Indholdsfortegnelse for Volume 12 Issue 4 i Artists Back to Basics

A lifetime engaged with music and art. I first thought about becoming an artist when I was about 9 or 10 years of age. I grew up in the Perth Hills where there was a strong arts community, with people like Guy Grey-Smith, Robert Juniper, and George Haynes around. My parents were interested in art and that had a strong influence on me. My parents had several friends who were artists and I thought it seemed like a good life. I remember that there was a book of Leonardo da Vinci drawings in the house which I tried to copy. I also played the guitar, and at about the age of 14 I heard Jimi Hendrix and was blown away. After high school I went to art school in Perth…

STEP ONE Drawing: With this subject it was important to get the drawing correct so I took my time and related every line to another, mentally measuring distances and angles as I went. Gradually the lines fitted together and my subject was ready to be painted. I turned the paper over and wet the underside to extend the drying time. I don’t stretch my paper. I find that wetting the back, letting the water soak in and taping the paper down with masking tape will keep the paper flat, without any cockling, for a couple of hours or more. This method provides plenty of time to get my initial washes down and work back into them if I need to before the paper starts to dry out. STEP TWO Initial…

Composition This painting was a commission with a size restriction. The clients had seen my work at an exhibition and told me they liked the red dress, blue and white porcelain, native flora and the enamelware I used. With the size restriction and the size of the red dress I felt this horizontal format would work best. Transferring the Drawing Starting with a drawing on paper gives you more control over the work. It is worth spending time getting the composition right before adding further complications with paint and colour. Once the drawing on the paper is right, I transfer it to the support, making sure it is positioned properly on the support. I transfer the drawing using tracing paper with charcoal on the back, which I then fix with…

I photographed this scene on a trip to Echuca. I have always been inspired by the majestic gums on the Murray River and the historic port of Echuca. STEP ONE I started with a drawing on layout paper and transferred it to Arches 340gsm hot press paper. The reason for the use of layout paper was so I would not to rub out my final art work (the surface of the paper gets damaged by erasing mistakes). Next, I marked out the highlights on the pier and gum trees with masking fluid. STEP TWO I dampened the whole sheet with a spray and, using a Number 12 Raphael, I washed in the sky and water using a very light wash of Cobalt Blue. At the same time, using a Number…

I have always had an affinity with the iconic Australian Swaggy! Having been fortunate enough to have seen one or two in “real life” many years ago whilst travelling the outback of Australia with my family, I have painted quite a few scenes depicting this colourful character over the years forming my “Swaggy series”! I was told a story once by someone (I can’t recall who) who remembered that as a child growing up on a farm they had many visits from the Swaggy’s, who for a hot meal and somewhere to sleep would do odd jobs around the farm. After a few days or weeks they would move on to the next place leaving a little sign for the next weary traveller that this farm was a good place…

Everybody’s looking for it. Everybody’s trying to create it. It means something different to every artist and every art lover. It is the indefinable intangible. The magic bit. Let’s throw caution to the wind and explore the concept despite its implied elusiveness. It’s not something that can really be nailed down specifically to any particular aspect or element in any given artwork. Let’s face it there are vast amounts of finished artworks out there without much at all in the way of magic bits of any kind but everyone’s got to start somewhere and even if you never do paint a masterpiece at least you’ll have a lot of fun trying. I really believe there are three distinct elements to any artwork. You need all three to attain “magic-bit-ness”. The…

The Workshop Arts Centre is an independent not-for-profit art centre and workshop facility which was established in 1961 to promote and foster appreciation of the creative and visual arts. The Ewart Gallery, housed within the Workshop Arts Centre, was named to honour the founder Joy Ewart. The gallery, officially opened in 1996 by artist John Coburn, is a space where the work of emerging and established artists is exhibited. Through this gallery the Centre aims to encourage and stimulate interest in different art disciplines by promoting the work of local artists, as well as artistic groups and organised bodies in the wider community. The Workshop Arts Centre with its integral Ewart Gallery is located at 33 Laurel Street, Willoughby NSW 2068. Email admin@workshoparts.org.au – or telephone 02 9958 6540. The…