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Issue 166
ontents 42

INSIGHTS INSIGHTS
6 Crispin Akerman 16 Deidre Billiau
From an early age I had an interest With drive, tenacity and plenty of
in the Arts. A lifetime engaged with talent, this vibrant young artist has
music and art. combined her love of drawing in
graphite with her love of animals,
babies and children, creating portraits
24 that thrill and delight their owners.36

24 Robyn Buchanan
The biggest lesson I have learnt in life
is to do what you love and don’t listen
to anyone other than your inner self.

32 Gav Barbey
The idea dictates the medium –
the medium does not enforce the
creative passion.

42 Wayne Malkin
Starting to draw and paint early in
life sets you on a journey of discovery.
Travel with Wayne as he finds
his path.

50 Rhonwyn Rasmanis
Keeping Memories This prolific artist
is making the most of her retirement,
creating amazing travel diaries by
drawing birds and animals.

Cover image by Crispin Akerman

 32

16
demoNSTraTIoNS
12 Oils – Red Dress, Vase and Flowers
A beatiful still life with oil paints on linen,
by Crispin Akerman

20 Pencils – Balu
The eyes have it! Using skill and keen
observation skills, Deidre Billiau created a
wonderful drawing of Balu, a one-year-old
Maine Coon cat.

28 Acrylics – Red Poppies

Robyn Buchanan is inspired by the changing
stages of the life of a poppy. Simple but
effective is the result of her work

38 Mixed Medium – Movement and Flow

Gav Barbey creates his work in stages of
throwing and pouring paint to give him the
motion of the parrot in flight.

46 Oils – Where the Waters Flow 6

Painted from a photo he took a few years
ago in the South Island of New Zealand,
Wayne Malkin liked the way the water
twisted and swerved around the rocks.

54 Gouche -Should we or Shouldn’t we?

The artist draws these superb Blue Wrens
with a Ramie Moth caterpillar.
 I N S I G H T

Crispin Akerman

Art for life

From an early age I had an interest in the Arts.
A lifetime engaged with music and art.

6 Artist’s Palette
 I N S I G H T

Ficifolia and Eggs

I
first thought about becoming an
artist when I was about 9 or 10
years of age. I grew up in the
Perth Hills where there was a strong
arts community, with people like
Guy Grey-Smith, Robert Juniper, and
George Haynes around.
My parents were interested in art and
that had a strong influence on me. My
parents had several friends who were
artists and I thought it seemed like a
good life. I remember that there was a
book of Leonardo da Vinci drawings in
the house which I tried to copy.
I also played the guitar, and at about
the age of 14 I heard Jimi Hendrix and
was blown away.
After high school I went to art school
in Perth but didn’t last the first semester,
leaving to find a band to play with.
I played with the band the
Eurogliders for eight years and as we
travelled overseas I was able to visit
places like the Guggenheim Museum,
the Tate Gallery, and the British
Museum.
I never lost my interest in art and
eventually I returned to study art, with
a desire to learn how to paint.
I first attended Julian Ashton Art
School Sydney, then went on to
complete a degree in Visual Arts at Chair, Red Dress and Silver Princess
what is now the ANU Art School.

Artist’s Palette 7
 I N S I G H T

Quinces, Pomegranates and Temple Jar

Art povera, collage, and assemblage

were popular at the ANU art school,
with the work of Rosie Gascoine being
a major influence.
Landscape and the horizon line
became of interest to me. I developed
work for my 4th year that was
assemblage-based using old books that
I cut up with a band saw and arranged
into grids and combined them as
Pomegranate and Two Lemons
dyptiches with painting.
I left art school feeling I’d had an
interesting time and learnt a lot about
other artists and ideas but still hadn’t
learned what I’d set out to do – how
to paint.
The first time I became interested
in still life as a genre was at Julian
Ashton where I first painted
monochrome studies of still life.
One of the exercises that I enjoyed
was painting basic shapes painted
white like cones, cylinders, spheres,
Pomegranates cubes and bottles set up on a table,
sometimes with a drape.

8 Artist’s Palette

King Cottage Quinces
During my art school years I was
inspired by artists I saw around me
like Su Baker, Ian Grant, and Thornton
Walker, doing still life paintings.
I saw a Morandi exhibition at the
Art Gallery of NSW during that time.
There was a purity and formalism in
the work that really appealed to me.
The first still life paintings I did
Figs, Leaves and Jar
I N S I G H T
after leaving art school I sold through
Orson & Blake in Sydney. Within a
year I had gallery exhibitions lined up
all over Australia.
In 1996, Susie Beaver from Beaver
Galleries in Canberra saw my work
and offered me my first solo show. I
have worked as a full-time exhibiting
artist since then.
Ficifolia and Grey Jug
These days I am interested in the
European realist tradition and where it
sits in the contemporary art scene.
Recently I have started using more
native flora, introducing the leaves and
flowers as a reference to the landscape
and geography.
Several of my recent works have
as their central focus the flowers and
Artist’s Palette 9
 I N S I G H T

Chinese Apples, Jar and Pears Ficifolia and Green Jug

Jar, Pear and Eggs

10 Artist’s Palette

Nashi Pear, Pomegranate, Eggs and Jar
leaves of plant species native to the
South West of Western Australia where
I now live.
Other objects I depict are local
and traded artefacts, with interesting
historical, sculptural, and organic
forms. The objects I arrange over
underlying geometries, with the space
between as important as the objects
depicted.
I am interested in working from real
life, rather than from photographs. In
Howell Pears
I N S I G H T
line with this approach I sometimes
leave unresolved sections, adding
drama to the work, and heightening
the focus of the paintings - the
arrangement of objects and the
elements of local history and the
natural environment.
Collecting objects to paint and
arranging them on a table is part of the
process and I enjoy the going out and
looking for things to paint, much as I
did looking for old books to cut up.
Pomegranate, Pear and Lemon
My work is held in several
collections, including Artbank,
Australian National University,
Canberra Eye Hospital, New
Parliament House, St John of God
Hospital, Murdoch, BHP Billiton, City
of Bunbury, Voyager Estate, and many
private collections in Australia and
overseas.
Photography for the images by
Ian Robertson n
Artist’s Palette 11
 D E M O N S T R A T I O N

Oils

Red Dress,
Vase and Flowers
By Crispin Akerman

A beatiful still life with oil paints on linen

FINAL STEP

12 Artist’s Palette
 COMPOSITION
This painting was a commission
with a size restriction. The clients
had seen my work at an exhibition
and told me they liked the red dress,
blue and white porcelain, native
flora and the enamelware I used.
With the size restriction and
the size of the red dress I felt this
horizontal format would work best.

M AT E R I A L S THE DRAWING ON LINEN

• Linen Support –
Claessons #13D/PR
• Brushes – Rosemary & Co
– 10 Long Flat SER 279
– 7 Long Flat SER 279
– 12 Ivory Long Flat
– 10 SER 2025 Hog Bristle
– 8 Eclipse Rigger
– 7 SER 272 Round
– 9 SER 272 Round
• Solvent and Mediums
– Gamblin Gamsol
– Gamblin Galkyd Lite
– Gamblin Neo Meglip
• Paint
– Old Holland – Scheveningen
Rose Deep MONOCHROME ONE
– Gamblin – Alizarin Crimson
Permanent
– Old Holland – Cadmium Red
– Old Holland – Cadmium
Yellow Orange
– Winsor & Newton – Cadmium
Yellow Deep
– Old Holland – Cadmium
Yellow Medium
– Old Holland – Cadmium
Yellow Light
– Old Holland – English Red
– Old Holland – Raw Sienna
Light
– Old Holland – Italian Brown-
Pink Lake
– Rembrandt – Viridian Green
– Old Holland – French
Ultramarine Light Extra MONOCHROME TWO

Artist’s Palette 13

TRANSFERRING
THE DRAWING
Starting with a drawing on paper gives
you more control over the work.
It is worth spending time getting
the composition right before
adding further complications
with paint and colour.
Once the drawing on the paper
is right, I transfer it to the support,
making sure it is positioned
properly on the support.
I transfer the drawing using tracing
paper with charcoal on the back,
which I then fix with spray fixative,
dusting off any excess beforehand.
With the drawing fixed, I begin.
MONOCHROME BLOCK-IN
I have been starting the paintings with
a monochrome block-in for a while. I
like to have the underpainting showing
through the upper layers of paint.
This stage is the time to establish
the correct values of the light
and dark balance. It also the
time when a mood or feel for the
painting can be established without
the added difficulty of colour.
In this painting I used a mixture
of Italian Pink, Viridian Green,
14 Artist’s Palette
MONOCHROME THREE
ARTIST’S HINTS AND TIPS
The Support
How the painting will look
when it is finished depends upon
the support (that is, the linen,
panel, paper, and so on) that
it is painted on. The painting
process starts with the support.
It is worth spending the money
on good pre-primed linen or
spending the time to do your
own grounds (priming).
In this demonstration painting I have
used Claessons #13D/PR which is
a fine weave linen oil primed. The
surface is quite smooth but has
more tooth than a gessoed panel.
The advantage of using a pre-
primed linen is the convenience
of being able to cut a piece to
any size depending on the final
composition. Within an hour of
completing the drawing I can have it
stretched up and ready to paint on.
I do experiment with different
grounds and supports. Recently I
have been using a hide glue/chalk
gesso applied to panels which gives
a beautiful smooth and luminous
surface. The surface can also be left
unsanded leaving interesting texture
left from brushing on the gesso.
Values
Understanding the values in
the painting – the darks and
lights and how they all sit
together is very important.
Make a grey scale with ten steps
from black to white on it.
Mixing Colour
Colour charts take a long time to do
but they are worth the effort. Going
through the process is probably
the quickest way to learn how to
mix colours and they provide you
with a permanent reference. .
Brushes
I prefer Rosemary & Co, Neef, and
Da Vinci Grigio brushes. I usually
work with round and flat brushes.
Paints
I usually use Old Holland paints,
but I also use Williamsburgh,
Rembrandt, Mussini, Gamblin,
and Winsor & Newton.
and a few drops of mineral
spirits to do the block-in.
With this mixture I can brush over
the lines and then wipe back with a rag
where I need to lighten the painting.
The extremes of the value scale of
black and white are not achievable OVER PAINTING ONE
here. The mixture I’ve used will not
give you black and the surface is too
absorbent to wipe back to pure white.
Working with the mid tones, I
reinforce the drawing and establish
basic tonal relationships.
I work from the back, forward
and around the painting.
I work into the folds of the
dress with dark paint, scumbling
the middle tones and wiping out
the high values with a rag.
How much finish I achieve at
this stage varies, sometimes it is a
very broad application, and other
times I take time to work it up.

COLOUR OVERPAINTING
With all the surface covered I OVER PAINTING TWO
begin again in the background,
working forwards.
I start to paint in the background,
trying to achieve the correct value.
The strong red colour of the dress
requires a careful balancing with other
neutral colours. The strong red needs
to settle in with the background.
I aim to finish each section
before I move on to a different
part of the painting.
In this case, by the time I got to
the large butterfly vase the painting
felt like it was starting to work.
I left the detail of the eucalyptus
leaves and flowers and the
butterflies on the vase to the end.

Photography for the images by OVER PAINTING THREE

Crispin Akerman 

Artist’s Palette 15
 I N S I G H T

Deidre Billiau

Loving My Life
With drive, tenacity and plenty of talent, this vibrant young artist has
combined her love of drawing in graphite with her love of animals, babies and
children, creating portraits that thrill and delight their owners.

I
was born in Penrith, NSW, and
moved to Queensland in 1991 when
I was about four years old with my
parents and two siblings. From a young
age, I can remember being creative –
making toys out of cardboard, writing
and illustrating short stories to be read
by my dad at bedtime, making my own
drawing books, sewing and knitting
with my mum, drawing pictures,
painting and other activities. I always
enjoyed art in primary school and was
regularly complimented by my teachers
and peers for various projects. It wasn’t
until late primary school that I realised
I enjoyed and had a talent for drawing.
When I went to high school I continued
to study and thoroughly enjoy art,

16 Artist’s Palette

until the end of year 12, achieving
high grades each year. I completed
various assignments and projects in
different mediums, from painting,
sculpting, print making and many
others, but I always preferred and was
best at realistic graphite drawings. I
was able to complete a few drawings
and paintings in my own time around
school hours. These included various
animals, a portrait of my dog and self-
portraits from when I was a baby. Some
I N S I G H T
of my drawings were entered in my
first exhibit at our local annual show
and received high recommendations.
The constraints of the high school art
curriculum made it difficult to complete
my assignments with graphite pencil
and realism. It wasn’t until I left school
that I was able to focus more on graphite
pencil drawings, choosing my own
subject matters.
When I was young, when I was asked
what I wanted to be when I grew up, I
always said I wanted to study art when I
finished high school! As I reached senior
art I realised I didn’t enjoy art theory as
much as the practical side. I preferred to
have free range with chosen mediums
and subject matters, so I decided not to
pursue art as a university degree and
just keep it as a hobby. I went on to
study a Bachelor of Applied Science,
with a major in Veterinary Technology.
From a young age I have always had
a love for animals, particularly birds,
Artist’s Palette 17

and have successfully hand raised and
rehabilitated many birds as a member
of a bird wildlife program. With the
demands of University and working
casually on weekends, I didn’t have a lot
of time for drawing during the four years
of my degree. It wasn’t until I graduated
and started working as a Veterinary
Technologist at a specialist clinic in
Brisbane that I found motivation,
driving passion and time to get back into
drawing once again.
I spent a lot of time researching
various graphite artists on the internet,
18 Artist’s Palette
I N S I G H T
and reading about their techniques
and the resources they used, watching
YouTube videos and admiring their
work. I also read many books to educate
myself and to improve my drawings. I
was always in awe of the realism other
artists could achieve in their works,
which inspired me and motivated me to
keep drawing and to reach my highest
potential possible in my own artworks.
I had lessons over the internet with
another pencil artist for a few weeks, but
it wasn’t something I wanted to continue
at that time.
There has been a significant
improvement in my work over the
years. One of the first drawings I
completed after I began drawing again
was of my dog, Rusty. I was 10 years
old when we brought Rusty home as a
puppy to be a part of our family, and
was devastated at his recent loss at the
age of 16. This portrait is, and always
will be, very special to me. It’s one of
the very few originals I have kept for
myself. I entered Rusty’s portrait in
the Brisbane Exhibition in 2012 and
thoroughly enjoyed the experience
 I N S I G H T

of having my work displayed. After

I completed Rusty and various other
realistic drawings of pets and babies
for friends and family word got
around, and soon I had a list of people
interested in commissions.
My knowledge and experience as
a veterinary technologist and love
for animals and children has been a
big influence on the subject matter
of my drawings and the artist I have
become today. I especially enjoy
drawing animals, babies and children,
capturing their fun loving natures,
purity and innocence. Currently I
work exclusively with graphite pencil,
as I love the closeness to reality that
I am able to achieve. In the future
I would like to try other mediums,
but for now I am very content with
exploring graphite art. Over the years
I have learnt to be patient with my
drawings, as rushing doesn’t get the
desired finished result. I have always
been open to trying new techniques
and tools, always trying to achieve the
best results. Every artist is different
with the techniques and tools they use
and will give different advice, but I
have learnt that not everything suits
everybody. It is important to work with
what you are comfortable and happy
with.
I have been privileged so far to have
finished my university degree and
work in a job that I thoroughly enjoy,
and to be given the talent of drawing.
It’s very rewarding to nurse a sick
animal back to health, to watch their
tail start to wag again, to see their eyes
light up and to see the joy on their
owner’s face. Similarly, it is wonderful
to see friends and family light up
and be overjoyed when they see the
graphite drawing that I have completed
for them. Hearing many described as
priceless, beautiful and a unique gift
always encourages me to continue my
endeavours. The tremendous joy I feel
from such responses makes all the
long hours, hard work, struggles and
achievements in drawing and nursing
worth every second!

Email: d3idre@gmail.com n

Artist’s Palette 19
 D E M O N S T R A T I O N

Pencils

Balu By Deidre Billiau

The eyes have it! Using skill and keen observation skills, this artist created a
wonderful drawing of Balu, a one-year-old Maine Coon cat.

B
alu is a piece I was asked to
do by a friend in Germany and
was completed at a size of 14
x 11 inches. My friend sent me many
photos via email, and I picked the one
I thought was best, showing some
personality and capturing the intensity
of his eyes. Once the drawing was
complete, I wrapped it up and posted
it to Germany. It was a surprise for my
friend, as she did not know that I had
finished or which photo I had chosen.
I printed the photo in black and white,
and always had it next to me to refer
to while I was drawing. I was always
mindful to keep a blank, clean piece of
paper under my right hand, trying to
work from left to right where possible.

STEP ONE
Outline
I completed the outline of the drawing
with an HB pencil, adding in as much
detail as possible, showing where
the various lights and darks go.

STEP TWO
Eyes and face and nose
With a 2B pencil I shaded in the pupils
and the eyelids, the darkest part of
the eyes. I then used a 4B, 6B and
8B pencil to layer these areas, getting
them as dark as possible. I usually
FINAL STEP start with the eyes of a subject, as they
are generally the main focal point of

20 Artist’s Palette
 STEP ONE
the artwork and I want them to stand
out and be capturing. The rest of the
drawing was then done around the eyes.
I used the 2B mechanical pencil to
get into the corner of the eyes, to create
smooth and fine edges and corners.
With an HB and 2B pencil I then
drew in the white and iris of the eyes,
blending with tortillons, leaving the
reflective part of the eye white.
With an HB pencil I started drawing
the fur around the eyes and on the
M AT E R I A L S
• Strathmore smooth Bristol
board paper, 14 x 17
inches, 400 series, 2 ply
• Kneaded eraser
• HB mechanical pencil
• 2B mechanical pencil
• Make up brush
• Tortillons
• Sharpener
• Narrow mechanical eraser
• Derwent Graphite pencils
ranging from 8B to 4H
• Sandpaper
• Clean, blank piece of paper
STEP TWO
face, concentrating on fur direction.
For the fur I kept my pencils as sharp
as possible, and used the 2B and HB
mechanical pencils where needed, using
strokes that were the length of and
in the direction of the fur. I changed
my pencil where needed for various
light and dark patterned areas of fur.
I used my narrow mechanical eraser
and kneaded eraser to put in the white
highlighted markings of fur throughout.
The nose was completed using
an HB pencil, the 2B and HB
mechanical pencils and a 6B pencil.
Small and light pencil strokes were
used to capture the fine hairs over
the nose. For the dark areas of his
nose, I used an HB and 6B pencil and
both mechanical pencils to layer the
graphite to achieve the darker tones.
STEP THREE
Body, left front leg and ears
I started out drawing the fur of Balu’s
body using an HB pencil, highlighting
the hair direction and darker areas. I
then went over the darker areas of fur
with a 4B pencil and the 2B mechanical
pencil, always keeping my pencil stroke
to the direction and length of the fur.
STEP THREE
The front leg of the cat was completed
in a similar manner to the body. I again
used the mechanical eraser and kneaded
eraser to remove graphite and to
highlight the lighter areas of fur. I tried
to keep the whiskers and other loose
hairs white and free from any graphite.
I shaded in the inner part of the ears
with a 2B pencil, and then used the
mechanical eraser to lift the graphite
out for the areas of light fur going
across his ears. I then went over the
inner part of his ear with a 4B pencil,
being careful not to get any graphite in
the areas of fur that were just erased.
The edges of his ear were completed
with an HB pencil and the 2B and HB
mechanical pencil, getting the detail
as dark and as sharp as necessary.
STEP FOUR
Chest and left front leg
After I was happy with the completion
of the face I started on the chest. I
lightly shaded in the chest area with
an HB pencil, and used a 2B pencil
for the darker areas. I then used the
mechanical eraser to remove any
graphite, to create the white fur on
the chest and the individual hairs on
Artist’s Palette 21
 STEP FOUR
the side that overlap onto the body.
I regularly used the sand paper to
keep the point of the eraser sharp, so
I could capture the fine lines of the
white fur and whiskers. I then use
various different pencils to fill in the
fur on his chest to capture the different
tones, being careful to leave the erased
area of his fur and whiskers white.
With the same technique as the chest
I completed the left forelimb, with
ARTIST’S HINTS AND TIPS
• Draw a subject matter that
interests you and that you enjoy.
• Always keep a clean piece
of paper under your drawing
hand to prevent smudging
and oil from your skin
transferring to the artwork.
• Keep your pencils as fine
and as sharp as possible
to achieve finer detail.
• Work from left to right (or right
to left if you are left handed)
as much as possible to try to
avoid smudging your work.
shorter strokes for the shorter fur. When
I was completely happy with the body
of Balu, I moved onto the background.
STEP FIVE
Background
The background was created using
2H, HB, 2B, 4B and 6B pencils,
as well as 2B and HB mechanical
pencils. I started with the area
• Don’t rush; take the time you need
to achieve the results you want.
• Put a drawing away and come back
to it a day or so later with a fresh
mind and eyes if you get stuck
and don’t know where to go next.
• Never give up and always try
different techniques and tools to
find out what works best for you.
• Be willing to learn and be inspired.
• Don’t dwell on a mistake;
it can always be fixed and
incorporated into the artwork.
Learn for next time.
STEP FIVE
closest to Balu’s body, filling in the
darker areas of wood with 4B and
2B pencils and the lighter areas with
HB and 2H pencils, and continuing
out to the lighter areas. I used the
kneaded eraser to highlight any areas
of light wood, but was careful not
to make them white. I used a ruler
to capture the straight edges of the
wooden furniture. I kept my pencil
sharp or used the mechanical pencil
to draw in any corners or sharp lines.
I was mindful to keep the fur and
whiskers, which touch the wooden
furniture, white where necessary.
FINAL STEP
Finishing touches
Once I was happy with the
completion of the background I
tidied up the edges with various
erasers and pencils. I then put
the artwork away for a few days,
to then revisit with fresh eyes.
A few days later I looked at
Balu again, and I fixed and tidied
any areas that I felt needed it.
Email: d3idre@gmail.com 
 I N S I G H T

Robyn Buchanan

Art is a Connection
to Self-Expression.
The biggest lesson I have learnt in life is to do what you love and
don’t listen to anyone other than your inner self.

I
was born in Townsville
Queensland. My family spent
most of my early childhood
moving around for work, so I found
it very difficult to make friends but
I always had my drawings. I would
draw on anything I could find. My
father being a new Australian from
Hungary, used comics as a form of
learning English; he would let me
copy some of the images in his comic
collection and then he kept anything
I drew! This would drive my mother
crazy.
I won my first Art competition at
school in year three, and was over the
moon. At assembly, the names were
called out in front of the whole school
so, being a very shy child, I slinked up
and received my prize of a stationery
set. I couldn’t wait to get home and
show my parents though.
I was told by my art teacher in high
school not to waste my time with art
as I could not use the grid system
of painting; this is a method which
I still do not use today. I left school
at 15 and began a tracing career with
an engineering firm. Due to a busy
lifestyle, my husband in the military
and having two small boys as well
as invalid parents to look after, my
drawing was put on the back burner.
Unforeseen circumstances led me to
re-marry and a daughter was added;

24 Artist’s Palette

my second husband encouraged me
to give my love of art another go!
I began to dabble in fine art, the
Flemish method to be precise. I
searched the internet and used our
local library for information. I have
found there is a wealth of information
that can also be gained from books.
This has been very useful in the
development of my art. Last year
(2013) I studied the techniques of
traditional Byzantine icon painting.
I now have a Diploma. This was
obtained via a correspondence
I N S I G H T
course at the Academia Institute of
Education and Culture in Moorabbin,
Victoria. I enjoyed my studies, finding
Iconography to be a very formal style
requiring a lot of concentration and
dedication.
On completion of my Diploma, I
felt a need to further my journey into
a different style of painting, to create
an outlet whilst freeing ones creative
nature. I found Abstract Art to be the
perfect vehicle with which to break
out. It is a fun way of connecting
to your true self; being a key to
unlocking the creative force that is
hidden in each and every one of us.
I am very passionate about my
art and my personal favourite is
the Russian Folk Art decorative
painting technique of Zhostovo.
These traditions date back to the
18th century. Boris Grafov, the
master of this distinctive style and
Priscilla Hauser are some of the
finest decorative painting artists and
teachers; their books have inspired me
to achieve a level of perfection. I think
that is why I am also very taken with
Artist’s Palette 25

the Flemish method which introduced
me to oil painting. This was a slightly
different headspace and process that
has grown on me.
I have used several different types
of oil paints over the years but find
I always go back to the Archival
Oil Colours for the full richness in
colour. The way it feels, so creamy,
and the texture is perfect for my
style of painting. But in saying
this I paint mainly in Jo Sonja’s
Acrylic colours for my Folk Art and
Decorative painting creations. Once
I got used to the Ground pigments
26 Artist’s Palette
I N S I G H T
for my Byzantine Icons I found that
Langride artists dry ground pigments
to be very versatile. Needless to say
this was another reason to move out
of the dining room into a studio of
my own to keep my ever growing
art products and equipment in.
(Thank goodness for a handyman
husband.)
I usually paint on pre-stretched
canvas, wooden panels and wooden
items but stay open to other
surface options that might come
my way. This carries over into my
classes. By encouraging students to
experiment with different surfaces,
it gives opportunities to explore
various options for their current
style of painting. Some students
have felt a bit overwhelmed with
the myriad selections in an art
store. I have found it useful,
therefore, to give my students the
opportunity to try out some of my
paints. This has proved to be the
best way to boost experimentation
with different mediums, brands,
styles and colours whilst
encouraging development of
creativity.
 Over the years I have entered
many competitions! Since 1999 I
have been very lucky enough to
win quite a few of them or get a
placing. I have also won the Open
Art section in Still life Study, oil/
acrylic for the years 2013 and 2014
at the Royal Adelaide Show. In 2008
I entered into the Adult leaner’s
week Art Competition for the city of
Salisbury here in Adelaide and took
out the People’s Choice Art Award,
which I was very honoured to win.
The winners of the different sections
were invited to a luncheon with the
Mayor of Salisbury and this was
quite and honor.
Many of my favourite paintings are
the ones I had the most fun creating.
I have had a few photos of my art
published in the Artist’s Palette
magazine as well! Art is a connection
to self -expression. Remember art is
the world we create. I feel it is vital
that everyone should be given the
chance to embrace the magical, often
explosive, world of colour. Explore,
and find your own magical journey
through the wonderful and creative
world of art.

Ph: 08 8264 4585

M: 0406 166 382
Email: rovynbuchanan@dodo.
com.au
Web: www.robynbuchanan.com n

Artist’s Palette 27
 D E M O N S T R A T I O N

Acrylics

Red Poppies By Robyn Buchanan CDA

The artist is inspired by the changing stages of the life of a poppy. Simple but
effective is the result of her work

FINAL STEP

28 Artist’s Palette
 STEP 1
Basecoat the canvas with the use
of the 2” base coating brush with
the white gesso. Allow to dry and
lightly sand with the sanding block,
wipe with a lint free cloth and then
give the entire canvas another coat
of the white gesso, a hairdryer may
be used to add to the drying process.
STEP ONE
Lightly sand and wipe again.
With the use of your one inch base
coating brush apply a thin layer of
Retarder Medium over the entire
canvas. Now working from the top of

M AT E R I A L S

• Stretched canvas 60 x
75cm’s (24” x 29 1/2”)
• Tracing Paper
• White graphite paper
• Black graphite paper
• Stylus
• White Gesso
• Sanding Block
• Lint free cloth
• Kneadable eraser STEP TWO
• Westart Picture Varnish Gloss
• Jo Sonja’s Artist’s Colors:
– Burnt Umber
– Titanium White
– Napthol Red light
– Naples Yellow Hue
– Turners Yellow
– Yellow Deep
– Napthol Crimson
– Brown Earth
– Carbon Black
• Jo Sonja’s Mediums:
• Retarder medium
• Brushes:
– 1” base coating Brush
– No. 00 liner brush
– No. 4 round brush
– ½” Flat brush
– 2” base coating brush
– 1”Mop brush STEP THREE

Artist’s Palette 29
 outer edge of the yellow area, blend
with your one inch brush, do not
clean your brush, leave the same red
mixture on your brush pick up a small
amount of Burnt Umber to darken the
bottom edge of the red mixture. Add
more Burnt Umber as you continue
down the painting, blending all the
way. At the base of your painting
add a touch of Carbon Black to the
Burnt Umber to deepen your color.
When you are happy with your
blending it’s time to allow it to dry.
You may need the hairdryer to speed
up the drying process, as the retarder
medium will pro long the drying
time. Be careful before applying
the pattern as the painting may be
touch dry but not dry all the way
through, if you apply the graphite
to wet paint it may not transfer or
you will not be able to remove the
remaining lines so allow the painting
to dry overnight if in rainy weather.

STEP 3
Transferring the design:
Enlarge the design to fit the canvas,
it may be traced from the pattern

STEP FOUR (A)
your canvas to the bottom, we need
to blend each colour as it is added as
we work down the entire canvas.
STEP 2
We will start by mixing a small
amount of Naples Yellow Hue with
Titanium White (1:1) then apply this
with your one inch brush starting at
the top. Then mix Turners Yellow
and Yellow Deep (1:1) apply this
mixture to your painting next to the
first yellow applied than with your
one inch brush blend the two edges
together where they join. If you’re
painting starts to dry before your
finished you will need to re-apply a
touch more Retarder Medium. Pick up
a small amount of Napthol Crimson
and Napthol Red Light, blend then
on your palette and apply this to the
ARTIST’S
HINTS AND
TIPS
• If you have trouble blending
with a one inch flat base coating
brush try and use a one inch
mop brush and always blend
with a criss-cross method. I
tend to use both and wipe the
brush on a clean cloth before
blending different colours
together so they soften the edges.
• It is impossible to get the
same pattern every time
when blending a background;
so don’t get frustrated if
it looks a bit different.

30 Artist’s Palette
sheet onto tracing paper, then transfer top ends of the stems, and only hints each coat to dry before applying the
the design onto the canvas, with the of colour to the bottom ends of the next. Always read the instruction on
use of the coloured graphite paper, stems as they are in the darker areas the can before you apply anything.
use the white for the darker area and we want to keep them this way. Happy Painting
and the black for the lighter area,
this will make things a little easier Robyn 08 8264 4585
later on in the painting process. FINAL STEP Mob: 0406 166 382
Allow the painting to completely dry, Email: rovynbuchanan@dodo.
and then with your Gloss Varnish com.au
STEP 4 spray at least two coats, allowing Web: www.robynbuchanan.com 
Red Poppies:
Block in the poppies with your number
four round brush, on your palette, mix
up some Napthol Red Light, Napthol
Crimson and Burnt Umber (1:1:1) you
may need two coats. Your shadows
have been floated in with a side load
of Burnt Umber on your half inch flat
brush. The highlights have been dry
brushed in with your number four
round brush that has been dipped into
your Napthol Red Light. Touches of
Yellow Deep have been added here
and there for interest. The centres have
been blocked in with your number four
round brush and your Burnt Umber,
while the centres are wet, pick up a
small amount of Yellow Deep to the
tip of your brush and start from the top
by dabbing it up and down, blending
this into the top end of your centres.

Buds:
Block in your buds with a clean
number four round brush, which has
been loaded in Burnt Umber. Pick up
some Brown Earth and dry brush this
in intervals down the stem, this will
allow the Burnt Umber to act as your
shadow area. On your palette, mix a
small amount of Naples Yellow Hue to
your Brown Earth as you want a cream
colour. Dry brush this across your
buds, this will act as reflecting light.

Stems:
The stems are painted in the same
manner as the buds. Using your double
o liner brush which has been loaded
in Burnt Umber, base coat each of the
stems. With touches of dry brushings
of Brown earth. Then add touches of
your highlight mixture Naples Yellow STEP FOUR (B)
Hue and Brown Earth (1:touch) to the
Artist’s Palette 31
 I N S I G H T

Gav Barbey

Born of
the Thespian World
The idea dictates the medium – the medium does
not enforce the creative passion.

I
Lorikeet brush and throw – close up was 17 years old when I did my
apprenticeship as a commercial
artist. I was taught craft, drafting
and construction by artisans,
reproductionists, illusionists, and
masters.
It was about aesthetics and technique,
precision, flamboyancy, extreme,
colour and movement, theatricality.
I did my apprenticeship in one of
the oldest commercial art houses in
Melbourne, born of the thespian world,
a world which exists no more.
When I studied Theatre and Film
design at the National Institute
of Dramatic Arts it was all about
philosophical and intellectual meaning.
I would here learn to question and
answer everything, to influence and be
influenced and discern every mark I
was to make.
I could give you a myriad of
philosophical meanings… how many
of them would truly be intellectual
would be debatable. Intellectual design
stinks of ascetic value, what it is worth
to artist or audience may be mediocrity.
But it was here where I discovered the
freedom of my own pictorial voice—
here I met the great and late Australian
painter Arthur McIntyre, in our weekly
life drawing class I discovered that I was
ambidextrous and like a cobbled stallion
being let loose I journeyed to that place
I believe all Artist go—the Space; or the
Crack—the space which is not dictated

32 Artist’s Palette
 I N S I G H T

by the perceived right or wrong—not

by thoughts or distractions; and within
Arthur I had met a new mentor, a new
teacher who encouraged and pushed me
outside of the boundaries of a page, of
the floor or even the physical plane.
In this three year period I also
learned to read, and being dyslexic and
to some degree illiterate of the novel, I
found the art of poetry. Through poets
like American writer Raymond Carver
and Spanish writer and playwright
Gabriel Marquez I started to read the
visual paintings words can form on
an emotion context. The history of
theatre lecturer Ken Healey became a
major influence on my work, so much
so that I painted his portrait for the
Archibald prize in 2001. Ken had been
a Franciscan friar; his knowledge of
the history and inter-connection of the
Arts across the board offered me now
an intellectual understanding on the
years of craft and skill training I had
received within my apprenticeship.
I have a deep believe that every
person can draw, the pictorial language
being on of the two innate ways
we express ourselves from birth—
language being the verbal connection
to sound; and pictorial being the
physical connection to movement.
Though within saying that I do
believe that having the years learning
techniques and disciplines through
the rigorous practice of conventional
craft allowed me in that first year of
NIDA to outpour an immense personal
dialogue that over the next 20 years
would become my signature.
As a professional designer, writer,
director of theatre and film I learnt
the art of free form, abandonment. I
discovered emotion, and the art of pure
emotion, the continuous line, the line
that started from aesthetic technique,
through philosophical debate, to
discovery of ownership, and finally
abandonment… freedom and the
ultimate art form; that of collaboration.
Collaboration has become a theme
for me as an exhibiting artist—my
search for the ideal that as Artist ‘I am
Viewer and as Viewer they are Artist’.

Artist’s Palette 33

Jaccaranda Tree – high gloss acrylic polymer pour
Hummingbird 1
I N S I G H T
I often question the concept of ‘What is
Art’, so much so that in 2000 I created
92 works over a two day period live in
my studio. I invited a camera crew, 12
actors, writers and film producers and
eight musicians to come and co-create,
to see how much we influence each
other; to see who becomes Artist and
who Audience—what we discovered
was nothing yet everything; we like the
many before us could not definitively
answer the question—though what we
may have discovered is the practice of
Art is an innate and possibly one of
the most important human conditions
that has allowed us to create everything
from the spear to the skyscraper and
everything in between.
Influence for me is collaboration, no
Artist is solo, each of us is influenced
constantly by forces outside of
ourselves, and these in turn influence
our perceptions and our internal dialogue
that allows us to express that which
often becomes new to ourselves.
In 1999 I held my first solo exhibition
in a response to all that I had learned
over those first 33 years of life,
and all that had come before me. I
discovered the moment, the innate
response emotionally born of a deeper
consciousness and released. I was to
experience the solitary Zen like state of
myself and began to see, through my
eyes from my heart, I drew of my senses
and began the new journey to gather all
I had experienced and bring them to one.
I had sworn I would never show my
work in the stagnant parameters of a
white walled space; yet I had found
something of me, the thing that had
been trained and taught, that had been
influenced and discovered and that
seemingly had no parameters. It took
two years before I discovered that the
blank walls and gallery space were the
shackles that cobbled the wild horse and
since then my practice has become a
journey into the understanding of flow—
the movement that everything on this
planet has and is.
I had been taught scenic art and
trompe floi, techniques that had been
handed down over centuries—I had been
 I N S I G H T

Wattle Bird – high gloss polymer pour Guoldian

a purist and a classicalist. My first trip

to Spain in 1987 was to challenge all of
that, inspired and moved by Picasso and
the architecture of Gaudi, I started to
crave the romantic beauty of artists like
Henry Moore, Matisse and Rodin; their
sense of the movement of life, the poetry
of heart and for me, the Gardens.
In 1999, while driving across North
America I was introduced to possibly
one of the biggest influences any painter
has had on me—not necessarily in style
or history, though when I stood in the
darkened room at the NY Moma gallery I
heard the Artist, for the first time I felt the
inner dialogue of the Artist, the amazing
sensation of the freedom the Artist allows
themselves when creating—I had no idea
who Francis Bacon was, though these
paintings were possibly the first pieces of
contemporary art that influenced me to just
draw, to paint and to find that place, that
space where I could pour, throw and dance
with the story that was expressing itself Kingfisher
through me.

Artist’s Palette 35

Rosella
In 1993 while performing with
fellow theatre students at the Adelaide
Festival I met an Artist whom to this
day inspires me; Andy Goldsworthy
is an Artist whose boundaries are not
dictated by a building or gallery walls,
he creates live with the elements, his
works are often ephemeral and have a
Cherry Blossom 2 Enlightening
36 Artist’s Palette
I N S I G H T
Big Frog 1
theatrical nature to them—this was a
period where Artists like Dale Chihuly,
Steppenwolf Theatre Company, Pina
Bausch and Bread and Puppet Theatre
Company influenced my desire to
see visual art as a complex web
that encompasses everything from
painting, sculpture, theatre and film,
Wedgetailed Eagle
written language and the mere act of
storytelling.
My practice has taken me around
the world. I have exhibited and
created live public works throughout
Australia—I have created life
installation works inviting the public
to participate in NY—I have exhibited
Bee Eater
 I N S I G H T

in Asia and the UK, and traversed the

multiple mediums and collaborated
with some of Australia’s most exciting
writers, directors and performers.
Within this article I have tried to
express a little of the journey, a slither
of the vast and ongoing influences that
inspire my work—as I wrote at the top,
my work is not dictated by a single
medium; an expression chooses the Elephant
medium or mediums I may use within
any one work—and even though my
work seemingly spans over a diversity
of looks and understandings; one thing
is for me the constant—FLOW—from
the continual line of my scribble
drawings to the throwing and pouring
of paint of my figurative works; to
the melting of my Iceworks and live
performances.
The separation from the innate
creative self and the notion of Art may
just be the business of art. It takes,
like with any passionate dedication, an
immense focus on discipline to be a
full time practicing creative. Art (craft)
is the continual exploration into the
varies modalities that allow anyone to
express within their unique emotional
and intellectual understandings, that
which conveys an emotion response
within another.
It may be the inevitable lose to
illuminate the expansion of originality,
to the sufferance of decoration… for
it is for the artist to express that which
has not been discovered, to alchemy
new life, to hold up a light upon which
miracles may be performed and the
world maybe moved to view in each
and every unique way… life. It is not
to make people suffer… but to deliver
them from sufferance, we may express
our uniqueness of intimacy.

Gav Barbey
Ph: 0418 203 797
Email: gavbarbey@gmail.com
Web: www.gavbarbey.com
Gav Barbey films, Art
Web: https://vimeo.com/
gavbarbey 

Owl 2
 D E M O N S T R A T I O N

Mixed Medium

Movement and Flow By Gav Barbey

This artist creates his work in stages of throwing and pouring paint to
give him the motion of the parrot in flight.

FINAL STEP

38 Artist’s Palette
 STEP ONE STEP TWO

STEP 1
The original head of the parrots are painted
in the traditional brush technique, fine
brush strokes within the figurative style.

STEP 2
I start by throwing paint straight from
tubes. At this stage I use Acrylic paint. I
utilise the different brands available, each
have their own properties and densities
and allow for a variety of profiles.

STEP 3
I then pour and throw inks. These
will react with the acrylic to
give me more movement.

M AT E R I A L S

• Acrylic paint – various colours

and suppliers
• Acyclic polymer – AKWA paints
• Inks – I use are a variety of
commercial brands from Art Spectrum
to high end French blended inks.
• Dyes
• Containers
• Pipet
STEP THREE
 STEP 4
I mix pigments and colour in containers
giving me different brews. I then pour
in the arc wing directions. This gives
me the flight illusion of the wings.
I mix gloss clear polymers with
pigment to give me a fluid body for
other pigments to float within, these
I then pour in the same arcs.

STEP 5
I finish the work using pipets with
inks and dyes; these give me fine lines
that then feather. All of this gives
me a semi organic movement. 

ARTIST’S
HINTS AND
TIPS
• I use a high gloss acrylic paint,
STEP FOUR often I will mix my colours - this
creates the base for the finer
throwing and pouring and a
catalyst for the different company
pigments to react with each other.
• I get a high gloss acrylic polymer
made for me by ‘AKWA’ paints. I
squeeze these colours from small
pots - this paint is a fluid full bodied
pour paint that holds its body.
• I am always on the look out for
unique pigments as they most often
hold properties that then react to
other brands, this gives me a variety
of textures, patterns and movement.
• I utilise any commercial fabric dyes,
these give a rich high density colour
without the textural body of a paint.
Both the dyes and the inks are
available in many different
brands, both high end commercial
and in student grade. Both have
varied properties to experiment
with. My best suggestion to any
crafts person is to experiment...
For without experimentation
we never discover the immense
opportunities that percolate within
STEP FIVE the dreams of the creative self.

40 Artist’s Palette
 I N S I G H T

Wayne Malkin

Its the Interpretation

that makes it work
Starting to draw and paint early in life sets you on a journey of
discovery. Travel with Wayne as he finds his path.

High Tide

42 Artist’s Palette
 Rapids in Dappled Sunlight

Turbulence Eucalypt

M
any people I speak to tell me
they really enjoy painting
but don’t get the time to do
it. My answer is, I paint (almost every
day) and sometimes don’t get the time
to do other things.
As a young man I had the need
to draw, and I enjoyed art at
school. When I first discovered the
impressionist movement, I found that
the use of colour and atmosphere
was where my interests really lay.
I progressed through watercolour,
finally finding the versatility of oil
as my perfect medium. My subject
matter apart from portraiture is
landscape/seascape but not just the
subject – the atmosphere that the
subject generates. By that I mean the
effect of light and how it makes the
scene come alive. As a young painter
I complained to an older experienced
artist that I seemed to spend hours
searching for the perfect scene. His The Steps

Artist’s Palette 43
 I N S I G H T

Lighthouse

Rainforest at Springbrook Early Morning Snapper Rocks

answer was, it doesn’t exist. Subjects

are everywhere, around every corner
and in every direction. It is the
‘interpretation’ that makes the subject
work. In other words, my advice is to
pick out and emphasise composition,
colour and light effects to create
subject matter from everyday places.
All artists are affected by natural
beauty but are also influenced by
other artists. It is why painting styles
can be grouped into chronological
periods. The impressionists were
my first influence but since then
the compositions of Gustav Klimt,
the colour use of Joaquín Sorolla y
Bastida, the brushwork of Jeremy
Lipking and the palette knife
techniques of Fred McCubbin
have all played a part along with
many other artists. Although I
love a wide variety of styles, if I
were asked for a favourite artist I
The Glade would find it impossible to choose.

44 Artist’s Palette
 I N S I G H T

Afternoon Colour The Inlet, Late Afternoon

Wherever possible I go to see the D’Orsay in Paris is a particular but exploring the art world by
blockbuster exhibitions, and visit favourite. Seeing paintings in the the internet can have wonderful
the big art galleries. The Musee flesh is an enlightening experience, consequences. 

Out of the shade Rapids in Dappled Sunlight

Artist’s Palette 45
 D E M O N S T R A T I O N

Oils

Where the Waters Flow

By Wayne Malkin

I choose an image
with a personal
appeal. In this case
I took a photo a few
years ago on a visit to
the South Island,
New Zealand. I like
the way the water
twists and swerves
around the rocks.

M AT E R I A L S

• Oils Art Spectrum

– Raw Umber
– Prussian Blue
– Art Spectrum No.1 Medium
– Viridian
– Permanent Mauve
– Archival Classic Medium
– Ultramarine Blue
– Burnt Sienna
– Raw Sienna
– Titanium White
– Cobalt Blue
• Brushes
– #4 flat Rosemary & Co Ivory
brush.
– #8 flat Rosemary &
Co Ivory brush.

46 Artist’s Palette
 STEP 1
I choose an image with a personal
appeal. In this case I took a photo a
few years ago on a visit to the South
Island, New Zealand. I like the way
the water twists and swerves around
the rocks. I start with a mixture
of Raw Umber and Prussian Blue
slightly thinned with Art Spectrum
No.1 Medium using a large, flat #8
Rosemary & Co Ivory brush. At this
stage, I’m only interested in breaking
down the subject into darks and lights.
I’m making sure that the composition
‘flows’, and even at this stage I’m
making subtle changes to the scene. I
hold the brush from the very end and
stand as far away from the work as
STEP ONE
possible. Apart from planning the work
in my head, I have taken 4 minutes.
STEP 2
I have painted the undercolour for the
water with a mixture of Prussian Blue,
a touch of Viridian and Raw Umber.
STEP 3
I introduce a new layer of dark,
picking out a little more detail, still
with a number 8 brush. A mixture of
Art Spectrum Permanent Mauve and
Raw Umber. I have now changed the
mixing medium to Archival Classic
Medium which is slightly thicker. REFERENCE
STEP TWO
Artist’s Palette 47
 D E M O N S T R A T I O N
STEP THREE
STEP 4
Continue to define more detail
using a #4 flat brush. I also use
rags to wipe out any alterations I
think will help the composition.
Using a mixture of Ultramarine
Blue and Umber I mark in
the darker areas of rocks and
continue to develop the water.
ARTIST’S HINTS AND TIPS
• Paint only in daylight or extend
your painting time by buying a
‘full spectrum’ craft light which
doesn’t change the look of colours.
• Paint freely with large brushes
and paint only broad areas
first, leaving highlights
and detail until later.
• Start with small paintings (eg. 20 x
25cm) painted with large brushes
until confidence increases. This
also saves money on materials.
48 Artist’s Palette
STEP FOUR
STEP 5
I’m now working over dry paint after
leaving the paint to dry for 24 hours.
I use a mixture of Burnt Sienna, Raw
Sienna and Viridian to continue to define
the rocks. I then mark the rough areas of
water with a Viridian and Ultramarine
Blue mix. It is only now that I squeeze
some Titanium White onto my palette
and after lightening the dark water
• I try and work in the relationship
of shapes and darks/lights – a
high priority. Oil paint has the
wonderful ability to paint over
itself and gives the ability to
change what has gone before.
• By the time I get to the ¾ mark,
my reliance on the real life
subject has diminished. The
painting is constantly adjusted
and changed until I reach a
point where I am happy.
STEP FIVE
colour with a touch of white scumbling
in the lighter areas of water. TIP: Keep
the lightest colours still relatively dark
– the highlights will be applied later.
FINAL STEP
Continue to strengthen shapes,
building up the water using Cobalt
Blue mixed with Ultramarine
Blue and white as a sky reflection
element. It’s at this point I place a
highlight (sunlit spots on the water).
This gives me the full spectrum of
tones and double checks the tone of
the rest of the water. It would be easy
to paint the rest of the water too light
but that would mean very little contrast
between it and the sunlit spots.
Now if the final work is compared
to the source photo it’s clear that
I have changed the atmosphere
conditions to enhance the scene
and changed the rock features to
allow for a stronger composition. I
have also altered perspective a little
to give more of a 3D effect. 
 I N S I G H T

Rhonwyn Rasmanis

Keeping Memories
This prolific artist is making the most of her retirement,
creating amazing travel diaries by drawing the birds and animals
she and her husband see on their frequent holidays.

L
ike thousands of other retirees,
I started this part of my life
with lots of resolutions. I still
don’t have a new bathroom or a tidy
garden, and the bush that surrounds
my home is still a fire-hazard, but I
have achieved one aim - to become a
competent artisan, not just a dabbler
in watercolours. I class myself as
a ‘weekend artist’ and enjoy the
whole process involved in putting
my observations and memories onto
paper. Sometimes my travel sketches
and paintings amount to a substantial
trip journal, which remind me vividly
of views and events. Photo albums
are okay, but give me a sketch any
time. I am particularly interested in
the birds I encounter while travelling.
Usually they are the only moving
thing in the landscape besides the
other cars on the road. Never mind
that I can see many of them from my
verandah – they are still a reminder
of other places and times.
People often say that retirement
is a full-time job. They are right,
and it was borne on me that if I was
to achieve my aim I would have to
structure my life more efficiently.
A small bedroom was declared
my “studio”, and my accumulated
pencils, paper, paints, brushes and
books were unearthed. I looked for
like-minded company and joined
some local Art societies, practicing
watercolour desultorily. Progress was
sketchy (sorry, a pun) until l I joined

Jacana
 I N S I G H T

a class conducted by John Wilson,

from Katoomba, NSW.
John’s medium, oils, was not my
favourite, but his abilities (besides his
world-class landscapes) as a teacher
were superlative. All my booked-
learnt knowledge of tone, perspective,
colour and composition was no longer
theoretical, and I was inspired to
practice systematically and develop my
skills with watercolour.
I started to carry an A5 or A6
notebook with me at all times. My aim
was the same – fill it with sketches.
That and an automatic pencil, 0.7mm
diameter, 2B lead was hassle-free. My Classic Mount Cook
husband and I often travel, so to continue
with my aim I took along my painting
materials. Initially I filled a briefcase
and more but soon refined my kit to a
travelling palette and a water-cartridge
brush. A few options like a cut-down
Chinagraph pencil (an adequate resist),
a roll of removable Scotch tape, and tiny
spray bottle from the optometrist go into
a bag made of a well-worn, white towel.
Finding notebooks with paper
sympathetic to watercolour is chancy.
Eventually I started to make my own
from the largest sheets of paper,
divided and then wire-bound at the
local newsagent’s. My sketches and
travel paintings now form the bulk
of my souvenirs and travel diary - a Flinders Ranges
collection of ideas and drafts for
work back in the studio. I enjoy
painting all subjects, but my long-
term project is to document all the
birds and animals I have encountered
on my travels, and at home.
A teacher always teaches, so a few
hints about my craft follows:
I know if a sketch or major work
makes me happy, because I smile.
They are the works I keep. If not, its
goes in the round file.
Practice, practice, practice.
I have a mentor and friend who
gives me feedback that is utterly
honest. I take their criticisms seriously,
no matter how disappointed I am. (It
is usually disappointing, sometimes
devastating.) I will discard the
work, or fix the flaws. I remind

Getting the Reflections right

 I N S I G H T

them frequently that their honesty is

appreciated. When my mentor says,
“Stop! Don’t touch it anymore,” I
listen. I have a winner! It’s like the
“only your best friend would tell you
...” situation.
A kitchen timer imposes some
rigour on my habits - I limit myself
to comfortable periods of work.
When it rings, I leave my work area
and do something different. I try for
30 minutes painting then 30 minutes
on my feet.
Bad watercolours often get a second
chance. I wash, dry, press and reuse
the paper. Sometimes the resulting
stained paper provides a great base for
other work.
One strategy that worked well was
Jane’s Wren a vow to fill a small notebook with
watercolours. One per day. The pages
were small, and sometimes a page
Big Red contained little more than a graded
wash, but I could see progress, and got
into the habit of regular practice.
I have an organised ‘space’. It is
my studio and my household respects
that. I keep it tidy and try not to use
it for storage.
If someone admires a work, I offer
it to them, sometimes with a ‘would-
you-like-to-buy-it?’ or ‘how-much-
would-you-pay-for-it?’ Their facial
expression is a useful criticism.
The best compliment is to see your
work on someone else’s wall. It is
relatively easy to mount and frame
most works. The $2 shops, garage
sales and tip shops are a great source
of frames with matts and glass. If
your work is good, use it as a gift.
Christmas presents will no longer be
a problem. Don’t be disappointed if it
ends up in the second bedroom. One
of mine graces a toilet wall where it is
admired several times a day.
You can’t put everything on the
wall, but we all have a desire to show
and share the results of our labours.
Besides the occasional community
exhibition, I make my work accessible
in several ways.
On my coffee table, I keep a
folder of my most recent works, all

52 Artist’s Palette

Liga at Midsummer
in plastic sleeves. When it fills up,
I put a date on the spine, the folder
on the bookshelf, and start another.
Friends pick it up and browse. My
husband uses it as a reminder of past
excursions.
Apart from a few on my walls, my
original works are stored in notebooks
and folders on a shelf.
Over the years I have developed
the habit of limiting my works to A4
and smaller. They fit in the above-
mentioned folders, are a convenient
size when travelling, and can be
completed in a reasonable time frame.
First Snowfall, Cesis
I N S I G H T
Exceptional works go into a frame
and onto a wall, but a limit of two
keeps standards high.
When digital technology became
accessible, I began to store my work
on the computer. Use your art as a
screen saver. With the development
of the internet I flirted with storage
options like Picassa and Flikr. Today I
simply maintain a blog. It gives me a
great deal of pleasure. Incidentally, it
seems to enhance any work, just like
the traditional matt and frame. With
family and friends scattered interstate
and overseas, this is a convenient
Dunbogan Tide
Augathella Cottage – Qld
way of showing them what I am up
to. No doubt as time passes there will
be a plethora of apps and techniques
available for storage and display of
your work.
The old adage, “a picture is worth a
thousand words”, is still very relevant
– everyone would prefer a sketch of
the Kimberley escarpment to a 2,000
word travelogue about the same.
My blog can be seen at
rhonwynsgallery@blogspot.com.au
My email is
rhonwynrasmanis@gmail.com n
Grandad
Artist’s Palette 53
 D E M O N S T R A T I O N

Gouache

Should we or
Shouldn’t we?
By Rhonwyn Rasmanis

The artist draws these superb Blue Wrens with a Ramie Moth caterpillar

BEFORE YOU START
Observe, sketch, photograph, practice
and plan. Blue wrens are frequent
visitors to my garden, but I will never
be able to capture their characteristic
skips and flutters on paper. Instead,
I look for a story in my painting;
an element of narrative or humour.
Naming the painting also helps me to
focus on composition. This pair will
be sizing up a possible food source,
perhaps a caterpillar to provide an
extra boost of colour. The Jenny
wren will be in control, a little in
front of the cock bird. Shadows and
light direction go on to this plan,
which will be my major reference,
besides my photos of the birds.

FINAL STEP
 O U S TA RT
BEFORE Y

STEP ONE
A quality cold pressed watercolour
paper is prepared with four layers
of transparent spray fixative. The
sketch is transferred by scribbling
the back of my rough sketch with a
water-soluble graphite pencil, then
drawing over the outline. This allows
me to have a clear tracing that will STEP ONE
blend into shadow after wetting.

STEP TWO
For the Jenny, I prepare a warm grey
at least 40% darker than her final
colour. Using a number 2 brush, I
place this on her shadowed side and
the tail. It acts like an undercoat
to establish the rounded shadowed

M AT E R I A L S

• Cold pressed watercolour paper

• Transparent spray fixative
• Water-soluble graphite pencil
• Damp towel or sponge
• Gouache Paints:
– Warm Grey
– Indian Red
– Light Bluey Grey
– Zinc White
• Brushes:
– No. 0 brush
– No. 2 Brush
– No. 6 rough old Fitch brush
– Small, flat bright brush
• Black felt-tipped pen
• Brown Artline pen STEP TWO

Artist’s Palette 55
 STEP THREE
form. The same colour goes on the
paler belly of the cock bird. Using
a black, felt-tipped pen, I carefully
define the eyes of both wrens. The
blue and black areas of the cock’s
body are blocked in. Legs lightly
indicated with the same warm grey.
STEP THREE
Working on the wren first, a touch
of whitened Indian Red defines her
beak, legs and eye areas. Add white to
the warm grey until the wren’s final,
darkest shade is obtained. This is the
colour of her head and wings. Cover
her body with this, up to the edge of
STEP FIVE
56 Artist’s Palette
the “undercoat” and just inside the
outline. Leave wings and tail alone.
Take the small, flat, bright brush, wet
it, then blot most of the water out
by touching it on a damp towel or
sponge. Carefully draw this lighter
grey towards and over the edge of the
original warm grey in light, feathery
strokes. Bits of the original warm
grey should still be visible at the
shadowed edge. This step is repeated
until I am satisfied with the form and
feathery-ness of the breast and head.
Using Gouache allows you to
add lighter layers and blend them
gently to create a rounded form
and the appearance of feathers.
STEP FOUR
STEP FOUR
Finally, I take the No. 6 rough old
Fitch brush, pick up some Zinc White
and, with three or four strokes, lightly
create the final feathery down on the
sunlit side of her breast and brow.
The same Fitch brush, loaded with
a light bluey grey, is used to create
the barbs on the tail. The No. 0
brush is used sparingly with a lighter
shade to indicate the spine. Similar
strokes with a darker mix are used to
indicate other tail feathers. The last
brush stroke is a very dark purple
-gray on the shadowed right edge. A
few fine, dark lines are drawn back
toward the spine to indicate separated
STEP SIX
barbs. Indicate primary feathers.
They are barely visible in this pose.
Use a brown Artline pen to draw the
legs and claws. Indicate the finer,
lighter scales on the legs with touches
of a lighter brown. Claws are a stroke
of any grey from the palette. The beak
is treated in the same way, with a pure
white highlight last. Because gouache
is a watercolour medium, there is a
slight blending which cuts back the
harsh white. The peachy ‘eye-shadow’
is worked in with the No. 0 brush.
The black eyeball is redefined with a
ARTIST’S
HINTS AND
TIPS
• Spray two or three coats of a
workable, waterproof matte fixative
onto a good watercolour paper. It
makes an ideal support for gouache.
It allows me to wipe out and correct
frequently. The seal keeps the
pigments n top of the paper, so they
can be wetted, blotted and layered.
• Mix Zinc White gouache with
watercolours instead of purchasing
a big range of gouache colours.
• Fine felt-tipped pens like
W&N Water Colour Markers
allow me to make fine, clean
marks on eyes, beaks and
claws. Being watercolours,
they blend, mix and dilute.
• Attend as many group classes
and tutorials as you can.
• Make a mark every day.
Sketch before sleeping, by
the phone, anywhere.
• Use digital technology as an
aid. iPad’s Pen & Ink app let
you trace parts of a photo, then
keep the tracing. Great for
developing skills with perspective
and anatomy. Use it for general
sketching. Beats Solitaire.
• Whoever said, “Art is what you
can get away with”? Use your
camera, tracing paper, projector
– whatever tool you have.
STEP SEVEN
fine pen, and an orange smear added
to give it a rounded appearance.
STEP FIVE
Unlike the Jenny, which needed
more modelling, the cock bird’s
dramatic colouring requires only a
few highlights. The purple glow that
is sometimes evident on breast and
tail is used on the sunlit edge of the
tail feathers. A few separated barbs
are indicated with a little white.
Although I can’t recreate the white
of the paper, it’s white enough to
indicate an untidy feather. The pale
flank is next. It’s the whitest part on
the bird, so I keep the purply-black
on the edge only. The technique is
the same used for the Jenny’s breast
with lightened layers blended and
feathered over the darker edge.
STEP SIX
Black and blue areas are painted, with
careful attention to the borders. Use
thick paint so there is a minimum
of mixing. The primary feathers and
wing coverts are indicated with an
undercoat/base of red-brown, then
feathers developed with lighter and
darker lines using the fine #0.
Blue areas are tidied up with a
few lighter blue strokes on the
sunlit areas. A few light strokes of
white indicate some breast feathers
sitting on top of the coverts.
STEP SEVEN
Beak and legs are drawn in with a
pen, with shading in a dark grey. A
tiny highlight on each eye completes
each bird. At this stage, I scanned
and printed a copy of the painting
to practice the best placement
of shadows and caterpillar. The
caterpillar, a Ramie Moth, was
chosen for its spectacular colouring.
A very light (lots of white) purple
indicates the shadow of both birds.
FINAL STEP
Like it? Sign it. Put your painting
in a matt. I scan my paintings and
use Windows Paint to draw a matt
around them – that way I don’t waste
a board. Matts always improve a
painting. Name your painting.
Contact details:
The best way to contact
me is via email:
rhonwynrasmanis@gmail.com 
Artist’s Palette 57
Sandgate Art Society (SAS)
T
he brainchild of Brisbane
architect John Blackley,
Sandgate Art Society is a
place to dedicate one night to
uninterrupted artistic pursuit;
Born and raised in the USA with a
Masters Degree in Art, I was a Visual
Art Educator for 40 years, lecturing
at University and High School levels,
primarily in Australia. Throughout my
art career I have been asked to curate
and judge numerous exhibitions in the
Brisbane area as well as in the USA,
exhibited in many solo, group and
juried exhibitions and been awarded
numerous accolades for my paintings.
Composition, and how one views
a work of art was one of the guiding
principles in my teaching of Visual
Art. I encouraged students to be
creative, and gave them a platform
to express this creativity.
Retiring from teaching in 2008,
58 Artist’s Palette
Practice, Aspire, Inspire
which is not always easy for
people who lead busy lives.
SAS welcomes novices, intermediate
skilled, art teachers, and professional
artists... anyone who would like to
DaviD Cross
I now devote my time to my own
art practice. The ongoing catalyst
for my inspiration is from my local
environment, but also from my many
travels both in Australia and overseas.
Everything I observe has the potential
to be a painting, whether from natural
and organic surroundings, or the man-
made environment. Colour, shape,
line and texture all alter when light
plays on the surface. I am fascinated
by cast shadows, reflections and
tonal changes on a surface as well as
how the time of day and atmospheric
conditions can reveal something new
and exciting to the eye. My passion
is to interpret what may or may not
be seen at first by a casual glance.
work in a warm friendly atmosphere
and share skills, inspiration and
encouragement to continue art practice,
on a regular basis. Here are some
mini-profile on some of the artists:
In the last few years, I have
explored various themes and subject
matter that is inspired by the above
observations. The Shorncliffe Pier,
a favourite focus, has been painted
from many different angles and times
of day and dusk. Glass and how
light changes as it passes through
it or how it is diffused is another
theme I am exploring. Close-ups of
organic fruits and plants also has
provided me a new study point and
venue to portray light and shadow.
In my oil paintings, I enjoy working
in a large format, and it encourages
me to delve deeper into shadows,
allowing them to have as much
prominence as the object does itself.

I am a Dutch designer, living in
Australia for almost two years now.
I enjoy creating art that makes
people happy, therefore I use vibrant
colours, mostly nature scenes and
an animation-like style. Having
my roots in The Netherlands, the
influence of Dutch design can
certainly be found in my work. It is
modern, minimalistic and simple.
After a long period of inactivity I
recently began drawing again. In
the first instance, I had the idea to
continue my cartoon series and try
to make that a success. However, in
January 2015 I joined the Sandgate Art
Society, where an earlier design for a
sculpture led me in another direction.
ED sChimmEl
Five months later, I have finished
around 15 new prints and I am still
full of inspiration for new ones.
Technique: Although my work
is modern, I always start with a
detailed hand drawn design. After
enlargement, I ink the outlines. The
coloring is done with the computer.
inspiration: My inspiration
comes mainly from nature walks,
cartoonists and animation studios:
• ‘Calvin and Hobbes’ by Bill Watterson:
I really admire Bill Watterson’s ability
to change point of view in a cartoon
without making it look strange.
• ‘Popeye’ by E.C. Segar: A daily
cartoon strips in the ‘20s and
‘30s, full with weird characters
like the Goon and the Jeep.
• Cartoons and animations of the ‘20s
and ‘30s: The somewhat rougher,
woody cartoons, like the early
‘Mickey Mouse’ animations and
‘Krazy Kat’ by George Herriman.
• Most of the Pixar animations:
The animation and modelling
is superb, and most of the
movies, except for the sequels,
have a good, catchy story.
Exhibitions: I have exhibited my
works in the EKKA exhibition,
Nudgee College Art Festival
and Expressions in Sandgate.
Web: www.edschimmel.com
Web: www.toonstudio.nl

Fiona mEyEr
When I was very young, someone put a
pencil in my hand and I began drawing
… Art therefore is something that I
haven’t thought about – I simply just do!
I ‘create’ because I can’t NOT! -
Art is my expression, my respite,
my companion, and my comfort.
I studied Fine Art at school and then
briefly at the University Of Natal in South
Africa. Since then I have explored many
mediums and styles – from sketching to
all paint mediums; sculpture; printmaking;
fabric art – and anything else that presents
itself. I continue to allow myself the
freedom to explore and still have not
settled on any preferred medium or style.
Over the years, I have been influenced
by many artists – particularly the
Impressionists, Post Impressionists and the
wonderful design quality of Aboriginal art.
Currently I am enjoying the flexibility
of acrylic paint on canvas – applying
it as you would in a water colour –
through to the richness and texture
if working with oil - and sometimes
applying all techniques in a mish-
mash in the same painting.
I am fascinated with the organic
flow of lines and design - bringing
movement and colour into play.
I therefore choose subjects that
naturally support this design flow.
I started exhibiting three years ago
through the Sandgate Art Society, of
which I have been lucky enough to
become a member. I was awarded 2nd
place at the 2015 Sandgate Bluewater
Festival for my piece ‘Tree of Life’.
Through that, I have been invited
to join and exhibit with the Warrior
Women group, which had an exhibition
in Melbourne in September.

Artist’s Palette 59

As a Textile/Mixed Media artist, I
am inspired by the layers of nature
that surround us. Born and raised in
the USA, holding a BSc in Textile
Design, I have spent the last 30 years
teaching Visual Art in High Schools
here in Queensland. Retiring from
teaching in 2008 to run my B&B
business, Naracoopa B&B, full
time, I have also pursued my love
of creating art through textiles.
I am captured by layers, texture and
colour, which gives me the perfect
avenue to build and create upon. In
starting this creative textile journey
intensely in the last seven years, I
have been honoured with a number
of awards and been accepted into
many juried exhibitions. In the last
year, I have won two Best of Show
60 Artist’s Palette
GraCE Cross
2D first place awards for my mixed
media works at the Expressions Art
Show and the Bluewater Art Show,
both in Brisbane. My work has
also been accepted as finalist in the
Moreton Bay Regional Art Awards,
Rotary Spectacular Art Awards and
Pine Rivers Regional Gallery.
Nonrepresentational in form, each
of my artworks is a personal reflection
creating layered mixed media/textile
artworks with a fusion of fibres,
fabric, paper, acrylics, stitching,
beading and/or embellishments.
My catalyst is nature, inspired by
the lands of Australia and beyond—
inspiring my mixed media/textile
artworks. I am developing my
own personal vocabulary of marks
that journey through my artworks.
John BlaCklEy
I enjoyed art at high school up to Year
10, and after completing an architecture
degree and raising a family, it was time to
revisit my creative outlet 32 years later.
Inspired by a friend, I enrolled at
the Brisbane Institute of Art in 2007
and completed four semesters. I had
two great teachers and experimented
with both acrylic and oil paints
as well as exploring traditional
and contemporary approaches.
I am based in Sandgate, a northern
bayside suburb of Brisbane, which
has great natural flora and fauna
associated with freshwater lagoons
Organic in character, these marks
help to compose my creative form of
expression. Currently, I am enthralled
with and experimenting and designing
with rusting techniques on papers
and fabrics to create one-of-a-kind
mixed media artworks. The colour and
corrosion of the rust makes for a most
sumptuous textural quality. With the
addition of stitch, gold leaf and other
embellishments, the works produced
tell an organic story of their own about
the seascape and landscape nearby.
My artistic process of personal
discovery is intuitive, layering colour,
texture and marks on the surface, while
I continuously adjust the composition
to maintain a balance between harmony
and disorder - culminating in what
I hope is a surface rich in texture.
as well as the bay. Most of my
reference material is local or familiar
and includes natural and urban
landscapes and sometimes influenced
by my architectural background.
When using reference material, I
paint straight onto the canvas using
water mixable oils to achieve an
impressionistic character involving
a loose quality of painting. I use a
number of layers and like to work
the paint when still wet to achieve
some soft edges in contrast with
hard areas. I am also fascinated
by shadows and reflections.
 Whether it is built forms, birds or
poppies, I tend to do a number of
paintings of each and often my best
results are after several pieces but before
they start losing their particular mojo.
I entered my first exhibition in
2009 at the local Bluewater Art Show
and picked up a third prize for my
aerial view of a local beach. I also
picked up a Highly Commended at the
Brookfield Show in the same year.
I still have my architectural practice
to run and am a keen cyclist and
kayaker. I regard myself as a hobby
artist and enter about six art shows
each year. I have consistently sold
a few paintings each year which
helps fund more art materials.

ruBy PurPlE

Ruby is a Brisbane-based artist and finds this such a nourishing

focusing on painting. She is confident,
consistent and a principled professional.
Ruby transposes her ideas to canvas,
board and paper with texture, mixed
media and paint. Her paintings are bold,
irregular, provocative and original.
They can be confronting as well as
appealing to the senses. Ruby works to
stimulate emotion and discussion in her
creations, with her expressions translated
into colour and movement. Her pieces
are abstract interpretations of the real, in
many of her works it is almost impossible
to decipher the transformation.
As Ruby enjoys sharing and receiving
information, she is part of art groups
where technique and subject matter is
very broad. She works with a group of
artists from painters of so many different
styles to photographers, glass artists,
textile artists, potters and sculptures
experience as the act of creating art
is so often such a solitary one.
She often works on commission.
“Creating works of art for special
occasions and often specific places
is so rewarding. I love listening to
people, I love observing in order to
get a feel for something the client
is trying to explain and then finding
the right medium to express and
transform their wish into a painting
is such an amazing way to work.”
Her home is filled with artwork
of fellow contemporary artists. “I
can’t help it I just love pieces that
radiate their inspiration, looking
at them again and again feels like
listening to a favourite song to me.”
Ruby’s often dreamlike semi-abstract
paintings are held in private collections
across Queensland, NSW, Victoria,

New Zealand, USA and Canada. She

has been creating her unique abstract
works for art collectors, designers,
architects and artists since 2009.

To view Ruby’s work visit:

Web: web www.
rubypurplecreations.com
Facebook: RubyPurpleCreations
Twitter: @rubypurple13
LinkedIn: linkedin-ruby-purple
Artist’s Palette 61

Born in Brisbane into a RAAF
family, Kim spent her earliest years
travelling, constantly on the move.
This nomadic life led to many hours
drawing and crafting, and here
began her love affair for art and
bower birding. During the holidays,
Kim would return to spent many
hours collecting shells with her
62 Artist’s Palette
raymonD l. o’BriEn
I began drawing as a child, living at
Petrie Terrace, in inner Brisbane. My
reference material was newspaper
advertisements and Mum’s Women’s
Weekly. I had an abrupt introduction
to politics, when I innocently
drew the then Prime Minister
Robert Menzies. Dad said tersely,
“what did you draw HIM for?”
Undeterred, at the tender age of 14,
I attended the Police Club [PCYC]
art class, where two policemen taught
us the basics of oil painting, “you use
base grey in the distance, and add more
colour as you come forward’’. We
painted on the rough side of Masonite.
Once married, my painting efforts
were somewhat spasmodic until I
bought a bush block at Maryvale
in 1994. I began painting local
landscapes and entering local
competitions. I had a couple of
successful one man exhibitions in
The Maryvale Pub. I remember
trying to coax punters from the bar
into my show In the billiard room!
I also exhibited at the Warwick
Regional Gallery, culminating with
a win in the local artist section
of the Warwick Art Prize.
kim manCini
aunties on the Sandgate foreshore,
which later became crafted jars and
trinkets boxes. Many years later Kim
would return to this seaside town
to raise her children and ultimately
open her own studio gallery.
Her passion for art can
be seen in her work both as
an artist and a teacher.
In 2009, I stretched my wings with
a one-man exhibition at Balmoral
Beach in Sydney, entitled “Balmoral
Conversations”, featuring local beach
scenes with bathers. It was successful,
selling one third of the 30 works and
receiving several commissions.
During the same year I won the
Marine/Seascapes class at the Brisbane
EKKA with a painting of the SS Dicky
wreck at Caloundra. The highlight of
2015 has been a Second in the Ipswich
Art Awards (from120 entries). The
judge was Ben Quilty, whom I had the
pleasure of meeting on opening night.
I have become known for my
realistic renditions of calm water
e.g. ‘’Middle Harbour Haven’’.
More recently, I have been focusing
on portrait painting, which can be
challenging. I get great pleasure in
representing God’s work in oils,
both in nature and in human nature,
especially in the good company
of fellow SAS members, who are
always enthusiastic and encouraging!
As long as there are interesting
reflections in water, and wonderfully
complicated cloudy skies, I’ll
always have something to paint!
A client once commented that her
artwork “Underbrush” was in so
many ways a self-portrait, as this
artwork, like her, has many hidden
layers, and the more you look into
it the more you see her spirit.
There is a great sense of spirit and
passion in the strokes, chaos in the
grasses, a wildness in the flowers yet
also a gentleness in their form. There
is enchantment, and once around
her you want to know more, you
want to be around in her presence,
her love for art; like the fairy wren
hidden amongst the underbrush,
you don’t always see her but once
encountered she is hard to forget.
This statement was for Kim
enlightening as she was very surprised
to see someone had decoded her art in
such a way, but had also exposed the
truth, the essence of her very nature.
Kim has continued to seek and
explore all mediums, surfaces and
art forms especially in 2D form. has grown to meet the demands of about Kim, her love for art, teaching
Kim recently returned to the bush this ever-changing world especially and her achievements please visit her
where she rekindled her love for in art, she, like the dandelion, has website. Believe, and you will achieve!
all things organic, particularly the thrived, even in the driest conditions
weeds and dandelions that grow that life has to throws at us. Web: www.manciniartgallery.com.au
along the roadside. As an artist who If you would like to learn more Email: kimmanciniart@gmail.com

Paul kaTElEy

I have been involved with SAS
from its beginning five years
ago. Before joining SAS I had
just returned to my art, and was
looking for a group to join.
The group’s support and
encouragement over the last few years
has rekindled my creative fire, and
inspired me to participate in many
exhibitions and pop up galleries. The
creative learning process is never
finished, with each successive piece
building on the last. I have always
enjoyed depicting the human form,
particularly the capturing of faces.
I use different mediums depending
on the image and what I am hoping
to achieve. The image must be
interesting to me before I attempt it,
aiming for a faithful rendering but
infused with my personal vision.
I have attended some local art
courses, with most education coming
from constant practice, and the
interaction of fellow artists. SAS
members offer a diverse range of
genres and mediums to observe and
learn. I am always amazed how
small tips can advance progress, and
sometimes unlock a stalled project.
My creative motivation is to
see my work accepted, enjoyed
and taken home to become
part of someone else’s life.
I have had recent success, winning
First Prize in the portraits section
at the Somerset Art Awards, and
Third prize for sculpture at the
138th Royal Queensland Show.

Artist’s Palette 63

During the early part of my life, I had
virtually no exposure to the visual arts
so I entered the art scene rather late in
life purely by a strange co-incidence
after an assessment indicated that
my right brain activity was rather
low, and that everything happened
in my left brain. I did not appreciate
the “unbalanced” outcome, and to
counter that, I promptly enrolled at the
University of South Africa for a fine
arts degree. Thus ART entered my life.
Unfortunately I could not complete
the course due to work pressures
and time constraints, but I continued
64 Artist’s Palette
suE van niEkErk
dabbling in painting, trying to create
“pretty pictures” of landscapes and still
lives, mostly copying photographs.
During the last four years, however,
I developed a true passion for art and
although I still work full time, I spend
most of my spare time painting. I was
desperate to find my own style and
tried all sorts of pictures and styles,
although essentially I tend towards
realism. I experiment a lot with
layering effects and I am fascinated
by textures and colours. My first
paintings were very subdued, but as
I gain confidence in my ability to
manipulate the paint on the canvas,
my paintings are becoming bolder
with brighter colours. I have not really
marketed my art yet, but have sold a
couple of paintings, which signficantly
helps to improve my confidence level.
Although they are very different,
I enjoy both acrylics and oils. I have
entered a few art exhibitions and
I was thrilled to win the prize at a
local art show in June, so I am now
working towards my solo exhibition
in May next year. I am thankful that
at the age of 75, I can still learn and
grow and express myself in my art.
mariE smiTh
The pictures I paint are mostly
landscapes gathered from inspiration
and photos taken whilst travelling
Australia by four wheel drive or
bicycle. I try to capture the Australian
light and remoteness, the red dust,
grey grasses and blue green trees.
Old ruins, rusty vehicles and bicycles
are featured in my recent exhibition
‘Wandering out West’, soon to open at
Sandgate Coffee Club. I love colour
so my paintings are colourful and in
this group of paintings I have been
exploring the use of painting with
palette knives which gives almost a
three dimensional feel and texture.
My favourite, ‘Sand dunes’, started
at an art class, is entirely rendered
with a palette knife which shows
a four wheel drive on a sand dune.
Another favourite, ‘Red Dust’, is of
a HiLux climbing a sand dune. As
I do more paintings, my favourites
change, which helps to give my wall
a feeling of freshness as the paintings
on them are constantly changing.
I have always loved to paint and
draw, and some of my earliest memories
are of drawing in my mother’s bible
with her lipstick, and finger painting
at kindergarten and then doodling on
every scrap of paper I could find. After
leaving school, I studied Commercial
Illustration at Brisbane Art School in the for more than 30 years. Now retired, I Monday nights at Sandgate Art Society,
1960s, then worked as a junior fashion have started painting and with the help I feel my work has improved immensely
artist, screen printer and sign writer of my art teacher, Mel Sebastian, and and my desire to paint has grown.

kEri mCswEEny

Keri McSweeny became interested
in painting when she was expected to
paint while training to be a Primary
Teacher at Kedron Park in Brisbane.
Since then she has been studying with
many great teachers, and now finds
acrylics and pastels to be favourites.
In searching for something inspiring,
she looks for interesting shapes made
by the light reflecting from a subject.
She enjoys experimenting with colour
and representing a subject in a slightly
abstract form. She explains how her
local group occasionally has life study
sessions which are perfect to lose yourself
in the moment – as they represent
the shapes and capture the light.
Recently moved to Sandgate, she is
very inspired by the mangroves, the
marina, the waterfront and the creek, and
has started a series to represent them.

"Sandgate Art Society meets every Monday from 6pm until 9.30pm,
at Artrageous, 84 Loftus Street, Deagon"
Find us on facebook under Sandgate Art Society.
Email: sandgateartsociety@y7mail.com"

Artist’s Palette 65
 I N S I G H T

Corinne Columbo

The Power of Colour

The encouragement
from the nurses during
her childhood stint in
hospital helped forge
the future career of this
international artist.

I
was born in the USA and lived in
Switzerland from the time I was
three years old. My parents were
both Swiss. For the last few years, I
have lived in Australia.
An only child, I was given drawing
materials to keep me occupied, and
thus began my journey into art.
My mother had been to art school
and she encouraged me to create
artistic things. I also had a children’s
book with beautiful images and I
started copying them. After being
hospitalised for a childhood illness,
the nurses asked me to draw them
Christmas cards. I was kept very busy
from morning to night doing these,
and their appreciation encouraged me
in my art. At school during sewing
classes, I would draw pictures for my
fellow students while they did my
sewing.
From 1968 to 1973, I studied art
in Lausanne, where I graduated
in Print Making. I also worked
in the printing studio of Pietro
Sarto for a year, where I met many

66 Artist’s Palette
 I N S I G H T

international artists. I was awarded

Federal Government grants and was
commissioned for varied works for
banks such as Amro and BCV, and
businesses including Nestle VD and
real estate offices. There was also a
commission for the Bertarelli family
- the winners of the America’s Cup.
I also did some stained glass
windows in various churches, and
had the opportunity to have 18 solo
exhibitions and plenty of group
exhibitions in Europe. I studied in
Florence and I continued learning the
Italian language and furthering my
art.
Since coming to Australia in
2005, I have participated in group
exhibitions and won a merit award in
the Moreton Bay Region Art Award.
I was also a finalist twice in the
Redland Art Award followed by a
solo exhibition there in 2011.
Now I am teaching groups and
private students in my studio which
is surrounded by garden and is a
peaceful setting for lessons. I also do

Artist’s Palette 67
I N S I G H T

some judging and teach in various

art societies such as Yurara. Mainly
I teach acrylic, oils, drawing, and
watercolour.
My attraction to art is still about
the power of colours, rhythms and
lines. I work instinctively exploring
the spaces in front and behind things.
I use more vibrant colours since
moving to Australia because of the
brighter light here.
The many artists who inspire
me include Cezanne, Giacometti,
Rauchenberg, and Yvonne Audette.

To contact me for commissions

or lessons please email me at art@
corinnecolombo.com
or visit my website
www.corinnecolombo.com
My mobile is 0432 930 913. n
 D E M O N S T R A T I O N
B
efore I start, I do a photo
collage with the images I have
chosen, which have inspired
my painting. I listen to repetitive
music to get in the rhythm and let
that flow through to my brush.
This work is on a metal panel. I love
to see the shine of the bare metal playing
Acrylics
Setting the
Scene
The deckchairs are out and the umbrellas are up –
all in readiness for another day at the seaside.
By Corinne Colombo
with the grey. The metal is more slippery
and solid than canvas. It is also good to
recycle and work on different materials. I
start by cleaning it with a degreaser then
I use a water-soluble oil pencil to draw
the important lines. I never do a detailed
primary drawing beforehand as I enjoy
the element of surprise in my work.
Artist’s Palette 69
 STEP ONE
After the first drawing, I put the paint
directly on my squeegee and I start
making free movements. I do not
like to premix loads of paint because
I love to add a change of tone when
I remix them. It is like adding more
spices to a dish you are preparing.

STEP TWO
I take my brush, using the flat side and
STEP ONE (A)
on the angle for the details. I do not use
a lot of different brushes. I also don’t
use a lot of tubes of different colours
because I like to mix my own to create
different variations which gives you
a greater harmony in your painting.
After the background is done I go into
the painting again and begin drawing a
more technical and traditional version.

M AT E R I A L S

• Medium Taklon Langnickel

2-inch brush angular
• Catalyst squeegee W – 06 or a
kitchen squeegee. I found the
kitchen one to be softer and
STEP ONE (B) smaller. I learnt this technique
from Kym Barnett after doing
one of her workshops. I use
a plastic kitchen squeegee
instead of a brush because
it is very unpredictable and
I love the challenge.
• A2 Chroma acrylic paint and
also Mont Marte Dimension:
– White
– Paynes Grey
– Cobalt Blue
– Ultramarine
– Burnt Sienna
– Yellow Ochre
– Rose Madder
– Gel Gloss (to add transparency)
– Spray bottle
– Kitchen paper or soft rags
– Atelier gloss varnish or
Langridge wax varnish
STEP TWO (A)

STEP THREE
At the end, I put on a glaze with
my brush with the Gel Gloss to
give a freshness and a free feeling,
but I still keep the strong drawing
underneath. If you move the painting
into different lights such as daylight
or artificial light, you can see some
changes that you might like to
do. You have to be careful not to
overwork this phase of the painting.
STEP THREE
STEP TWO (B)
FINAL STEP
After you are happy with the result,
then you can spray or paint with
a varnish to protect your work.
To contact me for commissions
or lessons please email me at
art@corinnecolombo.com
or visit my website
www.corinnecolombo.com
My mobile is 0432 930 913.  damp paper kitchen towels
ARTIST’S
HINTS AND
TIPS
• For my palette, I use a square
plastic cake container with
an airtight lid. Inside I use
with baking paper on the top.
This keeps your paint moist
and will last several days.
• I use small water containers
such as a lid off the coffee
jar. Don’t leave your brushes
with the wood in the water
as this damages the wood.
• Clean your brushes
thoroughly after you have
finished with them.
• You can use anti-bacterial
hand wash to clean your hands
because it has alcohol in it and
will dissolves the acrylic paint.
• Look at your paintings in
a mirror as it will reverse
the image and will make
mistakes easier to see.
• Enjoy your painting.
 I N S I G H T

Geoff Gunness

Revving up
in Retirement
Far from a quiet retirement, this artist is now revelling in his new career,
sketching a fascinating variety of subject matter.

Fig 1

72 Artist’s Palette

Fig 2
R
etiring from the workforce
in mid-2013 provided me
with the valuable commodity
of free time. I had always wished
to recommence my long dormant
capacity for sketching at some point
and now, being time-rich, I was able to
pick up my pencils again.
While I never received any
formal art instruction, on reflection
my natural interest in sketching is
Fig 4
I N S I G H T
not surprising. At high school, my
favourite subject was always technical
drawing, in particular the perspective
components. Additionally, I was an
Engineering/Architectural Draftsman
in my first 12 years in the workforce.
The skills relating to the basic
concepts of proportion and structure
that were forged during those early
years provided me with a base set of
techniques that I have now been able
Fig 3
to call upon in my current sketching
endeavours.
My family has deep roots that
extend back into the earliest days of
Australia’s British settlement. I have
collected a range of books relating to
Australia’s colonial heritage that are
mostly based on pencil sketching. In
particular, Keith Norris’ “Australia’s
Heritage Sketchbook” (1986) has
always fascinated me, but my favourite
Fig 5
Artist’s Palette 73

Fig 6
will always be Cedric Emanuel’s
“Sydney Harbour” (1981).
I am enjoying becoming part of the
Art World, and being at the entry level,
I am relishing watching its myriad
opportunities opening up to me. I am
gaining endless satisfaction sketching
the built environment, knowing the
tremendous effort and sacrifice that
our forbearers endured to provide us
with this wonderful heritage. Through
my sketches, I am endeavouring
to capture the atmosphere of these
wonderful structures and how they
Fig 8
74 Artist’s Palette
I N S I G H T
relate to the community in their
current context.
My initial introduction to the world
of art commenced in 1981 when I
realised that I possessed an ability
to pencil sketch. At the time I was
undertaking a horticulture course
and discovered that I was able to
produce reasonably accurate sketches
of plants. I started exploring a variety
of different subject matter, and soon
discovered that sketching the built
environment held a special level of
satisfaction for me.
Fig 7
After initially sketching
with Rotring pens, I starting
experimenting with graphite pencils,
and started creating sketches that
were softer, while at the same time
generating a depth of tone that
I had not previously achieved. I
became bolder with the complexity
of the sketches, generating a better
understanding of the importance
of composition and proportion as I
further developed my style.
I commenced a 24 year break from
sketching in 1986, during which time
Fig 9
 Fig 10

my wife and I concentrated on our

work commitments and raising our two
daughters.
Following a Norfolk Island holiday
in 2009, I decided to undertake a set of
sketches to remind us of this delightful
location. In 2010, I sketched my first
work in 24 years; the “Old Lighter”
(Fig. 1) and “Cascade Pier” (Fig. 2).
These sketches rekindled my past
experiences with art and it was at that
point I decided to resume sketching Fig 11
when I retired from the workforce; a
milestone that was fast approaching.
Upon retiring, my first task was
to complete my Norfolk Island set
of sketches, including Kingston
Pier (Fig. 3) and the 2nd Settlement
Ruins (Fig.4).
In October 2013, the historic
coastal NSW township of Catherine
Hill Bay was ravaged by a major
bushfire that destroyed heritage-listed
buildings and almost destroyed the
local hotel and many other houses. At
the time, many fundraising activities
were being conducted to support the
local community. Having had a long
relationship with the local surf club
through my various positions on the
local Council, I decided to sketch
the Catherine Hill Bay “Catho” Pub
(Fig.5) and the historic” Catho”
Jetty (Fig.6). I framed the sketches
and donated them to the publican at
the hotel to assist in the fundraising
activities.
I did sketches for some of my
closest friends for Christmas presents
in 2013 and it was from their
subsequent badgering, regarding
“doing something” with my art work,
that I found my way to the Newcastle
Business Centre. Following an
introductory small business course
and three subsequent sessions with
their Creative Industry Advisor, I
realised that my art work had various
marketable applications.
Artist’s Palette 75
 I N S I G H T

Fig 12

My original passion for drawing

the built environment, in particular
Australia’s rich pioneering and
colonial heritage, steered me onto the
path that I am presently following.
The challenge of recreating the
outstanding beauty and workmanship
that we see in these buildings
provides me with a sense of
enjoyment that I hope I can covey to
the viewers of my work.
The sketch of Newcastle’s historic
Lee Wharf harbour foreshore
with the Maritime Centre in the
background (Fig.7) prompted the
Maritime Centre staff to commission
me to sketch the front of the Centre
Fig 13 (Fig.8). I was given tremendous
support by the Centre staff as an
emerging local artist, and following
several meetings the concept of
developing postcards as a vehicle to
display my sketching was born.
Over the last 18 months I have
been working on a series of sketches,
capturing the magnificent built
heritage of Newcastle and Sydney
Harbour. From these sketches I have
released several sets of postcards.
My first set “Newcastle Heritage
# 1 Series” includes Newcastle’s
Christ Church Cathedral (Fig. 9) and
the Nobby Beach Surf Pavilion (Fig.
10). My second Newcastle Heritage
Series includes the Newcastle
Museum (Fig. 11) and the Newcastle
# 1 Reservoir (Fig. 12). My sketch
of the Reservoir is showcased in my
Demonstration article in this issue of
Artist’s Palette.
I have developed a Sydney
Harbour Series including the
Harbour Bridge (Fig. 13) and
Sydney Cove (Fig. 14). Additionally,
I have converted my Norfolk Island
sketches into postcards, which are
being stocked in the museum on
the Island.
I’m not sure what direction my
sketching will take in the future.
At the moment I am happy with my
work being distributed through my

76 Artist’s Palette

Fig 14
series of postcards. My next few sets
will focus on the NSW South Coast
and the Hunter Valley Wineries. I
have commenced the South Coast set
with my sketch of the Old Barn at
Benandarah, just north of Batemans
Bay (Fig. 15).
While I have yet to enter any
competitions or stage any exhibitions
of my work, I am looking forward to
I N S I G H T
Fig 15
these opportunities as I progress
my work in the future. I’m also
looking forward to the challenges
of experimenting with various
mediums and, in particular,
enjoying the journey as it unfolds
before me.
At the time of writing this article,
I am consulting with the Project
Manager for the reconstruction of
Maitland’s historic St. John’s Chapel,
with the intention of sketching
the Chapel as part of its 170th
anniversary celebrations in 2016.
Contact details:
Geoff Gunness
Email: gjgsketching@idl.net.au
Ph: 0407 255 039
Facebook: gjgsketching n
Artist’s Palette 77
 Pencils

The RES - Newcastle’s

Hidden Treasure
By Geoff Gunness

An uncommon subject matter, the subterranean reservoir

is perfectly reflected in this powerful drawing.

T
he RES is Newcastle’s #1
Reservoir. This underground
treasure was constructed in 1882
and was Newcastle’s first subterranean
drinking water supply. It was
decommissioned in the early 1960s.
Hunter Water has recently restored
and opened the RES for public tours.
I was fortunate to gain access to
the RES, allowing me to collect
my reference photos for my
sketch. I gifted my original sketch
to Hunter Water, in appreciation
of permitting me access into this
special part of Newcastle’s history.

FINAL STEP

78 Artist’s Palette
 STEP ONE
The detail contained in the reference
photo required the page to be squared-
up with a 4cm grid. I was then able
to accurately establish the basic
composition of the sketch, and develop
the unique perspective aspects of the
structure. At this step, I concentrated
on picking out the key elements,
including the brick columns, vaulted
arch ceiling, beams and tie rods.
At this point I decided to divide STEP ONE
the sketch into four key stages,
being the left hand side columns, the
vaulted arch ceiling, right hand side
columns and lastly the floor area.

STEP TWO
Given that the left hand side brick
columns are a key feature of the
sketch, I took great care in establishing
the correct brick pattern and the
diminishing transition from the
foreground to the background.
On the foreground columns,
each individual brick was detailed
using short strokes running parallel
to the horizontal mortar courses.
The darker short end brick layers
were crosshatched using a darker STEP TWO
tone. The deep shaded inner faces
of the column were once again
done with short stokes, keeping in
line with the horizontal courses.

M AT E R I A L S

• Daler-Rowney 300g/m2
Aquafine paper, A3 size
• Staedtler Mars Lumograph
Graphite Pencils 6H – 8B range
• Paper Mate ComfortMate
ULTRA Propelling Pencils
0.5mm HB & 2B
• Staedtler Mars plastic eraser
• Micador Group Fixative
Workable Mat STEP THREE

Artist’s Palette 79

The main beam was done using
short strokes using a 7B pencil,
again keeping parallel with the
perspective lines. The tie rods
were also established using 2B
propelling pencil with a 3H infill.
To increase my later options, at
this stage I only lightly rendered
the rest of the background walls.
STEP THREE
The vaulted arch ceiling of the
structure is constructed from a
combination of brick and stone.
I initially established six evenly
spaced, long lines that provided the
structure for me to detail the remainder
of the individual longitudinal rows
of bricks. I then carefully established
the arch effect at each set of columns.
I was then able to establish the
diminishing individual brickwork
of the complete ceiling. All of this
work was initially done with an
HB propelling pencil. As in Step
Two, I established the tie rods.
80 Artist’s Palette
STEP FOUR
I then progressively shaded
the ceiling to further create
the arched effect using a range
of tones from B to 4B.
Once again, the background wall
was only given a minimum treatment.
STEP FOUR
The right hand columns were basically
developed in the same manner as the
left hand columns in Step Two, the
major difference being the inner face
was not in deep shade, and required
detailed attention to establish the brick
courses, particularly in the foreground.
The beam and tie rods were
established as per Step Two, and the
top of the side wall was highlighted.
FINAL STEP
The floor of the RES was quite
wet, with lots of puddles providing
wonderful reflections.
I initially did a broad outline
sketch, picking out the various
components of the floor. The next
stage was to detail the columns and
the extent each individual one was
reflected on the floor. Some of the
left hand columns were a near perfect
reflection, and as such, they required
the same detail as done in Step Two.
The sense of the water surface was
created using long strokes slowing
increasing the tone in selected patches.
The next stage completed the
shading at the base of the columns
and the wet sections of the ceiling,
which also enhanced its curvature.
I was now able to complete the
treatment of the walls to provide
a balance for the overall sketch.
In conclusion, I wish to
acknowledge the photographic skill,
and patience, of Lexi Petersen, who
captured the progress shots of The Res.
Contact details:
Geoff Gunness
Email: gjgsketching@idl.net.au
Ph: 0407 255 039
Facebook: gjgsketching 
EUAN MACLEOD. Alice. Archival Oils on canvas, 2006, 137 x 180 cm
Image courtesy of Watters Gallery. www.wattersgallery.com

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o Complete Guide to Painting in Acrylics 33.99 o Painting Water 20.49
o Geoffs Top Tips for Watercolour Artist's 20.49 o Pastels Unleashed 31.99
o How to Paint: Abstracts 18.99 o Vibrant Acrylics 31.99
o How to Paint: Acrylics 18.99 o Watercolour for the Absolute Beginner 27.99

o How to Paint: Colour and Light in Watercolour 18.99 o Wendy Tait's Watercolour Flowers 33.99

o How to Paint: Drawing Techniques 18.99 o What to Paint: Boats and Harbours 22.99

o How to Paint: Flowers in Acrylics 18.99 o What to Paint: Flowers 22.99

o How to Paint: Flowers in Watercolour 18.99 o What to Paint: Hills and Mountains 22.99
o How to Paint: Landscapes in Oils 18.99 o What to Paint: Landscapes 22.99
o How to Paint: Oils 18.99 o What to Paint: Trees, Woodlands & Forests 22.99

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