Courses in drawing and painting gave me the basis for sound draftsmanship and an understanding of how to make colour. I have developed my ability as a still life artist and oil pastellist through my own practice and through observing work by other artists.
The recent incorporation of another brand of oil pastels into my work (Caran d’Ache) stemmed from reading about the work of American artist Susan Bennerstrom. The way I use these pastels, however, is based on the understanding developed over many years of the nature of Van Gogh oil pastels; the variations in opacity and intensity of colour.
I am interested in colour, shape, light and shadow. I am also interested in texture in artwork. I like to see the building of a piece of artwork, what sustains it from underneath, and what contributes to what happens on the surface.
I have always been interested in the still life genre, but not necessarily within the confines of the more traditional compositions.
I have worked primarily with oil pastels since being introduced to them in a drawing course at Adelaide Central School of Art. I was attracted to their vibrancy of colour and capacity to build texture. I prefer to use colour by mixing on the paper; I like colours built in this way.
This story is from the No 171 edition of Artists Palette.
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This story is from the No 171 edition of Artists Palette.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
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Eye of Observation
Draw, draw, and draw some more; develop your artist’s eye of observation. Sterling advice from a lady who believes that seeing shapes in paintings requires a truly ‘arty’ eye.
Pelicans To Portraits
This lady has painted everything from pelicans to portraits. She has completed commissions including cats, dogs, horses, possums, numerous beach scenes … and even a Scottish piper.
Gregory John Brennan: Lost Profession
Looking back on his early career as a bulldozer driver, this rural New South Wales painter laments the days when he was too young to appreciate his outstanding potential as an artist.
Pastels: Once We Were Important
A simplified and well named painting tells a powerful and interesting story. This clever pastel artist is delighted to share her techniques for the benefit of others.
Fibre Art
This artist feels that the hardest lesson she had to learn was to believe in herself … and once she did that, everything started to fall into place and her confidence grew.
Water Lily Magic
Instead of paper and paint, this artist uses fabric and threads … and she uses a sewing machine instead of a brush. The textures, colours and prints of fabrics thrown together with threads fascinate her, and often give inspiration for her designs.
Loading Wheat – 1920s
It is rare to see an artist displaying this level of skill and understanding in capturing the activity and atmosphere of bygone days from Australia’s agricultural history.
‘Jama' – King Cheetah
This exquisitely talented lady believes that every artist has failures … but it is important to remember that every success is better than the one before.
Blahuta's Ute
Early in the year we ran a feature about ‘Utes in the Paddock’ – a landmark project by several notable artists. In this article, one of those artists shares his story and some of his views … and describes the process of creating his own piece of an amazing collaborative work.
Artists' Easels
Many important tools are employed by artists in creating their paintings. Artists’ easels are now available in a host of styles and configurations to enhance the creative process. Some of your favourite art materials suppliers are more than pleased to highlight a selection of the many products being offered.
