2020-11-01 Australian How To Paint

IDRIS MURPHY. Weipa Harbour, Storm Clouds. Atelier Interactive on board, 120x120cm, 2005. FBRODNEVDUE*S!
Image courtesy of King Street Gallery on William http://www.kingstreetgallery.com.au
USING INTERACTIVE DVD
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Interactive techniques really are!
To see more artwork by Idris Murphy and other leading artists from
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www.chromaonline.com/gallery Interactive and gives lessons on composition, drawing, tonal
values, portraiture and colour mixing.
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Free Call: 1800 023 935 minute painting demonstration by Keith Norris.
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ntents
34

52 Artist insights And
demonstrAtions

6 Helene Ruma
16 Nancy Dicker
24 Ellen Lee Osterfield
38 Nola Clark
44 Bregje Breedveld
52 Corrine Rush Smith
60 Kathy Christian

FeAtures

34 In the Galleries - Back to the Future
72 Drawing Inspiration - Jenny Stephens

24 16
44

Cover image by: Helene Ruma

38

INSIGHT

Helene Ruma

The Dog Portrait Artist

Honing her career by working with horses, this talented artist found
her niche drawing animal portraits, specialising in dogs.

Where do I begin?
Do I start at primary school
where, like so many children
before and after me, I drew my
favourite cartoon characters?

Do I start at aged 12, drawing my
guinea pig (I wasn’t allowed to have a
horse) who courageously sat through
hours of being used as a life model?

Do I start in high school where I was
taught to draw with the “right side of
my brain” and was really impressed
when my drawings actually looked like
what it was supposed to?

Or do I start aged 38 when I decided
to live in the moment like the animals
that inspire me and become a full-time
artist?

Let’s start in university… After
finishing the HSC doing 3-unit Art, I
was “steered” by my parents to stay
away from working with the horses
I was obsessed with and go into an
artistic career path that didn’t involve
poverty. So off I went to university
to study Graphic Design majoring in
Illustration. What a buzz! This is when
I really discovered coloured pencils and
was taught illustration by an Australian
Geographic artist who would create
Australian wildlife calendars each year.

As we all know, the real world
is very different to the glamour of
university and my first job was as a
Toby graphic artist, drawing car parts and
designing parts catalogues in the motor

8 A u s t r a l i a n How to Paint

INSIGHT

industry. The next 10 years involved Basset Bash
other desktop publishing and graphic My Baby with big teeth
art work, working for well-known
companies such as MYOB and MLC. A u s t r a l i a n How to Paint 9

It wasn’t until I was 32 that I
decided to give it all away (inspired
by my pet Cocker Spaniel Sam), to
pursue a childhood dream of working
with horses. To say it in two words …
LOVED IT! Unfortunately my middle-
aged bones didn’t agree, but it was
there that I rediscovered my love of
art and animals and decided to become
an animal portrait artist, specialising
in dogs.

My art career started with creating
drawings with my coloured pencils
and from there my techniques
extended to other styles and
mediums due to demand and also
wanting to offer a wider range
in price and style. My favourite
medium would have to be pencil and
even though I started with coloured
pencils, I do love the black pencil on

INSIGHT

Snoopy My Baby with long legs Scout

white paper and the white pencil on It was after I attended a day of letting the paper become part
black paper drawings. workshop with a water-colourist that I of the artwork, but I really took to
was hooked and in true Helene Ruma watercolour. At the risk of sound like
I started doing the white pencil style, the next day I went to the art I have a huge ego . . . I thought I was
on black paper drawing because I store and spent hundreds of dollars awesome with just one lesson!
just wanted to be different and set buying everything I would ever need
myself apart from other people. It was to create watercolour portraits. Maybe I know I have a lot more to learn in
inspired by the technique of scraper it was because I was already used to that department but at the moment I
board drawings (which was something creating artwork using a technique love experimenting with watercolours
I tried during my university years). and even using mixed media like

A Curious Meeting My Baby with big ears
8 A u s t r a l i a n How to Paint

INSIGHT Kai

pencil and watercolour to create Ringo the Pug
artwork. AAuussttrraalliiaann HHooww ttoo PPaaiinntt 191

I haven’t always been one to
experiment with my artwork. It wasn’t
until I started teaching art to young
children that my imagination has gone
wild and I have become more fearless.
After all, you should practice what
you preach. I was recently approached
by one of my local primary schools to
teach all levels within the school from
Kindergarten to Year 6. I was excited
and at the same time apprehensive,
not knowing if I was capable of
doing it. What an experience it has
turned out to be. It’s great to have an
opportunity to teach children about
drawing techniques rather than craft
which is what a lot of them learn at
primary school. Just to be able to teach
children the same right brain drawing
techniques I was taught and to see
the same reactions I had is absolutely
amazing. I now teach at two different
schools and the popularity of my
classes seems to be growing.

As well as teaching young children
at schools, I have been approached
by a few art societies including the
“Newcastle Society of Artists” and the
“Maitland Region Society of Artists”
to give weekend workshops to their
members and guests. I have been told
by both the organisers as well as the
students that my workshops are very
informative (and of course fun), giving
detailed information on how to use
their pencils. I’m happy to say that
all Art Societies have asked me back
and I will now start my own weekend
workshops teaching people how to
draw and shade animals.

As well as using my art to teach
adults and children, I will often
donate my time to fundraising events
held by animal rescue groups. It’s
not uncommon to see me at a charity
event or a doggy fun day doing quick
sketches of people’s pets on the spot
and donating part of the proceeds
to saving cats and dogs in need.
After all, it is my two rescue cocker
spaniels, Amber (employed as my PR
Manager) and Clarke Kent (my QA

INSIGHT

Tips Rocky Piglet
10 A u s t r a l i a n How to Paint
Officer) who keep me on my toes
and without them, I would be lost.

I would love to tell you that I have
been doing this for years and that I’ve
won numerous art prizes but the truth is,
it has only been in recent years I have
come out of the “artist closet” to show
fellow artists, whom I now call my
friends, what I’m actually capable of.

I have only just started to enter
competitions and to date I have won
first prize in the “Casterton Kelpie
Acquisitive Art Competition” and two
highly commended and a people’s
choice award at the “Newcastle Art
Society” exhibitions.

More of my art work can be seen on
my website www.heleneruma.com or
on my Facebook page www.facebook.
com/thedogportraitartist

Special thanks to Jenny Parker from
“Shoot-Ya-Pooch Pet Photography”
for allowing me to use her photos for
my portraits.n



D E M O N S T R AT I O N

Pencils

Cavalier in
Black Pencil

By Helene Ruma

Meticulous attention to detail brings Archie to life in this gorgeous drawing.

Ihad just got off the phone from calls to tell friends and family and So in this day and age of new
talking to Artist’s Palette (when posts on social media has stopped… technology I decided to follow the
they called and asked me to submit I’m now left with the not so easy masses of trying to explain step
an insight and demo), the screaming, task of explaining how exactly I go by step how I create my work and
jumping up and down, the phone about doing one of my drawings… take photos along the way, but

FINAL STEP

12 A u s t r a l i a n How to Paint

D E M O N S T R AT I O N

also to embrace new technology STEP ONE
that’s at our finger tips and create
a time lapse video of this drawing STEP TWO
of a Cavalier as it comes to life.
STEP THREE
THE TIME LAPSE VIDEO
A u s t r a l i a n Ho t Pai t 13
For those of you who are interested in
creating a time lapse video of their own
artwork, this can be easily created by
downloading the “Motion Pics” app
on your iPad, iPhone or iPod. You’ll
be able to find an equivalent app if
you use Android. It’s really easy and
straightforward to use so I’m not going
to get into explanations here. If you are
techno-illiterate or simply a techno-
phobe, have no fear! Tech support is as
far away as your six-year-old grandchild,
child or in my case, niece and nephew.

The time lapse video of my demo is
available online at the following web
address http://youtu.be/Kev8Y27IHEo

Enjoy!
Now let’s get back to old school…

STEP ONE

I’m sure I’m about to send a whole
bunch of traditionalists into a spin
with what I’m about to say… how
you get your preliminary drawing
down on paper is up to you. Whether
you freehand draw, trace, project or
draw grids, it’s up to you. I would
like to say that I draw freehand when

M AT E R I A L S

• Faber-Castell Polychromos
pencils: In an A3 size drawing
I'll need about 6-7 Black
(199) & 1 White (101)

• Smooth Archers Watercolour
paper or Smooth White
Museum grade mount board
you get from the framers

• Bond or tracing paper
• 2B pencil
• Pencil sharpener
• Electric eraser (optional)

D E M O N S T R AT I O N

STEP FOUR A STEP FOUR B

I create quick sketches of people’s With your 2B pencil, very lightly you don’t end up with a distorted
pets at markets from photos on their add in your shading spots. Break image. You don’t want your stocky
mobile phone. When it comes to my your drawing into shapes; where Cavalier looking like a Greyhound.
detailed portraits (like this demo), are your highlights and where are
whether I am gridding an image or your shadows? Doing this will help STEP TWO
freehand drawing, I will always draw you plan your drawing and make
onto normal bond paper first and your life a whole lot easier. I like Everyone will tell you that a portrait
then create my own transfer paper by to always do this part freehand is all in the eyes and I will blindly
shading the back of the paper (use a because it helps me to understand chant along with them and say it like
2B pencil so you can easily rub out what I am drawing. It’s up to you a mantra “It’s all in the eyes!” “It’s all
lines you don’t want later). Then trace what your preference is but I find in the eyes!” “It’s all in the eyes!”
the image onto the good drawing paper that if you try to grid or trace every
or board where the final portrait will line, when it comes to drawing So that’s where you need to start.
end up. This way you can make all the portrait you will be sitting That way, if you don’t get them right,
your mistakes on the “scrap” paper and there thinking, “What’s that line you can start again. And yes! I have
not mess up the good paper or board doing there?” Do this step with ripped up a drawing a few times in
you have spent lots of money on. your drawing up on an easel so the past and started again because
I made a mistake with the eyes.

ARTIST’S HINTS AND TIPS

• Print your reference photo the illusion of hair which tapers off. • Draw your lines in the
in black and white. • Avoid using an eraser to fix mistakes direction of the hair.

• Your pencil needs to be so sharp because it will only smudge your • When it comes to realism there
that it can be used as a stabbing pencil work and you will lose that is no better teacher than your
weapon. Turn your pencil after crispness which is what I love so reference image. Observe how
every couple of strokes to get a much about using pencil. How do hair falls. Pay attention to how
longer life on your sharp tip. you fix big mistakes? Start again… the hair sits on top of each
sorry artists, no help from me there. other, especially curly hair.
• When starting a new area of the • If you feel you’re getting stuck or
drawing, always start with the shade confused, either leave the drawing • Always think of what you are
that you consider to be the “black” for a while or move to another part drawing in terms of shapes and
of your tones (the darkest). Then add of the drawing. Jumping around tones. I always tell my students
your mid tones. Be careful to start the portrait is a great technique I that if you want to draw a dog…
light and then add more dark. It’s use to keep the drawing on the go. don’t try to draw a dog.
easier to go darker if you need to. • Overlap your lines so you don’t
end up with a hard edge. You don’t • Special thanks to Jess Hardy from
• Pencil strokes should preferably want to see your lines joining. “JA Photography” for allowing
start in dark areas and then flick to me to use the photo of her
the light areas. This helps to create Cavalier for my demo portrait.

14 A u s t r a l i a n How to Paint

D E M O N S T R AT I O N

This is where the fun begins. With STEP FOUR C
the tip of your black pencil, using
short strokes, start to “colour in” (kids
love it when I say that) the darkest
parts of the eyes. I always like to
plot my dark areas first as it serves
as a reference of how dark you can
get your pencil work and then adjust
your lighter shades from there.

You are only using the one coloured
pencil (Black) to get all shades, so
when you start to shade your mid
tones start with a very light pressure.
Add more pressure to the strokes
until you get more familiar with using
pencil and you get the strokes to a
darkness that you are happy with.

Make sure your pencil is sharp and
use the tip. Your pencil always needs
to be sharp. As soon as you start to
get a fuzzy edge in your line work,
you need to sharpen it again to a fine
point. You may get to use 5-10 strokes
before you need to sharpen again.

When it comes to the eye ball, I will
actually draw the shading strokes in
the direction of the roundness of the
eye ball to simulate the roundness but
then I will also lightly cross-hatch my
lines to hide the pencil strokes and
to make the eyeball look smooth.

STEP THREE STEP FIVE

I may focus on one area (e.g. the dog’s You may get head spins by this my darks have to go darker? Do I
left eyebrow) and shade in my mid stage, that’s ok, this is normal. need to exaggerate some darks to
tones, therefore establishing a standard make it look more realistic or to
of what my greys will look like. STEP FIVE get more of a dramatic effect? Are
my tones consistent throughout the
STEP FOUR Now it’s time to work on the white drawing? Do I need to add more
areas (e.g. the white fur around the tone? Do I need to start again?
I will then move around the portrait nose). Because I have established
where I will first shade in the darkest my dark and mid-tones, I know that This is also where I will add
areas and then join those areas with the I have to use a very light touch to the shadows on the “floor”
mid tones. In those mid tone areas, be add the shading within the white fur. that the Cavalier creates.
careful to start light and then build on Use extremely light strokes in these
the darker shade. You can always go areas. I will then add subtle tonal Finally, I will use a white pencil to
darker but you will make a potential differences in the very light grey areas. draw in or an electric eraser to pull
mess if you have to go lighter. out areas where white whiskers are.
FINAL STEP
As you establish your grey OPTIONAL FINAL STEP
areas, you should be using your This is when I sit back and have a
original image as a reference as look at my drawings as a whole. Do Grab a glass of wine, a beer or a
well as referencing the greys you litre of ice-cream and celebrate the
have established in one tonal drawing you have just created. I
area of your drawing to help you
keep everything consistent. A u s t r a l i a n Ho t Pai t 15

INSIGHT

Nancy Dicker

A Sailing Studio

A relative latecomer to the world of art, Nancy has certainly embraced
her craft, and her current studio is aboard the family catamaran.

Turtle

16 A u s t r a l i a n How to Paint

INSIGHT

Humpback whale

ancy was born in Northern with internationally acclaimed In 2001, the Mike and Nancy
Luzon, Philippines in 1956, watercolour artist Tony Smibert at decided to make a “Climate Change”.
moving to Boat Harbour on his Longford studio “Mountford”. After selling their Charter Boat
operation and Bicheno home, they
west coast of Tasmania Nancy religiously continued to toured and camped their way around
in 1984. Together with husband attended the weekly workshops with mainland Australia in a four-wheel
Mike, she relocated to the east coast ‘The Haphazards” and a little “Studio” drive wagon and tandem trailer which
fishing village of Bicheno in 1987, of her own was arranged in the old housed the family, all camp gear,
where their son Oren was born. garage, which rapidly filled with art dinghy, and the family dog Sam.
magazines, “How to” videos and
With Mike busy establishing a marine books, and a large work table and In order to give Oren a stable
charter operation based from Coles easels which Mike built for her. address for his High School years,
Bay, Nancy felt the need to express and to be closer to eldest son Kirk,
her creative urges by putting brush to “Intuitive Talent” as Mike called who had settled in Noosa some
paper as it were. At age 43, quite out of it, gushed forth, and Nancy’s first five years earlier, Mike and Nancy
the blue she announced to her family subject of choice, flowers, were decided that Noosa would indeed be
over dinner one night, “I’m going painted and framed with rapidly a wonderful home for a few years.
to be an artist and paint flowers!” accelerating proliferation. However,
other subjects also began to make Once again, the garage was converted
Unperturbed by early attempts their images noticed. Seascapes, to yet another “studio”, an artist’s
to portray her subject of choice, old sailing ships, and, using Mike’s workbench constructed and artworks
Nancy joined a local art group “The photographs of marine wildlife, began to adorn the walls of the new
Haphazards” at Swansea, where she whales, dolphins and local native fauna family home. But there were now
enjoyed not only the artistic company were added to Nancy’s repertoire. substantial differences. A fresh interest
and source of education, but also in the intensely coloured tropical
the social interaction, forming firm Local residents from the east flowers, and wildlife led to Nancy’s
friendships which exist to this day. coast fishing village of Bicheno and experimentation with acrylics on ready
surrounds, where the family then lived, made framed and stretched canvases.
Requesting that birthday, Christmas, began to purchase Nancy’s work faster
and Mother’s Day gifts take the than she could apply paint to canvas, Although grateful for the basics
form of art paper, paints, brushes, with one customer alone purchasing learnt during her “watercolour years”,
easels and other artists supplies, no less than 18 of her works. Nancy’s medium of choice is now very
Nancy also enrolled in a workshop
A u s t r a l i a n Ho t Pai t 17

INSIGHT

Holly

definitely acrylics. She believes that the two feet, Nancy and husband Mike a 38-foot, Cairns built, sailing
vibrant colours and “feel and texture” grabbed the opportunity to realise a catamaran, which is now their much
of acrylic paint works wonderfully long term dream, to own and cruise loved “cruising, live-aboard home”.
well with tropical subjectivity. the Queensland coast aboard their
own yacht. They found, purchased, Living aboard and cruising the
In 2007, with son Oren at university and moved aboard “Stormbird”, Queensland coast immediately
and essentially standing on his own opened a vast resource of maritime

Dugong and Calf

18 A u s t r a l i a n How to Paint

INSIGHT

Rainbow Bee Eaters

subject matter which is not readily Southern Right Whale
available to the land based artist, Fish and coral
and Nancy was quick to recognise
and apply these images to canvas.

Later that year “Stormbird” sailed
into the Whitsunday Islands, where
both Mike and Nancy found gainful
employment with the bareboat
charter company “Whitsunday Rent
A Yacht” based in Shute Harbour.

When not at work, Nancy
passionately exploits a whole new
wonderland of tropical subject options.
Painting aboard “Stormbird”, Nancy
now commits to canvas tropical
flowers and fish, reef life, native birds,
marine mammals, and coast-scapes.
Friends and workplace acquaintances
regularly commission her works which
have often included family pets, one
of which is the subject of this Nancy’s
project painting, “Pilot” the cat.

These works are regularly
finding their way onto the walls of
Queensland homes and offices.

Profoundly affected by the
devastation of the Queensland floods
during January this year, Nancy felt
the need to assist in some way. With
the assistance of the local branch of
the Suncorp Bank as an “Exhibition”
venue, she donated 14 paintings, eight
of which sold in one week, raising
almost two thousand dollars for The
Premiers Flood Relief Appeal.

Premier Anna Bligh wrote a letter
to Nancy recognising her gesture,
and thanking her for donating her
works to the appeal. Nancy values
this memento very highly.

Nancy has exhibited in a number
of Tasmanian and Queensland
venues, and has sold privately to
buyers Australia wide, U.S.A., UK,
Hong Kong, and the Philippines.

Nancy can be contacted by email

at: [email protected] n

A u s t r a l i a n Ho to Paint 19

D E M O N S T R AT I O N

Acrylics

Pilot’s ortrait

By Nancy Dicker

The cat comes alive under Nancy’s flair and attention to detail.

FINAL STEP

20 A u s t r a l i a n How to Paint

STEP ONE STEP TWO

A league who was familiar STEP ONE using Prussian Blue, Burnt Sienna,
h my work, and had Yellow Oxide and Alizarin Crimson.
n one of my earlier I measure and lay out the grid with
a pencil on both the photo and the Because Pilot is essentially a
paintin f “Holly”, a mutual blank canvas, then turn the stereo very pale coloured cat, I want the
up and have a cup of tea while I background to be fairly dark in order
friend’s pet Miniature Schnauzer, mentally run over the procedures I to keep attention on his face and eyes,
anticipate putting into practice. therefore emphasising his individuality,
asked if I would paint a portrait and hopefully, his personality.
STEP TWO
of her son’s pet cat “Pilot”, which While waiting for the background
After establishing the composition, to dry, I like to leave the work
she would like to present as a gift. I loosely sketch in the image using table for a few minutes to do a few
watercolour pencils, and follow up by stretches, as this helps me to keep from
Normally I like to visit and “meet” painting in the rather dark background feeling cramped as I’m likely to be
working on this for most of the day.
the prospective subject, but in this

particular case that was simply not

possible. However, armed with several

photos of “Pilot” I felt confident

in tackling this commission.

M AT E R I A L S STEP THREE

• 45cm x 45cm stretched
canvas on frame

• Watercolour pencils for
sketching, and the following
Atelier and Matisse acrylic
paints: Titanium White, Prussian
Blue, Burnt Sienna, Burnt
Umber, Raw Umber, Cobalt
Blue, Yellow Oxide, Payne’s
Gray, Alizarin Crimson.

• A variety of brushes are
used, depending on the texture
required: soft nylon, bristle,
flat, round and rigger.

• “El cheapo” palette
• Small trigger-spray water bottle
• Clear, pressure pack spray

varnish to seal and protect
the finished painting.

A u s t r a l i a n Ho t Pai t 21

Even when I feel that I’ve got it
right, I will keep the canvas in my
saloon aboard our catamaran, where I
can watch and feel the feline presence
of Pilot for a few days. This time
allows me the luxury of adding a
shadow here, or a stray whisker there,
seeing him at different times of the day
until I know the work is complete.

The final step of all is to apply
three coats of clear, gloss varnish
to protect from dust and UV. I

STEP FOUR ARTIST’S
HINTS
STEP FIVE
AND TIPS
STEP THREE STEP FIVE
• I like to be in a “painting mood”
Applying a wash of Payne’s Gray, I I now increase the darker areas and before I start a new work. It’s
now start to lay on some basic facial highlights around the face and ears. really important for me to feel
features, including eyes, ears and nose. I avoid using Carbon Black, that I’m enthused not only
preferring to use a mixture of regarding the subject matter,
STEP FOUR blues and reds to give more but also that my creative juices
texture and depth. Now the fun are flowing, and I’m up for the
(Close up of eyes.) At this stage I bit starts, as I increase the detail excitement and challenge of the
feel that I need to concentrate on the of fur, whiskers, nose and ears. new work that I’ve planned. If
eyes. It is to be the focal point, and I’m tired or my mind is focused
as the saying goes, “The eyes are FINAL STEP on other aspects of life, I’m
the windows to the soul!” I really not likely to give my best,
want to establish something of Pilot’s This final stage is all about the and therefore I’m unlikely to
mood and personality with his eyes, excitement of bringing Pilot to get the buzz that I truly enjoy
so I will take time and care with life by even more attention to all when passion takes over.
this special feature. After laying on the minute intricacies of those
Cobalt Blue, Titanium White and final touches to hairs, whiskers • Always use the best quality
a tint of Prussian Blue, I include and little touches to facial features materials, canvases, paints, and
the dark outline around each eye. using 000 and 00 rigger brushes. brushes that you can afford.

22 A u s t r a l i a n How to Paint • Who knows, this very next
painting just might be a regular
masterpiece, so give yourself
the best possible chance.

• Leave your finished but
unvarnished work on view for
a few days. Enjoy its presence
at differing times of day
and therefore different light
conditions, just in case you
find the need to make minor
additions or alterations.

• By the same token, know when
to call it a day, remember,
it is after all a painting
and not a photograph.

When was the last time something really
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INSIGHT

Ellen Lee Osterfield

“I Cannot Imagine
Life Without Art”

Throughout her story you can feel the delight and joy that radiates from this
artist as she describes her passion for art.

Morning Melodies

INSIGHT

Boss Cockie Gone But Not painstakingly mixed and matched
Forgotten colours, adding a little bit of blue here
other rainy day, another chance and a tiny speck of red there. He could
o stay indoors and draw and father was a house painter and good at match a wall colour years after it had
aint! Any excuse would do for sketching and colour mixing. I accredit been painted and achieve the same
-old whose only desire was to him with my colour mixing ability. tone. I must have kept my parents poor
be “an artist when I grow up”! I became very excited every time he buying me sketchbooks and coloured
Well almost 48 years later I still was going into the shed to mix paint. pencils in my younger days!
have the same passion to paint and He had a container filled with bottles
draw as I believe I was born with! My of stainers (concentrated colour)
and time after time I watched as he

By The Old Shed

Australian H to Pai t 25

Mind If I Had A Drink INSIGHT

Eastern Rosellas I was keen to test my own colour
mixing and matching skills. My first
Blue Wrens At Play subjects were cartoon characters and
26 A u s t r a l i a n How to Paint the gum trees in our neighbourhood.
Regular holidays to the Murray
and Murrumbidgee Rivers were an
artist’s delight; trees with character,
reflections, sunsets, native bird
life etcetera fanned the flame of an
already burning passion to create! I
was born and raised in Bendigo in
central Victoria (where I still live
with my husband and son) but when
I was a teenager my parents decided
to take their family on a working
holiday around Australia. So just like
“my dad”! I too fell in love with the
landscape, the flora and fauna! Every
vista was a painting waiting to happen!

I celebrated my 15th birthday in Alice
Springs where I was presented with my
very first set of oil paints. Having an
eye for detail was both an advantage
and a disadvantage as I tended to overdo
some aspects of my work back then, for
instance, I began to realise that it wasn’t
necessary to paint every individual leaf
on my tree branches!

Almost a year after leaving Bendigo
we arrived back home to settle and
spend time with our extended families. I
began entering competitions with my oil
paintings and was thrilled to receive two
second and one third prize in the junior
section three years running. At age 17 I
won a “first prize” at a country art show;
for a teenager this was very encouraging
and kept my enthusiasm levels high.
When I started working my painting
was restricted to weekends and holiday
breaks. I was in my early twenties
when a singing career took me on a
journey of a different kind. There were
recordings to make, radio and television
appearances and music festivals to
perform at. There was not a lot of time
for painting pictures, but I endeavoured
to paint pictures with my song writing.
Extensive travels around this great
country both working and for pleasure
have culminated in a massive archive of
photos and sketches for future artworks.

Two Little Visitors

One major point of interest for me to have them living in my hometown. and HB pencils again! I find this is
is how I have watched my paintings I want to encourage up-and-coming always a good way to get “refreshed”!
and even my approach to painting artists to listen to the wisdom of the I am of course still learning and
change over the years; I have been “older generation” and be willing to growing in my artistic journey. I enjoy
very fortunate to have had some learn and even change tack if it means working with acrylics to create bold
wonderful mentors. The first of course improving your skills. contemporary style florals, oils for
was my wonderful father (and critic) soft landscapes and pastels for vibrant
who passed away in 1989, and more Try painting with a different florals or misty morning landscapes.
recently international watercolour medium or choose a subject you have Most recently I have re-ignited my
artist Terry Jarvis and artist illustrator never painted before. It can often be love of watercolour but this time
Keith Ross. I am even more fortunate very helpful to go back to the basics round I am combining it with coloured
and just have fun with the sketchbook

White Egret In Kakadu

Dinner Time Red Tail Black Cockies

pencil to achieve my desired effect. I this with the softness and texture there are lots of gum trees for the
have drawn upon blending skills that I of the pencil. For my current works larger birds such as Kookaburras and
learned in my younger days and using I have chosen two of my favourite Galahs and we have planted a lot of
polychromous pencils the blending subjects, the bird life and flora of natives such as wattles and bottlebrush
process is even more exciting! Australia, often combining these with that the Eastern Rosellas and Grass
the landscape native to the species I’m Parrots enjoy. We also have a creek
To me I have found the best of both painting. I am most fortunate to have that winds its way through our back
worlds, because I love to use colour so a bevy of bird life visit my back yard garden and this brings wild ducks
much I can achieve vibrant hues using everyday. Living in a rural area means eager for a swim!
the watercolours and then contrast

Sunrise on Yellow Water NT

I am thankful every day that God Fire in the Bush
has given me such a wonderful gift. Waiting by the gate
I cannot imagine life without art, the
simple joy of turning a blank piece
of paper or a stark white canvas into
something that brings so much joy
to the creator and to the art
enthusiast is indescribable!

It is my desire to encourage and
inspire the artist in you, if you have
always “been going to” try art one
day try it today, a scrap of paper and
a pencil is all you need. Don’t give
up after your first try if you’re not
entirely happy with it, just keep on
trying, keep reading magazines like
Artist’s Palette, and if you can join a
class or get together with other like-
minded people, it is great therapy
and a really good way to take your
mind off the house or yard work!
I have often mentioned to my art
students that painting has been my
“saving grace”, having kept my mind
occupied during some health and
emotional battles over the years.

I have been very blessed to have
won some major awards for my art,
among them two “Best in Show”
“Peoples’ Choice” and numerous
“Highly Commended” awards and
subsequently have work in private
and corporate collections worldwide!
Whilst this is very gratifying, the
most exciting and humbling thing
for me is “creating the art work in
the first place”, I never take this gift
for granted and even more humbling
is the fact that people appreciate
what I do enough to want to own one
of my paintings!

Creating can be motivating,
challenging, rewarding, even
frustrating! But whatever stage you
are at with your art just relax and
enjoy the journey!

Ellen’s online gallery: www.

australianartelo.com.au

Ellen has artworks featured at the

Bendigo Pottery’s Potiche’ Gallery

and Bethany Gallery Bendigo and

her own gallery in Bendigo East.

Details are on her website.I

Rainbows in the Bottle Brush

D E M O N S T R AT I O N

Pencil

Rediscovering
Coloured Pencils

By Ellen Lee Osterfield

FINAL STEP – COLOUR PENCILS

I’m confident most of us are STEP 1 – BLACK AND WHITE
familiar with coloured pencils STEP 2 – BLACK AND WHITE
having used them at some time FINAL STEP – BLACK AND WHITE
in our lives, either at home with
“colouring in books” or at school.
Some people love “sketching” with
the humble HB pencil. Well I’m here
to take you on a journey of discovery,
to hopefully re-ignite an artistic
flame within. There is no need to
spend a lot of money on materials,
you may already have some HB
pencils and coloured pencils tucked
away in a drawer somewhere! You
may need to purchase a sketch- pad,
and an inexpensive watercolour pad
to get started, then as you advance
experiment with varying grades and
types of papers and illustration boards
and also collate a variety of sketch
or graphite pencils for shading.

I’m thrilled to be able to come
along on this journey with you and
to pass on what will hopefully be
valuable and practical information to
help you create your masterpieces.
You may already be a confident,
even established, artist but I believe
we can all learn no matter what
age or stage we may be at!

THE PRELIMINARY SKETCH

Every work of art should start
off with an idea of our chosen
subject in this case I have
chosen the “Cockatoo”!

D E M O N S T R AT I O N

STEP 1 – COLOUR PENCILS STEP 2 – COLOUR PENCILS

I will be working from a GETTING STARTED: the same direction that the feathers
photograph of one of the grow. Shading can also suggest the
cockies that visits my home Commence your drawing using the existence of more feathers without
in rural central Victoria. HB pencil (some people prefer an having to draw each one individually.
“H” pencil as it is lighter in tone and
Firstly select the space you more easily erased.) Of course it is Birds are a very popular subject
are going to work in and make much better for your finished work and offer an excellent colour choice
sure you are comfortable if you don’t have to erase too much, depending on the species.
and have plenty of room on but the reality is we “all” need this
your desk or table- top. little helper from time to time! Once you are happy with the depth
and tone of your sketch you can add
Set your materials out in front of Realism in your black and white some small areas of interest, such
you and make sure your pencils are work is achieved through shading, as a few leaves in the foreground,
sharpened, there’s nothing worse also varying the depth of shade can but don’t overdo these as they are
than starting off and having to stop suggest colour, i.e.: the yellow of only the accessories! Finish off with
each time a new colour is selected. the cockatoo’s crest. If you have a some shading behind your subject
selection of graphite pencils you to lift it further off of the paper.
Measure the size of your subject will find that as you go from B to
to ensure it fits on your paper 4,5 & 6B the leads will become Should you wish to go on and
nicely, leave a border of blank darker in shade but softer to use, do a coloured version then you
paper 2 to 3cm right around the applying firm pressure will make will need your coloured pencils.
edge, then “commence drawing”! the shades even darker. Using small
circular strokes will help you fill I will be demonstrating both styles
If you decide to leave your subject in smooth areas more evenly. in this article and in coming issues
as a black and white sketch then you I will show you how to incorporate
will only need your grey leads or For a white bird define the watercolours into your pencil work.
graphite pencils for shading. We feathers using the lighter shade
will work on the black and white pencils filling in with strokes in Adding coloured pencils
version first. To eliminate the need to re-draw
your sketch onto your watercolour
32 A u s t r a l i a n How to Paint

D E M O N S T R AT I O N

paper or illustration board you can Cobalt. Be careful with the more blended. Once again if you
trace around your original drawing, intense colours such as deep Cobalt don’t have a blender you can
then transfer it to the new sheet as they can really take over and give use the cool grey to go over.
using graphite paper or the good old the work an unrealistic appearance,
fashioned way of colouring the back of applying the colours with a light The leaves in the foreground
the tracing and drawing over the lines. touch is the key! If you do happen have been coloured with Cedar
to press too hard and the colour is Green, Deep Cobalt & Apple Green.
I am using 300.6 cold press too strong you can lighten it using
medium weight illustration- board a kneadable-eraser. When you have For highlights and shading I
for my coloured sketch, you can layered these three colours go over have used some Dark Violet and
also use watercolour paper. I the finished shading with another a little light Ochre on the tips.
find this adds a nice texture to layer of the cool grey to bring the
the work and if I want to add colours together. The feathers around The leaves were blended using
watercolours into my work later on the eye area are put in using Lemon the white pencil and the blender.
I can without the fear of the paper & Cream, these are the same colours
buckling when adding the water. as I will use in the crest but again Some Dark Cobalt and Dark
using a lighter pressure. In the crest Grey were used to add some
I am using Rembrandt I have added some light Ochre and colour to the background.
polychromous pencils, but you could for shading a little Dark Violet. At
use any coloured pencils you have the final stage of the feathers you When colouring the leaves draw in
on hand. For the shading on the can go over with a blending pencil some contours and holes to add interest.
main body of the bird I am using; or if you don’t have one of those you
cool silver grey, light Violet, Deep can use your white pencil, this will Contours can be achieved
Cobalt & cool dark grey. Using the give a slight gloss ideal for feathers! by darkening the colours in the
same strokes as with the black and folds, and then lightening them
white version commence shading I have used Dark grey and on the tops of the leaves.
starting off with the cool grey then Med Black for the beak, then
overlaying the Violet and deep Put in the veins on the leaves
using Dark Cobalt & Cedar Green.
The stems can vary in colour, a
combination of Yellow Ochre plus any
shade of Red together with Umber
for the shaded side will do. I

ARTIST’S STEP 3– COLOUR PENCILS
HINTS AND
A u s t r a l i a n How to Paint 33
TIPS

• Experiment with your colour
mixing on a separate piece
of scrap paper. That way
if your colour combination
doesn’t work out you haven’t
ruined your drawing.

• Keep a sheet of tracing paper to
place over the finished section of
your work so you can rest your
hand on that section without
smudging your precious drawing.

• I hope you have enjoyed
re-discovering coloured pencils!
I have many more subjects for
you to try and next time I will
be incorporating watercolours.

• Happy creating!

In the GallerIes

Back to the Future

With the discovery of pencils now a mere 250 years ago,
a group of artists put together an amazing exhibition.

The Queensland Wildlife Artists Studio Gallery, Mt Coot-tha Botanic patrons and major supporters and
Society recently presented the Gardens in Toowong, Brisbane. sponsors of QWASI and, certainly,
Faber-Castell 250th Anniversary 250 years operating as a family
exhibition at the Richard Randall Count Andreas and Countess company is something to celebrate!
Virginia von Faber-Castell are

Guinea fowl by Robyn Abrey

Sunbirds Who's there? by Janet Matthews:

34 A u s t r a l i a n How to Paint

In the GallerIes

Melaleuca by Gail Higgins

Over fifty paintings from QWASI Gail, Judy, Anne, Sandra
members and non-members were Nick Quiel and Robyn Abrey
hung and subsequently judged by
acclaimed artist Judy Scotchford
and Faber-Castell representative
Anne Wilsteed. The judges were
very impressed by the standard
of the work and the diversity of
subject and media used. Native
flora and fauna worldwide as well
as wild places were the subject
matter and entry was restricted
to work produced using at least
80 per cent Faber-Castell product.
Paintings in pastel, ink, colour
pencil, water-colour pencil,
graphite, charcoal and mixed
media showcased the techniques
of artists who paint wildlife.

Awards were presented at a
Meet the Artists day on Saturday
25 June which was well attended
by artists and members of the
public, including some of the
artist members from interstate.

Sandra Temple won Best of Show
for “Mountain Retreat”, (Snow
Leopards) – she is now the proud
owner of the fantastic Limited Edition
Art and Graphic Anniversary Case
donated by Faber-Castell. Only
1761 of these cases were produced
worldwide (1761 being the first year
of operation of the company).

A u s t r a l i a n Ho t Pai t 35

Best Flora– Nola Sindel Ikhehla by Nick Quiel

Other major winners were: • Natasha Maciejewski Anastassia Demeshko (junior).
• Nick Quiel and Chris McClelland (Best Junior Award). Hundreds of voting slips for the
People’s Choice Award were received
(Equal Best Fauna) • Highly Commended awards went and the winning work was Sandra’s
• Anna Beveridge (Best Wild Places) to Janet Matthews, Gail Higgins, “Mountain Retreat”, with “Melaleuca”
• Nola Sindell (Best Flora) Nick Quiel, Robyn Abrey and

Best Junior – Natasha Maciejewski
Pale-headed Rosellas

36 A u s t r a l i a n How to Paint

In the GallerIes

Best of Show – Mountain Retreat, Sandra Temple Jackie Kitchen and Corinne Smith

by Gail Higgins and “Where’s George”
by Janet Matthews equal second.

Top 10 in the People’s Choice Votes:
• ‘Mountain Retreat ‘(78 votes) by Sandra Temple
• ‘Where’s George?’ (34 votes) by Janet Matthews
• ‘Melaleuca’ (34 votes) by Gail Higgins
• ‘Silent Shapes’ (32 votes) by Sandra Temple
• ‘Billabong Blue’ (30 votes) by Gail Higgins
• ‘Roar’ (28 votes) by Nora Jones
• ‘Ikhehla’ (26 votes) by Nick Quiel
• ‘Exuberance of Youth’ (25 votes) by Chris McClelland
• ‘Our Dinosaurs’ (23 votes) by Sandra Temple
• ‘Predator Alert’ (20 votes) by Nick Quiel

Queensland Wildlife Artists Society Incorporate
www.qwasi-wildlife.com
[email protected]

Our next Exhibition
"Wildlife in Art 2011"
29 Oct – 6 Nov.
Australian Flora and Fauna.
Richard Randal Studio Gallery,
Mt Coot-tha Botanic Gardens,
Toowong, Brisbane.
Open 7 days 8.30am - 4.30pm.

A u s t r a l i a n Ho t Pai t 37

INSIGHT

Nola Clark

Precious Pets ByTrevorLang

An accomplished art tutor and former
President of the Ringwood Art Society,
Nola Clark expresses her love for
domestic animals by creating beautiful
pictures of them.

Nola Clark has a few early
school day recollections
which include ‘being the
smallest girl in school’. She also
has a fond memory of regularly
topping the class for drawing and
sketching.

As a child she can’t remember
having many toys, but vividly
recalls having plenty of kids’
paints, coloured pencils and
loads of paper and Spirax
sketchbooks.

Nola’s early forays into art
clearly laid the foundation for a
successful and fulfilling art
career … even if it did take
another thirty years to crystallise
her interest into a serious and
pleasurable pastime.

Marriage, motherhood and
mortgages were her prime
concerns until the late seventies
when husband Alan began

38 A u s t r a l i a n How to Paint

INSIGHT

rummaging through old boxes and drawers
and located many examples of Nola’s
drawing activities from her school days.

Alan was astonished that his wife of 16
years had such a talent. To Nola’s delight,
her future birthday and Christmas gifts
provided lots of art-related goodies
including pastels, oils, acrylics and a
variety of brushes and canvas.

Her husband’s alertness at that time had
an early (if unusual) reward, when a
carpet representative spotted Nola’s work
and offered to carpet a room in exchange
for an oil painting of his own horse.

“Done deal,” she agreed.
She then produced a pastel painting of
another horse, which immediately
attracted an offer to purchase from a good
family friend.
Nola Clark’s art career had been well
launched within a matter of weeks.
She then joined the Ringwood Art
Society and enjoyed the monthly
demonstrations of all mediums by
prominent artists. After witnessing a
particular session of pastel work by
visiting artist Ian Anderson, she returned
home with a burning motivation to
combine her drawing skills with the
intricacies of the pastel medium.
She became a member of The
Australian Guild of Realist Artists and
also The Pastel Society of Victoria. She
served many years on the committee of
Ringwood Art Society, including seven
years as President.
Nola’s work became well known.
Several requests from fellow artists for
lessons began a new phase in her art
career when she began conducting regular
classes at her home studio.
With the exit of the children, Nola’s
house literally became reorganised.

A u s t r a l i a n Ho to Pai t 39

Conversion of former bedrooms was followed by the addition
of a combination student workshop and personal studio
facility to what was formerly a large three bedroom home.

Nola’s husband Alan explains to people that he hasn’t
moved house … but now lives with his wife Nola, three
cats, 14 possums and several feathered friends in a one
bedroom art studio.

Nola has won numerous awards for a variety of subjects
and mediums and her work is represented
in private collections worldwide. She says that her
portraits of animals create greater emotional responses
than most other subjects. A portrait of an existing pet
creates great joy, whilst a portrait of a deceased pet
provides both joy and sadness for the families and
friends involved.

Nola insists that she tries to diversify her subjects
as much as possible, but concedes that her passion for
the welfare of animals and wildlife keeps her active in
that subject.

The public clearly endorses this passion. Nola is
frequently commissioned to produce pastel portraits of
family dogs and cats for people who appreciate her
particular skills.

She also actively participates as a demonstrator and is
a member of the judging panel of the Australian Guild of
Realist Artists.

Nola Clark’s work has won many accolades. An art critic
once wrote: “Her art is as various as a room full
of artists, emanating a rare freshness and individuality.”

She has certainly discovered the secret of how to portray
the liveliness and intelligence present in the faces of her
furry subjects. ■

40 A u s t r a l i a n How to Paint

D E M O N S T R AT I O N

Pastels

Tabby
Cat

By Nola Clark FINAL STEP

A talented painter A u s t r a l i a n How to Paint 41
of pet portraits
provides some
instructive

information about
her approach to
producing
lifelike pictures

M AT E R I A L S

• Colourfix Paper, Aubergine.
• Art Spectrum and Holbein Pastels.
• Charcoal Pencils – Pastel Pencils

(Conte and Derwent).
• Colour Shapers and Paper Stump.
• Hog Hair Brush.
• Plastic Eraser.
• Mahl Stick to keep my hands off

parts I don’t wish to smudge.
• Measuring Apparatus (use what you

like, but be consistent).

d e m o n s t r at i o n

STEP 1 STEP 2 STEP 3

STEP ONE major shape efor ding a light highlights plus the black area around
pink around the ears. the nose.
I define a clear border to contain the
end result and leave reasonable space STEP T O STEP THREE
all around to facilitate handling. This The whole body receives a thin layer
space includes an area to ‘test blend’ The emphasis is now on the ears and of basic colour dragged lightly over
colours. I use charcoal pencils and a the paper and gently blended. The
brown pastel pencil to formulate the eyes. I use a light pinkish colour for ‘white’ sections of fur are done in pale
warm grey, blended with my fingers
the ears and blend gently with my before adding grey violet in the
shadow areas.
fingers, adding a little grey violet for
STEP FOUR
the shadows. The eyes begin with a My attention now turns to the
background, and I work outwards
basic colour (in this instance a pale

yellow) which is blended with a

paper stu O r co hadows

and lights dded, f d by the

pupil. Bla stel pen s useful

for this task. A basic colour is then

applied to the nose, adding darks and

DOGS’ AND

CATS’ EYES

The basic difference when
illustrating the eyes of dogs and cats
relates to the difference in pupil
structure. The pupils of cats’ eyes
vary (according to light) from a slit
to a large black ball. The pupils of
dogs’ eyes are round, and soften
gradually into their basic colour.
Cats’ eyes are relative (proportion-
wise) to their size, whilst dogs’ eye
sizes vary enormously.

STEP 4

42 A u s t r a l i a n How to Paint

d e m o n s t r at i o n

P 5 STEP 6 STEP 7

from the animal – trying to keep the tummy area using grey violet where FINAL STEP
pastel at an uneven width, avoiding a necessary to make the true white
‘halo’ effect around the subject. I then areas stand out. White pastels are Resist the temptation to do more than
add more grey violet to the ‘white used on the top layer. I then add the necessary. This is the time to retreat
fur’ shadows. whiskers with the edge of a white and admire your work, stepping
pastel (a pencil will not do). forward again only to add your
STEP FIVE signature. ■
The background is now blended in
with the fingers, whilst adding lights MASTER HINTS AND TIPS
and darks as necessary. I touch up the
ears to eliminate smudges from the • Paper stumps are excellent to after first removing excess pastel
background work. blend the first layer of pastel. with my finger or paper stump, or
They can be used to remove even a bristle brush. The
STEP SIX excess pastel, and are useful to remainder is easily removed with
This is a critical stage of the stabilise a drawing so that it does the eraser.
painting’s progress, where attention not smudge. • A paper tray is handy to catch
turns to the fur. The fur has many dust from your painting. Stiff
colours (nobody makes ‘tabby cat’ • Colour shapers are very useful to paper folded in half lengthwise
pastels), which include black, blend heavier pastel if you require can be attached to the easel at the
browns, gingers, plus pale and dark a smooth finish; also very good bottom of your work (7 or 8 cm
yellows. The key for me is to utilise for applying highlights to eyes. wide is enough).
tiny strokes and display a great deal • Do not blow pastel when you
of patience. • Larger colour shapers can be used have too much on the paper. You
to blend and smooth other areas. (or someone else) will breathe in
STEP SEVEN whatever you blow into the air.
It’s time to get up close and • To clean paper stumps, I use Good quality pastels do not
personal. This cat (whose name is sandpaper (glued to a piece of contain nasty chemicals, but a
T.C.) is te ears old and I’ve craft board). lung full of dust is something you
just discovered that all the hairs in can do without. Tap your paper,
his ears are not white. Adjustments • To sharpen pastel pencils I use a or flick it, and the pastel will fall
are required. I now tackle the fluffy good quality pencil sharpener. into the desired receptacle.
white stuff on his chin, chest and Alternatively, a craft knife (used
carefully) will produce an
excellent result.

• I use a plastic eraser on the pastel

A u s t r a l i a n How to Paint 43

INSIGHT

Bregje Breedveld

Take Your Ti

Edited by Trevor Lang

This painter goes out a lot with her dogs, walking in the bush or along
the river … observing animals, plants and flowers and discovering artistic
inspiration.

44 A u s t r a l i a n How to Paint

INSIGHT

Bregje (Becky) Breedveld As an artist, Becky is self taught. painting for a long time (from about when
was born at Leiden in The “I am learning by trying different I was 16) and just picked it up again last
Netherlands. These days she is a techniques and I feel that with every year, when I first tried oil painting.”
police officer in Donnybrook, Western painting I have done, I have learned
Australia. She was a police officer in something new,” she explains. “I love Becky Breedveld would like to think
Holland for eight years. After reading doing animals. It is a challenge to try there is a career in art for her. Currently
about the international recruitment and let the character show.” she feels that she is still practising
drive of the Western Australia Police, “As a young girl, I was always drawing … although she has done a couple of
she applied successfully and moved to horses,” she continues. “I moved to paintings of dogs, for friends.
this country. She has been here since painting birds when I was a teenager,
November 2006. using watercolour paints. I stopped She is purely a hobby artist at the
moment, although she has one painting
for sale at the local veterinarian’s business.

Australian H to Pai t 45

INSIGHT

When she was younger, she liked to use watercolours. She
has tried pastels too, but felt they did not suit her too well. She
now prefers oil paints; and experiments with ink and pencil.

“When it comes to my choice of subjects, I am still drawn to
animals – especially horses, dogs and birds,” she says. “This is
because it is a challenge to get the expressions just right; and
the proportions.”

“I’ve got a couple of my paintings hanging on the wall in the
police station, including the emu. He is keeping an eye on what
is going on!” she quips. “And I have one painting on the wall in
the vet’s waiting room. I have not entered in any competitions,
but I might give it a go in the future.”

Nature itself is the major source of artistic inspiration
for this artist.

“When I am out walking in the bush, and I see a kookaburra,
or a kangaroo, I see a painting in it,” she explains. “Australia is
very beautiful, the light is very clear and bright. I would like to
try some landscape paintings as well … one of these days.”

Becky was invited to join the Donnybrook Art Group, but
she just doesn’t have enough time due to doing shift work (and

46 A u s t r a l i a n How to Paint





INSIGHT

recalls after work as well). She is also
a dog trainer and caters for about 20
students weekly.

“The good thing about oil
painting is that you can always
correct anything you don’t like,”
she suggests. “When I am doing
a painting, there is always a point
where I think I have spoiled it; or it
did not go the way I wanted; and I
get a bit fustrated. I recognise this
now, and I know it will all turn out
to be alright in the end. Usually I
walk away, make myself a cuppa,
and try again. It is a bit harder to
correct anything when I am working
with ink and pencil, however.
Sometimes there is a big blop of ink,
and all I can do is start over fresh.”

“Every new painting that I finish
is my most outstanding work at that
moment. I find it hard to judge my
own work, anyway! My neighbour is a
good critic, though.”

Becky grew up admiring the Dutch
artists Marjolein Bastin and Rien
Poortvliet. Her mother still sends her
Marjolein Bastin’s calender each year
– it is kind of a tradition! Recently she
read an article about the Western artist
Shawn Cameron (USA); she also loves
her horses and her style.

“I did a couple of commissions (of
pets) recently – but other than that,
I still have all my paintings. I have
come to a point where there is not
enough space to hang them and I am
thinking of selling a couple,” the artist
admits.

Becky likes to go out a lot with her
dogs, walking in the bush or along the
river – observing animals, plants and
flowers.

Her walks help to nourish her
abundant creativity.

She advises other developing artists
to take their time.

“Who cares in the end, if it takes
three hours or three days or three
months to finish a painting?” she
admonishes. “As long as you’re happy
with the end result!”

For the future, Becky Breedveld
would like to plan an exhibition. She
would also like to be able to sell her
work for an income. n

A u s t r a l i a n How to Paint 47