Pintar Caballos

IDRIS MURPHY. Weipa Harbour, Storm Clouds. Atelier Interactive on board, 120x120cm, 2005.
Image courtesy of King Street Gallery on William http://www.kingstreetgallery.com.au
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ontents
2019
6
38
Artist insights And
demonstrAtions
6 John Cornwell
16 Ian Reardon
22 Ros Psakis
30 Tanja Gordon
Cover image by: Jennifer Marshall

22
16
38 Jennifer Marshall
54 Patrick Hedges
64 Ainslie Giles-Poter
FEATURES
50 Oil Inspiration
54
I N S I G H T
John Cornwell
Country Life
By John Cornwell
Few people can encapsulate nostalgic rural imagery in the style of this
talented man. The charm of his paintings speaks for itself … but here
are some words from the artist.
I
grew up in Sydney. After leaving earning a living from painting on I travelled, and worked on a Moree
school, I won a scholarship and your fingers. Even such masters sheep station as a jackeroo. I loved the
spent three years full-time at the as Eliot Gruner had worked in a life. Riding, mustering and droving, and
National Art School. Leaving there, I Sydney department store. Others were all that went with a country existence.
went out into the world to earn a living. teaching, which I was disinclined However, if you were not likely to
In the early 1950s you could to do; or else they were involved in become a land owner (which I was not),
count the number of artists actually commercial art. there was little future in it.
6 A u s t r a l i a n How to Paint
I N S I G H T
Returning to the big smoke I looked around

for some occupation connected with art
in which (with my strictly limited capital)
I could set up business. Screen printing
appeared an attractive possibility. To learn
more about it I worked for a textile printer,
after which I set up with an older partner
– and we worked through thick and thin
together (too thin for my partner, who left). I
carried on for 18 years, my swan song being
the production of all the banners that lined
the streets of the Sydney CBD for the Captain
Cook Bicentenary celebrations.
I had kept my hand in with life drawing
and a little painting until I saw an opportunity
to sell my work. The business was sold up
and after a year of screen printing during the
weeks, and painting all through the weekends
and in the evenings, I almost instantly
became a full-time artist. Some 47 years later
I am still a full-time artist.
Lady luck was good to me, and I got
commissions for murals at the Gazebo
Hotel at Kings Cross and the Terrace Hotel
in Brisbane. The latter was 2.5 metres
square, and was transported in a semi-trailer,
sandwiched into a load of mattresses. It
remained on display until quite recently.
These were followed by a succession of large
commissions for Cahills Restaurants, which
were undergoing a considerable expansion at
the time. In these the whole surrounding walls
were covered with murals depicting various
themes. The first was for ‘The Asian Trader’ in
Chatswood, themed after the ruins of Angkor
Wat. These panels incorporated tumbled stone
work; great carved heads invaded by the jungle,
with vines and roots entangled; Asian dancers
and all. A ‘Dutch Village’ in Park Street, Sydney,
was followed by another in Melbourne, where
one eight foot panel was designed after Vermeer’s
‘View of Delft’. Years later I saw the original,
which was a very small painting packed with
marvellously controlled detail. The mural went
along walls, into niches, around several corners …
all of which made for some interesting problems
with perspective. At one vital point in the design,
they wanted an ice machine – so they re-arranged
the panels, finishing up with something a bit
different from my original plan.
An Italian theme was featured in the ‘Italia
Romantica’ restaurant in the Strand Arcade.
This included an eight foot portrait of
Cardinal Richelieu in his scarlet robes, after
Philippe de Champagne, whose work I had
seen shortly before, on an overseas To my surprise the murals lasted This is like the front of a ship with
trip. Looking back, I am amazed at many years – many only being a long keel, which is used to clean
what I achieved so long ago. removed when the buildings were out the bore drains (as much as 60
A ‘Tom Jones’ theme was used in demolished or re-modelled. miles long). These drains channel the
the Windsor Tavern in Park Street, I had my first exhibition at the water that overflows from artesian
with illustrations from the famous Sebert Gallery in Argyle Place in The bores, supplying the needs of stock
novel (helped somewhat by the film). Rocks. This was called ‘A Homage to and irrigation. I added this team as a
There was an attached cocktail bar, Australian Art’. I included portraits distant focal point. It sold very quickly
with themes from ‘My Fair Lady’. of some notable artists in their own and people have been asking for
Most of these were painted on panels landscapes. There was William Dobell horses ever since.
cut to size by the shopfitter and delivered with the boys having a beer with the Fortunately, I fell in love with the
to my studio. I had bought a dilapidated ‘Cement Worker’ and a couple of other Gentle Giants as a child, helping on a
Victorian two-storey house where I men he had painted. Another was ‘Sir farm on the south coast of New South
worked in a disused spare bedroom William with the Ladies’, featuring Wales. After all these years I have
about 16 feet square, with French doors him with Helena Rubinstein and never tired of painting them as they
that opened onto a verandah. These Margaret Olley. Another picture had have infinite variety.
panels, some as big as 8 x 12 feet, had Norman Lindsay dressed as a pirate, By this quirk of circumstance,
to be hoisted up over the verandah rail. in a scene of debauchery. I have become well known for
I had to knock out the lintel above the Luckily this attracted some attention, painting working horses. For these,
doors, and tilt the fan light to fit them and it sold well enough to set me on I have a great fondness – particularly
through. With half a dozen in the room, the road. Shortly afterwards, I was the feather footed Clydesdales.
it got quite crowded. The set bound for visiting a cousin on his property at People with a similar love come
the Windsor Tavern was filmed by the Burren Junction, at a time when I was from near and far to my exhibitions.
TV news as panels of horses and Ascot working on a big landscape of ‘The I have just had my 33rd solo
ladies were taken away. Plains Extended’. I was looking for exhibition – the fifth at the Boyd
All this came to an end when the a centre of interest for the painting, Galleries. Among the 30-plus works
manager of Cahills fell sick, and when along came a team of 36 I hung were a wide range of rural
returned to his native Switzerland. Clydesdale horses pulling a ‘delver’. activities: Cultivating, ploughing,
harvesting, hay making and wool with a small acreage on the outskirts my childhood when holidaying
carting were included. of Kiama. I set up my studio in the on my uncle’s farm.
I developed my fascination with abandoned cow bales. Among the stone Here I had sheds and a barn
the Gentle Giants in my early walls and rolling green hills, backed where I could keep my collection
childhood, when they were common by an ever-changing escarpment and of harness, horse drawn vehicles
on the various farms and properties sparkling seas, it was a heavenly place and farm machinery – all first class
I frequently visited. The spring cart, to live. This was the country where my reference for my art works.
sulky and buggy were a widespread forebears were original settlers, and Our property turned out to be in area
form of transport; and out went the where I developed the love of heavy slated for subdivision, so we sadly had
wagons with the eight foot diameter horses, ponies, and stock horses which to leave as its magic was going to be
wheels, hauled by teams of up to 20 were so much part of country life in destroyed. But we were very fortunate
(or more) horses. These were the heavy
goods carriers – usually to and from
the nearest railhead, or seaport.
When I made my mid-life sea change
to become a full-time artist, I had a
century-old Victorian house which we
had rescued and restored. Here I set up
my studio in an upstairs bedroom. My
wife and I had fallen in love with this
place, which – although surrounded
by busy suburbia – had retained much
of the original block, so that it stood
in a large garden where there was the
old stable and tack room building.
This was overgrown with Wisteria (a
dream in spring). The old place had the
country atmosphere, and even some of
the five-barred farm gates, that I sought
to capture in my paintings.
When our sons went their own way,
my wife and I moved to a farmhouse
A u s t r a l i a n Ho o Pai t 9
I N S I G H T
On overseas trips, funded by my

painting, I have had the good fortune
to visit most of the western world’s
greatest galleries. It is a humbling
experience to stand before the works
of the world’s most famous artists.
As an artist, you never stop learning
… and it is an occupation you can
continue well past ‘retirement’ age.
To my surprise in 2001, I was
invited to the Sultanate of Oman
to exhibit paintings in a Global
Art Exhibition representing the
Continent of Australia. This was
a wonderful experience, exhibiting
with distinguished people from the
other continents.
I count myself most fortunate to
have been able to support my family
by doing what I like best. I live with
my wife, who I married in 1958; and
we have two sons – one is an actuary,
the other a Hollywood film director.
to get a house on half an acre where I subjects and landscapes as well as To fill in time, I am the President
built a new studio which holds a lot of commissioned portraits. of the Kiama and District Historical
artefacts and my library of reference My best known work is probably not Society, where among other things
books. It has space for carpentry, one of my paintings, but the sculpture of we run the local Pilot’s Cottage
wood carving and sculpting. The Matthew Flinders’ cat ‘Trim’ – a bronze Museum. I am a Past President
block is backed by one of the original sculpture commissioned the New South of Kiama Rotary (and still an
local dry stone walls, so it still retains Wales State Library and installed on the active member), and a Paul Harris
some country charm with views of window sill of the Mitchell Library in Fellow. I received a Commonwealth
mountains, hills and sea. Macquarie Street in Sydney. Centenary Medal in 2004.
Even today a lot of stock work
is done on horseback – mustering,
droving and yarding sheep and cattle.
I have jackerooed, and worked with
cattle drovers on ‘The Long Paddock’.
I have also ridden long distances
across all sorts of terrain, from the
Western Plains to the steepest and
roughest wilderness country, along
watercourses, and over mountain
ranges. On these rides, I have gained
great respect for horses. Their power
and stamina is beyond belief.
Another love of mine has been
ships and sailing craft. My youth
and childhood, when not visiting the
country relations, was spent on the
shores of Sydney Harbour. I swam
and sailed, raced and cruised in a
variety of craft over a period of about
40 years. I have been able to vary my
subjects to include seascapes, marine
D E M O N S T R A T I O N
Oils
Gentle Giants By John Cornwell
This masterful Australian includes working horses in many of his paintings.

Here he describes his own definitive approach to one of his favourite subjects.
M
y works start long before
lifting a brush. To gain
familiarity with my subjects,
I have visited many properties in
different parts of the country. I
have attended shows and events.
I have sketched and taken many
photographs. To study the action and
feel of horses I have ridden hundreds
of miles – trail riding, mustering
and droving with sheep and cattle.
In my studio I have about 30,000
slides and countless photographs,
together with a library full of books
(collected on my travels) on art and
horse anatomy. I also have reference
books on the various breeds of
horses as well as farm machinery,
horse-drawn vehicles and harness. I
have collected harness, saddlery and
vehicles over the years and this has
proved to be a hobby of great value.
I get a caning if I get anything wrong,
as many owners of my pictures have
worked with horses themselves.
When painting horses, the work
you can do ‘on the spot’ is very
limited. Plein air painting is fine for
landscapes – but for action (although
you can do a bit from observation
and memory) photographs are
very valuable. You can’t expect
to do good representational work
without good reference: The better
the reference, the better the work
FINAL STEP will be. To add vitality to a picture,
I often exaggerate movement.
M AT E R I A L S STEP ONE
I like to mount my own canvas. I cut
• Prepared canvas. a piece of board to a selected size
• Art board and acrylic glue. and then cut prepared canvas about
• Flat acrylic undercoat. a centimetre larger than the board all
• Artists’ quality oil paints around. I cover the board with acrylic
(Winsor & Newton, Art glue, making an even layer. I lay the
Spectrum): Titanium White; canvas, unprepared side down, on the
Naples Yellow; Cadmium glued board with an even amount of STEP ONE
Yellow Pale; Cadmium Yellow; overlap. With my hands, or a roller, I
Yellow Ochre; Raw Sienna; press the canvas firmly onto the board takes the glaring whiteness off the
Burnt Sienna; Burnt Umber; – paying special attention to the edges. canvas. I lightly sandpaper the surface
Indian Red; Cadmium Red; The glue dries quickly so I have to to take off excessive roughness.
Alizarin Crimson; Ultra Blue; work fast. When the glue is quite dry,
Cobalt Blue; Cerulean Blue. I trim the excess canvas off to make a STEP TWO
• Hog hair and Sable brushes. neat edge. A coat or two of flat acrylic Having selected a subject that
• AS medium (Numbers 2 and 4). white (toned down to a more neutral excites me, I make a pencil drawing
• Turps. colour with a bit of Yellow Ochre) to establish the composition.
STEP TWO STEP THREE
A u s t r a l i a n Ho to Pai t 13
STEP THREE STEP FIVE

I trace the main features of the Leaving the horses like ghosts in
drawing onto the canvas and go the landscape, I put the road in
over it with Burnt Umber acrylic, the foreground – painting over the
using a fine Sable brush. outline to avoid those annoying little
bits of unfilled edges. I don’t worry
about overpainting the drawing
STEP FOUR a bit, as I can pick it up again
Using quality artists’ paints, I start by where it grins through the paint. I
working up from the horizon with my save my strongest colours, tones
colours muted – using Titanium White, and textures for the foreground.
Naples Yellow and perhaps a little
STEP FOUR & FIVE Crimson. I add more colour pigment as I
move up the sky – mostly Cerulean Blue STEP SIX
with a bit of Cobalt towards the top. Beginning on the horses with the
For the grey of the clouds, I use Cobalt lowest tones of manes, collars,
or Ultra Blue, with Earth Red, Umber legs and shadows, I work up to
or Sienna. I try to work spontaneously the highest tones (which I leave
to get the canvas covered – getting the until last), always keeping the
colour as true as I can so that it doesn’t anatomy of the animals in mind.
have to be painted over afterwards. I paint the tree, which makes a
Rubens is believed to have said: strong balancing vertical on the left.
“You have so much to do, so try I stipple in the lowest tones of the
to do it right the first time.” foliage with an old long-hair brush
I paint the distant hills, making the with splayed bristles, working up to
colour and texture more intense as the the highest tones. The smallest twigs
forms get closer to the foreground. I and branches are put in with a lining
make the diagonals of the hills pretty brush. The trunk with its peeling
strong to balance the strong diagonal bark makes a strong feature to keep
of the figures, wagon and horse team. the eye rotating around the whole
Cobalt Blue, Raw Sienna, Yellow composition. A small Sable brush is
Ochre, Earth Red and Cadmium Yellow useful to paint the final details and
are used in the hills. I don’t use any highlights. Sometimes I use the edge
prepared greens but prefer to mix them of a palette knife for clean, sharp
from the colours mentioned – this helps edges. To express form, I work from
to retain a unity in the whole work. cool in shadow to warm in light. �
STEP SIX
MASTER HINTS AND TIPS

• II use a Perspex palette upon • I often tone down strong colours with
which I lay out my colours (always Naples Yellow, rather than White
in the same order); and I mix which can make them too cold.
them on disposable palettes. This • It is best to keep a work for a while
means I do not have to set up before letting it go, because you
again when I restart work after a will always find something which
few hours, as the paints are not needs to be done. However, be
too dry to use. Sometimes they careful not to remove the vigour
even remain useable overnight. from a canvas by overworking it.
STEP SIX DETAIL

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I N S I G H T
Ian Reardon
The Desire to
Experiment
Edited by Trevor Lang
Near Moree in north-western New South Wales, this gifted ‘man on the land’
nurtures a passion for painting the wild plains that surround him – while
capturing their many moods and characters.
I N S I G H T
I
an Reardon first became interested
in art through his grandfather who
worked in pencil and watercolours
and also painted window-front signs
for shops in Grafton.
Ian took art as a subject at the
Southport school on Queensland’s
Gold Coast when he was 12 years
old. Art was always his favourite
subject. During his school years,
his grandfather entered two of Ian’s
works in the Jacaranda Art Exhibition.
He was delighted and encouraged
to receive a first prize in the Under
14 section for a watercolour, and a
‘highly commended’ in the Open
section for a pastel picture.
“I left school at 16 years of age
to work on the family farm,” Ian
relates. “I am still there today; and
now run the property with my son
Dan. Those early years, for me,
cemented a great love of the land
and all that goes with it … including
horses, dogs and cattle. I love my
life in the bush; I love the characters
associated with it – like some of the
shearers, station hands, jackaroos
and drovers that I cross paths with.
Some of my fondest memories are
of droving and meeting fascinating
country people. These elements often
appear in many of my paintings.”
Ian Reardon was far too busy in
his youth to continue with art. The
life he led at that time wasn’t really
conducive to painting. The illness of
his father was what propelled him to
return to art – so, ironically, out of
something hard and upsetting came
something that he was excited and
passionate about.
“My father was seriously ill and
my mother couldn’t look after him
alone, so I had to take time out from
the farm to help,” he explains. “After
moving my father around and taking
care of the odd jobs I found myself
with time on my hands – something
I wasn’t that comfortable with. To
fill in time, I decided to take up
the brushes and see where it would
lead me. I took myself down to the
A u s t r a l i a n How t Paint 17
I N S I G H T
local art shop and was amazed by

the huge range of art materials
available – things had really
changed in this area since my
school days.”
The spark was quickly re-ignited
for Ian.
“I found that I really loved using
colours, sketching, and telling stories
through painting,” he says. “Since
then, art has become a great passion
of mine; and every spare minute I
can get away from work on the farm
I retreat to my studio and paint. I
find it’s a great way to relax and
something that I really enjoy doing.”
This man has a great desire to
experiment with new mediums,
painting surfaces and methods. He
finds that trying new mediums and
looking for new ways of doing things
prevents him from becoming stale …
and he would definitely recommend
this strategy to other artists.
One of his favourite mediums is
pen and ink. Pen and ink pictures
with watercolour washes have a
special look of their own: They are
casual; they are good for depicting
humorous episodes; and they are
quick and fun to do. They work
well with characters, landscapes,
streetscapes and still life images; as
well as quick sketches.
Most of Ian Reardon’s sales
have been through commissions,
art exhibitions and contacts made
through his local framer at the ‘Red
Shed’ in Moree.
He has invested a lot of time
in the past decade learning from
various masters of various mediums
and trying to expand his skill base
to improve his work. He has been
instructed by some wonderfully
talented artists including Miles
Autty (watercolours), Tony Champ
(acrylics), Herman Pekel (acrylics),
Jenny McNaughton (watercolours),
Barbara McManus (watercolours),
Lyn Diefenbock (pastels), Robert
Wade (watercolours) and Robert
Wilson (oils).
I N S I G H T
“Although I have found the many

workshops and classes I have taken very
helpful, I have been careful not to spend
too much time working with one particular
artist,” Ian says. “I want to allow my
own style to develop without too much
influence from one particular area.”
Two artists who greatly influenced his
work were Hugh Sawrey and Sir Patrick
Kilvington – both men captured the feel
of life in the bush so well. Both these
artists spent many years as jackaroos
and drovers while pursuing their artistic
endeavours. Ian’s view is that if someone
spends a wealth of time with their subject
– living it – they will really have a feel
for it, and know it well … and that will
come out in their work.
He is also in awe of the early French
Impressionists (Degas in particular), as
well as the Australian Impressionists.
Ian Reardon’s farm is situated south-
east of Moree. He has lived there all his
life. The Kaputar National Park between
Narrabri and Moree has always fascinated
him, too, and often finds its way into his
wonderful paintings.
Pastels
Images of Heat
and Dust By Ian Reardon
Stock workers on Australia’s dusty cattle stations inspire this artist.

This largely pictorial article shows some of the steps he follows in
producing his works of art.
M AT E R I A L S
• Sketch book.
• Tinted Spectrum Sanded Paper.
• Pastels.
• Watercolours (optional).
THE PROCESS
Most of my subject matter comes
from my immediate environment,
memories and photographs.
Firstly, I take a picture ‘in my
head’ of the subject matter.
Then I try to imagine it in my
head as a finished work.
I use my sketch book to try different
compositions of the subject, to
see which one strikes a chord.
I next produce an A4 sketch – trying
to get things as accurate as possible
– sometimes doing a watercolour
wash to attempt to get a feel for the
subject and an insight into how it
might look as a completed work.
Most of the time (although not always),
I will use the image from my sketch
and square it up onto a larger surface.
I like using Tinted Spectrum Sanded
Paper which takes pastels superbly.
I N S I G H T
Ros Psakis
Simple and Basic By Ros Psakis
This artist/tutor teaches a simple, basic method of working with a limited

palette of colours. Her students learn to push those primary colours to the limit
… and they come to know them intimately and understand their possibilities.
I N S I G H T
I
ieve every painter can only be
ght the basics. After that, we
on our own. Nature has all
the wers, and will provide them to
painters who ask the right questions.
In the early eighties, Gloria Ransom
and Allan Fizzell were instrumental in
my own vital art training. They were
both generous with their teaching
and encouragement. Since then, my
continuing lessons are from Nature
herself.
I am passionate about painting
sunlight. All subjects are paintable if
the light on them is right. The most
ordinary subject, in great light, can
become an extraordinary painting
subject.
My subject matter can be anything!
Animals, figures, boats, still life,
landscapes, seascapes, flowers …
If we are to call ourselves painters,
we should be passionate and excited
about any subject.
I work with oils mostly. I adore
watercolours and pastels but find I
don’t do as many of them as I should.
I’m afraid oils win me over every time.
I have belonged to the St George
Art Society since the early eighties. St
George was instrumental in forming
the Combined Art Societies of Sydney
which now runs Art in Action and the
Art of Sydney Awards.
I tutor a small class once a week
at Kogarah Bay. Any newcomers are
always welcome. It’s a friendly class
where laughter is combined with
serious study. Interested persons can
contact me by email at: rospsakis@
optusnet.com.au
If people ask me for advice about
building artistic skill, I will tell them
that there are no shortcuts. Brush
Australian H to Paint 23
I N S I G H T
mileage, determination, and just plain fortunate to be a painter. It’s a joy to them as painters and amazed at their
looking and observing are imperative. have that beautiful obsession always progress.
Getting the painting onto the board is with me. To be able to ‘see’ and enjoy I teach a simple, basic method of
the easy part. It’s understanding what things in Nature that only painters can working with a limited palette of
we see that needs practice. Once we feel … is very special. colours. Students learn to push those
understand what we see, painting it I love being in the company of my primary colours to the limit. They
almost takes care of itself. Wednesday class. They constantly come to know them intimately and
The desire to paint seems to have surprise me with their fresh, clean, understand their possibilities. I don’t
been with me forever. I feel very honest paintings. I am inspired by teach my style so much as teach the
I N S I G H T
class to find their own style.

When my four children were
younger, I began painting them as
figures in landscape. Now, years later,
I am painting their children. And the
excitement hasn’t lessened.
Everything is paintable if the light on
it is right. Every subject, no matter how
humble or ordinary in shadow, can be
inspirational in a shaft of sunlight.
I encourage eager painters to wait
for their subject to ‘get ready’. Catch it
in the early morning or late afternoon.
Walk around it; view it through half
closed eyes. The magic is waiting to be
discovered.
The talent of a good painter is not
just in mixing colours or in clever
brush work or masterful tonal control
… it is in the ‘learning to see the
potential in your subject’.
It is all out there, waiting to take
your breath away.
You will see it, if you have the heart
of a painter. n
A u s t r a l i a n How to Paint 25
d e m o n s t r a t i o n
Oils
Earl
Rise akis
Horses in the early morning light: A beautiful atmospheric subject rich in

colour with strong shadows … masterfully rendered by a specialist oil painter.
FINAL STEP
M AT E R I A L S
• Art Spectrum artists’ oil colours:

Ultramarine Blue, Golden Yellow,
Lemon Yellow, Light Red, Permanent
Crimson, Titanium White.
• Gum turps as a medium.
• Tara 70 loose canvas.
• Brushes: Sizes 2, 4, 6 and 8
long, flat bristle brushes.
STEP ONE
The initial block in. Just the most basic STEP ONE
lines. This is only to position them
on the canvas. No details. Drawing
will be adjusted and corrected as
I move through the painting.
Light Red and Ultramarine Blue
in a thin line for the outline.
STEP TWO
Here I block in the darkest darks of
the horses in shadow; and the cast
shadows on the ground. By getting
these important tones in first, I
immediately set the lighting direction.
Light Red and Ultramarine for the
horses; Ultramarine, Golden Yellow
and Light Red for the cast shadows.
STEP TWO
STEP THREE
Now I cover the background area
of mid tone, still keeping all edges
soft and workable. Any drawing
error can be adjusted easily when
the edges are kept soft. Ultramarine
Blue, Golden Yellow, tiny amount
of Light Red for the background.
STEP FOUR
Now I have covered the area of grass.
I have been working from the darkest
darks, through the medium tones; and
now I am setting the stage for the lightest
lights. These will never work until the
other tones are taken care of first.
Golden Yellow, Light Red; a little
white for the foreground grass. STEP THREE
A u s t r a l i a n Ho to Paint 27
STEP FOUR STEP FIVE
STEP SIX FINAL STEP
MASTER HINTS
AND TIPS
• My method of working any painting, no matter what STEP FIVE
the subject, is to state the darkest darks first; work Here the warm sunny sides of the horses come
through the medium tones; and, when the board is around into the sunlight. Still in the medium
covered and the tones can be judged correctly, then I tones; and leaving the lightest lights until last.
‘turn on the lightest lights’. It is a well used and reliable Golden Yellow, Light Red for the
method of working that rarely lets the painter down. sides of the horses in sunlight.
• My initial drawing of the subject is made up of the most
basic lines only. I find it is better to keep the drawing
soft, and adjust and correct in paint as I go along. STEP SIX
• I like to complete a painting in one sitting and find Now I have placed in the white parts of the horses
that it is possible to keep working wet into wet if that are in shadow. These appear blue in the shadows
the brush is not dripping with medium. If the paint and will be a good stage to set the lights against.
is applied very lightly onto the surface, no matter Ultramarine Blue, Permanent Crimson; a little Lemon
how wet the painting is, the brush strokes will sit Yellow for the shadowed sides of the white areas.
well without pushing into the underneath paint.
• I work very quickly when I paint – but that is my
personality and there are no prizes given for speed. FINAL STEP
Everyone finds their own comfortable pace, but I do Now, when the dark and medium tones are all in
believe that there is no advantage in applying 17 little place, I can finally place the lightest lights, the
brushstrokes when three or four big ones will do the whites of the horse in sunlight and the parts of
job just as well. Having said that though, we shouldn’t the mane and nose that are impacted by light.
become so clever with monster brushstrokes that they I always add a dot of yellow to pure white
will overwhelm the subject matter with their importance. highlights … it gives a feeling of sunlight. n
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I N S I G H T
Tanja Gordon
Thanks to
Da Vinci
Wicked classroom caricatures and tattoos fired up the passion for this self-
taught artist to strive to produce the perfect drawing.
I N S I G H T
I
ss you could say my school
s were a great platform for
ouraging my artistic abilities.
I ca member spending class time
drawing wicked caricatures and
comics of my teachers – much to the
amusement of friends. This led to a
high demand in the tattoos that I would
draw on the arms of many a willing
‘teenage rebel’. It was the ‘metal’ era
and everyone tried to look the part.
Getting reprimanded or thrown out of
class didn’t stop this little enterprise,
in fact it made my artistry a more
valuable commodity, something I
secretly enjoyed.
Fortunately, during my senior years,
I had two fantastic art teachers who
had a more tolerant approach towards
me. They nurtured and encouraged
my creativity into more constructive
pursuits. They used humour and
inspiration in their teaching methods,
to which I responded well. One
of them, Mrs Camus, a cheerful,
slightly bohemian South American
lady, introduced me to the world
of human anatomy early on in the
piece. It changed my world. Nothing
else interested me. Hours were
spent pouring over books on the
great renaissance masters: Botticelli,
Michelangelo, and Raphael who
perfected this subject. I read everything
I could on my favourite, Leonardo
Da Vinci. This was before ‘Google’,
so frequent trips to the library were
called for, not to mention a stack of
fines for late returns. Particular time
was spent studying his drawings, and
the techniques he used to execute his
genius. I would open the same book
over and over and over again, and
would find something new each and
every time. Da Vinci’s legacy has had
a lasting effect on me to this very day.
During this time, a competition was
initiated by my local council, calling
for submissions from all the schools
within the region to celebrate the arts
for Christmas. My teacher entered one
of my works, which was chosen as
the winning piece, and published as
Australian H to Paint 31
I N S I G H T
a Christmas card to be commercially decided to get serious about this whole pushing my limits. I usually work
distributed. ‘art thing’, perhaps it really was long on three pieces simultaneously and
Upon finishing school, art took a overdue. I figured I had nothing to lose rotate them, as I find I stay ‘fresh’ and
back seat to many other things taking and was ready and willing to manifest interested when I’ve had ‘time out’
place. I would scribble the odd thing my destiny. I didn’t have much of a from each. I produce better results
here and there, but it was fairly non portfolio, so I set about drawing every playing music. There’s a combination
committal. After a hiatus of about a chance I got. Sometimes I would be of hip hop and classical music when
decade or so, I sharpened my pencils up at 2.00 – 3.00 in the morning after working, it’s my soundtrack and
an egan ra ing again. This began feeding my son. I now have a few really gets my imagination fired up.
in late 2011, after the birth of my pieces available for purchase at two Because I’m not formally trained, I
son. I was surprised at how easily my local retailers, and recently started believe it gives me a freer approach
work evolved, almost as if I picked a YouTube channel and blog. The in where I search for knowledge.
up where I left off so many years ago. highlight of the past year however, Being naturally curious, I draw from
A visiting nurse, who came to check is being able to contribute to Artist’s a wide pool of resources to further my
up on my son, stumbled on some of Palette magazine. skills and develop ideas. I’ve recently
my drawings casually lying around. People often ask me what makes me familiarised myself with industrial
She insisted I share them publicly, and so passionate about drawing. I regard design, which I find extremely helpful,
spoke with such conviction, I began it as something more instinctual. It’s especially when understanding the
to believe her. Although it wasn’t the not something I necessarily think approach of three dimensions. Apart
first time I heard all this stuff, it was about, but something I just do. I’m from that, I’m exploring digital art,
the first time I believed. I suspect the passionate about exploring possibilities graffiti, photography - movie posters
whole universe/energy/force/thing was within my craft - doing something I from the ‘80s are a huge influence
exasperated it took so long, so when I didn’t think I could do, essentially – I love looking at architectural
I N S I G H T
draftsmanship, concept artists, the list

goes on.
The one thing I really like to see,
more than so called originality, in
any medium, is an elevated skill set.
Perhaps all the time spent looking at
Leonardo Da Vinci’s work set the bar
pretty high.
Whilst my focus at the moment is
essentially equine, a subject close to
my husband, who grew up around
horses, I’m not exclusively an equine
artist. I enjoy drawing vibrant pencil
portraits, and calligraphy is also part
of my creative repertoire. I’m currently
producing work in black biro – a
necessity when living in a small living
space with an ever destructive baby
boy. I can say that I have really come
to love using this medium. I find I
can really produce the kind of details
I want – perhaps I’ve come full circle
having used it back in high school.
Other mediums I commonly use are
Chinagraph and coloured pencil. I have
also been thinking about incorporating
watercolour with my drawings. Since
the very beginnings of drawing horses,
it has become somewhat addictive.
Like the surfer tries to find the
‘perfect’ wave, I’m trying to produce
the ‘perfect’ drawing. Ultimately, I
want my drawings to have a dynamic
quality, to translate a life force. I want
the viewer to feel as if they almost
caught a breath or a slight movement in
the picture.
The overall goal for me is to reach
a wider audience and perhaps sell my
work in a more commercial way. I
think my pieces sit between fine art
and illustration and are for anybody to
enjoy. The end game for me however,
which is the most important thing, is
not only to be the best that I can be, but
to make my contribution to the world,
and if I manage to inspire, or provide
something positive to just one other
person through my work, as others
have done for me – well...I’ll have put
a dent in the universe, as Steve Jobs
would say.
Find me on YouTube by typing Tanja
Gordon in the search bar. n
Charcoal and Pastels
The Noble
Equine By Tanja Gordon
Coloured pastel papers have been used to create this beautiful horse.
FINAL STEP
STEP ONE
I saw all these amazing coloured
pastel papers in one of the art shops I
frequent, and the blue colours really
caught my eye. I bought a bunch of
different hues of blue and couldn’t wait
to get started. For this piece I chose
one of the darker colours, something
a bit out of my comfort zone.
I use several images as reference,
usually from my own photographs and
the `punter` section in the newspapers STEP ONE
is also a great resource for me. I
begin the drawing by mapping out the
proportions. I keep it very light and
loose, and work fairly quickly, as I’m
looking at the big picture, not even
thinking about details at this stage. I
don’t use an eraser so it can get quite
messy, however keeping it light means
it all gets coloured over eventually.
STEP TWO
This stage is used to define exactly
how I want the shape of the horse to
look like; I’m `setting things in stone`
so to speak. I have a definite outline
and begin tightening the drawing by
colouring the darkest areas and start
introducing some highlights. I use biro
at this stage as it’s not overbearing, STEP TWO
and really adds discipline to the
details I know I’m going to need.
STEP THREE
I don’t have a definite plan of how I
want the drawing to finish up looking
like, but I know I really like the way
my white oil pastel is looking on this
paper. Many of my drawings are a
means of discovery and a process of
M AT E R I A L S
• Canson mi tientes paper

• Charcoal white
• Black biro
• Black Chinagraph
• White oil pastel (brand
Van Gogh) STEP THREE
STEP FOUR
learning when using new materials. STEP FOUR it. It tends to get ‘stale’ when
A lot of time I just go with where The bulk of the drawing is sweating over details for hours.
the drawing takes me. Because I completed at this stage. The entire
like the white, I decide I’m going to horse is now shaded in, the lights
complete the bulk of the drawing in and darks, the shadows, and the FINAL STEP
this colour, so large plains of white are very finest details are all worked After a night, I look at the drawing
shaded in with darker details etched on. I get fairly ‘forensic’ at this step with ‘fresh eyes’. It’s pretty much
into the piece. I’m using oil pastel – making sure I really get the finished, but I fine tune it, adding
(Van Gogh brand) for the white and details right. I also get heavy more detail, lightening a highlight,
Chinagraph for the black. Chinagraph handed with the highlights - I`ve touching up an edge, blending another
is commonly used amongst been known to break many a area. This could continue forever.
construction workers because it can pastel and pencil when using I regard it as complete when I’m
work on many surfaces. I find it gives white. I also walk away from satisfied there’s enough detail. More
my drawings a nice glossy finish. the drawing, take a break from than enough is never enough!
ARTIST’S HINTS AND TIPS

• Take time to get the proportions details; that comes later. fresh perspective or
of your drawing right, this is • Don’t get too overwhelmed by renewed energy.
the most important step. Look at details, it may help by • Try to understand your subject
it in reverse by facing a mirror, focusing on one part at a time as much as you can.
as sometimes you need to look i.e. the ear section, the eye and • Have fun with it! Turn up
at it from a different view. work around and up from there. the music - and if you make
• In the beginning, keep it loose • If you get stuck, don’t mistakes - who cares? It’s
and work with some speed, give up, take time away from the not a life and death situation.
don’t get caught up with piece and come back with a It’s an adventure!
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I N S I G H T
Jennifer Marshall
A Passion for Horses

A desperate yearning for her own horse starting
this artist drawing at a very young age.
Turning In The Lucerne

I N S I G H T
Final Orders
y do I paint? Because I
as born with a tremendous
assionate love of horses...
have one of my own! Let
me explain.
Painting and drawing – especially
drawing, has been an integral part of
me for as long as I can remember and
so has the love of horses – all animals
but most especially horses. I was told
that as soon as my tiny hands could
use a pencil I was drawing horses
– and I continued drawing them. I
studied every picture of horses I could
find, every horse that we drove past
on the way to church or to town, and I
read every book about horses I could
get my hands on, whether fiction
or the care of horses or Olympic
dressage! For years and years I felt
sure I would die if I didn’t get a horse
soon – but I didn’t get a horse and I
didn’t die, but I did improve in my
observation and analysis and drawing
skills. Drawings of horses filled all my
books and every bit of paper I could Taffy Waits
find, they also crept onto the pages in
I N S I G H T
maths lessons, which didn’t impress the teacher,

nor improve my prowess with numbers!
When I was 15 years old two very special
things happened. The first happened while
waiting for our mother to pick us up outside high
school (Mum didn’t know that school orchestra
had been cancelled – there were no mobile
phones back then!) I watched a girl ride past on a
magnificent grey Arabian horse. That horse drew
me like a magnet and I followed them to the
stables next door to the high school, and watched
the girl tie him up in the yard. Soon I was talking
to his owner, Mrs Gresinger, and then I was
riding him around the yard. From then on instead
of sports on Wednesday afternoon I was riding
Seagulls at Sunrise that same beautiful grey horse.
The second special thing was that Gaye moved
into the house three quarters of a mile down
the road from our place, right beside where we
caught the school bus, and I met Kaspar, her
taffy horse which she tethered nearby. Sometimes
Gaye would lend me Kaspar for a few days or
even a week, and I would tether him at our place
to eat the grass. I would ride him for half an hour
a day and groom him and watch him and draw
him. Kaspar had Queensland itch and was adept
at contorting himself into all sorts of positions in
order to get at that aggravating itch. I was soon
able to draw a horse from any angle at all!
Why did I start to paint? I first began to paint
about the age of nine or 10 years after I inherited
a number of watercolour sets from a deceased
uncle. My preferred subject was horses of
course! About this time I was getting fed up with
requests from other school kids to draw things for
them, so I jacked up and told them they’d have to
pay me to do any drawings. I fully expected that
Chestnut Campdrafter they’d go away and leave me to horse-dream/
draw in peace. But it only made matters worse...
2c, 5c, 10c, 20c, 50c for little drawings and cards
even little water colour paintings! And it was
sometimes the kids’ parents and neighbours!
I continues to paint and draw through
high school, being mostly influenced by the
impressionists, and I had a wonderful art teacher,
Mr Bob Powter. A week or so before the final
exams I was having difficulties in class – I hadn’t
finished a painting in weeks – and Mr Powter came
by and dropped a little heap of cut up cardboard
onto the desk. Hey presto, I ditched my brushes and
the paint just worked with the cardboard. I loved
it. From then on for the next 12 years I painted
with acrylics using cardboard. I think Mr Powter
was very disappointed that I didn’t go to Sydney
The Forest Awakens
Art School after being in the top 10 Art students
in the NSW Higher School Certificate, but I was
I N S I G H T
What’s Going On?
stubborn and I did not want to be forced to paint

in a contemporary style, or live in the big city,
instead I went to Lismore and got my Dip Ed in
General Primary teaching, but I kept painting, and
did art as main study and exhibited and sold in a
local gallery and exhibitions. One day I was busy
painting and a policeman knocked on my door.
He wanted to know if he could get a discount if
he bought all my paintings that were in the local
exhibition, and then he wanted the one I was
working on as well! He said he was taking a big
risk on his investment because I would probably
marry and have kids (I did – four of them), stop
painting, (nope!) change my name (second
time round –yes!). He should have added – get
a horse ! Yes I got my horse after the first term
of teaching! I’ve had six over time but they did
not stop me painting. I had to pay for their keep
somehow now didn’t I?!
Why pastels? In 1985 I knew I had to do
something different. But what? Mr Powter’s last
words on leaving high school kept rolling around
my head. “You can draw and never forget it.” I
began doing pen drawings – portraits mostly –
commissioned ones, and then I discovered Soft
Pastels. A Toison Dor set they were, and the very
first pastel painting I did was of two Clydesdales–
it got a Peoples Popular Choice prize and sold
Midnight's Last Charge

I N S I G H T
straight off! This medium was exactly

what I needed. Horses and portraits were
selling like hotcakes for a time, and
winning prizes. In 1994 I did a video
(now a DVD) on How to Draw Horses,
and Painting Clydesdales in Pastel and I
was accepted as a Master Pastellist with
the PSA Pastel Society of Australia. I
still did the occasional acrylic painting
until I switched to Alkyd Oils a few
years ago. However I love using pastel,
probably because it is so like drawing,
so immediate.
After the initial Toison D’or set, I
used Rembrandt pastels exclusively for
years, but I have since invested in a set
of silky Schminke’s – these are great
for the finishing touches and also for
soft dusted “glazes”. Until recently I
always drew up my subject with Conté
crayon, but Ron insisted that I get some
pastel pencils because he thought they
Buddies
would make the fine detail much easier
for me than using a bit of broken pastel.
However they are harder than the soft
pastels and tend to scrape the pastel
off, and are not as dense or opaque in
colour, so I still use my pastels for the
finest details. However the pastel pencils
are great for drawing up the subject as I
have done in my demonstration.
What don’t I like about pastels? They
are messy. I can’t stand gloves so I get
pastel dust all over my fingers and under
my nails (a good reason to use non-toxic
pastels) This is a good excuse however
to frequently go wash my hands and get
back for a good look from afar. They
break easily- this is good when you need
a sharp edge, but as I am very frequently
dropping mine on the floor. I have more
little pieces than I want and it is harder
to keep everything neat and tidy with
pastel dust underfoot and tramped about,
which is one reason I work with a sheet
of plastic/vinyl or whatever under my
workspace to protect the floor. However,
what is really great about pastels is that
if interrupted (as I tend to be very often)
you can leave them and not worry about
ruining your brushes and paint drying on
the palette.
Why do I paint Australian Light
Horse? I love horses, but I hate war.
In October 2005 when Ron wanted to
paint the Australian Light Horse and
we went to our first re-enactment I
Over a bottle 2
Brigadier & Duchess
had no idea that I would be painting

the Australian Light Horse in action.
However I was so touched by the
true stories of courage, loyalty and
sacrifice and the wonderful bond that
developed between man and horse that
I felt compelled to paint these stories.
Ph: 07 4661 4176

E: jennifer@lighthorseart.com.au
Web: www.lighthorseart.com.au
Web: www.marshallfineart.com.au
Gallery: Morpeth Gallery,
5 Green St, Morpeth, NSW, 2321.
Web: www.morpethgallery.com
(Exhibition of Australian Light
Horse paintings with Ron Marshall
and John Bradley, coming in They’re Off!
April 2013) .n
Pastels
Re-educating
the Remounts By Jennifer Marshall
This painting was inspired by a true story from World War I
T
he subject for this demonstration
was inspired by a true story,
told by a local gentleman about
his grandfather who had the task of
training the remounts as they arrived
in Egypt during World War I. Riding a
quiet horse he would lead three others
into the soft sands of the desert, then
one by one he would ride them. The
soft sand made the going much harder
for the horse to misbehave, and if either
of them fell it would be a soft landing.
STEP ONE
I chose a warm sandy coloured sheet
of conservation matboard and draw
up the main horse and rider with a
Prussian blue pastel pencil, and the
rest with a Terracotta pastel pencil.
STEP TWO
Using the side of a broken pastel
I roughly laid in the sky with four
differing intensities of Cobalt Blue
and a cool white and some Gold
Ochre and Raw Sienna towards the
horizon and some light Burnt Sienna
and Burnt Umber below the horizon.
I then used my fingers to blend
these colours on the left side. Notice
FINAL STEP I have encroached somewhat onto
the drawing of the main figures.
STEP THREE
I have continued blending the sky on
the right side with my finger - adding
a bit more pastel when necessary.
Roughly laying down a pale Burnt
Sienna/Gold Ochre the over the
rest of the ground, I darkened this
and added some Burnt Umber to
indicate where the shadows will be.
I then started on the 3 middle
ground horses. I first blocked in the
shadow areas of the horse on the
left with Burnt Umber and I added
a blue- violet to the darkest areas.
M AT E R I A L S
• Peterboro Conservation
Matboard as ground
• Derwent Pastel Pencils- to
draw up the subject, and
my signature ( I often use
Conté crayon for this ) STEP ONE
• Rembrandt Pastels- my
favourite pastel and used
for most of this work.
• Schminke pastels- for the sky
and some dust and highlights
• Conté Crayon- for the military
bit (it just happened to be the
right colour and no pastel
had been applied there)
• Lots of tissues ( mostly to
wipe my hands and clean the
pastels, but can also be used
to remove excess pastel)
• Soft Brush- small and flat to
lift off excess pastel to make
a correction in detailed areas
• Kneadable rubber- only rarely
used to lift unwanted pastel
when making a correction
• Pastel colours:
– Cobalt Blues
– Burnt Umbers
– Burnt Siennas
– Raw Umbers
– Gold Ochres
– Yellow Ochre
– Lemon Yellow
– Pink
– Dark Mid and Pale Grey
– Black
– White STEP TWO
Then I added the highlights with the no detail, and blocked in their khaki
palest Cobalt blue and Gold Ochre, uniform with a dark Raw Umber. I
and blended these two areas with a added a bit of dark Burnt Umber and
light Gold Ochre or Raw Sienna. The the dark grey in the darkest areas,
overall effect is to be light and dusty. and a dark (3) yellow Ochre on the
The second and middle horse, a lighter areas to give some shape, I
light chestnut, I proceeded in the also used a lighter Burnt Sienna on
same manner, roughly blocking in the face and hands, then a touch of
the darkest shadow areas (saddle, warm white on the high lights on
girth and a legs and jaw) with Burnt the riders shoulder, arm and hands.
Umber. I went over these areas (except I refined both horses, added darkest
the saddle) with Gold Ochre and a darks with both Burnt Umber and
touch of Burnt Sienna, which has not dark grey, then on the chestnut I used
been blended in, but will unite this lighter Burnt Siennas and a touch of
horse to the next one. The highlights Gold Ochre in his sunlit areas, and a
on this horse were laid down with warm white on the highlights on rump
a very pale Burnt Sienna and Gold and shoulder. The saddle blankets
Ochre and then highlighted again and saddles were laid with a grey
STEP THREE with warm white. The lightest areas Burnt Umber and a light Cobalt blue.
of the saddle I touched with a pale The black horse’s highlights were
Cobalt blue and the saddle blanket placed with the same light Cobalt
and stirrup with a warm white. blue and a tiny touch of warm white.
The third horse, a brighter and I am not really happy with the rider
darker chestnut, I proceeded by on the right - he seems somewhat
laying down Burnt Sienna in all hunched - probably because his head
the shadow areas, touches of pure and hat is too low- I will leave him
Burnt Umber was used in the darkest for now and deal with him later. I
areas- saddle bridle eye, nostril, can’t wait to get to the main subject.
mouth inside hind leg side of belly
and shadow of mane. A lighter tone
of Burnt Sienna was used to create STEP FIVE
a bit of form in the shadows. The I block in with the side of a dark Burnt
highlights on this horse were done Umber pastel, all the dark areas of
with a very light Burnt Sienna and the main subject very roughly. Then
Gold Ochre, and then a touch of with a light Burnt Umber I block
warm white on rump and blaze. in the sunlit areas of the horse, and
I then began the left hand Burnt Sienna on the rider’s face and
background horse, blocking the hands, and I switch to Raw Umber
STEP FOUR shadowed areas with mars violet, on the hat. I then begin go back to
and the saddle and blanket with grey. the dark Burnt Umber and use more
This horse has a big white blaze and definite stokes to lay in the darkest
a white muzzle although most of it darks, and a little detail – the eye,
is in shadow. A couple of tiny spots under the horses jaw, and forelegs.
of white indicate where the light hit
just above the noseband and the side
of his muzzle. The rest of the blaze STEP SIX
was placed with a pale Cobalt blue I now introduce a very pale Cobalt
and a touch of pink on the muzzle. blue onto the areas of the horse in the
sunlight, and a darker Cobalt blue and
Burnt Umber in the darkest areas using
STEP FOUR Burnt Sienna in the mid-tones of the
I blocked in the shadows on the right shadows. I keep building up the layers
hand background horse with a very of pastel using these colours, and
dark grey. The riders I used mid tone gradually bringing out the structure of
Burnt Sienna for their faces and hands, the horse as revealed by the light and
STEP FIVE
STEP SIX STEP SEVEN
shadows. I rough in the bridle with STEP EIGHT STEP TEN

Cobalt blue, and use a pink and Umber I then start forming the shape of the I receive the photo of the gentleman
for the horse’s tongue. The bit I have horse’s body, using Burnt Umbers, whose story I am painting, so I
roughed in with a pale blue Conté. I Burnt Siennas, Cobalt blues and a modify the rider’s facial features
used a warm white on the highlights of dark charcoal grey, keeping in mind and extend his moustache to more
the head, neck and breast of the horse. the sand and dust that the horse has closely resemble William Skinner.
just kicked up in front of his back Then I use the very dark charcoal
legs. I use quick flowing strokes black and Cobalt blues with a touch
STEP SEVEN to get the movement in the horse’s of Raw Umber for the mane. I also
Now I start on the saddlecloth saddle tail, and some pure black on the refine and complete the horse’s neck,
stirrups, girth and leggings of the light horse’s front legs and blended in shoulders, bridle, headstall and the
horseman. First I block in the darkest to the darkest shadowed areas. rope lead that is tied about his neck.
areas and then the lighter areas using I add the rest of the reins, and pale
a dark grey, mid, grey, Cobalt blue- Cobalt blue on the upper side of the
pale and Burnt Umber - dark in the STEP NINE saddle blanket where it will reflect
shadows, pale on the leggings on top I refine the horse’s front legs and the sky and add a bit of Gold Ochre
of pale Cobalt blue. I then move up darken the girth area, and further to the dust in the bottom left corner.
the Light Horseman and using Raw refine the nuances of light and
Umber I block in the shadows and shadow on the horse’s head, then I
use lemon yellow (3) on the lighter turn my attention to the rider and STEP ELEVEN
parts, also add Burnt Umber to these work on the shadows and the lights Next day to my joy I receive the story
shadowed areas of the tunic- this on the horseman’s uniform - note of William Skinner in an email, and
ties in with the horse-remember the the reflected light on the rider’s there is one more detail to add - he
colour of the horse will be reflected face and the underside of his sleeve. rode these horses in the soft sand
up into the rider. Using Burnt I use Raw Umber, Burnt Umber, not far from the pyramids in Egypt,
Siennas, Burnt Umber, and Indian a grey yellow and a pale Cobalt and so after a little research on the
Red I work on shaping the face and blue on the highlights. The saddle subject I add the two pyramids in
wrist- I don’t worry about the fingers blanket is a mixture of greys with the background peeping above the
as the mane will cover these later. Burnt Umber in the shadows. sand dune on the left. I then raise
STEP EIGHT STEP NINE AND TEN
the horizon line of the sand dune

behind the other riders, tweak the
sky and add the foreground sand
disturbed with hoof prints and
add some bits of sand and dust
flying from the horses hoofs.
FINAL STEP
I rather like the hoof prints leading
up and out of the picture to the right,
so I extend the sky and the sand
dunes on the right of the painting,
darken the rein as it curves round the
horse’s neck and under his mane. I
tweak the other horses and riders a
wee bit, touch up a highlight here
and there, then for the first time I
take the painting outside and spray
with Workable Fixative - three very
light coats with drying time between.
I then sharpen a soft pastel pencil
add my signature. “Re-educating
the Remounts” is now complete.
Web: www.marshallfineart.com.au
STEP ELEVEN Web: www.lighthorseart.com.au
E: jennifer@lighthorseart.com.au
Oil Inspiration
‘Harry Chavill’ By Sue Linton
This painting realised an exciting

dream for the artist, who had always
wanted to paint a gorgeous horse in
motion but had never allowed herself
to do so previously.
FINAL STEP
M AT E R I A L S STEP ONE
• Canvas board. underpainting.

• Artists’ quality oil paints. • Liquin.
• Acrylic paints for • Reference photography.
I
k a series of sequential action photographs and the
erence chosen was a combination of the front of the
se from one photograph and his rear from the next.
I w nitially going to suggest a background with a stormy
sky and grass, but got carried away while painting and
decided I liked the fantasy look better. I felt the great pose
deserved something more that would enhance his movement.
STEP ONE
This painting was a commission of a local stallion that I had
been admiring and wanting to paint for years. I have always STEP TWO
been ‘horse-mad’ and I think this painting tapped into my
childhood horsey fantasies … as it seemed to paint itself.
I wanted the sketch to be accurate to Harry, but
I also exaggerated the shape of his neck and rump
slightly to enhance the movement. I showed more of
his mane. He has an amazing mane – most of which
wasn’t on the viewer’s side in the photograph.
STEP TWO
I did a loose underpainting in acrylics to get an idea of
where I was aiming, and to play with the feel. I like the
idea of an underpainting in acrylic even though I often paint
over most of it. I am more confident to go ahead with oil
paints knowing that there is an accurate image underneath
that I can wipe back to if I lose the plot along the way.
I decided to use a limited palette for mood
– cooler blues in the background and warmer
greys with a yellow tint in the horse.
STEP THREE
The background was Cobalt Blue with a touch of Lemon
Yellow and Alizarin Crimson to take the edge off the
blue. I added watercolour medium to allow me to get a
quick result and smeared the edges with my fingers to
soften them. Occasionally I used a sponge to wipe back
and soften edges. The greys on the horse are Ultramarine
Blue plus a tiny bit of Burnt Sienna plus white. I varied
the amounts of each colour to get a bit of variety.
I quite liked the painting at this stage and I would like to have
been able to just refine it somewhat and leave it as finished.
STEP THREE
I added some more darks using similar greys – some with extra
Ultramarine Blue and Burnt Sienna. Some of the greys slanted
towards brown and the others slanted towards blue tones.
I had fun when I did the background – swirling the paint
to accentuate the horse’s shape.
STEP FOUR STEP FOUR

I started to use oil paints and went
in and refined the tones to model the
form – aiming to accentuate certain
muscles and enhance the pose.
It looked a bit bland, as it had lost the
earlier contrast – but I knew it would
come good as I added the highlights.
STEP FIVE
The horse’s mane and tail were done
with a mix of white plus Burnt Sienna
plus Yellow Ochre. I further refined the
tones on his body. I added some orange
(Alizarin plus Lemon Yellow plus white
plus a touch of Yellow Ochre) on his nose
for the sunburnt part. I refined his muzzle
with greys used elsewhere, with a bit of
STEP FIVE Yellow Ochre added to warm them.
STEP SIX
I added lighter tones on the body for the
highlights, making sure I kept them subdued
enough so that when I went in and did
the horse’s mane it would stand out. The
mane was a lighter mix of the previous
mane mix – I added extra white plus a bit
of Lemon Yellow. I added a bit of Liquin
in the last few stages, to help with finer
detailing and to improve the paint flow
for the mane highlights. I also refined the
background and had fun playing with it.
Almost done … I was very happy with the
feel and wanted to stop. But it had to look like
Harry. Thus far, everything since Step Three
had been done in one sitting. Now I needed to
STEP SIX refine the head to make it look like the subject.
FINAL STEP
The mane was finished by adding more darks,
and then other colours over the top. I added a bit
of the apricot colour from his nose throughout the
painting, to liven things up a bit.
I glazed an Alizarin wash over the background
to tie it in with the rest of the painting and added
extra atmospherics in the foreground.
I further refined the horse’s head as I wasn’t
happy with the likeness. Every time I do a small
head in a portrait, I vow never to do one again
… and then promptly forget! Small portraits are
much harder because if you are out by half a
millimetre with a mark, or use slightly the wrong
tone, it really affects the likeness. Larger images
are much more forgiving! n
I N S I G H T
Patrick Hedges
The Art of Scratchboard

Thanks to his father’s boundless enthusiasm for wildlife, Patrick was
introduced to African animals at an early age, forging his lifetime love
for these animals and the majestic landscapes in which they live.
By Patrick Hedges
I
Reflecting
guess not every child had
the opportunity to live
in three different African
countries by the time they
were 14 years old but I was
blessed. I was born in Uganda
and grew up all over East
Africa. My father worked on the
railways, building bridges for the
push westwards and wherever
a bridge needed building,
we would be transferred.
Consequently I lived not only
in Kenya, Uganda and Tanzania
but I also lived in about 10
different towns or villages and
attended all manner of schools.
Of course, growing up over
there, nature was my teacher
and I’ve been passionate about
wildlife ever since. I particularly
relate to all things African and
my life has followed a course as
a result. Leaving Africa was not
of my choice and I’ve been back
many times since. I look back
through my old photographs and
they are dominated by wildlife
and African landscapes.
My father was a huge
influence on my life. He was
also a mad wildlife enthusiast
and dragged us (willingly) all
I N S I G H T
Dad‘s painitngs
over the place looking for snakes animals, though in recent years I’ve He worked in watercolours and
and frogs, elephants and lions and developed a love of the people too. oils too and his work in this montage
everything in-between. We would My father was also an artist and shows how much he influenced
camp many times a year, sometimes I still have some of his original me. These are all watercolours.
in very remote locations and it was drawings and paintings. In fact, After moving as a 14-year-old to
during these trips that my bond the very first scratchboard I ever England in 1974 I continued to be
with the African bush was forged. saw was one by him, a leopard fascinated by wildlife and started
Every time I go back, it’s for the done in the early 1970s. developing a modicum of artistic
Dad‘s Leopard Don't Talk Back to Me!

I N S I G H T
Red-billed hornbill Hope for Africa
Victoria Falls and white browed sparrow Weavers

ability which I pursued, vaguely,
most of my life. As an adult I
travelled around the world, visiting
many countries but continually
revisiting Africa. In 1990, I met an
Australian girl and pursued (some
say ‘stalked’) her to Adelaide and
we have been married ever since.
I live in Adelaide and in 2006
we moved to a house that has a
room with the most gorgeous light
coming in which I converted to a
studio and it was at this point that
I took art seriously. I was never a
very accomplished artist but in this
studio I discovered pastels which
I related to, and then I discovered
scratchboard (rediscovered, having
seen only the one piece my dad
did). The first scratchboard I did
won the drawing category at the
2007 Royal Adelaide Show’s Art
Zambian Lion
Purchase Exhibition (a section I
won again in 2010) and this gave
me plenty of encouragement
to push the medium as far as I
could. I picked up a few ‘Highly
Commended’ awards at various
shows and then I was fortunate
enough to win the ‘Wildlife Art
Society of Australasia’s Wild
Awards’ gold medal, or best in
show. This was a big deal for me
since it gave me lots of kudos
and confidence to plough on. I
entered my art into more shows
and sales were very encouraging.
I N S I G H T
Preening To cool for school swamp wallaby
In 2008 I held a joint exhibition Goodall Institute and Monarto Zoo that a similar society dedicated
of chimpanzee pastels and and the kudos I received from this specifically to Scratchboard Art
scratchboards with Victorian event was a springboard towards was overdue. ISSA has the goal
artist Leigh Rust at Monarto Open more events in support of wildlife. of lifting the profile of scratchboard
Plains Zoo in the Adelaide Hills. Recently I decided to push for art internationally; providing
This was opened by the famous the formation of ISSA, or the exhibitions to showcase this art
primatologist, United Nations International Society of Scratchboard form, organizing workshops, uniting
Messenger for Peace and Dame of Artists because there has never been all artists working in the medium,
the British Empire, Dr Jane Goodall, an organisation to represent us. and endeavouring to continue
and attended by the premier of With almost all other mediums educating about the medium to the
South Australia and zoo officials. having their own societies arts and public communities.
We raised funds for Tacugama representing them and helping to In July 2010 discussions started for
Chimpanzee Sanctuary, the Jane promote their interests, it was felt creating a formal society dedicated
Derby No fish today

I N S I G H T
The poet Thumbs up Ngoma Zanga
to Scratchboard Art with the aims to membership and all shows will Subsequent exhibitions will
reach and include all scratchboard be carefully juried to encourage be for ISSA members only.
artists everywhere. Work soon and promote excellence in the The Founding Board Members
began on the Society’s bylaws, the medium. At least one international of ISSA are me from Australia,
development of a board of directors, show of scratchboard art will Lorna Hannett and Sue Rhodes
incorporation and the process of occur each year. In 2012 all from Canada, Diana Lee,
acquiring non-profit status. scratchboard artists, worldwide, Ken MacFarlane, Cathy Sheeter,
Membership within the society will be welcomed and encouraged and Sandra Willard from the US.
includes a variety of levels to to submit for jury to the
encourage artists from novice inaugural ISSA International Email: patrickhedges@hotmail.com
up to professionals. Top tiers of Exhibition of Scratchboard Art. Web: www.patrickhedges.com
Cassowary Himba maiden

Scratchboard
Wall of Stripes
Using his own reference from Etosha National Park in Namibia, Patrick
portays the magnificent zebras that are attracted to this waterhole in large
numbers, a natural phenomenon which gives the artist great opportunities.
By Patrick Hedges
FINAL STEP
l
Fibreglass too
Fibreglass tool worn

on an angle
TECHNIQUES
Scratchboard is an extremely versatile and
forgiving medium. When people tell you that
you need to get each scratch in exactly the right STEP ONE
place first time or your board is ruined, don’t
believe them. If you are painting in oils and
make a mistake, you simply paint over it. The
same holds true for scratchboard where you can
re-ink over mistakes. The one important thing
to remember is that the goal is to scratch the ink
off the clay but not scratch through the clay. Use
a light touch, something that needs developing,
and you will find you have plenty of opportunity
to work in layers just as if you were painting.
The fibreglass shaft running through this clutch pen
(above) is made up of thousands of tiny fibreglass
slivers. Caution – beware, do not get them embedded
in your skin, they hurt like hell! However, after
a false start, that hasn’t happened to me for years
and I don’t use gloves. Just to be safe though, you
can put surgical gloves on and save yourself any
problems. Vacuum slivers off your desk regularly.
This tool removes the black ink from the surface STEP TWO
of the board without scratching through the clay
and though it may look like you can’t get much
detail with it, I find I can quite easily. For removing
the ink from large areas I use it on an angle which
M AT E R I A L S
I’m going to keep things really simple

because that’s the way I am. You can use
any tool you want if it creates a scratch on
your board, but I generally limit myself
to a select few and for this demonstration,
I have used only one tool plus a one inch
paint brush and some diluted Indian ink.
The tool I’ve used is a small fibreglass
brush shown above. You can buy these in
some art stores, hobby shops or online.
STEP THREE
wears one side down to a chisel edge computer program and setting it STEP THREE
and then if I want a little detail, I can to have at least ten squares on the Am I making it sound easy? Well, it
flip it over and use the sharper edge. shortest side, I then mark out the right might be involved but it is easy so
This will wear down quickly and you’ll sized grid on a separate piece of paper far. The next stage is also easy as it
be back to square one soon but if you the same size as my board. This makes involves one wash over the whole
use it intelligently, you can move it easy to get your drawing accurate board with some diluted Indian ink.
between ‘blocking in’ large areas, and as you are drawing smaller sections I have a couple of glasses ready, one
working detail. A serendipity of this within the squares. I won’t go into the with water in it and one with Indian
is it tends to keep my eyes fresh too. techniques of this as you can find this ink diluted only slightly with water.
information instantly on the internet. I use a one inch brush and load it
I use transfer paper to get the image with clean water, then dip it into the
STEP ONE onto my board and end up with this. ink and quickly wash this over the
I’m using a board manufactured whole board, dipping and washing
by Ampersand, pre-cut to 11” x a few times. Try to keep things
14” and I’m working from one of STEP TWO even so stripes across the whole
my own references from Etosha Keeping to my KISS mantra (keep it board are the same shade of dark.
National Park in Namibia. Zebras simple, stupid!), I am now going to
come to this waterhole in large remove the white stripes from all the
numbers and give the artist some zebras without thinking about light STEP FOUR
great opportunities. I plan to literally direction or shading, simply taking the Once it is completely dry, I
fill the board with zebras and have image back to pure black and white. now go back to my fibreglass
titled this piece “Wall of Stripes”. Do this carefully, making certain you brush and start removing the
Although I believe heavily in remove the ink from the white stripes background and the water which
sketching to keep up your drawing and not the black ones – mind you, I will wash with ink again.
skills, for finished pieces I use a grid with zebras who would know?! Now the fun, creating that gorgeous
to get my drawing accurate. Placing Just keep on going until all the African light which shows the form
a grid over the photograph with a stripes are done. of the zebras so well. Yet again, the
STEP FOUR
fibreglass brush does the job here,

using it loosely for the larger stripes
and the wedge side described earlier
to clean up with highlights on the
smaller stripes on the zebras’ faces.
Pick out some highlights in the
water and the rocks and then to the
final stages. I add a complete wash
of very diluted ink over the whole
board which unifies everything, and
at this point I can pick out more
highlights as required. Finally, three
or four coats of spray varnish over
the board makes it look much richer
and finishes things off beautifully.
FINAL STEP
You will notice that the whole board
has a sepia finish. Different brands
of Indian inks react to dilution in
different ways, mine going quite STEP FIVE
sepia. I like this effect and have
left it like this deliberately, but if and a drop of red to your black ink Email: patrickhedges@hotmail.
you want to keep the sepia away, until you get the ‘colour’ you desire. com
experiment by adding a drop of blue Happy scratching! Web: www.patrickhedges.com
Australian t i 3
I N S I G H T
Ainslie Gilles-Patel
Born to Draw, Baby!

Horses capture many a girl’s heart but what if you believe you
were born to draw them? This is how the horse captures,
influences and inspires this artist’s heart and soul.
I N S I G H T
I
want to take you back to 1993. I am
a horse-mad girl with long brown
hair and utterly lovesick. I love
horses. Then along comes the Arabian
horse. On the outside, this breed of horse
is famous for its beauty, refinement and
movement. This is all very enchanting
to me, but what I come to know is what
is on the inside of this magical and
mesmerizing breed; they are sensitive,
people-loving and kind. I am now 14
and Arabian horses are my world. I read
and collect magazines about them. I do
little sketches of them instead of doing
my schoolwork. An opportunity arises
for me to be connected with a purebred
Arabian gelding. I catch the bus to the
stables after school and ride until dark.
School holidays are spent with horses. I
am in (horsey) heaven!
Then one day in early 1995
everything changes. My friend gives
me a few old Arabian horse magazines
she no longer wants. I am elated! One
of the magazines, in the “Letters to the
Editor” section, is a letter from a girl,
Tammy, asking for anyone to write
and draw to her about Arabian horses.
She doesn’t know anyone who loves
them like she does. There is an address
provided under her letter. I think to
myself, “Why not?” I handwrite a letter,
(remember those?) to this girl, telling
her how much I love Arabian horses
too! I wait, and to my sheer delight a
letter arrives from her. She has even
done a little pencil sketch in the corner.
It is mind-blowing! ‘I want to be able
to draw like her’, I tell myself. I write
back straight away and this is the start
of our letters, drawings and friendship
which continues to this day.
Top right: Come Fly With Me – Pastel Pencil on

Colourfix – Reference Photo By Blissfully Blind
Middle right: Aubergine Arabian II – Charcoal
Pencil on Colourfix
Right: Bridled Beauty – Charcoal Pencil
on Mi-Teintes TEX – Reference Photo
By Nina Granzow
Opposite page: Power Play – Charcoal on
Mi-Teintes – Reference Photo By K Sheridan
5
I N S I G H T
So, here I am today; a dedicated, in my work. Drawing emotion, self- that art should be about you; your
passionate and self-driving studio expression and soul into my art is subject matter, medium and skill;
artist. My muse is the Arabian horse. harder! I have been lucky enough to knowledge and techniques. “Have no
Without them I would not feel the be around horses since my childhood. fear of perfection; you’ll never reach
level of inspiration and motivation Some of my best memories are not of it”– Salvador Dali. I discovered when I
that I do. My skill and job as an artist riding, but of observing and being in stopped hounding myself for perfection
is not only to draw the horse, but to the presence of horses. I have honed and comparing myself to other artists, I
imbue my passion and respect I feel my eye through countless hours, released self-doubt and fear of failure.
for them. I am a conveyor of light months, years and decades of drawing, Horses and art are intrinsic – they
and have a keen, sharp eye for this drawing and drawing! I have learnt belong to me. Not through possession
I N S I G H T
or payment, but via my artistry, heart

and hands. I have an affinity for dry
media. I have tried wet media and
as much as I admire the strengths of
these mediums in their own right, the
feel of a pencil or pastel in my hand
is pure excitement and natural. I love
the immediacy of working with dry
media; the no mixing of colours or
drying time and minimal clean up with
pastel add to the allure. I am adamant
about correct anatomy. There is nothing
worse than equine art with poor
anatomy. I feel strongly that art should
be an expression of the artist and not a
slavish reproduction of a photograph (I
am a photographer as well. I can take
a great photo). At 14, I thought my
drawings had to look like a photograph,
otherwise people wouldn’t think I was a
good artist. I was young and naïve. I’ve
learnt a lot since then, and have found
my own style. I do not wish to create a
traditional portrait and am influenced
by many artists, past and present, of
varying subject matter and mediums.
I am a devotee of the Impressionists,
no matter how clichéd that may be.
I am a self-learner/self-taught, and
have studied composition and design,
in-depth colour theory, mediums and
materials, surfaces and techniques. I
experiment and put into practice what I
learn. The biggest mistake I made and
regret was throwing out artwork I didn’t
think lived up to my high expectation.
Top Right: Her True Colours – Pastel Pencil on

Wallis – Reference Photo Unknown
Right: Scottish Pride – Charcoal Pencil
on Mi-Teintes TEX – Reference Photo
By Angela Cook
Opposite page
Top left: Stage Light – Pastel Pencil on
Colourfix – Reference Photo By Renata
Kolorova
Top right: Into The Light – Charcoal Pencil
on Stonehenge – Reference Photo By
Nicole Emanuel
Bottom left: Arc de Force (Arch of Strength) –
Pastel Pencil on Mi-Teintes TEX – Reference
Photo By MET Photography
Bottom right: White Light – Charcoal Pencil on
Colourfix – Reference Photo Unknown
I N S I G H T
and with this in mind I make sure to

draw various breeds of horses. I am
working towards ‘loosening up’ to not
be such a slave to the tight detail I am
hypnotised by and revisiting my love
for mixed media. I have started large
pastel works exploring movement,
mark-making and colour, and will
explore abstract realism down the
track. I would love to study Fine Art
formally. I am supported one hundred
percent by my husband in my never-
ending art journey, and how thankful I
am to him for this.
For me, being an artist, particularly
of the Arabian horse, is a privilege. As
a developing artist I was told being an
artist wasn’t a ‘real’ job. Thank goodness
I didn’t listen and followed my heart and
passion. I often think how boring life
would be if I wasn’t an artist! My art is
not only fun, therapeutic and relaxing
but my religion, soul and what I believe
My best advice is to learn about My goal is to become a Master I was born to do.
values. As Master pastellist, Richard of the horse, and long-held dreams
McKinley (USA) said, “Colour gets all include holding my own exhibition I can be contacted by the
the glory, but value does all the work”. and writing an art technique book for following:
I’m not a fan of blending and prefer North Light Books. I need to draw like Email: ainsliegillespatel@gmail.com
layering/hatching and cross-hatching. I need to breathe. It isn’t a question Website: ainsliegillespatel.wix.
I like to use the background colour as of should I draw today but a daily com/ainsliegillespatel
part of the artwork but not necessarily essential! I certainly believe in the old Facebook & Instagram/
always. I have a love affair with black adage that you never stop learning, ainsliegillespatel n
and coloured paper. With the eye of
the horse, it is imperative that it be
expressive and connected with me.
I work up the eye(s) first, and will
sometimes redo the eye until it is right.
Over the years of drawing daily I have
come to rely on my essential tools of the
trade, (Faber-Castell kneadable erasers,
Derwent Pastel sharpeners and General’s
Charcoal pencils to name a few!).
Favourite surfaces include Art Spectrum
Colourfix, Fisher400 Art paper (UK),
Canson Mi-Teintes TEX plus others.
I started with graphite but discovered
charcoal pencils and fell in love! In
1997, Tammy introduced me to pastels
and a whole new love affair started!
Above: Parys Lights – Pastel Pencil

on Colourfix – Reference Photo
By Jerry Sparagowski
Right: Sculpturesque – Charcoal Pencil
on Colourfix
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Charcoal Pencil
Aubergine Arabi By Ainslie Gilles-Patel

I
Last year this artist created a small charcoal drawing titled “Sculpturesque”
on Aubergine Colourfix pastel paper. She decided to continue this theme in
2016, creating the first artwork for an “Aubergine Arabian” series.
ReFeRence photo enough as a reference. I know I have see (observe), feel (self-expression)
I have selected one of my own photos a great photo reference when I keep and think (planning). The lighting is
featuring my muse, the Arabian horse. going back to it and feel excited perfect with a good balance of values
Technically speaking this photo is and inspired to start drawing! The and contrast; a minimal cast shadow
not focused correctly, but is good more I study the photo, the more I and lovely highlight in the eye.
Final Step
Step one Step two
coMpoSition aBoUt ValUeS values when drawing in the initial

My composition was established in Values are the relative lightness and outline. Once these are established,
my photo (on purpose). The eye is darkness to each other. It is on par I know the rest of my values will
roughly on the Rule of Thirds, and I with composition/ design as the most fall between them. It takes time to
ensure there is room in front of the important technical skill needed to be understand values and to be able to use
horse to allow space for the horse learnt when drawing/painting. Values them correctly in your art. At this point
to move into (so to speak). The key are the basis of all art. Without correct I also accurately place the catch light
focal point for this artwork is the values, the artwork will always look (sun) in the eye to make the eye ‘alive’
eye, sculptured bone on the head/ wrong, no matter how many pretty using the gouache and detailer brush. I
flaring nostril and lovely curved colours or fancy mark-making you use. work up the eye a little to make sure I
line of the horse’s neck/shoulder Before I even pick up a pencil, I sit am capturing the horse’s expression. I
which is enhanced by the shadow. quietly and study the reference photo. find when I look at him I can already
One of the most important things I ‘feel’ him and try to understand what
am absorbing are the value ranges: he’s thinking. This may sound very
M at e R i a l S how light/dark one area is to another; strange but I’ve been around horses
looking for light against dark and dark and drawing them for a long time.
• Art Spectrum Colourfix pastel against light, subtle variations and For me this is completely natural
paper, Aubergine. The artwork my darkest dark and lightest light. and goes to show just how much I
measures 15cm x 19.5cm with am connected to them and my art.
a 1.5cm border for framing.
Step one
• General’s Charcoal pencil, HB
I draw very lightly my initial outline Step thRee
• Faber-Castell PITT Pastel
Medium 1122-101 (White) using the HB charcoal pencil to allow I now begin the process of getting
• Derwent Pastel sharpeners easy erasing if needed. I place in charcoal on the paper, and looking
• Faber-Castell Knetgummi enough detail as so I have a ‘map’ to for my lights to add the white pencil.
Art Eraser work with. I will take however long I don’t leave the white until the end
• Winsor & Newton Designers I need for this initial outline to be because by then the values will all
Gouache, Permanent White accurate in anatomy and proportions. be wrong. I guess the sensible thing
• Mont Marte Taklon I refer constantly to my reference to do is to work top to bottom, left
Detailer 5/0 brush photo, anatomy plates, other similar to right (if you’re right handed) but I
• Art Spectrum Pastel photos if need be and better yet - a am too impatient to do this! I prefer
Primer, Aubergine. real life horse (if possible!). Do not to be a Big Picture artist - working
• A4 tracing paper (to rest guess or make up anatomy. If unsure, over the entire horse instead of
drawing hand on) use the aforementioned to help you. concentrating on one thing at a time
• Artist Tape. to completion (Small Picture artist).
• Reference photo. I am using the colour of the paper as
Step two one of my values and must remember
• Drawing slant board and/
or table/studio easel. I have developed a habit of establishing this as I build my full range of values.
my darkest dark and my lightest light I am using little strokes of hatching
D e m o n s t r a t i o n
and small circles as my mark-making.

I am looking at my reference photo
and observing shapes constantly, as
well as bone and muscle structure.
Step FoUR
Easier said than done for me! As a detail
junkie, I have to keep reminding myself
to leave the detail until the end. If I start
to fiddle/obsess with an area, I purposely
stop myself and take a moment to analyse
the entire artwork. Continuing to do
this; stop and analyse will help keep the
artwork consistent, moving forward and
Step thRee fresh. I take note of what isn’t working
as I’ll return to it at some point. Through
my decades of drawing, I have discovered
there will always be a ‘weak’ part of the
artwork - the part which I try to avoid
as I’m not sure how to go about it or it’s
just not working, no matter how many
times I try. I find leaving it until almost
the end forces me to have to deal with it!
Step FiVe
The time has come where I seriously
need to observe the artwork from a far.
I place the paper and reference photo
on my large studio easel, stand back
and spend time looking them over. I
am not aiming to slavishly copy every
single line; dip, bump and hair, rather I
Step Six interpret what information my reference
photo is showing me. It’s important
that the viewer’s eye is taken straight
to the horse’s eye and head, therefore
I am leaving the neck and shoulder
as suggestions, with only the bare
essentials of shadow, muscle, light/
dark and what can be seen of the mane
as a guide for the viewer rather than
drawing the neck to the same level
of completion as the head will be.
Step Six
I now use the side of the charcoal
pencil, holding it by the end and very
lightly scumbling the pencil over the
paper, lying in a light base to work
from. I go over the entire horse, adding
Step eight (a) this in where needed, looking for big
shapes first and smaller shapes after.
ARTIST’S
HINTS AND
TIPS
,WWRRNPHDORQJWLPHWRUHDOLVH
and understand that art is about
you, the artist. It’s a visual story
about where the artist is in their skill
level/knowledge of their medium
and subject matter, and how they
use their heart, hands and head
to interpret their subject matter.
$UWLVW·V 4XDOLW\ PDWHULDOV DUH D PXVW
&KHDS DQG FKHHUIXO LV RQO\ JRRG IRU
kids and people who like to ‘have
a play’. If you plan to become a STEP EIGHT (B)
serious artist, investing in the best
supplies will save you so much time,
materials and frustration later on. By now there should be charcoal STEP EIGHT
0DUNPDNLQJ1RZWKLVLVIXQEXW on the paper where it needs to be, My favourite part! If I’ve been a
is also a tool in its own right. How (remembering I am using the paper good girl then the time has now
you use your charcoal pencil (or colour as a value too so there will finally arrived to add some yummy
any other pencil for that matter) will be parts of the drawing where there detail to help pull everything
determine the finished ‘look’ of your is no charcoal laid down. I need to together and give that touch of magic
artwork. I recommend grabbing a make sure the charcoal areas and to make the artwork complete. I
VFUDSSLHFHRI&RORXUIL[SDSHUDQG non-charcoal areas are balanced). sharpen my pencils again because
experimenting with hatching, cross- For me, doing this process signals this can get fiddly. Little things
hatching, squiggles, circular strokes, I am now about halfway through. that I observe and like to add are
dots, dashes and layering to achieve whiskers (this horse was a show
darker values. Try ‘feathering’ your horse and had his whiskers clipped),
strokes - just the lightest touch as STEP SEVEN some veins and anything else that
so your charcoal pencil skims the Through my earlier evaluation, there enhances the final artwork. I know
VDQGHGVXUIDFH1RZWU\WKHSHQFLO was something about the ears and when I’m finished as I am starting
on the side, using more pressure and muzzle that was bugging me. It took to search for more detail to add. I
creating a heavier, thicker mark. Try me a while to realise that the ears am not aiming for a photorealistic
EOHQGLQJXVLQJWKHSHQFLOZLWK12 were too long and the muzzle was a artwork, hence the need to stop!
fingers or tools. If you can achieve complete mess! I sighed loudly but
seamless blending of a value scale got to work fixing the problems. I
(from dark to light and light to erased both ears, used the primer to STEP NINE
dark) just using your pencil, then cover my previous lines and when This is all about adjusting my
you are on your way to mastering dried, redrew the ears, using my final values. Yes, I know, I keep
mark-making, charcoal pencils and pencil to help with measuring and going on about values but these
your drawing skills in general! angles. Once satisfied with the ears, are so important! Throughout the
6LJQDWXUHVDUHDQLQWHJUDOSDUWRI I erased the entire muzzle and started artwork I have used my kneadable
artworks. Your artwork should again. The muzzle was too shallow easer as a tool, just like my pencils.
be instantly recognised by your in depth and the nostril too long and I never rub the eraser over the
artistic style and by your signature. misshaped. It was then my eye was charcoal - it will only smear and
It should not compete or outshine drawn to the jowl. Arabians have stain it into the paper. Instead, mould
your artwork. It is recommended by large jowls, and what I had drawn the eraser into the shape you need
professionals within the art industry was way too shallow in depth and and dab it onto the paper, using
to not use your first name only as wrongly shaped. I did the whole a clean part each dab. You will
this is viewed as unprofessional. You process of removing, priming and be surprised with just how much
may wish to come up with a fancy, redrawing. I am now happy with the charcoal comes off! I use it to tone
unique logo. Some artists even anatomical structure and, to my eye, down the charcoal if I have applied
everything looks good to continue. too much or need a lighter value
aRtiSt’S
hintS anD
tipS
use a stamp. Whether you
include the date/year is personal
preference, but just make sure
your signature doesn’t distract
from the subject matter.
• Love what you draw! You may
have heard the saying, “Paint what
you love” but it is so true. Don’t
draw for fads or galleries. I have
been told my entire art career that
equine art isn’t ‘real art’ and I need
to draw landscapes and elephants.
Step ten It was soul destroying to be told
this over and over, and perhaps
most people would’ve given up
and use the same technique with the Step ten decades ago, but how does one
white pencil too. It is also worth I always leave the hair (forelock, give up their heart and soul? I
mentioning not to be afraid to go mane, tail) to the end. I was taught cannot just stop drawing horses
dark… I mean, really dark, if the to take my time with the hair and because other subject matters are
value calls for it. Many artists have a render it properly to achieve a natural more sellable, and whilst I have
standard formula: Shadows = Dark/ look. In fact, drawing the hair is so delved into other subject matter,
Black. Not true. Believe it or not, important that it even gets its own none feel as connected to me as
but shadows actually do reflect light heading! This particular artwork isn’t my horses. I draw horses because
too! You need to study your values the best demonstration for showing to not draw them would mean my
within the shadows. A little trick is how I create the hair, but you will whole art existence is pointless.
to lighten the reference photo on the get some idea by the forelock. Like
computer to show you these value a horse’s coat, hair will always ABOUT REFERENCE PHOTOS
variations within the shadows. show the lightest light, mid-values It’s simple: if you did not take the
photo yourself, you need to seek
permission from the person who did.
This is Copyright Law. Make sure
the permission is in writing and, if
requested, you clearly state the name
of the photographer (this is called
a ‘Photographer’s Credit’) with the
artwork. If the photographer is a
professional you may be asked to
pay a commission off the sale and/
or sign a release form stating what
you can and can’t do with the photo.
There are websites (try www.
wildlifereferencephotos.com) set up
now for artists, and Facebook has
heaps of groups (Photos For Artists
is very popular!) for copyright-
free reference photos. I allow
other artists use of my own photos
provided I am credited, and have
many artists from all over the world
Step eleVen contact me requesting permission.
and darks where the sun can’t reach exhalation? Have I carved out the look or sit right within the drawing.
and cast shadows. I use the paper fine bone of the head? Is the hair My eye should be able to travel
colour as a value and use light, falling/flowing naturally and with around the artwork without being
fluid strokes to give the impression weight and depth? Are shadows distracted or stopped. I will do this
of fine hairs but without being too placed correctly? If I squint my eyes, over a few days but will reach a
fussy. Horse’s hair is never perfect; I do I achieve a full range of values? point where I take down the photo
always add in the little wispy bits and Is there anything distracting or just and examine the drawing alone.
stray hairs for life-like rendering. plain ugly? And of course, questions The artwork needs to be strong
such as ‘Do I like this?’ (Yup, yup!), and powerful enough to stand on
‘Is the artwork strong enough to its own. I usually end up adjusting
STEP ELEVEN stand alone?’ (Yes) and ‘Have I things like values, edges (hard and
By now I consider the artwork done. achieved my vision/goal?’ (Yes- soft)/marks and hair. I take a photo
I hold up the artwork at arm’s length better than I expected!) are vital! of the artwork and check it looks
and ask myself a few things: Is good. I now sign my artwork and
there expression and feeling being place it face down on my easel to
portrayed through the eye? Are the FINAL STEP then check one last time a few days
angles correct? Are the muscles on I am a neat freak by nature, and later before properly photographing
the neck and shoulder in their correct throughout the drawing have it for my website, online galleries
placement (this is where it is so constantly kept the surrounding and social media pages.
important to know and understand paper clean, but now I do a once
equine anatomy, both inside and over again to make sure there is no Contact details
out!) and look rounded and show residual charcoal where it shouldn’t Email: ainsliegillespatel@gmail.com
weight? The answer to that one is be. I down my pencil and eraser; Website: ainsliegillespatel.wix.
no! I adjust the large muscle that clip the artwork and photo to my com/ainsliegillespatel
sits under the neck (Sterno-mastoid). easel, step back and observe (again). Facebook & Instagram/
&DQ,IHHOWKHQRVWULOVWUHWFKLQJZLWK I look for anything that doesn’t ainsliegillespatel I
k e y
en or lan
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IDRIS MURPHY. Weipa Harbour, Storm Clouds. Atelier Interactive on board, 120x120cm, 2005.

Image courtesy of King Street Gallery on William http://www.kingstreetgallery.com.au

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Cover image by: Jennifer Marshall

Returning to the big smoke I looked around

On overseas trips, funded by my

Gentle Giants By John Cornwell

This masterful Australian includes working horses in many of his paintings.

STEP TWO STEP THREE

STEP THREE STEP FIVE

MASTER HINTS AND TIPS

STEP SIX DETAIL

Full rich impasto for striking textured

Thinner viscosity free flowing for a

Intense, vibrant colours including

Artwork by Ian Sax

Derivan Pty Ltd

local art shop and was amazed by

“Although I have found the many

Stock workers on Australia’s dusty cattle stations inspire this artist.

Simple and Basic By Ros Psakis

This artist/tutor teaches a simple, basic method of working with a limited

class to find their own style.

Horses in the early morning light: A beautiful atmospheric subject rich in

• Art Spectrum artists’ oil colours:

STEP FOUR STEP FIVE

STEP SIX FINAL STEP

The Safe Solution for Sketchers & Painters

nd out more about the Zest-it range, visit our website at

draftsmanship, concept artists, the list

Charcoal and Pastels

• Canson mi tientes paper

ARTIST’S HINTS AND TIPS

A Passion for Horses

Turning In The Lucerne

maths lessons, which didn’t impress the teacher,

What’s Going On?

stubborn and I did not want to be forced to paint

Midnight's Last Charge

straight off! This medium was exactly

had no idea that I would be painting

Ph: 07 4661 4176

This painting was inspired by a true story from World War I

STEP SIX STEP SEVEN

shadows. I rough in the bridle with STEP EIGHT STEP TEN

STEP EIGHT STEP NINE AND TEN

the horizon line of the sand dune

‘Harry Chavill’ By Sue Linton

This painting realised an exciting

• Canvas board. underpainting.

STEP FOUR STEP FOUR

The Art of Scratchboard

Dad‘s Leopard Don't Talk Back to Me!

Red-billed hornbill Hope for Africa

Victoria Falls and white browed sparrow Weavers

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