Indholdsfortegnelse for Volume 14 Issue 2 i Artists Back to Basics

The main considerations when choosing the right camera for you include the final output and overall quality, camera size and portability, the requirement for extra lenses, low light capability, the cost of the kit, and your area of interest, amongst other things. We have listed the main categories below to help assist your decision and a few notable cameras in each series. Digital camera technologies have advanced quickly and continue to do so. Every new model of camera sees better image quality and more features generally at a lower price. Technically speaking, resolution and overall image quality has well and truly surpassed that of 35mm film. Advancements in low light performance and digital specific features have created a market of advanced cameras that have very capable manual and automatic modes.…

I work with a basic limited palette of primary colours, three warms and three cools. WARM Cadmium YellowCadmium RedFrench Ultramarine COOL Cadmium LemonPermanent RoseCerulean Blue The six colours will make a minimum of 450 colours. Painting a colour chart is an excellent way to learn about paint, water and brush control. If there is any ‘secret’ to using watercolour it is all about the amount of water used. Colour charts use a two colour mix to immediately identify the colours required. Other colours I use frequently are Burnt Umber, Burnt Sienna and Sepia. While it is possible to match almost any colour, it is sometimes easier to use a tube colour. I do not use premixed greens from the tube as they tend to be opaque and the colour can…

Multi Tasking Another thing the matte is designed to do is maintain a space between the drawing and the glass. This is absolutely essential to avoid mould and fungus appearing (and growing) on both the paper and the inside of the glass in very short order. Even though you would think that once safely framed, your drawing is in its own clean, moisture free world, this is actually not the case at all. Everything in this world has got a percentage of water and bacteria in it by default. Paper most certainly has. In a properly framed drawing the only thing in there with your piece of paper between the glass and the core-board backing is the matte and some air (apart from all the moisture and bacteria of course).…

Step One Draw up your subject. Step Two Block in the dark areas of the bird with a mix of Indanthrone Blue (or Ultramarine Blue) and Burnt Sienna, varying the mix and creating a feather like pattern, lifting off colour as you go to create the feather formation on the Kookaburra’s back and wings.. Leave an area on the side of the wing white, as this will be painted in Prussian Blue to form the blaze.. Back and wing feathers blocked in. Even though I am blocking in, I am still painting individual feather ‘shapes’ to create the look of feathers. Step Three Block in the top beak with a mix of Indanthrone Blue (or Ultramarine Blue)and Burnt Sienna, making the mix more blue than brown. Lift off some of…

Art has always been a part of my life. In my childhood, living in Wiltshire, an English rural county, I drew horses and animals, inspired by the countryside and the many books that I was always reading. As an adolescent and teen I progressed into drawing my favourite movie stars and pop idols, and even through my working life I continued sketching the people and animals around me. For many years I just drew in pencil but eventually, about 20 years ago, I was introduced to colour with pastels. I felt comfortable because to me it was still drawing. I was interested in watercolour and oils but never felt satisfied with my attempts until, a few years ago, I discovered the works of Susan Harrison-Tustain and Arleta Pech, who finally…

Fortunately, drawing and painting is a learned skill just like playing the violin or driving a car. Lyn knew from a young age that she wanted to be an artist. It doesn’t mean she was a child protégé, in fact far from it, she just knew that when she was creating art she was at her happiest and felt fulfilled. She doesn’t believe it was a conscious choice, as art chose her and from an early age she spent every spare minute drawing and painting. Lyn says the love of creating art has been her first love for as far back as she can remember. Even though it’s always been there and she could never ignore its existence, she still had to work at it. Her love of colour and…

Step One I began with the completed painting already visualised in my mind, then collected the objects I needed and purchased the fresh strawberries. In my studio I draped dark cloths and an old, lace tablecloth and arranged the objects and lighting, after which I took about 50 images with my digital SLR camera, frequently adjusting the direction of the lighting and the placement of the objects, and taking images from as many different angles as possible. I also took shots with the glass both empty and filled. All images were then transferred to my computer and I spent a long time studying them all until I selected just one (shown) from which to paint along with the real-life set-up. Step Two Although I prefer to draw my compositions freehand,…

Step One Establish the composition: It’s important to me that I catch and retain the viewer’s eye in my paintings with a strong composition. I must consider the importance of my focal point, my clear and concise light source, directional lines, depth, contrast and values, and later my colour choice to create mood. I take the opportunity of any features that make my flower unique. I don’t always include all I see and often have to sacrifice what I really see for the sake of a strong composition. This is also an opportunity to reform or change anything that Mother Nature may have got less perfect. I draw my outline onto A4 computer paper reasonably detailed – showing shadow areas, some veins, creases, folds, and turn backs. Once I’m satisfied…

Step one I choose an image with a personal appeal. In this case I took a photo a few years ago on a visit to the South Island, New Zealand. I like the way the water twists and swerves around the rocks. I start with a mixture of Raw Umber and Prussian Blue slightly thinned with Art Spectrum No.1 Medium using a large, flat #8 Rosemary & Co Ivory brush. At this stage, I’m only interested in breaking down the subject into darks and lights. I’m making sure that the composition ‘flows’, and even at this stage I’m making subtle changes to the scene. I hold the brush from the very end and stand as far away from the work as possible. Apart from planning the work in my head,…

Teacher’s Pet Watercolours have a life of their own, ‘so let them flow’ Keep a wooden ruler next to your easel to rap yourself over the knuckles with, if you have any thoughts about overworking an impressionistic painting. Its whole appeal is in its freshness. Here I have used this impressionistic watercolour painting ‘’Dustbins’’ by English artist Judi Whitton. It really speaks for itself - in fact, it shouts, “leave me alone, let me go my own way!” and no attempt has been made by Judi to control the paint as it moves and fuses together, giving it a wonderful loose freshness. Painted on damp paper then left to find its own way, a dull uninteresting subject has been transformed into a lively interesting work that grabs your attention. A…