Artists-Drawing--Inspiration-Issue_24_2017 (1)

Prévia do material em texto

STEP BY STEP DRAWING DEMONSTRATIONS
HINTS AND ADVICE TO 
IMPROVE YOUR ARTWORK
MASSIVE 
BUYERS' 
GUIDE
D R AW I N G & I N S P I R AT I O ND R AW I N G & I N S P I R AT I O N
STEP-BY-STEP
EASY TO FOLLOW
INSTRUCTIONS
Phone: 02 4722 2260
Fax: 02 4733 8583
@
PO Box 8035
Glenmore Park NSW 2745 
orders@wpco.com.au
READY TO PAINT SERIES 
POST CALL EMAILFAX
SAVE 
$$$
HURRY!! 
STOCKS ARE 
LIMITED
HURRY!! 
STOCKS ARE 
LIMITED
TITLE MR MRS MS MISS
Name __________________________________________________________________________________________________________________
Address________________________________________________________________________________________________________________
State______________________________ Postcode_________________________
Email___________________________________________________________________________________________________________________
Telephone (inc. area code)_____________________________________________________________________________________________
PLEASE DEBIT MY: MASTERCARD VISA
Card No
Cardholder name (PLEASE PRINT)_________________________________________
Signature____________________________________ Date ___ /___ /___
 Cheque/Money Order (Aust. only) I enclose a cheque/money order made payable to 
Woodlands Publishing Pty Ltd (ABN 30 115 093 162) for $ ........................ 
* All prices include GST. Please add Parcel Post $9.95
HURRY ORDER TODAY
Artist's Drawing and Inspiration is proud to present the latest 
Ready To Paint Series. Start your collection today!!These books are usually 
priced at between $21.99 and $23.99 but we have them at the SPECIAL PRICE
OF $17.99. Save up to $6.00 per book. All mediums are covered with step-by-st
instructions.These books offer a straight forward easy-to-follow approach and are
great addition to your Artist’s Palette magazine.
PLEASE TICK BOOKS REQUIRED
If you would like more than one of a 
particular book please place quantity 
required in the box.
BOOKS ONLY $17.99ea
Expiry date /
COLLECT THEM ALL
HURRY!! 
STOCKS ARE 
LIMITED
4 Artist's Drawing and Inspiration
Simon and team
W
elcome to our latest
edition of Artist’s Drawing
and Inspiration. In this
issue we feature five outstanding
artists and their amazing drawing
techniques. We also have an amazing
buyers’ guide for our readers. With
eight pages of ideas and gifts, there
is no better way to start 2017.
Ellen Lee Osterfield continues her
“Remember when” series with one of
our favourite pastimes - when things
were a little simpler. In this issue she
embarks on the annual river holiday,
taking you back to your childhood.
Also in this issue, we have two
fabulous wildlife artists. Rikki Fisher
and Laura Grogan show off their
amazing talents using scratchboard,
watercolours and ink. You will be
impressed with their artwork and enjoy
their individual techniques and skills.
We would love to see what our
readers are doing, so please send
photos of your work to Drawing
and Inspiration Magazine, PO Box
8035 Glenmore Park NSW 2745 or
simon@wpco.com.au . I’m really
looking forward to seeing your
artistic work and creativity.
Laura Grogan
Editor’s NoteEditor’s Note
ARTIST INSIGHTS AND 
DEMONSTRATIONS
12 Rikki Fisher 
20 Rachel Szalay 
40 Laura Grogan 
54 Ainslie Gilles-Patel 
56 Graeme Stevens 
FEATURES
30 Ellen Lee Osterfield - Drawing 
Inspiration - River Holidays
46 New Years Buyers Guide
 
22
54
ontentsontents
Issue No.24 2016
46
REGULARS
4 Editor's Letter
8 Reader's Gallery
25 Subscription Page
76 Books and DVD's Store
82 Next Issue
12
34
66
Cover Image By: Rikki Fisher
8 Artist’s Drawing and Inspiration 
Woodland’sgallery
Leanne Moss
Leanne MossLeanne Moss
To whom it may concern
I am an emerging artist based in Botanic Ridge Victoria. I primarily work in coloured pencil and 
would love to be considered for inclusion in the Woodlands Gallery.
I have attached four examples of my work for your information. 
Kind Regards
Leanne Moss
 Artist’s Drawing and Inspiration 9
These feature pages are reserved for displaying the work of emerging and 
developing Australian artists; as well as other unknowns whose efforts may 
provide interest for our readers.
John Vasey 
John has always been drawing and sketching, but in 1999 he began painting with oil paints. In his professional life he worked 
as a sound engineer, Production Manager, Technical Director and more recently as a Tour Manager for touring music shows.
He is a keen sailor with Double Bay Sailing Club, sailing a Laser during the summer months, and working on the response 
boat for the 18 footer races. This love of sailing translates very much into lively paintings of the sailing boats.
As well as painting the sailing scene, John enjoys painting his own impression of the impressionist master’s paintings, 
especially Monet and Van Gogh.
John is a member of the Australian Society of Marine Artists and is expanding his subject material to include portraits. He 
has regularly held exhibitions in the Double Bay Sailing Club and his paintings are held in private collections throughout 
Australia and around the world. 
John VaseyJohn Vasey
John VaseyJohn Vasey
Woodland’sgallery
Mail your submission to: Woodland’s Gallery, Artist's Drawing and Inspiration magazine,
PO Box 8035, Glenmore Park NSW 2745 or email to ap@woodlandspublishing.com.au. 
Be sure to include a contact telephone number with your submission.
Dear Simon,
My name is Titika Faraklou and I am an artist who lives and works in Greece.
I have been contacted by AUSPA (Australia Society of Coloured Pencil Artists) and have been given your e-mail 
in case you are interested in seeing my work for the possibility of a future publication.
Kind regards,
Titika Faraklou
Titika Faraklou Titika Faraklou Titika Faraklou
Titika FaraklouTitika Faraklou
 Artist’s Drawing and Inspiration 11
Drawn to the West
With Artist Derek L Newton
Email your details to Derek at: 
info@wannerooheritageart.com.au
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. h is i rst 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. h e 
group will be limited to 15 with a minimum of 10. 
12 Artist’s Drawing and Inspiration
I N S I G H T
Rikki Fisher
The Wildlife Artist
Early retirement, a backpacking holiday and an art magazine highlighting 
scratchboard all sowed the seeds for this artist’s immersion into a very 
successful career as a scratchboard artist.
T
he natural world gives me
immense pleasure. I have my
mother to thank for teaching
me, as a child, to appreciate nature.
I have enjoyable memories of
clambering over rocks with her on
sunny days, catching skinks for her
aquarium or playing with the many
different dogs she bred. Coupled
with an adventurous nature, I soon
exchanged dolls for climbing trees,
collecting birds’ eggs or moulding
animals from clay, sourced from
my backyard. All these experiences
fashioned me into the person I am
today – a wildlife artist.
When not exploring my
surroundings I immersed myself
in drawing. Growing older I found
work and later family life crowded
out the time to pursue my art. From
time to time I caught a glimpse of
where I wanted to be when I enrolled
in short art workshops. However it
wasn’t until I took early retirement
eight years ago and moved from
Melbourne to Nimbin (northern
NSW) that I fully turned my attention
to discovering where my way of
expressing art would lead.
In 2011, I went on a three-month
backpacking holiday to East Africa.
My journey took me to Kenya,
Tanzania and Rwanda. Whilst in
Africa I went on some safaris where
I hadthe pleasure of seeing and
14 Artist’s Drawing and Inspiration
I N S I G H T
photographing an abundance of wild 
animals. From drawing and painting 
mainly Australian birds, the subject 
of my artwork now shifted to a 
whole other world (or continent) of 
wildlife. My inspiration came from a 
long fascination from afar.
At around the same time I 
came across an art magazine that 
showcased (for me) a new technique 
called scratchboard. The artist 
whose work I was admiring was 
Patrick Hedges from SA, a founding 
member of the International Society 
of Scratchboard Artists (ISSA) based 
in USA. I went online and found a 
whole new world of scratchboard 
artwork.
What struck me about scratchboard 
was the level of detail and the 
contrasts you could achieve with just 
black and white. It was so simple, 
yet amazingly striking. 
At that time I had been pondering 
and working toward achieving 
contrast by using charcoal to create 
the lights, darks and drama but I 
couldn’t get the detail. Scratchboard 
seemed to be the answer. 
In Australia, scratchboard isn’t as 
well known, even among artists. It 
is much more common in the USA 
as I soon found out when it came 
Artist’s Drawing and Inspiration 15
I N S I G H T
to buying artist quality scratch
materials. I went to the local art
store and bought what I thought
were the right materials; scratch
cardboard and a pointy stylus, only
to find I couldn’t get the fine lines
I had admired in Patrick’s work.
Discouraged, I assumed I couldn’t
do it and would need some lessons.
My research was unsuccessful in
finding a workshop in Australia. I
put the scratchboard materials in a
drawer and that was the end of the
matter.
Fortunately, a year later wildlife
16 Artist’s Drawing and Inspiration
I N S I G H T
artist Sandra Temple offered a 
workshop in Queensland. I enrolled 
to find that what I thought was 
my inability to scratch correctly, 
was actually my use of inferior art 
materials. Now with my newfound 
knowledge plus high quality 
scratchboard, I was off and running. 
A good brand of scratchboard is 
Ampersand, made in the USA. There are 
now a few suppliers in Australia who 
sell Ampersand boards, mostly online.
In 2012 I entered ISSA’s annual 
exhibition held in Vancouver, Canada. 
My attitude was “let’s have a go”, not 
believing that I would be a place getter. 
To my astonishment and delight, I 
won Gold, Best in Show, in the Open 
Category for my piece called ‘Nip’. 
This was only my 4th ever scratchboard 
artwork.
In 2013 I was approached by a gallery 
owner who wanted to represent me. 
Later that year I held my first Solo 
Scratchboard exhibition called ‘Stripes, 
a touch of the Wild’ at The Channon 
Gallery, located inland from Byron 
Bay, NSW. My work was well 
received and many of the pieces sold.
In 2014 I applied to become 
accredited as a Master Scratchboard 
Artist (MSA). A wide-ranging and 
high standard of criteria had to be 
met before I was accepted by ISSA 
as an MSA. I was amazed to be 
accepted as I had only been doing 
scratchboard for a little over two 
years. Later in the year I flew to 
North Carolina, USA to attend the 
3rd Annual ISSA Exhibition. 
I entered the Master Category 
and came away with Bronze for my 
Artist’s Drawing and Inspiration 17
work called ‘Out of the Darkness’.
I also had the opportunity to be
one of three jurors judging the
Open Category and to demonstrate
my techniques at their weekend
workshop.
Here in Australia I have won
a number of awards for my
scratchboard artwork. I would
like to see more art exhibitions
recognise scratchboard as a category
of its own, as it’s often hard to
fit scratchboard into traditional
categories. I believe this will happen
as the medium becomes more
popular.
For those interested in a 10-day
scratchboard workshop, I will be
teaching at the USQ McGregor
Summer School in Toowoomba,
Queensland from 7-17 January 2015.
See www.artsworx.com.au/coming-
events/the-art-of-scratchboard/
More of Rikki’s work can be seen
on her
website www.rikkifisher.com In
Northern NSW,
Rikki is represented by The
Channon Gallery
www.thechannongallery.com ■
18 Artist’s Drawing and Inspiration
D E M O N S T R A T I O N
The Scratchboard 
Panther
Scratchboard
With skillful scratching and diluted ink layering, this artist has created an 
amazingly detailed panther portrait.
By Rikki Fisher
MATERIALS
FINAL STEP
Above left: straight 
edge
Above right: curved 
edge
Artist’s Drawing a Inspiration 19
D E M O N S T R A T I O N
STEP ONE
STEP TWO
STEP ONE STEP TWO
20 Artist’s Drawing and Inspiration
D E M O N S T R A T I O N
ARTIST’S
HINTS AND
TIPS
STEP THREE
STEP FOUR
Artist’s Drawing a Inspiration 21
D E M O N S T R A T I O N
STEP THREE
STEP FOUR
STEP FIVE
STEP SIX
FINAL STEP
More of Rikki’s work can be seen on
her website www.rikkifisher.com In
northern NSW, Rikki is represented
by The Channon Gallery www.
thechannongallery.com ■
STEP FIVE
I N S I G H T
Rachel Szalay
This World makes 
Sense to Me
A NIDA graduate and long-term actor, this artist felt something was missing 
… until she discovered the perfection of pastels.
B
orn in Nepean Hospital in 1965, 
I grew up in Glenbrook in the 
Blue Mountains of NSW. Our 
house backed onto the National Park, 
so my playground was the bush. Up to 
now, I’ve done quite a few Australian 
landscapes with eucalyptus trees, and I 
feel this fascination stemmed from my 
childhood.
Very early on I was drawn to the 
arts. I could pick out tunes and play 
them on the piano before I was taught. 
Projects throughout school focussed 
more on the visual than the written. I 
remember getting in trouble in history 
I N S I G H T
once because I drew the heads of 
Roman statues instead of writing about 
them. It seemed more important to me 
to understand the tonal grading of the 
face than to discover which town they 
had ransacked.
My mother was an English/
History teacher and my father was 
an accountant. My middle brother 
was academically superb, so I think 
that influenced a need to find my 
own niche. No one in the family was 
artistically inclined, but there was a 
great appreciation of the arts. 
I majored in art at school and did 
well and this led to the City Art 
Institute and a degree in Visual Arts. 
Secretly though, I wanted to audition 
for NIDA. (National Institute of 
Dramatic Art.) While I asked a friend 
to display my final year assessment 
works at art school, I was off down the 
acting road.
After graduating from NIDA, I 
spent the next 16 years bouncing 
around on stage, predominantly at 
24 Artist’s Drawing and Inspiration 
 
the Sydney Theatre Company with 
some extraordinary people, including 
Jim Sharman (“Rocky Horror Picture 
Show”), Barrie Kosky, Michael Gow, 
Geoffrey Rush, Ruth Cracknell, and 
Gordon Chater. This was great fun, 
but something was missing. I felt 
the need to pursue art as well. As an 
actor, you are at the behest of many 
others. As an artist, it is up to just 
you. I rode these worlds in tandem 
for a while, but gradually the acting 
lost its lustre.
The choice of pastels came about 
due to student and combined living. 
I didn’t want to stink out the house 
with turps and oils as my studio 
would always be somewhere in the 
house. I also enjoyed the immediacy 
of pastel. No long drying times. It 
was more importantly a training 
ground for colour. At art school I 
majored in drawing and drawing 
techniques, but lacked a strong 
colour theory. Pastels were the 
medium that best explained it to me.
Recently, I read an article by 
Phillip Adams in the Weekend 
Australian magazine lamenting the 
loss of the Australian voice and being 
overwhelmed by American culture. 
I couldn’t agree more. Australia is 
unique in its flora and fauna, its 
landscapes, its people, its stories,and 
its dreams. As an artist, I have the 
freedom to absorb and express what I 
see and feel around me. I love doing 
this. This world makes sense to me.
Contact details:
Web: www.rachelszalay.com
Email: rachel@rachelszalay.com
Ph: 0414 089 044 ■
FREE POST: Woodlands Publishing
Reply Paid 8035, Glenmore Park 2745
subscription order form
YES!
 I would like to subscribe to 4 issues of 
Artist’s Drawing & Inspiration magazine 
starting with the next available issue.
1. YOUR DETAILS
TITLE MR MRS MS MISS 
Name ________________________________________________________________
Address______________________________________________________________
_______________________________________________________________________
State______________________________ Postcode_________________________
Telephone (inc. area code)___________________________________________
2. PLEASE TICK ONE BOX
 AUSTRALIA: 
 NEW ZEALAND: 
 REST OF THE WORLD: 
METHOD OF PAYMENT
 Cheque/Money Order (Aust. only) 
Please debit my: Mastercard Visa 
Card No
/
 ________________________________________
Presented by
SCRIBE & SAVE!
ArtisArtis
P a l e t t eP a l e t t e
AND TECHNIQUES
STEP BY STEP DRAWING DEMONSTRATIONS
HINTS AND ADVICE TO
IMPROVE YOUR ARTWORK
MASSIVE
BUYERS
GUIDE
I N S P I R AT I O NI N S P I R AT I O N
P
ri
n
t
P
o
s
t
A
p
p
ro
v
e
d
2
4
4
1
0
5
/0
0
0
5
3
ISSUE 24
A$9.95
Incl GST
NZ $10.20 Incl GST
US $9.95 CAN $9.95
IS
S
N
2
2
0
0
-5
6
2
5
9
7
7
2
2
0
0
5
6
2
0
0
8
0
4
STEP-BY-STEP
EASY TO FOLLOW
INSTRUCTIONS
4 issues 
for only 
$19.95*
SAVE
$19.85
3EASY WAYSTO SUBSCRIBE
 (02) 4722 2260
and quote four issues offer
 Fill in the form & freepost to:
 (02) 4733 8583
DRAWING & INSPIRAT ION
ARTIST
26 Artist’s Drawing and Inspiration 
D E M O N S T R A T I O N
The Waratahs
Pastels
In this artwork, a study in red and green pastel, these Australian 
plants look stunning.
Rachel Szalay
MATERIALS
FINAL STEP
 Artist’s Drawing and Inspiration 27
D E M O N S T R A T I O N
STEP ONE
STEP TWO
STEP ONE STEP TWO
STEP THREE
28 Artist’s Drawing and Inspiration 
D E M O N S T R A T I O N
STEP THREE
STEP FOUR
STEP FIVE
STEP FOUR
 Artist’s Drawing and Inspiration 29
D E M O N S T R A T I O N
FINAL STEP
Contact details:
Web: www.rachelszalay.com
Email: rachel@rachelszalay.com
Ph: 0414 089 044 ■
ARTIST’S HINTS AND TIPS
STEP FIVE
30 Artist’s Drawing and Inspiration 
D R A W I N G I N S P I R A T I O N
Remember When – Series by Ellen Lee Osterfield
River Holidays
Watercolour and Graphite Pencil
I remember when school and public holidays were spent “up the river” camping. There were many rivers to choose
from only a few hours drive from our home in Bendigo. The Murray, Wakool, Loddon and Campaspe were a few
favourites, depending on how long the break was. We did also go to the Murrumbidgee a good half days drive away!
The early morning wake up, the long drive and the winding river road that threaded it’s way through the trees was
the tiresome part of the journey, but once we arrived and chose our camp site, it was all fun for us kids who whilst
the adults put up tents and made a safe swim spot for us (by cutting some saplings and hammering them into the
muddy bottom of the river, then stringing a net around them to keep us in), set about exploring our surroundings!
There were always 3 families consisting of Aunts, Uncles, and Cousins and of
course mum, dad and my sister and I and our grandmother.
All of us kids were water babies and spent morning, afternoon and evening in the water! We
especially loved going under the water if it rained, you could hear the tinkle of the raindrops
and if you looked up you could see the patterns in the ripples on the top of the water.
There were always 2 tents, one for sleeping, where our canvas stretcher beds would be made up
and one large one where we’d all gather together at meal times. It was canvas on three sides with
a fly mesh front, to make the most of the river view, also to capture any breezes and of course to
keep out the flies. Some of the adults slept in their station wagons or in their trailers!
The toilet tent was an elaborate canvas structure which in the early days was strung around the trees and the toilet roll
was placed over a stick poked into the ground, but as time went by tent poles and ropes held the structure in place and
there was even a pocket in the door for the toilet roll! It was a battle of wills to see who had the privilege of digging the
whole for the toilet tent to be placed over, but this task was eventually shared amongst the men in the camp! There was
some discourse however if by some miss- calculation a “second toilet” had to be dug before the end of the holiday!
M
emories of our camping 
holidays are always 
happy ones! Sometimes 
we’d stay for 4 weeks and have 
endless fun, swimming, fishing, 
exploring and eating!!
If it rained however there were a new 
set of challenges as getting around 
in thongs was almost impossible 
through the mud and shoes became 
“high heels” as the mud stuck thicker 
and higher with every footstep!
STEP ONE
I’ve chosen to paint a sunny fun 
day in the water! On a quarter sheet 
of 640g H/P watercolour paper 
I have airbrushed a background 
using Cadmium yellow and Cobalt 
in separate washes. I had a little 
“happy accident” in the form of a 
couple of runs of Cobalt, which I 
intend to turn into “other things”!
STEP TWO
You can see what I have done to cover 
up the Cobalt runs, a colourful beach 
ball, a fish and a little girl playing in the 
sand! It’s amazing what you can come 
up with using your imagination! I have 
used watercolours as they have better 
coverage than pencils would. On the 
beach ball I’ve used Cobalt, Vermilion, 
Cadmium yellow and Viridian, I felt 
this picture could use more colour to 
create the atmosphere I am after. I have 
only used these 4 colours from my 
watercolours throughout and have used 
them together with a limited range of 
watercolour pencils. The rubber tyre 
“floatie” was painted in watercolour 
using Indigo and Burnt umber.
STEP THREE
I want to keep the “vintage” look 
about this picture and so introduce 
my watercolour pencils, I’ve used 
May green for the man’s shirt and 
 Artist’s Drawing and Inspiration 31
also in the water and on the canvas 
tents. I have used Copper beach for 
his pants and in the riverbank.
STEP FOUR
I have used deep vermilion for the 
table cloths and Orange chrome for 
the little girl’s hat and bathing suit.
I am also using a 3B graphite pencil 
for background trees and shading 
over the whole picture. The ladies 
swimsuit is watercolour pencil Deep 
Cadmium. My Terracotta watercolour 
pencil was used for the skin tones.
STEP FIVE
I set about darkening the colours with 
my watercolour pencils and graphite 
pencil. The little boy’s shirt was 
coloured with watercolour Ultramarine 
while for his bucket I have used Cobalt.
STEP SIX
I am working my way around 
the picture adding highlights 
and shadows, I don’t want to 
make my colours too bright and 
knowing when to stop is vital!
I’ve added some Olive green 
watercolour pencil to the man’s shirt 
FINAL STEP
STEP ONE
STEP TWO
32 Artist’s Drawing and Inspiration 
and around the picture to give the 
tonal balance. The fish was a light 
wash of Cobalt and since I’ve decided 
he is a “yellow belly” I have added 
some yellow ochre to his underside! 
This picture really takes me back to 
my childhood! Happy Painting! ■
D R A W I N G I N S P I R A T I O N
ARTIST’S
HINTS AND
TIPS
your pencils group them 
together with a rubber band, 
this will help you to keep 
the tonal balance in the 
painting by limiting your 
colours and will help you 
to find them more easily 
instead of having to sort 
through your pencil box.
only watercolour pencils 
you may have to re wet 
and re workyour colours, 
be sure the area you are 
re working is totally dry 
so you don’t run the risk 
of tearing your paper! 
STEP THREE
STEP FOUR
STEP FIVE
 Artist’s Drawing and Inspiration 33
T
he Chameleon Pen comes in two
parts. The main body is a double-
ended marker pen with a Japanese
bullet nib on one end and a SuperSoft
Japanese brush nib on the other. The nibs
are replaceable and the marker is refillable.
The mixing chamber is the second,
removable part of each pen. This is
what makes Chameleon truly unique.
It allows you to change the ink colour
and get multiple colour tones, blends
and gradations, all from just one pen.
Even better, Chameleon Pens come in 50
brilliant colours.
Here are six ways you can use this amazing
colouring system:
1. Colour like a regular marker. (Fig 1)
Alcohol inks are quick drying because the
ink doesn’t contain water. The colour is
actually suspended in the alcohol. Alcohol
inks produce bold tones and lay down
streak-free areas of flat colour. Chameleon
is a great alcohol-based marker pen.
2. Create awesome one-pen blends and
colour gradations.
Here, Chameleon Pens outperform any
other single marker available. Insert either
end of the marker into the Mixing Chamber,
and watch the magic happen. (Fig 2)
The colourless toning medium
fuses into the marker nib, temporarily
lightening the tone of the original ink
colour. As you colour, you go from a hint
of a tint, through mid-tones, and back to
the original pen colour. Brilliant, simple,
seamless, one-pen blends.
3. Achieve multiple-pen blends: traditional
blending made even EASIER! (Fig 3)
First lay down a base colour, as you
would with any conventional marker
pen. Then choose a darker tone to lay in
the shaded or darker areas. Finally, fuse
original base colour and darker tone, and
colour over where the two colours meet
to blend out any seams. You just created
a seamless multi-colour blend with only
two pens. Traditional systems require
three, maybe even four or more pens to
achieve this effect.
4. Create new colours. (Fig 4)
Once you have your seamless colour
blend, you may want to make the blended
tone cooler, warmer or even shift the tone
in another direction. Any of these require
only two Chameleon Pens. Simply fuse
the second colour, and colour over the
original colour blend. This keeps the
integrity of the original blend while
shifting the tone of the blend in the
direction of your choosing. No other pen
system on the market can do that!
5. Stunning cross-colour blends, blending
two very different colours. (Fig 5)
Here’s where things get really fun! Create
a one-pen blend, then with an entirely
different colour, start at the light end of the
existing blend and colour out a blend in the
opposite direction. The result is a seamless
blend going from one colour to the other.
Again, this can not be done with any other
system by using only two pens.
6. Use Chameleon Pens with all of your
other markers, pens and pencils!
Chameleon Pens play well with others!
Do blends over top of your favorite
colours from other systems, easily create
gradated cast shadows under the elements
in your image, and even shift the tones
of your existing markers in any direction
you choose. No art supply collection is
ever truly complete without a set of these
innovative, award-winning marker pens.
1 2 3 4 5
– Quite possibly the most versatile
alcohol-based pen on the market.
“One pen creates endless possibilities bringing new life into the world of markers!” 
Veronica Davies, Professional Artist, illustrator and Graphic Designer. http://veronicadavies.ca/
The Chameleon™ Pen
A D V E R T O R I A L
34 Artist’s Drawing and Inspiration 
I N S I G H T
I
didn’t actively decide to pursue 
art until I was 13 years old 
and I entered (and won) an 
art competition run by the local 
community newsletter “The Village 
Journal”. Although always encouraged 
to dabble in art by my talented mother, 
until then I hadn’t developed any 
particular aptitude – the diverse array 
of art materials I had been preciously 
hoarding remained largely untouched! 
The competition called for a border 
design for the newsletter’s back-page 
calendar, and, ever ambitious, in that 
first attempt with a black felt-tipped 
pen, I managed to include a rough 
sketch of no less than five native 
Australian animals – a koala, platypus, 
Laura Grogan
Wildlife Conservation 
Artist
Art allows this artist to combine her two greatest passions – her desire to 
conserve wildlife and her fascination with beautiful things. 
 Artist’s Drawing and Inspiration 35
 
echidna and quoll, with a pigeon to 
top it all off! It’s quite possible that 
I was the only contestant to enter 
the competition! But at the time I 
felt it was a great honour to have 
been selected the winner, to have my 
drawing published in the newsletter, 
and to be awarded the not-to-be-
scoffed-at $50 prize money! 
The award accompanied a request 
by the editor for paid regular 
monthly commission pieces for 
the back page (with subjects of my 
choosing), and thus led me to the 
disciplined practice of art. Each 
drawing took between 10 and 30 
hours to complete. So from rather 
36 Artist’s Drawing and Inspiration
I N S I G H T
coarse beginnings, my drawings of 
wildlife developed to becoming more 
refined and detailed – I moved from 
a 0.4mm felt-tipped pen to a 0.05mm 
felt-tipped pen. When pens could 
no longer satisfy my need for still 
greater detail, I started using a 20/0 
round sable brush with Indian ink. 
By working in monotone with 
brush and ink, I learnt from the 
beginning to focus on form, detail 
and texture, using a variety of brush 
strokes – hatching, scumbling, circles 
and stippling. I especially revelled 
in drawing animals that provided 
textured skin to experiment with. I 
think perhaps this is when I came to 
adore frogs so much – their skin is 
simply exquisite! I still have the entire 
collection of these early artworks 
– cataloguing the work allowed me 
to keep pushing the boundaries of 
the art of which I was capable. I 
am extremely grateful for that early 
encouragement and discipline.
My passions for wildlife and 
conservation were similarly 
developing throughout these early 
years, and after secondary schooling I 
completed a veterinary degree at The 
University of Sydney. Until this time 
colour had always been the missing 
element from my artwork, and I had 
a yearning to experiment with it. So, 
once again ambitious, I decided to 
start with watercolours as my medium 
of choice – in retrospect, perhaps not 
the easiest medium to master! My first 
paintings with colour were rendered 
on a base drawing with ink and brush. 
Gradually I learnt to incorporate the 
tightness of ink with the looseness of 
watercolour paints. 
It didn’t take me long to realise that 
the life of a veterinarian, working 
predominantly with domestic 
animals, was not fulfilling my ideals 
regarding wildlife conservation. I also 
realised that I found the challenge of 
research particularly stimulating. So I 
decided to pursue an academic career 
researching wildlife diseases with 
the aim of mitigating their impact. 
This led to my recently completed 
Doctor of Philosophy (PhD) degree 
investigating the devastating fungal 
skin disease, chytridiomycosis, which 
is threatening frogs worldwide (James 
Cook University). Continuing art as 
a part-time venture while working 
full-time can be a challenge when free 
hours aren’t an unlimited resource. 
But a career in research has provided 
the flexibility I needed to continue 
painting on the side. 
With the advent of digital cameras 
 Artist’s Drawing and Inspiration 37
I N S I G H T
I discovered I could combine my 
weekend pleasure of observing 
wildlife, particularly bird watching, 
with the useful activity of collecting 
photographic sourcematerial for my 
paintings. I now exclusively use my 
own photos as reference for painting, 
or alternatively paint plein air. I find 
that observing wildlife performing 
their natural behaviours gives me 
insight into the complex lives of these 
amazing creatures, and I feel that this 
understanding adds another dimension to 
my artwork. 
Until recently, my paintings were 
still highly controlled, however, and I 
was finding it difficult to escape my 
natural tendency towards rendering 
excessive detail (which has the 
unfortunate downside of making even 
small paintings take weeks to months 
to complete). So I expanded my 
repertoire and started painting with 
soft pastels – 
a comparatively large medium that 
necessitated a lessened level of 
detail. I am currently exploring both 
watercolour and pastel media and feel 
very much as though I am still at the 
beginning of a remarkable adventure!
In the last few years I discovered 
the “Artists for Conservation” 
foundation 
(AFC; http://www.
artistsforconservation.org/), and 
the “Queensland Wildlife Artists’ 
Society Incorporated” (QWASI; 
http://qldwildlifeartists.com.au/). 
I was fortunate to be invited to 
join both organisations, and I have 
greatly benefitted from the contact 
with a group of like-minded artists, 
similarly dedicated to wildlife 
conservation. As part of my 
continued commitment to conserving 
wildlife I donate a proportion of the 
proceeds from the sale of paintings 
to conservation organisations. 
I am particularly interested in raising 
awareness through my art about the 
plight of many of the less ‘enigmatic’ 
wildlife species. I thus focus artistically 
on portraying less well known 
wildlife, including many endemic and 
38 Artist’s Drawing and Inspiration 
I N S I G H T
endangered Australian animals. I hope 
that through my art and research I might 
help to educate everyday people about 
the precarious precipice upon which 
humanity now finds itself – the world 
is currently experiencing the worst 
biodiversity crisis in 65 million years, 
and this time it is caused by us humans. 
Amphibians in particular are leading this 
anthropogenic catastrophe, with more 
frog species endangered or extinct than 
in any other vertebrate class. We have a 
crucial opportunity now to attempt to halt 
and hope to reverse much of the damage 
being done to the environment. 
In my watercolour paintings I use 
Daler-Rowney FW black acrylic ink 
and Winsor & Newton Artists’ (now 
relabelled ‘Professional’) watercolours 
on Arches smooth hot-pressed 300 gsm 
100% cotton paper. I typically use a tiny 
round 20/0 sable brush for my ink work, 
and 3/0, 1, 2, 4 and 6 sable brushes for 
watercolours. For my pastel paintings, I 
predominantly use Schmincke, Sennelier 
and Art Spectrum soft pastels, Faber-
Castell Polychromos hard pastels and 
PITT pastel pencils on a support of 
sanded paper (Canson Mi-Teintes TEX or 
Art Spectrum Colourfix). For my acrylic 
pieces I use Atelier Interactive acrylic 
paints and media. 
Contact details
For more information about Laura’s 
art and research, or to purchase 
prints and originals, 
please visit: 
Web: www.lauragrogan.com and
www.mccallum-disease-ecology.com 
Email: lauragroganwildlifeart@
gmail.com ■
That’s only $4.99 per issue
(normally $9.95)
Other advantages
include...
FREE home delivery Guaranteed rates Receive your magazines 
before they go on-sale Receive a full money-back guarantee on the 
remainder of your subscription should you wish to cancel at any time
10 issues
only $49.90
SAVE
$50.00! 
Only 
$4.99
per issue
40 Artist’s Drawing and Inspiration 
D E M O N S T R A T I O N
Suspicion 
and Disguise
Watercolours and ink
Tawny frogmouths (Podargus strigoides). The artist photographed the 
reference shots in the early afternoon at Rocky Creek Dam on the edge of 
Whain Whian State Forest, NSW. First one frogmouth, then the other eyed her 
suspiciously before deciding she wasn’t a threat and then went back to sleep! 
Laura Grogan
FINAL STEP
 Artist’s Drawing and Inspiration 41
D E M O N S T R A T I O N
STEP ONE
Pencil sketch for composition
While the initial rough sketch usually 
takes the least physical time of the 
whole painting process, it can take a 
considerable period to settle on the 
right composition before putting pencil 
to watercolour paper. The composition 
for this portrait was relatively simple 
and was based on a few of my reference 
photos stitched together (to obtain 
the best combination of bird facial 
expressions). I use watercolour paper 
that I have pre-stretched and taped to a 
plywood board. I use graphite pencils 
in a soft, sketchy, semi-loose technique 
to outline and add details to the birds 
and branch. I’m not concerned about 
neatness at this stage, however, for 
wildlife portraits, form and perspective 
are particularly important – details 
around the focal point (usually the 
face and eyes of the subject) need 
to be in proportion, and I will erase 
and re-draw these details where 
necessary until I get them right. The 
pencil lines are very faint and barely 
visible until up close, in order to avoid 
excessive outlines showing through 
the watercolour in the final painting. 
STEP TWO
Inking the darks
I find using a combination of ink 
and watercolour works well in my 
paintings because it allows very 
precise delineation of areas of 
detail and focus such as around the 
eyes and in the dark areas which 
cannot be achieved with watercolour 
alone. Using ink first also helps 
set the level of contrast within 
the piece from the beginning. 
ZOOMED DETAIL
Here you can see the approach I 
use to add ink to the dark areas. I 
first create a fine outline (with a 
3/0, 10/0 or 20/0 brush) to define 
the extent of the inked areas, then 
use a larger brush to fill them. 
STEP THREE
Gradually expanding
I continue to add ink to the dark areas 
STEP TWO STEP TWO– ZOOM DETAIL
STEP ONE
42 Artist’s Drawing and Inspiration 
D E M O N S T R A T I O N
throughout the composition, careful
to ensure I maintain some degree of 
balance in the level of contrast that 
will be present. I do not erase the 
pencil lines as I will need them to 
guide the subsequent watercolour 
washes, however they are very faint 
and are barely visible in comparison 
with the inked areas. I always start 
my portraits with the area of greatest 
focus, which is usually around the eyes. 
This is the region where detail and a 
sense of realism are most important. If 
this first part doesn’t work the way I 
envisioned, I start again from scratch.
Zoomed detail
With the inked areas providing a 
reference point for the level of contrast, 
I start with several pale tonal washes; 
blotting and painting to gradually 
achieve the tones I am after. Over 
these washes I use fine brushstrokes 
to gently delineate skin, fur, feathers 
or scales. I don’t attempt to precisely 
outline every detail. After painting 
the head in detail, I start to paint 
very dilute areas of burnt sienna to 
the breast feathers in a rough pattern 
following the shadows and contours. 
I use relatively large brushes for these 
initial stages (sizes 2, 4 and 6) to keep 
the edges rough. I define the shadows 
not only with overlaid brush strokes, 
but I also regularly use a facial tissue 
to lift out areas of colour by dabbing 
the paper, and this helps soften edges 
where necessary. Once I’ve achieved 
the correct tonal value and approximate 
hue for the area I’m working on, I start 
using smaller brushes to add details 
with hatched feathering or stippling 
techniques and usually work with less 
dilute colour (you can see fine strokes 
defining the feathers around the face).
STEP FOUR
Working on the wing
Due to the high level of contrast in the 
wing area, when adding watercolour 
I use much less dilute paint,but I 
still attempt to achieve a variety of 
textures by varying the shape of the 
strokes I create. The feathers of the 
bird are quite ruffled in this painting, 
so certain areas need to recede into 
the black depths, while others receive 
spots of light, and need to be kept 
paler. In addition, the wings of tawny 
frogmouths have interesting patterns 
of colouration so I’ve started to 
bring in the blue and neutral hues 
in the more shadowed areas.
STEP THREE
STEP FOUR STEP FIVE
Artist’s Drawing and Inspiration 43
STEP FIVE
Adding breast feather detail
Part of the appeal of these two 
frogmouths was their very fluffed 
and scruffy nature (particularly the 
bird on the right) – it was a chilly 
afternoon and I had disrupted their 
repose! I wanted to achieve that 
effect with watercolours where 
possible. To do this required 
retaining variable highlighted areas 
where the white of the paper could 
shine through the almost completely 
transparent watercolours. Here you 
can see the fine brush strokes I’ve 
applied with a 10/0 brush over the 
dilute colour to better delineate 
individual feather shadows. The 
transitions needed to be relatively 
subtle and soft, particularly on the 
breast area, so instead of using pure 
tube colours, here I’m using mixed 
tertiaries solely from the palette.
STEP SIX 
Working on the second bird and branch
After largely completing the bird 
on the right, I start on the left bird, 
working from the focal area of 
deep shadows around its closed 
eye. The head region of this bird 
provided numerous opportunities 
for interesting stroke patterns, from 
the fluffy forward-pointing feathers 
between the eyes, to those feathers 
viewed from the side underneath the 
beak (separated by shadows). The 
cheek feathers of this bird also had 
a bit more of a pink hue, so I mixed 
in a small amount of permanent 
alizarin crimson for the details.
Zoomed detail
Although I had already added the 
darkest areas of shadow on the 
branch underneath the birds with 
black ink, there were many other 
shadows and cracks in the bark 
that were of moderate tone. So 
here I start to define these details 
with sepia, van dyke brown and 
burnt umber watercolours. For the 
shape of the branch and bark to be 
believable, here I try to roughly 
follow the patterns of the bark from 
my initial pencil sketch. You can 
see that I use relatively undiluted 
watercolours to tie in with and 
extend the cracks in the bark and 
areas of shadow delineated by 
the ink. I vary the tone of these 
slightly to add interest. I’ve also 
added a very pale background 
Step 6
STEP SIX
44 Artist’s Drawing and Inspiration 
D E M O N S T R A T I O N
wash of burnt umber to the lower 
portion of the branch at this stage. 
STEP SEVEN 
Adding colour to the bark and lichen
The lower branch area contains 
predominantly yellow-ochre hues, while 
the lichen covering the top of the branch 
was a green colour. In this step I used 
relatively wet and rough scumbling 
brush strokes to lay in broad swaths 
of colour to build up hue and tone. 
Zoomed detail
Here you can see that I’ve used lost 
and found edges to define the bark and 
lichen/moss. In particular, after adding 
dilute greeny-browns in the upper 
branch portion, I dropped in (wet in 
wet) undiluted paynes grey at various 
points to add interest and variation. 
STEP EIGHT
Detailing the branch
I liked the rough random effect I 
had achieved with the lichen and 
moss in the previous step, however 
the branch overall was too poorly 
defined to suit the remainder of the 
painting, and had too little contrast, 
particularly where the birds were 
casting shadows. Furthermore, the 
birds seemed a bit out of place in the 
colour scheme of the branch. This 
commonly occurs when portraits 
are worked up in sections. I find 
the solution to this is to bring 
some of the colour of each element 
together. Here you can see that I’ve 
brought a reflection of some of the 
green of the branch into the lower 
body/breast portion of the birds.
Zoomed detail
In this step I used a fine brush and less 
diluted colours to define rough shapes 
at the edges of the cracks of bark and 
the frilly edges of the moss and lichen. 
I don’t aim for 100% photorealism 
with my portraits, but instead for a 
sense of character, movement and 
purpose. I prefer that my artwork 
STEP SEVEN
STEP EIGHT
STEP SEVEN-ZOOM
STEP EIGHT-ZOOM
 Artist’s Drawing and Inspiration 45
D E M O N S T R A T I O N
is immediately recognizable as art, 
rather than photography. Here I have 
left out much of the lichen detail in 
favour of focussing on the birds.
FINAL STEP
After stepping back from the 
painting for a while I realised that 
some areas needed a greater level of 
shadow, or a slight variation in hue. 
At this stage broad dilute washes 
help to tie all parts of the painting 
together, and take the edge off some 
of the overly defined textures. 
Zoomed detail 1
Here you can see the final details 
on the head of the left bird.
Zoomed detail 2
Here you can see the final details 
on the h ead of the right bird.
Contact details
For more information about 
Laura’s art and research, or to 
purchase prints and originals, 
please visit: 
Web: www.lauragrogan.com and
www.mccallum-disease-ecology.com 
Email: lauragroganwildlifeart@
gmail.com ■
ARTIST’S HINTS AND TIPS
very forgiving medium (meaning 
that large mistakes are difficult 
to correct), one of the main 
attractions of watercolour for 
me is its inherent randomness, 
and the softness, subtleness 
and detail that can be achieved 
without the painting becoming 
stiff or stilted. Successfully using 
watercolour requires a reasonable 
degree of planning of a painting, 
however. You need to consider 
in advance (before laying paint 
down) where the highlights 
in your painting will be. 
worked up from light to dark 
because you can’t go backwards 
very successfully! Once you’ve 
covered the luminosity of the paper 
with a dark tone, there is no way to 
resolve it back again. ‘Lifting’ paint 
with water and a stiff brush or paper 
tissue can only go so far and doesn’t 
work with highly staining colours. 
While it is possible to use white 
gouache (opaque water based paint) 
to add highlights that are missing 
or were lost, these highlights will 
generally never seem completely in 
keeping with the original painting 
(they have a more ‘plastic’ texture in 
comparison with the organic texture 
of the paper), and much of the subtle 
lightness of the painting will be lost. 
known as ‘glazing’), including 
smaller areas of roughly scumbled 
strokes, is one of my favourite 
techniques when painting with 
watercolours. Layering starts with 
dilute paints and creates depth and 
complexity of texture in a painting 
simply because the observer can 
see through the upper transparent 
layers to the colours and patterns 
underneath. Being successful with 
layering requires good quality 
materials, however, as cheaper 
paints and papers will lead to 
lifting or muddying of previous 
layers whilst painting over 
them. Properly layered colours 
generally don’t appear muddy. 
areas of the painting, but you also 
need to lay broad washes, you 
can use masking fluid or tape to 
temporarily cover the areas of 
paper to be retained. It is worth 
considering that many brands of 
masking fluid leave a residue on 
the paper, however, particularly if 
the rubbery latex material is left 
on for too long. Sometimes if you 
leave the latex on too long the 
residue will cause some areas to 
resist water (and hence paint) in 
later washes, and the residue can 
also discolour the paper as it ages 
(including so called “colourless” 
masking fluid). The paper surface 
can also be damaged when the 
latex is removed (in particular, 
it tends to raise individual fine 
fibresof cotton papers, changing 
their texture when later painting 
over the area). Where possible, 
it is best to reserve paper whites 
by painting around them rather 
than using masking techniques, 
particularly if you’re not planning 
to later paint these areas. 
FINAL STEP-ZOOM FINAL STEP-ZOOM
F E A T U R E
46 Artist’s Drawing and Inspiration 
As one of the world’s leading 
manufacturers of writing, colouring 
and drawing instruments, as well 
as modelling/polymer clays, 
STAEDTLER gives form to ideas 
and creative inventions the world 
over. Quality, innovation, design 
and functionality characterise 
all STAEDTLER products. 
UK-based artist, Johanna Basford, 
author of global best-selling adult 
colouring books including ‘Lost 
Ocean’, ‘Magical Jungle’ and the 
upcoming ‘Johanna’s Christmas’, 
is a fan of STAEDTLER products 
including: the pigment liner 308 that 
she uses to create her extraordinary 
designs; triplus colour fibre-tip pens; 
triplus fineliners; as well as her 
favourite coloured pencils – ergo soft.
STAEDTLER products for 
the ‘artistically-inclined’ 
in your life include:
STAEDTLER triplus® fineliner 
range
The triplus fineliner range has recently 
extended its colour 
range to 42 brilliant colours. 
The addition of a further six new 
colours makes the triplus fineliner 
offering distinctly unique. The new 
colours include Bright Yellow, 
Salmon, Indigo, Kalahari Orange, Pale 
Green and Burnt Sienna. 
The full range of 42 assorted 
colours is now available in a complete 
assorted colour boxed set, as well 
as individual colour boxes of 10.
The triplus fineliner is a 
preferred favourite for those taking 
advantage of ‘adult colouring’ 
for intricate colouring detail.
Features include superfine, metal-
clad tip, ergonomic triangular barrel 
offering effortless fatigue-free 
comfort when writing. Attractive, 
metallic-grey triangular barrel with 
colour coding. triplus ink washes 
out of most textiles (water-based). 
Line width approximately 0.3mm. 
The triplus fineliner wallet can be 
turned into a pen stand quickly and 
easily – keeping all colours ready-
Start your new year the right way with these brilliant art tools and products!
2017
Buyers’ Guide
Contributed
STAEDTLER CREATIVE PRODUCTS – FOR THOSE WHO LOVE TO BE INSPIRED!
F E A T U R E
Artist’s Drawing and Inspiration 47
to-hand. Other features include: 
Dry safe; can be left uncapped for 
days without drying up, PP Barrel 
and cap guarantee long service 
life. Airplane safe; an automatic 
pressure equalisation prevents pen 
leakage while on board aircraft. 
STAEDTLER triplus fineliners 
are also available in wallet sets 
of 6 assorted neon colours, 6 
assorted pastel colours or 6 assorted 
nature colours; wallets of 4, 10 
or 20 assorted colours; assorted 
colour boxes of 15 and 36. 
STAEDTLER ergo soft 
coloured pencils
In addition to the triangular shape, 
the ergo soft range of coloured 
pencils has a velvety soft surface for 
an easy grip and relaxed colouring. 
The soft leads are 3mm diameter 
and deliver especially rich colour. 
Colours are also easy to blend on 
paper and will mix well with each 
other. This gives pictures more depth 
and achieves a more individual result. 
Available in wallets of 12 and 24 
and assorted colour box of 24.
STAEDTLER pigment liner
This highly-versatile fineliner pen is 
suitable for writing, sketching and 
drawing. Popular with artists 
working across a variety of mediums, 
STAEDTLER pigment liner pens 
are available in 12 line widths in black 
ink, including the recently-launched 
addition of 3 new tips, 1.0mm, 
1.2mm and chisel tip, enabling even 
further diversity of application use.
Each pen comes with a metal clip 
at end, and a long metal drawing 
tip (ideal for use with rulers and 
templates). These pens can be left 
uncapped for 18 hours without 
drying up. PP barrel and aeroplane 
safe. The pigment liner contains 
indelible ink, properties include; 
lightfast, waterproof, chemical and 
solvent resistant, smudge-proof and 
nonerasable (except on drawing film), 
with no bleeding when highlighted.
For convenience, the pigment liner 
is also available in STAEDTLER 
stand-up boxes containing either 
four (0.1, 0.3, 0.5 and 0.7mm) or 
six (0.05, 0.1, 0.2, 0.3, 0.5 and 
0.8mm) assorted line widths.
STAEDTLER Calligraph 
duo Markers 
These popular and easy-to-use 
double-ended calligraphy marker 
pens are the most economical way 
to create beautiful, hand-lettered 
greeting cards, letters, certificates 
and more. Each marker pen is 
double-ended with a fine chisel 
point (2.0mm) and broad chisel point 
(3.5mm) – capped at either end. 
Both end tips are supplied from a 
single ink reservoir for perfect colour 
matching. Long marker life and even 
ink flow. The ink is pigmented and 
waterproof, lightfast and acid-free. 
Available in a boxed set of 5 assorted 
colours (red, blue, black, green and 
violet), or individual pens in black. 
STAEDTLER Metallic Markers
These beautiful metallic markers 
are suitable for a diverse array of 
art and craft-use and can be used 
on paper, card and FIMO®air 
when dried. Featuring a rounded 
tip, line width of 1.2mm and water 
based pigment ink. Can be easily 
wiped off smooth surfaces such as 
glass and mirrors, using a damp 
cloth. Ideal for scrapbooking and 
greeting cards, for light and dark 
paper. Available in five colours; 
gold, silver, red, blue or green. 
For more information on the
full range of STAEDTLER art
and craft products visit
www.staedtler.com.au
F E A T U R E
48 Artist’s Drawing and Inspiration 
Chameleon Color Tones are the ultimate 
marker pen; with just a single marker 
you can colour a complete gradation.
The Chameleon Pens were designed 
with the user in mind. With the 
ability to get numerous tones out of 
a single marker, you require fewer 
pens at a fraction of the cost. 
These amazingly versatile alcohol 
markers aren’t just for use on paper! 
Chameleon Pens are permanent on 
most surfaces, including wood and 
fabric, so there are no restrictions 
to your creativity.
Chameleon Color Tones are artist 
quality markers with beautifully 
vibrant British inks and specially 
designed Japanese nibs.
The markers are refillable and the 
nibs are replaceable, so this is not a 
product that you will ever have to bin!
Just top it up and carry on creating!
With twice as much ink as a regular
marker, they will last you twice as
long before a refill is required.
With an intricately designed
palette of colors and the ability to
overlay, the only restriction with the
Color tones is your imagination.
In 2016 Chameleon Art Products
looked to complete the Chameleon
Color Tones system, taking the amount
of colours from 20 to 50! With the
capability of 5 – 10 tones from each
Chameleon Color Tones marker,
it leaves the Chameleon system
unmatched in its versatility for artists.
Don’t just take our word for it though:
The Chameleon Color Tones keep
picking up awards; in 2014 they were
awarded the HOT 20 award from the 
CHA, recognised as one of the 20 
hottest product launches of the year. 
Then this year we were awarded 
with the coveted Red Dot award for 
innovation, a highly sort after design 
award proving design quality.
Let our customers truly show you 
what can be done with the pens. Come 
and join the Chameleon community 
– check us out on Facebook, Twitter 
and Instagram by searching for 
Chameleon Pens, or simply be 
amazed with what the community 
is creating using #chameleonpens.
To find out more head to 
www.chameleonpens.com 
or contact us at 
help@chameleonpens.com
CHOOSE CHAMELEON IN 2017
This was done with 
just five pens
Beautifully vibrant 
British inks
50 colours 
to choose from
F E A T U R E
 Artist’s Drawing and Inspiration 49
Final Coat Varnish & its uses:
finisheson cabinetry or furniture
and decorative paintings
Genesis Heat Set Oil Paints
Oil colours have been available to 
artists for five centuries. Recent 
decades brought the advent of 
acrylics and alkyds. Watercolours 
evolved from temporary weak 
paints to having longevity never 
before dreamed possible. The 
latest advancement is Genesis® 
Oil Paints Heat-Set Artist Oils.
Developed and patented by 
professional artists, Genesis® Oil 
Paints offer the look and feel of 
traditional oils without the drying 
time restrictions, toxicity and 
odour. Genesis® Oil Paints contain 
a heat activated curing agent that 
allows for on-demand drying.
However, in spite of the similarities 
to regular oils, they have special 
characteristics of which the artist 
can take advantage. Genesis® is an 
artist quality fine-art paint that is 
ready to apply without repeated pre-
mixing and will not dry until you are 
ready; then it dries very quickly.
Genesis® Oil Paints stay wet 
until heated, making them more 
convenient than oils or acrylics. The 
paint will not dry when left in the 
open on a non-porous surface such 
as a glass palette or ceramic tile.
They are very similar to oil paints 
in feel, opacity and translucence. 
We encourage you to experiment 
with your style to achieve the 
desired effect. Genesis® Oil 
Paints offer fine control in mixing, 
blending and application and can 
be worked in many states without 
the addition of mediums. 
Since Genesis® Oil Paints do not 
air dry, you do not have to clean your 
brushes even if you will not get back to 
painting for days, weeks or even months. 
Certified Non-Toxic
Genesis® Oil Paints are certified 
non-toxic and conform to ASTM 
D-423. They are certified in a program 
of toxicological evaluation by a 
medical expert to contain no material 
in sufficient quantities to be toxic 
or injurious to humans or to cause 
acute or chronic health problems.
Colour Fastness
Of the 86 colours in the Genesis 
range, 78 colours are in Category 
1 for light fastness, and eight are 
in Category 2 (diox/purple values). 
The full range of paints, mediums 
and varnishes all conform to ATSM 
D-4236 standards thus guaranteeing 
strong archival qualities.
The ARTristic Easel 
Another great product we stock is 
the ARTristic Easel – if you are 
looking for the perfect product, 
you can’t go past this easel. 
easel that will help you paint better:
canvas as you work
any position of the clock as you paint
directly to your brush at any angle 
you choose while painting
and instantly lock into place 
while you are painting
drips, sticking or runs
drawing boards and white boards
the paintings falling off or moving
All of the fabulous products above, 
including the wonderful varnish, 
are available from:
Genesis Artists Supplies 
Web: www.genesisoilpaints.com.au
Email: lynn@genesisoilpaints.com.au
Ph: 0437 183 173
Mail: PO Box 209, Esk, Qld, 4312
NEW IDEAS FROM GENESIS
F E A T U R E
50 Artist’s Drawing and Inspiration 
S&S is offering a wide range of 
exciting new products as well as 
traditional favourites for the new year. 
From colouring, drawing, watercolour 
and sketching pencils to easels, 
pastels, watercolours, acrylic and oil 
paints, you’ll find something special. 
A large selection of the Derwent 
pencil range is on offer this year. 
S&S is offering the unique Derwent 
Coloursoft, Drawing, Graphitint 
Inktense and Sketching ranges in tins 
of 24 pencils and wooden presentation 
boxes of 48 and 72, helping you begin 
your artistic year with a flourish. 
Of interest to younger artists will 
be the Derwent Inked Up Set. This 
set contains everything you need to 
create magnificent fine illustrations. 
The Inked Up set contains four Black 
Line Maker pens (sizes 0.05, 0.1, 
0.3, 0.5) and a 40 page sketchbook 
that includes 20 outline designs. 
For the artist on the move, the 
Derwent Sketching Wallet of the new 
Derwent Line and Wash Sketching 
is the perfect gift. Each set contains 
everything you need to sketch or draw 
anywhere and at any anytime. The 
Derwent Sketching Wallet contains four 
tinted charcoal pencils, five Graphic 
pencils, two waster-soluble sketching 
pencils, an Onyx dark pencil, sharpener, 
eraser and an A5 landscape sketch pad 
containing 30 sheets of 165gsm acid-
free cartridge paper. The Line and Wash 
is a 14-piece set containing six graphite 
pencils (4B, 2B, B, HB, H, 2H), two 
water-soluble Graphite pencils (4b, 
HB), a waterbrush, eraser, sharpener, 
paper stump and erasing shield. 
For storage and transport of your 
drawing materials we have the Derwent 
pencil wraps and the new Derwent 
Canvas Artpack. All are made from 
durable, heavy cotton canvas. The 
pocket pencil wrap fits snugly into your 
top pocket and holds up to 12 pencils. 
The standard pencil wrap holds up to 
30 pencils and includes a specially 
designed flap to protect pencil tips 
and a small pouch for accessories. The 
Derwent Artpack is a canvas pencil 
case that holds up to 24 pencils and a 
selection of accessories. It features an 
easy-view pocket that allows for quick 
pencil selection plus a mesh pocket for 
securing accessories. For those who like 
a bit of variety, the Derwent Collection 
Sets are ideal. These sets are available 
in tins of 24 in the colour, pastel, 
watercolour and sketching ranges. 
A unique, limited edition Derwent 
Graphic Sketching tin and Daler-Rowney 
Ebony sketchbook with Union Jack covers 
are also available. This tin and sketchbook 
were designed to commemorate Queen 
Elizabeth II’s Diamond Jubilee year – a 
one-of-a-kind collector item! Another 
limited edition set available in 2017 is 
the Inktense special edition that contains 
a brand new colour, Turquoise, a colour 
that is unavailable in any other set. 
Finally, the limited edition 
Derwent Majestic Box is available 
to Australian consumers. Only 500 
were manufactured, and each box 
is individually numbered with a 
certificate of authenticity from the 
General Manager of the Cumberland 
Pencil Company. The Majestic Box 
was manufactured to commemorate 
the Royal Wedding. Made from Maple 
wood with a beautiful Walnut veneer, 
the Majestic Box features a selection 
of 150 pencils, blocks and painting 
sticks drawn from Derwent’s unique, 
innovative and classic ranges. 
Daler-Rowney has delivered some 
exciting drawing and painting products 
for 2017. For the painter, a beautiful 
wooden box containing half-pans of 
Daler-Rowney Artist Watercolours 
tops the list. It contains 15 ½ pans 
and a tube each of titanium white 
and ivory black plus size 0 and 4 
Kolinsky Sable brushes, five well 
china palette, microfibre cloth and 
10 A6 300gms sheets of Langton 
watercolour paper. If the artist in your 
life has been particularly good this 
year, why not treat them a set of luxury 
Diana Kolinsky Sable or Sapphire Red 
Sable brushes? These top-of-the-line 
Kolinsky Sable and Red Sable brushes 
are presented in a beautiful, polished, 
wooden box and come complete 
with a certificate of authenticity.
The Georgian Oil Colour festive 
starter set is an excellent introduction 
for anyone wanting to try this quality 
S & S BUYERS GUIDE 2017
F E A T U R E
Artist’s Drawing and Inspiration 51
products. The set contains six x 22ml
tubes of Georgian Oil colour plus a 
free size 2 round brush. If you are 
already familiar with the Georgian 
Oil Colours then the special edition 
Georgian Oil Jumbo set is perfect for 
you. It contains nine x 120ml tubes of 
the most popular Georgian Oil colours. 
If there is a beginner artist who needs 
some supplies, the Simply Acrylic, 
Oil, Gouache and Watercolour starter 
sets contain everything needed to 
begin painting right away! Each set 
contains a selection of Simply Acrylic, 
Oil, Gouache or Watercolours plus 
brushes and canvas/watercolour boards.The Simply Artist Travel sets provide 
the younger artist with the tools to 
experience the joy of plein air painting. 
Each set contains six x 12ml tubes of 
colour plus five Simply Brushes in an 
attractively presented zip case for easy 
transport. The Simply Artist Travel Sets 
are available in acrylic, oil, watercolour 
and gouache. If the beginning artist 
in your life prefers the indoors, the 
Graduate Box Easel Sets are the perfect 
solution. Available in acrylic and oil, 
these sets contain all the appropriate 
materials including six x 38ml of either 
Graduate oil or acrylic, three long-
handled Graduate brushes, palette knife, 
eight x 10” canvas panel, and linseed 
oil (oil set only, mixing palette and 
box easel. These sets are great value!
Alternatively, the Simply Creative 
Easel sets are another great idea for the 
beginning or younger artist. The Acrylic, 
Oil, Watercolour and Gouache Creative 
Easel Sets each contain a Simply mini 
table easel, 12ml Simply colour, 7 – 10 
Simply brushes, mixing palette, A5 
watercolour pad or three canvas panels, 
four sketching pencils and a pack of 
Artists Trading cards. The Simply Pastel 
Creative Easel Set contains a Simply 
mini table easel, 12 oil pastels, 12 soft 
pastels, sketching set, A5 pastel pad 
and a pack of Artist Trading Cards. 
The Simply Sketching Creatives Easel 
Set contains a Simply mini table easel, 
12 x colour pencils, sketching set, 
packet of charcoal, an A5 sketch pad 
and a pack of Artists Trading Cards. 
Aquafine Watercolours have long 
been a favourite of watercolourists. This 
year we have four types of Aquafine sets 
available. The Aquafine Watercolour 
Pocket set contains 12 x ½ pans plus a 
mini round size 4 brush. The remaining 
three sets are Aquafine Travel Tin 
sets. The Round Travel Tin contains 
18 x ½ pans, two mixing palettes and 
mini brush, the Min Square Travel 
Tin contains 10 x ½ pans, removable 
mixing palette and mini brush while the 
Square Travel Tin contains 24 x ½ pans, 
removable mixing palette and brush.
The Complete Art Set is unique and 
brand new from Daler-Rowney. This set 
contains 111 pieces and is exceptional 
value. It includes paper sheets, Oil pastels,
½ pan watercolours, brushes, colour 
pencils, drawing pencils, sharpener, 
palette knife, acrylic colours, palette, 
erasers, canvas, Travel Field Easel and 
a large carry case for easy transport.
Daler-Rowney has made available 
several brush cases, travel sets and paint
and brush sets. These cases contain 
a selection of brushes in the Cryla,
Sapphire and Simply ranges. The Daler-
Rowney Brush Sets contain up to 10 
brushes in an attractive portable zip 
case allowing you to store and easily 
transport your brushes safely. The 
Daler-Rowney Travel Cases are ideal 
for field work. Each zip case contains 
six brushes in the Diana, Sapphire and 
Aquafine ranges, and a 12-sheet A5 
watercolour pad and 2B Graphic pencil. 
To complete your painting experience 
there are two sets of System 3 palette 
knives and a Graduate brush and 
knife available. The first set features 
a selection of seven palette knives in 
traditional blade styles for multiple 
painting effects. The “Special Effects” 
set contains a set of seven rubber-
handled palette knives featuring a 
selection of new, modern blade styles 
allowing you to create a multitude of 
painting effects. Both sets come in an 
attractive zip case for safe and easy 
storage and transport. The Graduate 
Brush and Knife set contains seven short 
handled synthetic Graduate brushes 
plus three palette knives ideal for a 
wide range of painting techniques. 
Pencil lovers haven’t been forgotten
52 Artist’s Drawing and Inspiration 
with the new Cachet sketchbook 
and pencil sets. Each 7 x 10” Linen 
covered sketchbook comes with 6 
Artists Graphite pencils and putty 
eraser (Sketching set) or four Artists 
Watercolour pencils, Artist Graphite 
pencil, Aquafine brush and watercolour 
sponge (Watercolour set). 
Cretacolor has again provided some 
unique items for Australian artists. The 
brand new Passion box is beautifully 
presented in an antique gold tone 
wooden box. The Passion box contains 
a selection of charcoal, Nero, sepia and 
sanguine pencils, a white pastel pencil, 
compressed charcoal, six Carre pastels, 
and four artist’s chalks, artist leads in 
black and white, paper stump, eraser and 
sharpener. The Silver Box is an excellent 
set of Graphite drawing materials and 
accessories ideal for all sketching 
requirements and of course is presented 
in a beautiful wooden Silver Box. 
The Silver Box has been designed to 
complement the Cretacolor Black Box of 
sketching materials. The “Black Box” is 
an assortment of black drawing materials 
presented in a black wooden box. 
The Black Box and Silver Box would 
be the ideal gift for any passionate 
sketcher. Cretacolor have made 
available some beautiful wooden boxes 
for the new year. The “Professional 
Selection” set is a complete 53-piece 
assortment of professional artist 
drawing and sketching materials plus 
accessories in a beautifully finished 
wooden box. In addition, there is a set 
of Cretacolor Pastel Pencils and the 
Creativo Sketching set available in 
beautifully finished wooden boxes.
Cretacolor have also provided 
some great tinned sketching sets 
including the Artino Sketching and 
Artino Graphite sets, the Primo dry 
sketching set and the unique Oil pencil 
sketching st which contains a white 
chalk oil pencil, Sepia light and dark 
oil pencils, Nero soft and extra soft 
oil pencils and Sanguine oil pencil. 
The Cretacolor Artists Studio 
Drawing Set contains a selection of 
72 high quality coloured and graphite 
pencils, making it the ideal set for 
beginners or anyone wanting expand 
their range of drawing materials.
The Cretacolor Calligraphy set is a 
limited edition calligraphy set containing 
a silver-barrelled cartridge pen, three 
nibs in different styles 14 jumbo ink 
cartridges in different colours. 
Pastellists haven’t been forgotten! 
There are some beautiful wooden boxes 
of 72 and 120 Richeson Soft pastels on 
offer. These pastels are of professional 
quality and come with six free pastel 
surface sheets. The ideal gift for any 
pastellist. Lastly, the Daler-Rowney 
180 Pastel wooden box is the perfect 
set for every discerning pastellist. This 
luxurious collection of the complete 
Daler-Rowney Artist pastel range 
comes in a 3-tiered wooden box. 
For those who do not like the 
thinners and solvents associated with 
oil colours yet still like using them, 
then the Weber Oils are the answer. 
This artist quality, water-mixable oil 
requires no solvents or thinners and 
produces outstanding results every time. 
For a different painting experience, 
why not try Shiva Casein colours? 
Casein (kay’seen) is a quick-drying, 
aqueous medium and is one of the 
most durable mediums known to man. 
Casein is simply a dried milk protein 
and has been used for more than 
9,000 years as a binder for pigments. 
Casein cave paintings have been 
discovered in Asia and ancient Egyptian 
tombs – a testament to its archival 
properties. Casein was also used by 
Byzantine, Roman and Renaissance 
artists including the Old Masters. 
No other painting medium has such 
ancient and demonstrable history of 
stability and permanence. Since the 
introduction of acrylics, Casein has 
lost its popularity but works such as 
Gustav Klimts ‘Beethoven Frieze’ 
and Edvard Munchs’ ‘The Scream’ 
were created using Casein colours. 
Known for their versatility and 
array of capabilities, Casein paints can 
be used to create a variety of effects 
from the rich opaques of oil to thin 
watercolour washes. Because Casein has 
an exceptional integrity of colour and 
always dries to a perfect matte finish, it 
is unparalleled for art reproduction.The 
velvety matte finish can also be buffed 
to a satin sheen or varnished to produce 
a resemblance to oils. Over time, casein 
pigments become resistant to moisture 
and as history has proven, the medium 
has a durability and permanence which 
has easily stood the test of time.
Casein differs from other media, yet it 
shares many of the same characteristics, 
which make it a very versatile medium 
F E A T U R E
 Artist’s Drawing and Inspiration 53
that lends itself to many techniques.
Casein has the wash capabilities of 
watercolour, the smooth opacity of 
tempera and gouache, and the richer 
textures of oils and acrylics. Brushes 
dipped in casein keep their finesse, 
producing clear, crisp lines. Unlike 
oils, casein is a clean, water-soluble 
medium requiring no strong solvents. 
And because it dries quickly, it’s 
possible to lay on a glaze and move 
onto the next stage within a few hours 
instead of waiting for days, or even 
months, for oil glazes over oil to dry. 
In comparison to watercolours, the 
main advantage of casein is that it’s 
easily correctable. It can be removed 
with a cloth, brush or eraser.
Sakura of Japan is renowned for 
producing top quality, innovative and 
reliable products. This Christmas, 
Sakura has supplied wooden boxed 
sets of its “Specialist” Artist Oil 
Pastels. Sakura “Specialist” Artists 
Oil Pastels are extremely smooth and 
soft in application and manufactured 
with only top quality pigments, giving 
them excellent lightfast ratings. This 
set contains all 85 colours in the 
range plus an extra black, white and 
colourless blender. Also from Sakura 
are the Koi Watercolour pocket 
sets. These field sets of transparent 
watercolours are available in sets 
of 12, 18 and 24 assorted colours 
and are packed in a heavy duty 
white plastic sketchbox with fold-
out lid and five mixing wells. 
Every aspect of the Shinhan Touch 
Twin and Touch Brush markers have 
been designed to outperform every 
other market. These professional quality 
markers are odourless, non-toxic, and 
permanent and manufactured with the 
highest possible quality ink with few 
additives. The extremely rich and intense 
colours and superb nylon tips allow 
for easy blending and shading. The 
Shinhan Touch markers offer the best 
fade resistance of any marker available. 
These fantastic markers are available in 
sets of 12, 24, 36, 48 and 60 colours.
All masterpieces need a stable 
support. S&S is offering several easels 
for Christmas this year. First up are 
the exclusive JULLIAN French Box 
easels. Available in both the Original 
Beechwood and Vintage lacquered oak 
styles, the JULLIAN easels represent 
the contemporary standard for both 
indoor and outdoor painting easels. 
The JULLIAN French Box Easel is a 
design that has stood the test of time 
and is now the most copied easel design 
in the world! Designed for indoor and 
outdoor use they are supplied complete 
with a stitched leather shoulder strap, 
handle and name tag holder, an artist’s 
“honeycomb” towel, fabric backpack/ 
carry bag and a set of three brass-
plated spikes for all-terrain painting. 
The JULLIAN easels are top-of-
the-line pieces of studio furniture.
If the Artist in your life prefers outdoor 
painting, then the Richeson Field easel 
or the JULIAN folding easel are your 
pick. These easels are lightweight, 
portable and easily transported.
Children haven’t been forgotten, 
with a huge range of Scratch Art 
products available including the new 
Wacky Scratch and Fashion Art sets. 
To view all the products 
on offer from S&S please visit 
www.creativityunlimited.com.au
54 Artist’s Drawing and Inspiration 
I N S I G H T
Ainslie Gilles-Patel
Born to Draw, Baby!
Horses capture many a girl’s heart but what if you believe you 
were born to draw them? This is how the horse captures, 
influences and inspires this artist’s heart and soul. 
I N S I G H T
I
want to take you back to 1993. I am 
a horse-mad girl with long brown 
hair and utterly lovesick. I love 
horses. Then along comes the Arabian 
horse. On the outside, this breed of horse 
is famous for its beauty, refinement and 
movement. This is all very enchanting 
to me, but what I come to know is what 
is on the inside of this magical and 
mesmerizing breed; they are sensitive, 
people-loving and kind. I am now 14 
and Arabian horses are my world. I read 
and collect magazines about them. I do 
little sketches of them instead of doing 
my schoolwork. An opportunity arises 
for me to be connected with a purebred 
Arabian gelding. I catch the bus to the 
stables after school and ride until dark. 
School holidays are spent with horses. I 
am in (horsey) heaven! 
Then one day in early 1995 
everything changes. My friend gives 
me a few old Arabian horse magazines 
she no longer wants. I am elated! One 
of the magazines, in the “Letters to the 
Editor” section, is a letter from a girl, 
Tammy, asking for anyone to write 
and draw to her about Arabian horses. 
She doesn’t know anyone who loves 
them like she does. There is an address 
provided under her letter. I think to 
myself, “Why not?” I handwrite a letter, 
(remember those?) to this girl, telling 
her how much I love Arabian horses 
too! I wait, and to my sheer delight a 
letter arrives from her. She has even 
done a little pencil sketch in the corner. 
It is mind-blowing! ‘I want to be able 
to draw like her’, I tell myself. I write 
back straight away and this is the start 
of our letters, drawings and friendship 
which continues to this day. 
Top right: Come Fly With Me – Pastel Pencil on 
Colourfix – Reference Photo By Blissfully Blind
Middle right: Aubergine Arabian II – Charcoal 
Pencil on Colourfix
Right: Bridled Beauty – Charcoal Pencil 
on Mi-Teintes TEX – Reference Photo 
By Nina Granzow
Opposite page: Power Play – Charcoal on 
Mi-Teintes – Reference Photo By K Sheridan
56 Artist’s Drawing and Inspiration 
I N S I G H T
So, here I am today; a dedicated, 
passionate and self-driving studio 
artist. My muse is the Arabian horse. 
Without them I would not feel the 
level of inspiration and motivation 
that I do. My skill and job as an artist 
is not only to draw the horse, but to 
imbue my passion and respect I feel 
for them. I am a conveyor of light 
and have a keen, sharp eye for this 
in my work. Drawing emotion, self-
expression and soul into my art is 
harder! I have been lucky enough to 
be around horses since my childhood. 
Some of my best memories are not of 
riding, but of observing and being in 
the presence of horses. I have honed 
my eye through countless hours, 
months, years and decades of drawing, 
drawing and drawing! I have learnt 
that art should be about you; your 
subject matter, medium and skill; 
knowledge and techniques. “Have no 
fear of perfection; you’ll never reach 
it”– Salvador Dali. I discovered when I 
stopped hounding myself for perfection 
and comparing myself to other artists, I 
released self-doubt and fear of failure. 
Horses and art are intrinsic – they 
belong to me. Not through possession 
 Artist’s Drawing and Inspiration 57
I N S I G H T
or payment, but via my artistry, heart 
and hands. I have an affinity for dry 
media. I have tried wet media and 
as much as I admire the strengths of 
these mediums in their own right, the 
feel of a pencil or pastel in my hand 
is pure excitement and natural. I love 
the immediacy of working with dry 
media; the no mixing of colours or 
drying time and minimal clean up with 
pastel add to the allure. I am adamant 
about correct anatomy. There is nothing 
worse than equine art with poor 
anatomy. I feel strongly that art should 
be an expression of the artist and not a 
slavish reproduction of a photograph (I 
am a photographer as well. I can take 
a great photo). At 14, I thought my 
drawings had to look