STEP ONE
This first step can take many months to achieve. I can do dozens of small sketches before I arrive at the composition that best expresses what I am trying to convey in the painting. In these drawings I will look at elements like movement and rhythm, and interesting negative and positive shapes (including shapes that echo other shapes). I try to vary the sizes of shapes to stop them all being the same size – which would create boring areas in the painting. At this stage, nothing is set in concrete; and I nearly always make changes after I have transferred my ideas onto canvas – as I can then step back and view the drawing from a distance.
STEP TWO
Once I have transferred my idea onto the canvas, I outline all elements in a mixture of different colours. This is random in some areas and intentional in other areas where I know I will be juxtaposing them with contrasting complementary colours or discordant split complementary colours. At this stage I have a vague idea of which colours will go where, but this can and does often change, as I continually analyse colour relationships in the painting. Even at this stage I am not afraid to change or go over something I think is not working. Next, I start to block in areas of solid under-colour.
STEP THREE
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Esta historia es de la edición No 167 de Artists Palette.
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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.
