D R AW I N G s P H O T O G R A P H Y s PA I N T I N G

GETTING THE BEST SHOTS

FOR YOUR ART
WILDLIFE IN ACTION

USING PENS
WITH PATRICK HEDGES

A WONDERFUL
OBSESSION
VICKI SULLIVAN

A$9.95 Incl GST

NZ $10.20 Incl GST
Issue 15
03
ISSN 2203-6423

9 772203 642004

N D W O R K S H O P S
 EDITOR’S LETTER

Welcome to the latest issue of Creative Artist magazine.

I
nside these pages we share the workshops has been collecting artworks since 1884,
of five talented artists, plus uncover their and holds one of the finest collections of
inspirations and artistic journeys. Australian art outside of our State Galleries.
We highlight some international galleries We look forward to your feedback. If you
featuring works from amazing artists, all wish to be featured in Creative Artist, please
accompanied by beautiful photography and email correspondence to:
commentaries. There’s also a wonderful The Editor, [email protected],
sampling of shows and exhibitions from or post your contributions to:
galleries all around Australia, and we profile Creative Artist, PO Box 8035,
the marvellous Art Gallery of Ballarat, which Glenmore Park, NSW, 2745.

Simon and the team

artist 3
CONTENTS ISSUE 15 2017

Gallery
22 EXHIBIT A – Art Gallery of Ballarat
50 International Galleries – Beyond
56 Caravaggio; Henri Rousseau: Douanier’s
Paradise Lost; The Spectacular Second
Empire 1852 – 1870; Yosemite: Exploring
the Incomparable Valley

Profile
12 Michelle Caitens – Wildscapes
27 Vicki Sullivan – A Wonderful
Obsession
40 Tanya Chaitow – Embracing the
Concept of Universality
56 Neil Sweeny – Art Found Me

66
 Contents

Workshops
27
18 Michelle Caitens – The Swirling Sea –
Genesis Heat-Set Oils
32 Vicki Sullivan – Nude Study – Oils
46 Tanya Chaitow – Royally Oscar – Acrylics
62 Neil Sweeny – Morning Falls – Computer

Regulars
3 Editor’s Page
6 The Vibe
36 Shooting for Art – Wildlife in Action
66 Tools – Patrick Hedges
72 My Space - Derek Newton
76 From the Drawing Board

Cover image by Michelle Caitens artist 5

THE VIBE

Black Swan Prize for Portraiture

In an exciting new initiative for 2016, Art Gallery Portraiture, presented for the first time at the State
WA introduced Portrait Month, where they explore Art Gallery.
the many forms of portraiture across photography, Forty finalists, including 13 West Australian artists,
painting, video and sculpture. were represented in the 201Black Swan Prize for
Taking centre focus is the State’s premier Portraiture,. From across the country there were
portraiture prize, the 2016 Black Swan Prize for eight finalists from New South Wales, five from South
Australia, 10 from Victoria, two from Queensland and
two from Tasmania.
Rachel Coad, a West Australian professional artist
from South Fremantle, won the prestigious $50,000
Lester Group Prize as part of the 2016 Black Swan
Prize for Portraiture, WA’s only portrait prize, with
her portrait of artist Waldemar Kolbusz titled Indian
Summer.
In an exciting new initiative – the first of its kind
in Australian portrait prizes – the finalists’ also voted
for their favourite artwork in the $10,000 Tony Fini
Foundation Artist Prize. The winner, as chosen by
their peers, was Mark Tweedie from Mt Lawley, WA
with his portrait of a close family friend Ken Bindle
titled It wasn’t supposed to be like this.
Two artists were Highly Commended and received
$500 art gift vouchers from HU Kendall & Co Art
Supplies. They were Daniel Smith from Rockingham,
WA with his portrait of Ben Elton titled Thinking of
you, Shakespeare and Kate Kurucz from Kensington
Gardens, SA for her portrait of her father titled Dad
and Clams.
A portrait of Syd Kirkby MBE, an Australian
surveyor and Antarctic explorer, by Queensland artist
Tom Macbeth won the 2016 Black Swan Prize for
Portraiture Amana Living People’s Choice Award.
Tom was awarded $7,500.

The Black Swan Prize for Portraiture is celebrating

its tenth Anniversary in 2016. To view the full list
of finalists, visit blackswanprize.com.au
Web: www.artgallery.wa.gov.au

Image
Left: Rachel Coad
Indian Summer 2016
oil on linen
185 x 135 cm
Courtesy of the artist

6 artist
Landscapes in Light

Wellington Shire Council, Victoria, presents

Landscapes in Light, by Thorpdale artist Graeme
Myrteza, at its Maffra Exhibition Space.
Graeme Myrteza is a proud family man, farmer
and painter, and has lived and worked as a farmer
in the hills of Thorpdale all his life. As a child he
enjoyed drawing and painting, but after leaving
school he found that full time farm work and family
left little time for his creative adventures.
In 2005 Graeme’s life changed forever when his
son, Brett, passed away. He found therapy through
painting helped deal with the loss of Brett, and with
encouragement from his family and friends, he has
had a paintbrush in his hand every day since.
Graeme says, “Brett never saw me paint, but
I know he’s with me when I am painting, he has
a part in each work I do and that’s why I put
his initials in every painting. I am passionate
about painting; I love the smell of the paints,
turps, canvas and above all – the challenge and
satisfaction of capturing the dramatic play of light
on the gum trees, mountains, rivers and valleys of Landscapes in Light will be on display at the Maffra Image
our magnificent country.” Exhibition Space, 150 Johnson Street, Maffra, until Above: Graeme
Graeme hopes the viewer enjoys his paintings and Monday 5 December. MYRTEZA
that they will in some way rekindle fond memories of Marracan Creek 2016
oil on canvas 90 x 120cm
their own experiences in the Australian bush. Web: www.gippslandartgallery.com
Courtesy the artist

Shut Up and Paint!

NOW SHOWING
‘Shut up and paint’, the iconic quote from Britain’s Shut Up and Paint opens at NGV International on
greatest living painter David Hockney, suggests the 18 November. Entry is free.
relevance of the medium in art today. Web: ngv.vic.gov.au
Coinciding with the major NGV exhibition David
Hockney: Current, Shut Up and Paint is an exhibition
that celebrates and examines contemporary
painting. Drawn from the NGV Collection, Shut
Up and Paint includes significant international
painters, and a number of Australian artists, whose
works can be seen to lay the recent groundwork
of transformations within the discipline. Shown in Image
dialogue with these well-known practitioners is a Angela BRENNAN
significant display of recently acquired works, many Australian 1960, 
never before seen in Australia. Fantasia No. 1 2000
Shut Up and Paint includes work by artists such as oil on canvas       
192.5 x 172.5 cm
Vernon Ah Kee (AUS), Ai Weiwei (CHN), Angela
National Gallery of
de la Cruz (ESP), Juan Davila (AUS), Lucio Fontana
Victoria, Melbourne
(ITA), David Hockney (UK), Maison Margiela (FRA), Presented through the
Joan Mitchell (USA), Elizabeth Newman (AUS), NGV Foundation by
Ohno Satoshi (JPN), Mika Rottenberg (ARG), Borna Robert Gould, Founder
Sammak (USA), Jenny Watson (AUS) and many Benefactor, 2004
more. (2004.357)

artist 7
THE VIBE

EXHIBITION
18 February 2017 –
9 April 2017
Signs of the Time

Images Late nights, early mornings - the streets are urban environment, the outsiders and their work
Below left: Banksy transformed. Street artists, many of whom have have become insiders. Enterprising street artists
Nola (White Rain) 2007 attended art school, venture out decorating the since the 1980s have capitalised on the popularity
screenprint on paper urban structures with their work. With the mantra their work and made the transition to gallery and
Collection Ken McGregor
that art should be made by the people, for the homes of private collectors. Observed Blek le
Below right: Bambi
Amy Jade 2012 people and be free, what they leave behind is Rat, “Street art is ephemeral by nature, and the
spray paint, oil and mixed ephemeral artwork that reflects society’s concerns, only way to keep a memory of what happened on
media on metal panel often through the prism of popular culture. the street is to show your work on canvas or other
Collection Ken McGrego As their guerrilla-like enhancement of inner-city surfaces in a gallery.”
and industrial structures is often considered a The exhibition Signs of the Time consists of
criminal act, many street artists use pseudonyms: two gallery components. The main gallery will
Bambi, Banksy, Swoon, or Blek Le Rat. Yet with an showcase local and international street artists
appreciation of street art extending beyond the from the collection of art consultant and collector
Ken McGregor. Artists include Blek Le Rat
(France), Banksy (UK), Swoon (USA), Bambi (UK),
E.L.K (Australia), Lister (Australia), Stewy (UK),
D*face (UK) and A1One (Iran/Germany). Iconic
images such as Bambi’s Amy Winehouse portrait,
Blek Le Rat’s stencilled self-portrait The man
who walks through walls, will be displayed
alongside A1One’s anti-corporation imagery and
Swoon’s social commentary. Works by Australian
artists include stencils by E.L.K and Lister’s
superheroes.
 The foyer gallery will be transformed into a virtual
‘laneway’ with new works commissioned by the
Gallery. These will be auctioned towards the end of
the exhibition with proceeds going to artists and
their selected charities. Artists include Shannon
Doyle, Claudio Kirac, Paul Parker, Lorraine Abernethy,
Johnny Romeo, SK412, Kiel Tillman, E.L.K., HA HA,
Beastman and Matthew Te Paea.
Signs of the Time is also extending beyond the
Gallery walls to the Gold Coast Cultural Precinct. Gallery
Director Tracy Cooper-Lavery said, “This exciting
project is an opportunity to extend the Gallery’s footprint
and programming into the wider Cultural Precinct. Our
two onsite work sheds have been identified as ‘blank
canvases’ and will provide that opportunity! The two
shed commissions have a total value of AUD$30,000
and provides a fantastic opportunity for two artist/artist
led teams to paint the walls and structures with selected
artists completing their masterpieces as part of the
opening weekend programs”.
Gold Coast City Gallery Image
Applications close Monday 9 January 2017. 18 February – 9 April 2017 Above; A1one,
Further information about these exciting Web: theartscentregc.com.au/gallery/ Untitled 2008, spray
opportunities and associated events is available The Arts Centre Gold Coast, 135 Bundall Road, paint on board. Collection
from the Gallery website. Surfers Paradise, QLD Ken McGregor

The Turner Gallery

The Gippsland Art Gallery presents The Turner The Turner Gallery will be on display at the
Image
Below: J.M.W. Turner,
Gallery as part of its ongoing series of permanent Gippsland Art Gallery until 19 February 2017,
Calais Pier, engraving
collection exhibitions. and is supported by a fully illustrated catalogue on paper, collection
In the 200 years since J.M.W. Turner rose to fame, available for free from the exhibition. Gippsland Art Gallery
his images of land, sea and sky have lost none of
their electrifying intensity. Gippsland Art Gallery
In his lifetime (1775—1851), Turner travelled 64-66 Foster St, Sale, Vic, 3850
extensively throughout Europe, particularly after Web: www.gippslandartgallery.com
NOW SHOWING
the end of the Napoleonic Wars. All the while he
sketched and painted prolifically, recording his
impressions and sensations of the natural world. In
addition to scenes of tranquil countryside, sublime
topography and oceanic disaster, Turner depicted
imaginary views drawn from classical mythology.
The Turner Gallery is a set of 120 fine steel
engravings, published posthumously in 1878. In an
age prior to the wide dissemination of photography,
the publication provided greater access to Turner’s
extraordinary treasury of images—images that
in time came to define the age and set a new
benchmark for art.
The exhibition features 35 of the finest engravings
from this set, covering all the major themes of
Turner’s long career. Highlights include the sheer
waterfalls of Moss Dale Fall and Hardraw Fall, several
epic scenes from Greek mythology, and perennial
favourites such as The Fighting Temeraire, Rain, Steam
and Speed, and Norham Castle.

artist 9
THE VIBE

Art Gallery of South Australia charts Rodin’s revolution

Images ‘In reality there is not a muscle of the body which Art Gallery of South Australia Director, Nick
Below: Auguste Rodin does not express the inner variations of feeling. Mitzevich says, ‘Through a series of duets and duels,
France, 1840 – 1917 All speak of joy or of sorrow, of enthusiasm or of Rodin will be brought into vivid conversation with
Andrieu d’Andres, despair, of serenity or of madness.’ Auguste Rodin, leading modern and contemporary artists who have
monumental 1886 1912 similarly challenged our understanding of the human
(Coubertin Foundry, cast Auguste Rodin (1840 – 1917) revolutionised condition.’
1989), Paris
sculpture and the representation of the human body. Versus Rodin will be anchored by key Rodin works
bronze
In March 2017 the Art Gallery of South Australia of art from across Australia including the Art Gallery’s
William Bowmore AO
OBE Collection. Gift of will present an Australian first, Versus Rodin: Bodies significant collection of 20 bronze sculptures, the
the South Australian across space and time, bringing the work of Rodin largest collection in the Southern Hemisphere. Other
Government, assisted by into dialogue with more than 100 modern and featured artists include Louise Bourgeois, Antony
the Art Gallery of South contemporary works of art 100 years since the Gormley, William Kentridge, Bharti Kher, Rosemary
Australia Foundation 1996 artist’s death. Laing, Ugo Rondinone and Kara Walker.
Art Gallery of South Regarded today as the artist who ignited an Presented as part of the 2017 Adelaide Festival,
Australia, Adelaide artistic revolution that changed the direction of Versus Rodin: Bodies across space and time runs
sculpture, Rodin’s legacy – his expressive vision, from Saturday 4 March to Sunday 2 July 2017 and is
his rejection of narrative and embrace of process, exclusive to the Art Gallery of South Australia.
seen through his experimental and seemingly
unfinished surfaces – is the wellspring for this For further information or to purchase tickets visit
major exhibition. artgallery.sa.gov.au.

EXHIBITION
4 March 2017 –
2 July 2017

10 artist
 THE ARTƌŝƐƟĐĂƐĞů
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artist 11
PROFILE

Wildscapes
The power of art is the process of creating something from nothing and expressing yourself.The
power of art is the process of creating something from nothing and expressing yourself.

M
ichelle is a nature artist from Brisbane visited an amazing variety of landscapes over her
who has just spent the last year living time away - ranging from the frozen world of the
in England and travelling throughout Swedish Lapland hundreds of kilometres above the
Europe. It was an amazing experience for her in Arctic Circle, to the jagged Monserrat mountains
so many ways, but from an artist’s perspective, it in Spain; from the rugged coastline of Cornwall
was an invaluable opportunity to immerse herself to the wind-swept Orkney Islands and the Isle of
not only in the art and culture of the cities, but Skye, which looked as though it could have been
in the wilderness and nature that she loves so the backdrop to a Tolkien novel. Experiencing
much. Drawn to wild and remote places, Michelle these wild places has been such an inspiration for

12 artist
Michelle’s artwork, only further strengthening her both on a wider societal level and to the individual.
great respect for the natural world in which we live. The quality of current British wildlife and nature
During the year abroad, Michelle joined a UK artists was very impressive, with fantastic artists
art society, participated in local workshops and including Alan M. Hunt, Jeremy Paul, Eric Wilson,
exhibitions, and was able to visit a wonderful array Andrew Hutchinson and Jackie Garner.
of major art galleries and private art collections in Having grown up on the Sunshine Coast in
stately homes. She found it fascinating to see how Queensland and now living in Brisbane, Michelle
meaningful art can be in people’s lives and the has enjoyed being surrounded by an abundance Painting
significance that the arts can play over the ages, of beautiful natural features within an hour or >> Above:Reflect the Wild

artist 13
PROFILE WILDSCAPES

so from home. The beaches, bays, mountain

ranges and rainforests of south-east Queensland
have been a wonderful source of inspiration for
her artwork. Since starting to paint and exhibit in
2006,
Michelle has mainly focused on nature and
wildlife, and for many years she has been involved
in the Qld Wildlife Artists Society, which she feels
contributed greatly to her development as an
artist, offering advice on presenting professionally,
building an arts practice and simply by exhibiting
amongst the group of inspiring and wonderfully
talented wildlife artists that we have here in our
own backyard.
Michelle is a Signature Member of the
juried international organisation, ‘Artists for
Conservation’ based in Vancouver, Canada, and
last year was particularly honoured to receive a
Medal of Excellence for outstanding achievement
for her painting of a tiger. This artwork, titled
‘Reflect the Wild’, shows a dual image, both of
a realistic detailed view of a tiger and of its

Paintings Oposite page

This ppage Top: Pelican Rocks
Left: Pelican Reflections Bottom: In Respect of the
Above:Purple Rain Chimpanzee

14 artist
monochromatic echo, showing the patterning of
the animal reminiscent of a reflection in water.
This painting was also used in the Artists for
Conservation calendar for 2016, featuring nature
artists world-wide.
A few months ago, one of Michelle’s paintings
of a bilby was enlarged to 3 x 3 metres and is
featured in the newly-opened Bilby Centre at
Charleville in outback Queensland. The painting
showed a bilby held in the hands of Frank Manthey,
co-founder of the ‘Save the Bilby Fund’.
As a previous Primary School teacher and dance
teacher, Michelle loves working with children and
appreciates the importance of fostering creativity
in young people as well as technical ability. She
believes the ability to think creatively, in addition
to the skills and knowledge of education, is a
wonderful asset for children to develop in our
rapidly changing world. Creativity is a skill that
can be developed just as other intelligences
can be developed. For many years, Michelle has
worked with groups of children in local schools
on murals and art works. She has felt great joy
and satisfaction watching children who are at-
risk behaviourally or socially, enjoying working
co-operatively on a creative project which then
goes on to become a feature of the school’s entry
foyer or part of a library display or a wall mural >>

artist 15
PROFILE WILDSCAPES

Painting on the end of a building of classrooms. Whether it finds the paints very conducive to soft blending
Above:Her Magesty is shown to an audience of one or of thousands, and detailed work and mixes them with odourless
whether it is on display for a week or for many solvent also used with traditional oil paints.
Opposite page years, Michelle believes that it’s the process of Michelle exhibits at the Lethbridge Gallery in
Top right: Orange angel creating something from nothing and expressing Paddington, Brisbane. Her connection with the
Middle right: In Respect yourself that is the power of art. gallery began by participating in a workshop
of the Zebra Although sometimes working in watercolour, ink conducted by gallery owner Brett Lethbridge called
Bottom right: The Noble
or pastels, Michelle predominantly uses heat-set ‘Getting Gallery Ready’. Michelle had great respect
paints for her artwork. These paints have a similarity for Brett’s own artwork and the calibre of the artists
to the look and feel of traditional oil paints and he exhibited within his gallery. In 2014, she entered
have strong archival qualities, but remain wet until the Lethbridge 10 000, an exhibition for small scale
dried with a heat source such as a heat gun. She artworks and won the Skills Award.

16 artist
 Michelle Caitens
She has just completed a collection of paintings
for a joint exhibition in the gallery in November.
Her exhibition, entitled ‘Wildscapes’, celebrates the
beauty of wild things that surround us in the natural
world and for this group of paintings, Michelle has
chosen images that are close to her heart – wild
animals and waves on a turbulent ocean.

To see more of Michelle’s work please visit:

Web: www.lethbridgegallery.com
Web: www.michellecaitens.com
Web: www.artistsforconservation.org 

artist 17
WORKSHOP GENESIS HEAT-SET OILS

The Swirling Sea

From her Wildscapes exhibition, the artist chose to workshop a painting of the ocean with
wild surging waves, as she loves the sculptural quality and the light and shade from the sun
hitting the water and the patterning of the foam.

>>

18 artist
 Michelle Caitens

Step 1 Step 2

Materials List Step One

t $BOWBT  Y DN With wildlife paintings, I like to be very accurate
t #SJTUMF CSVTIFT nBU áw with the features and proportions of the animal so
nBU  that it is represented authentically and realistically.
t 4BCMF CSVTIFT    However, with a subject like waves, although I like
   it to look as though you could feel the splash, I can
t 5BLMPO EFUBJMFS  afford to be a bit looser! Consequently, I roughly
t 4BCMF MJOFST   sketched in the shape of the waves by freehand. I
t #PTDI IFBU HVO used a large 120 x 75cm canvas. That’s a whole lot
t "SU 4QFDUSVN 0EPVSMFTT of blank canvas to start with!
4PMWFOU
t (FOFTJT )FBUTFU Step Two
1FSNBOFOU 4BUJO The painting is based on reference photos I took
7BSOJTI along the Jurassic Coast World Heritage site in
t (FOFTJT )FBUTFU QBJOUT Dorset on the southern coast of England. Quite a
o 5JUBOJVN 8IJUF wild, whipped-up sea, with lovely, strong lighting
o 1IUIBMP #MVF accentuating the wave forms. In the photo, there
o $PCBMU #MVF were rocks in the background, but I decided that I
o 1BZOFT (SFZ wanted to focus on the waves only, so I simplified
o 1FSNBOFOU (SFFO the background with a deep blue. At this early
o %JPYB[JOF 1VSQMF stage, I just look for tonal areas … what’s dark and
o #VSOU 4JFOOB what’s light, and start blocking it in. >>
o #JTNVUI :FMMPX

Final Step

artist 19
 WORKSHOP GENESIS HEAT-SET OILS

Step 3 Step 4

Step Three
My aim here was to cover the canvas well with paint
and place colour in to show basic tones and shapes
and shadows. A little like a plan of where to go
next. I work with heat-set paints, so they are quite
forgiving of mistakes. If I need to amend something,
I can easily dry the paint with my heat gun, wait
for a minute for it to cool and immediately paint
over it afresh. That suits me well, as I make lots of
mistakes!

Step Four
Notice the reference photos of the waves attached
to the easel as I work. As I start to add more detail
to the shape of the waves, it was useful to edit the
photo I’m using for reference. I adjusted the photo
with photo-editing software and printed it out twice.
One photo is altered to emphasise the highlights
and the other emphasises the shadows. This
Step 5

Step 6A Step 6B

20 artist
 Michelle Caitens
alternately brings out the details in the shadow and
highlight areas of an image that were otherwise too
dark or too light to see.

Step Five
It often strikes people as a bit odd, but during
the painting of an artwork, I spend a lot of time
with the canvas upside down or even sideways.
If you haven’t already tried it, give it a go. It really
helps me to approach the painting and its details
objectively … to stand back and look impartially at Step 7
the shape and shading on which I’m working.

Step Six
These two photos show a close-up view of painting
a small pattern in the water. The first photo shows
the rough shape of the green water and the pattern
of foam on the surface. There’s quite a bluey-purple
depth of colour in the ‘white’ foam. The second
photo shows how the depth of the foam has been
developed with light and dark edges shaded on one
side against the light. This gives a more dimensional
look. The light in the water is brought out by adding
a pale icy green where the sunlight hits it.

Step Seven
In this step, I moved from section to section of
the painting, adding more detail to the waves
and splashes, bringing out the surprising variety
of colours in the water - shades of blues, aquas,
violets and greens with touches of yellow in the
white for highlights. Colours used were Titanium
White, Phthalo Blue, Cobalt Blue, Permanent Green,
Dioxazine Purple, Burnt Sienna and Bismuth Yellow.

Step Eight
Here I am adding detail with a fine brush. My palette
is on a clear round moulded plastic tray. It’s messy,
Step 8
but it works! Heat-set paints don’t air-dry, so I don’t
need to clean my palette frequently.

Step Nine
Close-up view of the wave and splash detail.
Note the variation in hues in the water and the
translucent patch at the top of a wave painted by
adding lighter markings with touches of Bismuth
Yellow and Permanent Green to show light coming
through the water.

Final Step
The final painting is being varnished with a heat-
set satin varnish which is then set by drying with
a heat gun.

Contact details:
Web: www.lethbridgegallery.com
Web: www.michellecaitens.com
Step 9
Web: www.artistsforconservation.org 

artist 21
EXHIBIT A

Art Gallery of Ballarat

The fabulous Art Gallery of Ballarat, Victoria, was founded in 1884 by
a group of local citizens passionate about the need for an art gallery
to improve the culture of Ballarat, a rough, working city during the
goldfields era.

T
he wealth generated by gold and a burgeoning Within five years, they had not only started building
agricultural hinterland, coupled with a general up a great collection of art, but had erected a purpose-
sense of optimism that permeated the colony built art gallery on a site in the centre of Ballarat.
of Victoria during the 1880s were the main factors Ballarat was not the only gallery to have been founded
behind the timing of the Gallery’s founding. in regional Victoria in the late nineteenth century,
This boom-time ethos caused the arts to flourish but it was one of a select few that did not fall into a
throughout the young colony. This was the decade state of torpor after the first generation of supporters
when Tom Roberts, Fred McCubbin and Louis and organisers passed away around the time of the
Abrahams founded what would in time be perceived outbreak of the Great War.
as Australia’s first ‘national’ school of painting - the The Gallery’s collection continued to grow,
Heidelberg School. through purchases, gifts and bequests, and it

22 artist
is now undoubtedly the finest collection of
Australian art outside the state galleries in the
capital cities. It is an exceptional collection,
built up lovingly, intelligently and often with
inspiration over 130 years.
The Art Gallery of Ballarat maintains the
specialty established by its founders — as a ‘fine
art’ gallery, the strengths of the collection are
paintings and works on papers, with an excellent
selection of sculpture, furniture and decorative
arts. The permanent display features works
by major artists from all periods of Australian
art including von Guerard and Chevalier, Tom
Roberts, Arthur Streeton, Fred McCubbin, Rupert
Bunny, Phillips Fox, Russell Drysdale, William
Dobell, John Brack, Charles Blackman, Brett
Whiteley and many more.
The Gallery also has a focus on showing how
Ballarat evolved, from early representations of
Indigenous people in the area, and its evolution
from rough working class town to sophisticated
modern city. Another collecting focus is the story
of the Eureka Stockade, and the Gallery regularly
shows works which both record the events of
December 1854, and their continuing place in
the history of Australian democracy. >>

artist 23
EXHIBIT A

Actively supported by the Ballarat community,

as well as being a major tourism drawcard, the
Gallery draws many thousands of visitors to
the city each year, and its Membership scheme
is one of the largest social organisations in
Ballarat.
The Gallery has a very busy education
program, servicing local, regional and visiting
schools, and also offers other learning
opportunities, with drawing and other classes,
artist talks and conversations, musical concerts
and other performances.

Art Gallery of Ballarat

40 Lydiard St North,
Ballarat, Vic, 3350
Web: artgalleryofballarat.com.au

24 artist
D R AW I N G s P H O T O G R A P H Y s PA I N T I N G

Advertise Here
Ph: Cindy on 07 5499 9837
or Email: [email protected]

artist 25
PROFILE

26 artist
 Vicki Sullivan
A Wonderful
Obsession
Persistence and study has helped shape the talent of this internationally
acclaimed artist.

Paintings

V
icki Sullivan grew up in Sorrento on the was a huge influence on Vicki’s early life. This page
Mornington Peninsula in Victoria in the 1960s, Vicki’s family supported her decision to study Above left: Avalon
when Sorrento was a small town where full time Art at Frankston Technical College, now Aroha McRae 2013.
everyone knew everyone in town. Her father’s family Monash, which had a fabulous art course and was Oil on Linen
has lived in the area since the 1840s, and there were a wonderful introduction to ceramics, photography, 90cm x 90cm
plenty of cousins living nearby, and the children had a printmaking, sculpture, illustration and life drawing Above right: Radiance.
Oil on linen
very free life, roaming the beaches and horse riding. and painting. From there Vicki went on to study at
50cm x 40cm
Always interested in artistic pursuits, Vicki was Gippsland University, but painting in the realistic
encouraged by her maternal Grandmother, Jean, who style she longed for was not encouraged, and she Opposite page
always said if a child has an interest in something focused on ceramics instead. Kinima. Charcoal on
to foster it. Jean was an amateur artist herself, In 1981, Vicki had her first child and later, as roma paper
supplying Vicki with pencils, paint and paper, and a single mother, built a house in the rainforest. >> 52cm x 38cm

artist 27
PROFILE A WONDERFUL OBSESSION

Vicki lived there for a number of years and learnt

to paint fabric, later becoming a textile artist with a
focus on painting silk.
Vicki says that living in the Northern Rivers was a
magical experience. The subtropical environment is
a biodiversity hotspot supporting many endangered
and rare birds and animals. It was always interesting
learning more about nature, and Vicki gained a much
deeper understanding of the importance of looking
after our natural environment and living in a more
sustainable way.
After moving back home to the Mornington
Peninsula, Vicki followed her dream to paint and
took oil painting lessons from Brian Armstrong at the
McClelland Guild of Artists. Brian, a wonderful teacher,
taught realist painting which Vicki had been longing to
learn since she was at University where realist painting
tuition was not offered. Vicki furthered her study with
Fiona Bilbrough at Dawnwoods Studio, learning the
Meldrum method of painting.
Later, Vicki saved up and with her husband Michael
went to live in Florence, Italy, so she could study at the
Angel Academy of Art. The academy is run by Maestro

28 artist
Michael John Angel, who learnt the techniques of the
Old Masters from the famous Italian Portrait artist
Pietro Annigoni. Studying at the Angel Academy of
Art, which focuses on skill and academic life drawing
and teaching the old master method of drawing and
painting, had a major influence on Vicki’s work. She
was able to further her study of figurative painting,
learning in a very similar fashion to the master artists
of the 19th century.
Connections made in Italy meant that Vicki was
invited to teach a painting workshop in a studio
outside Montalcino, in the beautiful wine growing
country near Sienna. Vicki will be teaching a
workshop there again in May 2017, along with
American Artist Tina Garrett and Italian Master
Giorgio Dante. See link http://painting-workshop-
tuscany.com/
Vicki comments, “One of the main lessons I have
learnt is to be persistent, whatever your dream is,
put the hours in and study as much as you can from
the best teachers available. Small steps in the right
direction add up to great leaps eventually. Enjoy the
journey, art is a wonderful obsession”.
Vicki is influenced by many great artists including
William Bougereau, John Singer Sargent, Joaquin
Sorolla, Anders Zorn, and many other 19th century
artists.
Vicki was accepted as a finalist in the International
Art Renewal Centre Salon. The Art Renewal Centre
is the largest foundation in the world for the
education and promotion of realist art. Vicki was
later awarded the title of Associate Living Master by
the Art Renewal Centre. Amongst those considered
for the award, Vicki was considered one of the best
fine artists working in the world today and was
selected to join the International “Master Painters of
the World” Facebook group.
Vicki has been a finalist in many of the National
Portrait Exhibitions including:
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Paintings
Top right: Coming up Roses, Opposite page
Portrait of Kerry Armstrong Left: Walk Safely Into the
2014. Oil on linen Night. Oil on linen
90cm x 90cm 120cm x 66cm
Right: Lighthorse, Walers Right: Courage Camaraderie
and Kangaroo feathers. Oil and Consequence.
on linen 70cmx70cm Oil on linen 150cmx118cm

artist 29
PROFILE

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Publications:
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30 artist
 Vicki also instigated and helped curate Paintings
the Inaugural Australian Women Painting Top left: Verismo Deborah
Women Exhibition which was held at Burrinja Cheetham. Oil on linen
Cultural Centre in Upwey, linking in with 150cm x 100cm
the International Women Painting Women Above: Portrait of
movement. This exhibition of realist work of an John Waters. Oil on linen
extremely high standard involved artists from 120cm x 90cm
three states, and was received very favourably Left: Adornment. Oil on
by visitors and press, even being featured linen 61cm x 45cm
in “Fine Art Today”, an extremely respected
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Vicki will be having an exhibition of her Top left: The Bush Poet.
portrait work with artist Fiona Bilbrough at the Oil on linen 100cm x 68cm
Mornington Peninsula Regional Gallery from Top middle: Roxanne.
24 September until 20 November 2016. Oil on linen 30cm x 40cm
Topr Right: Portrait of
Contact details: Steve Bastoni. Oil on Linen
Ph: 0405 691 362 120cm x 90cm
Email: [email protected] Bottom left: Treasure.
Web: www.vickisullivan.com I Oil on linen 90cm x 60cm

artist 31
WORKSHOP OILS

Nude Study
The artist
follows her
teacher’s advice
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work as soft as
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Materials List
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Final Step

32 artist
 Vicki Sullivan
Artist’s Tips
& Hints
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paint from dark to light
and use a separate
brush for each colour.
This keeps my colours
from getting muddy.
It is worth spending
time cleaning brushes
well; if you look after
your brushes they
will last.

Continued …
Step 1 Step 2

Step One
Mix up the background colour and scrub it in
roughly all over the background with your biggest
round brush. I use my big Escoda brush for this.
Then, with a rag, roughly rub out the shape for
the figure, then scrub in the darkest shadow skin
colour and cover the whole figure with it. I use my
round Holbein Hog brushes for this. Also scrub in
the hair and cast shadow to the left of the figure.

Step Two
With your rag, rub out the lights on the skin,
leaving the darkest shadow shapes in place. >>

Step 3 Step 4

artist 33
WORKSHOP OILS

Continued…

Artist’s Tips & Hints

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34 artist
 Vicki Sullivan
Step Three
Refine your shadow shapes along the spine, feet
and neck.

Step Four
Begin putting in some mid tones and lighter skin
tones in place.

Step Five
Begin roughing in the shadow shapes for the cloth
under the model.

Step Six
Finish covering all the skin tones. When all of the
canvas is covered in paint, this is called first painting.

Step Seven
Second painting – after the first painting is dry,
retouch varnish and begin to refine the skin tones
and lay in the background.

Step Eight
Render the skin and refine the cloth which the
model is sitting on.

Step Nine
Refine the hands, feet and cloth, paying attention to
shadow shapes and highlights.

Step 10

Continued…
Final Step
Refine the hair, putting in highlights, shadows and Artist’s Tips & Hints
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Contact details: as soft as possible, as
Ph: 0405 691 362 thin as possible and as
Email: [email protected] neutral as possible for
Web: www.vickisullivan.com I as long as possible.
Step 9
artist 35
SHOOTING FOR ART By Margaret Hodgson OAM

Wildlife in Action
For the wildlife artist, good reference material can be gained with your DSLR camera. Exclusively
your own work, your photos will help you to achieve that wow factor in your next artwork that
will put your work apart from others.

Photography by Margaret Hodgson OAM

T
he first important thing to remember is know
your wildlife by researching all you can about
your chosen subject, as this will put you into
the scene of opportunity. The breeding season is
when wildlife is the most active, and the ideal time
to capture your action shots. Food gathering spots
are also great places to ensure plenty of action as
the behavioural pecking order is sorted out. Once
an opportunity position is secured, it is then up to
you and your level of patience, and that will depend
on how passionate you are to achieve that wow
action shot.
It could mean setting up a hide to use as a stake
out, for example, being near nesting birds where
chicks are being fed. In these situations, it is important
to the conservation of the species that you do not
attract any attention to the hide that would encourage
predation of their young, as it is a constant battle in the

36 artist
wild for survival. Always keep your distance. Parents
will sometimes abandon their chicks if they are too
stressed out. The use of a zoom lens is recommended
when photographing wildlife. If setting up in a
cramped hide for hours or days is not your thing, many
wonderful action shots can be opportunistic by just
being aware of activities within your surrounds, sitting
quietly in the garden or by a waterhole, soaking up the
serenity of the green canvas with your camera on your
lap. It is amazing what will come your way.
For action shots, you need to work on a fast
shutter speed and have a wide aperture (f/4 or
f/5.6). The depth of field will be a short focal length,
as this will allow the animal to be prominent against
the background, which will be out of focus giving
soft rendering hues. These colours often become an
atmospheric habitat. Since action shots cannot be >>

Photographs
Above right: Royal Spoonbill carrying nesting material, taken with
400mm lens, ISO 100 F8 shutter1000
Right: Rainbow Lorikeets, taken with 400mm lens, ISO 200 F5.6
shutter 400
Below: Brolga, taken with 400mm lens, ISO 500 F5.6
shutter 160

Opposite page
Left: Brush Turkey, taken with 400mm lens, ISO 100 F5.6
shutter 640
Right: King Parrot, young female, taken with 400mm lens,
ISO 200 F8 shutter 400

artists 37
SHOOTING FOR ART

predicted, it is best to handhold your zoom lens so

you are mobile to pick up the action. Often you can
sense an animal is about to make a move – in this
instance you can focus on it and hold your position

Photographs
Top left: Rainbow Lorikeets, taken with 400mm lens, ISO 200 F8
shutter 400
Top right: Noisy Friar Bird, feeding off Grass Tree flower spike,
taken with 400mm lens, ISO 400 F4.5 shutter 60
Above: Crested Hawk, taken with 400mm lens, ISO 100 F8
shutter 500
Left: Common Bronze-wing Pigeon, taken with 400mm lens,
ISO 200 F14 SS800

Opposite page
Left: Striated Pardalote has built a nest inside the overflow of the
house, taken with 400mm lens, ISO 200 F8 shutter 500
Top right: King Parrots, young males, taken with 400mm lens,
ISO 100 F8 shutter 500
Middle right: Wonga Pigeon, taken with 400mm lens, ISO 100
F8 shutter 500
Bottom right: Rose Robin, bathing in rock pool, taken with
400mm lens, ISO100 F5.6 shutter 500

38 artist
while watching through the view finder, then at the
slightest movement hit and hold the button while
panning the action for multiple shots.
If you have a spot you know the animal will
continue to visit, you can set up the camera on a
tripod with a remote shutter release and patiently
wait for the action a distance away, then hit the
button. The success of the action will be the detail
caught in the freeze frame, as close up detail will
be that distinctive guide you need for getting your
work scientifically correct, which is difficult without
having a close up specimen to inspect. It will ensure
the attitudes, together with your spontaneous field
sketches and constant observation of the animal in
habitat, will set your work apart from others. Filling
your sketch pad with thumbnails from real life with
studies on the anatomy of the animals will help you
to skilfully illustrate your subject when referring back
to your photographic reference materials.
Learning the technical skills of drawing is
paramount, even if your style is contemporary. Many
famous abstract and impressionist artists were
traditionally skilled. One such artist I often use as
an example to my students is Pablo Picasso. From
his beautiful traditional art, he broke away from the
mainstream of his early work and developed abstract
conceptual art that became known as Cubism. It
is that skilled background showing through that
illustrates professionally executed, contemporary
concept art, setting it apart from others.

Contact details:
Email: [email protected]
Ph: 02 6647 3157
Ph: 0428 267 710 I

artist 39
PROFILE

Embracing the
Concept of Universality
The artist’s narrative work is highly autobiographical. Her drawings and
paintings recall childhood memories, and are inspired by dreams, theatre, history,
literature, films, fairy tales, myths and a fascination with the human psyche.

“W
henever a fairytale is told, it becomes Jungian analyst and storyteller Clarissa Pinkola
night. No matter where the dwelling, Estees speaks of the power of storytelling. It is the
no matter the time, no matter the oldest art form, and the way primitive people made
season, the telling of tales causes a starry sky and a sense of their lives from the very first drawings
white moon to creep from the eaves and hover over etched on cave walls. It is the primal power of
the heads of the listeners. Sometimes, by the end of storytelling that echoes through civilizations and
the tale, the chamber is tilled with daybreak, other generations, and describes the archetypal quest that
times a star shard is left behind, sometimes a ragged we all experience as we try to make sense of life’s
thread of storm sky. And whatever is left behind is journey. Myths are shared stories that explain cultural
the bounty to work with, to use toward the soul- and historical events. It is this quest that Tanya
making,” Clarissa Pinkola Estees. Chaitow describes in her paintings and drawings.

40 artist
 Tanya Chaitow

Tanya has been painting and drawing since

childhood. It is the way in which she processes
ideas and emotions, making sense of the world.
Her undergraduate degree was a Bachelor of
English and Drama, where her love for literature and
theatre provided the creative underpinning for her
narrative paintings. She studied art at Meadowbank
TAFE, going on to complete a Bachelor of Fine Art,
Honours and Masters degree at the College of Fine
Art, Sydney. She has been painting, drawing and
exhibiting for the past 30 years, represented by
Stella Downer Fine Art Gallery, Danks Street, Sydney
since 2004.
Returning to the theatre in 2007, Tanya worked
with the Bell Shakespeare Company, drawing from
rehearsals of their productions. Her resulting body
of work was imbued with symbolism and a cast
of theatrical characters. Influenced by theatre >>

Paintings
This page Opposite page
Above: Self Portrait, (after Left: Self Portrait , (after
Soutine) 3 Soutine) 8
Right: Agony Of Waiting 2 Right: Self Portrait 01, 2013-

artist 41
PROFILE EMBRACING THE CONCEPT OF UNIVERSALITY

director Peter Brooks’ writing on the nature

and purpose of the theatre, Tanya discovered
parallels between the purpose of art and theatre
in awakening in the audience or viewer an
understanding of the human condition that they
were previously unable or unwilling to confront,
attempting to show us the everyday world in new
and unfamiliar ways.
After completing her Masters of Fine Arts in
2007, Tanya was awarded a residency at the
prestigious Cite International Des Artes of Paris,
where she spent three months drawing from
the mime schools and theatre rehearsals for the
spectacles at the Theatre de la Ville, as well as
working from the archives of the theatre costumes
at the Comedie Francais, returning in 2010. She
has exhibited in The Melbourne Art Fair in 2010
and 2012. On numerous occasions her works have
been on display in many prestigious competitions,
including Art on the Rocks, the Blake Prize, the
Mosman Art Prize, Salon des Refusees, the Dobell
Drawing Prize , The Fleurieu Peninsular Prize, the
Stanthorpe Regional Art Prize, the Fishers Ghost Art
Prize and the Kedumba Drawing Prize. She currently
lives and works in Sydney.
Tanya’s narrative work is highly autobiographical.
Her drawings and paintings recall childhood
memories, and are inspired by dreams, theatre,
history, literature, films, fairy tales, myths and a
fascination with the human psyche. She inverts her
world order where people take on animal spirits to
illustrate the parallels between human experience

42 artist
 Tanya Chaitow
and the mysteries of the natural world. The animals
imbue the emotions and tensions suppressed
beneath the human masks.
In her earlier work, Tanya used her iconic deer
as a self-portrait in various guises. She used the
deer as an archetypal Jungian self to express her
creativity and identity. The deer later emerged as
an armed guardian of an unstable inner and outer
world. The heir to this deer is a sensitive creature
whose antlers search out tree branches and
metamorphosis into antennae which gently sense
out the world around it. The deer travels through
surreal dreamscapes leaving in its wake a sense of
disconnection and vulnerability, disrupting the linear
narrative, leaving it open for the viewer to complete.
Tanya has always embraced the concept of
universality, and in her last show she used
Ai WeiWei’s motif of the moon as representing >>

Paintings
This page
Above: Everything You Opposite page
Can Imagine Left: Types of Ambiguity.
Top right: The Gossip Of Trees 1 Right: Within The Travellers
Right: Of Dreams and Feathers. Eye – 2007

artist 43
PROFILE EMBRACING THE CONCEPT OF UNIVERSALITY

the universal connectivity of ideas and humanity. Paintings

Ai Weiwei says, “wherever or whoever we are in the Above left:
world we look at the same moon. It symbolizes our The Rashamon effect
connectivity beyond the geographic and political Above: Something Exactly
limitations”. In working with the moon, she has Resembles Another
drawn upon the moon’s association with the owl Left: At Night The
as ruler of the night and seer of souls. She has Bees Move
used the owl as a symbol of wisdom, intuition and
a mystical creature that keeps the spirits who pass
from one plane to another. In instilling her animals
with human characteristics, Tanya continues to blur
the distinction between the real and the imagined,
bridging the gap between day and night, the
conscious and the unconscious.
She hopes the viewer will connect with her
images and experiences as a way of understanding
themselves and how we connect to one another, our
past and our future. “Art is not what you see, but
what you make others see,” Edgar Degas.

Contact details
Tanya Chaitow
Email: [email protected]
Web: tanyachaitow.com
Instagram: tanyachaitow

Tanya is represented by
Stella Downer Fine Arts Art
2 Danks Street, Waterloo, NSW, 2017
Email: [email protected]
Ph: 0402 018 283

44 artist
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WORKSHOP ACRYLICS

Materials List
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Final Step

Step One surroundings that reflected their interests and

I have recently been working on a suite of animal incomes. I have tried to characterise my animals in
portraits within the historical genre of portrait the same way by humanising them in their portraits.
paintings. In the eighteenth century, there was Dogs have been called ‘magicians of the earth’, and
a growing interest in individual psychology, as aside from loving animals, I respond to their warmth,
the thinkers from the enlightenment had started unconditional love and human attributes. I work from
exploring man and presenting the sitters in a photograph of a dog and look through my art

46 artist
 Tanya Chaitow
Step 1

history books to find a portrait that I feel resonates same position and costume as Henry VIII, as he is
with the character of the dog. a fierce, proud little dog with delusions of grandeur,
For this work, I have used a 20cm diameter round and I felt his fearless personality was aligned with a
board. I like working with acrylic on the firm support great ruler. Once I have outlined the drawing, I am
of the board rather than canvas. It is important to ready to start playing with colour. >>
prime the board carefully. First, I tape the edges with
masking tape to keep the edges of the board clean
and smooth. Then I coat the surface carefully with
gesso or a good, white house paint such as Porters
House Paint. I coat the surface five or six times,
making sure to brush horizontally and vertically
across the board. After allowing the coat to dry, I
sand lightly before applying the subsequent layer.

Step Two
I paint a flat background colour in the same way
as I applied the gesso, using a muted colour that
was used in the backgrounds of the 18th century
portraits like olive green, deep blue, burgundy or
cream. For this portrait, I have mixed Golden Acrylic
Quinacridone Crimson with a Jenkins Green. The
brushes I have used are a Neef 65 synthetic Filbert
and a Grandissimo Parkers 7004.
Next, I draw the rough shape of the image on the
board, looking for the placement of the eyes. The
placement of the eyes is very important and I use it
as a key to getting my portrait correct. I have painted
the outline in a soft Antique White. I have kept the
touch light and feathery, as I am trying to find the
correct placement and get the feel of the painting.
It is important to keep the paint fluid and the touch
light. At first, I placed the eyes too far apart, but
redrew them. The acrylic paint is forgiving if you
Step 2
work quickly and gently. I have painted Oscar in the

artist 47
WORKSHOP ACRYLICS

Artist’s Hints
& Tips
r

*O
IJT
OPWFM
i8IBU
*

talk about when I talk
of running”, renowned
Japanese novelist
Haruki Murakami
speaks of the
importance of focus
and endurance as
essential components
in creative work. He
speaks of the need to
commit to writing every
day. The same goes
for painting. Talent
is important, but so
is commitment and
endurance as much as
training for a marathon.
If you commit to going
into your studio every
day there is a chance
something will happen,
but if you procrastinate
there is no chance of Step 3
any creative work. It is
helpful to try to allocate
a special space and set Step Three have the correct colours to continue and complete the
aside a time to work on Using a restricted palette, I have filled in the colour painting without running short of a particular hue if I
a regular basis. of the painting. I start with the darkest darks, making want to return to a section the next day. When I have
r

"MM
NZ
XPSL
JT
a rich black from mixing Ultramarine and Burnt finished for the day, I cover my palette with plastic
autobiographical, Umber. I also need to get the eyes right as it is a wrap which will keep my paints moist for a few days.
whether it is initiated portrait of sorts, and I feel once the eyes are in place The paint can also be rehydrated by spraying with
from a dream, emotion, the rest of the picture will fall into place. Having a water from a misting bottle. I find this keeps my paint
literature, theatre, or dark background has helped to create a solid base moist and easy to use. You can keep thinning your
seen, is something over which I can slowly build up the layers until I paint with water, or I sometimes use Golden GAC-100
that sparks something have enough depth for my painting. Once I started multipurpose polymer medium, but generally prefer to
within me. Painting is painting his face, I felt I needed more space for his work only with water.
the way I make sense chin so moved his collar down. I began layering
of the world we live in, individual strands of fur over the base colour, using Step Four
and sometimes it is only a variety of colours, referring to the original photo. Looking at the image, I felt that there was too much
after a work is complete It is important to note that the hair does not grow in dark background, and I wanted the image to be more
that I realise where one direction and I have painted individual strands prominent and feature larger, so I moved Oscar’s hat
the work originated or gently, building up to the lightest highlight colour on higher up and increased the amount of fur around
what the work is really the very top. It is important to work democratically his face to enlarge the portrait. Using various shades
about. I paint subjects across the painting without giving one area much of white I slowly built up his face, moving the eyes
that resonates with me more attention than the rest. slightly again, while looking closely at the original
emotionally. If you reveal To achieve the golden sleeves, I used Golden source image. I enlarged his nose and teeth, and
your own vulnerability, Iridescent Bronze under a tinted mixture of Cadmium lowered his jaw slightly.
others are able to Yellow and White, and returned over the top for I feel it is important to keep my image alive and
highlights. It is important to mix enough paint so I will fluid as long as possible so I am able to make last

48 artist
 Tanya Chaitow
minute adjustments. Looking closely at the eyes I Final Step
tried to get the highlights in the correct place, as Looking at my painting the next day, I decided it
they provide the life and personality of the portrait. wasn’t finished. I was still not happy with the large connect with you more
I painted a white rim around his dark eyeballs, using expanse of dark background and decided it needed easily, and as an artist
my pinks and browns for the eye sockets and to to be broken up. Referring to my source picture I am trying to create
provide some structure under the white. of King George VIII, I painted a very faint line of a work that resonates
Once I was reasonably happy with the portrait gold lettering which I felt was a successful tool for on an intimate level
and placement on the board, I started to look at breaking up the space and creating more interest. with the viewer. Art is a
the clothing and used the whites and gold details After that, I sharpened some of the details, worked conversation between the
to add light and interest to the image. I returned on my feather a little more and softened the collar of artist and viewer.
to the sleeves with layers of Iridescent Bronze and the shirt, as I felt the pointed corner on the left hand r

*U
JT
WFSZ
EJTDPODFSUJOH

Cadmium Yellow. I have added more white to the side was too distracting. At this point, I felt the work when you commence
feather in his cap in soft feathery strokes to create was complete. a painting or drawing,
a likeness of the object. I kept referring back to my and are not happy
two images, the original source image of Oscar to Contact details with the progression. I
create a likeness of my dog, and the image of King Tanya Chaitow have learnt to leave my
Henry VIII for his stature and clothing in order to Email: [email protected] critical voice outside
resolve this painting. I try to create a unified image Web: tanyachaitow.com the studio door and
by working the image all over and not getting stuck Instagram: tanyachaitow allow myself to work
in some corner details. Each mark you make on freely before assessing
your image requires another mark somewhere else Tanya is represented by the work critically or
to balance the work until it feels harmonious and Stella Downer Fine Arts Art inviting peers to help
complete. Once I felt I had put in the detail of the 2 Danks Street, Waterloo, NSW, 2017 me assess my work. It
clothes, I decided to leave the image until the next Email: [email protected] is very valuable to use
day to see if it was finished or not. Ph: 0402 018 283  a beginner’s mind when
working, asking yourself
what will happen if .
. . and being open to
observe the resulting
process. More often
than not, the accidents
that happen during
the painting process
are more valuable than
labouring over an area
of paint, so if the artist
can remain open to
the process they will
more often than not be
rewarded. If the critic
intervenes too early, it
can stunt creativity.
r

"T
BO
BSUJTU
JU
JT
WFSZ

important to keep
finding ways to get
inspired, excited,
curious and challenged,
whether that is through
experimenting with
materials or researching
your subject matter. It
is important to make
sure that every mark
that you make on the
Step 4 paper/canvas/board is
meaningful and relevant.

artist 49
GALLERY INTERNATIONAL

Beyond Caravaggio
Images
B
eyond Caravaggio is the first major exhibition private collections throughout the UK. The paintings,
Below left: Michelangelo in the UK to explore the influence of many of which will be unfamiliar to audiences, will
Merisi da Caravaggio Caravaggio on the art of his contemporaries provide the context for considering Caravaggio; not
The Taking of Christ, and followers. as a figure in isolation, but as the one at the root of
1602 Michelangelo Merisi da Caravaggio (1571 – an international artistic phenomenon.
Oil on canvas 1610) is one of the most revolutionary figures in A highlight of the exhibition is displaying
133.5 x 169.5 cm
art. His strikingly original paintings, with their intense Caravaggio’s Supper at Emmaus (National Gallery,
On indefinite loan to
the National Gallery of naturalism and dramatic lighting, had a lasting impact London) alongside his Taking of Christ (on indefinite
Ireland from the Jesuit on European art both during his lifetime and in the loan to the National Gallery of Ireland from the Jesuit
Community, Leeson St., decades immediately following his untimely death. Community, Leeson St., Dublin). The latter is reunited
Dublin who acknowledge This exhibition looks at the ripple effect of with Giovanni Serodine’s Tribute Money (Scottish
the kind generosity of Caravaggio’s influence on the art of his followers – National Gallery, Edinburgh) and Antiveduto Gramatica’s
the late Dr Marie Lea- artists as diverse as Orazio Gentileschi, Valentin de Christ among the Doctors (on loan to the Scottish
Wilson, 1992 Boulogne, and Gerrit van Honthorst. Every one of National Gallery from the Archdiocese of St Andrews
Photo © The National them absorbed something different from Caravaggio and Edinburgh) – all of the paintings were acquired in
Gallery of Ireland, Dublin
– some borrowed his theatrical lighting whilst others 1802 by Hamilton Nisbet, directly from the illustrious
Below right: Giovanni
Francesco Guerrieri sought to emulate the power of his storytelling Mattei family; important patrons of Caravaggio.
Lot and his Daughters – and helped propagate his style across Europe,
leaving Sodom, about giving rise to the international movement known as This exhibition is a collaboration between The
1617-18 ‘Caravaggism’. National Gallery, London, the National Gallery of
Oil on canvas This exhibition, which also travels to the National Ireland and the National Galleries of Scotland.
136.3 × 99.3 cm Gallery of Ireland, Dublin, and the Royal Scottish
Manchester Art Gallery Academy, Edinburgh in 2017, brings together Exhibition: 12 October 2016 –15 January 2017
© Manchester City approximately 50 paintings. With the exception of a The National Gallery, London
Galleries / Bridgeman
select few, which have since gone abroad, the loans Sainsbury Wing
Images
come from museums, National Trust houses and Admission charge

50 artist
Henri Rousseau:
Douanier’s Paradise Lost

H
enri Rousseau, known as the Customs
Officer (1844–1910), is one of the
most important artists of the turn of the
19th and 20th centuries. His works attracted not
only intellectuals like Guillaume Apollinaire and
collectors such as Wilhelm von Uhde, but also many
artists. In his paintings he anticipated or resolved
similar problems to Paul Cézanne, Paul Gauguin,
Pablo Picasso, Paul Klee, and Frida Kahlo. He was
highlighted as a source of inspiration in particular
by the group known as Der Blaue Reiter, headed by
Vassily Kandinsky.
This exhibition is in cooperation with the
Musée d'Orsay in Paris on the basis of a concept
prepared by Gabriella Belli (Fondazione Musei
Civici di Venezia) and Guy Cogeval (Musée
d'Orsay). The authors place Rousseau in the
context of other, no less famous artists and try to
trace stimuli linked with archaism, classicism and
his original vision of realism. The National Gallery
in Prague presents Henri Rousseau in the autumn
of 2016 after the closing of the exhibition in
the Musée d’Orsay. The selection from the Paris
exhibition is supplemented by the works of Czech
artists such as Otto Gutfreund, Jan Zrzavý or
Toyen, which demonstrate the painter’s impact on
the Czech environment. For this exhibition, works
are on loan from a number of prestigious Czech
and foreign institutions, and also from private
collections.

Exhibition: 16 September – 15 January 2017

Exhibition curator: Kristýna Brožová
Authors of the concept: Gabriella Belli,
Guy Cogeval
The National Gallery, Prague
Web: http://www.ngprague.cz/en/

Images
Gallery

Top right: Henri Rousseau

The Anglers, 1908–1909
Oil on Canvas, 46 x 55 cm
Paris, Musée de l’Orangerie
© RMN-Grand Palais (Musée de l’Orangerie) /
Hervé Lewandowski
Right: Henri Rousseau
Myself. Portrait – Landcape, 1890
Oil on canvas, 146 x 113 cm
The National Gallery in Prague

artist 51
GALLERY INTERNATIONAL

The Spectacular Second Empire

1852 – 1870

Image
T
he ostentation of the “fête impériale” and are just as relevant today: art used in the staging
Below : Emmanuel Lansyer France’s humiliating defeat in 1870 by of power, the individual and his/her image, the
The Château of Prussia have long tarnished the reputation taste for objects and decoration, society’s latest
Pierrefonds, circa 1868. of the Second Empire, suspected of having been a entertainments and the great artistic events of the
Oil on canvas, 132 X time purely of amusements, scandals and vices. It Salons and the Universal Exhibitions.
195 cm was, however, a period of unrivalled prosperity in Napoleon III's authority was staged during the
Departmental Museum the 19th century and one of unprecedented social Second Empire in an attempt to create an image of
of Oise, Beauvais – upheavals. A time of abundance, euphoria and himself as the worthy heir to his uncle, while the
donation from the Musée
numerous celebrations, political, economic, religious Empress Eugenie fostered an image of herself as the
d'Orsay
© RMN-Grand Palais and artistic, today we see the 1850s as the pivotal perfect “first lady”, devoted to charitable causes. Set
(musée d'Orsay) / Hervé moment in the birth of “modern France” (Gambetta). in locations inherited from the monarchy (Tuileries,
Lewandowski To celebrate its 30th anniversary in autumn 2016, Château de Saint-Cloud) or on new stages (the
the musée d’Orsay is, for the first time, looking at new Louvre, Château de Pierrefonds), the Emperor
this first society of spectacle and consumerism. used the many dynastic and political events that
The exhibition brings together paintings, sculptures, marked his reign to bind the population to a fragile
photography, architectural drawings, objets d’art regime. The baptism of the Imperial Prince in 1856
and jewellery in a lavish thematic exhibition based – represented in this exhibition by the magnificent
around the great aesthetic and social questions that cradle given to Napoleon III by the City of Paris

52 artist
(musée Carnavalet) – was the high point of the Taking advantage of the vivacity of the Parisian
Image
reign, following the success of the 1855 Universal world of opera and theatre, the Emperor brought Above left: Edouard
Exhibition and the victories in Crimea. in modern regulations for theatres, demolished old Denis Baldus
Enriched and triumphant, seduced by its own theatres and launched a building program for new Louvre, the Richelieu
image, the wealthy middle class reflected itself venues such as the theatres in the Place du Châtelet, pavilion under
endlessly in painted, sculpted or photographed and Charles Garnier’s new Opera, the monument construction. An
portraits. Faced with such high demand, artists to entertainment par excellence. The city of Paris, a extract from the
carried on with the neo-classical traditions (Ingres, constant building site, transformed by Haussmann’s photograph album of
Flandrin), or broke new ground, turning to new scenography, became an open air set and an views of monuments
in France and of the
sources of inspiration: the verve of English painting element of artificiality invaded the urban space. With
flooding in Lyon and
for Winterhalter or the spirit of French Baroque for the arrival of leisure activities and holiday resorts, Avignon, 1856
Carpeaux. In response to narcissistic exhibitions and from Biarritz to Deauville, came a New Painting, Salted paper print
tricks of photographic distortion, like those of the evoked in the exhibition by the paintings of Boudin, from a glass collodion
Comtesse de Castiglione and the Empress Eugenie, Degas, Renoir and Monet. negative, 51.2 x 37.5cm
painters such as Courbet, Manet, Monet and Degas A place of official recognition and of scandal, the Paris, Musée d'Orsay,
produced realist portrayals of the individual “in his or Painting and Sculpture Salon was both an aesthetic donation of the
her environment”. The decoration and arrangement battleground and a huge market for the new middle Manufacture Nationale
of the interiors, the backdrop to this new society, class who flocked there in great numbers. In 1863 de Sèvres - City of
Ceramics
were the subject of particular care where collection Napoleon III, confronted by the protests of artists
© RMN-Grand Palais
pieces or flamboyant new pieces of furniture were rejected by the jury, created a “Salon des Refusés” (musée d'Orsay) /
displayed. alongside the official Salon, an act of significant Michèle Bellot
During the Second Empire, Parisian life pulsated liberalisation. With paintings hung at several different Above Right: Maison
to the rhythm of a multitude of society balls, soirées levels, as was customary in the 19th century, this Belloir et Vazelle (Paris,
and salons organised by the most dazzling court of exhibition demonstrates the startling difference XIXe siècle)
Gallery
the 19th century, the memory of which is kept alive between the two Salons with Cabanel’s Birth of Marquee project for an
in several large watercolours by Eugène Lami and Venus and Manet’s Luncheon on the Grass. imperial feast,
Henri Baron. Paris became the court of this “fête circa 1869
Gouache and pencil,
impériale”, which was more political than it seemed, Exhibition: 7 September 2016 – 15 January 2017
40 x 60.5 cm
and which supported the luxury goods industry. Opening hours: every day except Monday, 9.30am Paris, Musée d'Orsay,
This society cultivated a taste for tableaux vivants, to 6pm, Thursdays until 9.45pm RF.MO.ARO.2015.3.1
dressing up and fancy dress balls, where identities Access: entry from the forecourt at 1, rue de la © Musée d'Orsay, Dist.
were concealed, where the beau monde and the Légion d'Honneur, 75007 Paris RMN-Grand Palais /
demimonde mixed and intrigued. Web: www.musee-orsay.fr Patrice Schmidt

artist 53
GALLERY INTERNATIONAL

Yosemite:
Exploring the
Incomparable Valley
Images
C
ommemorating the 150th anniversary of
Right: Carleton E. Watkins, Yale’s Peabody Museum of Natural History
Bridal Veil Fall from and the 100th anniversary of the creation of
California Photo America’s national park system, Yosemite: Exploring
Album, ca. 1865-66. the Incomparable Valley, considers one of the
Albumen print. Yale
country’s most celebrated natural landmarks through
University Art Gallery
the fields of both art and science.
Below left: Fred Payne
Clatworthy, John Beginning in 1855, artists, scientists, and scenic
Burroughs and John tourists alike travelled to the Yosemite Valley in
Muir, Yosemite, May California’s Sierra Nevada Mountains to experience
1909, 1909. Gelatin silver its majestic landscape in person. President Abraham
print. Yale University Art Lincoln extended the first protection to the region awe-inspiring scale and beauty have fascinated
Gallery, Everett V. Meeks, in 1864, preserving the valley, with its sheer generations of Americans and inspired action to
B.A. 1901, Fund granite cliffs and soaring waterfalls, as well as the conserve its wonders.
Below right: Albert
neighbouring Mariposa Grove of ancient sequoias. Exhibition organised by Mark D. Mitchell, the
Bierstadt, Yosemite
Taking as its starting point Albert Bierstadt’s large- Holcombe T. Green Curator of American Paintings
Valley, Glacier Point
Trail, ca. 1873. Oil on scale Yosemite Valley, Glacier Point Trail (ca. 1873), and Sculpture. Made possible by the Art Gallery
canvas. Yale University a cornerstone of the collection of the Yale University Exhibition and Publication Fund and the Friends of
Art Gallery, Gift of Mrs. Art Gallery, the exhibition shows how Americans American Arts at Yale Exhibition Fund.
Vincenzo Ardenghi found inspiration in the western landscape and also
sought to understand its marvels—through paintings, Exhibition: 7 October 2016 – 1 January 2017
prints, and photographs as well as the botanical and Yale University Art Gallery
geological specimens that early scientists brought Yale University
back from their expeditions. Together, these objects 1111 Chapel St, New Haven, CT 06510, USA
attest to the enduring impact of Yosemite, whose Web: http://artgallery.yale.edu/

54 artist
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Artis
)D[WR (02) 4733 8583

Presented by
Palette
PROFILE

Art Found Me . . .
“W
A tragic hen life gives up on you, never give up Music under the tutelage of Virtuoso Errol Collins.
accident on living!” Neil Sweeny Despite receiving high marks in his IQ testing scores,
brought this Born in Newcastle in 1959, Neil Neil never achieved good academic results during
Aussie artist was part of the “Caucasian” Stolen Generation. his schooling. To escape the trauma of his world,
and ex-classical His adopted family life wasn’t easy. He was given he poured himself into his classical music, but didn’t
violinist to a war-bride family and both adopted parents return to his drawing or artwork.
together suffered with PTSD. His father had ailing health due By age 14 he was entering and winning many
to form a to war injuries which caused significant conflicts in Eisteddfods and achieving Honours/Distinctions in
beautiful the family home. Neil was often bullied at school all of his music exams.
creative because of the adoption, but would always find After completing Year 12 and graduating in 1976,
partnership. solace in drawing and painting. Neil began touring as a soloist, playing in concert
At age 12 he was introduced to music and halls and orchestral venues. Due to the trauma
studied violin at the Newcastle Conservatorium of of his childhood and a growing alcohol addiction

56 artist
 Neil Sweeny

which affected his memory, his solo career was to profits for the companies he worked for, and lucrative
be abruptly cut short. During one of his concerts promotions for him.
in Newcastle he suffered a memory block. The His flair for art was always bubbling just beneath
audience was not forgiving. The incident finished his the surface, and his eye for colour and detail played
solo career. a large part in him developing innovative and
Neil decided to focus on teaching music, and successful merchandising and marketing campaigns.
to help supplement his income for his new young Music was always foremost in his mind, and in
family, he sought out and found positions in sales 1988 an opportunity presented itself to return to his
and marketing. With his high drive to succeed, roots and start a Classical Music School in Newcastle. Paintings
it wasn’t long before his skills were recognised, Over the next 20 years Neil founded and successfully Above left: Outback
and management positions came his way. Once built two music schools in Newcastle and Dubbo. Dreams
again his creativity was to express itself in unique But life has a funny way of throwing you curve Top right: Can You See
management and marketing ideas, generating large balls … >> Above: Butterfly Retreat

artist 57
PROFILE ART FOUND ME . . .

A freak accident in 2007 was to close the door

on his music career. He was left with serious spinal
injuries, losing the ability to control both arms, plus
chronic neck pain and uncontrollable nerve spasms.
It left him devastated.
Over the next four years he would be in and
out of hospitals, medical centres, physios and
psychologists’ rooms. In 2011, his psychologist
suggested that he try art therapy on the computer.
She had read that patients with similar conditions,
using small controlled movements on a PC tablet,
could create beautiful works of art. Neil and his art
would once again find each other.

Artist Comment
Based in Dubbo in NSW, I was surrounded by some
very fine art families and great art supply shops. I went
out and bought a box of pencils, brushes, paints and a
sketch pad. I wanted to see if I still had it.
Well, what a disaster; there was more paint on the
floor, walls and table than on the sketchpad as the
spasms went into overdrive. But I wasn’t giving up. I
bought an iPad, and after a few months of persistence,
I found by pressing down hard on a table with both
arms, the spasms could be controlled enough to allow
me to finger paint without jerking.
It took nearly 12 months to master the iPad. I found
an easy art program called ArtStudio, and I began to
work with hues and tones by filling in doodle art. I
discovered that my hand was not steady enough to
draw pencil lines, so after downloading some easy
reference photos I would desaturate the image to
create a basic outline. I was finally away.
I found painting very therapeutic, and it also took
my mind off the pain in my back and neck. I could
now look forward to getting up to face the day as I
had a purpose for living. By the beginning of 2013 I
had created nearly 20 paintings which I had kept on
file in my hard drive. I began with still life images of
fauna, and started working with simple landscapes.
Being a perfectionist helped me focus on perfecting
my art technique. What I have found very useful in
this journey, and where I can pick some positives
from the accident, is my ability to discern the subtle
differences in grades of tones of the colour wheel.

Artistic Influences
By 2015, Neil had amassed nearly 80 paintings.
And at the invitation of some Facebook friends, he
began to showcase his digital paintings online. The
response from the community was overwhelmingly
supportive.
With many of his early paintings, referenced from
public domain images, he occasionally met some
resistance regarding issues of originality. He was

58 artist
encouraged to develop his own style and stay clear
of the pitfalls of copyright.
In late 2015, Neil came to the attention of two
International digital artists, Daniel Rivart from
Belgium and Immo Jalass from the Netherlands. They
pushed him to explore and work with abstracts and
mixed media.
The three works “Winter Vortex”, “Butterfly
Retreat” and “Time and Space” won International
Recognition and were Finalists in European FB Art
Contests. Neil’s technique was now developing but
not yet thematic, not yet identifiable.
At the beginning of 2016 he began

Neil Sweeny
experimenting with abstract expressionism and
immediately felt right at home. His inspiration to
paint came from both the beauty of outer and inner
space. This can be seen in his works “Blue Echoes”,
“Above” and “Against The Tide”.
Neil’s passion was still with landscape work. A
group of Australian artists took him under their
wings and guided him back to explore a layering >>

Paintings
This page Opposite page
Above: Winter Vortex Top left: Above
Top right: At the Beach Middle left: Time and Space
Right: Blue Echoes Bottom left: slipping Away

artist 59
PROFILE ART FOUND ME . . .

technique that he had used in many of his early

artworks. Throughout 2016 he has been refining
this technique which he calls ©PATCHISM.
©PATCHISM can be defined as using irregular
shaped ‘patches’ of complementary and contrasting
pure colour to form an image. His three ©PATCHISM
paintings “Morning Falls”, “Outback Dreams” and
“Highlands Picnic” all demonstrate this technique.
He now focuses all his energies and time on
developing his two art styles - Abstract Expressionism
and ©PATCHISM. Neil’s work is highly regarded and
sought after in Europe and the UK.

Major Awards & Exhibitions

2015
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60 artist
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artist 61
WORKSHOP COMPUTER

Morning Falls
“Blending of patches – a beautiful tapestry doth make...” by Neil Sweeny

M
orning Falls was created from a
reference photo sent to me by an
art friend from Newcastle. The
photo was taken somewhere between Kurri
Kurri and Pokolbin in NSW.

Step One
Using Pencil tool 1 – 3, I will define shapes
and set out my workspace in preparation
for base painting. My reference photo usually
sits on a second screen (laptop) beside me.
Step 1

62 artist
 Neil Sweeny
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Step Two
After creating my pencil outlines I like to
paint from left to right across a canvas
using a defined grid work area.
I cut and paste the same area of the
reference photo and put it adjacent to my
workspace.
To begin, I will select a series of grey and
black tones to lay in some foundation colour
for depth, and then compare the graded
tones against the photo. >>

Step 2
artist 63
WORKSHOP COMPUTER

Step 3

Step Three Step Five

More base colours are added until I have filled the Once the virtual canvas is completely finished in
left grid area and am satisfied that I am getting the base coat, I will begin to prepare and map out
definition and form into the foreground, mid ground the space for my PATCHISM layer.
and background workspace. I have found by adding a second layer of oil
texture really lifts the painting and gives my work
Step Four a life of its own.
After completing the left grid area I will remove the To apply these ‘patches’ of pure paint, I work
reference photo, which was layered over the top of in smaller quadrants or blocks and at maximum
my pencil outline and then complete the right side zoom magnification, similar to petit point
in base layering colours. stitching.

Steps 4 and 5

64 artist
 Neil Sweeny
Step Six
What is great about PATCHISM is that I can use any
sized shape with contrasting or complementary
colours or both. The Zoom or Magnify function is very
helpful and important as it helps me see definition,
form and outline with my block work.

Final Step
Once all the blocks and quadrants are completed, I
will work on seam finishes to make sure the whole
workflows. An average work, of this size, will take 8 to Step 6 – Detail
10 days to complete. I

ARTIST’S HINTS & TIPS

For digital painting in a traditional style
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with enough space for the 12 colours. Using the
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you tile them from hue to black and hue to white.
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of each other so that you begin to train your eye for
Step 6 – Detail
recognizing the variations of lighting changes with each
main colour.
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perception weakens as you get tired. What may have
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shocking at 9am.
Step 6 – Detail
artist 65
TOOLS BY PATRICK HEDGES

Pens!
As most people know, I’m a wildlife and portrait artist, using the fine art medium of
scratchboard, but I understand the value of becoming a rounded artist by using different
mediums and pursuing different genres.

P
eople are used to seeing images
from me like my “Cheetah”, but
I will often play around with
something else. I have used pastels,
oils (not very well), acrylics and
watercolours, but I also like pens and
have tried various types and styles, not
just to put more art on the wall, but to
improve the overall standard of my art.
It’s not my primary focus but it helps me
develop skills that can cross over. If you
look at the eyes of my cheetah, you will
see that the first style I write about here
with pens has directly influenced this
scratchboard.

Dots, dots and more dots

Stippling is a great style of art, but you
need the kind of personality that can cope
with spending hours putting little dots in
the right places. I love doing it – up to a
point. After a while, I’m done. However,
the results can be great. My first major
art award, winning the Royal Adelaide
Show’s Art Purchase exhibition, “Pastels or
Drawing” category (yes, they didn’t know
where to put it, much like scratchboard)
was with a stippled piece, this Australian
Black Swan, in 1995.
As is always the case, I try not to be a
slave to my reference material. This was
from a photo my wife took of a swan in
Adelaide, but I played around with the
light to try to create what I thought might
be a better composition than the photo.
That’s the great thing about art – you
can include or exclude what you want
to, and you can highlight certain areas
while downplaying others. In this case, I

66 artists Cheetah
 Tools

Australian Black Swan Owl

wanted to create a strong composition

by having it dark at the top and light
below. I’m personally not sure it was
worthy of a major exhibition win, but
if the judge thought it was, who am I
to argue? When I stipple I use fibre-
tipped pens, generally 0.1 in size. Good
stipplers often go smaller, but that would
drive me nuts.
As you can see, over the years I’ve done
a lot of stippling. The owl is from 1980
and the lion from 1995.
Try to place your dots randomly,
making certain you don’t build up Lion
patterns. One of my very earliest pieces
is this one of Mount Kenya near where nya
I used to live. As you can see, it’s
from 1978 when I was just a lad and summit
Mt Kenya, the
I thought doing my dots in lines would
take less time. I was right, but the result
is terrible. I’m glad I kept this piece
as an example of what not to do. I’ve
climbed Mount Kenya so this piece also
reminds me of a cold, altitude sick night
on the mountain. Pardon the ridiculous
clothes! The climb was in 1994 and
“happy pants” were in. >>

artists 67
 TOOLS BY PATRICK HEDGES

White Pointer

White Pointer with water

Lion Fish school Lion Fish

Have fun playing around with an Photoshop, especially on YouTube so do a

editing program search and have fun!
Art is great, but I like to have fun along
the way. I have quite a few stippled pieces Bigger dots and stripes
of art which I’ve mucked around with on I love my music. Well, I call it music anyway.
Gimp. This is a free program (you can make Joe Pass was a particular favourite jazz
a donation) which contains pretty much all guitarist and I did a couple of ink portraits
the elements of Photoshop. I wish I had a of him, just for fun. One of them was an
“tablet” to draw on, or a Syntiq, but then exercise in how little information you can
again, if I had I might lose myself for days give while still making a likeness. I’m not
and not get any scratchboard done, and sure I succeeded but it was fun. Big dots
that’s something I simply need to do. and not many of them. The other portrait
However, for a bit of fun, I would suggest is included just to show you how much I
downloading Gimp unless you’ve already simplified things.
got Photoshop. The following pieces, the I also treated Chris De Burgh in a
white pointer shark and the lionfish, were similar fashion but with stripes, and a
simply dots until I decided to add water leopard where I reduced everything back
and lighting on Gimp, or in the case of the to spots and high contrast shadows in
Chris De Burgh” lionfish, I turned it into a school, all from the tree branch. That one didn’t work but
the same single drawing. Now obviously it’s actually a really cool way to simplify
you would never actually see a school of things. When you are used to putting all the
lionfish since they aren’t a schooling fish, detail in, like I do with my scratchboards,
but it was an experiment with one of the sometimes it’s good to step back and try to
few fish I had drawn in pen. There are all make something out of very little. If you are
sorts of tutorials on the net about Gimp or struggling, un-focus your eyes and look at

68 artists
 Tools
the big dot picture of Joe Pass. If you still
can’t see him, put the magazine on a stand
and walk a long way away and look again.
If you still can’t see him, walk further away,
pour yourself a drink and have a BBQ,
I obviously failed. But I had fun! Just for
giggles, I’m including a watercolour sketch
I did of Joe too. I must have really liked him
back in the eighties.

Black, White and Tan

Black and Tan – now that’s a drink. Pale
beer and dark beer, layered. However, add
white to it and you’ve got a very nice and
efficient way of drawing. Black, white and
tan – black ballpoint or fibre-tipped pen, or
as I used to use years ago, Rapidograph
made by Rotring. Then white ballpoint or
gel pen, and finally tan paper.
So what makes this so good? Most pen
and ink drawings are black pen on white
paper, and this is great, but you have to
do a lot of work to finish a piece (not such
a bad thing). Tan paper is a mid-range
colour, as is grey, and to this you can add
the black and white ink and quite quickly
you have a finished piece of art. This is an
excellent way to increase your inventory
quite quickly. I recently had to get a few
extra pieces together for an exhibition but
didn’t have much time. Tan paper to the
rescue. A few darks and a few lights and
hey presto, some extra pieces of art on the
wall of the exhibition. >>
Leopard in spots

Joe Pass Dots Joe Pass Big Dots Joe Pass Watercolour

artists 69
TOOLS BY PATRICK HEDGES

Gorilla

Giraffe, young grey scale Giraffe, young

Of course I’m making it sound easy This is the same with this style of
Hints and Tips when it isn’t. It is quick – but not easy. drawing. If you understand how to make
r &YQFSJNFOU XJUI EJāFSFOU UZQFT PG QFO m An analogy is the repairman who comes the lights and darks work FOR you, this
fibre-tipped, gel, ballpoint, etc. round to your house to fix your TV and style can be very effective because the
r 5SZ TJNQMJGZJOH UIJOHT FWFSZ OPX BOE UIFO after umming and aahing, gives it a mid-range paper does the rest.
r 4LFUDI PGUFO whack on the back and your picture is Here we have a gorilla and a young
r 6TF EJāFSFOU TUZMFT m TUJQQMJOH DSPTT restored. You say, “If I knew that all I had giraffe done in this style (with a grey scale
hatching, even scribbling
to do was to hit the TV I wouldn’t have of the same piece showing that the mid-
r 6TF ZPVS NJTUBLFT DPOTUSVDUJWFMZ JO B
called you”, to which he replies, “It’s not range tan paper worked a treat even when
lifelong learning process
r )BWF GVO hitting it that makes it work, it’s knowing the colour is removed), and following it, a
where to hit it”! step by step of an adult giraffe.

70 artists
 Tools

Elephant

Ballpoint
I generally use ballpoint pen for
sketching, preferring the feel of it
to graphite. Maybe it’s that you feel
like you can’t make a mistake so it
stretches you to improve. Maybe, but
maybe not, because I have no problem
with making mistakes – I make plenty.
I simply don’t let mistakes prevent me
from drawing, and mistakes are great
to learn from. Because you can’t erase
them, you can look back on your work
and be reminded of where you went
wrong and what you did to improve. I
Chimp

Giraffe step by step

artists 71
MY SPACE BY DEREK L NEWTON

Thirsty Again
Artist – Catherine Kelley

Catherine and horse

T
oday we’re visiting rural Western words could. The easy way Catherine talked
Australian artist Catherine Kelley on to and moved around her charges convinced
her three hectare horse property, me that although she used ‘’Thirsty Again’’
about 45 minutes’ drive south of Perth, to express herself as an artist, life without a
where she lives with her husband and horse could never be.
teenage children, horses, and a slightly Catherine explained, “When I married and
scatterbrained dog (not the ones painted had children, they became my art, I was in a
here). new world of fulfillment, but as time went on
Within a few minutes of my visit, I realised I became ‘Thirsty Again’, and began my art
that life for Catherine revolves around her journey once more”.
family and her agisted horses’ wellbeing, and Catherine has a wonderful two storey
its only after these that her art takes over. studio that would be the envy of most other
Starting outside, we walked around some of artists. When I say studio, it is certainly the
the outbuildings and stables, and I thought best equipped studio I’ve visited to date
an opening photo of Catherine with one of for this series, with its own mat cutting
her horses would make a great start to this and framing rooms, and a large stock of
My Space article, as a photo with a horse framing material to choose from, along with
Animal portrait
would say more about Catherine than any a freestanding professional mat cutting

72 artist
Animal portrait

Main ground floor studio

machine and a large assembly work table, all
separate to the main studio areas.

Everything has its place, it’s just

remembering where the place is!
Now this is what you call a paint box.
Problem is, you need to go to the gym
regularly to be able to lift it, not that it
moves very far, and only contains pastels
and chalks. Catherine works in many
mediums, from airbrush to pencil, and
experiments with many other mediums
in her search for artistic satisfaction and Paint box Studio
fulfillment in her creative adventures.
Well that’s just a small glimpse around the
downstairs studio, but I’ve left much more
un-shown so with all this space downstairs,
what could you possibly be doing upstairs?

Just up the apple and pears (stairs)

Good question, let’s take a look. Up
here there’s another large studio with a
deck that overlooks the farm entry and
adjacent paddocks, and on a first glance
around you may well wonder about some
of the company Catherine keeps up here,
but with a little more consideration you
realise he’s just a wonderful if slightly
eccentric addition to her lovely studio,
not that I would like to find myself up Mr Wood
here in the dark after taking a short nap
and suddenly wake up right opposite
him, but again I can imagine Catherine
sitting up here in the afternoon with the
kids at college and husband at work,
sharing a coffee, and discussing her
latest piece of art work with Mr. Wood!
The upstairs studio has many uses, and
it’s where Catherine has her airbrush
and compressor set up, together with
many of the other drawings and works
in progress. Both floors of this extensive
studio also act as a gallery to display
much of her work. >>

Catherine with some friends artist 73

downstairs in her studio
MY SPACE BY DEREK L NEWTON
Come on down
“I was wondering where you had got to -
he doesn’t say much does he?”, Catherine
suggests as she waits at the foot of the
stairs, so I venture back down. I’m a little
overwhelmed by the studio, and it would
probably take the whole magazine to
do it justice, so let’s leave the studio for
a moment and look at what Catherine
produces as an artist.
Watercolour paintings present well when
mounted and sealed in their own clear
bag, allowing visitors the chance to then
browse through a cross-section of her
work, featuring land and seascapes, animal
portraits and abstracts.
Presentation is important for all artists
Come on down who are working from a studio gallery,
and enticing visitors to buy your work pre-
framed, enabling them to add the framing
later to their own taste, or in this case
arrange for Catherine to frame it for them,
at a reduced rate in comparison to what
you would pay at the high street framer, is
a wonderful service.
More of Catherine’s work can be seen on
the Water Colour Society of WA Website.
Western Australia is a large state, but I’m
sure there are many artists in other states
who would like to have “their space” featured
in Creative Artist Magazine, so ask a friend
to photograph you in Your Space, and
email it to the magazine. You don’t have to
be a painter, any art form works, including
sculptures and photographs.
Unframed works for sale Best wishes
Derek L Newton

We would love to see your space

in our magazine. Please send some
good quality images (300dpi) on
cd or dvd or photographs of your
studio you want to display in the
magazine. If you would like to,
you may include a photograph of
yourself to accompany the picture/s
of your studio. Please also supply
your name, suburb and state.

Mail your studio photos to: My Space,

Creative Artist magazine, PO Box
8035, Glenmore Park NSW 2745 or
email to [email protected].
Be sure to include a contact
telephone number.
Ground floor cutting and matt cutting room
74 artist
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 FROM THE DRAWING BOARD

Hi Brett, so left to dry even the most obstinate spots will be

How do you actually hatch and crosshatch with made newly co-operative and the game of creating a
pastels? It sounds like a great idea but I can’t seem coloured illusion based on multiple layers of hatching
to get it to work for me in any satisfactory way, and squirling can continue. It’s astonishing how some
Cheers, B.E. parts of a work will seem to take endless layers of
clearly visible differently coloured hatching while
others baulk at the 1st or 2nd layer and give you the
Hi B. E. right royals in that small area for the duration of the
I’m assuming you are talking about freehand pastels work. The above described tricks will cover you in
so I’ll explain it from that starting point as half any situation though and allow you freedom enough
the use and attraction of hatching/crosshatching/ to skritch scratch and crosshatch in colour to your
squirling with pastels is the ability to be shifting edges heart’s content. You can of course intentionally snap
of different colour fields and tones around as you go a pastel and use the sharp edges produced for fine
along as a natural part of the developmental process. hatching but I very rarely do that anymore, with the
The rough kinds of hatching in the early stages of techniques described above its very possible to do
blocking in colour and roughly shifting things around an entire pastel work with nothing but blunt chunks.
is completely different to the very much finer kind of I know of pastel pencils but never use them myself,
hatching and crosshatching used to ‘finish off ’, when for a start they aren’t available in the entire range of
creating an overall illusion of the final colour/s and colours and also (in my opinion anyway) encourages
textures. I suspect your question is about this finer a far higher level of detail which actually detracts
kind so I’ll go there with the advice. You have to from the overall ‘pastelly’ effect.
be really light on with the pressure applied, and do
a couple of ‘speculative’ hatch lines to see exactly Hi Brett,
where the particular great blunt lump of pastel is What do you mean when you say you have to be
actually going to be laying fine lines down and then honest and brave to draw freehand?
just march a few more hatch lines out from there in Viv.
the direction/area you want to target once you are
dialled in. You also have to have good available Hi Viv,
tooth for it to have any hope of ‘sticking’, especially You have to be honest enough to see and
when trying to lay down several delicate layers of acknowledge the real truth of your developing drawing
different colours crosshatched on top of one another. proportionally, and then brave enough to act on what
If there’s plenty of tooth it’s an astonishingly your honest observations are telling you is required
satisfying and effective technique, once the tooth has to move the drawing forward. Honesty is the perfect
Brett A Jones

gone and any more tiny hatching lines just refuse to word for the first bit as there are always a million
appear it becomes instantly frustrating. You have to reasons to ‘not see’ the truth. Bravery works for the
crush roll fix the work before any more hatching will 2nd bit as usually (many times) during the course
play the game once this happens. You can either of any freehand drawing there is occasion to make
crush roll the entire work with a big roller or just the the drawing look much worse proportionally in the
local area with a much smaller roller (like a fixative tin short term in the process of improving it overall.
or any small cylinder) but beware the ends of short Most people resolutely fight the necessity to make
rollers leaving lines across the work. You definitely anything they are drawing look worse even for a
can’t spray fix in the later stages because wetting it second without even knowing that’s what’s stopping
with spray instantly minimises or altogether destroys them, which manifests in the old “going round and
every very fine hatching line. What you can do in round in circles” just making the existing lines and
situations where local (or general) crush fixing just curves darker and darker in the hope that doing that
isn’t regaining you the tooth required to successfully will somehow miraculously improve what is obviously
continue, is to (very carefully, do a couple of test proportionally shonky until it’s all irreversibly locked
shots off to the side to get your eye in) use the spray in and impossible to modify any further whether you
fixative in an extremely local way with one short want to or not. Yep, honesty and bravery are definite
sharp blat right in the trouble spot, after a minute or essentials for successful freehand drawing.

76 artist
Hi Brett, Hi Frank,
I’ve always loved freehand drawing but I never There’s no doubt in my mind after almost 10 years
seem to get them to look as good as I want no of holding regular freehand drawing workshops that
matter how many long periods at the drawing one of the most difficult aspects of the entire exercise
table I put in. The harder I try the worse it for most people is turning a clean, blank piece of
seems to get sometimes. There’s nothing wrong beautiful unmarked drawing paper into a viable work
with my commitment levels so what am I doing in progress. There’s a few principles involved, the
wrong? first one being an understanding that the first stage
Regards, Barb. of any drawing (the rough sketching stage) should
really only take a few minutes at most. It’s very
Hi Barb, much a matter of making sure that no matter what
The main problem with doing long sessions at the subject or composition, all the outside edges are
the drawing board is the loss of proportional not only lightly and roughly sketched in, but you have
perception through over-familiarity of both the left yourself room for it to morph and grow as the
reference source and the actual developing drawing develops through subsequent stages without
drawing, as you say the longer you try the worse instantly crowding or over-running the paper edge/s.
it gets. So true. Just as important as the actual The biggest mistake I see most people make is to be
drawing technique is getting away from it for X putting far too much care, time and effort into one
amount of time in order to let the mind, eyes, or another aspect of the subject before all outside
and artistic perception refresh. If you really want edges of the entire object/s being drawn have even
to just draw, draw, draw you might be better off been established. It’s extremely important when
switching between a couple of different drawings drawing freehand to bring the entire work up as a
in progress during a drawing session when you whole, you need to be able to see all of it from the
really know you’re just going round in circles with earliest stages to be able to make all the proportional
the one on the board. On top of that there’s a decisions necessary to move forward in any kind
massive difference in your observational perception of constructive way. I strongly suspect that the
between its best and worst. First thing in the naturally occurring difficulties in turning a blank sheet
morning before you even start drawing is the best of paper into a viable drawing in progress is what
time to put the reference image and the drawing drives most to surrender to photo-gridding and all the
board up where you can study them both intently, other forms of non-freehand image transfer, once that
flicking your eyes back and forth and checking happens you are locked into greenhornland forever
what’s directly above and below other things and as no freehand skills can hope to develop. Once you
comparing shapes, curves and direction/angle have your first rough freehand sketch established,
of lines in real terms etc. You’d think these most it’s a matter of adding more rough outlines of the
fundamental freehand drawing skills would work largest features in the composition and being aware
all day but the longer you mull over a particular right from the start you can (and are) moving any
composition’s problems, issues, and dramas in and every line and shape on the developing drawing
one sitting the less able you are to really see the to suit as it becomes apparent to do so, no line is
overall and ‘parts thereof’ truth of it as simple 2-D beyond suspicion and everything is moveable both
abstract shapes and tones. Sort of like the visual large and small. In fact the same premises that drive
version of saying the same word or phrase over the very first stages remain the same throughout the
and over until it just sounds like nonsense. The entire freehand drawing project, right down to the
next day after a feed and a night’s sleep they’re very finest of details. That is: the whole time you are
words again. adding to or altering the visual information you have
introduced on the layout board you are using it all as
Hi Brett, actual indicators based on your honest observations
I have started drawing freehand but am having a as to what needs moving, modifying or refining next.
lot of trouble forming an accurate drawing from the In the end you just can’t see anything else that
start, any hints ??? would benefit from any further attention with pencil
Frank. or eraser, which means the work is finished.

If you have a question for Brett, send it to: From the Drawing Board
Email: [email protected]
Text: 0401 543 327

artist 77
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