Indholdsfortegnelse for Issue 31 i Australian How To Paint

My full-time occupation is Principal for a behaviour school in Sydney’s western suburbs. My home is at Lawson in the Blue Mountains. I completed an Art Certificate course at Meadowbank TAFE in 1987 and then went on to what was then known as City Art Institute to complete a Bachelor of Arts Degree in Fine Arts in 1989. I returned to university in 1994 to do a Diploma of Education at the University of Western Sydney. I have continued to paint and draw since leaving University; and although I never did art at high school, I had always drawn as a kid. My Year Six art teacher withdrew me from the class to talk with me because I had shown potential in rendering form – a concept that was apparently…

Since being introduced to Genesis paints three years ago, I’ve used no other medium. I found the simplicity of achieving subtle blending (required in my style of portrait painting) a surprise and joy which I take full advantage of. I don’t use China brushes, preferring to work with Taklon because of the delicacy of the work I do – however, this is very much an individual choice. For this particular project my palette consisted of basic Genesis colours which allowed me to produce any hue I required. Genesis doesn’t vary in tonal depth due to the reliable consistency of the medium in the pots. It is important to find a subject that holds your attention. Someone who has strong or unique features will allow you to depict the character of…

I completed my Bachelor of Visual Arts in 2009, specialising in painting with a minor in photography. Being in an educational environment was the best experience for a training artist. The opportunity to surround myself with practicing teachers and share a studio with groups of artists was a buzzing experience. The three years were very experimental, focussing on exercises, techniques and different mediums. My highlight and most influential experience during this time was my six-month exchange in 2008. I was awarded a travel grant which allowed me to study in upstate New York in Buffalo. Their teaching techniques and focus into the history of American art has been a huge influence on my work. I chose to complete my Honours degree as I felt I was not ready to leave…

• GEL MEDIUM I always have a lot of fun with this technique of having the ability to transfer imagery onto a surface in a less obvious way than collage. This process allows the background of the surface to be seen by only transferring the ink of my chosen imagery. When using text in my work this technique allows the words to become unreadable as they are transferred back to front. I don’t want the viewer to read but rather see the text as a visual pattern/imagery. • Newspaper, magazines and printings work well for this process. Just remember if you want to be able to read the text or have the image the same way you must flip horizontally on the computer first.…

• Try to have a clear image of what you want to paint, as a bad photo will only produce a bad painting. • Paint as often as you can, make time even if you don’t feel like it. • Follow your own instinct on the painting you want to do. You have to love your subject. • When painting in either oil or pastel I always work from dark to lights. • Often stand back from your work. • Read art books and magazines for inspiration. • Practice - lots of it. • Try to paint subjects a little out of your comfort zone. • Never stop learning. • Have someone give constructive criticism. They often see what you don’t.…

STEP ONE With acrylics, I undercoat the canvas roughly with a light blue mixture of White, Cobalt Blue and a touch of Yellow Ochre. I sketch my subject with pencil on tracing paper and transfer the drawing onto the dried canvas before outlining with Burnt Sienna. STEP TWO I begin painting the background using a mixture of White, Yellow Ochre, a touch of Burnt Sienna and a little Cobalt Blue (all acrylics). I also paint the shoes with Burnt Sienna; and dilute Raw Umber with water for the hair. STEP THREE Still using acrylics, I start to paint the singlet top with Cobalt Blue, Light Blue and White; then the skirt with Cobalt Blue and Light Blue. STEP FOUR I use acrylics in Yellow Ochre, White and a touch of…

• It is best to print the photograph horizontally flipped so that when you trace the portrait and place it on the paper it is viewed the same as the original photograph. Also print out a smaller copy of the photograph so you can use it as reference when drawing the portrait. • For portraits like this in which the head is cropped to the edges of the frame, it is more aesthetically pleasing to have a white border around the portrait rather than having the drawing go all the way to the edges of the paper. To do this use masking tape and place it around the perimeter of the paper you are using. Be sure to take away some of the glue from the tape first by sticking…

My subject is a fellow called Damien. I took a few photographs of him on my mobile phone under fluorescent lights. The quality is not great, and the angle I used to shoot the photographs is kind of awkward and distorted. However the image offered a challenge . . . and Damien’s strong features created shadows and an overall dark image. In this drawing I deliberately overstated the features and pushed the darks as hard as possible. The beard and elongated shape of the face gave the image a ‘tribal mask’ type of quality, and for this reason I completely obliterated the neck and shoulders and worked the face as an independent shape. In the photographs for this demonstration drawing, the subject’s strong features created shadows and an overall dark…

• There are no rules in art. That’s why ‘art’ covers such a broad range of creative activities. Some of the most beautiful artworks aren’t those that replicate a thing, or a place, or a photograph – but those that represent it. I suggest reading or purchasing a children’s book called ‘Ish’ by Peter H. Reynolds – in a few words it taught me more about art and real expression than anyone or any book has ever taught me before. It taught me the importance of painting for myself; and it taught me not to worry about other people’s perceptions, but to embrace my own. • Making mistakes can be an integral part of the painting process, especially in abstract art. Sometimes a mistake can lead to a better artistic…

I apply Genesis Heat Set Oils in thinned coats using a small amount of odourless solvent. My method is to dry each section with the heat gun as I achieve the effect I desire, then overlay further thin coats to build up the depth and tones I require. • Highlights and blushes are achieved with the addition of Genesis Red; and olive complexions by adding Genesis Yellow to the base skin tones. • Deep shadows and character lines are defined with thinly applied Burnt Umber. • I find Taklon brushes are fine and yet flexible. This suits my technique which requires thin coats of paint and gentle blending. • Make sure your work is completely heat set before continuing the application of colour. If not dried well, you will lift…

SURFACE My ideal surface is not the starch white canvas. I like to create a background through different processes, whether it is spray paint or my gel medium technique. If using canvas I will often stretch the material after I have applied the gel medium as it can be a rough process on a stretched canvas. I like using plywood for its natural grains and imperfections. When using oils I prime the wooden surface with a transparent sealer. STEP ONE I use Matisse’s Gel Medium in gloss. (I have heard basic PVA glue works as well). STEP TWO Simply brush on like glue and stick face down, getting as many bubbles out as you can. Try not to get any glue on the top surface. It’s very important to wait…

One day while having lunch with friends at an artist cottage, I saw people enjoying art lessons on the veranda. I knew instantly that was where I wanted to be, having always loved drawing and arty crafts. That was nearly three years ago; at first all that I wanted to paint was anything to do with water especially beautiful waves. My teacher encouraged me to look outside the square and do a portrait. I didn’t really think it was my thing at all, but it has turned out to be my passion. I just love seeing the face come to life. The first medium I worked in was graphite and then I graduated to acrylics and pastels and now I am enjoying oil. Pastels and oil are my preferred mediums.…

STEP ONE For my facial portraits, I sometimes start with one of the eyes. This then gives me something by which I can measure everything else on the face. There are many other ways of drawing up portraits of course – and each teacher or pupil will have their own way of doing it. STEP TWO My finished drawing. I go over it to make sure that everything is lined up correctly. I will make allowances along the way when I get the colouring in place. Most ‘front on’ portraits are easier to do, as they usually have the eyes an eye-width apart; the side of the nose in line with the corners of the eyes; and the corner of the mouth in line with the pupils of the eyes.…

As a child, handing over my drawings of dragons and surreal animals is when I first realised I was creative. I would imagine scenes that didn’t even exist, piecing together a drawing. I was interested in the Surreal and Fantasy, artists like Salvador Dali and illustrations by Marc McBride. I remember my parents buying me a step-by-step drawing book by Marc McBride, but instead of following the steps and drawing the one dragon, I would take parts of each one and create my own, placing it in a scene of castles and sky. As I reached my early teens and my sights broadened, I started to branch out into other genres and away from fantasy art. Handing my drawing to others, such as my parents, they would point out what…

Claire Foxton wasn’t brought up in an artistic household. She believes, however, that she was born with a passion for art – and she is grateful to her parents for nurturing the seeds of her creativity. Claire has developed an amazing talent throughout her youth with the encouragement of her family. “Apart from a few folk art classes as a grommet, I developed skill on my own – always observing with my eyes and my imagination and mixing the two,” she explains. “Mum tells me that when all the kids were still drawing stick figures, I was drawing full figured people and chairs and tables in 3D perspective! Mum has kept every scribble I have done since I was old enough to hold a pencil. I love going back through…

This is a description of the processes and techniques I use to draw a pencil portrait. This is the sixth pencil portrait I’ve drawn. I have a connection with all of the people I have drawn previously, with my husband René being the first subject; then four close friends; and this one of my brother Phillip. Because I know each of the people well, I believe it makes the process easier … as I can tell when I have the ‘personality’ of the person on the page. I am yet to attempt to draw a portrait of a person I don’t know; but I would probably use the same techniques. STARTING POINT I needed a reference picture and I managed to snap this original photograph of my brother Phillip. This…

• My standard palette includes (in artist quality brands)• Ultramarine Blue• Burnt Umber• Titanium White• Zinc White• Cad Red• Cad Red Light• Cad Yellow• Lemon Yellow• Naples Yellow• Naples Yellow Reddish• Yellow Ochre• Raw Sienna• Terra Rosa• Burnt Sienna• Perm. Madder Brown• Rosa Madder• RESIN MATERIALS• Resin• Foam brush• Measuring cup• Something to mix with• Newspaper• Rubber gloves• Fume mask• Hairdryer or heat gun• Hot water• A board to cover resined piece…

STEP ONE I begin by rendering quite a detailed drawing of the subject first in charcoal then very thin paint. STEP TWO I wash in the shadows using thin indigo to establish the values and tone and to create form. STEP THREE Add first coat of colour going from darks to lights using paints still quite thin. Allow time to dry well between each coat. STEP FOUR Second coat of colour is added using thicker paint in light areas blending edges. I started the first coat on background and dress. FINAL STEP Second coat of colour is added to background. Dark glazes were added to shadowed areas and thinker paint used for highlight. Add highlights to the veil using the palette knife. When complete and dry coat with liquin.…

• Good quality drawing paper such as Chanson Drawing paper 220gsm “C” à grain. This paper is a fine tooth white paper for drawing in pencil, charcoal, chalk, ink wash and poster colour. For this drawing I have used an A3 sheet.• Tracing paper or a light box. If you are using tracing paper instead of a light box you will also need a coloured pencil.• Good quality graphite pencils that will give your drawing a smooth and finally textured finished. You will need a hard pencil, either an H or 2H, for drawing up the portraits outline and a range of softer pencils including 2B, 3B, 4B and 5B for adding tone to the portrait. .• A good quality sharpener is also needed; your pencils should always be kept…