CO

LL
ED ECT
IT OR
IO
N S’

Y E A R B O O K

MY JOURNEY MY LIFE
BRETT JARRETT

AUSTRALIAN
ICON OF ART
MARGARET OLLEY

Explore the world of art

A R T I S T S ’ P R O F I L E S A N D W O R K S H O P S
 EDITOR’S LETTER
Welcome to the latest issue of Creative Artist magazine.
W
elcome to Creative Artist’s second
yearbook.
Inside these pages we showcase
some fabulous exhibitions, highlight some
stunning international galleries, and pay
homage to the unique Margaret Olley in our
Australian profile.
Several other amazing artists are also
featured, sharing fascinating snippets of their
life stories, as well as giving us step-by-step
directions in their workshops, which range
from oils to pencils to watercolours.
Photographers are in for a treat with a
profile on nature photographer Ian Brown,
accompanied by some of his spectacular
photographs, and Margaret Hodgson OAM
shares some clever ideas for extreme close-
up, macro photography.
Other must-read articles include Master
Scrapboard Artist Patrick Hedges’ scratchboard
hints and tools, our ever-popular Q&A in
Brett A Jones’ ‘From the Drawing Board’
column, plus Derek L Newton’s informative and
entertaining ‘My Space’ summary of the artists he
has visited in their studios the last 12 months.
We trust you’ll enjoy this yearbook as
much as we do. As always, we look forward
to your feedback. If you wish to be featured
in Creative Artist, please email correspondence
to: The Editor, simon@wpco.com.au,
or post your contributions to:
Creative Artist, PO Box 8035,
Glenmore Park, NSW, 2745.
Simon and the team
artist 3
CONTENTS YEARBOOK 2016

10

16
Galleries
32 Inspiration – Margaret Olley – an Australian

38
Icon of Art
52 International – “On the Green” opens at
Glasgow Museums; Ingres on Show; Alex Katz at
Serpentine Gallery

62 Profile
10 Ian Brown – Nature Photographer –
Photography
16 Brett Jarrett – My Journey – My Life –
Fine Art
38 Leanne Crisp – Gentle Paintings with a Giant
Brush – Fine Art
46 Steven Gooch When I Started Drawing –
Fine Art
62 Phillippa Augl – Art is a part of who I am
– Fine Art

4 artist Cover image by Brett Jarrett

 Contents
46
Workshops
24 Brett Jarrett – ‘Tide Chasers’ Hooded
Plovers – Oils
44 Leanne Crisp – My Technique – Watercolour
50 Steven Gooch – Young Jessica – Pencils
68 Phillippa Augl – Edge of Awareness – Oils

Regulars
Contents
3 Editor’s Page
6 The Vibe
6 Shooting for Art – Macro
Photography – Extreme Close-Up
58 Tools – Patrick Hedges
71 My Space
74 From the Drawing Board
76 Book Store
82 Next Issue
artist 5
THE VIBE
What Lies Beneath
Images ‘What Lies Beneath’ is an arts-as-inquiry project
Below left: As the taking place over winter at Burrinja Gallery, in the
bundles unravel, prints Dandenong Ranges of Victoria. It is facilitated by
are revealed. Embodied Arts Collective (EAC), a collaboration
Below right: Shroud book between eco-printing artist and therapeutic arts
of process: practitioner Jacqueline Grace and Rebecca Funk.
“The Shroud of
Together they offer participants the opportunity to
Unbecoming”, 2016
Micro/Macro exhibition immerse in the process of eco-printing, a form of
piece. Mixed media natural dyeing where leaves are wrapped with cloth,
sculptural piece with paper or leather around metal, tied up with string to
composted silks and create a bundle and steeped in water to create close
moss. contact prints.
In this immersive experience, participants are
invited to stay present to the “not yet knowns”
as they create, following threads of curiosity that
emerge to develop a body of work. Exhibited
artworks will not be limited to eco-printing but may
include soundscapes, dance, sculpture. . . whatever
medium supports the emerging story seeking to be
told. Individual as well as collective works will be
generated and showcased in the exhibition.
6 artist
The body of work will be generated over two
weekends of workshops in early June, where
leaves will be gathered, leather stitched, dresses
deconstructed, bundles brewed and stories told.
This project seeks to give voice to embodied
knowing, and a chance to exhibit the process of
what occurs in attending to the making, rather than a
finished piece. Philosophically, Embodied Arts Collective
sees art-making as iterative, always becoming, never
complete - metaphor for the experience of being
alive. In this way, ‘What Lies Beneath’ is contributing
to a cultural shift from an outcome orientation, where
meaning can be abstracted and quantified, to an
explicit tending to process and present-moment
experiencing. Eco-printing materials such as the dye
pot, locally-foraged eucalyptus leaves and salvaged
metals, as well as the prints themselves, become
“animate others”, contributing to the inquiry and
generation of works. Art-making is an intricately
collaborative experience.
EAC sees shamanic and arts-as-inquiry
processes as complementary pathways that bring
us to the edges of the not-quite-known, and help
us be with what lies there in new ways, and make
art from this place.
Participants include curators, established and
emerging artists, therapists, photographers, those
with a curiosity about eco-printing and attending
to process, and those with a desire to immerse in
a creative winter’s journey.
“Eco-printing is a generous medium. Each step
of the process holds its own curiosity, whether it
be the spent leaves, the disintegrating metal or
mould spores seeding on a long forgotten bundle,
allowing us to experience beauty in inconspicuous
and often overlooked details. Life, movement and
vitality is present everywhere, if only we look
closely enough, with eyes of wonder and hands
willing to be earthed.” Jacqueline Grace.
The What Lies Beneath exhibition is
at Burrinja Cultural Centre, corner of Glenfern Road
and Matson Drive Upwey VIC 3158
Ph: 9754 8723
Opening hours: Tuesday to Sunday 10am - 4pm
Dates: 7 July - 7 August 2016
Web: www.whatliesbeneathexhibition.com
Visit Embodied Arts Collective on Facebook
and Instagram
Bruce Armstrong – An Anthology of Strange Creatures
EXHIBITION
One of Australia’s most acclaimed sculptors, 26 August 2016 –
Melbourne-based Bruce Armstrong is best known January 2017.
for his monumental totemic figures which can be
seen in public spaces around the country. Often
hewn from massive pieces of red-gum, his birds,
Images
beasts and figures have a raw energy which assert Left: Bruce Armstrong
a commanding presence and engage directly with Guardians 1987 (detail)
the viewer. red gum
‘Bruce Armstrong: An Anthology of Strange (a-e) 204.4 x 307.3 x
Creatures’ is a major survey of the artist’s 118.4 cm (overall) (f-j)
work from the 1980s through to the present. It 171.0 x 307.5 x 137.4 cm
highlights his ongoing interest in mythological (overall)
figures and his enduring preoccupation with the National Gallery of Victoria,
Melbourne
relationship between sculpture and architectural
Presented by the Bardas
design. Drawing from both public and private Exhibition: 26 August 2016 – January 2017 Family as the winner of the
collections, the exhibition brings together more The Ian Potter Centre: NGV Australia Bardas Family Sculpture
than thirty of the artist’s most memorable Ground, Level 1 & Level 2, Foyer Commission, 1987
sculptures. Web: http://www.ngv.vic.gov.au © Bruce Armstrong

Images
NGA partners with Versailles Left: The Sun King,
gate at the Palace of
Versailles
The National Gallery of Australia (NGA) is working an experience to © Vasyl Helevachuk
with the French Government and the Palace of Australia that has (Bazil8)/Dreamstime.com
Versailles to deliver a major exhibition opening in never before been Below left: The Hall of
December 2016 in Canberra. seen outside France. Mirrors at the Palace
of Versailles 1678–84
More than 7 million people make the journey to ‘We are very
© Jose Ignacio Soto/
the Palace of Versailles every year to experience excited to be working Shutterstock.com
a phenomenon central to French history - Louis with Versailles to Below right: Palace of
XIV’s architectural masterpiece, the centre of his bring exclusively to Versailles
court of absolute rule and the embodiment of Canberra a truly astonishing exhibition and look © Pecold/Shutterstock.com
luxury. The luxurious interiors and gardens were forward to sharing more details in coming months,’
often the backdrop to enchanting and extravagant said Gerard Vaughan, NGA Director.
celebrations including masked balls, theatre,
opera, concerts, sumptuous feasts and fireworks.
With the support of the French Government,
the NGA partnership with Versailles aims to bring

artist 7
THE VIBE

EXHIBITION
20 August 2016 –
2 October 2016
Yvonne Audette in Spain

Images Yvonne Audette has been described as 'Australia's Born in Sydney in 1930, Yvonne Audette
Below left: Yvonne Audette greatest living abstract painter', but has also held enrolled at the Julian Ashton School, where she
The Earthenware Pot, strongly to the belief that drawing the human was inspired by the teaching of John Passmore,
1955 figure from life is a vital part of an artist's training. who had recently returned to Australia from
ink and wash on paper This exhibition presents a body of early figurative England, and who taught his students to look
Collection of the artist
work, produced before her time spent studying at the subject of their paintings as not only a
Below middle:
and working in New York and then Milan led her to connection of rods, but also as a collection of
Yvonne Audette
Seated Woman with embrace Abstraction almost exclusively. facets and as a creation of basis mathematical
Plate, 1955 In 1955, she travelled to Spain, a country shapes. She studied in New York between 1852,
ink and wash on paper still smarting from the horrendous experiences and then lived and worked in Italy, becoming
Collection of the artist of the Civil War. Her experiences there and her involved in the European avant-garde. From 1969,
Below right: observations of the Spanish people led her to she has been based in Melbourne.
Yvonne Audette produce a remarkable body of figurative work, which
Man with Soup Ladle, records in detail the daily life that she observed An Art Gallery of Ballarat exhibition
1955
around her. It includes powerful images of disruption Timken Gallery
ink and wash on paper
and dislocation - tragically we find ourselves witness 40 Lydiard St North, Ballarat, Vic, 3350
Collection of the artist
to similar scenes in Europe today. This exhibition will Admission: Free
present this remarkable body of work to the public Dates: 20 August – 2 October 2016
for the first time. Web: www.artgalleryofballarat.com.au

8 artist
The Plunge
During the Plunge, Clarence Valley Arts and Culture Students enjoying time relaxing with art
Festival 2016, NSW, a weekend workshop on
Botanical and Wildlife illustrations was conducted
by Margaret Hodgson OAM at her ‘What’s Up the
Scrub Studio’ space at Copmanhurst in the Northern
Rivers.
Nature lovers attended the two-day workshop to
learn the art of Natural History Illustration, where
they were all able to soak up the bushland setting
at the studio and get up close and personal
Students at work in
with wildlife and wildflowers. All the participants the studio space
produced lovely works, even the talented
beginners with an eye for detail and keenness to
learn were able to capture the essence of their
subject. It truly was two great days communing
with nature’s green canvas; a little piece of
paradise in the Australian bush.
Images
Contact details: Above: Margaret
Margaret Hodgson Students sharing Hodgson with students
Ph: 02 6647 3157 their skills at the Botanical &
Email: whatsupthescrub@gmail.com Wildlife Workshop

Mastering Metal
Gilbert Riedelbauch has been based in Canberra During April and May 2016, selections of Images
since 1992 and identifies himself as a Designer/ Gilbert’s work were on display at the Nancy Sever Below: Wave 1 red.
Maker working with variety of materials and Gallery in the ACT (nancysevergallery.com.au).
processes. He holds qualifications from the His next exhibition will be at the Museum of
Australian National University and the Akademie der Applied Arts & Sciences in Sydney. Several of
Bildenden Künste Nürnberg, Germany. He exhibits his works will be included in the ‘Out of Hand:
his work nationally and internationally. Materialising the Post-Digital’ exhibition that will
His awards include the coveted Bayerischer open from September 2016 until July 2017. His
Staatspreis: Meister der Moderne (2002), Germany work is part of the Australian reference, which
and a national teaching award for his contribution to is travelling from the US. This exhibition was
university teaching, a Carrick Citation (2007). He originally developed and shown at the Museum of
is the Postgraduate Coursework convener and the Arts and Design (MDA) in New York.
head of Foundation Studies at the School of Art,
Australian National University, Canberra. Contact details:
The current body of works is created through the Email: Gilbert.Riedelbauch@anu.edu.au
combination of digital technologies with traditional
metal working techniques and the integration of
digital fabrication with traditional ways of making.
Their designs are guided by his interest in finding
and giving form through stressing surfaces. These
stresses are controlled by lines engraved with the
help of a computer numerically controlled (CNC)
router. Following fundamental geometric principles,
these lines predetermine the resulting topology of
the object.

artist 9
PROFILE

Explaining his passion, this nature

photographer says, “Often you
discover something better than you
could ever have imagined, and that’s
the most special of all”.

I
jammed both large format film and digital
equipment into my pack, with as little camping
gear and food as I could get away with, and
trekked to a familiar mountain-top with wide vistas
of wilderness and interesting foregrounds. Through
the late afternoon and evening I wandered around
the cliff-tops, scoping possible compositions and
even getting a few pleasing images. I went to bed
hoping for clear dawn light.
Before sunrise I woke to a gloomy, engulfing fog.
I usually relish fog, but this wasn’t the best place for
it to be. Disappointed, I set up my tripod anyway,
looking for alternative ideas. As the light grew, I
noticed variations in the gloom – and suddenly the
clouds parted. The rising sun poked briefly through
a gap in the clouds. There was no time to use
my large format camera, but I captured “Sunrise,
Kowmung country” on the quicker digital. It is one
of my favourites.

10 artist
 Ian Brown

Nature Photographer
>>

artist 11
ProFILe Nature PhotograPher
There’s nothing better than being in the wilds
when something wondrous happens. Every fibre
zings, focus is intense, and for a few moments
nothing else matters. If it is possible to capture
the moment in a powerful image, then the
exhilaration can be extended. I’ve learnt that you
can travel with all sorts of expectations, but you
can never predict what might happen or what you
might see. Often you discover something better
than you could ever have imagined, and that’s the
most special of all.
Now I travel hopefully, but try to remain open to
everything. I practice looking to see, and responding
to the unexpected. Too often I’ve walked past an
opportunity while focused on something else. I know
now that you can rarely go back, because it won’t
be the same. Nature changes all the time. If instinct
whispers that the combination of subject, form and
light are right, right now, then I try to listen and
act. The more time you spend at it, the better your
instinct will become.
12 artist
My photography arises from my relationship with
nature. I spent a lot of time ‘mucking about’ in the
local bush as a kid – sometimes with a yobbo lack of
sensitivity. But my first ‘serious’ bushwalk changed
my life. It was in the Blue Mountains in NSW, tough
and exhausting: four days in big, intimidating terrain.
Yet I was never frightened, and back at school I
couldn’t get those blue plunging ridges out of my
head. I found the bush so inspiring, I just wanted to
record the beauty and wonders to show people. I
got a small camera. Decades later my motivation has
grown more complex and yet that sense of wonder
and the desire to discover and reveal remain strong.
Those early experiences shaped my outlook
and my life. I studied environmental science and
have worked in national park management and
environmental consulting. I continue to undertake
wilderness journeys and to lend my time to
conservation causes, mainly for nature protection.
There’s nothing better than seeing my photographs
promoting the value and importance of the wild.
 Ian Brown
I have roamed widely across Australia and
sometimes overseas, usually for the wilderness
experience rather than just for photography, but
even when climbing mountains in New Zealand I’ve
usually carried a good (if small) camera. These
days my trips can have twin objectives, and locally I
often bushwalk mainly to photograph. My favourite
method is to get to a good site and spend time
wandering around absorbing the place, looking for
potential images, then photograph at my leisure.
That’s one reason I enjoy fog and other dull weather,
because you don’t have to rush. I think I do my best
work that way. I often just sit, to look and listen,
and have recently begun recording natural sounds.
Sometimes you have to go for it, such as when the
weather or light is changing fast, but I don’t enjoy
that as much, even though those conditions can
produce dramatic and unique images.

>>

artist 13
PROFILE NatuRE PhOtOgRaPhER
I love new country, but also return to the same
places, often on well-tramped tracks. Most artists
rework themes and themselves, forever striving
for that elusive perfection – or at least a quixotic
personal satisfaction. The Blue Mountains where I
live and work is an incredibly rich landscape that
continues to surprise and inspire me. Some of my
best images have come from close to home. It was
the great photographer Edward Weston who said
(with a twinkle in his eye, I think): “Anything more
than 500 yards from the car just isn’t photogenic”!
I have never worked full time in photography,
and maybe that’s a good thing. As much as I like
to make some income from it, I do not see myself
as a commercial photographer (and let’s face it, no
nature photographer should ‘give up their day job’!).
I like following my own artistic impulses, making
photographs out of love.
My work has appeared in numerous calendars,
diaries, magazines and websites, and I enjoy
exhibiting in the Blue Mountains and selling prints
to other nature lovers. The stocks of my 2003
book “Wild Blue” are nearly gone, and I’m thinking
14 artist
of a new project. For a number of years now
I have published some of my best work in the
limited edition “Wild Blue Mountains Calendar”, an
unprofitable but satisfying project, and a good focus
for my endeavours.
From my early days in 35mm, I moved into
medium format film for the resolution and then 4 x
5 inch large format. Some of my favourite images
came out of my old medium format press camera,
and I still very much enjoy the contemplation and
process of using the large format view camera,
with its precise control of the focal plane and
composition. When a film image succeeds it is
intensely satisfying, but digital is often more practical
and has other advantages like exposure certainty,
post-capture adjustment, stitching, and focus
stacking. Depending on whom you believe, full-frame
digital cameras are now approaching the resolution
of medium or large format film, at a price.
Digital offers endless potential for post-capture
manipulation. But in keeping with my philosophy
of respecting nature, I try to “keep it real”. I
dislike the current fashion for over-saturation
 Ian Brown
and exaggerated reality, feeling it dishonours
nature and creates false expectations. It can
also sacrifice content and subtlety for immediate
impact that quickly fades – just another extension
of the consumerist mindset. I prefer to seek out
unusual subjects and compelling light.
I have a collection of fine photographic books
from many photographers who have inspired me,
all for different reasons. And it is also nice to know
that even revered photographers don’t always
produce stunning work. Truly great images are rare
and precious. I also enjoy and gain inspiration from
other visual arts.
I have reached the finals of the ANZANG Nature
Photography competition three times. It can be
nice to get confirmation that someone else thinks
you’re producing worthwhile work, but only a fool
would take too much from “winning” or “losing” in
competitions which always come down to judges’
whims and a bit of luck. I figure it is better to aim
to consistently produce solid work that collectively
tries to meet your artistic aspirations. Then maybe,
very rarely, if ever, you might come up with
something wonderful.

Contact details:
Email: ianbrownphotography.com.au n

artist 15
PROFILE

My Journey – My Life

>>

16 artist

Australia’s most travelled animal painter shares his
joy, dedication and absolute obsession for creating
paintings that do justice to the stunning and unique
birds and animals that he so keenly observes.
I
t would be fair to say my whole life has been
dedicated to discovering and painting animals,
in particular birds. For the naturalist and artist
in me, the 15,000 plus species worldwide is an
endless stream of the beautiful, the elegant and the
extraordinary. It is not only the external appearance
of birds I find fascinating, but their behaviour in
executing bizarre physical feats in flight, courtship
and hunting strategies, and it’s these reasons that
have kept me spellbound since childhood. The
excitement of venturing into the field to witness
and absorb wildlife in such an obsessive way may
seem strange to most people, but underlying this is
the fulfilment that comes from dreaming up ideas
for future paintings.
Now, with two small children to raise, my days
of venturing off for weeks or months on polar
expeditions, scientific projects or living abroad are
behind me. Yet despite endless wild places and
things to experience, the time spent away from
bringing those ‘dream’ paintings to reality must be
balanced in equal measure by being productive in
my studio, designing and creating the very subjects
that inspired me to travel in the first place.
Of the twenty-five years that I have been working
as a natural history painter, collectively twelve
years have been spent away from the easel. This
itself can feel frustrating simply because I’m an
artist who craves excellence; I don’t want my work
Paintings
Left: 'Spring Hunt' Polar Bear
Below: 'Childhood' Emperor Penguin chicks
Brett Jarrett
artist 17
PROFILE MY JOURNEY – MY LIFE
to be stagnant, it must move forward and evolve for
the better, after all that’s what a craft does, inspires
to be the best it can by learning and understanding.
With each painting, large or small, there is often an
element in the work that is better than the last, an
element of realism, texture or tone that stands out
as a mark of success, and it is those small steps that
make painting exciting and addictive.
As a self-taught painter and Australia’s most
travelled animal painter, I have searched for subjects
worldwide. A strong interest in marine birds and
mammals eventually led me to Antarctica where
I’ve spent nearly three years of my life working on
special field projects, as an artist and lecturer, with
my first Antarctic experience being in 1996 over
a four-month period, working in the field collecting
data on Weddell seals. My love of polar climates
ultimately led to visiting the geographic North Pole
on two occasions, while along the way experiencing
remote ice-covered islands and extraordinary wildlife
such as the Arctic’s Bowhead Whale and Polar Bear.
Growing up with an ever-present adventurous
streak and curious mind towards animals, I was
keen to see new species that rarely are presented
on a canvas, so in 1998 a move to Germany,
Finland and eventually California opened up new
opportunities and even more interesting subjects
to paint. Whilst searching for wildlife from Northern
Lapland to Canada’s Hudson Bay, North, South and
Central America, I was fortunate enough to have
spent twenty months over four years covering the
entire eastern tropical Pacific from Midway Atoll to
Peru’s Humboldt Current, collecting behavioural and
abundance data on whales, dolphins and seabirds.

18 artist
 Brett Jarrett
As a child growing up by the sea, whales were
a big fascination for me and were almost mythical
in their infrequent appearance. In 2006, well
experienced and evermore intrigued with these
stunning mammals, eventually led to my conceiving
the idea of co-authoring and illustrating all the
marine mammals of the world, depicting for the first
time features and species never before published.
I later collaborated on illustrating several more
guides dedicated to marine mammals. The paintings
also went into other published works that include
numerous identification charts, posters, art books
and scientific papers.
My work has changed considerably in the last
ten years as a product of maturity, observation and
interpretation. I endeavour to paint more broadly
with important soft and hard edges that really help
my work. As a comparison, good realist animal
art shares the exact same stimulus as does the >>

Paintings Opposite page

This page Top left: Koala Mum and Joey
Above: Fancy Pigeon Below left: 'Pecking Order'
Collection Australasian Gannets
Right: Indian Tiger Below rignt: Cocker Spaniel 'BJ'

artist 19
PROFILE MY JOURNEY – MY LIFE

portrait, still-life or landscape. All require close

observation of your subject so as to depict it
faithfully to the best of your ability; anything less
would be unsympathetic. Often the term ‘Anatomical
Accuracy’ is a misrepresented claim solely
associated with wildlife art. It is really degrees of
observation needed to express physical features
and form of any subject, including its relevance to
the distance that the subject is being depicted in
the work.
On the eye, no matter whether the style is broad
brushed or tight, the overall tone should give the
viewer a true sense of time of day, meaning that the
light and shade make sense to the viewer’s eye, not
made-up where it leaves the painting looking artificial

20 artist
Brett Jarrett

Captions
This page
Above: Ivory Gulls
Right: Antarctic
Cormorants

Opposite page
Top: 'Ice Towers'
Polar Bear
Bottom: Crested Tern

artist 21
PROFILE MY JOURNEY – MY LIFE

and unnatural. This, along with accuracy, can come

together to create a wonderful sense of believability
that sets one painting apart from another. An artist of
any ability can use blue for a shadow and yellow for
light, but if the mix has had little thought or regard, it
will look contrived and be of a much lesser standard.
Throughout the year I produce no more than
twenty paintings, from small life-size portraits to
large, complex pieces that can take months to
complete. Producing works of a world class standard
and focusing on advancing the quality will always
be my mantra and an important legacy to leave. A
large volume of work often means fast, repetitive
and easily produced that doesn’t progress your
ideas, designs or skills. All too often, works can be
seen that are the product of a formula, every branch,
leaf and arrangement is the same. The best realist
art of any subject doesn’t look contrived, unrealistic
and poorly painted, it is done by passionate people
who know their subject and try to create enduring
paintings that simultaneously say a lot about the
artist’s experience and the subject.
Of all wildlife, birds are possibly the hardest to
paint correctly, and the reason is often unknown
to the viewer. Unlike mammals, and insects, birds’
feathers are defined into groups or ‘tracks’ that
give every species a unique look. This, coupled
with the colours, patterns, age and sex of the bird,
starts to make realistic paintings a very complex and
challenging pursuit.
Realist painting takes on many interpretations and
forms, and I see no distinction between a human
portrait and an animal or bird portrait, both in their
purest form are telling a story and an intimate view
of the subject’s beauty, personality, character and
expressions. Just like the artist’s inspiration for a

22 artist
 Brett Jarrett
landscape, the viewer doesn’t have to have visited
the actual location to make the painting personal
and a treasure to be enjoyed for decades to come.
The purchaser of the work is buying a significant
part of the artist’s life journey and passion for the
Natural World.
Internationally, my work has been represented four
times by the prestigious Society of Animal Artists
in the USA, and though Lovett’s Gallery in Tulsa,
Oklahoma. Throughout Europe and the UK my works
are held in numerous private collections, whilst
in Australia my works are available through the
Morpeth Gallery in NSW and soon through my own
gallery, the Bay of Whales Gallery, in Narrawong,
Southwest Victoria.

Contact details:
47 Liebelts Rd
Narrawong, Vic, 3285
Mob: 0415 464 572
Email: brettjarrett@optusnet.com.au
Web: www.brettjarrettwildlifeart.com n

Captions
This page Opposite page
Above: Superb Fairy-wren Top left: Black Caviar
on Blossom Bottom left: Cheetah Cub
Top right: Superb Fairy-wren Bottom right: Common
Right: 'Fire and Ice' Polar Bear Bronzewing

artist 23
WORKsHOP Oils

‘Tide Chasers’
Hooded Plovers
The clever Hooded Plovers are eagerly searching for food
that’s been uncovered by the receding tide.

24 artist
 Brett Jarrett
Materials
• Paints
Transparent Black
– Lamp Black
– Lemon Yellow
– Cadmium Yellow
– Cadmium Red
– Alizarin Crimson
– Ultramarine Blue
– Cerulean Blue
– Cobalt Blue
– Manganese Blue
– Sap Green
– Emerald Green
– Cadmium Orange
– Raw Umber
– Burnt Umber
– Raw Sienna
– Burnt Sienna
– Yellow Ochre
– Titanium White
Step 1
• Equipment
– Baker’s wrap
Step One – Palette knife
My painting technique is largely based on the initial – Graphite pencils
drawing being a tonal impression of the final work. (hard to medium soft)
The drawing acts as a guide to where dark, middle • Brushes
and light tones are found, therefore making the – Bristle (Hog hair)
cross-referencing to photographs less confusing, as 1 to 10 Filbert and
well as giving texture to the canvas that can create square tip
even more realism to the final work. Looking at the – Robert Wade Taklon
drawing, I already have a sense of the subject’s (Synthetic) 1 to 6
form; a vital aspect in making something look real. • Liquids
– Mineral turpentine
Step Two – Dishwashing liquid
Often I’ll tackle the focal subject first, in this case – Olive oil
the Hooded Plovers. While the paint is wet I’ll add – Liquin W&N (fast
some base colour surrounding the subject to create drying medium)
soft, ‘lost’ edges that will be important in the work – Fixative (aerosol)
later. It is much harder to revisit an area to create a – Varnish (aerosol or tin)
soft edge when two edges have dried than it is at

Final Step Step 2 artist 25

WORKSHOP OILS

Artist’s Tips
& Hints:
• Don’t be afraid to
keep a good choice
of colours on hand,
and don’t accept
advice that a painting
miraculously comes
to life using a limited
palette of five or
six colours. Light
and shade in nature
has every colour
possibility, so why
not YOUR palette?
• Reference photos Step 3
are essential if you
intend to create a
lifelike painting, and the early stage. Don’t be concerned that the work
especially true if your at this point looks very basic, as it’s the time for
painting is going to establishing ground colours.
take considerable
time to complete. Step Three
Taking multiple Now work starts on the surrounding sand and foam
images allows you on the water’s edge. Because light is an important
to select appealing factor in my work, the impression I want this
profiles, tone, and painting to have is more subdued surroundings, with
detail, and overall a the main light falling on the birds, letting them stand
pleasing aesthetic out from the background.
feel that gives you
a choice as what to Step Four
include and exclude I try not to get too distracted by venturing all over the
in your painting. painting, instead I tackle the elements that make up
• Use professional the whole work one by one, to a point of about 75%
colours; the completing. These elements are the water, sand, birds,
pigments have good and beach matter such as weed, stones, shells, et
covering strength cetera. Each area needs to merge into the other with
and if cared for some relevance and meaning to the final work.
will last for years.
If I have excess oil Step Five
paint remaining on This detail image shows new colours added to the
my palette from birds and sand, with colours that are absorbed from
one painting, I can the surroundings such as the bellies of the plovers
often use this as that will pick up warm browns from the sand and
underpainting for a cool blues from the water and sky. This is also when
background or to mix I rework the birds’ detail such as the flank feathers
new colours. that catch the light and eye detail.
• Care for your Contact details:
brushes. For oils, Final Step 47 Liebelts Rd
turpentine is The finished work of ‘Tide Chasers’ is completed by Narrawong, Vic, 3285
particularly hard on reassessing my lights and darks. I add sparkles of Mob: 0415 464 572
brushes, so be sure light to the foam and sand, and a few highlights to Email: brettjarrett@optusnet.com.au
to neutralise/soften the water settling on the sand. I darken parts of the Web: www.brettjarrettwildlifeart.com
water to push it into the background. 

26 artist
 Brett Jarrett
Step 4

these effects by
doing a final wash
in dishwashing
liquid. A quick dip
in olive oil is also a
good way to keep
them overnight. I
find some brands
particularly
expensive for
what you get out
of them, again,
like oil paint, they
may now not do
their intended task
properly so recycle
them for another
purpose such as
underpainting.
• Put your finished
painting aside for
a while, pull it out,
turn it upside down
and look at the
tones. Ask yourself
if the darks are
balanced, if there is
too much white and
are the highlights in
the right spot, and,
importantly, do the
critical subjects in
the work jump out
at you?
Step 5

artist 27
SHOOTING FOR ART By Margaret Hodgson OAM

Macro Photography
– Extreme Close-Up
Photography by Margaret Hodgson OAM

Macro
photography
in extreme
close-up opens
a whole new
world of getting
ultra close-up
and personal
with your
subject through
photography
and art, taking
you on a journey
of discovery into
magnification of
hidden beauties
in nooks and
crannies of a
tiny intricate
world.

Photograph
Left: Tiny Cuckoo Wasp, 1cm
long, taken with macro lens,
100 mm, Shutter 800
F-stop 2.8 ISO 320. This
tiny insect has a beautiful
iridescent body of blues and
greens

28 artist
 Photography
Photographs
Above: Reflection in a raindrop on the edge of a Hibiscus petal
after rain, taken on macro lens 100 mm, Shutter 125 F-stop 10
ISO 125
Top right: White and orange Triangle Moth, taken with macro
lens 100 mm, Shutter 160 F-stop 5.6 ISO 320
Bottom right: The Goliath Stick Insect, is about 20cm long, a very
impressive creature, view point from underneath, taken with macro
lens 100 mm, Shutter 800 F-stop 2.8 ISO 640
Bottom right insert: An extreme close-up of the Goliath Stick
Insect’s head showing the beautiful pink compound eye, and
amazing mandible, mouth-part appendages is a very complex
mechanism, taken with macro lens 100 mm, Shutter 60
F-stop 4 ISO 400

Y
our ‘Macro Studio’ for detail studies can be
in your garden if your interest is in nature.
For abstract structures, it can be in the home,
workplace or a small corner in the city.
In the ‘Macro World’, the use of macro lenses are
the obvious choice to use, but there are times when
a zoom lens is needed for that close-up, action shot.
Many modern lenses are geared with the ability to
focus close-up, but they cannot achieve the same
magnification or optical quality of a macro lens
designed specifically for macro photography.
In this article I will concentrate on the extreme
close-up with the use of macro lenses with a focal
length of 50 mm or 100 mm. Lenses with a focal
length of 50 mm make good basic all-rounders,
while 100 mm are excellent for portraiture,
which may not always be flattering but superb in
showing the detail etching of character in the face
of your study, creating brilliant reference material
for portrait painting.
For abstract detail, hone in on an extreme close-
up, by exploring movement and patterns in nature
of plant, animal and man-made structures, seeing
pictures from a different perspective that the viewer
will find interesting and surprising, looking at minute
detail that does not come naturally to the human
eye. The camera lens can transport us into an

artist
artists 29
SHOOTING FOR ART

Photographs
This page
Above: Citrus butterflies
mating, close-up, taken on
zoom lens 400mm, Shutter
125 F-stop 5.6 ISO 400
Right: Yellow Elephant Weevil
Beetle, 2cm long, taken with
macro lens 100mmShutter
125 F-stop 5.6 ISO 320

Opposite page
Top: Goanna skin extreme
close-up of front foot showing
beautiful patterns, (was a
road victim), taken on macro
lens 100 mm, Shutter 400
F-stop 5.6 ISO 100
Bottom: Grevillea
acanthifolia, taken on zoom
lens, 70 mm, Shutter 640
F-stop 8 ISO 2500

30 artist
Mating Elephant Weevil Beetles are around
2cm long, taken with macro lens 100mm,
Shutter 160 F-stop 5.6 ISO 1250

unfamiliar realm of knowledge and excitement.

For the natural history artist, the macro lenses
for extreme close-up allows you to exploit its
capabilities, exploring your subjects at a whole
new level in a totally different dimension, creating
reference material on behaviour, especially in the
insect world, allowing the artist to produce accurate
scientific artwork without the aid of working under
a microscope. Capturing the intricate world of
beauty, action and behaviour of the insect and plant
kingdom that magnifies glimpses of our self; the
extreme close-up expresses emotion and shows
portals of the constructional environment in which
we live.
The challenge of extreme close-up photography
with macro is the closer you hone in on your
subject, the greater the loss of depth of field. This
means you cannot get all of your insect or flower
fully focus from front to back. To increase the depth
of field, you will need a higher aperture f/number:
f/32. The aperture is responsible for the depth of
field by controlling the amount of light, the higher f/
stops, the smaller the aperture, the light is less, the
lower the f/stop, the wider the aperture, gives more
light. The higher end of f/stops: f/32 gives a very
slow shutter speed and produces camera shake,
which means you will need a small tripod or more
light. If the overhead pop-up flash is too harsh, the
use of an adjustable Marco Twin Unit Flash with

Photography
swivel attachments will allow you to get shots down
the throats of tiny orchids in the field. However, in
good light the f/16 or f/25 will allow you handhold
extreme close-ups. Set mode dial to AV camera on
AF and stabiliser on, then play with the f/stops.
Active insects can be a super challenge to get
extreme close-ups, such as butterflies, bees, and
wasps, which are very active on hot days. Once
becoming aware of their activities, for example,
keep an eye out for emerging butterflies, as during
the process of drying their wings, a great photo
opportunity can be gained.

Contact details:
Email: whatsupthescrub@gmail.com
Ph: 02 6647 3157
Mob: 0428 267 710 
artist 31
InspIrAtIOn

Margaret Olley:
An Australian Icon of Art
(24 June 1923 – 26 July 2011)

Written by Margaret Heslin

Margaret Hannah Olley was born on 24

June 1923 in Lismore, northern New South Wales.
Eldest daughter of Joseph Olley and Grace (nee
Temperley), Margaret’s families both had long ties
with the region. The Olleys were a pioneering family
in the Lismore district, while the Temperleys lived
in Ballina and owned the local newspaper, The
Richmond River Times, during the 1880s.
Margaret’s earlier years were spent near Kyogle
at the family’s Horseshoe Creek property, before
moving to Tully in Far North Queensland. It was in
Tully that Margaret’s sister and brother were born;
Elaine in 1925 and Ken in 1927. By 1931, the
Olley family had returned to the Northern Rivers
region of NSW, purchasing a sugar cane farm on the
banks of the Tweed River near Murwillumbah.
Margaret and her siblings attended
Murwillumbah Primary School, where each day
they would row a boat across the river to meet
the bus into town. Her favourite subject at school
was art. Often visiting the family at the time was
her independent Aunt Mary, who was a great
mentor to Margaret.

Images
This page:
Hugh Stewart b.1960
Margaret in the Yellow Room 2008
digital print on archival paper, 75 x 57cm
Gift of the artist, 2015
Tweed Regional Gallery collection
© Hugh Stewart
Courtesy Philip Bacon Galleries

Opposite page
Top: Margaret Olley Art Centre at Tweed Regional Gallery,
Murwillumbah. Photo: David Sandison
Bottom: Hyacinth c.2000 © The Margaret Olley Estate

32 artist
 Margaret Olley

The family farm was sold in 1935 with the Olleys

moving back to Brisbane before returning to Tully.
Margaret stayed on in Brisbane at Somersville House
girls’ boarding school. It was here Margaret’s talent
for drawing and painting was first noticed, and her
art teacher, Caroline Barker, convinced Margaret’s
parents to send their daughter to art school to
further her studies.
Margaret began classes at Brisbane Central
Technical College. By 1943, she had moved to Sydney
to enrol in an art diploma course at East Sydney
Technical College (later the National Art School), where
she would meet up with her boarding school friend
and fellow artist Margaret Cilento. Margaret graduated
with first-class honours in 1945. She would soon
be involved in Sydney’s post-war art scene and in
the company of artists such as Jean Bellette, William
Dobell, Russell Drysdale, Donald Friend, Sidney Nolan,
Justin O’Brien and David Strachan.
With Donald Friend, Margaret was among some of
the first artists to spend time painting in the Hill End
area of western New South Wales, producing >>

artist 33
inspiration works like the 1948 ‘Backbuildings’. In the late
1940s, Margaret worked in the theatre as a set
designer, which included productions such as Jean
Cocteau’s Orphée with fellow artist, Sydney Nolan.
Margaret held her first solo exhibition at the
Macquarie Galleries in 1948, leading to both the
National Gallery of Victoria and Art Gallery of NSW
purchasing her works. ‘Portrait in the mirror’ 1948, a
self-portrait from that show, continues to hang as part
of the Art Gallery of NSW collection. It shows Margaret
surrounded by the many different objects that would
ultimately take up much of her attention throughout her
career; fruits and flower arrangements, pots and vases,
and myriad collectable objects. The same year, William
Dobell’s Archibald Prize-winning portrait of Margaret was
painted, which brought much unwanted public attention.
In 1949 Margaret embarked on her first overseas
trip. Based in France, she studied at the Académie
de la Grande Chaumière in Paris, and spent much
time travelling her way through parts of Italy, Spain,
Brittany, Venice, Lisbon and London. Her first European
exhibition was of monotypes at the Galerie Paul
Morihien in 1952. They included meaningful images
of landscapes and rural life such as ‘Nazaré’ 1952.

34 artist

Returning to Brisbane after the death of her
father in 1953, Margaret went on to both live
and paint from her mother’s home ‘Farndon’ in
Morry Street, Hill End, Brisbane. For more than a
decade Margaret remained in Brisbane; painting
for exhibitions, designing theatre sets and murals,
and eventually opening an antique shop in Stone’s
Corner. She was commissioned to produce a
number of mural works, including for the opening
of Queensland Art Gallery’s Place de la Concorde
French art today exhibition.
The following year Margaret and Donald travelled
to North Queensland, painting at Magnetic Island,
before Margaret continued solo to Papua New Guinea,
Malaysia, Cambodia and Bali. Her exhibition of works
from this period was held in the Macquarie Galleries
in 1955 to mixed reviews. It was her decision to
give up alcohol in 1959 that would lead her on a
new path, improving both her creative output and
general wellbeing. It was this period that signalled the
beginning of her decades long commercial success
Margaret Olley
with galleries and collectors alike. The success enabled Images
her to not only invest in properties in Sydney and This page
Above: The Blue Kitchen
Newcastle, it also allowed Margaret the means to
1993
continue painting and travelling, and eventually to her © The Margaret Olley
becoming a benefactor to artists and public galleries. Estate
In 1964, Margaret purchased her Duxford Street
terrace in Paddington and the adjoining old Hat Opposite page
Factory buildings. This became the home and studio Top: Margaret Olley
for Margaret and her great love Sam Hughes in the Art Centre Photo: David
early 1970s. It would almost become as famous as Sandison
the artist itself. A vibrant home, it was full to the brim Bottom: Tweed Heads
1963
with Margaret’s collected objects, which provided
© The Margaret Olley
and featured in a number of her artworks. To many, Estate
the home appeared disordered, but in actual fact
Margaret arranged it like a still life.
With Sam, they stayed at Paddington, in between
their overseas travels, until Sam’s passing in 1982.
Sadly, this year also saw the passing of her mother.
By 1988, Duxford Street became Margaret’s
permanent home, where she continued renovations
to the property’s back rooms, converting the old >>
artist 35
 inspiration
Hat Factory into her home and studio. She
continued her travels, covering much of Asia, Europe
and America. Here she spent time with friends and
viewing exhibitions by artists she adored, such as
the likes of Matisse, Morandi, Chardin, Bonnard
and Balthas. Despite her travels, much of her
subject matter remained primarily on her immediate
surroundings, although her experiences would
appear in the objects she included in her still life
arrangements, such as ‘Homage to Manet’ 1987.
The establishment of the Margaret Olley Art Trust
took place in 1990. Significant to Margaret, the Trust
was set up to acquire paintings for public collections.
The first retrospective of her work took place in Sydney
at the S.H. Ervin Gallery in 1990, along with the launch
of Christine France’s monograph. This was followed by
the Barry Pearce curated retrospective exhibition at the
Art Gallery of NSW (AGNSW).
Margaret would go on to show more than 90
solo exhibitions throughout her life. She received
much dignified recognition for her contribution and
her service to the Arts, including her 1991 Officer
Order of Australia (AO), and her 1997 AGNSW Life
Governor award. In 2001, the AGNSW named the
Twentieth Century European Gallery in Margaret’s
honour. She went on to be appointed Companion
of the Order of Australia (AC) in 2006, and was
awarded Honorary Doctorates from Macquarie
University, the University of Sydney, the University of
Newcastle, the University of Queensland, Southern
Cross University, Lismore and Griffith University.
In 2006, Margaret was also an honorary guest
to open stage II of the Tweed River Art Gallery
(now Tweed Regional Gallery & Margaret Olley
Art Centre) in Murwillumbah in northern NSW. In
more recent times, Margaret is remembered for her
role as the enigmatic subject of Ben Quilty’s 2011
winning Archibald portrait. Although her health
deteriorated, she continued painting throughout her
final years, successfully completing what would be
Margaret Olley

her final body of work for an exhibition at the Phillip

Bacon Galleries. Margaret Olley passed away on
26 July 2011 at her Paddington home, with a state
memorial service held at the AGNSW.

Featured artworks from the

Tweed Regional Gallery collection.
Tweed Regional Gallery & Margaret Olley
Art Centre
Web: artgallery.tweed.nsw.gov.au n

Images
Top: Tweed Regional Gallery & Margaret Olley Art Centre,
Murwillumbah Photo: David Sandison
Left: Agapanthus and Tiger Lilies c.1958
© The Margaret Olley Estate

36 artist
PROFILE

Gentle Paintings
with a Giant Brush
Paintings
Above: Portrait of
an empathetic man.
Portrait of Mark Kurtz.
Opposite page
Top: Portrait of Bella with
her mother and aunt
W
ay back in infant’s school, I remember
making a pastel drawing of volcanos,
and being amazed that they ‘were alive’.
The surprising illusion through the colour and
the textured grey paper captivated me. I went to
art school at 17 (which I adored), and I haven’t
stopped! Fabulous women encouraged me in high
school. But where were the women artists? I had
to make it up for myself, which was pretty good
actually. The quality of thinking for myself stayed
with me.
Art has been a way of knowing my truth. I could
make things, which was where my heart was.
Growing up in an environment that was conservative >>

38 artist
 Leanne Crisp
and moralising, art enabled me to be in touch with
my senses, to ask questions about gender and class,
to celebrate the poetic and beautiful things in the
world. Art often prefigured where my life was going.
It was my freedom.
The people who have inspired me are Helen
Frankenthaler, Louise Bougeous, Lucie Rie’s
luminous ceramic vessels and Agnes Martin’s poetic
canvases (both shown by my early dealer Garry
Anderson), Poussin, Courbet and Giorgione.
I lived in Kansas as an exchange student in
1968/69, and saw some Frankenthaler’s which
corresponded to the sweeping, luminous prairies as
well as a fluid visceral interiority. Louise’s gutsiness
and lack of self-consciousness inspires me. When I Blackberries
see Poussin, I marvel at the structural sophistication

artist 39
PROFILE GEntLE PaIntInGs wIth a GIant BRush

“My fruit
paintings were
metaphors
about my life
experience.
The hanging
‘Blackberries’
(previous page)
was painted
after the death of
my father. The
‘Lemons and
Trees’ are based
on aromatic
lemons from
my garden,
symbolise
perhaps that
oranges are not
the only fruit!”

40 artist
 Leanne Crisp
Paintings
This page
Left: Portrait of
Katie Noonan
Below: Portrairt of a
man from the left side.
Portrait of Andrew
Sayers.

Opposite page
Top: Portrait of Margaret
Evans and friends
Bottom: Lemons and
Trees

and communication of emotion through this

structure, and Giorgione is a poetic painter, where
you keep wondering about meaning. I love this.
Courbet is so sensuous too. Perhaps the most
amazing is Cezanne, where his pictures for me are
so synesthetically active they work like video clips. I
have always loved Chinese brush painting.
Major lessons I learnt have been while teaching
and in the studio. The first is that creativity is about
play. Put your intellect into back gear, and play with
materiality and visual language. That the art world
is conservative and that you need to be part of
a community to get anywhere. That if you are an
original thinker, success is unpredictable. That some
of my most exciting moments have been in my
studio. Also, that feeling loved and nurtured creates
an environment for gentle, powerful work.
Career highlights have been exhibiting my first
paintings made in Canberra in 1977 (exhibited
in my home town Adelaide), when Australia
didn’t have a sense of this place, thought they
were strange colours and spaces, but they were
bought by Christopher Hunt from New York, the
controversial director of the Adelaide Festival of
Arts. I was selected for the Doble Prize Exhibition, >>

artist 41
PROFILE

Leanne Crisp

which opened up a conversation with Ann Maria
Nicholson. Initially my portrait projects were driven
by a desire to represent important women on the
walls of our institutions, and foreground their work.
Paintings Gay Bilson and her Archibald portrait (based on her
Above: Paining about book Plenty), that now hangs in the National Portrait
love and learning. Gallery, is an important painting. The project with
Portrait of Theresa
Marion Halligan which was included in the opening of
Rayner.
Below left: Portrait of Commonwealth Place NPG by Andrew Sayers and now
Geoffrey Lancaster hangs in the NPG collection is another. Talking to Judith
and Andrew Lu Wright and Kate Lewellyn (my watercolour folios of
Below right: Portrait of their poetry is in the National Library visual collection),
eX de Medici was another project.
Leanne Crisp
A recent highlight was being exhibited in Washington
after being selected by the Portrait Gallery of America,
and exhibiting with Braidwood artists. This work comes
out of my new shearing shed studio at Ballalaba, and
contains the light and colour of this part of the world
and is a visual poetry of intimate life.
All works are giant watercolours except Portrait
of an Empathetic Man and Portrait of eX de Medici,
which are stained acrylics on canvas.
Contact details:
Email: Leeanne.cc@gmail.com
Web: leeannecrisp.com n

42 artist
20 Artist’s Palette
INSPIratIoN Watercolour

My Technique
I think when you play with materials you find the means to
correspond with the way you feel and imagine.

M
y technical approaches are often a result of
limitations. Small studio meant paper and
watercolour. Overexposure to fumes meant
staying with acrylic. I am about to inhabit a wonderful
shearing shed so I can paint the scale I have always
wanted!
My biggest drivers are colour, simple forms and
energy. Usually a project consists of many works over
a long period, and I just get better and more relaxed at
making the images. Because I like working with fluids
and with enormous brushes, I work a lot on the floor
and put things on the wall to decide on the next step.

Propping the painting up to have a look at it

44 artist
Light colours overlaid with darker colours

Leanne Crisp
More layering of darker colours to
create shape and depth

Closeup of technique

The studio

I am a colourist, and I use one colour at a time,

even with oil paint, using a watercolour technique
of the white ground underneath and light colours
going on first, the darker colours later. One colour
at a time, and I let it dry, then decide my next move.
But I made up the way I used watercolour to suit
my emotional life at the time. More than technique,
which is often a straight jacket for people, I say
make drawings or play in the territory of what
makes you feel good, and see where it takes you.
This has worked for me as a teacher and museum Contact details:
educator as I have launched many, many people into Email: Leeanne.cc@gmail.com
art careers and study. Web: leeannecrisp.com 

artist 45
PROFILE

When I Started Drawing

B
A lifetime orn in Darwin, I come from a family of three around in my head, whether it was notes, numbers,
fascination brothers. My parents immigrated to Australia lines, or anything that would flow onto paper.
with wild in 1952 from England. As a boy, I can always Black and white pencil drawings have always been
animals, remember looking out the window observing the my passion, and black and white photography has
aviation and wonders of nature. I guess you could say I was fascinated me.
the military a daydreamer. I have always had a love for wild I consider myself a self-taught artist, always
has given animals, especially wild cats of Africa, and also discovering new techniques to improve my natural
plenty of aviation. I can remember as a child, around the ability to draw. My parents have always encouraged
inspiration age of nine, I would sit and draw old houses and me to pursue this gift, and I felt I needed to excel
for this multi- anything to do with aviation. I was always capturing in my talent, to create something that was sensitive
talented, self- thoughts, exploring ideas and then drawing them and beautiful, but it didn’t necessarily have to make
taught artist. onto paper. I continuously had things rambling sense, something that I had a desire to draw at that >>

46 artist

time, and I have always liked to keep it simple and
not complicate things.
I joined the Airforce as a driver in 1978 because
of my love for aviation. I decided to learn to fly small
aircraft stationed at Point Cook. It was during that
time I started to focus on cartooning. I thought this
would be a perfect opportunity to show a different
side to my art which was showcasing my humour. I
was privileged to have my drawings displayed in the
RAAF newspaper.
After discharging from the RAAF, my life took on
a different direction. I was presented with a new
challenge and that was foster parenting. My passion
for drawing was put on hold for seven years.
Steven Gooch
I did play with the odd drawing occasionally, and
then I would give the drawings away. Gradually my
Drawings
Above: Steven Gooch
Paul Margocsy
and his drawings
passion for black and white photography developed
during these years. My interest was mainly in Opposite page: Berna
portraits of old people, and my interest towards
anatomy started to take hold as this influenced me to
understand the way the muscles were formed, which
is something I recommend if you wish to enhance
your figure drawing.
Currently I work at a private school in Perth as a
gardener. There I use my creativity by transforming
the grounds (obviously here I can’t work in my black
and white medium, so I have no choice but to work
in colour).
artist 47
 PROFILE WhEn I StaRtEd dRaWIng

Drawings Techniques I take my time to experiment, playing around with

Below:: The Jazz Dancer I work best surrounded by windows, as I tend various techniques which vary from drawing to
Below right: The Grey to work better in a natural environment with no drawing. Sometimes I get an image in my head or I
Wolf distractions. I tend to work on my own with soft might see images in a magazine or photograph and
music in the background. I need to be in the zone then make use of them.
Opposite page:
or place to think and process my thoughts. I do I practice drawings cubes, cylinders and spheres.
Left: The Jazz Dancer
Right: Old Man my homework to find out about the subject I am It keeps me in touch with simple, basic forms. For
drawing. example try drawing an egg, it’s neither a cylinder nor
a sphere, it teaches me to realise that you can give
the illusion of any complex form by just using simple
forms, especially when it comes to light and shade.
Regardless of the drawing mediums used, you
need high grade, well-sized paper with a slight
tooth and a surface that can take considerable
erasing. I always ensure materials are of high
quality, otherwise inferior materials may result
in frustration and keep you from completing the
drawing accurately and neatly, and could affect the
end result.
I like to use a number of different boards, it really
depends on personal choice as we all have different
styles that suit us.
Although I like to keep my drawings simple, I
do like to pay attention to important features like
the eyes. I want the viewer to be drawn into the
eyes, as they are the most important feature on a
person’s face. The eyes are the main focus, like a
photographer who always focuses on the eyes first.
You want the viewer to be attracted to the eyes,
then outwards.
Steven Gooch

48 artist
Major lessons
I have learnt
Over the years I’ve
learnt to develop and
enhance my drawings by
my evaluation to create
beautiful and meaningful
lines. It takes time to
create your signature.
Practice has enabled
me to learn through my
mistakes, which have
been many. Often I have
thrown out a drawing
because I wasn’t happy
with it, but through
perseverance I didn’t give
up. It’s about constant
improvement. I also have
to be in the right state
of mind to draw, but
sometimes you have to
push through it and get
back into it no matter
how you are feeling.
I like to challenge
myself in little ways
to create something Favourite shows Who inspires me?
different. I do tend to I enjoy anything to do with aviation and military, I seek inspiration in film, music and art. I have
criticise my work based also documentaries on wildlife, especially those a passion for dancing, and often this arouses
on my experience. presented by David Attenborough. I enjoy watching designs from within me. I search for ideas
I have my drawings history and world events. One of my favourite from other artists and I get immense pleasure
framed professionally. movies is ‘Big Eyes’, which tells the story of from seeing other artists at work and learning
I have discovered a Margaret Keane who was famous for drawing something from them. That is what motivates me
good art framer who portraits of saucer-eyed waifs. to be better and continue to learn. I believe this
knows his craft. Good Why I like to draw has laid the foundation and provided the basis for
presentation is very I have always been classified as a daydreamer. I my art, and also I have learnt to trust my instincts
important when it comes tuned out in school, engrossed in my own thoughts. and my creative empathy.
to displaying your work. I I still do that now, often putting pencil to paper. I have been inspired by many people for different
remember a professional A blank paper board was always something I had reasons. One is Leonardo da Vinci because of his
art framer advising me to self-express with. I call myself a dreamer with ingenuity and ideas, and his astonishing multiplicity
that your drawing must fidgety hands. Drawing little pictures or symbols of talents.
be the focus and not the were always connected to my dreams.
frame. Don’t make the Over time, I feel my work is a product of feelings, Achievements
frame the “wow” factor, thoughts, emotions and imagination. Your creativity I am yet to display my work publicly and have not
otherwise your drawing is like a tap; if you don’t use it, its gets blocked up. entered my drawings in any competitions. I have
is lost. There is an old saying, “if you feel it, draw it”. had my cartoon drawings displayed in the RAAF
Finally, I’ve learnt that Art is like a feeling of love and enthusiasm for magazine where I was employed at the time.
I needn’t care about something simple, passionate in a true way, always I have received excellent feedback from friends
what other people say trying to show your self-expressive ways through and colleagues who have convinced me to start
about me. What they drawing, even if it takes a lifetime to get it right. to exhibit my work. I have recently started making
say or think is only true I am on a constant quest to push new boundaries enquiries at various Art Galleries in pursuit of
if I believe it’s true. and I am persistent in experimenting with my dreams. I look at my art as an outlet for self-
Don’t let anyone get the inspirations and artistic translations. Art gives me expression, and hope that others will be able to
better of you. time to think and be at peace. appreciate and be inspired by it. n

artist 49
WORKsHOP Pencils

Young Jessica
This drawing is only a simple drawing of a young, eight-year-old girl named Jessica. I decided to
do this drawing for the magazine, and it only took me approximately 90 minutes to complete.

Step One
I always start with a 2B pencil, making sure to draw
lightly this provides me a margin of error which
allows me to revise as the drawing develops.

Step Two
I lightly added shadows with 2B and HB pencils,
increasing the layers to give it some intensity. I then

Step 1

Final Step
50 artist
 Steven Gooch

Step 2

Artist’s Hints & Tips

• Always keep your pencils sharp.
• Hold your pencil lightly to work out proportions, .
• Don’t concentrate for too long on a drawing. I
work at a gradual pace and give myself about 30
minutes and then have a break. I tend to pick up
mistakes when I come back to the drawing. It is a
good idea to stand back from the drawing to see
if it is in proportion. It helps to turn the drawing
upside down, especially if you’re drawing eyes.
• Know where your shadows and highlights fall.
• I use Blu-Tack to erase lines, and dark areas. This is
a personal choice.
• Types of paper: – Stonehenge has a soft surface
but not suited for blending.
– Strathmore 500 Bristol Board is good for fine
detailing, and can take a reasonable degree of
reworking.
Step 3
– Recommended is the BFK Rivers Printmaking
paper. It has a smooth firm surface and is robust to
take some working use a stump to blend and blur to create graduations Materials List
– Haches 1401b hot press paper – watercolour of soft tones. • Various materials were
recommended. used for each drawing,
• Use quality pencils only – I recommend Derwent Step Three including:
Graphite Pencils 2B to 7B At this stage I wanted to determine the overall value • 2B pencil
• Don’t press hard (I often see this with beginners) – structure of the drawing, working out the lightest • HB pencil
for darker lines use soft pencils lights and the darkest darks. I used successive • 9B pencil
• Blending – using the right blending tool can mean strokes creating a graded area. I then use either a • Stump pencil
just a few quick swipes to create the exact look stump pencil or dry brushing technique to create a • Charcoal
you want. Try to experiment with various tools for fading effect. I follow this up with soft brushes to • Tortillian
example: bamboo cloth, felt, stumps, facial tissue darken and even the tones. • Tissue paper
(good for blurring edges and softening unwanted • Felt
pencil strokes). I try to use different materials and Final Step • Good quality art brush
techniques because it may produce the perfect Jessica has dark hair and intense dark eyes which • Blu-Tack
texture I’m looking for. I wanted to portray in this drawing, so I lightly
• Chamois – I prefer to use this as it initiates smooth added layers with a 9B pencil and a stump to create
textured like skin tones. volume. I then added small highlights in the hair and
• Paint brushes – good quality brushes to feather edges. eyes and enhanced the scarf details. n

artist 51
GALLERY INTERNATIONAL

“On the Green”

opens at Glasgow Museums

G
lasgow Museums recently opened its first
new permanent gallery space in 10 years
at the People’s Palace. ‘On the Green’
tells the story of Glasgow Green and connects
the People’s Palace with its surrounding historic
landscape, exploring the Doulton Fountain and
former James Templeton and Son carpet factory
in detail.
John Richmond, the great grandson of A E
Pearce (whose most important work was the
colossal Doulton Fountain), was among the first
visitors to view ‘On the Green’. The fountain was
originally designed as Doulton’s principal exhibit
for the International Exhibition held in Glasgow’s
Kelvingrove Park in 1888. After the exhibition
closed, it was gifted to the city by Sir Henry Doulton
and relocated to Glasgow Green, as the Victoria
Fountain, in 1890. Other pieces by Doulton & Co
feature in ‘On the Green’, including a stoneware vase
from 1888, which Queen Victoria watched being
decorated during a private tour of the International
Exhibition, and a souvenir jug that features a rhyme
about Glasgow’s coat of arms.
John Richmond said: “The last time I saw the
Victoria Fountain was some 20 years ago, and it
was in a very sad state. The restoration has been
a wonderful achievement and it looks magnificent
in its relocated position in front of the People’s
Palace. As a family, we are very proud of our
great grandfather’s talents as one of Doulton’s
most important artists and designers. Now, the
new gallery helps put the Fountain in context with
Glasgow Green and the wonderful City of Glasgow.”
‘On the Green’ enables Glasgow Museums to
increase exhibition space and put more objects on
public display. The gallery features 25 historically
significant pieces from the city’s social history, Scottish
history, art, archaeology and textiles collection.
Some of the more unusual objects in the
exhibition bring to life many of the stories of the
Green and its surrounding landmarks, including
textiles from Templeton’s made for the Mitchell
Library and a horn from 1700, used by Glasgow’s
last Town Herd, John Anderson (d.1782). His job
was to look after Glasgow citizens’ sheep and cattle,
during which he used the horn to collect cows on
Glasgow Green for milking. Those given the freedom
of the city today are still allowed to graze their
livestock on the Green.
Dating further back are silver coins found on
Glasgow Green from the time the land was originally

52 artist
Images
Right: Clyde - General view of
Glasgow
by Charles HB Bennett after
W Wilson © CSG CIC Glasgow
Museums Collection
Bottom right: John Andrew
of Glasgow Green Wash
House owned this powdered
tobacco or ‘snuff’ box. The
top shows ‘Scotch Washing’
with women getting into
large tubs or boins to do
the washing. There were so
many tubs near the Camlachie
Burn on the Green that it was
nicknamed ‘Castle Boins’.
Snuff box, early 1800s, wood.
Bought by Glasgow Museums,
1949

Opposite page
Doulton Fountain by Paul M
Cassidy © CSG CIC Glasgow
Museums Collection

gifted to Bishop Turnbull and the people of Glasgow

by King James II in 1450, and a hand mill believed
to be from about 100BC-100AD. A well-used upper
section of a rotary quern, which is thought to have
been used to grind grain into flour to make bread,
was found near the Green and could be evidence
that people lived by or on Glasgow Green during the
Iron Age.
‘Glasgow Fair’, by Paisley-born artist John Knox
(1776/8-1845), is a colourful, lively piece which
is full of humour; it captures the Glasgow Fair on
Glasgow Green in the early 1800s. The painting
illustrates the renowned event, held annually on
Glasgow’s oldest common, in the early years of the
city’s expansion when trade, commerce, art and
enterprise were flourishing.
Knox’s incredible detail and social commentary
is likely to appeal to a broad audience, with
viewers able to relate to many of the aspects
the artist portrays. It is a very grand landscape,
with an astounding number of people and cross-
section of society on show. There are the booths,
sideshows and rides, together with more than ‘On the Green’ and ‘Glasgow Fair’ will be
a thousand figures, bringing together rich and complemented by a programme of events and
Gallery
poor, the privileged, soldiers, street vendors activities, including storytelling, creative writing,
and beggars. multi-sensory workshops, schools visits, specialist
The painting was thought to be missing for more talks and family weekends.
than 100 years, then in 2013 at Sotheby’s in
London it was sold by the Irish artist William Turner The People’s Palace is located on Glasgow Green,
de Lond, supposedly depicting a fair in Aberdeen. Glasgow G40 1AT Tel: 0141 276 0795. Open
Subsequently it was recognised as the long-lost Tuesday to Thursday and Saturday 10am to 5pm
Knox with its landmark Nelson Monument at Glasgow and Sunday 11am to 5pm. It is free to enter. For
Green in the background. more information visit www.glasgowmuseums.com.

artist 53
GALLERY INTERNATIONAL

Ingres on Show
F
rom November 2015 until March 2016, the
Museo del Prado and Fundación AXA, with
the special collaboration of the Musée du
Louvre and the participation of the Musée Ingres
in Montauban – lenders of the most iconic works
by this master – presented the first monographic
exhibition in Spain on the work of Jean-Auguste
Dominique Ingres (1780–1867), one of the most
influential milestones in nineteenth century painting.
Only one of his works is preserved in Spanish
collections: ‘Philip V of Spain Investing the Marshal
of Berwick with the Golden Fleece’, the preparatory
drawing to be enjoyed at the exhibition.
The more than 60 works featured in the
exhibition, which also included pieces from
Belgian, British, Italian and North American
institutions, traced the chronological development
of Ingres’s career. The exhibition began with
an alluring image of the artist as a young man
brimming with energy, lent by the Metropolitan
Museum of Art of New York, and ended with the
‘Self-Portrait of Ingres at the Age of 78’ from
the Uffizi in Florence, which conveys the master’s
outstanding authority during his final years.
The exhibition layout showed the master in all his
splendour, paying careful attention to his interest in
portraiture in works such as ‘Monsieur Bertin’, the

Images
Top left: Grande Odalisque’ Jean-Auguste Dominique Ingres
Oil on canvas, 91 x 162 cm 1814
Paris, Musée du Louvre
Left: Portrait of Madame Moitessier
Jean-Auguste Dominique Ingres
Oil on canvas, 120 x 92.1 cm 1856
London, The National Gallery

Opposite page:
Top Left: ‘Napoleon I on his Imperial Throne’
Jean-Auguste Dominique Ingres
Oil on canvas, 259 x 162 cm 1806
Paris, depôt du Musée du Louvre au Musée de l’Armée, 1832
Top right: ‘The Countess of Haussonville’
Jean-Auguste-Dominique Ingres
Oil on canvas, 131.8 x 92.1 cm 1845
New York, The Frick Collection
Bottom right: ‘Ruggiero rescuing Angelica’
Jean-Auguste Dominique Ingres
Oil on canvas, 147 x 190 cm 1819
Paris, Musée du Louvre

54 artist
‘Countess of Haussonville’ and ‘Napoleon I on the
Imperial Throne’, an art historical icon which sums
up the full imperial ideology in a single image; his
constant desire to be acknowledged as a painter
of history; his attraction to purely literary subjects
and to the nude, such as in the ‘Grande Odalisque’
or ‘Turkish Bath’, where he indulged in sensuous
contemplation of femininity without pretexts; and
his activity as a draughtsman, as unusual as it was
refined, demonstrated that his work was academic
only in appearance.
The Prado provided an unbeatable historical
setting in which to introduce Spanish visitors to
Ingres, who was heir to the classicism of Raphael
Gallery
and Poussin, established a clear and emphatic
dialogue with ancient art, and was also the
forerunner of the modernity of Picasso, and inspired
the language of the avant-garde movements.

Museo Nacional del Prado

Calle Ruiz de Alarcón 23
Madrid 28014
Web: www.museodelprado.es

artist 55
 GALLERY INTERNATIONAL
Alex Katz at Serpentine Gallery
Image
“I
t’s the instantaneous light. If you get it right
Alex Katz Reflection 7 then you get it in the total present tense -
2008 that’s what you’re going for, that’s eternity.”
Oil on linen (Alex Katz)
274.3 x 548.6 cm The Serpentine presents the work of renowned
Courtesy of Gavin American painter Alex Katz (b. 1927, Brooklyn, New
Brown’s enterprise
York). Coming of age as an artist in the 1950s in
© Alex Katz, DACS,
London/VAGA, New York New York, Katz developed his unique approach to
2016 contemporary representational painting during the
height of Abstract Expressionism.
Since his first exhibition in 1954, Katz has
produced a celebrated body of work, including
paintings, drawings, sculpture and prints. Establishing
himself as a pre-eminent painter of modern life, he
was influenced by films, billboard advertising, music,
poetry, and his close circle of friends and family. His
portraits and landscapes are characterised by their
flatness of colour and fluidity of line, reinventing
both genres within the context of abstract painting
and contemporary image-making.
The Serpentine exhibition takes landscape as
its focus, bringing together Katz’s extraordinarily
EXHIBITION productive output of recent years alongside select
2 June 2016 – works from the past two decades. Katz’s landscape
11 September 2016 paintings exemplify his lifelong quest to capture the
present tense in paint. Regardless of their scale, Katz
describes these paintings as ‘environmental’ in the
56 artist
way in which they envelop the viewer. Defined by
temporal qualities of light, times of the day and the
changing of the seasons, these paintings respond
and relate to the unique context of the Serpentine
Gallery in Kensington Gardens, London. The
exhibition also includes a recent series of portraits,
and expands beyond the walls of the gallery into the
park with a new cut-out sculpture.
Julia Peyton-Jones and Hans Ulrich Obrist,
Serpentine Galleries, said: “We are thrilled to be
presenting Alex Katz at the Serpentine Gallery this
summer and to introduce his extraordinary landscape
paintings to a new audience in such a fitting setting
during our summer season. Katz’s investigations into
perceptions of scale and the effects of light have
produced a distinctive body of images that continue
to influence generations of artists.”
Katz draws parallels between his approach to
painting and his interest in poetry, both equally
concerned with stripping away unnecessary detail to
leave only the essential information.
Exhibition dates: 2 June – 11 September 2016
Serpentine Gallery
Kensington Gardens
London W2 3XA
Web: www.serpentinegalleries.org
artist 57
TOOLS By PaTrick HedgeS

Sketch sketch sketch!

W
I know most of you hen I’m teaching, most art as a finished painting or scratchboard,
are used to seeing students want to know about something that I’ve invested many hours
my scratchboards creating finished art, art that in. It’s what we show off to other people.
like the following can be shown on the wall of a gallery or Sketches tend to stay in the drawer, never
clouded leopard, sold to a customer. Many people don’t to be seen again. But for me sketching is a
but in this issue see the value of spending time sketching vital part of being able to create art.
I’m “going back to simply for the sake of it, without anything Sketching teaches us to take note of
basics”, something I “finished” to show for their time. I have a the things around us. Who was it who
regularly do. different perspective on this. Yes, even I said, “I haven’t truly seen something
want to create art that can be framed such until I’ve drawn it”? If you are a wildlife,
portrait or landscape artist, I believe
there is so much value in drawing the
Cloud leopard real thing. Yes, we often work from
photographs for our finished work, but
I definitely understand more about an
animal if I draw it on location.
Now don’t get me wrong. I’m not
going to be teaching anyone soon “how
to sketch”, since I’m not that great at
it myself. However, I do understand its
value and wish to inspire artists to really
give it a go. You wouldn’t expect to be
picked for a good sporting team if you
didn’t turn up to any practices. The only
team you’d play for is one where you’re
simply making up the numbers, and in
art, I don’t think we ever want to just
make up the numbers. Most artists want
to become good, and one of the best
ways of doing this is to sketch. Sketching
gives you a good foundation in drawing,
and good drawing is the foundation of
good art. If we can’t draw well we are
left with tracing. Now I know that tracing
has become an acceptable part of many
artists’ vocabulary, but it is much more
satisfying is it to be able to tell your art
public that you created a work of art by
drawing it all yourself. A great example
of what I mean by a good drawing
foundation can be found in the work of
Pablo Picasso. Most people know him as
the guy who painted women with two
eyes on the same side of their heads, but
a quick internet search will reveal a man

58 artists Bonobo 'Pan' Finished

 Tools

Hand Mug

Life Drawing
who could draw exquisitely. I guess he
found out what might sell and invented
Cubism, but I’ll bet he would never have
been able to do that if he couldn’t draw
well.
Someone once told me they don’t
sketch because their sketches look
bad. Well, the best way around this is
to sketch often until your sketches look
better, but in a way, it’s a bit like fitness. Manikin
Some people who need to lose weight
give up a fitness regime because after Life Drawing
putting a lot of work into it they don’t
see much result in the mirror. However,
a doctor will tell them that they are still
getting fitter and reaping the reward in
their health even if it hasn’t yet become
visible. As you sketch more and more
often, you will get better even if it takes
a while. Just grab a pencil and paper
and draw something around you, like my hours using charcoal, pastels or inks to
examples of a mug (with wildlife on it of try to capture the human form. I’m no
course), manikin and even my own hand. Rembrandt, but it’s fun.
Nip out to a park and find some
What tools should I sketch with? sculptures. They don’t move, so you can
To be quite honest, you can use pretty really try to get accurate with them.
much anything to sketch. I like to use Even though I enjoy drawing from
pens, but I’ve used everything from real life, I also sketch from photographs.
watercolours to pastels, gel pens to You can set yourself goals to draw as
charcoal, enjoying the differences each quickly as possible, or you can spend as
medium brings. much time as you want on one drawing,
Life drawing classes are great places tightening it up as you go. I really like
to sketch. I’ve often spent a couple of speed drawing, often making notes of >>

artists 59
TOOLS By PaTrick HedgeS

Sculpture sketch Sculpture sketch

Chimp in gel pens

how long a sketch took me. For example,
the following gel pen and ballpoint
sketches of chimps each took only a few
minutes. I’m really just scribbling away
trying to get as much down as quickly
was possible, and capturing character
along the way.
Of course you can try to “finish off” a
sketch to a higher level if you wish. I’ve
put a couple of hours into this elephant,
which is a combination of coloured pencil
and white gel pen, but it’s still very much
a sketch.

Thumbnail sketches
As you become more proficient in
sketching, you will find you are able to
knock out thumbnail sketches much more
easily. These are little drawings that help
you work out the composition in your next
finished art. They certainly don’t need to
be anything special, but they will help you
see what works quite quickly. You can even
cut them out and place them on your board
or canvas.
I know someone who paints landscapes
with ducks, and does multiple thumbnail
ducks of different sizes and poses, cuts
them out and moves them around his
canvas until he gets just the look he
wants. In this case I have used them
to work out my next montage of nine
lions. I haven’t spent much time on them

60 artists
 Chimp in ballpoint

Elephant

Chimp in gel pens Lion montage

individually, but I did quite a few more and

zoned in on the ones that worked best
for me. This will be a future scratchboard,
so hopefully I can show it to you in an
upcoming issue.
Many people use computer programs
nowadays instead of drawing thumbnails
and I often do too, but on pieces where
I’ve used thumbnails, I look back at the
work and have much fonder memories
of creating it. Maybe it’s because the
whole concept, from start to finish, has
been more personal even if the result
isn’t much different to using more modern
technology. n

Hints and tips:

• Keep a small sketchbook and pen or
pencil handy.
• Get out into the big wide world and
sketch in public. It improves you fast.
• Keep it varied – sketch fast and sketch
slow. See what works for you.
• Try a variety of tools – pens, pencils, gel
Tools

pens, pastels, and watercolours. Maybe

even make oil and acrylic sketches.
• Try thumbnails to work out
compositions.
• Enjoy the process – you will improve
and you will benefit from it.

artists 61
profiLE

Art is a part
of who I am
I
This self- am a proud fifth generation Kiwi. I was born
proclaimed in Auckland and bred in the Far North of New
hobby Zealand in a pristine environment second to none.
artist feels I am the eldest of a large family, and in between
privileged to helping with eldest-daughter chores, I drew. I drew
have her art pictures for anyone who took an interest in my
hanging on masterpieces, and if that interest waned, then I
walls around convinced them, by way of persuasive spiel, to enjoy
the globe. my etchings and creations. My mother was an avid
drawer/sketcher and a fabric painter, and my father
was a talented carver. I grew up surrounded by
artists. Art is a part of who I am.
When growing up, I dreamt of becoming a
“famous artist” who would make a mark in the
international art community. I yearned to attend Art
School, visit the Louvre and paint vigorously on the
East side of Paris. Instead, I travelled the world and
grew as a person, influenced by the amazing people
I met in many countries.
I moved to Australia in my twenties, and have
lived here ever since. My dreams did not come to
fruition, however I was accepted into East Sydney
Fine Arts School. Sadly, due to work commitments, I
did not complete my degree. Despite not completing
Art School, I continued to paint whenever the
opportunity presented itself. My dream to be an
artist remained, and I dabbled at every opportunity.
My love of drawing and painting with different >>

62 artist
 Phillippa Augl

Paintings
This page
Above: Ladies of
Abadub
Left: Dragons Breathe

Opposite page:
Blue Gums

artist 63
PROFILE ARt Is A PARt OF whO I Am

mediums was a pivotal part of my identity, even

though I did not have many formal lessons. I
attended workshops when I had the time to do so.
I moved from Sydney in 1989 and went into
business, working 24/7. During the early years
when we set up a tourist establishment, I pined to
draw and paint but time was against me, however, I
lived in an artist’s dream environment and learnt to
appreciate art at a different level.
Twenty years later, I now paint extensively, as time
permits, and in some way I have found my second
wind. I have dusted off the old paints and brushes
and joined Dungog Art Society. The environment at
the Society has enabled discussions and the sharing
of insights with like-minded artists. Collaboration of
thoughts and criticisms have helped me to grow, and
my art has developed into the “masterpieces” that I
used to dream about when I was a child. (Well, that
applies to the one I am working on until it is finished,
and then of course the next one ☺.)
I consider myself a hobby artist. I do commission
when an opportunity presents itself, and if the
subject interests me. I have sold paintings locally
and overseas, including Arizona, USA, New Zealand,
Austria and Australia. It gives me a thrill, and it is
indeed a privilege, to have my art hanging on walls
around the globe.
Additionally, I love working with children and
teaching them new ideas. There is nothing more
thrilling or joyful than watching a small person
creates a picture on a blank canvas. Their pride and
sense of individualism is captured, not only on the
canvas, but also in their creative minds.
My art extends to sketching, photography and
researching on the Internet. When I first approach a
new piece of work, I spend as much time thinking
about what I want to achieve as to how I will
construct it. Often I wake at 3am having dreamt of

64 artist
 Phillippa Augl
my new creation, and then a dream on the next
night takes me into a completely different direction
or dimension. I am an ideas person, and channelling
creative ideas and taming them onto the canvas is a
part of who I am as an artist.
Experimentation with different techniques and
mediums is an exciting part of my art journey. But
I do prefer working with oils. I love the element of
surprise and versatility in art as I might set out to
draw an elephant and end up with a flock of birds
– well, maybe not to this extreme, but the canvas
speaks to my inner voice; hence the many surprise
creations that have developed in the upstairs room
where I paint. When I am in my art space, I give of
all my emotions and feel energised and motivated to
create more and more pieces of work, even in the
early hours of the morning in the summer. (I’m not
quite as enthused in winter.)
I find that all painting is abstract in nature,
however there are varying degrees of abstraction.
The less figurative works start to concentrate on
the application of paint and colour, and content
becomes more subjective. Paintings Opposite page
Flexibility allows artists to move from realism to This page Top: Birds Mango Brush
contemporary and abstract. After the choice of a Top: Flight of the Roo Below left: Sepp Augl
subject is made and then studied from all angles, >> Above: South West Rocks Beach Bottom rignt: Spring Flowers

artist 65
 PROFILE ARt Is A PARt OF whO I Am
Phillippa Augl

I find that colour helps with the initial drawing.

Occasionally a mood or a distraction intervenes and
the piece of art may well go in a direction of its
own, with my brush controlled by an inner thought
or an intervention that really is quite unexplainable.
This adds to the surprise in art, and also to the
continuation of the piece of work. It is important
to embrace the hobby and to allow yourself to be
taken on a journey where not only does the canvas
reveal a new creation, but you develop your creative
and artistic personality and your creations are
individual and with your own special branding.
I prefer to work quickly to achieve what it is I am
trying to do. If I am painting from real life, I do like
to study my subject as I find if I do not it just does
not work. I will occasionally find out that what I was
trying to do is not what I eventually end up with. I
suppose the surprise in painting either a real live
bird or more abstract works is that when you finish
you put it away for a few days and then go back and
have another look. Just enjoy the experience until
you start the next.
I like to read books, go to galleries and watch
shows such as ‘Color in your Life’. I like the work
of many artists, famous and not so famous. Artists
like Sydney’s Rachel Carroll - I find her work is so
creative and makes me want to paint; and Pearl
Moon from Marindi in the Hunter Valley, NSW with
her mixed mediums and textiles – she is fantastic.
In fact, I like any artist and all mediums. I find them
inspiring and they make you want to explore your
own methods of work to try new ideas, and explore
other mediums - just to try and keep on trying.

Local art shows

• East Gresford
• Dungog Art Society– won People’s Choice
• Dungog Art Society – Art Exhibition with Marilyn
Rudak
• Solo exhibition in Balmain – oils in contemporize
abstract – Theme “Polynesians Mythology” in
1975

Contact details:
Ph: 02 4995 3285
Email: pippa@salisburylodges.com.au
Web: www.salisburylodges.com.au/artist retreat n

Paintings
Top: Eggplant
Left: Williams River

66 artist
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WoRKsHoP oils

Edge of Awareness
“How to Attack a Blank Canvas – Phillippa’s Way”

68 artist
 Phillippa Augl
Artist Hints & Tips
• Before the blank
canvas is placed upon
the easel, a painter
requires inspiration.
It is an instinctive
quality, a motivating
force and an essential
factor in every painting
project. Working
without inspiration
will not achieve any
great results and your
canvas may have its art
piece, but the soul in
the painting is just not
there. What is required
for each new painting is
something compelling
and different that urges
us to paint this new
subject. It may well be
a dramatic composition.
It may be an unusual
composition but it
must be interesting,
appealing and distinct.

Step One as a medium for the paint application and/or

Materials List Apply 2-3 coats of Gesso onto a canvas. Ensure Medium 1. Use Payne’s Grey and Burnt Amber to
• Stretched canvas that the canvas is completely dry. (Prepare a few create the illusion of depth and gradations.
92 x 76cm canvases in advance so that a prepared canvas is
• Brushes: 50, 12, 8, 1 always available when you are ready to work and Step Five
• Medium 1 feeling inspired.) Create areas of light and dark to give a three-
• Gesso dimensional illusion of form to the subject. Aim for
• Pure turpentine Step Two clean and defined light and dark.
• Linseed oil Draw quick thumbnail(s) using a soft pencil Do not allow the paint to become too wet or it
• Brushes or markers. (It does not have to be detailed or will become muddy. Work quickly over the whole
• Rags (lots) accurate, but detailed enough to be able to see the canvas.
• Palette knives composition in basic shapes.)
• Ruler (1 metre) Step Six
• Fingers! Step Three Review your painting regularly to ensure that you are
• Art Spectrum Oils Block in your painting by scrubbing out work on the on track to producing your masterpiece. Add white
– Titanium White canvas with the biggest brush you have. (A popular on to the canvas using a palette knife.
– Ultramarine Blue brush is 50, using a thin mix of Burnt Sienna with Blend white to colour so as to create variants of
– Indigo Blue turpentine to create value.) Paint quickly. Do not the focal point in the painting.
– Payne’s Grey over-analyse your approach whilst painting. Create Use Indigo, Black and White to change the value
– Burnt Sienna a focal point within a painting so that you maintain of the colour.
– Indian Red perspective. Add Yellow and Ochre to achieve a luminous
– Red effect. Add Reds.
– Yellow Step Four Use White on the canvas to enhance the chosen
– Orange Use a rag to wipe off paint that should not be colour, especially around the focal point of the
– Ochre on the canvas. Use a mixture of turps and linseed painting. >>

artist 69
 Artist Hints & Tips
WoRKsHoP oils • Join your local Art Society
• Mix with like-minded people
• Go to galleries and exhibitions
• Do a workshop
• Have an Art journal – take it with you on holidays
or when travelling
• Listen to music while painting
• Enjoy going outside
• Enjoy painting from the actual objects
• Make lots of sketches, no matter how basic, to
refer back to in the studio
• Use photos for reference
• Get up early and do some sketch work

Final Step
Step back from the painting regularly to observe and
critique the work in progress. Make changes to both
the form and the structure if you see the need. Be
flexible and versatile, and as your painting develops,
have the confidence to go in a different direction.

Contact details:
Ph: 02 4995 3285
Step 6 Email: pippa@salisburylodges.com.au
Web: www.salisburylodges.com.au/artist retreat n

Drawn to the West

With Artist Derek L Newton

Early in 2015 Derek will be leading a Pen and Ink 7 day

tour of the Historic Port City of Fremantle and beautiful
Rottnest Island WA. This first class tour will include
most meals and accommodation, studio visits of leading
Fremantle Artists and a guided tour of Fremantle and
Ferry to Rottnest Island. Interested? Why not register
your name and email address for more details. The
group will be limited to 15 with a minimum of 10.

Email your details to Derek at:

info@wannerooheritageart.com.au

70 artist

AP135_DerekNewton.indd 1 13/05/2014 11:19 pm


A look back at the artists and the
studios we’ve featured this year
T
his year’s studio review started in the
small Western Australian wheat belt
town of Beverley, about 90 minutes
By Derek L NewtoN
Shane Moad
east of Perth, across the Darling Ranges
and into the Avon Valley where the small
town straddles the Avon River, as do many
Shane in his studio
My SPACe
of the small towns dotted along the length
of the valley. I had met Shane Moad by
chance, having had a note published in
the local paper saying that I would be their
artist-in-residence, and would like to meet
artists with a view to publishing their story.
As it turned out, Shane was a wonderful
artist working from his small studio in his
garden, which is close to his rustic timber
cottage. I found Shane waiting for me out
on the verandah. He had some wonderful
work on display in both his studio and
home, and it’s certainly not hard to see
why his artwork was soon heading for
the galleries. This My Space visit turned
out to be very embarrassing for me, as in
the opening title I had spelt Shane’s name
incorrectly. Normally I email the publication
proofs to the artist concerned so they can
check the text, but in this case I’d had
trouble contacting Shane, and by the time
I did manage to make contact, the article
was already with the printers.
Shane’s painting – ‘Hills’
artist 71
 MY SPACE BY DErEk L NEwtoN

Beni Wright

A
Beni in her studio lovely, easy to talk with lady, when
I visited Beni Wright in her studio,
amid the chatter, coffee and biscuits,
the pleasure she has in having her own
creative space at the bottom of the garden
didn’t need to be put into words - it was
self-evident! I could see Beni with her visiting
grandkids, all busily milling around in there
creating, with Gran close at hand enjoying
every moment, well, almost every moment!
At other times she would be quietly working
away, lost in her own thoughts.
Last time I heard, Beni and Simon were
off to China. She emailed to ask if I could
get her extra copies of ‘Creative Artist’
magazine that her studio was featured in,
as it wasn’t in the shops when they left. I
expect there will be plenty of watercolour
sketches done while she’s away. Have a
good time Beni and Simon!

Sue Moss

L
ike Garry Tate, Sue Moss is also into
photography, and often brings along
published or award-winning photos
Sue’s painting - ‘Spring Rhapsody’
she has taken on her travels to Watercolour
Society meetings. She also loves to paint,
especially flowers, and I’ve reused one of
Sue’s photos from my original article here
called Spring Rhapsody. My comments at
the time were: ‘delicate blue petals that
look ready to twist and turn to the slightest
touch, or dance with a softest breeze
showing off her ankles’. Now I’m not a
painter of flowers, but can still appreciate
Sue’s wonderful talent. I met Sue through
the Watercolour Society of WA, but without
a purpose-built studio, the article was
built around Sue and Ray’s life and travels
with her camera and paints. This year they
are again setting off with other members
of the Society to Italy, so it will again be
interesting to see the results.
Sue Moss with her camera

72 artist
 Gary Tate

B
ack close to home for this
one, Gary’s Tate’s studio is
a little different, as it has no
walls, floor or even a ceiling. As a
photographer, Gary views the world
Magpie swoop selfie
as his studio, but centres much of
his work around Yellagonga Regional
Park, which is right on his doorstep
in Woodvale, Western Australia. Primarily
a large area of mostly bushland, shallow
lakes and swamps, the park has many
kilometres of dual use paths and, like
me, Garry often cycles through the park
with a camera at hand.
Gary also makes DVDs, and in a recent
10 minute one called Bush Tucker,
the DVD centres on the local Noongar Garry’s photo – white heron
Aboriginal community before European
settlement, and their use of local flora
and fauna. The Noongar Aboriginals were yearly cycle, spending part of the year in landscape. The DVD has light didgeridoo
nomadic and had six seasons in their the park as we know it today, living off the music in the background.

Margaret Dowdell

M
y most recent article featured a
visit I made to Albany, on the south
coast of Western Australia, where
I stayed at the Albany Lodge B&B where
Margaret has her studio and gallery as part of
Margarett in her studio
the reception area. I always look for something
a little different to talk about in my articles,
and besides the magnificent views from the
gallery-come-breakfast area, Margaret’s love
of painting with gouache became part of the
article, and this got me thinking, gouache has
been around for many years, but is only really
used in mixed media work, not as a stand-
alone medium, which is surprising when you
consider it has all the capabilities as both oil
and acrylic paint and could even be applied Margaret’s studio
with a palette knife, but at the same time can
be watered down to a watercolour consistency.
Well done Margaret, and I hope to get down We would love to see your space in our magazine. Please send some good
that way again. quality images (300dpi) on cd or dvd or photographs of your studio you
want to display in the magazine. If you would like to, you may include a
I hope you enjoyed meeting these artists, photograph of yourself to accompany the picture/s of your studio. Please
and I’d like to thank them for their time. The also supply your name, suburb and state.
next My Space article will feature the old
lady at number 22! Watch out for it in the
Mail your studio photos to: My Space, Creative Artist magazine,
shops to find out more. PO Box 8035, Glenmore Park NSW 2745 or
Best wishes, Derek. email to simon@wpco.com.au.
Be sure to include a contact telephone number.

artist 73
 FROM THE DRAWING BOARD
Hi Brett,
Do you use a magnifying glass when you draw
your fine detail?
Hanna.
Hi Hanna,
A lot of people have asked me that over the years, I
definitely do not use any kind of magnifying device.
I didn’t even need glasses till 2004 but I can’t draw
without them nowadays. You can use some kind of
magnifying device to draw with if you choose but
I decided long ago to not torture myself with such
things, once I have reached the finest level of detail
I can wangle with nothing more than glasses and
feel through the fingers I move on. Even then I am
arguing with individual paper fibres with the needle
sharp 2B pencil tip. You end up doing the most
minute detail adjustments pretty much by feel to
get the last touch just right. So no, leave the
magnifying glasses and lenses to the philatelists
and butterfly collectors.
Hi Brett,
I always seem to have great trouble starting and
getting underway. How do you go from blank
paper to a “work in progress”,
Myra
Hi Myra,
A great idea is to do a couple of rough studies
first on butchers paper to familiarise yourself
with the proportions and optical illusions and
then prepare your layout board with a sheet of
Brett A Jones
good quality drawing paper taped to it and just
make yourself pick up the pencil and begin. Keep
your lines light and roughly sketch in the biggest
shapes that make up the composition first. You
never bother tormenting yourself too much about
the exact proportions in the earliest stages of a
freehand drawing (that comes later) but just start
off by lightly and simply sketching in all the largest
shapes, always making sure you have at the very
least established the furthest left, right, highest and
lowest points of the composition before moving
on into any kind of finer detail. A great thing to
remember is that initial freehand sketches almost
always grow as the work develops so leave more
room than you think you’ll need around the edges
of the subject to start with to avoid ‘crowded
74 artist
edges heartbreak’. Every single one of your initial
sketch lines will need altering/adjusting/refining/
removing as you go along anyway, so relax and
just lay in some lines. The absolutely worst thing
that can happen is the bit of paper gets wrecked
from too heavy a hand or too many (lots and lots)
of linear erasures and adjustments in areas (like a
white background) too early leaving indelible marks
behind. Simple solution if this happens, declare
it a rough study and start again. A bit painful but
also the best way to train yourself to sketch lightly.
It’s always the best policy to have done at least
one rough study before beginning the serious work
anyway. The worse things you can possibly do
are to either just sit and stare at your blank piece
of paper or tighten up and start far too neat and
detailed, which always translates into ‘too dark too
early’. It’s just a bit of paper after all and the best
way to improve is to learn by your own mistakes so
relax and hook in (lightly).
Hi Brett,
Can someone sell the copyright to your work
without your consent just because they’ve used it
for a commercial reason in the past.
Regards B.K.
Hi B.K.
I’ve had to become very familiar with copyright and
intellectual property laws over the years because
of my limited edition prints, playing card designs,
teaching, writing, original art etc. The fact is
anything you create is your property (unless you
copied something, which would be infringing on the
copyright of others).
Copyright automatically resides in the independent
creator. You own the copyright. The only way this
can change is if someone has bought the copyright
off you for an agreed value, accompanied by a
signed document stating that the copyright to
the work has been sold and now belongs to the
purchaser. Or if the work in question was created
by you while you were a paid employee with
specific instructions from the employer as to what
was required, then it is the business’s intellectual
property. All pretty standard stuff.
Without the appropriate documentation no-one can
sell the copyright to your work (whether written or
pictorial) but you. No-one in their right mind would
buy it from a third party without this document Hi Brett,
signed by you. Without this piece of paper they What’s the difference between drawing and
would be leaving themselves open to litigation for sketching?
copyright infringement. If you do sell the copyright Janeene,
to something you have created you no longer own
it and can no longer use it for your own purposes Hi Janeene,
in any way without permission from the new Sketching is what you do to “rough something
owner/s. Conversely, you can give permission for out” when visualising an idea or designing
your copyright work to be used by another party, something from scratch. It’s also the way to start
which means you can also rescind permission. No- any freehand drawing you may do. It’s the way
one can use your copyrighted material without your of turning a blank piece of paper into a drawing
permission, whether that permission was paid for project. You are thinking generally and using your
or freely given. whole arm to move the pencil around. Making
People think it’s a minefield but it’s really quite bold decisions and acting on them. Drawing on
clear, especially if there is no contract. If there is the other hand is a more carefully considered,
then who owns what will all be on the contract. detail specific practice in which your hand is
For further information contact the Australian resting stationary and your fingers used to move
Copyright Council. They are a long standing and the pencil. The line between the two can be a
respected body operated gratis by members of bit blurry sometimes but in that it is no different
the legal profession, much to the benefit of artists from any and every single other aspect of artistic
and writers. You can ring and have a chat on the creation. I hope I’ve sketched out an explanation
phone or lodge a specific enquiry online which from which you can draw your own conclusions.
will result in you receiving a phone call from them Hmm, that sort of explains it too even though I
once one of the legal eagles has had a chance to was just trying to be vaguely amusing.
ponder it sufficiently. This service is entirely free.
The copyright council has helped me avoid being
ripped off a couple of times already during my
career and I’m sure they will again before it’s over.
There will always be people willing to try it on with
you as far as trying to take what isn’t theirs to
take. The Copyright council deserves the support
and gratitude of all artists and writers, without this
august body of legal professionals and paralegals
volunteering their time and expertise it would be
open season on the creative independent among
us. Artistic creation comes from the right side
of the brain, cold hearted business and financial
considerations come from the left side so artists
are extremely vulnerable to being taken for a ride.
It happens all the time. Never be scared to defend
your intellectual property rights.

If you have a question for Brett, send it to: From the Drawing Board
Email: art@seaofpain.com
Text: 0401 543 327

artist 75
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 NEXT ISSUE
D R AW I N G •
P H O T O G R A P H Y •
PA I N T I N G

Publisher Simon Mullen

Phone (02) 4733 8482 Fax (02) 4733 8385
Email: simon@wpco.com.au
Next issue highlights:
editor Deborah Gibbons
Production editor Danielle Ryan • All the latest art news and events
Email: subs@wpco.com.au
contributors Patrick Hedges, Margaret Hodgson, • Meet talented artists
Brett A Jones, Derek Newton
creative director Hayley Jagger • Easy-to-follow art demonstrations
subeditor Anita Mullen
national advertisinG ManaGer
• Full of tips and advice
Simon Mullen (02) 4733 8482 Fax: (02) 4733 8583
Email: simon@wpco.com.au
advertisinG coordinator
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necessary rights, licences and permissions, and publishing it in this On sale 29th August 2016
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