Innehållsförteckning för Issue 38 från Creative Artist

Flashbacks to childhood provide Natasha Junmanee with fond memories of drawing in her spare time. Any empty space on schoolbooks, note pads or scrap paper became a canvas for her. At school, her classmates always asked her to draw something for them. Most of the drawings were a cartoon character that was popular at the time. Her teachers would also ask her to draw and decorate the school’s notice board and the canteen, recognition of her natural talent. At that time, she only had access to graphite and colour pencils, so most of her works were drawings that were filled in with pencil. Natasha started painting in secondary school and joined the school’s painting club. As time passed and life’s changes occurred, drawing and painting had become only a hobby…

Nicole Foxall is an artist based in Bathurst, NSW. Her art journey started later in life, although making art has always been an interest of hers. After living in Sydney for 10 years working as a nurse, Nicole returned to Bathurst in 2000 with her husband to settle into a quieter country life and start a family. “Having children involves a large degree of redefinition in ones life, and it was around this time I felt the urge to pursue my creativity more,” says Nicole. With this mindset, Nicole started classes with local artist Merylin Rice, and with her guidance progressed from foundation basics to developing her own style, along with a desire to learn more. Workshops and short courses with the likes of Marijke Greenway, Ros Psakis, Ochre Lawson,…

One of the goals I always aim for in my art is to create interest and drama and one of the best ways to do this is to manipulate light and shade. As a wildlife and portrait artist I rely on references: photographs of the animals and people I draw or paint. They aren’t always the best photos but an understanding of how light works can lead to great art. One of the reasons I keep thousands of my own photos on my computer is that there might be that perfect one, although there might also be that one animal in a perfect position but the lighting is dull and boring. Chances are, with all my other photos, I will be able to find another with better lighting and then…

OILS Step One I start by toning the canvas in red as I want to have a red tint in this mandarin subject. I mix the acrylic paints Burnt Sienna and Red Oxide with water in diluted form and apply thinly to the whole canvas as a base colour and let dry. I then transfer the image from my reference photo to the canvas using the grid method. This helps me to get the right proportions of the mandarin onto the canvas. I don’t normally copy exactly the same as the reference, adding some of my own creativity into the image to make the composition look more interesting. I use a white pastel pencil to draw the grid line and roughly draw the mandarin including the reflection. Step Two I…

Step One I always start with a base colour. The landscape I am painting gives me a feel for what colour I use. The base colour gives me a bit of direction as to what the painting’s overall colour palette will be. For this one I am using Red Gold. I draw in the landscape with some charcoal including a grid to make sure I've got everything in the right spot, then wipe off with a damp cloth before I start painting. I love using roads in my landscapes, they break up the composition and create movement. Step Two Now it’s blocking in the darker colours and shadows. Using the Free Flow I create greens with Paynes Grey and Cadmium Yellow and purples with Alizarin Crimson, Cobalt Blue and a…

Multi award winning artist Paula Wiegmink was born in Rhodesia/Zimbabwe. Growing up surrounded by the African bush, Paula's life was peppered with adventure. Her first close encounter with African wildlife at the tender age of four years old had a lifelong impact on her art career. One afternoon in the heat of the Zambezi Valley, Paula's father called out to the family to come and look at a magnificent eagle that had been injured and rescued for rehabilitation. Enthralled with this majestic bird she leaned in closer to look at the magnificent bright yellow eyes, which seemed to penetrate deep into her soul. “This encounter cemented a deep connection to Africa and the wonder of nature’s treasures”, she says. Having the privilege of growing up in rural Africa provided an…

Since its establishment, the Gallery has amassed a magnificent collection of 19th to 21st century Australian and European paintings and decorative arts, including 18th and 19th century English porcelain, British art pottery, colonial Australian silver, as well as contemporary Australian paintings, prints, sculpture and ceramics. A particular focus of the collection is early images of the Geelong region. Prior to the founding of the Gallery, the Geelong Mechanics Institute (established in 1846) afforded the Geelong community a stimulating program of exhibitions, conversazione, and concerts. In 1896, a group of twelve prominent Geelong citizens and business leaders were invited to a meeting to consider establishing a permanent art gallery in Geelong as befitting a fast growing and aspiring metropolis. True to their intent, the group resolved to establish a Geelong Art…

Step One Prepare a cup of fluid Alizarin Crimson by adding some flow control medium plus a small amount of water and set it aside. Mix cadmium orange with a small amount of Australian Red Gold and apply this to the entire canvas using a rolle. Don’t forget to go around the sides as well. You can tone this down a bit with Jaune Brilliant if you don’t want it too bright. Before the paint dries, randomly apply some Alizarin Crimson and give a few squirts of water with a mist spray bottle. Wait until it’s completely dry before the next step. Step Two Lightly sketch the kangaroo and boomerang using the pastel pencil. I find these pencils are easily absorbed into the paint. I usually use a white or…