2018-10-01 Australian How To Paint

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Acrylics
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ontents
Issue No.27 2018
30
ARTIST INSIGHTS AND

20
DEMONSTRATIONS
12 Ross Wymark
20 Di Tarrant
30 Paul Dorin
42 Barry McCann
50 Lee Porter
62 Glenn Barnett
FEATURES
8 History of Acylic Paints
38 Acrylic Inspiration - Graham Smith
58 Acrylic Inspiration -
Kim Borschmann
Cover image by: Di Tarrant
27 tralian Colo
ucture and
sive option
A rt is t’s Pa
le tte
Painti
70 12
42
PRODUCT GUIDES
27 Paints
70 Painting Surface Paint
62
j tm
created for
P
scape art w
orks.
ours set co
mes in
Flow. For a
rea
there is a sm lly
all
EUAN MACLEOD. Alice. Archival Oils on canvas, 2006, 137 x 180 cm
Image courtesy of Watters Gallery. www.wattersgallery.com
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The History of
Acrylic Paints by M.A. Hunt
A
dvances in painting product en plein air (outside). Without this
Storrier states, technology have led to some newfound freedom offered by
“I prefer acrylics of the greatest changes in portable paint tubes, the popularity
art history. For example, in 1841 of this new painting style would
though. Mainly oil paint became available in not have led to the Alla Prima or
because they dry capped tubes, allowing artists the ‘wet on wet’ technique of painting
flexibility to paint outdoors. This which formed the basis of the
quicker. It’s almost in turn lead artists such as Monet style of artists such as Monet. In
as simple as that”. and the impressionists to paint fact, Pierre August Renoir said “
Tim Storrier
8 A u s t r a l i a n How to Paint
without tubes of paint there would rework the surface of the painting
haven been no impressionism.” whilst it is still wet. Paint technicians
Perhaps the greatest technical have responded by inventing a
change since this time has been number of drying retarders and
the invention and widespread use mediums to slow down the speed
of acrylic paint . Acrylic paint is at which the acrylic will set.
a plastic or resin which can be Stability of the painted surface is
dissolved in water or suspended in another advantage of acrylic paint.
an emulsifier. Prior to its invention, The golden rule for painting in oils
artists had used ground pigment was “fat over lean” (an oil based t 6TF CBDLHSPVOE QBJOUT JO UIJO
mixed into egg (egg tempera) or medium painted over a medium DPBUT OP UIJDLFS UIBO NN UP
resin, later replaced with various with less oil and more thinners) This SFEVDF BOZ SJTL PG ESZJOH DSBDLT
oils. Oil painting was the best was important advice to ensure that
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centuries, until new technology was not faster than the one below it, POMZ B TNBMM BNPVOU BU B UJNF
advanced and acrylics were which could cause cracks to appear t (FU ZPVSTFMG B TQSBZ CPUUMF XJUI
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layer using tone and colour after embraced by artists including the TMPXMZ BOE UIJOL BCPVU
each layer had dried. The final sublime painter Mark Rothko who, DPMPVS DPNCJOBUJPOT
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year to dry, after which a layer of with acrylic resins to enable the
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varnish was usually applied. This quick drying effect of layers of paint.
varnish would yellow and darken Other artists who experimented
over time, and is today one of the with acrylics included Kenneth
most common reasons to have a Noland, Roy Lichtenstein, Barnett
painting cleaned. In contrast to Newman and Robert Motherwell.
oils, acrylics dry quickly. This can Acrylic paint was used vividly in
be both a blessing and a curse. the work of colour artist Bridget
At times, the artist would like to Reily, and was one of the mediums
A u s t r a l i a n How to Paint 9
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Acrylic paint and medium
used by David Hockney. For devotees of oil paint. A wonderful

Mediums and their uses these artists, acrylics opened the interview from 1971 between James
Impasto medium: is a way for experimentation. Acrylics Gleeson, the undisputed master
paste which will add could be spread thinly, rolled on, of oil painting in Australian Art
body to the paint, sprayed on and used as screen History, and Tim Storrier, arguably
great for building up print ink. They also had the added the master of acrylic painting
a textured surface. advantage of being suspended illustrates this discourse. The
in a glue-like substance, which conversation emphasises their
Matt Gel Medium: use made them perfect for collage, difference in opinion on the scope
this to act as a clear montage and mixed media works. of acrylic as a medium at that time.
transparent colour Years ago I remember walking Storrier states, “ I prefer acrylics
extender for glazes and into Michael Carr’s Queen Street though. Mainly because they dry
as a transparent impasto Gallery, and being stopped in quicker. It’s almost as simple as that.
for thick application. my tracks by a large Tim Storrier I’ve always felt more comfortable in
Matt Medium : use this painting, not as one would expect acrylics. But I don’t know whether
medium to reduce the of a flaming line or a starry night I’ll use acrylics on this new series
sheen of the paint to sky but of sumptuous roses falling of self-portraits. I mean, they’re
a flat finish. Results through a black background. going to be life size sort of clothed
will take on the look of This work, Evening (Flowers for or naked self-portraits. I don’t know.
Tempura or Gouache. Nancy) 1993 was painted as a Painting flesh, you can do it with
Spreader Medium: commemoration of Storrier’s mother. acrylics but I think in many ways
use this to spread I thought the rich velvet colours you get a translucency possibly
large volumes of paint and deep tonal blacks could only with oils that may be difficult in
over selected areas have been created by a master oil acrylics. I’m not too sure.” To which
while maintaining a painter with skills such as those James Gleeson answers, “Well,
controlled viscosity. of the Flemish Vanitas painters. of course, oil has been the great
To my suprise, the label read traditional medium for the nude.”
Surface Tension Breaker:
‘acrylic on canvas’. This illustrates Here is a historical snapshot
use this to reduce the
the point that such mastery can of the old school of traditional oil
viscosity of the colours.
be achieved with acrylics. painting having trouble accepting
It will increase the
However not all artists have the advantages of new acrylic
‘flow’ properties of the
embraced the new medium, many materials. Of course, since that
paint and make them
artists have found acrylic did not suit time the technology of acrylics
more absorbent.
their painting style and remained has come a long way. ■
0 5 : 0 . / ;
Ross Wymark
฀
Edited by Trevor Lang
Here is a man who rediscovered his passion for art at the age of 57 …
at St John of God Hospital in the foothills of the Blue Mountains.
R
oss Wymark worked as a signwriter in
his twenties, but he had not put brush to
board in more than 30 years when he found
himself in hospital in the New South Wales town of
North Richmond.
Ross was referred to an Art Therapist as part
of his treatment plan. He discovered that the aim
of this therapy was not to produce aesthetically
beautiful artworks … but rather to express emotions
through various mediums such as collage, painting,
and clay modelling.
Creating symbolic art helped him to become more
aware of his thoughts, feelings and memories – which
enabled him to address unexplored issues through this
special form of communication.
Over time, Ross noticed subtle changes in his
emotional and mental wellbeing. With emerging self-
confidence and a positive outlook towards the future,
his dormant creative spirit fully took flight.
More than six years on, Ross Wymark remains
passionate and committed to maintaining wellness
through art for self expression and relaxation.
While attending outpatient sessions at the
Counselling and Therapy Centre, Ross maintained
a tie with St John of God Hospital and he has
‘given back’ by being involved in the organisation’s
mental health art exhibitions. He also works as a
volunteer teacher of acrylic painting techniques at a
community workshop.
0 5 : 0 . / ;
Subject matter is varied for Ross. which to draw inspiration. “Now it is my life’s blood,” he
His love of ‘bygone eras’ has led him to “When I’ve visualised a painting affirms. “I’d like to paint 24 hours
explore the Australian landscape while in my mind’s eye, I then seek out a a day. It helps me incredibly to self-
incorporating country town architecture similar setting amongst my photograph express, and I feel settled whenever I
and antique machinery. and magazine collection – for further paint.”
Vibrant colours, a stylistic approach, inspiration and design,” he says. Ross Wymark describes himself
and the addition of ‘paintings within “Recently I attended a restored as a hobby artist who sells most of
paintings’ on single canvases, have machinery show in the local area, and his works. He doesn’t really consider
attracted galleries and private collectors I photographed the entire collection for himself to be a professional artist – but
to seek out his unique paintings. future paintings.” he has a very thoughtful approach to
Ross speaks freely about the Born at Bondi, Ross has lived in what he paints.
condition which led to him receiving various parts of New South Wales. His “I like to artistically describe
medical care. home is now at Richmond. He has had Man’s influence on the landscape in
“A few years ago, I was diagnosed no formal art training, but he completed the form of historical architecture
with an illness known as ‘Bi-polar’,” a signwriting and coach painting and discarded old machinery,” he
he reveals. “The symptoms of this apprenticeship with NSW Railways explains. “I draw inspiration from
particular condition are varied … but when he was younger. Nature … the sculptural forms of
one positive is the way I can focus From the day he could hold a pencil, trees and rocks in their natural
on every aspect of a painting when I he has loved to doodle or draw. settings. I like to capture the spirit
am creating.” “It was my way to deal with my lack of a place by visiting it, taking
“It sometimes becomes an obsession of confidence in social situations,” he photographs, and then creating
with detail,” he continues. “I’m aware admits. “It was a good escape.” a painting.”
of the subleties and tone of colour. I In the early nineties, Ross became He always paints in acrylics due to
especially enjoy the brilliant hues and emotionally and physically unwell. the speed with which he can work. He
antiquity of Outback Australia; and He went through a very dark period in likes to explore the range of effects
totally immerse myself in the creation his life. He gradually shut down and made possible by the versatile medium,
of a landscape, or a rendition of a couldn’t cope with much. Trying to too; occasionally adding texture to his
building or piece of machinery. When I focus on anything became a problem; works with modelling pastes.
commence an artwork, I prefer to work so he concentrated on painting … the Ross won the title of ‘Outstanding
uninhibited and unhindered.” one thing he had found to be self- Artist’ at the ‘Access All Areas’ art
Travelling has allowed Ross to soothing. He put ‘110 per cent’ into exhibition at Parramatta. He has also
accumulate a wide resource base from creating artworks. been involved in group exhibitions at
0 5 : 0 . / ;
the Braemar Gallery at Springwood. For

more than six years, his paintings have
been displayed at the annual Vietnam
Veterans’ Day Art Exhibition at St John of
God Hospital. He is a member of the ‘One
in Five’ Creative Arts Association which
was established for artists and writers with
a mental illness.
“The most challenging work of art
I’ve created was an art therapy piece
titled ‘Me’,” says Ross. “It was a mixed
media piece. It incorporated painting,
photographs, trinkets – even an old
knife. It described my life’s journey.
On an emotional level, it helped me
immensely to put areas of my history
into perspective. In putting my life into
an artform, I was able to express things I
could never say in words.”
He admits to some blunders on his
artistic journey.
“My art therapist once told me that
‘there are no mistakes in art’ – but I can
think of a doozy,” he admits. “I’d spent
days and days building up layers of
modelling paste, shaping it on a canvas,
allowing it to dry and then flicking various
acrylic colours on it – to give a mottled
effect. Then two days later I decided
to clean off the paint. But the cleaning
process took the underlying textural layers
off too. Whoops!”
Following a visit to Broken Hill, Ross
lists some famous Australians as artists
who inspire him: Jack Absolom, Pro
Hart, Roxanne Michin, John Dynon,
Eric McCormick and Howard Steer. He
also personally inspires other people
through teaching art weekly to a mental
health community group … although it is
amazing that he can find the time.
“Bi-polar tends to make me a bit manic,”
he explains. “I often have four or five
projects on the go at once. But painting
helps to ground me, and it is a relaxing
distraction.”
Ross Wymark’s paintings sell quickly.
Many are purchased by patients and staff
at St John of God Hospital. This amazing
artist would like to work in a large studio
so he could produce work on a grander
scale and eventually sell his pieces in a
gallery. Meanwhile, he has an ambition
which is humble and realistic.
“My goal is to help as many people
as I can to discover the joy of painting,”
he attests. O
D E M O N S T R A T I O N
Acrylics
By Ross Wymark
The idea for this painting came to the artist while

he was walking through the bush. He became
aware of the various patterns, the variety of
colours and the textures of fallen leaves.
FINAL STEP
STEP ONE STEP THREE
M AT E R I A L S STEP ONE layout onto my canvas with

I applied one coat of purple paint the Chinagraph pencil.
* Artists’ canvas. with the roller; then allowed it
* Monte Marte Silver Series and to dry before applying a second STEP THREE
Chroma acrylic paints: Purple; coat. Beginning with the background
Black; Titanium White; Burnt leaves, I applied the Ochre base
Sienna; Raw Sienna; Yellow; and blended in White, with a wet-
Raw Umber; Mid Green; Warm STEP TWO on-wet technique (blending the
Yellow; Yellow Ochre. I made several sketches on paper colours before the paint dried).
* Brushes: Royal Crafters Numbers before drawing my design onto
1 to 3/0; Winsor & Newton the canvas. This allowed me to
Sable Numbers 3, 1, 0, 5. rearrange my composition a few STEP FOUR
* Two-inch sheepskin roller. times to get the final design. I laid I continued the process of adding
* White Chinagraph pencil. out the design of my leaves on in varying colours wet-on-wet: Mid
paper and then marked out the Green with Warm Yellow, and so on.
STEP FOUR STEP FIVE
STEP FIVE STEP SIX

I added a more complex combination To give the leaves a ‘real’ appearance, ARTIST’S
of colours, such as Burnt Sienna I painted in fine lines for the veins
blended with Green on one side, and and added a border of Burnt Sienna HINTS
White blended into the other side;
creating subtle shades of colour.
with a hint of Black mixed in around
the edges (to give the leaves depth).
AND TIPS
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paint dried out over a few days,
I ventured out again to find
freshly fallen leaves with vibrant
colours. I also searched for fresh
leaves carrying insect marks
and other imperfections to add
interest to my subject matter.
&RORXUKDVDZD\RIOLIWLQJ\RXU
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to you. I’m most attracted to
colours that have natural tones
but will also add brightness
and some extra ‘pizzazz’.
FINAL STEP
When the painting had fully dried
(24 hours later), I added one coat
STEP FIVE of varnish to bring out the colours
and protect the surface. O
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I N S I G H T
Di Tarrant
Colour is
Important Edited by Trevor Lang
Painting and drawing are daily routines for this artist who finds that constant
eye and hand co-ordination and relentless practice are important for
developing her abilities.
I N S I G H T
D
i Tarrant was born in Adelaide
in 1938, the younger of two
children. During her early
working life she did some nursing, but
after marrying and starting a family
she undertook clerical duties in the
automotive field.
She has memories of one art teacher
who ‘lit her fire’ when she was a
young student.
“The art teacher was my favourite,
and I remember her after all these
years with warm feelings,” Di says.
“I guess she kindled the flames that
would be fanned later in life – to
create the passion I now have for all
things artistic.”
In 2000, Di Tarrant moved to the far
south coast of New South Wales. Prior
to this she had seen few opportunities to
explore the many fields of art. Unsure
of what she really wished to pursue, and
somewhat apprehensive, she enrolled at
Bega Tafe in a Visual Arts Certificate
III course and committed herself to two
years of study.
“During the course, I was exposed
to several disciplines and techniques;
and there was great interaction with
the other students. I found it extremely
stimulating,” she claims. “The results
were not always good but the journey
was exciting. The following year, I
undertook Life Drawing which I found
difficult. But when it came to painting, I
felt a greater sense of liberty. I decided
that painting was my preferred option.”
Perhaps the most exiting media Di
has employed extensively is texture
in many forms. Tissue, bark, collage
and textured paper have found places
I N S I G H T
in her work; together with impasto gel, gesso,

and many other things that can help to create
interesting surfaces.
“I learned early that poor quality paints give
poor quality results,” she says. “I have done all
of my recent works with Atelier paints and allied
products and mediums.”
Last year, Di completed Certificate IV in Visual
Arts at Bega Tafe – and held a joint exhibition
with the three remaining students who completed
the course. Several pieces were sold and the
reaction was very positive.
“During 2007, a workshop with Andrew Antonio
‘Drawing from the Self’ left me with no illusions
about what I wanted to do for the next few years,”
she reveals. “I got totally engrossed in expressing
myself in a childlike way, and my approach to art
became easier and far more enjoyable after that.
I realised that I should have been doing this all
my life. I decided to make the most of my new
realisation. The emotion being unleashed together
with the freedom of expression I gained allowed
me to paint for myself – without reserve.”
Acrylics are her preferred medium, mainly
because they are water-soluble and less toxic; and
because they provide a wonderful surface to layer
paint and glaze colour over colour to produce
depth and intrigue.
Exhibitions in recent years have promoted sales
of works for Di Tarrant. She has been able to
participate in workshops and to support her artistic
passion with high quality materials.
Involvement with her local Merimbula and
District Arts Group has linked this emerging artist
to a network of like-minded people and opened up
valuable new avenues of opportunity.
“Over the last five years we have launched
our own gallery for the purposes of exhibition
and encouragement, and greater interaction with
our members,” she explains. “Twice a year an
exhibition of work is held, and my contribution
of ceramics and artwork is quite large. The South
East Modern Art Group is another great source
of well connected artists which has helped my
development and networking skills.”
Di is a quick worker – and the spontaneity of a
few pieces of work going at one time allows her
energy to come through.
“Colour is important and layering techniques
are vital,” she insists. “If there is a disaster in any
work, it is easy to ‘gesso’ over and create another
with a second story. These always tend to become
‘special pieces’ … maybe because of the story
underneath.”
I N S I G H T
Some of Di Tarrant’s paintings are

displayed in a local restaurant, which
often results in sales to appreciative
diners. Many of her works have been
sold to overseas and interstate visitors
looking to take home a ‘piece of the
area’ as a memento of their visit. There
are also collectors in the area who seek
out her art.
“I would describe myself as a
studio artist,” Di says. “Having
several canvases on the go at once,
usually drying outside and waiting for
their next treatment, I fine that plein
air restricts my thinking process. The
big picture takes over and I prefer the
exploration of ideas and techniques
to take place. My system in process
is to explore, test, discard, search
and exhibit. For instance, horizon
lines can be minimal, non existent,
dominant, high, low, or distant … and
the list goes on.
Realism is not this artist’s goal.
“If you want to see a real landscape,
go and take a photograph and enjoy it,”
she advises. “My preference is to take
the picture, then extract the essence
or colour from it and work that up to
a canvas which excites and invites the
viewer to participate in the landscape.”
Di is planning to exhibit more
extensively in the future. She has no
current plans to teach art, because she
humbly considers that she personally
still has much to learn. ■
Acrylics
Bright
Harbour By Di Tarrant
This acrylicist believes it is important to play and maintain a loose painting

style to preserve the spontaneity, energy and dynamism of the selected
subject matter.
FINAL STEP
M AT E R I A L S
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STEP TWO
STEP ONE
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STEP TWO
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STEP THREE
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STEPS FOUR AND FIVE

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STEP SIX
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DQG FRRO EOXHV SXUSOHV DQG JUHHQ 7KHVH
colours are best not worked too much, as they can

become muddy. Dry the work thoroughly again at
this point.
Use a scraper or card to drag contrasting colours
across all areas of the canvas; balancing lights and
darks, sea and sky.
Use squeeze bottles of black and white gesso
STEPS FOUR AND FIVE to draw the outlines of the boats and buildings.
Balance the areas here, to achieve overall balance in
the composition.
Tweak the areas that aren’t interesting, and squint
to assess dark and light areas while balancing
accordingly. This is the hardest part – often best
done at a later stage after a long hard look to
analyse the requirements.
At all costs, play! And don’t tighten up …
otherwise the subject will lose its spontaneity,
energy and dynamism. ■
MASTER HINTS
AND TIPS
6HHNRXWDPHQWRUDQGH[SHULPHQWZLWKRXW
fear (using different mediums) on the path
to recognising what you really want to do.
STEP SIX $OORZ\RXUVHOIWLPHWRH[SORUHDQG
destroy. Paint over old paintings
WRFUHDWHQHZH[FLWLQJZRUNVZLWK
their own ‘understories’.
3OD\EHFRPHDFKLOGDJDLQ<RXU
WLPH<RXUSODFH<RXUDUW
/HDUQIURPHYHU\ERG\DQG
discard what you cannot use.
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all parts of the work to make the results
more harmonious and connected.
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the future; maybe an artist’s work that
inspires you to try something different.
Often when you are looking for inspiration
it will come to you while considering
images collected from the past.
5HFRJQLVH\RXUFDSDELOLWLHVDQGVHHN
STEP SIX help in overcoming shortfalls.
฀
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te A u s t r a l i a n How to Paint 29
0 5 : 0 . / ;
Paul Dorin
฀ ฀ By Paul Dorin
Some years ago, this man was inspired to make the transition from
cartooning to painting. He had always wanted to express himself in this way;
and he dedicates every painting to his late brother Steven who inspired him.
A
n empty canvas is always challenging, but
has the potential to become a significant
piece of artwork. It was always explained
to me that a painting is like a sunset … they’re all
nice, but sometimes we’ll stand back and look at
one and say, “Wow! How amazing and beautiful
it is!”
I dedicate every painting to my late brother
Steven who inspired me to paint.
Wollongong in New South Wales has been my
home since I was born. I left school in 1984, to
pursue my career as a cartoonist. There were a lot
more magazines publishing cartoons back then –
like The Bulletin and The Australasian Post.
I had my first big break in 1985 with The
Bulletin magazine accepting and publishing
one of my very first cartoons. Over the years,
my cartoons have been strongly influenced by
Australian culture and unique wildlife. Many of
my cartoons have appeared in various leading
Australian and overseas magazines.
I really enjoy political cartooning. It’s a license
I like to have fun with. The pen can be mightier
than the sword, sometimes!
About 16 years ago, I was inspired to make
the transition from cartooning to painting. I had
always wanted to express myself painting, since
I was a kid growing up, watching artists like Rolf
Harris on television. Rolf was perhaps one of
the first (artist) painters I ever saw paint. But it
was my late brother Steven Dorin who was my
biggest inspiration … he was a brilliant sketcher
and painter, and as a kid many of his works were
displayed on the kitchen wall for everyone to see
and admire.
0 5 : 0 . / ;
I can always remember standing often being found squashed stubbornly constraints involved. There is structured
and just staring at Steve’s artwork. I into the carpet. splashing of paint, I guess; I love
couldn’t wait to have my own artwork I am self-taught and very lucky to letting loose, turning up the music and
up on display on the kitchen wall. I be a commercially successful artist. applying the paint brush to the canvas
remember (thanks to Mum) that the I had my time struggling as an artist, like a conductor to the orchestra. The
kitchen became a gallery. I guess you especially in the early years. music sets the tempo.
could say that I had my very first Painting is my creative release. For I would describe my painting style as
exhibition on the kitchen gallery wall. me, drawing illustrations, there’s a kind rustic, earthy, truly unique, uplifting;
Before I ever picked up a pencil to of artistic structure; but with a painting and very Australian. I paint a variety of
draw, or a paint brush to paint, my there’s less self-control and not so Australian themes, but my favourites
creative outlet came from the love of many boundaries. would have to be those set in the
plasticine and sculpture. My mother Although every little drop of paint or rugged bush featuring our Australian
and aunty didn’t have the same love brush stroke on my painting is actually wildlife and Aussie bushmen. Some of
I had for plasticine – with plasticine meant to be there, I can say there are no the paintings can appear humourous …
0 5 : 0 . / ;
and this is because I see our Australian

wildlife as very unique and full of
character – which is perfect for my
painting style.
Emus can be so funny and curious;
and absolutely so much fun to paint. I
also have a love of painting koalas. The
real koalas spend most of their time
lounging in the forks of trees – but l
like turning them into little humans.
I turn my koalas into active little
marsupials.
I admire the artist Rolf Harris. He
has an amazing talent. I also respect
Bill Leak (an artist and cartoonist
with an abundance of skill and talent);
Sydney Nolan, Arthur Streeton, Russell
Drysdale (Australian art legends); and
Jackson Pollock.
I remember visiting the National
Gallery in Canberra as a kid, and I
can clearly remember being visually
walloped by this large weird painting
called ‘Blue Poles’ and saying, “What
on earth is that?” I had no appreciation
at all as a kid …
Today when I visit the National
Gallery, I admire and appreciate every
part of the ‘Blue Poles’ painting.
I watched a DVD about Jackson
Pollock a few years ago and got
inspired with his drizzling technique.
It had me taking a canvas outside on a
windy day, and I drizzled about a litre
of acrylic black gloss paint all over the
canvas to create a bushman character.
I was shocked – it worked out great
– better than I had even hoped for.
I now use the flicking and drizzling
techniques in most of my paintings.
One advantage with my paintings
is that they complement each other,
and most people who have bought a
painting have more than one on their
walls. I remember a story being told to
me, about a collector of my works who
renovated his house to create more wall
space just to hang more paintings.
I am addicted to using Matisse
Derivan Structure paints. I love
the rich impasto, and the colours
are amazing. The Matisse quality
acrylic paints are ideal for the
application I like with a brush;
or, if using a palette knife, they
give striking textured effects. The
colours blend so well together,
0 5 : 0 . / ;
and the effects I get brushing my

backgrounds are truly brilliant.
After a year’s sabbatical from painting,
I was welcomed back by the gallery where
I sold my very first painting: Articles Fine
Art Gallery situated in Stanwell Park,
New South Wales. I spent a year away
from painting after I was ‘taken advantage
of’ by another gallery. The break did
me the world of good. I think I am now
producing some of my favourite and best
paintings. My latest paintings are sold by
Articles Fine Art Gallery.
I am a member of The Australian
Cartoonist Association and I am happy
mixing cartooning and painting. When
not at the easel painting, I am at the desk
cartooning.
The best advice I can give to any
developing artist is to have fun and explore
your style. Not everyone will like what you
paint – but there will be someone out there
who does. It comes down to personal taste.
Remember to always believe in yourself.
I have experienced a few artistic disasters.
Actually, I could write a book about them.
What can be a mistake on the canvas to
me, normally isn’t noticed by anyone else.
To others, it is seen as though everything on
the canvas is meant to be there.
One of the worst disasters I had was after
I picked up a glass framed painting. I left
it lying flat, packed in bubble wrap, on the
lounge room floor – waiting for the courier
to pick it up. ‘Knock knock!’ at the door;
and I had totally forgotten the painting
was there. In my haste to get to the door, I
walked all over it – smashing the glass. The
painting wasn’t going anywhere. It had to be
re-framed and couriered to the collector in
Queensland at a later time.
I have had some memorable
accomplishments, too. In 1997, I won
the Australian Greeting Card Association
Design Award for ‘Best Humorous Card’.
I had my own greeting card collections;
and in 2008, I was appearing as a regular
guest on the ‘Susie’ programme on WIN
Television – discussing and displaying
my paintings.
More recently in 2009, at the ‘Jeans 4
Genes’ Gala Celebrity Auction, I won the
People’s Choice Award. Money raised at
the auction went to the Children’s Medical
Research Institute.
Readers are welcome to get in touch with
me via my website: www.pauldorin.com O
Acrylics and Pastels
฀ ฀ ฀ By Paul Dorin
What comes first … the title or the painting? For this colourful artist,
it can be either – and experimenting can lead to accidentally creating
individual techniques.
FINAL STEP
STEP ONE
What came first: The title or the painting? For
me, it can be either. There is nothing worse than
staring at a blank canvas. Normally I will rough
out a couple of layouts (on A4 or A3 layout
paper) of the subject I am going to paint.
I’d visualised my subject characters
and what they might look like.
I sketched the characters roughly … this is where
things end up in the file (bin). I like my paintings
to be moving and not standing still. This was
the first time I had painted a boat in one of my
paintings, so I was hoping it was going to work.
STEP TWO
STEP ONE
Painting the background – this was where I placed
the canvas on the easel and looked at it for a
moment, deciding on the colours that I was going to
use. Being a fishing painting, I dominated the canvas
with blues and whites. This was the fun part of the
painting. I used a palette knife, applying four or five
colours straight from tubes and tubs; covering and
spreading over the canvas. I started from the middle
and worked up and down, creating a background
and foreground. The first colour I laid down was
Yellow Oxide. I then used a four inch thick brush
and gave my arm a workout, very quickly brushing
and blending the colours using criss-cross strokes.
Blue at the top for the sky and stronger blue at
the bottom for water – showing depth – with the
Yellow Oxide giving the impression of land.
Then it was time for a cup of tea while I let it dry.
STEP THREE
Using greys and white pastel pencils, I
sketched the picture onto the canvas from the STEP TWO
rough design I had worked on in Step One.
Things can change from the original concept,
or get added, at this point; but in saying that,
I don’t like making too many pencil marks
M AT E R I A L S
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used daggy brushes; plastic palette knifes.
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– various colours.
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about 120 x 120 cm.
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STEP THREE
STEP FOUR STEP FIVE
(which could confuse me). Whatever wonder what this would look like if
MASTER wildlife or characters I paint will I added this stroke’, or ‘I will attack
normally dominate the scene. it now before I forget’. I am forever
HINTS *UDEELQJP\SODVWLFSODWHWRXVH working on beards when I paint them.
AND TIPS as my paint palette, I got straight
into painting the boat. It was
I am like a barber styling his image.
appropriate I was painting a fishing

7KHLQLWLDOURXJKLVPDGHXS painting because I felt a little like STEP FIVE
of the most basic lines. I get ‘a fish out of water’ painting a boat. I finished off painting the fishing men.
a pretty good idea from the In most of my fishing paintings, I It was amazing how much Titanium
rough if it is going to work, have the characters standing in the White I used, mixing it into my colours.
and it gives me a good idea water or on the edge of a bank. 0L[LQJ<HOORZ2[LGHRUDOLWWOH
of the shape (landscape I painted the hats of both characters Raw Umber and some black
or portrait) and size of – one a greyish colour and the other diluted with water, I brushed in the
canvas I am going to use. a khaki – then decided to concentrate shadows and details. At this stage I
,ZRUNDVIDVWDV,FDQLQ on the character sitting in the boat. was starting to introduce the black
some areas, as I need certain With the clothes that my characters gloss acrylic to give a stronger
colours to mix together. were wearing, I think picking colours depth and contrast in the detail.
([SHULPHQW<RXUH[FXVH was actually much tougher than I have only recently started using the
is, it’s being creative. picking colours for me to wear. black gloss acrylic in my paintings.
([SHULPHQWLQJFDQOHDG
to you accidentally
creating your own STEP FOUR FINAL STEP
individual techniques. I could see the painting starting to I got a new plastic plate, and the
'RQ·WWU\DQGJHWHYHU\ come together … painting the second colours I was going to use to paint
detail with a brush. Instead, guy and putting more detail into the fish. I spent a few hours with
use different colours and the faces of both; and adding more the pastels, adding detail. I took the
grades of pastel pencils. shadow effects as I went. I like to painting and laid it flat, and flicked
:KHQGUL]]OLQJDQGIOLFNLQJ work a lot of colour into the faces. and drizzled the white from the sample
paint, do it in an open area – so I test the waters, adding colours … pot all over the bottom to resemble
you don’t become restricted I can always paint over it if it goes the motion and splashing of the water.
with your arm movements. wrong … but sometimes it can be just Once the painting was completely
&KDQJHRXWRIFORWKHV what the painting (or the character GU\,VSUD\HGLWZLWKGLOXWHG0DWLVVH
that you don’t want in the painting) needs. I go through 3RO\PHU*ORVV9DUQLVK0HGLXP
to get paint on. stages of jumping from one thing to I added the hanging cord,
another as I see things, thinking ‘I and the job was done. O
A C R Y L I C I N S P I R A T I O N
฀
Contributed by Graham W. Smith
This painting was a commission the artist received during an eight week
painting trip along the Murray River to Coober Pedy – encompassing the
Murrumbidgee River and a side trip from the junction of the Murray and
Darling Rivers to Pooncarie (on the Darling) in western New South Wales.
FINAL STEP
T
he subject is the Paddlesteamer shearers upriver to ‘Tolarno’ (a property The client downloaded an A4 image
‘Rodney’ which rests on the 70 kilometres upstream of Pooncarie), from his computer. After I outlined
bottom of the Darling River on when it was intercepted by striking my approach, size and quotation, the
the property of the homestead ‘Polia’, shearers who burned it to the waterline. client not only paid a deposit, but
around 30 kilometres north-west of All that remains is the keelson, stringers also purchased two of my plein air
the ‘Port of Pooncaria’. In 1894, the and ribs protruding skywards like a gaunt paintings (the junction of the Murray
‘Rodney’ was bringing non-union skeleton that has been almost fossilised. and Darling Rivers at Wentworth, and
M AT E R I A L S
$WHOLHU ,QWHUDFWLYH 3DLQWV 7LWDQLXP

White; Yellow Ochre; Cadmium
Yellow Deep; Arylamide Yellow
Light; Raw Sienna Deep; Jaune
Brilliant; Cadmium Orange;
Burnt Sienna; Quinacridone
Magenta; Ultramarine; Cobalt
Blue; Cerulean Blue; Pacific Blue;
Cobalt Turquoise; Paynes Grey.
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canvas 32 x 45 cm.
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ratchet to raise and lower).
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tissues; Chux; spray bottle.
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three daylight fluouro tubes.
STEP TWO
a Murray River Gum). The painting was

to be completed within three weeks of my
return to Brisbane in early May 2010.
Due to the recent heavy rain, the road
was closed … so I couldn’t do an on-site
painting (which I would have preferred
to do, prior to doing the commission).
STEP ONE
The outline was drafted up in pencil
on 12 ounce poly cotton canvas
that had been primed with two
coats of Atelier Gesso Primer.
STEP TWO
Using Atelier Interactive Acrylics, I
blocked in the darker tones on the ribs STEP THREE
with Mars Violet and Cadmium Orange to
STEP FOUR
give a nice warm underglow to the sun and Burnt Sienna with white was river; but these were eliminated as they
bleached timbers. The sky had Cerulean scumbled over the foreground ribs made the composition too busy and did
Blue and white and the banks had Raw to indicate sun-bleached wood. not allow the vessel to stand out. This
Sienna Dark, Jaune Brilliant, Burnt The bank and trunks were added proves an artist should never slavishly
Sienna and white loosely applied – using Burnt Sienna, Ultramarine follow even the client’s photograph
bearing in mind the direction of light. A and Quinacridone Magenta for … and we must be allowed artistic
little Cobalt Turquoise with Cadmium shadows. This mix was placed on licence to improve on photographs,
Yellow was used for the grass on the the floor of the hull and edges of and to move things around or eliminate
left-hand bank. The water was done the ribs and the right-hand bank. them when plein air painting.
with Cerulean Blue and Yellow Ochre. The water was modified in Highlights were put in the water
tone with Ultramarine, Cobalt using Cobalt Blue, white, Cobalt
Blue and Yellow Ochre; with Turquoise, and Arylamide Yellow
STEP THREE the darker mix near the hull. Light with a few accents of darks
I modified the darks using Ultramarine, using Ultramarine and Yellow Ochre.
Burnt Sienna and Quinacridone A stick, which was one of many in
Magenta – to show the light source STEP FIVE the client’s reference photograph, was
coming from the left. Reflections from This was the fine tuning time where introduced as a small counterpoint to
the right bank and underneath the ribs the trees were expanded upon with the angles of the hull. While the water
were loosely hinted at with Ultramarine connecting branches, trunks and was still wet, I signed the picture
Blue and Quinacridone Magenta. fallen timber down both banks. in the bottom right-hand corner.
Detail on the hull was added using a Over the next 24 hours, I assessed
touch of Paynes Grey with Ultramarine the painting and made only one
STEP FOUR and Burnt Sienna. A glaze of Cobalt or two minor detail adjustments
The sky was repainted using Cerulean Blue was run over the bank’s shadows, in tone, colour and shape.
Blue and Cobalt, with white to give as well as over the hull’s ribs. Two days later, before varnishing it
more holes in the background trees In the initial stages, I did have fallen with Atelier Gloss Medium Varnish, I
(to let the viewer into the painting). branches all over behind the vessel and photographed the painting and sent a
A light grey using Pacific Blue protruding out from the centre of the copy to the client for approval. O
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I N S I G H T
Barry McCann
Insid Out By Barry McCann
An artist from Armidale in the New England region of New South Wales
examines the Traditional versus the ‘Inside Out’ approach to painting.
A
traditional way to approach a We see some oil painters put on a – building form and using thicker paint.
subject in most mediums is to thin layer to start, using broad strokes We see some watercolourists and
paint the background first, then and building up the background and acrylic painters start from the top of the
move towards the foreground. eventually moving into the foreground page and paint to the bottom, painting
I N S I G H T
the large background shapes first,

moving to the smaller foreground
shapes; again starting with thin washes
and finishing with thicker detail work.
But there is another method you
can use depending on how important
your background is. I call this method
painting ‘inside out’.
Painting ‘inside out’ (as the name
suggests) is starting with the smaller
thicker detail shapes at the focal area and
painting out towards the edge of the paper
or canvas; in essence doing the painting
opposite to the traditional method.
I use this ‘inside out’ method
when painting people or animals,
and it developed as a shortcut when
doing commission pieces. I found
it frustrating painting the face of
a portrait (human or animal) after
completing the background and body
of the work in the traditional method
– only to find I had mucked it up
or didn’t get a likeness, and would
then have to start again. So to avoid
all that hard work at the beginning,
I would paint the face first and, if
that worked, I kept going … working
gradually out to the background.
So now I have two ways to attack a
subject: Traditional or background first;
and ‘inside-out’ or background last.
How do I choose which method
to use?
To help me decide on a method
with a given subject matter, I break
it down into basic shapes – what is
background and what is foreground
(two planes). Whichever area is the
larger and more important, that is the
area I paint first.
To help explain this, if I was
presented with a scene with sky,
buildings, street (the background) and
people (the foreground) in it, then I
would paint it using the traditional
method as the background is larger;
but if I was really only interested
in painting the people and the
background was of less importance,
then I would paint it ‘inside out’.
I apply this method of choosing
which way to paint a subject in any
medium, whether I use watercolours,
oils or acrylics.
I N S I G H T
A B O U T T H E A RT I S T
Barry McCann was born in Armidale, New
South Wales. He is a full-time artist who
operates McCann Fine Art with his wife Lucy.
Until recently, Barry painted exclusively in
watercolours. He was introduced to the medium
in 1990 at a course at the Canberra School of
Arts. He has studied with many leading artists
in the field including Robert A. Wade, Joseph
Zbukvic, Alvaro Castagnet, Herman Pekel, Ross
Paterson, Jenny MacNaughton and Charles Reid.
Their influence and support has been instrumental
in his art.
Most of his traditional style works involve
the figure or an animated form, and encourage
the viewer to share ‘the feeling’ of not only the
subject and movement, but the medium as well.
He has participated in numerous group
exhibitions, and annually in a joint exhibition
with Lucy McCann – the most recent titled
enLIGHTened at New England Regional Art
Museum in January and February 2005.
Barry and Lucy produce and teach art at their
studio in Armidale, and are often asked to teach,
demonstrate and judge throughout the region
I N S I G H T
by art groups and societies. They are

regular teaches at the Mitchell School
of Arts in Bathurst NSW; the Summer
Art Experience, Canberra ACT; and
the NZ Art Schools in Wellington and
Queenstown in New Zealand.
Following travel to Great Britain and
Europe in early 2006, Central Australia
and the Kimberley in May and June
2006, and the South Island of New
Zealand in September 2006, Barry
is now painting with other mediums
including acrylics and oils.
Barry McCann has exhibited with the
Australian Watercolour Institute in 2001
and 2003. He has won numerous awards
for his art, with some of the most recent
being 2006 finalist Australasian Turf
Monthly Equine Art Prize; 2005 finalist
Hazelhurst Art Award – Art on Paper,
Sydney; 2004 second prize for watercolour
– Sydney Royal Easter Show; 2004 finalist
– Shirley Hannan Portrait Awards; 2004
winner – Forsyths Farmgate Art Exhibition
Acquisitive; 2003 winner – Gwydir Art
Prize Acquisitive.
Barry’s work can be viewed at:

CWM Galleries, 55 George Street,
The Rocks, Sydney; Pinnata
Gallery, 69A Hickory Street,
Dorrigo; Weswal Gallery,
192 Brisbane Street, Tamworth. ■
Acrylics
Bess
This artist can turn his hand to a variety of
By Barry McCann
subjects and many of his pictures feature

people and animals. For this demonstration
he has chosen a charming canine.
FINAL STEP
I
mainly paint from photographs
as most of my subject matter
is animated and will not stay
still for very long. Bess is a golden
retriever in her prime. I loved
the expression on her face.
STEP ONE
I explore my options with some
sketches. This helps me work out my STEP ONE
composition and the abstract pattern
or design. I felt the head was turned
slightly too far to the dog’s right and
the tip of the nose touching her back
was distracting – so I moved the head
a little, back towards the viewer.
STEP TWO
After a careful line drawing onto
300gsm rough watercolour paper,
I taped this with masking tape
to a light-weight ‘Gator’ board
– allowing me to move the work
around easily if required.
M AT E R I A L S
6DXQGHUVJVPURXJK STEP TWO

watercolour paper.
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board.
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professional artists’ paints:
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for the detail work, Number 8
synthetic round for the larger
shapes in the fur, and a large round
or mop brush for the background.
7LVVXHV
3OHQW\RIFOHDQZDWHU STEP THREE
STEP FOUR
I decided to paint in acrylics as was not painting the individual hairs. puddle of colour using the same colours
watercolours, using the ‘inside out’ As I got into the shadow shapes, I I had used in the dog (so as to keep the
method. I began with the important relied less on the photograph for my painting harmonious). I painted around
focal area (which usually has the area colours and played with putting in the dog, starting at the top of the head
of most contrasts) – in this case the cools (blues an purples) next to warms and painting out to the right-hand edge
lightest light and the darkest dark (reds and oranges) so the shadow of the paper. Working quickly, I moved
(from here I was able to judge the areas didn’t look dead and dark. back to the centre top and painted out to
rest of the work with these values the left, breaking down this large shape
already established). The darks were and letting it run into the back of the
painted in with thick paint and painted FINAL STEP dog to help create the illusion of depth
around the white of the paper, as in After completing the dog, the (and not make the dog look cut out and
a traditional watercolour, so in effect background was put in. I know this stuck on). The bottom half was done in
I was painting the negative shapes seems like a big jump to the final stage the same way, cutting around the front
(those shapes behind) so the positive but the adrenalin kicked in and I forgot legs. Before it was dry, I added some
shapes would stand out or advance. to take a photograph, so I will try to darker values for the shadow areas and
explain what I did. I mixed a large put in some spatters for texture. ■
STEP THREE
I continued in this way, linking
shapes, using plenty of water when MASTER HINTS AND TIPS
I needed a lighter value and more ,XVHV\QWKHWLFURXQGEUXVKHVDV, brush cleaner’ by Chroma. It
pigment with less water when I find them ideal for ‘drawing’ a shape. sounds like an advertisement,
needed the shape to be darker. I was They spring back to have a beautiful I know. But it works!
trying to replicate the values shown point, and they are reasonably priced ,ORYHWKHVD\LQJ¶%\IDLOLQJWR
in the photograph at this stage. so I have no fear of ruining them. plan, you are planning to fail’.
,I\RXIRUJHWWRFOHDQ\RXUEUXVK $OZD\VFRPSOHWHRQHVKDSH
when using acrylics or oils, and before moving on to the next,
STEP FOUR your brush has set rock hard, so a comparison and judgement
I allowed the water and pigment to try a product called ‘incredible can be made on the next shape.
paint the fur in the large shapes. I
I N S I G H T
Lee Porter
Aussie Bu s By Trevor Lang
Innovative Queensland artist Lee Porter takes a unique approach to

portraiture – by allowing her audience to view her subjects from behind.
I N S I G H T
A
true Queenslander, Lee Porter affinity with geriatric nursing. She company and began to develop her
was born at Townsville in the loved to hear about the lives of the artistic skills. In 1998 she held a solo
sixties. As a child she lived in a elderly people who she worked with. art exhibition on Lizard Island.
variety of interesting places including At 22 years of age, she went to college In her continuing involvement with
Tindal (near Katherine in the Northern in Brisbane to undertake ‘sports sport, Lee became President of the
Territory), Sydney and Malaysia. studies’ and pursue her sporting International Rafting Federation for
She completed her secondary passions. She developed a career in three years. She also attended TAFE
education at Ipswich in Queensland, scuba diving which led her to Cairns in and completed two years of Print
where art teacher Alan Kinna Far North Queensland, where she Making and General Art studies.
introduced her to many styles and worked and dived on the famous Great She has travelled to Italy and visited
forms of art and encouraged her to Barrier Reef. most of the Masters’ works in
be creative. Lee met her husband ‘up north’ – he Florence and Rome.
After leaving school Lee became a was the skipper of a marlin boat. She No stranger to action and big
nurse and developed a particular also started an international events challenges, Lee Porter worked as a
I N S I G H T
consultant in Papua New Guinea for

some years and staged the Sea
Kayaking World Cup in Manus
Province (PNG) in 1998.
When life became too hectic, Lee
took a step back. Her home is now in
the Sunshine Coast area of
Queensland, close to relatives and
friends. She lives on a cattle property
at Cinnabar west of Gympie, and she
has started a business creating
children’s activity books for
companies requiring interactive
marketing tools to attract children to
their products.
“I have always loved art, and
creating things,” says Lee Porter.
“Apart from sketching and drawing, I
experimented with painting in oils –
but I enjoy silk painting and
watercolour pencil work as well as
scraperboard. The pencils allow me to
work in great detail and challenge the
grey matter.”
Lee used to carry her sketchbook
most of the time, and sketch
wherever possible.
“Now I work mainly in acrylics,”
she claims. “I love the brilliant colours
and the vibrancy of the finished
paintings. I also clear my mind
occasionally and do ‘relief prints’
using plants from my garden …
nothing technical, but an opportunity
to loosen up and recreate underwater – and he had the best bum I’d seen Lee embarked upon an unusual
scenes that I remember so well from in years. So I painted a picture of quest for suitable reference material.
my diving days.” it. Friends and family fell in love “Taking reference photographs
Some might pose the question: with the picture and encouraged became a challenge and an adventure;
‘Why Aussie Bums’? me to continue creating in this searching for ‘that perfect bum’,” she
Lee’s reply is intriguing and vein … because ‘you never see a maintains. “Tough job, but someone
comprehensive. photograph or painting of someone had to do it!”
“I love the human form and I have a from behind’. The Aussie Bums series is a work in
good understanding of the muscular “A photographer told me that he progress. Lee Porter is sure there are
construction of the body, having studied was ‘paid to take pictures of faces, so many different occupational and
anatomy at college,” she explains. not bums’ and that he, too, had lifestyle bums to paint that she will
“When we moved to Cinnabar we rarely seen a photo of someone still be enjoying the task for some
engaged a new farrier for our horses from behind.” time to come. ■
Acrylics
Snow Boarder By Lee Porter
This painting from Lee Porter’s ‘Aussie Bums’ series was inspired by her
friend’s son Ashley who designed snow board art.
D
uring Ashley’s short life he was STEP ONE sailing over the top of them. I also
keen on snow boarding, and he I collated all my reference material decided to place one arm ‘leaving the
had incredible artistic talent. I and sketched out the image and the canvas’ to anchor the snow boarder
particularly admired the Onimbo logo position of the body. I rarely do and prevent him shooting off the
he created. I came up with the image I elaborate sketches, and I limit initial bottom of the canvas. Once I was
wanted to paint, and included Ashley’s drawings to basic shapes. I always try happy with the sketch, I transferred it
Onimbo logo on the board as it to place an odd number of shapes or onto a canvas using a soft graphite (or
accentuated the composition, mimicking dimensions in a painting. In this coloured pencil).
the heels of the shoes and drawing painting I had the person (bum), board
viewers’ eyes up to the bum – while the and snow. The three shapes also had STEP TWO
fine finger off the right of the logo to fit into the perspective of the I chose the background colour,
brought the eyes back down. The logos painting to give viewers a feeling of blending small samples of blues until I
on the ends of the board are my initials. being beneath the snow boarder was happy with the colour. Then I
M AT E R I A L S
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and/or coloured pencils.
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STEP 1
mixed a good quantity to cover the

canvas. I added white sweeping brush
strokes over and over the blue, until
the white paint blended to look like
sky. I also overlapped the edges of the
pencil outline, to avoid having to go
back and try to blend in a small
portion of the background at a later
stage. I also gave the snow board a
deep rich purple for a base coat.
STEP 2
STEP THREE
I chose a main colour for the pants by
mixing small samples of colour until I
found the mid tone I wanted. I then
applied this colour down the middle of
the painting (in this case down the
middle of the right leg); then added
white to the palette and blended out to
the edge; then added black and
blended the darker colour to the inside
of the leg. I added the lighter colour
where I thought creases would occur
in the pants, trying for lines which
would also draw the eye up to the
focus point (the bum). I did not
overwork the painting at this stage, STEP 3
I came up with the

image I wanted to paint,
and included Ashley’s
Onimbo logo on the
board as it accentuated
the composition,
mimicking the heels
of the shoes and
drawing viewers’ eyes
STEP 4 up to the bum ...
STEP 5
darken. I added a touch of the base
colour to white and started adding
in the detail and highlights. I did the
same for the darker areas, adding
black to the base colour. I
concentrated on the angle of the light
source, and added highlights where
appropriate. The snow board designs
and logos were painted in, before
going back to the staring game. At this
point, I will often move a painting
into differently lit areas to check the
proportion, balance and tones.
STEP SIX
STEP 6
This is the stage where I made changes
to the body of the painting and added
but tried to just blend in the three blending. I also gave the snow board extra highlights, before choosing the
tones of green to give a blurry smooth another coat of paint to ensure total size and the direction of the snow
blend of colours. coverage. Then I waited for the paint falling from the snow board. Using
to dry, to clear my head. white paint on the tip of a brush, I
STEP FOUR made snow circles – using the brush to
I painted in the other colours for the STEP FIVE rub the drier paint into the painting;
shirt, helmet and shoes – using the This is where I stared at the painting easing off the pressure towards the
same method of choosing a colour, to work out which parts I wanted to outside of the circles in order to fade
then adding black and white and highlight and which parts I wanted to them into the background. ■
฀ ฀ ฀ ฀
฀ ฀ ฀
Contributed by Kim Borschmann
An admirer of
acrylics from
Western Australia
has submitted this
intriguing collage work
which showcases
some of the
endearing features
of her inspiring
surroundings.
M AT E R I A L S
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STEP ONE
T
his painting is a collage of some I wanted to include: Cape Range;
of the wonders of Exmouth Vlaming Head Light House; emus; I painted the sky, the ocean and
which is situated on the Ningaloo whalesharks; the Ningaloo Reef; Yardie Yardie Creek. This took several layers
Reef in the Pilbara region of Western Creek; turtles; termite mounds; and the of paint so that none of the white
Australia. I selected some of the features magical sky … the list could go on. canvas showed through the blue.
On my palette I placed Yellow texture. I added fish referenced

Ochre, Raw Sienna, Red Oxide, from photographs gleaned from
White, Raw Umber, Burnt Umber snorkelling experiences.
and Atelier Modelling Compound.
I used either a dry flat brush or a
palette knife to scrape the colours STEP THREE
across the canvas to form the shapes Again working in the middle section
and colours of the range and gorge. of the painting, I added termite
I tried not to combine the colours. mounds, more bushes and one of
White and a little Yellow my favourite subjects … the emus.
Ochre were used to paint the
sand, with a touch of Red Oxide
and White in small sections. STEP FOUR
Through the middle section To balance the painting I added
of the painting, I added some some grasses and a green turtle
detail with green bushes, the sun laying her eggs on the beach.
setting (or the moon rising?) and
the stars. Atelier Rich Gold –
Micaceous was used for the stars. STEP FIVE
For an added feature, I scattered
some beach sand on the painting
STEP TWO and glued it to the canvas with
I added corals and grasses of the reef PVC glue. Once everything was
with various colourful paints – again completely dry, I covered the
using Atelier Modelling Compound painting with a layer of Atelier
mixed in with the paint for extra Gloss Medium Varnish. O
Angela “Miss M” Morrissey

7HPU[LY7VL[7YPU[THRLY7OV[VNYHWOLY
Award winning artist

Angela “Miss M” Morrissey, has
many achievements including
her artwork being selected to
be part of the Vision Australia
2010 calendar and diary. Her
photography was also selected
to be part of the Pink Lady 2011
PHOTOGRAPH Calendar. iss M is offering
mer specials for 2012
including CD cover design and
gig photography.
She also offers an art (drawing

and painting) and foreign language
(Japanese, German and Indonesian)
tuition service in Bendigo. Give her a
call, send an e-mail or check her out
on MySpace and Facebook.
4!

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A blend of soot, clay and oil, these pencils
provide strong, dense and rich coverage.
We are offering a set of 3 Nero pencils in
assorted grades for you to try.
If you would like to try Nero by Cretacolor, please complete the coupon below and mail/fax along
with $7.50 to: ‘S&S Fifty Shades of Black Promotion ’ P.O Box 81 Thornleigh NSW 2120 and receive
an assortment of 3 Nero pencils.
(Cards accepted are Visa and Mastercard only)
Card Number: _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Expiry: _ _ / _ _ CSV: _ _ _
Cardholder’s Signature: ______________________ Contact Number: ( ) ________________
Name of Purchaser: ______________________________________________________________

Delivery Address: ________________________________________________________________
___________________________________________State: __________ Postcode: ___________
Ph: 1300 731 529
Cheques and money orders to be made payable to S&S Wholesale Pty. Ltd.
www.creativityunlimited.com.au Ofer only valid in Australia & while stocks last – allow 4-6 weeks for delivery. Limit one set per order.
I N S I G H T
Glenn Barnett
Landscapes My Way
Edited by Trevor Lang
Art created by people with disabilities has a distinctive edge and

speaks of triumph over adversity. This talented South Australian
landscape specialist is a mouth painter.
I N S I G H T
G
lenn Barnett of Port Lincoln in
South Australia is a Member
of Mouth & Foot Painting
Artists Pty Ltd. He delights in painting
beautiful landscapes with brushes held
in his mouth.
Like many artists, Glenn has
developed his skills over the years and
experimented with a whole range of
mediums.
“After a few years of painting with
watercolours, I turned to oil paints. I
enjoyed their flexibility; the way they
worked into each various colour, and
the ability to wipe off a mistake,”
Glenn explains. “Then, in the mid
1970s, I tried acrylics. At this time I
was talking to schools and community
groups and demonstrating how I
painted. It did not take long before I
found it very difficult to actually
achieve much of a result painting
quickly with oils – so I turned to
acrylics.”
Glenn has found that each medium
has its different techniques. As he
‘played around’ with acrylics it soon
became obvious that they dried very
rapidly.
“In using this medium, I had to do it
‘my way’,” he says. “I continued to
use painting boards with canvas drawn
over them, and occasionally an actual
canvas. However, when I first
attempted to paint on canvas pads, I
found a base that was much better (for
me) to work with.”
Normally, Glenn works in his studio
drawing subjects from his imagination
(those that come out of his head) and
photographic images shot by his wife
when the pair visits areas of interest.
At times he also works on location.
Another method he employs is to
gather a series of images from various
places and ‘make up’ a compilation
work. Then, there are pictures he
creates by simply ‘playing around’ …
these paintings are compilations with a
lot of imagination.
“Over the years, I found it simpler
to work from the sky to the
foreground – sometimes laying down
a base colour and at other times just
‘going for it’,” Glenn relates. “I never
I N S I G H T
really sketch in first. Instead, I attempt

to complete either a base or a complete
section in one sitting. Acrylics dry fast
… which is very beneficial at times
and a real problem at other times. So I
am never happy with a finished
painting; just small sections.”
“My palette is very limited,” he
continues. “I use only about ten to
twelve colours to make all of my hues.
I nearly always use the same colours,
with just a few different ones if I paint
a non-landscape work. As my painting
begins, I usually never want to paint
over a sky – but because I work
forward through the work, it becomes
essential. Thus I may simply paint over
a completed finished section and paint
it out.”
As a teenager, after three years of
painting by himself, Glenn Barnett had
three lessons (his only ones) with the
Art Master of one of Adelaide’s
colleges. The Art Master led him to do
three different exercises: Colour
mixing, perspective, and a shaded
building across the other side of a
paddock.
At the conclusion of the three
lessons, the Art Master said to Glenn:
“I cannot teach you anything. You
have the basics. Go and find your
technique.”
I N S I G H T
Glenn has followed that advice,

albeit within his own particular
limitations.
“I changed a few times with
techniques and with mediums, and I
am still learning,” he claims. “There
are times when I really want to paint
large works – but it is physically
impossible. Also, I would love to be
really free-flowing and very loose.
Occasionally I can be.”
In closing, Glenn Barnett shares his
philosophical approach to his
creativity, and hints at the frustration
felt by many artists when criticising
their own work.
“I do it my way,” he says.
“Who knows … maybe one day I
will be happy with a painting that I
think I’ve finished.”
Despite his personal doubts, this
artist is capable of bringing happiness
to countless other people who view
his clever and engaging pictures. ■
Acrylics
Back Road to the

Mountains
By Glenn Barnett
Very few words accompany this demonstration. Sometimes it is preferable to

let the pictures do most of the talking … and these pictures speak volumes
about the skill of the artist.
FINAL STEP
STEP 1 STEP 2
P
ainting with a brush held in the mouth, I work in
sections. I begin with the sky, as I prefer to work
from the sky to the foreground. I usually do not do
preliminary sketches. My normal method is to complete a
base and/or a complete section in one sitting.
Fast drying acrylics can sometimes be an asset in my
style of painting; while occasionally presenting problems.
Working ‘forward’ from the sky means that I sometimes
need to paint over completed sections to progress the work.
Steps 6 to 11 continues on page 28. ■
M AT E R I A L S
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8OWUDPDULQH %OXH :KLWH DQG %ODFN
9DULRXV EUXVKHV STEP 3
STEP 4 STEP 5
STEP 6 STEP 7
STEP 8 STEP 9
STEP 10 S T E P 11
F E A T U R E
Painting Surfaces
Artists have access to an enormous range of options when deciding what to
paint their pictures on. Let’s take a look at some of the choices available …
AN IMPRESSIVE SELECTION FROM S&S WHOLESALERS
Oil Primed Linen was one of the first techniques. Each canvas is
surfaces developed for ‘modern day’ first stretched on large
painting. For hundreds of years, oil specially designed frames
painters have recognised that and thoroughly picked over
traditionally prepared oil-primed by hand to remove
Belgian linen is the ultimate support for irregularities. Then every
their artwork. With the advent of square inch of the canvas is
acrylic and watercolour paints, along smoothed using volcanic
with the development of faster pumice stone. The next step
production methods for less expensive is the application of warm
cotton fabric canvas, the use and animal hide glue, carefully
popularity of traditional oil primed spread using long stainless
linen has steadily declined over the past steel spatulas to seal the
50 years. Now, with the introduction of linen. As the glue cools, the
cheap (poorly constructed) non-archival linen tightens. It is pumiced
canvas, many oil painters are turning smooth again. Next, a fine
back to the original (and best) painting preparation of old-world lead white is and the finished painting exudes a rich,
surface for oil painting. applied. Made from a carefully luxurious quality prized by
Oil paint is a combination of pigment prepared mixture of lead whiting and knowledgeable buyers and collectors.
and linseed oil, which is derived from linseed oil, this oil priming applied Watercolour Canvas is another
flax. Linen canvas is also made from over the carefully prepared linen yields quality surface. For years,
flax, thus making oil paint and linen a surface prized by oil painters watercolourists have been restricted to
highly compatible. The pure Belgian everywhere. painting on watercolour papers. While
linen is prepared from start to finish Artists who have painted on well many great watercolour artworks have
entirely by hand, using ancient made oil primed linen have been produced on paper, artists had to
experienced the work within the limitations of
highly receptive watercolour papers. Watercolour
quality of its papers have a tendency to buckle
surface. The when wet and require special care
tactile, sensual such as stapling or taping to a firm
feeling of painting surface. They can tear quite easily
on oil primed linen when wet, and artists must be very
is unique – no careful when practising traditional
other surface watercolour techniques. Previously,
accepts paint quite galleries have been reluctant to
like it. The oil acquire and sell watercolour works
paint and ground because they are on paper and not of
seem to ‘know’ archival quality.
each other like Watercolour Canvas is made of 100
long-lost brothers, per cent cotton artist canvas covered
F E A T U R E
with a specially formulated acid-free Cotton Canvas Panels offer the artist an
coating that performs similar to a ‘cold inexpensive, versatile and portable
press’ or rough watercolour paper – surface to paint on. They are constructed
while providing a distinctive look that from finely woven cotton canvas
can only be achieved on canvas. In mounted onto heavy cardboard backing,
addition, artists can use all the usually with acid-free glue. The glue
techniques that are used with provides a barrier between the board and
watercolour paper. Repairs and the canvas, helping to maintain longevity.
adjustments can be performed easily The surface of the canvas panel usually
and, when using pre-stretched canvas has a very definite paint-gripping ‘tooth’
and boards, there is no buckling – even with minimum absorption, providing a
with the wettest of applications. In the perfect painting support for oils, acrylics,
past, watercolourists have been gouache and tempera colours. All sides of
restricted in the size of their paintings the canvas panel are glued and turned in,
due to paper sizes. The fact that acceptance of watercolours may to prevent fraying and separation.
watercolour canvas is available in rolls increase as they can now be shown or
means there is now little restriction on hung in the same way as acrylic or oil For information about stockists of
the size of watercolour paintings. paintings; and the archival surface will these products, contact S&S
Artists will also find that gallery stand the test of time. Customer Service on 1300 731529.
A S E L E C T I O N O F S P E C I A L I S E D S U R FA C E S F R O M M I C A D O R
pure cotton fabric, these boards have stretched. Roymac Blank Space Canvas
a keen surface texture with a paint is 72 inches wide and available in 10
gripping ‘tooth’. The entire canvas is and 50 metre rolls – it can be cut down
firmly glued to the board support and to any desired size. Perfect for the studio
all sides are completely turned in – or classroom. Roymac – for artists.
no fraying or separation from the Call 1800 628 878 for stockists.
mount board. The back of the board
features a space for artists to sign Micador Watercolour Pad
and title their artwork. Available Get into watercolour with the Micador
in a broad range of sizes, from small Watercolour Pad. 220gsm watercolour
8 x 6 inch to large 36 x 24 inch. paper is a medium weight paper
Micador Clean Slate™ Canvas Call 1800 628 878 for stockists. suitable for all watercolour applications
Start afresh with Clean Slate™ – use with water soluble pastels,
Canvas from Micador. This pure crayons and pencils as well as gouache
cotton, 380gsm stretched canvas has a and watercolour paint. It is 100 per cent
triple gesso primed surface and is cellulose and cold pressed for a rough
stapled at the back for clean edges. surface, which absorbs the colour. A4
Made from strong Paulownia size pads include 12 easy-tear sheets.
hardwood frame, it is very light yet
extremely stable (even when wet). Call 1800 628 878 for stockists.
Available in a range of sizes in
standard three-quarter inch frames as
well as modern extra thick one-and-a-
half inch frames. Artist quality canvas
at a price for everyone! Call 1800 628 Roymac Blank Space® Canvas Rolls
878 for stockists. Artists can now stretch their own
canvas with Blank Space® Canvas
Micador Clean Slate™ Canvas Boards Rolls from Roymac. High quality,
Micador Clean Slate™ Canvas made from 100 per cent pure cotton,
Boards are perfect for a range of this 10 ounce canvas is unprimed. The
painting mediums and projects. fibres are closely woven to ensure a
Double gesso primed and made from taut and firm surface when canvas is
F E A T U R E
A D E S C R I P T I O N O F M E D I A A N D A RT S U R FA C E S F R O M C A N S O N
For every media that makes a strong plastic binder, and carried in
mark on a surface, there is an ideal water which later dries by evaporation.
corresponding surface. Following is a Oil and Acrylic Sketch Paper is very
listing of the most commonly used sturdy, has a canvas-like texture, and is
drawing and painting media and the primed ready for painting.
surfaces best suited to them. Oil Paint is pigment (and sometimes
Pencils, both graphite and coloured, added chalk) bound by vegetable oil
are made of finely ground pigments which slowly dries by oxidisation.
and some chalk, bound together by wax With Oil and Acrylic Sketch Paper, the
to become solid. Cartridge Paper is the primer resists penetration by oil into
popular surface. The more tooth it has, the paper.
the better it can hold a build-up of Printmaking was the original form of
layers of colour. Canson’s Visual creating art and reproducing it. Block
Diaries cartridge paper has more tooth printing or etching may use Velin
than most. J A Dessin Cartridge comes Arches, Velin BFK Rives, Velin
in rolls and sheets in three weights. Johannot, Moulin du Gue and
C A Grain is a super heavyweight Stonehenge. These papers are cotton-
premium quality cartridge. Bristol based and lightly sized for use with oil
Paper is very good for graphite and suitable. Oil and Acrylic Sketch Paper based or strongly bound inks. Screen
coloured pencils. Mi-Teintes Paper has allows oil pastel to pick up the canvas- printing can use Arches 88 which has
an evenly textured side for pencil work. like texture, and the colour can be no sizing.
Colorline is a premium quality washed with turps much like Mixed Media is often a combination
heavyweight coloured drawing paper. watercolour pencils. of wet and dry techniques, usually
Arches (Hot Pressed) is used as a high Charcoal is burnt wood, either left requiring a strong and sturdy paper
quality coloured pencil surface. natural or compressed into sticks. with tooth and some control over wet
Watercolour Pencils are similar to Similar to pastels, but a single layer colour spread. Surface sizing and
ordinary pencils, except the binder is only is applied. Needs tooth. Ingres, cotton content is desirable. Lavis
water-soluble. Because water will be Mi-Teintes, C A Grain, J A Dessin, Fidelis, Montval, Mi-Teintes, Bristol,
applied, a watercolour paper is needed. Cartridge and Visual Diaries papers Stonehenge and C A Grain are
Montval Watercolour Paper is one truly are good. excellent choices.
suitable paper. Mi-Teintes can take a light Water-based markers usually require Pen and Ink can be described as a
wash much better than cartridge paper. a slightly absorbent surface. Bank and combination of fine line work in pen and
Pastels are finely ground pigments Bond Pads, Visual Diaries, J A Dessin, limited areas of wet colour for ink or
and chalk bound together with a weak C A Grain, Cartridge, Bristol and Mi- watercolour wash. Bristol Paper, Lavis
water-soluble gum to become a stick Teintes papers are good. Montval is Fidelis and Hot Pressed Arches are ideal.
that releases colour easily. Mi-Teintes ideal for watercolour effects. Drafting is where fine lines in ink
Paper and Board is made for holding Spirit-based markers need a similar require paper with minimal spread and
loose dusty pastel colour with its (but very white) paper that allows the no loose surface fibre. Easy erasure is
pronounced tooth and texture. It is the colour to bleed only sideways and not essential, so ink must sit on the surface of
best paper for pastel and chalk. Ingres through the paper. Bleedproof Pads the paper. Tracing paper is a good choice.
Paper has less tooth than Mi-Teintes and Bristol Paper are ideal. An ink jet printer is another tool for
and is ideal for single layer colour. Watercolours are finely ground applying thin layers of wet colour to
Cartridge Paper is not the ideal surface pigments bound in a weak, very water- paper, a little like watercolour.
for pastels, as it can hold only a few soluble, gum. Paper needs to be ‘sized’ Mi-Teintes Paper, Arches or Montval
layers of colour before the tooth is to control the absorption of wet colour, 185gsm are suggested for Ink Jet work.
exhausted; however Canson’s Visual and strong enough to not weaken when
Diaries Extra Tooth is better for pastels wet. Arches is best, with gelatine size Canson and Arches products
than most. distributed evenly all through the paper. are available at all good fine art
Oil Pastels are like chalk pastels, Lavis Fidelis offers a choice of surfaces stores. The products are
except that a vegetable oil is used as a and Montval Watercolour Paper is distributed by Arjo Wiggins Pty
binder. Oil is sticky and therefore these synthetically surface sized and ideal Ltd, telephone 03 9701 8266.
pastels can stick to most surfaces. for less demanding techniques. Websites can be found at
Cartridge, Visual Diaries, Mi-Teintes, Acrylic Paint is pigment (and www.canson.com and
Ingres, Colorline and Bristol papers are sometimes added chalk) bound by a www.arches-papers.com
F E A T U R E
PA I N T I N G S U B S T R AT E S F R O M O X L A D E
Oxlades Paint and Arts Centre stocks Primer is sold in the

a wide range of substrates for all your same range of colours as
painting needs – whether you work in well as a clear, which
oils, acrylics, watercolours or pastels. allows the artist to prime
The aim is to provide artists, hobbyists almost any surface (with
and students with the highest quality art the same unique toothy
materials at an affordable price. The texture) in preparation
people at Oxlades believe that quality for pastel painting.
materials enhance the creative Oil and acrylic painters
experience and maximise artistic are spoiled for choice
potential! On the other hand, using with an even wider range
cheap and substandard materials (such of surfaces available. Oxlades stocks quality Art Spectrum stretcher bars.
as paints with too much filler or thin, artists’ canvas in all its many forms – These are lengths of kiln-dried
porous canvas) can result in muddy and choose from primed and unprimed, lightweight and heavy-duty pine with
dull paintings which in turn lead to stretched or loose; by the metre, mounted mitred corners which slot together
frustration and disappointment. Worse on board, or pre-cut in pads. The range easily to form the frame around which
still, your precious works will fade, of artists’ canvas includes Belgian Linen, your canvas is then stretched and
deteriorate and damage easily. Oxlades polyester and cotton-duck. stapled. Sizes range from eight inch
offers only the best products available Cotton-duck is a popular, mid- (20cm) to 84 inch (210cm), and pre-cut
in each price range so there is no need priced canvas available from six braces are available for larger works.
to sacrifice quality for price. ounce to 14 ounce in weight. Larger For those who wish to avoid
For the watercolourist, Oxlades works require the heavier weight of stretching their own canvases, Oxlades
stocks the Arches, Saunders, canvas to avoid sagging. Cotton-duck carries a large range of pre-stretched
Bockingford and Montval ranges of is available for purchase by the metre canvases as well as offering an in-
paper – in sheet, pad and block form. and customers can choose from the house custom stretching service. For
Arches and Saunders are top-of-the-line pre-primed variety (which is ready to students, hobbyists and professionals,
100 per cent cotton rag papers ideal for paint on); or the raw canvas, which Oxlades carries several brands of
professional artists and those who aim the customer can seal and/or prime to quality pre-stretched canvases which
to get the very best results from their suit specific requirements. (unlike ‘cheap and nasty’ versions)
paints. Bockingford and Montval Belgian Linen is considered the won’t warp or sag under normal
papers are lower priced watercolour superior painting surface worldwide, conditions. These are available in pre-
papers made from cellulose … and Oxlades carries eight varieties. primed cotton-duck and linen.
excellent for those on a budget or for They stock a three-metre wide Finally, canvas boards are an
learners who wish to practice before unprimed Belgian Linen, as well as economical, lightweight alternative to
investing in the best quality papers. several acrylic and oil-primed versions stretched canvas for students and
At Oxlades, pastel painters can select with surface qualities to suit any style budget-conscious hobbyists. Consisting
from a number of quality pastel paper from heavy impasto to fine photo- of primed cotton-duck wrapped over
brands, each with their own unique realism. These linens are available for thin MDF board, they are also handy
colour and surface qualities. Canson’s sale by the metre at 2.1 metres in for professional artists for studies or
Mi Teintes range features a light texture width. It is recommended that preliminary sketches.
and subtle tints, and is available in professional artists use Belgian Linen At Oxlades, the possibilities for your
sheets and rolls, as well as pads of for its unsurpassed strength and next painting project are endless. They
assorted colours. The Art Spectrum flexibility over time, as well as for its even stock a unique black-primed
Prisma range is available in sheets prestigious reputation amongst gallery canvas, especially suited to Aboriginal
featuring bold colours and a slightly directors and art dealers. artworks. Mini canvases (as tiny as
rougher texture. For the more Polyester is a relatively new painting 4 x 6 cm) for miniature painting are
adventurous pastelist, Art Spectrum also substrate beginning to gain popularity another unique product you may not
produces the unique Colourfix range – amongst professional artists. Its find elsewhere. For quality,
an exceptionally fine toothed, sandy archival properties are exceptional. At affordability, expertise and a range that
surface available in a range of sizes in Oxlades, polyester and poly-cotton is second to none, see the helpful staff
sheets and boards, with an unusual canvas are available to order. at Oxlades Paint and Art Centre!
surface that grips the pastel like no Once you have researched and
other paper and allows for dense, selected your preferred canvas type, The Oxlades website can be
beautiful layering of pigment. Colourfix Oxlades can supply you with top found at: www.oxlades.com.au
F E A T U R E
M AT I S S E D E R I VA N I N T R O D U C E S D O U B L E P R I M E D A RT I S T C A N VA S
companies have combined the very and gesso will enhance and support
best of their ranges to produce the any projects – from small collages to
ultimate painting surface. WCT’s high large murals. It is the perfect
quality canvas fabrics are all coated background for acrylics, oils and
with acrylic primer (gesso) made to pastels; even watercolours! The fine
Matisse Derivan’s exacting standards. balance between absorbency and
The canvas and coating are gently sealing provided by the gesso will
dried under tension, maintaining satisfy both oil and acrylic painters
perfect warp and weft structure. alike – providing a wonderful surface
The gesso coating is based on tried for oils, while not causing acrylic
and tested formulations incorporating paints to dry out prematurely.
the latest technology to ensure Matisse Derivan Gesso is proudly
Matisse Derivan has introduced an maximum protection against traces of made in Matisse Derivan’s Sydney
exciting new product: Matisse Derivan harmful impurities that may develop factory and is coated by Wax
Double Primed Artist Canvas. The over time as a result of the ageing Converters Textiles in their rural New
range includes 11 canvases, process. To achieve this, a neutralising South Wales facility – making this
incorporating three varieties of black agent is included in the gesso to arrest product 100 per cent Australian owned
canvas to provide an inspiring choice any traces of destructive compounds. and manufactured.
for all discerning artists. The whiteness of the canvas is
Matisse Derivan Double Primed enhanced by the use of high quality For more information about the
Artist Canvas is the product of a Titanium Dioxide pigment. In the new Matisse Derivan Double
collaboration between Australia’s range of black canvases, the use of Primed Artist Canvas, please
leading canvas mill, WCT (Wax Carbon Black pigments ensures a rich, contact Matisse Derivan by email
Converters Textiles), and Matisse true black painting surface. at sales@matisse.com.au … or
Derivan, Australia’s leading artist Offering excellent ‘even’ tooth, the visit their website:
acrylic manufacturer. These two combination of artist quality canvas www.matisse.com.au
C H R O M A’ S A D V I C E A B O U T C H O O S I N G S U R FA C E S TO PA I N T O N
Let’s deal with how to prepare surfaces paper resulting from washing out failed Painting is difficult and gessoing is
first: Some surfaces are ‘ready to use’. watercolours, don’t throw it out – gesso easy … so do yourself a favour.
Watercolour paper is specially prepared it and use it for an acrylic or oil Chroma makes a thick gesso for
for its intended use. It should be chosen painting. textural effects; and a more flowing
carefully and not tampered with; but if Prepared surfaces for oils and easy application gesso for when a
you have a stained and wilted piece of acrylics often benefit greatly from one smooth finish is desired. Coloured
or two coats of gessoes are available, too. Direct your
gesso. This takes enquiries to:
them out of the marketing@chromaonline.com
unknown, into Selecting your surfaces: Just about
the ‘known and anything can be gessoed, as suggested
reliable’, with above, to provide a good surface to
very little effort. paint on. Not many people would
Using a good argue against this, even if they rarely
gesso greatly get around to doing it.
improves the Substrates to paint on are hotly
behaviour of any debated, often with fervour and
artists’ paint, prejudice.
making the act of To be practical, let’s consider first
painting more the ‘prepared canvas’ which is readily
pleasurable and available and can often avoid the
improving the expense of framing if it is stapled at
end result. the back (leaving the sides smooth and
F E A T U R E
paintable). To make your choice, look water based glue size would tighten up
at the back to see how densely the the canvas on the stretcher and provide
canvas is woven. If you have a a barrier to the oil based primer (or
polyester option, choose polyester gesso) which could rot the canvas if it
because it is stable. Apply your own was in direct contact. It seems
gesso on the painting surface and you unnecessarily arduous today to use an
will have something quite serviceable. oil based primer, which would end up
If you want more reliable durability like ordinary oil paint by becoming
at low cost, choose a pre-primed brittle and perhaps cracking.
masonite board. The priming will Acrylic gesso is
prevent tannin stains spoiling your obviously to be
painting at some later date. If you find preferred. Modern
it too smooth, you can get a brush- acrylic gessoes are
textured surface by applying the thick flexible and give a
Atelier gesso using a slip/slap motion much better
with a large brush. Some people like a underpinning. They are
rigid surface … and masonite boards also permeable to air
are ideal. and help oil paintings
If you prefer canvas, the most to dry from
durable is polyester as suppled by the back. Glue based
Tamarisque, Albion Street, Surry sizes can’t be used
Hills (Sydney). With Stephen underneath; but acrylic
Hesketh’s strainers, no wedges are binders don’t rot
required because the polyester is so canvas fibres.
stable it does not shrink and relax Another problem
with humidity changes. The technical with glue sizes is that
rationale for polyester strainers is they are very water
contained in the Ottawa sensitive and swell
Conservators’ Report. The report is enormously when the
about the long-established use of weather is humid.
polyester to reline old rotting Australian coastal
canvases for old museum paintings. climates have wild
The paint on a painting is supposed swings in humidity levels, and old oils principles of long-held tradition, and
to sit on the canvas, and be supported. which were done on sized canvas are a those who believe that technology
When the canvas rots and loses its major problem. can be used to make more reliable
tensile strength, the stress of holding Go modern – there is plenty of products which are also easier to use.
everything together gets transferred to useful up-to-date information you At Chroma, we believe that polyester
the paint itself and causes cracking. can follow. Chroma invites readers canvas is the best and most stable
The Ottawa Conservators’ Report of Artist’s Palette magazine to visit that can be used. We believe that
also notes that linen, a revered and www.chromaonline.com for more acrylic paintings will last longer than
traditional substrate, is no more detailed product information … or email traditional oils because of their
durable than cotton duck! us at marketing@chromaonline.com ability to stretch. We believe our
Sizing: It is easy to set up shop as an with your name and address for a copy Archival Oils bring oil paints into
expert, because most art schools have of The Artists’ Pocket Guidebook. line by providing the same ability to
not taught the use of materials for over Introducing Chroma’s Online stretch that acrylics have. We believe
30 years … and there is an audience of Forum! Artists love to discuss that our Atelier Interactive acrylics
young people who want to go about aspects of their craft with others. are giving acrylic painters control
their work in a professional way. Here’s an opportunity to share your over drying times and tonal changes
One piece of ‘expert information’ views by visiting the Forum at which have made acrylic artists’
which badly needs to be debunked is www.chromaonline.com … as a paints difficult to control and use
the idea of sizing a canvas with starting point, we’d welcome your since their introduction in the ’60s.
rabbit’s skin glue. This could only comments on the following: We believe our Absolute Matte hyper
work if the gesso primer was oil Most debate and argument on gouache is so unusual that people
based, because the water in acrylic technical subjects relating to artists’ just can’t imagine what it is for –
gesso would dissolve the glue layer. paints and paintings is polarised until they visit the gallery site and
The original concept was that the between those who hold rigidly to the see for themselves.
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Professional Quality Artist
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several uniquely Australian
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Artwork by Ian Sax
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2018-10-01 Australian How To Paint

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ARTIST INSIGHTS AND

Cover image by: Di Tarrant

CHROMA AUSTRALIA PTY. LTD. MT KURING-GAI NSW 2080

Water Mixable Oil

All Georgian Water Mixable Oil colours offer high levels of

Georgian water mixable oil colours are supported by a range

used by David Hockney. For devotees of oil paint. A wonderful

the Braemar Gallery at Springwood. For

The idea for this painting came to the artist while

STEP ONE STEP THREE

M AT E R I A L S STEP ONE layout onto my canvas with

STEP FOUR STEP FIVE

STEP FIVE STEP SIX

Previous resin formulation

The range consists of a wide and balanced spectrum of 80 colours including

Sample Offer for

in her work; together with impasto gel, gesso,

Some of Di Tarrant’s paintings are

This acrylicist believes it is important to play and maintain a loose painting

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STEPS FOUR AND FIVE

colours are best not worked too much, as they can

LOTS OF QUALITY PAINT OPTIONS FROM S&S WHOLESALE

touch it to gain a greater perception from 5 to 15 microns, which allows

MATISSE DERIVAN IS A LEADER IN ACRYLIC PAINTS

and this is because I see our Australian

and the effects I get brushing my

Acrylics and Pastels

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appropriate I was painting a fishing

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a Murray River Gum). The painting was

Insid Out By Barry McCann

the large background shapes first,

by art groups and societies. They are

Barry’s work can be viewed at:

subjects and many of his pictures feature

6DXQGHUVJVPURXJK STEP TWO

Aussie Bu s By Trevor Lang

Innovative Queensland artist Lee Porter takes a unique approach to

consultant in Papua New Guinea for

Snow Boarder By Lee Porter

mixed a good quantity to cover the

I came up with the

On my palette I placed Yellow texture. I added fish referenced

Angela “Miss M” Morrissey

Award winning artist

She also offers an art (drawing

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From permanent and water soluble

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Art created by people with disabilities has a distinctive edge and

really sketch in first. Instead, I attempt

Glenn has followed that advice,

Back Road to the

Very few words accompany this demonstration. Sometimes it is preferable to

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6DXQGHUVJVPURXJK STEP TWO

4!

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