium White, Black,
Prussian Blue(darkest
tone) Dark Grey, Medium
Grey, Cool Grey (light tone)
Ultramarine Blue, (mid tone)
Reddish Brown, Dark Brown,
Unison A15 (a vibrant Red)
• White pastel pencil
• Black pastel pencil
• Putty eraser
• Wet Ones hand wipes
• Paper towel
• Sandpaper block for
sharpening pastels
• Glassine paper for
FINAL STEP protecting work
66
36 Artist’s
Artist’sPalette
Drawing and Inspiration
STEP ONE STEP TWO STEP THREE
STEP ONE STEP TWO is applied to the top of the page and
I mark up the halfway marks I apply some white highlights on around the horse for impact. Then I
horizontally and vertically as a the horse first to establish the lights blend the background with my fingers
guide with a white pastel pencil as they will come through later. to give a smooth effect. Because I am
before sketching the basic outline. working with two strong colours of
Leave at least a 1cm border for red and black it is important to keep
framing later on. Colourfix paper STEP THREE your hands clean while doing this so
has a white border around the edges I work from the top to the bottom that the colours do not mix together
of the paper already. I sketch in the to avoid smudging and from left to near the edges to dull the impact. I
outline shape of the horse. You can right as I am right handed - I find this use a lot of Wet Ones to achieve this.
use a grid or freehand. At this stage is the easiest way to work for me. I Also wipe your pastels on a piece of
you can correct errors easily with a like to work in stages as I progress paper towel to keep them clean.
putty eraser. I establish some basic down the page to keep my work crisp At this stage you will have to take
muscle shapes with the white pencil. and clean. A vibrant red pastel colour your board outside and give it a few
STEP FOUR STEP FIVE STEP SIX

37
STEP SEVEN STEP EIGHT STEP NINE

STEP SEVEN STEP EIGHT STEP NINE
good hard taps on the back to lose the and dark grey around the edges, then add some light greys for highlights.
excesshard
good pastel
tapsthat
on isthe
now there.
back Make
to lose the into dark
and the bottom part ofthe
grey around theedges,
inner then Build
add up the
some hair
light strokes
greys with some
for highlights.
sure your
excess painting
pastel that isisnow
firmly attached
there. Make nostrils
into the and blend
bottom a little
part of thetoinner
soften. more black
Build up theashair
youstrokes
go. I have
withnowsome
to theyour
sure board. This should
painting be attached
is firmly done a The eyesand
nostrils areblend
painted in with
a little a reddish
to soften. completed
more blackthe background
as you go. I have rednow
colour
fewthe
to times during
board. Thisthe painting
should process.
be done a brown
The andare
eyes I outline
paintedthe edgesa with
in with a
reddish around the the
completed horse before starting
background red colour
few times during the painting process. black pastel pencil just for
brown and I outline the edges with athe shape. to blockthe
around thehorse
rest of him in.
before Do the
starting
Then
black Ipastel
add the darkjust
pencil centre
for of
thethe eye
shape. tail in the same way with layers
to block the rest of him in. Do the of
STEP FOUR with black pastel – either sharpened Prussian blue, dark grey and black.
Then I add the dark centre of the eye tail in the same way with layers of
I would likeSTEP this horse FOURto have a or
withuseblack
a tinypastel
broken piecesharpened
– either if you are You can thicken
Prussian thegrey
blue, dark tail later.
and black.
blue-black tone for
I would like this horse to his coat so Ia
have confident
or use a tiny broken piece iftouch
with this. I add a of
you are You can thicken the tail later.
block
blue-black tone for his coat so of
in with the darkest tone I Ultramarine Blue to the eye
confident with this. I add a touch of to make
Prussian blue,theworking STEP EIGHT
block in with darkestintone
sections
of it real. SomeBlue
Ultramarine touches
to theof eye
CooltoGreymake
as I go. I blue,
Prussian start at the topinwhere
working the
sections (lightest tone) down the
it real. Some touches of Cool face andGrey Now I layerSTEP EIGHT
over some dark grey pastel
ears
as are Iand
I go. startwork
at theontop
thewhere
head first.
the above thetone)
(lightest eyelid.
downA stroke
the faceof and
black on theI horse’s
Now chest,
layer over legs
some andgrey
dark tail. pastel
STEPareFIVE
ears and work on the head first. pastel down
above the middle
the eyelid. A stroke of of
theblack
face on the horse’s chest, legs and tail.
With a FIVE dark grey pastel I now layer and blend slightly. Someofdark grey STEP NINE
STEP pastel down the middle the face
some acolour
With over pastel
dark grey the topI now
of thelayer
blue. where
and the inside
blend jawline
slightly. Some is dark– I grey
keep STEP NINE
I add a layer of black pastel over the
Then with
some colour a rich
overblack
the topI layer
of theover
blue. some lost
where the edges
inside here andissoften
jawline them.
– I keep Itop,
addnot quiteof
a layer losing
blackthe white
pastel over the
the topwith
Then of the grey
a rich and Iblend
black layeraover
little. some lost edges here and soften them. highlights
top, from
not quite the early
losing sketch
the white
I start
the topadding
of the some
grey and of the forelock
blend a little. underneathfrom
highlights – letthe
theearly
pastelsketch
do
STEP SEVEN
Iover
startthe horse’s
adding faceofwith
some wavy lines
the forelock the work. – let the pastel do
underneath
in black
over the pastel,
horse’sthenfacesome Prussian
with wavy lines Working down STEP the SEVEN
painting I block the work.
blue, dark grey and a little
in black pastel, then some Prussian of the in more red for the
Working down the paintingbackground,
I block
Cool STEP TEN
blue, grey
dark (light
grey and tone) to give
a little of the then blend this before moving on
in more red for the background,
effect of hair. I also work
Cool grey (light tone) to give the around to theblend
then back this
areabefore
of the moving
horse with
on Time to achieveSTEP someTENmuscle tones on
the
effectrump and flank
of hair. I also of the around
work horse. Prussian
to the back area of the horse and
blue (darkest tone) withthen the horse’s chest and down
Time to achieve some muscle histones
legs. on
STEP SIX
the rump and flank of the horse. to his mane.
Prussian blueSince thistone)
(darkest horseand
hasthen
a Using
the horse’s chest and down his legs.in
the dark grey pastel I block
Now
STEPfor SIXsome details on the head. naturally curly mane I follow
to his mane. Since this horse has a the some
Usingareas where
the dark grey thepastel
muscles are. in
I block
INow
startfor
working on the on
some details nostrils with
the head. direction
naturally of themane
curly hair but use some
I follow the Then I blend these areas lightly
some areas where the muscles are. to
black for the inner part, some
I start working on the nostrils with medium wavy strokes to give this
direction of the hair but use effect.
someI soften the effect. Too much blending
Then I blend these areas lightly to
black for the inner part, some medium wavy strokes to give this effect. I soften the effect. Too much blending
6838Artist’s
Palette
STEP TEN STEP ELEVEN STEP TWELVE

STEP STEP
SEVENTEN STEP EIGHT STEP NINE
can spoil the painting, I like a little tip of one ear, flank, in the mane and The painting is now complete ready
raw pastel
good to show
hard taps on theinback
places.
to lose the forelock
and for aaround
dark grey bit of thatthe added
edges, fire.
then for some
add matting andgreys
light framing. Well done!
for highlights.
excess pastel that is now there. Make into the bottom part of the inner Build up the hair strokes with some
sure your painting is firmly attached nostrils and blend a little to soften. more black as you go. I have now
On times
STEP ELEVEN
to the board. This should be done a
top ofduring
this I now add the Cool
ARTIST’S HINTS AND TIPS
The eyes are painted in with a reddish completed the background red colour
few the painting process. brown and I outline the edges with a around the horse before starting
grey (lightest tone) and blend • I keep
black pastelmy pastels
pencil justinforsectioned
the shape. tounnecessary
block the rest colours
of himbeingin. Do mixed
the
this in parts. Don’t overdo it. containers with
Then I add the dark centre the same shades
of the eye in with another. Keep
tail in the same way with layers your hands
of
STEP FOUR laying in rice flour or
with black pastel – either sharpened ground rice. dry by wiping
Prussian blue, dark them on and
grey a dry towel
black.
I would like this horse to have a This keeps your pastels
or use a tiny broken piece if you are clean and Youafter
cancleaning
thickenthe thepastel off.
tail later.
STEP TWELVE
blue-black tone for his coat so I confident with this. I add a touch ofroll
removes dirty particles as they • If you make a mistake on the
I add in
block a stroke
with the of darkest
white aroundtone of the around in
Ultramarine it. When
Blue to the theeyerice flour is
to make Colourfix paper you can wash it
bottom of
Prussian the working
blue, eye and ainspeck for
sections dirty,
it real. Somejusttouches
tip it out ofand
Cool replace
Grey with out with waterSTEPand EIGHT
a clean rag or
asa Ihighlight.
go. I startAlso a touch
at the of white
top where the cleantone)
(lightest rice down
flour. It thesaves
face wiping
and Nowbrush, waitover
I layer for it to dry
some dark and then
grey go
pastel
at the
ears arelip.
and work on the head first. above your
thepastels
eyelid. all the time.
A stroke You can
of black onahead again.chest,
the horse’s Or uselegs a putty eraser.
and tail.
STEP FIVE pasteluse the tiny
down broken of
the middle pieces of pastel
the face • Take your board outside and give
With a dark grey pastel I now layer for fine
and blend detailsSome
slightly. such as eyes.
dark grey STEP
it a fewNINE
good hard taps on the
FINAL STEP • Having a colour chartis of
some colour over the top of the blue. where the inside jawline – Iyour
keep backa to
I add remove
layer of blackexcess loose
pastel pastel
over the
Add with
Then someawhite highlights
rich black I layeronoverthe somepastels is a good
lost edges here andideasoften
as youthem. during
top, the stages
not quite losingasthe you work.
white
coat.
the topSoften
of the them
grey anda little
blendby blending
a little. will find you have favourite • You can spray
highlights from the the early
painting lightly
sketch
I lightly if theysome
start adding look oftoothehard. Thicken
forelock colours you like to work with with a coat– of
underneath let fixative
the pastel at completion
do
the mane
over and tail
the horse’s to with
face makewavy it fuller by
lines and when STEP SEVEN
replacing them you theofwork.
the work if you prefer.
using a sharpened black
in black pastel, then some Prussian pastel point can match
Working down the exact
painting colour or
I block • A sheet of glassine paper clipped
to give
blue, dark thegrey
effectandofa fine
littlehairs
of theflowing code number you
in more red for the background, require. to the board over the top of your
Cool grey (light tone) to give the you.
out as the horse canters towards then• Have
blendlots
thisof hand moving
before wipes when on painting keeps STEP any TENsmudges
Then of
effect somehair.fine white
I also work hairs where the
around you are working
to the back area of the horse as you will
withhave from occurring during
Time to achieve some muscle transittones on
the rump and flank of the horse. of
light catches. I add some touches to keep
Prussian blueyour handstone)
(darkest and fingers
and then or working stage and protects
the horse’s chest and down his legs.
bright SIX
STEP red on the horse’s coat in places clean when blending.
to his mane. Since this horse Thishasavoids
a your the
Using work.darkThe greypainting
pastel is now in
I block
Now for the
such as someinner jawline,
details on the bottom
head. of muddiness from occurring
naturally curly mane I follow the and ready for a trip to the
some areas where the muscles are. framer.
the lip, on the chest, down
I start working on the nostrils with the legs, direction of the hair but use some Then I blend these areas lightly to
black for the inner part, some medium wavy strokes to give this effect. I soften the effect. Too much blending
Artist’s Drawing andArtist’s
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P r o d u c t F e a t u r e
Easels Contributed
In the market for a new easel, but confused about what is best for you?
Never fear – here’s a comprehensive report on what’s currently available,
including the newest ideas and products, and the perennial favourites.
eAsel seleCTioN
JB10 and bag applied. The colour, grain and overall Table easel - As the name suggests,
appearance of Oak combined with is a small easel that fits onto a table
its strength and hardness make it the top. Table top easels are generally
ideal timber for easel manufacture. scaled-down versions of a tripod,
The majority of easels on the lyre, studio or box easel although
market today are constructed from there are some such as the Daler-
Beechwood. Beech is a softer wood Rowney Artsphere which have been
than Oak so screws have a tendency specifically designed for table use.
to loosen over time and cause These are ideal where space is an issue.
the easel to shake and vibrate.
The new ‘Lyptus’ wood, a naturally lyre or A-frame easel - Triangular
occurring hybrid of Eucalyptus Grandis shaped easels with two front legs and
and Eucalyptus Urophylla (both single rear leg that form the shape of
Australian natives) is comparable to an “A” when in use. The single rear
Oak in strength and hardness. Lyptus leg is collapsible on most types of Lyre
wood has a straight grain and fine, easels allowing for easy storage and
even texture. As it is plantation grown, for use in corners and tight spaces.
Richeson
Lyptus Aztec the trees are hand-pruned throughout Generally, A-frame easels do not tilt
Lancaster
their growth years leading to very forward of the painting surface.
Choosing the right easel is an integral uniform wood with few knots.
part of the painting process. The Aluminium is generally used for Tripod/field easel - Generally
importance of having the correct easel field easels. It is lightweight, strong and easy to handle and fold up. They are
is often overlooked but having a firm resistant to the elements. There are many lightweight, portable and single masted.
and steady easel can be as important to types of easels for different applications They do not provide the stability of
the finished painting as choosing the – painting, pastel work, indoor or outdoor the Lyre or H-Frame easels but their
correct paint, canvas or brush. One of use. Easels are designed in a variety of light weight and ease of transport
the first considerations when selecting styles to accommodate many different makes them ideal for field use.
an easel is the type of material it is ways artists work. There are five styles
constructed from. Timber is primarily of easels, The Table Easel, the Tripod french/Box easel - A 3-in-1 easel
used for the majority of easels although or Field easel, the Box or French Style comprising a sketchbox, an easel, and
some easels are constructed from Easel, the Lyre (A-Frame) Easel and a canvas carrier. They are lightweight
aluminium. Whatever material is used, the Studio (H-Frame) Easel. There and portable and allow you to carry
the object is to create an easel that are a number of variations to each of painting materials easily into the field.
doesn’t move, shake or vibrate when these that offer different tilt settings, The angle at which you work can be
in use. North American Red Oak, or storage options and size capabilities. varied between vertical and horizontal.
any Oak for that matter is the finest S&S stocks a wide variety
material for constructing easels. It of easels for everyone from the studio easel – Also known as an
is an extremely hard wood, so glue beginner, student and hobbyist right H-Frame easel, these easels are based
and screws do not come loose once through to the professional artist. on right-angles. All posts are generally
48
42 Artist’s
Artist’sDrawing
P R O D U C T F E A T U R E
parallel to each other with a sturdy Jullian JB 40 half french Box easel Jullian
rectangular base. Studio easels can A compact version of the JB 45. JB40
accommodate much larger canvases Manufactured with the same precision
than other easels and often have as the JB 45, this easel offers identical
crank adjustments and paint trays. finishes to its’ bigger brother –
Most offer a forward tilt making Premium quality Beechwood, riveted
them even more convenient for metal parts, metal lined box and
painters. Studio easels are stable drawer, leather shoulder strap, handle
and sturdy and available in many and name holder. The JB 40 is also
variations including double masts. supplied with a Jullian back pack/
shoulder bag, artists’ honeycomb towel Jullian JB45
JUlliAN eAsels and a set of 3 brass-plated spikes. Its’
The name Jullian is synonymous small size (when folded) has made this
with easel design and construction. easel a real favourite over the years for
They count among the most plein air artists. It will hold canvas or
prestigious easels in the world. watercolour blocks up to 810mm high.
During the Second World War, Roger
Jullian, a French prisoner of war, Jullian Travel Deluxe Table easel
devoted himself to designing the Made of oiled Beechwood with
perfect sketch box easel. When the veneered panels this easel will hold Jullian
war ended, Jullian returned to France canvases up to 86cm high. Features JB20 and
and formed the Julian Company, an adjustable canvas holder and paintbox
employing French craftsmen to metal lined drawer with adjustable
produce the original French Box dividers plus a genuine leather handle
easel – now the most popular and and brass plated fittings. The lower Julian
most copied (but never replicated) support adjusts below the table surface French Easel
easel in the world! Jullian Easels if required. Supplied with canvas Vintage
have been the preferred choice of carry bag. An ideal travelling easel.
artists for more than 60 years.
Jullian JB 20 ReXY oil/
Jullian paris Artist Collection Watercolour easel
Jullian JB 45 french Box easel This unique field easel offers the
The original French box easel. features of the JB 45 French easel Jullian JT4
Designed for travelling, the JB and can be used equally well for
45 still sets the standard for plein oils or watercolours. Made from
air easel design. Manufactured premium quality Beechwood and fitted
from premium quality Beechwood with durable brass-plated fittings,
with riveted major metal parts to the JB 20 is compact, lightweight
ensure lifetime durability, the JB and adjustable to most canvas and
45 features a deep, metal lined watercolour block sizes. It is supplied
box interior and a 3-compartment with a Jullian shoulder bag and a set
drawer, a high quality stitched of three spikes for all-terrain painting.
leather shoulder strap, handle
and name holder. The JB 45 is JB 20 paintbox – An optional extra
renowned for its stability and comes for the JB 20 easel. The paint box
supplied with a Jullian back pack/ clamps onto the legs of the REXY
shoulder bag, artists’ honeycomb putting the materials exactly where Jullian
towel and a set of three brass-plated you want them. The paint box fits Classic GM
spikes for all-terrain painting. snugly into the pouch of the travel bag.
Jullian JB45 “vintage” Jullian JB 10 field easel

french Box easel The Jullian JB 10 is a practical,
Identical in specifications to the functional and easily transportable
original JB 45 but manufactured field easel. Made from premium Jullian
from polished oak. A truly quality oiled Beechwood with brass- Classic
outstanding looking easel! plated adjustable parts, its high

43
BEST
Santa Fe
The JL2 Lyre easel will support easels in the world. Each BEST easel
canvasses up to 124cm high and the is handmade from North American
canvas holder is easily adjustable Red Oak, sanded to a smooth surface,
in height with a simple ratchet then hand-rubbed with oil to reveal
control. It has an inclinable angle up the inherent beauty of the wood
to 150 and storage shelf for paints grain. There is no compromise in
and brushes. Manufactured from workmanship or quality when it
premium quality oiled Beechwood. comes to the manufacture of BEST
easels. The craftsmen at BEST
Julian Jsm/Jsl studio easels nail glue and screw every joint,
Mobile studio easels manufactured guaranteeing strength and precision.
from premium quality oiled Designed and manufactured with the
Beechwood. The JS series of Studio professional in mind, BEST easels
easel are fitted with castors and are amazingly stable, completely
locking, anti-tilt bolts to ensure the functional and truly beautiful.
easel is stable once it has been moved
BEST Lite into position. The canvas holder is BesT Deluxe lobo
Richeson Lyptus Best easily adjustable in height with a Built of solid oak, this quad base
simple ratchet system and there is easel is perfect for the mixed media
quality finish is unrivalled. It folds front and back angle adjustment with painter. It is inexpensive, compact
easily using a leather strap and is an anti-tilt system. The JSM easel will but sturdy, reliable and very flexible.
supplied with a Jullian carry bag. hold canvasses up to 135cm high while Can be used vertically for sketching
the JSL easel will hold canvasses up or painting and in seconds can be
Jullian JB 15 field easel to 224cm. Both easels are supplied adjusted to a horizontal position for
A large size field easel suitable for with sliding canvas supports. pastel work, watercolour, gessoing
both oil and watercolour painting. or varnishing. It has a forward tilt
This easel will accept canvases up to Jullian Classic Collection for glare reduction and when being
194cm and offers comfort for either Jullian Classic GM French Box Easel used for pastel work, allows the
indoor or outdoor painting. Made from A full sized French easel made pastel shavings to fall directly to
oiled premium quality Beechwood from polished, oiled Elmwood. This the floor. It also features a built-in
with brass-plated adjustable parts and easel offers the same features as shelf for storing supplies etcetera.
fastening leather strap and is supplied the original Jullian JB 45 including
with a Jullian shoulder carry bag. a metal lined interior drawer with BesT ‘lite Best’
Jullian JT 4 Studio Table Easel adjustable dividers, brass plated This versatile easel is ideal for
This studio table easel is ideal for fittings, varnished wooden palette, beginner to intermediate artists,
table painting or display. The top plastic moulded, natural linen schools and colleges. It has the
clamp adjusts in height and angle to shoulder strap. Supplied with unique ability to tilt forward past
take canvasses up to 600mm high. It shoulder bag for easy transport. a full vertical position. It is solid,
folds flat to make it convenient for multifunctional and reasonably
carrying and storing. Ideal for student Jullian Classic pm french easel priced. It folds flat for easy storage.
classes or just painting at home. A half sized French easel made
Manufactured from oiled Beechwood. from polished, oiled Elmwood. This
easel offers the same features as
Jullian Jl1 lyre easel the original Jullian JB 45 including
The standard Jullian Studio easel. a metal lined interior drawer with
Manufactured from premium quality adjustable dividers, brass plated
oiled Beechwood, the JL 1 is ideal for fittings, varnished wooden palette,
the beginning artist and for display plastic moulded, natural linen
of artworks. The canvas holder is shoulder strap. Supplied with
supplied with sliding canvas supports shoulder bag for easy transport.
and is easily adjustable using the
simple ratchet system. It will hold BesT eAsels by Jack Richeson
canvasses up to 127cm high. Every Artist should know the joy of
using exquisite equipment. BEST
Jullian Jl2 lyre easel easels are known as some of the finest
BEST Tabletop
De Pere
50
44 Artist’s
Artist’sDrawing
BesT Classic santa fe ii in Brazil. The plantations are a BEST Dulce Travel Deluxe
A double masted easel complete with combination of eucalypts and native
two canvas holders and painting tray. tropical forest which has been
It features a marine style winch which planted on land rendered useless
raises and lowers easily, allowing by years of intensive logging and
works weighing up to 90 kilograms. farming. The Lyptus plantations in
The double-masted H-frame offers Brazil are an important part in the
extra stability and the plastic front restoration of the damaged native
locking castors offer ease of mobility. rainforests. For every two hectares
of Lyptus plantation planted, one
BesT portable Collapsible hectare of new native rainforest is
This all-purpose easel is ideal for planted. Lyptus is also a renewable
the oil, watercolour, pastel, airbrush resource as new trees sprout from the
or acrylic artist. Whether sitting or stumps of previously harvested trees.
standing, a full range of angles from The mills used to produce Lyptus
vertical to horizontal is possible. wood use technology in a sustainable
The front wheels make transport and environmentally friendly manner.
easy and the top, bottom and The entire process from planting, to
middle painting trays have rubber pruning to manufacturing is carried
grips to keep canvas secure while out with the environment in mind.
the bottom shelf can be used for
storage. Folds flat for easy storage Richeson Aztec studio easel
This adjustable H-frame easel folds Richeson Lobo
BesT Deluxe Table Top flat for easy storage. The bottom tray
This heavy-duty professional table adjusts with the mast and a wood
easel can be used by itself on any clamp unit keeps it all secure.
flat surface. Beautiful and strong, the
Deluxe Table Top provides artists’ Richeson Belmont easel
with a solid base on which to work, This portable and versatile easel has
accommodating canvases up to 90cm. two plastic wheels for easy mobility.
It can be positioned in the horizontal,
BesT Classic Dulce vertical and past vertical positions.
This is the standard American
studio easel designed to provide Richeson lobo studio easel BEST Deluxe Lobo
the artist with the most stable unit This “eco-friendly” hardwood easel
at a reasonable price. Its sturdy is fully adjustable and can be used
H-frame construction and laminated horizontally for watercolour work,
base offer superior strength and vertically for oils and acrylic or
stability. It adjusts easily to a tilted forward for pastels. It has a
variety of custom settings for base shelf for storing materials.
working seated or standing and
folds flat for easy storage. The Richeson Basset studio easel
adjustable sliding mast moves This easel has a ratchet system
independently of the canvas tray. for easy canvas height adjustment
and goes past a vertical tilt. The
Richeson ‘lyptus’ Wood easels sturdy base has levelling feet.
Richeson “Lyptus” easels are a
“green” range of easels produced by Richeson suspended “Gallery” easel
Jack Richeson & Co. Lyptus easels This unique piece of painting
are manufactured from the timber equipment can be clamped onto
of a naturally occurring hybrid any larger size studio easel or used
Eucalyptus indigenous to Australia. as a free-standing, wall-mounted
A premium grade hardwood, Lyptus easel. The Suspended Gallery
is grown on highly productive, easel has been designed to hold
environmentally friendly plantations “Gallery wrap” canvases up to BEST Portable Collapsable

45
30 x 40” for easy workability and base with four casters and levelling
allows simultaneous access to all bolts plus two storage trays.
four edges, without a single edge
ever having to touch the surface. Warwick
A lightweight and strong folding
Richeson lancaster A-frame easel aluminium easel ideal for plein air
Artsphere Ideal for students, beginners and work. The reversible rubber feet
leisure painters this easel features double as a ground spike when
a bottom tray for brush and pencil working outdoors. A photographic
storage. A wooden clamping unit tripod twist type lock provides fixing
secures the tray and the bottom canvas for the telescopic legs and a grip type
Warwick holder adjusts on the centre mast. lever allows for positioning to suit
both oil and watercolour painting.
“De pere” field sketching easel
Perfect for plein air painting. This Cornwall
lightweight, aluminium easel has A compact and transportable box easel
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eAsels BY DAleR-RoWNeY incorporates a one drawer cabinet and
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Manufactured from high quality oiled artist bag allowing for easy transport.
Beechwood this very sturdy easel
Cornwall Field has a metal ratchet for adjustable Wimborne
height and can be tilted forwards An oiled, wooden table easel with
or backwards offering a range of adjustable supports. The canvas
canvas positions. The centre pole position can be set to either a
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Includes a shelf for art materials. canvas up to 69cm in height.
Kensington Artsphere
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and watercolour. Constructed from detachable drawing board to move
oiled, stain- resistant Beechwood. in any direction. Easy to operate
Maximum canvas height is 120cm. and manoeuvre while working
on, a solid handle locks the board
Gallery securely in place for applications
Constructed of oiled, stain-resistant such as drawing, painting, modelling
Beechwood, this easel is ideal for and sculpture. The ArtSphere has a
restoration work. It has an extendable small base and a large work surface
Winborne
centre pole allowing canvases up area that can be positioned flat or
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on this easel. The canvas holder
height is adjusted by a crank For further information
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adjustable as well. Pole and canvas www.creativityunlimited.com.au
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52
46 Artist’s
Artist’sDrawing
The DevelopmeNT of The ARTRisTiC eAsel
In June 2008, artist Tony Barber had a physical and mental comfort, their To purchase or for more detailed
theory that he wished to prove before easel and the quality of their artwork. information, contact Genesis
he died. He interviewed hundreds of Lightweight, compact and robust, the Artists Supplies Pty Ltd.
Australian artists of all mediums, skill ARTristic Easel can be repositioned, Ph: 1300 661 165 or
levels and ages about their relationship moved or stored with or without a 07 5426 4685
with their easels. He sketched, wet painting attached. It can take Email: sales@genesisoilpaints.
photographed and filmed them as they multiple sized canvases up to 120cm, com.au
prepared, painted and cleaned up after drawing boards up to 75cm and bring Web: www.genesisoilpaints.
completing their work. As the artists any part of your painting directly to com.au n
painted they were encouraged to talk your brush at any height or angle.
about what they were thinking and Rotate your painting or move it to a Click on
physically feeling. They were asked to horizontal position with a push of the Product
write down a list of any extra features hand. Included with each easel is a Catalogue:
they wanted an easel to have and free appraisal of your art if requested
to include their age and the reasons and two PDF Manuals entitled “Twenty
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Surprisingly, the research material Websites For Artists” and “How To Use
revealed that artists of all demographics QR codes To Sell Your Paintings”.
responded more or less the same and Read what artists say who paint
had no desire to suffer for their art. with the ARTristic Easel:
Realising that traditional easels
were designed at a time in history Gavin Byrt – Award winning artist
when the artists’ physical and mental and teacher, and owner of the Giddy
wellbeing were not a high priority Bullfrog Gallery, Red Hill, Victoria:
and not considered to be an integral “This easel has changed the way that I
part of the painting process but just paint. To be able to rotate the canvas,
something to prop up the canvas, Tony instantly move it to any horizontal or
commenced designing an easel that vertical position and control the flow
would incorporate almost every item of paint as I work is truly amazing”.
on the present day artist’s “wish list”.
Five years and many prototypes Dallas Nyberg – Award winning artist
later, the end result is the and teacher, with a studio in Cowra.
groundbreaking ARTristic Easel. NSW. “My art abilities instantly took
Don’t be fooled by its looks or a giant leap forward. An exceptional
allow tradition to divert you from its easel. I now paint faster with more
merits. This is a serious studio easel creativity and increased quality.”
that works for and with the artist.
The rewards of this partnership takes Nola Clark – Award winning artist.
the “pain” out of painting and proves Australian Pastel Society, Guild of
conclusively that when all physical Realist Artists and Past president of
and visual impediments are removed Ringwood Art Society. “After using the
from an artist’s line of sight, they relax ARTristic easel for just a few days, I
totally. The easel give artists total knew that I would never go back to my
freedom of expression and pinpoint old way of painting. This easel saves
control over their paint, brushes, time and effort, and is easy to use.”
painting arm, fingers, brushes and
canvas, allowing them to paint with Jeff Gilmour – Award winning fine
increased skill, faster and without art painter and teacher, and owner
any loss of quality. Everything about of Crabapple Gallery, Frankston,
their painting experience improves. Victoria. “I am delighted with my
The end results are amazing as they new easel. It was fantastic to be
discover their true potential as an able to paint landscape and upright
artist and confirm that there is a subjects simply by rotating the
direct correlation between an artist’s block firmly fixed to the arms.”
Artist’s Drawing andArtist’s Palette4753

Inspiration
eAsels: A pRACTiCAl vieW… fRom pRime ART
Although every artist seems to start be removed before being adjusted. “A-frame” easels also referred to,
on the kitchen table, sooner or later “H-frame” easels are also more sturdy as “Lyre Easels” are popular because
they will start to look at the possibility and heavier in weight, making them they are generally cheaper and more
of acquiring an easel. A quick trip to ideal for supporting larger artworks. lightweight than “H-frame” style easels.
any art store will usually find a wide They are also good for painters who They also sit neatly in a corner due
range of easels on display. Some are, use techniques that exert a great deal to the single back supporting leg.
cheap, others expensive, some have of pressure or force on the canvas Beginners often start with “A-frame”
three legs, some are large and some surface, because they are much more easels and prime Art has a basic Student
are small. Although it can be slightly stable than other easels. Although Studio Easel that is perfect for the
confusing to the novice, each type of not designed for, “H-frame” easels beginner. A feature is that this easel has
easel has specific qualities that are can fold flat (for storage) but they no central supporting bar, although the
suitable for different types of art. still remain somewhat large and will shelf that holds the canvas is adjustable.
The main purpose of an easel is to require a specific studio space so This makes it suitable for artworks up to
support a painting vertically so the they can live up to their potential. 90cm and best for the child artist, as it
artist can easily reach all areas of the One handy feature of both the has limited height adjustment. All artists
canvas. But what type of paintings Medium and Large Studio Easels is the have to start somewhere and this is the
you do can determine what would inclusion of a double shelf. This small, prefect training easel if you happen to
be the best easel for your needs. but very useful feature enables the artist be the parent of a budding Picasso!
If you paint large or heavy artworks to easily put down brushes or paints Although easels are traditionally
then the Prime Art Medium or Large without looking for a nearby surface. the domain of acrylic and oil painters,
Studio Easel would be a good choice. Another very popular type of easel is prime Art has an interesting option
These are both known as “H-Frame” the “A–frame”. These generally have called a Watercolour Easel. This
easels, simply because the wooden the familiar “A” shape with a single varnished Beechwood finished product
supports form an “h” shape. These supporting leg at the back. They come looks like a cross between a traditional
are both heavy, sturdy, Beechwood in a variety of sizes and styles, and a easel and a fold away camping table!
easels. While most easels offer a slight good choice would be the Prime Art The most unique feature is that it can be
backwards tilts, these ones are both Workshop Easel that can take canvases adjusted to a completely flat horizontal
able to be tilted to a vertical position, as large as 130cm, yet is fully adjustable angle. Therefore, watercolours artists
or even slightly forward if desired. This for smaller artworks as well. It also can paint washes and do wet on
can come in handy for close up work, has an adjustable canvas support with wet techniques and keep the paper
or to simply minimise any reflective a ratchet control to move the shelf up completely flat, as is required to prevent
sheen from surrounding light. The shelf or down to the desired height, and can the watercolour from running. Once
that the canvas sits on also moves up also be modified to change the tilt of the dry, the easel can be adjusted to a more
easily via the key and ratchet system artwork. A unique anti-vibration inner vertical tilt for the addition of small
that does not require the artwork to spring keeps the canvas supported. features such as leaves or delicate
branches. It also has a small base
storage board. Although designed for
Van Gogh Tripod Table the specific needs of the watercolour
Easel Easel artist, the Prime Art Watercolour Easel
can still be used by other artists who
require the flexibility this easel provides.
Portable easels are a unique category
and prime Art has a variety of options
for consideration. They have two
basic tripod style easels, one a Heavy
Duty Tripod Easel and the smaller
Van Gogh Sketch Easel. Both are
made from varnished Beechwood and
feature three retractable legs and a
central bar for support. These easels
only support smaller artworks so be
sure to take into account the size your
canvases when considering either of
Workshop Easel Watercolour Easel Sketch Box Easel Medium Studio Easel these. Both are suitable for using as
54
48 Artist’s
Artist’sDrawing
Small Table
Box Easel
Student
a display stand if necessary. Once Press the canvas with the same Easel
again, check that the size and weight force you would a brush. Is the
of your display items are suitable. easel stable enough for you? Would
If you are after an all-inclusive the stronger H-Frame Prime Art
options that includes a small easel and Studio Easel be a better choice? Table Box
storage space for a few brushes and Are you after a table top easel? Easel
paints then the answer could be the The same process above applies
Prime Art Sketch Box Easel. It features and you should check that the easel
a “French Box” style easel with a will not side across the table under Miniature
wooden palette and aluminium tray the force of your brush/pencil. Display
with adjustable dividers. The top of How much room do you have a Easel
the French Box slides up to an angle home to store/use the easel? How
and has a supporting lid to hold the big will it be when folded down?
canvas. Three tripod legs with adjustable Do you sit or stand when you Easel Bookstand
heights can be easily retracted and paint? Does the easel allow you
clipped into the side of the box for to move the height of the canvas
easy transport and storage. This all-in- to accommodate for this?
one option works best for painters of Do you like the angle of that the
small artworks who like to work with canvas sits at? If not, an easel with an
a limited amount of art materials. adjustable angle such as the Prime Art
If you are the sort of artist who does Workshop Easel could be the solution. Cezanne Box Table Easel
small artworks and only really ventures Are you buying for a child? Think
as far as the kitchen table then the cheap and practical, with a minimum
Cezanne Table Box Easel could be the of features that may pose a potential
one for you. It has a small easel attached threat to small children, such as the
to a wooden case with a slide draw for Prime Art Student Studio Easel.
storage. This easel can hold a canvas Are you a traveling artist? If yes, then
up to 85cm in height. prime Art also do you only take a small amount of artist
have a Small Table Box Easel if you are equipment with you? If you do, then a
after a smaller version of this product. Prime Art Sketch Box Easel is a strong
Displaying small artworks on equally contender as it has its own little case
small easels can create an artistic and built in with the easel. However, if you
H-frame Table Easel Lyre Studio Easel
decorative look. prime Art have three take a lot of products on your painting
pine triangular Compact Table Easels treks then you easel needs to be as light paint splattered and worn it becomes,
and one Beechwood Square Table as possible, like the Prime Art Van the better it looks because it shows a
Easel/Bookstand that can fit easily on Gogh Sketch Tripod Easel. If you are little bits and pieces of your painting
shelves, mantelpieces and coffee tables. after a separate case for your paints then history. In a few years your easel can
The square option is also suitable for the Prime Art Carry Box has divided become a bit like an artwork itself.
books, and looks great in a kitchen with compartments in a wooden briefcase- All these easels are available at
a favourite cookbook on display. There style case with a soft carry handle. stockists of prime Art products. You
is also a smaller H-Frame Table Easel Do you want just a lightweight easel may also find that many of these easels,
option if you require compact yet sturdy for display purposes only? Look at the particularly the larger versions, require
option. It holds a canvas size up to 56cm Prime Art Van Gogh Sketch Tripod some form of assembly. Although this
and has an adjustable centre beam to Easel. If it is too lightweight, then may sound daunting, bear in mind that
hold your artwork securely in place. check out the Prime Art Heavy Duty the task is quite simple if take your
If you are not sure what easel is Tripod Easel. The soft wood grain and time and read the instructions. As a
best for your needs, take a canvas varnished Beechwood finish of both general rule, the larger the easel, the
about the size you use to an art easels is neutral enough to fit in with any more assembly may be required. If
store or ask to borrow one in stock. décor, and both are reasonably priced. you’re not up to the task then be sure
Place it on various easels and ask So while the selection of easels is vast, to ask at your place of purchase if they
yourself the following questions: the best way to find the perfect easel could put it together for you. A small
Does the easel support the is to make an educated purchase and fee may be involved but this may be
size of the canvas? Do you put it to the test. A good easel can be a worth it depending upon the height your
need to go larger/smaller? once in a lifetime purchase, and more level of assembly/patience skills! n

49
I N S I G H T
Carol Coventry
A Passion for Pastels

Discovering pastels started a love affair that renewed this artist’s
passion for Australian landscapes and seascapes.
Evening at the Port

I N S I G H T
C
arol was born at Mt. Pleasant
in the Adelaide Hills in
1951. She loved drawing and
painting at school but it was not until
1979 that she began taking art classes.
Having been a Veterinary Nurse prior
to marrying, she loved painting animal
portraits, especially cats, first of all
using oils and later working in pastel
and acrylics. She regularly exhibits in
the cat exhibitions held by the Pepper Point Wellington, Elliston, SA
Street Gallery, Magill, South Australia.
These exhibitions are held about every
two years during the Fringe Festival in
February, and the last one was held
in 2013.
She inherited her artistic genes
from her mother but didn’t put them
into practice until after her two sons
were born. She painted in oils for
quite a few years then moved on
to watercolour and pen and wash,
painting old buildings which she
particularly enjoyed. In 1998 she felt
she needed a new direction, and this
was when she was introduced to the
vibrancy of pastels. This began a real
love affair that renewed her passion
for the Australian landscape and
seascapes, as pastel enabled her to
capture the beauty and drama she had
long wanted to do. True Blue
Carol and her husband Ray
have travelled many thousands of
kilometres in their 4WD to access
many out-of-the-way locations to
capture that perfect scene. Carol has
been successfully winning prizes in
many local art competitions, and her
paintings can also be found in many
parts of Australia, New Zealand,
Canada, USA, England, Germany,
Japan and Asia.
In 2007 she relocated to Goolwa
on the Fleurieu Peninsula where the
River Murray meets the sea, as she
wanted to be closer to the ocean and
the sand dunes of the Coorong, two
subjects that she particularly loves
to paint. She says, “There is nothing
more stimulating than rising early of
a morning and trekking down to the
Sir Richard Peninsula and waiting for Pick Me, Pick Me
the sun to rise in the dunes. Watching
Artist’s Drawing Artist’s Palette

and Inspiration 27
51
I N S I G H T
the wildlife living in the dunes and

walking over to the ocean when no one
else is in sight is the most uplifting
feeling”. She takes hundreds of photos
and returns to her studio to try to
recapture what she has experienced
during the morning.
She had a lifelong dream to live
closer to the coast and finally it has
been realised. As a young child her
mother would take Carol and her sister
A day at the beach and brother to Brighton Beach for the
summer holidays, so it is quite likely
that childhood memories have drawn
her to the sea. Her home and studio is
actually only a stone’s throw from the
River Murray.
It is a common sight to see Carol
and her dog Zoot (a Lurcher) set
off from home at 5.30am, camera
bag slung over her shoulder, going
for a morning walk along the river
to watch the sunrise. Zoot quickly
learned to be patient and still when
the camera came out of the bag,
also not to step off the side of the
many little jetties (after ending up in
the cold water one morning). After
moving to Goolwa she built her own
studio/gallery at home, calling it the
Sand Drift Gallery, and it is open
most days.
Coorong Tussock She joined the Pastel Artists of South
Australia when it began in 2001, being
active on the committee for several
years and exhibiting regularly with the
group. In 2005 she won Best in Show
and won the Gold Medal award with a
painting of the coast at Elliston on the
Eyre Peninsula.
Most of the prizes Carol has won
are since she began working in pastel,
but she still enjoys working in acrylic
and drawing in graphite. When
pastelling she works on a variety
of paper surfaces including Canson
Mi-Teines TEX, AS Colour Fix, and
Canson pastel paper, but her very
favourite surface is Fisher 400 that she
buys from the UK. Fisher 400 only
comes in a sandy tone and so therefore
doesn’t suit every scene, but she likes
the darker tones in the other papers,
Pink socks
particularly the dark blues.
28
52 Artist’sDrawing
Artist’s Palette and Inspiration
I N S I G H T
Pelican Waltz
The pastels she most commonly

uses are A.S., Rembrandt, Unison,
Schmincke and Windsor & Newton
(which are no longer made). A.S.
seems to be one of the few companies
that makes a deep purple called
Flinders Blue Violet, which is ideal
for blocking in any dark areas and for
shadows. She very rarely uses fixative
as she says it seems to deaden the
colours and therefore loses the fresh
vibrancy of pastels, instead, when the
painting is finished, she prefers to
place a piece of butcher’s paper over
the picture and, using a hard rubber
roller, pushes the pastel into the paper,
making it much easier for framing as
there is no loose pastel falling off onto
the mat board. Fixative however can
be useful to give your paper a bit more
tooth, and she has discovered that
some very soft pastels almost curdle
when heavily sprayed, thus giving the
perfect effect of lichen on rocks. She
says Schmincke pastels are ideal for
this method.
Carol keeps a variety of aids in her
painting kit, explaining that a pack
of cheap disposable latex gloves are
Tabby Cat
ideal for blending, along with cotton
Artist’s Drawing Artist’s Palette

and Inspiration 29
53
I N S I G H T
Yellow Footed Rock Wallaby In the Meadow
buds or tissues, and for really large point with a blade, and most of it ends • 2010 Overall Winner:
areas an old sock makes the perfect up in the bin. Murray Bridge Rotary Art Show
blending aid. Having pastel pencils When she finds herself getting too • 2009 Finalist: Heysen Landscape
comes in handy for drawing fine work bogged down with detail she takes Art Prize
like reeds or small fiddly objects like her glasses off and is able to just see • 2007 Finalist: Heysen Landscape
cats whiskers, or even for signing your shapes and tone. Art Prize
work. They are best sharpened with • 2006 Finalist: Heysen Landscape
a blade and then the pastel portion AWA R D S Art Prize
ground down with sandpaper stuck • 2013 Finalist: Fleurieu Landscape • 2006 Winner: Clare Rotary Art
onto a thin piece of board or even a Prize – Water & Environment section Show, Pastel section
sanding block. Too often the pastel • 2012 Major Prize Winner: Flagstaff • 2006 Royal Adelaide Show Art
breaks when you try to sharpen it to a Hill Rotary Art Show Purchase, many awards including
Coorong Sand
Scrubby Track Evening Sand Drift Coorong Sand

I N S I G H T
People’s Choice
• 2005 Finalist: Heysen Landscape
Art Prize
• 2005 Winner: Clare Art Show,
Pastel Section
• 2005 Best in Show: Pastel Artists
of S.A. Inc
• 2005 Winner: Bird Section Pastel
Artists of S.A. Inc
• 2005 Winner: Seascape Section
Pastel Artists of S.A. Inc
• 2005 and 2002 Merit Awards: Anxious Bay, Elliston
Port Adelaide Art Show
• 2004 Winner Overall: Jamestown
Art Show
Art Prize
Art Prize
Art Prize
Art Prize
• 2001 Winner: Campbelltown
Art Show, Heritage section
• 2000 Finalist: Fleurieu Landscape
Prize
• 2000 Major Prize Winner:
Victor Harbor Rotary Art Show
• 1999 Winner: Tea Tree Gully
Art Show, works on paper
EXHIBITIONS AND Greeting a New Day

GALLERIES
• Greenhill Gallery, North Adelaide
• Hahndorf Academy, Hahndorf
• Pepper Street, Magill
• Tomlinson’s Gallery, Adelaide
• Gallery M, Marion S.A.
• Lombard Gallery, Magill
• Artworx Gallery, Goolwa,
• Porter Street Gallery, Goolwa
• Neagle Rock Gallery, Clare
• Old Mill Gallery, Tanunda
• Adelaide Wine Centre Adelaide
Carol’s contact details:

Ph: 08 8555 5656
Email: contactme@carolcoventry.
com.au
Web: www.carolcoventry.com.au
18 Richards St,
Goolwa, SA, 5214. Mundi Mundi Plains
and Inspiration
Palette 31
55
Pastels
The Beauty
of the Sea By Carol Coventry
Using pastels, the artist conveys the magnificence

and freedom of the ocean.
FINAL STEP
32
56 Artist’s
Artist’sDrawing
STEP
STEPONE
ONE STEP TWO
STEP ONE use various shades of Turquoise and shadows, and whilst I have that pastel
Always get your horizon straight on the Phthalo Blue to give depth. For the in my hand I put it in the foreground
paper first, lightly sketch in using a Red white of the waves I use a Schmincke also. The cliffs on the left are a mix
or Purple Conte, it adds interest if some White as it really is one of the very few of Unison Caput Mortuum shades; I
of it still shows through at the finish. whites that will sit on top of the other find Caput Mortuum is a colour I use
colours and give the wanted effect. widely in my paintings. The foreground
and the cliffs have similar colours, so
STEP TWO I work on them both at the same time.
I prefer to start at the top so as not STEP FOUr
to smudge what I have already I like to put the darks on first using
worked on, and also if any pastel A.S. Flinders BlueViolet, it gives lovely STEP FIVE
floats down, it doesn’t contaminate
work already finished. The sky is a
mix of Ultramarine Blue, Flinders
Blue Violet X520, Bordeaux and
White. Sometimes I smudge it in
whilst wearing a latex glove.
STEP THrEE
The sea should contain similar colours
to the sky as it reflects the sky. The
horizon line is often darker, and I
M AT E r I A L S
• Paints: Ultramarine Blue,

Flinders Blue Violet X520,
Bordeaux, White, Turquoise,
Phthalo Blue, Schmincke White,
A.S. Flinders BlueViolet, Unison
Caput Mortuum, Gold Ochre,
Yellow Ochre, Rembrandt
Mars Violet, Schmincke
Crimson Lake, Bright Purple
STEP THrEE
Artist’s Drawing andArtist’s Palette5733

Inspiration
ArTIST’S HINTS AND TIPS

For pastellers • Start with your mid tones, and liquid form and applied to paper,
• There are several choices of paper then go lighter or darker. cardboard etcetera, or even a
in a variety of colours, so choose • Use your hard pastels first, soft failed watercolour; this puts a
a colour to enhance your work. pastels will sit on top, it won’t work “tooth” on for great pastelling. It
Tex and Canson are my choices. the other way round. Schminke comes in a variety of colours or
• Make a road map in Orange pastels are very soft and more clear, inks can be added to create
or Red Conte before starting expensive, but they are brilliant your own colour or add acrylic
your pastel work. for doing the final touches, paint for a personalised tint.
• Dark areas can be under painted especially the white if doing a • If you like to blend your pastels,
with black drawing ink if seascape and capping the waves. try wearing a rubber or latex glove,
working on Tex paper; this will • You can use a fixative to prevent as this keeps your fingers clean
make your pastels “sing’. smudging, or even spray to and gives a nice smooth blend.
• Don’t be too heavy handed with keep layers on your work, this • For small blending areas
your pastels, try to just caress will dull your colours off, and use a cotton bud.
your paper, if you have too much it takes away the “bloom”. • Make your own pastels. When you
pastel on the paper brush it off • The alternative is to roll your find you have lots of pastel dust,
with a bristle paint brush. work, cover with a piece of particularly in the same colour,
• Pastel can be used in many ways, butcher’s paper and roll with a mix it with tiny amounts of water
either on the side after removing the rolling pin, a flat sided bottle or and roll into a shape like a pastel
paper cover or as a drawing tool; a hard rubber roller. Be careful stick; allow to dry on a tissue or
there is no right or wrong way. to hold the paper down whilst paper towel. This method is useful
• Pastel is good to recover a rolling, otherwise it can smudge. if you find you have lots of little
failed watercolour painting. • Colourfix can be purchased in bits that you can no longer handle
I realise that the sea can be seen The grass will be left until last as it When I’m drawing long grass, it is
through the grasses, on the left, has to come in front of everything, easier to turn my page upside down
so I make sure that is completed and I use a variety of gold and and, using a pastel pencil sharpened in
when the cliffs are finished. yellow ochres with a Rembrandt a chisel fashion, pull the pencil down
Mars Violet to create shadows. to finish in a nice point rather than try
For the grasses I use the darkest of and draw it up. Often the pastel pencil
STEP SIX Caput Mortuum for the base and heavy also helps to pull some of the thicker
I now only have the limestone areas, also dark green and lighter pastel with it and drag it further along
foreground and the grasses to finish. greens as the grass grows longer. the stem, giving a more even effect.
FINAL STEP
Turn it back the right way, touch up
the small plants by adding a touch of
Schmincke Crimson Lake and a bright
purple - never miss the opportunity to
use purple in your painting whether
it is there or not as it adds that extra
bit of vibrancy. At this stage I would
put it to the back of my easel and
revisit it in about a week or so, then
I would sign it and it is finished.
Carol’s contact details:

Ph: 08 8555 5656
Email: contactme@carolcoventry.
com.au
Web: www.carolcoventry.com.au
18 Richards St,
Goolwa, SA, 5214.n
34
58 Artist’s
Artist’sDrawing
or if horror of all horrors you drop

your pastels and have lots of bits,
I have seen this happen regularly.
Buy a mortar and pestle to crush
up bits of pastel to make a fine
powder, don’t put too much water
in the mix, and use an eye dropper,
as you can’t take it out again.
Try to make the stick relatively
thin, this dries much quicker.
• Pastel pencils are useful; sharpening
can be easily done by attaching
a piece of coarse sandpaper to a
piece of MDF board or similar,
removing the excess wood outer
and carefully sanding the pastel
inner on the sandpaper. Often
trying to sharpen the pencil results
in the pastel breaking before a
reasonable point can be obtained.
• Make sure you include a
colour from your background
in your foreground.
STEP SIX

59
I N S I G H T
Corrina McLaughlin
Delving Deep
Finishing her art degree later this year, this artist puts her
heart and soul into her work.
A
rt is always something that definitely going to university to study as I could in Year 12, I applied for a
I have just done since I was and continue as my career. During few different universities and chose
a kid. I knew from primary high school it was the main subject to study at the University of Southern
school that it was something that I was that I actually cared about and as soon Queensland in Toowoomba. After the
56
60 Artist’s
Artist’sDrawing
I N S I G H T
first semester, life got in the way as and sadness that come with my eldest going to day care and becoming more
can happen, and after having my eldest daughter living with her father and not independent, I decided it was time to
daughter and moving a few times, having contact. At this point I started do something for myself.
changing my life; art did not have trying portraiture, which I had never I knew it was time to go back to
a real strong presence in my life. I really done, so it was hit and miss with university to finish the degree that I
would do bits here and there, but they what worked and what didn’t. had started. It was a very different
always ended unfinished and bad. After having my second child, I experience going back, as I had
After meeting my amazing husband continued to work on portraiture, with become more mature within my
and falling pregnant with my second my daughter being the main focus thinking and my art process. It was a
daughter, it was then that I felt I had within my work. When my daughter good experience having feedback from
to express the emotions, frustrations was around two years old, and she was the lecturers on my work on how to

I N S I G H T
58 Artist’s
62 Drawing
I N S I G H T
improve. Through the last three years were to do with child abuse and the journey of discovering what it is I
of constantly having to focus on what fragility of children, the idea of home actually believe in, but also a way of
I wanted my work to say, it was hard and what it means to return home, and reaching out to society to bring more
to actually develop a final concept also the idea of faith and belief within of an awareness of what having a faith
that worked for me. Sometimes the todays’ society - which is the one that and belief is. Within this project I have
development was hard going through I am currently working on. addressed a number of different issues
stages where pieces did not work and The idea of faith is important to me relating to faith within religion. These
some of the themes I choose were not as I am a Christian within an Anglican include the struggles that one deals
strong enough to carry through. Church community. I chose this for my with on a daily basis, the trepidation,
I have looked at many different final project at university as it is very and the questions which arise from
themes throughout my art career, some meaningful to me and also somewhat living within today’s society. To
of the more important ones personally of a mystery. This is partly a personal convey this, I used a variety of images

63
and techniques within the work itself;
this ranged from painting, portrait
drawings, and mixed media prints.
I have always used different
mediums within my artwork, kind of
like going through different phases.
I did first start with more painting
with acrylic paints. I like doing mixed
media as well, as for me it allows
more freedom for me to just let loose
and create without too much thinking
because if it doesn’t work I can just
cover it over!!! In the last few years
I have tended more towards drawing
graphite portraits. I found with doing
portrait I felt I am more able to convey
what it is I want to say to an audience,
plus also to express personal
struggles and meanings. I also
like using pencils, either colour or
graphite, as they give an immediate
outcome within a work of art.
I have only had work shown in
a few exhibitions, mainly during
my time doing studio practice at
university. I have had prints included
in portfolios with other students in
2011 and 2012, which have been
exchanged with a few different
universities including University of
Southern Queensland, Toowoomba;
Curtin University, Perth; The National
Art School, Sydney; Tasmanian School
of Art; RMIT University, Melbourne.
I have also had two paintings in the
Guild Exhibition at the University of
Southern Queensland in 2012. The
most important exhibition I have had
so far would be GraduArt, which was
held at the University of Southern
Queensland, and also Toowoomba
Regional Art Gallery, 2012. With this
exhibition it was a combination of
a year’s work on the theme of faith
working over two semesters, and this
Pencils
Behind Closed Doors

Corinna McLaughlin
From selecting
a photograph
until the artwork
is finalised,
this artist takes
meticulous care
through every
step along
the way.
M AT E R I A L S
• B, 4B, 6B Faber Castell pencils

• Rubber
• Ruler
• Tracing paper
• Fixative
• Transparency sheet
• Blending stump
• Arches 300gsm rough
FINAL STEP watercolour paper
62
66 Artist’sPalette
NE STEP ON
STEP O E
STEP ONE I get halfway through a drawing/ especially when enlarging images.
My first step is to always seek the artwork and either do not know what I do a one centimetre grid on the
reference photo or photos/images to do, or the artwork doesn’t work. reference photo – which I usually do
from which I will work. There on a transparency sheet so I can reuse
are a few different sites on the it to make it easier, and then draw a
internet that offer reference images STEP TWO grid on the paper matching the number
for use, either for a fee or free. I also Preparation of the paper and reference of squares between the two. In this
find it easier to have a plan for the photos. I use a grid to draw the drawing I am enlarging by 3, so on
whole work, otherwise I tend to find outline to get the proper proportions, the paper the squares are 3x3cm.
67
STEP TWO
STEP THREE Artist’s Palette 63
STEP THREE
Draw an outline of the image onto
the paper using the grid.
STEP FOUR
This is where I start to shade, generally starting
towards the left hand side because I am right
handed. I always have a piece of tracing paper to
lean on, over the paper to help stop smudging and
dirty marks. Because the background is black I
will also leave it until last to help stop smudging.
STEP FIVE
Now after shading in the girl, I will now do
the background. With this I used a 6b pencil
and a blending stump, doing one section
at a time, and cleaning with the white door
frame as I go with a rubber. I also sprayed the
piece with fixative to help stop smudging.
FINAL STEP
STEP FOUR After completing the background, I sprayed it
all with the fixative, and then ruled the lines on
for the screen on the door. After completing the
screen, I went once more over the white door
frame with a rubber to clean it up then sprayed
one last time with fixative. Now it’s finished.
ARTIST’S HINTS
AND TIPS
• Some photos just don’t work for drawing/

reference. It is best to have multiple
photos/images to use as reference,
both in colour and black and white.
• I prefer to use a thicker rougher paper
as I find that it adds more texture to
the drawing. Plus I also find that the
graphite sits better on a rougher paper.
• Find graphite pencils that you like.
I find that different brands draw
differently. I prefer Faber Castell as I
have found that they have been the most
consistent across individual pencils.
STEP FIVE
64
68 Artist’s
Artist’sDrawing
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I N S I G H T
Ann Russell
The Issue of ‘Style’

By Trevor Lang
A background as a commercial artist led this talented Queenslander to feel that

she may have been tainted with an ‘illustrative’ style. Today, her fresh view of
the world and her painterly pastel works emphatically dispel her concerns.
42
70 Artist ’s Drawing
I N S I G H T
P
rofessional artist Ann Russell began her
career as a high school art teacher, before
switching to commercial art for ten years.
Some time after the birth of her children she found
herself disenchanted with her work. A decision was
made to return to the arena of fine art.
“Some years ago, I took up painting seriously
again,” Ann relates. “But I spent quite a long time
trying to rid myself of the illustrative style I had
developed as a commercial artist … a style which
gallery managers found less than impressive.”
Ann Russell believes that the commercial and fine
art worlds are not easily compatible in philosophy,
and ‘style’ became a huge issue for her.
“There seemed to be a very definite right and
wrong,” she says. “And mine was apparently wrong.”
Ann was encouraged by the material published in
Artist’s Palette magazine – ‘encompassing, as it does,
every imaginable style and embracing each as art’.
She also found comfort in reading Julia Cameron’s
‘The Artist’s Way’, which strongly encourages art as
a spiritual exercise and supports the idea that we are
all artists of one type or another. From Julia’s book,
Ann gleaned the philosophy that ‘if you just show up
and do the work, and allow yourself to make bad art,
then the good art will eventually follow’.
Three years ago, Ann agreed to teach community
art classes – inheriting the role from one of her
friends who was moving away.
“As a former art teacher, this was easy for me,”
she explains. “I really wasn’t expecting to love the
work, though.”
Ann soon discovered that the work was more
than satisfying for her, and she had a real affection
for the topic and the people who came to learn
from her.
“What I love the most is watching people who
are actually quite frightened when they first come
– afraid of failure and criticism,” Ann says. “I love
to watch them developing confidence in their own
abilities; and growing a passion for creativity, with
an almost missional zeal in their approach to
giving things a go.”
She goes on to describe an important shift in her
own views about art, which has perhaps been the
turning point in her attitude towards her own
artistic work.
“I now passionately believe that art is not
something that should be reserved for the gifted
few. It is not a mysterious ability that we have
either been blessed with or not. All visual art
techniques are teachable and therefore learnable …
it is what artists put in of themselves that makes
their individual efforts original and unique.”
Artist’s DrawingArtist
and ’s Palette
Inspiration 471
3
I N S I G H T
Ann Russell teaches from the As a consequence, Ann does not who attend my classes and workshops
viewpoint that people can have access agree with teaching art as a ‘style’ … each year. My approach is always
to whatever she knows in order to and she does not support the concept positive. I give advice and tips, but
equip them to produce the art they that ‘he who sells the most work for never criticise.”
need to make. the biggest bucks wins’. Ann Russell has a string of
“I do not have to worry that students “The therapeutic value of art is its qualifications in art and art teaching,
may become better than me (and I inherent and most important quality, together with a list of awards and
know of teachers who always keep which everyone should have access commendations for her work. In
something back to ensure this doesn’t to,” she maintains. “This is what I try recent years her pictures have been
happen) because they will always be to impart to my students; not just the featured in several solo and group
different to me,” she explains. adults, but also the 100 or so children exhibitions in south-east Queensland.
She has also received some
commissions.
A staunch supporter of Artist’s
Palette magazine, Ann speaks about
our publication in glowing terms.
“I recommend your magazine to
my students because it completely
underlines what I am trying to get
across … in order to qualify as an
artist, you just have to make art.”
In summing up her views on artistic
style, Ann Russell has this to say:
“My emphasis is always on
process rather than product – I
believe that everyone is creative;
and I believe everyone can use art
to express their ideas.”
Ann’s clever ideas are beautifully
expressed in pastels these days …
in a style which is truly her own. ■
44
72 Artist ’sDrawing
Pastels
Sunset Serenity By Ann Russell
Colour and light are keys to the succes of this rich pastel work, which strives
Colour and light toare keys to
display thethe successtrademark
medium's of this rich pastel work,
luminosity.
which strives to display the medium’s trademark luminosity.
FINAL STEP
F
or me, pastel painting is about STEP ONE use wildlife in my work, I try to create
colour and light. I like to use Once I have chosen my subject (in this a mood or use an animal symbolically.
dashes of bright and unexpected case a seagull), I try various design In this case, I wanted to create a
colour to create the luminosity that layouts and colour schemes. I often feeling of peace and serenity and I
pastels are renowned for. I tend to build use the computer to help me quickly chose warm, rosy colours to do this.
layers – as many as 15 – and use a lot of Final
alter the colour of thestep
photographs I A design with a good deal of space in
different saturations of the one colour. am working from. Although I often front of the bird will also enhance this.
46 Artist ’s Palette Artist’s Drawing and Inspiration 73

Pastels
Colour and light are keys to the success of this rich pastel work,
step one step two
M at e R i a l s
• Blue Grey Colourfix Paper. (Tint 3); Indian Red (Tints 2 and
• Pastels: Phthalo Blue; Indianthrene 4); Scarlet Mortuum (Tint 4);
Blue (Tint 3); French Ultramarine Quinacridone Violet (Tints 2, 3
(Tint 3); Winsor Blue Red Shade and 5); Flinders Red Violet; Silver
(Tints 1 and 3); Cerulean Blue White.
(Tints 1 and 3); Madder Lake Deep; • Workable Matt Fixative.
Spectrum Red; Permanent Alizarin • Set of 24 Derwent Pastel Pencils.
Crimson (Tint 5); Winsor Violet White Compressed Charcoal.
Dioxazine; Quinacridone Magenta; • Compressed Paper Torchon for
Vermillion (Tint 3); Scarlet Lake smudging in fine detail areas.
FINAL STEP
F
or me, pastel painting is about STEP ONE use wildlife in my work, I try to create
colour and light. I like to use Once I have chosen my subject (in this a mood or use an animal symbolically.
dashes of bright and unexpected case a seagull), I try various design In this case, I wanted to create a
colour to create the luminosity that layouts and colour schemes. I often feeling of peace and serenity and I
pastels are renowned for. I tend to build use the computer to help me quickly chose warm, rosy colours to do this.
step
layers – as many as 15thRee
– and use a lot of alter the colour of the photographs I Astep
design FouR
with a good deal of space in
46
74 Artist ’s Drawing
Pastels
Colour and light are keys to the success of this rich pastel work,
step Five
step six
aRtist’s hints anD tips

• If you are just starting out with • If you are working with a layered
pastel, buy a set of 24 or 36 approach, leave your final layer
colours and expand your collection unfixed to keep the colours vibrant.
from there.
F I N You
A L will
S Tprobably
EP find • Due to their fragility, pastel
that you use more white than any paintings are best preserved under
F
other colour over time, so stock up glass. When you are having pastels
or me, pastel painting is about when you S Tcan.
EP ONE use wildlife
framed, ensureinthatmythework, I tryleaves
framer to create
colour and light. I like to use Once I havewith
• Work chosen my subject
a damp (not wet)(in this aagutter
moodbetween
or use an theanimal
matt andsymbolically.
the
dashes of bright and unexpected casecloth
a seagull),
next toI you,
try various
so that design
you can In this case,
painting I wanted
for pastel todrop
dust to create a
colour to create the luminosity that layouts and colour
regularly schemes.
wipe your I often
fingers. This feeling of
between. peace this,
Without and serenity
the pasteland I
pastels are renowned for. I tend to build use is
theespecially
computernecessary
to help me if quickly
you are chose
dust willwarm,
fill therosy colours
bottom to frame
of the do this.
layers – as many as 15 – and use a lot of alterusing
the colour of the photographs
your fingers to smudge with.I A designthewith
between matta and
goodthedeal of space in
glass.
46 Artist ’s Palette Artist’s Drawing and Inspiration 75

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the light and knowing how to use it as

Smokey Cape – pencil

Jess – pencil Early Morning – pencil

I have a story to tell – pen

16 Artist’s Drawing and Inspiration

• Paper: For this demonstration I

Artist’s Drawing and Inspiration

STEP THREE STEP FOUR STEP FIVE

STEP FIVE with a mechanical pencil to STEP SIX

STEP SIX STEP SEVEN

STEP EIGHT STEP NINE

STEP TEN STEP ELEVEN

STEP TWELVE STEP THIRTEEN

Artist’s Drawing and Inspiration

Homage to Beauty By Robyn Hughes

I have also expanded into acrylics and

waiting to make their way onto paper

surroundings in which they are placed;

Artist’s Drawing Artist’s

The Guardian By Robyn Hughes

• Art Spectrum Colourfix Paper – Burgundy colour.

Artist’s Drawing and Artist’s

grass and more detail on the elephant’s face and trunk. I

ARTISTS ARTISTS ARTISTS ARTISTS

d r A w i n g & i n s P i r At i o n d r A w i n g & i n s P i r At i o n d r A w i n g & i n s P i r At i o n d r A w i n g & i n s P i r At i o n

Issue 9 Issue 10 Issue 11 Issue 12 Issue 13 Issue 14

Artist’s Drawing and Inspiration 27

• Strathmore Bristol paper 300

STEP ONE STEP TWO

Artist’s Drawing and Inspiration 29

STEP FOUR STEP FIVE

Warrawillah Cattle 2006.

drawing them from the age of three.

Artist’s Drawing and Inspiration

on a stall or car boot to get my work

Platypus Haven - Warrens Crossing, Lansdowne. The Golden Unicorns..

hearts of all who view my art. My other

I can be contacted via my website.

Artist’s Drawing and Inspiration 35

For this demonstration I

• Art Spectrum Colourfix

STEP ONE STEP TWO STEP THREE

STEP FOUR STEP FIVE STEP SIX

Artist’s Drawing and Inspiration

STEP SEVEN STEP EIGHT STEP NINE

STEP TEN STEP ELEVEN STEP TWELVE