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Issue No.27
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FEATURED ARTISTS:
Andrew Cooper Helen van Stolk Inge du Plessis Marita Meyer Nanette Ranger Nicky Thomson
and Colley Whisson Di White Inge Semple Jan Pentz Malcolm Dewey Pearl de Chalain

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Intellectual Property 2017 48 hours in Barrydale Book a workshop
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ARTIST
Issue 27
The South African ISSUE 27

10
page

32
page 24
page

A note from the studio 4


Feedback 5
Quick Art Quiz 5
Brush Care Fund 6
A worrying trend continues 7
Intellectual Property 2017 8
FEATURED ARTIST: MARITA MEYER 10
DEMONSTRATION: Pearl De Chalain 14
DEMONSTRATION: Colley Whisson 18
2018 WORKSHOP: Colley Whisson 22
FEATURED ARTIST: HELEN VAN STOLK 24
2
64

page
54
page

48 Hours in Barrydale 28
DEMONSTRATION: Di White 30
FEATURED ARTIST: ANDREW COOPER 32
70
page

Big Painting Challenge 36


2017 Cover competition 38
DEMONSTRATION: Inge Semple 40
Hilton Festival 44
Travel: Painting South America part 2 45
DEMONSTRATION: Jan Pentz 48
MASSA: Framing miniatures 52
FEATURED ARTIST: NANETTE RANGER 54
In the studio: Montebello Design Centre 58
DEMONSTRATION: Malcolm Dewey 60
FEATURED ARTIST: INGE DU PLESSIS 64
Get to know: North Coast Artists 68
FEATURED ARTIST: NICKY THOMSON 70
Q&A 76
Teachers Noticeboard 80
3
ARTIST
The South African

Managing Editor:
Linda Hodnett
e-mail: linda@thesaartist.co.za

ART
Layout & Design: Xtreme Design

EDITORIAL CONTRIBUTORS
a note from the studio...
Linda Hodnett
Fran Weerts
Skye Kennedy When we were putting this issue together, I realised what an enormous range of
Malcolm Dewey
Yvonne Ankerman painting styles there are out there. From the free and expressive style of Helen van
Stolk, who works on many paintings at once, allowing them to evolve. To Marita
CONTACTS Meyers beautifully crafted floral works - you almost smell the roses. At the other
Advertising
email: adverts@thesaartist.co.za end of the scale is a masterclass in precision painting by Andrew Cooper. His large
scale acrylic pieces really captured our imagination and we think his painting of
Subscriptions Kirstenbosch Gardens makes for a great cover.
e-mail: subscriptions@thesaartist.co.za

Bulk Orders We also take a look at the intriguing world of sculpture with Nanette Ranger
e-mail: orders@thesaartist.co.za while expat artist Inge du Plessis talks of her appearance on British TV. There are
tel: 087 1355 541
demonstrations in acrylics, coloured pencils, acrylic inks, watercolours and mixed
Information media - something for everyone. So whereabouts does your style fit in? Are you
e-mail: info@thesaartist.co.za trying to loosen up or become more detailed? Whatever your style, we hope you
Publisher: LTH Media are inspired by the art in this issue.

Distribution: RNA Distribution Happy painting!


Distribution throughout South Africa.
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The South African Artist Magazine 2017.


All rights reserved. No part of this publication
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Kirstenbosch Gardens; 151 x 93 cm; acrylic on canvas by Andrew Cooper


@SA.Artist.magazine Read more about this artist on page 32.

4
WINNING LETTER

While I appreciate that electronic versions of books and


magazines are the way to go, I only subscribe to one printed
magazine and that is the SA Artist. I so love opening my copy
and I find such immense pleasure in browsing through every
single page. In the beginning, I found it intimidating to read
about so many competent artists. But the last few years have
been a journey and now, at 53, I have made peace with the
fact that the most important part of being an artist for me, is
what it changes inside me.

In reflecting so often on my own moments of uncertainty, it is


inspiring to read the passion and openness with which other
artists share their views and tips for helping the readers -
encouraging me to feel that I can do it too. I am walking away
from a 20 year career in corporate law to follow my passion
for painting. Will I be any good? Is that important? What is
important to me is the joy I experience whenever I sit down
with my paints and brushes to work on my next painting.

It is important to remember that everything is a journey so


we should be careful in choosing which ones we embark on.
Thank you for being part of my journey to bring about my Big
Transition. I am loving every step of the way!

Jeanetha Brink
Pretoria

The writer of our


winning letter will
receive a sketching
pack worth R450 from
10 questions about foreign art terms. How many can you Herbert Evans Art Shop.
answer correctly? Answers on page 77.
1. What does Contrapposto mean?
2. What German term means total art work and is used to describe artworks that unite
different art forms, often resulting in immersive experiences.
3. What does the Dutch term Banketje mean?
4. What Italian word describing soft edges means to evaporate like smoke?
5. What Italian word means in paste
6. Which French term means to deceive the eye?
7. If you make a compositional change during the painting process, painting over an
original image, it is referred to as repentance. What is the Italian term? Representing prominent Artists
Art Shop
8. Dutch painters were particularly interested in views into the distance. Which Dutch Studio of Grady Zeeman
word means plunge through
9. What is the Italian term for a round painting? 19 Swellengrebel St, Swellendam
10. The authoritative resource on a particular artists life work, catalogue raisonns Tel: 028-5142905
E-mail: grady@kunstehuijs.com
are most often created by a museum or artist foundation. What does it translate to www.kunstehuijs.com
in English? www.gradyzart.co.za

5
The Brush Care Fund is an informal support fund by artists, for artists. It was born
out of empathy and compassion and runs purely on goodwill.
The Brush Care Fund was created in early 2016, He has once again distributed a catalogue of
when a fellow artist was diagnosed with cancer. the existing collection, with a new drive to raise
She was facing huge medical bills and months of funds to assist artists affected by the fires. These
non-productivity due to chemotherapy. When Alex funds will be used to re-establish studios and get
Hamilton heard about this, he quickly jumped the artists back to a point where they can start
into action to start fundraising for this artist. He creating work again.
immediately phoned a few artists to donate work
and then rounded up some buyers and soon the All works are sold at the retail value, or reasonable
Brush Care Fund was born. offers. Depending on how sales go, there might
be a two day on-line auction at a later stage.
Word quickly spread and donations rolled in. An
exhibition was held at the Alex Hamilton Studio To date over 60 artists have generously donated
Adam by Vanessa Berlein Gallery in Woodstock, Cape Town and over a work to the fund, including the ones pictured here.
period of six weeks enough funds were raised to At time of writing these works were still available.
financially assist the artist for six months.

Although artists may belong to a medical aid, we


all know it does not cover everything; and since
most artists live day to day or month to month,
CONTACT DETAILS:
very few can afford income protection insurance. e-mail: zelda.hamilton@gmail.com
Even when an artist has this insurance, it is
subject to the insurance companys opinion of Facebook: @BrushCareFund
how unable an artist is to produce work.

After the initial fundraising drive, the fund was left


with a number of artworks in its collection. With
the recent devastating fires along the Garden
Route, Alex learned of some artists who have lost
everything - their houses burnt to the ground.

Tertio Oculus I By Christiaan Diedericks

Technical drawing - Fig 768 By Riaan van Zyl

6
ISSUE 23: ITALIAN ARTSHOP
HERBERT EVANS ART SHOP WATERCOLOUR VARNISHING
ART BOX: HAMPER:
Dylan Williams Anne Borg

ARTIST MANNEQUINS: ISSUE 25:


Euniece Botha HILLCREST ART SUPPLIES
Rosie van Pype BRUSH WASHER & BRUSHES:
Avril Shorkend Babs Putar
ETH Canvas
ROLL-UP BRUSH SET: DERWENT WATERCOLOUR
Sylvia Coward PENCILS: caring for your art as
ALUMINIUM FIELD EASEL:
Janet Bridge
much as you do!
Anton Bet TABLE TOP EASEL AND
CANVASES:
ITALIAN ARTSHOP Nicola Meyer ETH Canvas
PASTEL HAMPER: canvas designed FOR artists BY artists...
Haroldina Jonker ITALIAN ARTSHOP:
MICHAEL HARDING &
ISSUE 24: ROSEMARY BRUSHES HAMPER: Established nearly twenty years ago in Woodstock, Cape Town, we
BRIANSARTSA Ernest Beyer have successfully secured, maintained and developed our footprint
SUITCASE EASEL: in the art world as leading manufacturers of premium quality,
Rina Engelbrecht bespoke fine arts canvas, ever-evolving along with the needs of
our artists around South Africa, to ensure that you are properly
listened(!) and catered to, whatever your artistic endeavor.

A worrying trend continues... Using only the finest of raw materials, our team of highly-skilled
artisans, with a cumulative trade experience of over 100 years,
A few years ago we published an article on the infringement hand-craft beautifully constructed frames, over which canvas is
of copyright, and the trend amongst artists of making use of stretched to absolute perfection.
reference material which is clearly not their own. It appears
that this trend is continuing. Our signature ground is prepared through a process of careful
hand-priming and sanding, so as to achieve a surface that although
We have recently been made aware of a painting in our last velvety smooth, has the tooth that is so essential to the successful
issue which is a copy of another well-known artists work.
application of your paint.
The fact that this copied painting is signed as an original and
has since been sold at a public exhibition, is very worrying.
This is infringement of copyright and can land the offender in The canvas, prepared par excellence and designed to receive any
hot water. medium, comes with the guarantee it is 100% non-absorbent,
and can be customized (as far as is possible) depending on your
Copying an artwork for the purpose of learning is one thing. individual artistic requirements. Although our house product is made
The work should then be signed after the original artist eg. from cotton duck, exotic linens and other options are available on
after Monet. As soon as you sign it as your own and exhibit request.
the work, its function has changed and you have crossed a
legal line. Besides making luxury, well-priced canvas in virtually any size,
depth, shape or colour, ETH also offers expert stretching, frame-
There is also the argument that if a certain percentage of a
construction, masonite mounts, re-stretch and prime, art packaging
painting is changed, it no longer infringes on copyright. This
is incorrect. The legal question is whether a substantial part and transport, plywood panels, canvas panels, varnishing and
of the work has been copied, and the enquiry is qualitative, related services.
not quantitative, so there is no question whether 80%,
or any other percentage, has been copied. If a painting is All confirmed entrants to the
recognisable as being that of another artists work, there is a SA Artists 2017 Cover Painting
copyright issue.
Competition qualify for 20% off any
Our advice? Dont copy other artists work. Get permission to two canvasses per entry
use someone elses photographs. Play it safe and use your
own reference material.
9 Barron Street, Woodstock, Cape Town
Tel: 071 528 8815
7 www.ethcanvas.co.za.
bronwyn@ethcanvas.co.za
The Plant 5th - 11th October 2017
5 Station Drive, 9.00am - 3.00pm weekdays
Durban 8.00am - 12.00pm weekend

The Intellectual Property Exhibition has been held since 2013. The and crafters; instead of going for the "cookie-cutter" cheapies in the
idea behind the exhibition, initially, was to bring local Durban artists large retail stores.
and crafters together to showcase their work and give the buying
public a "home-grown" alternative to the mass-produced items Artists are invited to participate; we do not prescribe what kind of
shipped into this country from abroad. work they submit - our only requirement is that it is unique and falls
broadly into the category of "gallery" work. This, we hope, results
The title "Intellectual Property" was decided on because it gets to in an eclectic collection of high-end art and craft that show-cases
the heart of the issue that local artists and crafters face; that is, a Durban's and KZN's talent to the public.
massive retail behemoth that continually harvests from the fertile
grounds of the "small-guy" artist and crafter, and then ships the idea This year the exhibition is an exciting mix of jewellery, painting,
off-shore for cheap production. decor, craft, furniture, collaborative projects, fashion, music and
performance - a bumper crop of unique, creative and contemporary
The title is intended to encourage the viewing public to think more work.
deeply about this issue - and hopefully decide to support local artists

Mike McFadyean Robin Opperman Ujala Sewpersad Radmer Lenash

Tembuso Tema Ndzimandze Sheila Nichol Karen Read Denise Kiggan


photos: Mike McFadyean
8
We are very excited to be holding the Exhibition
at The Plant - one of the key venues in "The
Station Drive" art precinct. We believe that this
space affords us great opportunity to "spread
our wings".

The opening is open to the public. Car guards will


be present for your peace of mind. The exhibition
will be opened, once again, by Rosemary
Mangope, the CEO of the National Arts Council.
Rosemary has been a great supporter of the
Intellectual Property Exhibition concept, and has
supported our efforts to expand and extend the
reach of the exhibition.

The exhibition will be open until 11th October


2017. The gallery hours are weekdays 9am to
3pm and weekends 8am to 12pm. The opening
will also form part of the "First Thursdays"
programme at The Station Drive art precinct.

photos: Harry Lock

The BLOCK project


What is The Block Project? the pixels in a larger image. This larger image, we hope, will be the
We have all heard the word pixel and understand it to mean the heart for Intellectual Property 2017.
tiny little blocks of light on a screen that together, when viewed from
a distance, make up an image of something. This is how images are The idea is that when the audience views the installation from afar,
formed on TVs, Computers, and basically all devices with screens. they will see the logo, but when they move in close they get to see
The word pixel is an abbreviation of the term picture element. each artists unique piece.

The Block Project aims to take this idea of gestalt or the brains We feel this installation expresses visually what the heart of
natural propensity to perceive the big picture from smaller elements Intellectual Property is about a celebration of creativity.
and translate it into an art installation made up of many picture
elements contributed by different artists and crafters. By participating in The Block Project, artists agree to the following
terms: The installation will be sold either as a total work, or individually
We have had loads of 150mm x 150mm wood blocks cut. We invite as separate blocks. The funds raised from the sale will go towards
all artists and crafters from Durban, KZN and beyond to take one of funding a similar project in 2018 and hopefully expand the idea even
these blocks from us, and create their own artwork. There are no further. So artists are basically donating their artwork to this project.
rules on medium, subject or colour - you do what you want. Our only Each artists work will be fully credited using a spreadsheet system so
rule is that whatever you do must be kept within the perimeter of the that people will know who did each block.
block, i.e. if you do something sculptural or 3D, it must stay within the
150mm x 150mm width and height boundary so that blocks can be
placed snugly together during the assembly of the installation.
CONTACT DETAILS:
Facebook: intellectualproperty2017
You dont pay for the block, but you use your own materials to do Website: www.ipexhibition.co.za
your artwork. Once you return the block to us, it will become one of Robin Opperman 083 7933408
9
FEATURED ARTIST
Pretoria-based artist MARITA For me there is nothing
MEYER is well known for her more rewarding than being
commissioned by a client and
magnificent floral paintings. succeeding in meeting my own
Here she shares with us her and their expectations
techniques and tells us how it all
began.

petals and
blooms
Marita Meyer is no stranger to loss and heartache. When her newly built studio burnt down in September 2008, she was devastated. She
lost all the art possessions she had accumulated up until then and were it not for the kindness and support she received from her family and
friends, she would probably still be grieving.

10 Sunflowers; 90 x 120 cm
All paintings oil on canvas.
Above:
Poppies; 80 x 100 cm

Above right:
Giant Strelitzia; 50 x 96 cm

Right:
Golden Moments;

All of her art books were obliterated in the fire and burnt
fragments of paper were spread amongst the debris. I
received the same message from two different friends
reminding me that, from the ashes, the phoenix will rise.
I found a ceramic plate that had survived the blaze on
which there was this inscription: God is able to turn every
bad thing around for our good. It took me a long time
to get myself in the right frame of mind to start painting
again, but I did. Today when Im in a bad spot, I remind
myself that worse can happen. It will eventually pass. I
must just persevere.

At the time of the fire, she had been painting for 20 years,
starting her career with Peter van Blommenstein and later
with Durban artist John Smith whose work and ability to
teach she greatly admires. I remember exhibiting on the
beach in Durban with a group of other artists whilst still
with van Blommenstein. Prior to the exhibition, we were
taught to paint donkeys. It was hot, there had been no
sales and the day was almost done. My poor donkeys
were huffing and puffing in their frame when an art
dealer approached me, bought the painting and ordered
ten more of the same. I was over the moon! And so my
painting career took flight.

Marita grew up in Pretoria where she earned a BA-


degree at the University of Pretoria and later qualified
as a teacher. Together with her husband she moved to
Middelburg where she took up a teaching post at the
11
12
Technical High School. The couple then moved to Durban where they a loose sketch to determine placement. In another I will start with
lived for a few years before settling back in Pretoria in 1989. During the focal point, and proceed with adjacent areas making sure that
this time she was commissioned to paint a series of greeting and it compliments and enhances the focal point. Still another option is
Christmas cards and was also featured in a book on Contemporary to start massing in the main objects on the white canvas. Whichever
Artists of Pretoria. Nowadays they live on a citrus farm in Mooinooi. method I use, I need to be separated from the canvas after the initial
block in before I proceed in taking it further. I face the canvas to the
One thing that Marita steadfastly believes in is drawing. For me wall and leave it for a day. I repeat this separation stage several times
the best time to sketch is in the afternoon, whilst relaxing with my throughout the process - this helps to clear my mind and eye.
husband. I find that the switch to the right side of my brain whilst
having an interactive conversation with him, is spontaneous. And yes, An interesting method that she enjoys, especially on smaller flower
I do hear every word that he says whilst busy sketching. Composing a and still life paintings, is to put layers of paint on the canvas and let
picture is a different story! In Betty Edwards book: Drawing on the them dry in between. Starting with Thalo Yellow Green, she follows
right side of the Brain she explains that drawing a picture from an up with Cadmium Red, Ultramarine Blue, Alizarin Crimson, Viridian
upside down image, stimulates the right side of your brain. I practice and lastly Raw Umber. She rubs it down where she wants the light to
this habit. Even when Im stuck with a painting, I turn it upside down. shine through and then starts with the flowers or still life letting the
background shine through in the shadow areas.
Maritas first love is painting flowers. Before starting a flower painting
I smell the roses, feel the texture and listen to the whisper of the giant Marita enjoys taking on commissions: I thrive on commissions. They
Strelitzia that hides its magnificent flowers high up in between the trigger my creative juices. For me there is nothing more rewarding
huge leaves. I paint flowers from life whenever possible but roses than being commissioned by a client and succeeding in meeting my
for one, wilt quickly. Photos are the next best thing and I take them own and their expectations.
from every angle. I once planted a number of Sunflower seeds, but
unfortunately only one germinated. I was amazed when observing Her advice for aspiring artists is simple: Make your sketchbook your
the different stages of the flower unfolding its beautiful bright yellow new best friend. Keep your eyes open and look differently at scenes
petals from day to day, until it was revealed in all its splendour. I took until a potential painting is revealed. Also keep one or two of your
pictures of each stage and did a large painting with just that one first paintings: this will not only keep you humble when remembering
Sunflower taking centre stage. where you came from, but will also make you proud of what you have
accomplished since you began. When you get frustrated later on,
Marita works on stretched canvas, and says she has a varied these small beginnings will encourage you to carry on. Remember,
procedure for each painting. Sometimes I start with a wash, covering unless you were born a Vermeer or Rembrandt, practice patience. You
the whole canvas with alternating warm and cool colours. Then I do will get there in the end. Look forward to it and enjoy the journey!

Opposite page:
Top left: Antique Cupboard with Roses; 76 x 101 cm

Bottom left: St Josephs; 80 x 60 cm

Top right: Flamboyant; 60 x 80 cm

Middle: Lilies; 25 x 34 cm

Bottom right:
Field Lilies; 80 x 100 cm

This page:
Left: Simplicities; 60 x 90 cm

Bottom left: Sunflowers 2; 72 x 93 cm

See more of Maritas work at:


Georges Art Gallery and Interiors: 082871 1191
Merwede Art, Reitz, Free State: 083482 2913
Etchings Art Gallery, Durban North

CONTACT MARITA
e-mail: maritamyer@lantic.net
Website: www.southafricanartists.com/home/MaritaMeyer

13
FEATURED ARTIST
DEMONSTRATION
PEARL DE CHALAIN is a well-known
calligrapher, coloured pencil artist,
water-colourist and book-binder. Here
she shares her technique for using
coloured pencils to complete a painting
of a strelitzia.

Coloured pencil painting


no its not colouring in!

Image is drawn on good quality artist grade paper. Cover whole flower with masking fluid and allow to dry. Use a colour
Excess graphite lifted with a kneadable eraser. wash and salt to create background effect and allow to dry.

Remove masking fluid (and salt) using a rubber cement pick-up, or rub Start layering (**) rust, dark/medium/light oranges and dark/medium/
away with an eraser or finger. Underpaint (*) using two neon colours to light yellows, in that order, for the colourful orange sepals.
create a glow.

TERMINOLOGY:
(*) UNDERPAINTING: Cover area with coloured pencil and dissolve translucent allowing the darker colours to shine through. Placing
colour with rubbing alcohol. This creates a pale watercolour look on darker colours on top can often lead to a sludgy smear.
top of which you can layer more colour pencil pigment.
(***) BURNISHING mixes the colours on the paper, really squishing
(**) LAYERING: Unlike watercolour painting where you build up them together, covering up all white paper. You can either use a
colour from light to dark, I prefer the technique of layering starting burnishing pencil, or use the same colour, or a lighter coloured pencil.
with the darker colours. The reason? Lighter colours are more

14
Repeat this layering process several times building up a thicker For the blue-purple petals etc, layer with indigo, deep/light purple,
coverage of pigment mauve, pale blue and grey. Accent with pink where necessary.

For the thick base (beak) of the flower, and the leaf, add a very pale Add details to stamens with more indigo. On the large beak add several
wash of neon pink and green. layers of indigo, deep/light purple, dark/medium/light green, lime green,
pink and yellow.

Burnish (***) the orange sepals. Add more layers to the beak area. Add Continue to layer beak and leaf with colours in the previous step, but
a few heavier horizontal streaks on the beak and emboss to trap the including more blue greens and pale greens. Add a few more streaks
pigment below the surface of the paper. Start to add a layer of indigo and emboss. Dont forget the pale pink tinge on the spike of the beak.
and dark green to the leaf.
15
Repeat this layering process several times building up a thicker Burnish the blue petals, further mixing the colours on the paper
coverage of pigment

Add a bit of orange, brown, green and grey to the base of the two left Keep on layering the beak and leaf - the more you layer, the less white
orange sepals. Add dark blue, purple, light blue and grey to the base of will show through from below. When you think you have enough pigment
the left blue petal. on the paper, burnish the beak and leaf.

MY TOP TIPS:
Coloured pencils must be artists grade, either wax- or oil-based
Dont skimp on the quality of your coloured pencils or paper
Pencils must be sharpened to a needle point, and sharpened
constantly throughout project
Dont work with a dull (blunt) point, unless you want a dull look
Its preferable to use a double-helical sharpener for even
sharpening and a very sharp point
Strokes should be mainly elliptical and very light
The only time you use much pressure is for burnishing
Use a feather or very soft brush to constantly brush pencil crumbs
off your work, otherwise these crumbs will be pressed into the
paper by your pencil causing a permanent coloured mark or smear
Keep standing back from your image to get a better feel for the
perspective and form.

MY THREE MANTRAS:
1. Draw what you SEE, not what you know is there
2. Exaggerate your highlights and darks
With an extra sharp coloured pencil, add any missing 3. Sharpen, sharpen, sharpen
details and sharpen the outlines
16
The completed painting
ready to be signed.

CONTACT PEARL
e-mail: piglet@global.co.za
Facebook: Pearl De Chalain
Instagram: piglet991

17
WORKSHOP ARTIST

Colley W hisson
Colley Whisson is an internationally recognised artist born in 1966 and raised
in the northern regions of Brisbane, Australia. He commenced oil painting at
the age of 20 and held his first Solo Exhibition at the age of 24. Colley has held
numerous Solo Exhibitions and Magazine Articles, Books, DVDS and Online
Tutorials published. He has long believed It is not what you paint but how you
paint it. He sees himself as a painter of light, aiming to paint with precision
to convey the purest message possible and striving to capture spontaneous
loose impressions each time he returns to his easel.

He is at his happiest professionally when he is painting full of confidence using


his brush like Zorro would wield his trusty sword, dashing in marvelous darks,
highlights and rendering each painting with as much skill and accuracy as
possible. He loves nothing more than the challenge of pushing himself to find
new subjects to paint and is happy to carry the tag as one of Australias finest
young Impressionist painters. Colley has a strong belief that he is not copying
nature but giving expression to visual ideas.

Far left: Low Tide UK, 14x 10


I fell in love with painting boats
while on a teaching trip to
Greece in 2013. Even though
there is plenty of detail in a
subject like this one. I am
searching for a particular type
of shorthand to describe the
visual information.

Left: Marina Grande, Italy


14x 12
I have always had a great love
of portraying distance, so you
could see that this scene was
hard to pass up. It almost reads
as the perfect subject, with less
and less visual information the
further the scene goes back.

Above: Life inside the Barn USA, 08x 10


This type of subject is an excellent exercise, primarily because of the dark
values. Its a great test when it comes to my colour mixing, also it requires
great control of my drawing skills. Try to remember not every painting has
to be produced for a commercial reason. For me its all about the journey
not the destination.

Right: Overlooking North Terrace, Australia 12x 15


This subject has plenty of visual information, when it comes to painting
this type of scene, I like to think of myself as a conductor of a Symphonic
Orchestra and every instrument and sound needs to be in its place. Early on
I made sure that I placed the biggest shapes in accurately as this is crucial
to this paintings success.

18
From day one when I started painting in 1986, I knew Id chosen the right
career path. Of course, I needed discipline, regular practice, guidance and a

Crystal Cove little bit of talent even though I truly believe natural talent is over rated and a
good work ethic is far more important.

Morning Every time I commence a painting my aim is to see how far I can push the
subject that Im working on. I would rather try and fail than to never have
tried at all. Its during this voyage of discovery that my breakthrough moments
normally happen.

ARCHIVAL OILS
Titanium White
French Ultramarine Blue
Pthalo Green
Yellow Ochre
Light Red Ochre
Cadmium Yellow Medium
Cadmium Orange
Cadmium Red Light (Scarlet)
Permanent Alizarine Medium

Archival Odourless Lean Medium for mixing


Reference Photo: This scene has all the bells and paint (Fastest Drying)
whistles required for me to push the envelope.
SOLVENTS
Archival Odourless Solvent for cleaning
brushes at the end of the day.

BRUSHES
Art Spectrum
1000F, size 12 long flat Bristle Hog Hair
Size 6 Filbert Hog Hair
Synthetic
Size 12 synthetic long flat brush -1 wide
Size 2 liner/rigger synthetic with long bristle

Before I even put paint onto my palette, I have


made sure that my research has been done in
regards to the scene Im about to paint. Good
planning can save great heartache later on. My
first marks are what I like to call my skeleton
shapes, using French Ultramarine Blue and
Permanent Alizarine.

19
Placed onto those skeleton shapes, its time to add some muscle. This stage is almost a repeat of the previous step except for
These tonal values are an educated guess, my theory is close two crucial elements. The paint is going to be thicker and most
enough is good enough at this stage. Try and resist the temptation importantly my values must be on the money.
to play with the wet paint.

Now that I have my underpainting in place, I can start on the Its time to link the background into the mid distance via the
background headland and the sky. Notice Im aiming to employ as rooftops and ground shrubs.
many different brush marks to tell my visual story.

The beach area and the small picket fence is the next area of Its time to begin work on the foreground. Foregrounds traditionally
attention. I am careful not to overdo the fence passage or it may are the toughest areas to execute. Mainly because everything is in
draw the viewers eye away from my focal point. the sharpest focus and its extremely easy to lose our way. That is
why, for this stage its 90% thought and 10% action.
20
Crystal Cove Morning, USA Oil 09x 11

Many times, when I get to this moment of the painting I am


normally taking out as much as Im putting in. To make the
painting resonate I will be checking my edges, making sure that
I have my sharpest edges in or around my primary focal point
which is the sunlit area in the foreground.

COLLEY WHISSON ON SOCIAL MEDIA:


Website: colleywhisson.com
Facebook: Colley Whisson
YouTube: Colley Whisson Artist
Tucson Art Academy Online: Art Classes tucsonartacademyonline.com

21
PAINTING WORKSHOP
Seascapes, Interiors, City Scenes, Still-Life, Landscapes & Figures
with Australian Artist
s s on
For

One o
Austra ng
finest
you
f
lias

ssioni
st
Co l l e y W h i students o
all levels
working in
oils or
acrylics
f

Impre
rs Sunnyside Farm, Clarens, Free State: 11 to 15 May 2018
painte
Montpellier de Tulbagh, W Cape: 18 to 22 May 2018
Better paintings begin when you are totally captivated by the subject. I have a strong belief
that painting is not copying nature but giving expression to visual ideas.

Colley holds regular workshops throughout Australia, United States, Italy and now South Africa. His medium of choice is
oil paints but he teaches students of all levels of ability who work in either acrylics or oils. The workshop will consist of 3
days in the studio & 2 days plein air, covering subjects such as seascapes, city scenes, still-life, landscapes & figuratives.

I have long believed Its not what you paint but how you paint it. With
this in the fore-front of my mind Ive dedicated myself to developing my
skills to the highest level possible. Im aiming to tell a visual story with
clarity and sophistication but I am also driven to distort and abstract the
image as much as possible while still maintaining a realistic image.

Impressionist Painting Made Easy


Throughout this book Colley Whissons aim is to make
successful impressionist painting an attainable goal
for more artists so they too can experience the joy of
creating stunning paintings filled with light.

Creating Impressionist Landscapes in Oil


Nature, the most popular source of inspiration for oil
painters, has the amazing ability to evoke feelings
of tranquility and peace. Colley Whisson shows
readers how to idealize and romanticise natures
everyday subjects using a loose, impressionist oil
painting approach. He provides dynamic instructions
for transforming simple images into works of art,
filled with mood and colour. Theyll also learn how to
paint impressionistic figures - the magic ingredient
in romantic landscapes - and weave them into their
paintings. Seven gorgeous sample galleries and step-
by-step demonstrations make it easy and fun!

WORKSHOP DETAILS
photos: www.jcmackintosh.com
Sunnyside Farm, Clarens: 11 to 15 May Montpellier Wine Estate, Tulbagh: 18 to 22 May

Cost per person (5 full days, 6 nights)


including accommodation and all meals = R16,800
Limited single accommodation available - please enquire for rate.

Excludes: Alcoholic beverages, art materials and transport to and from the venue.

HOW TO BOOK:
To book your place, please visit our website and click on the workshop tab (www.thesaartist.co.za)
Strictly limited to 15 students per workshop.
Your booking will be confirmed on receipt of the deposit.
For more information 087 135 5541 or email: workshop@thesaartist.co.za
FEATURED ARTIST
It wasnt until her corporate high flying I dont go into the studio with a
career in Retail Property began to set idea of what I am going to
interfere with the balance in her life paint. I get in and then let my
that HELEN VAN STOLK started to mood and intuition guide me.
truly understand the power of art and
the freedom creativity brings.

art changes,
we change
In 2008, Helen transitioned into a full time artist. Eight years later, her career has launched into a whole new trajectory as she explores the
magic of creating without boundaries the art of playing, using more colour and working intuitively from within.

24 Helen at work in her studio.


Above: A selection of smaller works and studies in oil

Right: Given Gold; 115 x 145 cm; oil on canvas

Helen has experienced quite a shift in her work and approach


to painting in the last eighteen months. Her work space and
method of painting has become far more playful and accepting.
I stripped my studio of all my old work and started afresh
with white walls, lots of blank canvasses, big tubs of acrylic
paint, big brushes and my usual large selection of oil paints. I
started playing with colours I had never touched before, pinks,
golds, greens... whatever felt good.

Conversations with her work have resulted in Helen moving


into unknown territory, revealing some surprises. Its all more
intuitive. I have found new ways in and new ways to be more
present. I have been influenced by some inspirational artists,
authors, singers and friends who have shared their stories. I
dont go into the studio with a set idea of what I am going to
paint. I get in and then let my mood and intuition guide me. Even
when I have the model in the studio, which is regularly of late, I
wait until she arrives to decide what I am going to do and what
size canvas or paint colours I will use.

Working on a lot of paintings at the same time, seems to take


the pressure off feeling like a painting needs to be completed.
It gives the paintings a chance to just be seen for a while before
making the next move. I love them at certain stages and just
want to enjoy them for a while before they transform. Others
I may battle with and feel I need to back off from them for a
while thats ok too!

She has been commissioned to paint some very large works


for an apartment in V&A Waterfront and homes in Bishopscourt
and Constantia. Her work can be found in homes locally and
in Europe.
25
26
Her preferred medium is oils and she thoroughly enjoys figurative This past year, Helen has been fortunate to attend workshops with
work. She feels that figures bring a scene to life and she strives to American artists, Martin Campos and Melinda Cootsona exploring
tell a story and create a mood by capturing a moment in time. She abstraction of the figure. Their work explores the construction of form
steps into the scene when painting and hopes the viewer is able to and how it relates to a real or an imagined environment, combining
do the same. traditional and intuitive methods whilst working with the figure. Their
influences such as CY Twombly, Helen Frankenthaler, Alex Kanevsky
Although she is mostly a studio painter, you will occasionally find and Richard Diebenkorn have opened up a new world of abstract
her enjoying plein-air painting on the streets of Cape Town. She is exploration for me. It has been an exciting personal journey the
inspired by characters and scenes found in and around the city. beginning of a long road full of surprises.

I GIVE YOU LOVE: The Process

I was really enjoying working on and having this abstract around combined. It almost had a Klimt feeling. I simplified the abstract,
in the studio, it was inspired by ancient carpets and jewellery. I brought in the pose then felt it needed something solid holding her,
was working with my model in the studio and worked on a pose as so I added the dark figure and then balanced it by adding her knee
shown above. The two paintings somehow spoke to each other. I I felt I wanted an embrace. The end result was never envisaged
found the feeling of gold and light pouring down in the one painting when I started this piece it evolved.
and my models head to one side felt like the images needed to be

Opposite page top left:


A room full of roses; 100 x 100 cm; oil on canvas

Top right:
Figure 4; 100 x 100 cm; oil on canvas

Middle left:
From generation to generation (incomplete); 115 x 145 cm; oil on canvas

Middle right: After the carnival; 100 x 100 cm; oil on canvas

Bottom: A view of the studio

GALLERIES:
The Cape Gallery
Red The Gallery
The Bay Hotel
Helen will be having a solo exhibition at the Cape Gallery,
Church Street, Cape Town for the month of September.

CONTACT HELEN
Website: www.helenvanstolk.com
Tel: 021 686 7569 / 082 785 7288
Email: helenvstolk@gmail.com
48 Barrydale
By Fran Weerts

HOURS IN...

Barrydale is a noisy village; not with polluting traffic or industrial racket, but an
underlying hum of productivity, like insects pollinating their patch...

The small town, named after James Barry, was established in the Another artist residing in the
early 18th century on the border of the Overberg and Klein Karoo. It town is Cherie Roe Dirksen,
is reached either by driving on the N1 from Cape Town and taking in a self-empowerment author/
the spectacular Tradouws Pass, or through the winelands of Paarl, columnist, multi-media artist
Worcester and Robertson. and musician. She describes
herself thus: When I am
There are some 4000 permanent residents in Barrydale, amongst in my more serious, save-
them a growing number of artists and creative people, who gravitate the-world, level-headed
towards the town which is fast becoming a favourite tourist stop on Alice mode, I am a self-
the famous R62. empowerment author and
avid blogger. When I am
One such enterprise is tripping down the rabbit hole,
Barrydale Hand Weavers, I emerge as an anything
owned by Carol Morris. goes multi-media artist. This
They employ many local can manifest as any kind of
people to cope with the creative expression.
rapidly expanding demand
for their 100% cotton Blacksmith and fine artist Herman
handmade fabrics and van Wyk began his artistic life as a
rugs, and they now have photographer before experimenting
a thriving local and export with painting and metal sculpture.
market. Their efforts Amongst numerous other exhibitions
have been recognised by and collaborations, Hermans Lizzie
being placed 2nd in the sculpture - a walking, fire breathing
2016 PERA (Premiers T-Rex, has been paraded regularly at
Entrepreneurship the AfrikBurn festival.
Recognition Awards) in
the category of Best Job Adding to the artistic mix in Barrydale
Creating Business. is potter Jean Bittkau-Bradshaw. She
works with the Net Vir Pret Initiative,
If you need accommodation, look no further than the Barrydale whose mission statement states It
Karoo Art Hotel. They showcase art in various forms, from the fifteen is to uplift children from disadvantaged backgrounds. We endeavour
individually decorated rooms containing quirky and eye-catching art, to empower them by giving them the childhood they deserve; by
to a top-notch wine cellar as well as regular hosting of live music allowing them to play and be creative and to learn that they are
events, including local and national artistes. Winner of a 2017 Top capable of achieving.
Value Establishment Award, in 2016 the hotel was also awarded a
Klein Karoo Gourmand Award/Klein-Karoo Smulpaap Toekennings.

28
Dutchwoman and fine
artist Joan Peeters
work reflects the
dry yet colourful
Karoo landscape. Her
work encompasses
traditional landscape
painting which
reflects the Klein
Karoo environment as
well as realism and
abstract work. She
has exhibited locally in
the Cape surrounds as
well as internationally.

Socially conscious art


collective (Elle blog
2008) Magpie Studio
was established in
1998 by Scott Hart
and Shane Petzer. In
2006, they were joined by Sean Daniel and Richard Panaino and re-
established as MagpieArtCollecive.

They describe their work as whimsical, charming and bespoke Sean Daniel, one of the
creations produced from a broad range of medium and often MagpieArtCollective quartet,
incorporate repurposed, found, memorabilia or recycled elements. is a fine artist in his own right.
We believe the work we do links art, design and craft with He explains that his art began
meaningful commercial and social entrepreneurism, integrated with as figurative he is an art
environmental concern. draftsman by nature, drawing
what he sees.
Magpie designs a range of products, including quirky mollies, nests
regencies and teapots amongst more recognisable pendants, Sean paints for himself, being
objets, lamps and bespoke. in the enviable position of not
having to sell his work for bread
and butter. This has allowed
him to progress to abstract
art which he finds much more
emotively challenging. He works
in oils and occasionally holds
art classes and exhibitions at
the Magpie Gallery.

BARRYDALE ARTISTS BARRYDALE HANDWEAVERS - WEAVERY SEAN DANIEL


MAGPIE ART COLLECTIVE - PURVEYORS Mud Art Centre seanandrich@gmail.com
OF CHANDELIERS AND FINE Weavery Tel: 028 572 1488 seandanielpaintings.tumblr.com
HOMEWARE. www. barrydaleweavers.co.za Studio Tel: 028 572 1768
Gallery Tel: 028 572 1997 Shane info@barrydaleweavers.co.za
Manufactory Tel: 028 572 1768 Richard HERMAN VAN WYK BLACKSMITH
magpieartcollective.com JEAN BITTKAU - BRADSHAW - POTTER - FINE ARTIST
magpiehomefineware@gmail.com Pottery Studio Tel: 028 572 1785 hermanvanwyk@yahoo.com
Gallery Hours: jeanbittkau@gmail.com
Mon - Fri 10:00 - 13:00. 14:00 - 17:00 Pottery Studio By Appointment. BARRYDALE KAROO ART HOTEL
Sun: 09:30 - 13:00. Closed Saturdays reservations@karooarthotel.co.za
JOAN PEETERS - FINE ARTIST www.karooarthotel.co.za
CHERIE ROE DIRKSEN - FINE ARTIST jamtart62@gmail.com Tel: 028 572 1226
cherieroedirksen.com karoocanvasses.wix.com/joanpeeters
cheriedirksen@yahoo.com Studio Visit By Appointment

29
DEMONSTRATION
DI WHITE loves to experiment with
different techniques, styles and media
so that her work is constantly evolving
and changing. Her dynamic subject
matter includes landscapes, cityscapes,
seascapes, figures, portraits and flowers.

runnning
Loose and vibrant is how I like to paint and I hope the

wild!
results bring you joy! I get a huge thrill from bright colours
and love using acrylic inks because they are so rich and
they flow so well. I particularly enjoy painting animals in
a loose and fun way so they are almost caricatures who
take on their own personalities. This is my step-by-step
guide to Hillary a very bossy little ostrich.

1 2 3

4 5 6

30
7 8

STEP 1: I begin by drawing a faint pencil outline to which I add


some touches of Lemon Yellow Acrylic Ink as a guide.

STEP 2: I put in some touches of Orange Acrylic Ink. Then I dip


my brush in water and use this to make some of the ink thinner
so it will run down the canvas. This dilutes the colour so I add
more ink to build up the colour again. I dont wait for the ink/
water to dry, I just carry on, and if too much ink runs or if it runs
in the wrong place I correct it with White Acrylic paint.

STEP 3: Next I highlight the inner part of the eyes using black
ink. I also outline the mouth in black ink to make it more
prominent.

STEP 4: I fill in the facial features more strongly and add more
Prussian Blue and Black to the head and the neck.

STEP 5: Now I add more Black Ink and apply water with my
brush so it runs down the canvas. Again I use more ink and
water to maintain the strength of the colour. I add additional ACRYLIC PAINTS: Prussian Blue, White
highlights using White Ink. ACRYLIC INKS: Yellow, Lemon Yellow,
Black, Red, Orange, Raw Sienna, Prussian
STEP 6: I continue to work on the features using more Black and Blue, White
more Yellow ink. I use Black Acrylic Ink for the eyes to make
them really bold. BRUSHES:
STEP 7: I fill out and brighten up the painting using Acrylic Inks
Flat 3 Watercolour brush, Round 8
in Yellow, Lemon Yellow, Orange, Red mixed with Yellow and Watercolour brush, Rigger
Prussian Blue. I apply water with my brush so that the colours
flow down the painting. I emphasise the outline of the mouth
with Black. CONTACT DI
STEP 8: For the finishing touches. I move the canvas onto the e-mail: diane.white.artist@gmail.com
floor so that it is flat. I use my brush to add splashes of Lemon Facebook: @diwhiteartist
Yellow and Raw Sienna inks and Prussian Blue acrylic. Website: www. diwhitepaintings.wordpress.com
31
FEATURED ARTIST
The work of Cape Town born artist, to find inspiration as an artist
ANDREW COOPER can best be isnt difficult as long as you
described as a blend of semi-realism remain true to who you are
and mysticism.

Text by: Fran Weerts


Photography by Stephen Gibson of Art Assist

art with a
conscience
Andrew Cooper is an artist with a social conscience. He supports various charities by donating paintings for fundraisers such as Shark Spotters,
Cape Leopard Trust, Baboon Matters and recently Parkscape for Tokai Park.

32 Diaz Beach, Cape Point; 95 x 155 cm; Acrylic


Above:
Mystical-Tree of Life for STOP auction; 140 x 120 cm; Acrylic

Right:
Hex River Valley; 120 x 90 cm; Acrylic

Bottom right:
Mystical- Tree of Life, blue blossoms; 140 x 120 cm; Acrylic

He is also involved with the organisation STOP Stop


Trafficking of People, which promotes awareness of human
trafficking. He says Like so many tragedies in the world, not
enough light is being shed on human trafficking in the news
media. Economics and politics receive the attention instead
and yet the irony is that poor economics in a country often
pave the way for these inhumane acts.

Andrew began painting professionally in 1987. He is self-


taught and principally known for his sizeable landscapes and
seascapes, mostly of his beloved Cape surrounds but also
largely from imagination.

Freely admitting to never having taken an art lesson, even


at school, Andrew now paints in acrylics after beginning
his painting career with watercolours whilst doing military
service. He found the transition between mediums easy as he
was used to quick drying time and enjoys being able to paint
on a larger scale and not be dictated to by paper size. He does
not use extender in his work as he has learnt to work in sync
with the rate at which acrylics dry.

Although having to adjust to working with thick paint, he still


uses watercolour brushes and some of the same techniques
of colour glazing. There is also no need for glass framing and
the reflection that creates, which he feels distracts from the
work.

33
Above:
Rawsonville
100 x 130 cm; Acrylic

Left:
Lions Head from 12 Apostles
100 x 160 cm; Acrylic

34
Much of his childhood was spent in England and
Scotland where he learnt the art of fly-fishing
while also drawing caricatures and cartoons,
and more seriously, painting birds. After he
completed his National Service in 1989, he held
his first exhibition at Groot Constantia which sold
out within 20 minutes, but Andrew admits the
paintings were very cheap!

He only made the decision to become a full-time


artist at the age of 29. His typical day now entails
painting at Red the Gallery in the mornings until
about 1pm, before returning home to work on
private commissions.

His introduction to the gallery came about when


the owner proposed that Andrew work on a canvas
which was in the basement. As it was too large
to fit in Andrews home studio, it was suggested
that he paint it at the gallery. He enjoyed the
experience of allowing the public to watch him
work, whilst dispelling the myth that he uses an
overhead projector or any other device as a tool.

In 2004, he was approached by an American


gallery to exhibit his work. They had seen his
website and wanted to represent various artists
from around the world. However, he notes that this
was not a springboard for his career; that came
from local Cape Town galleries. He believes that
galleries are very relevant for marketing ones
work, as besides having existing regular clientele,
passers-by can get the feel, textures and scale of
the work.

Andrew paints from photo references but he says


70% of his work emanates from his imagination,
which allows him more freedom. Some of the work
is mystical and symbolic and some is recollection.

Much of his inspiration comes from places he


has visited; much also comes from his afternoon
power naps. Other times he will take his camera
and drive, regardless of the weather, and will
always see something that spurs him on. However,
he seldom uses a photograph as a direct reference.

Favourite places that stimulate his creativity include


the Cape coastal towns of Arniston, Churchhaven,
Hermanus and Witsands and the Garden Route
stretching from Knysna to Plettenberg Bay.

His Tree of Life and Cape of Storms series were


completed at various time intervals. Children
love the Mystical series of paintings with their
abundant detail. Andrew says: theres lots to
explore if they get up close, they are constantly
finding new things.

He advises that to make a living as an artist,


Top: Reflections, Stoffbergsfontein, Churchhaven; 65 x 95 cm; Acrylic one should have a long-term strategy. Remain
professional and original, and have an initial back-
Middle: Crystal Rock, Le Morne, Mauritius; 100 x 160 cm; Acrylic up income.
Bottom: Cape of Storms - Hout Bay; 100 x 160 cm; Acrylic
35
In every issue we'll be posting a reference
photo for you to paint. Interpret it any way you
like, using any medium or any combination of
mediums. Add something... take something
away or paint it as it is...

The top 5 paintings will be selected and the


winner will receive a hamper of products
from our sponsors... so, it's time to take up
the challenge!

challenge no. 1

E-mail your entry to: challenge@thesaartist.co.za The closing date is 15 August 2017. The winner will be announced in issue 28.
To download a larger version of the reference photo and a full set of rules, please go to the competition link on our website: www.thesaartist.co.za

36
Andrew believes that to find inspiration as an artist isnt
difficult as long as you remain true to who you are and
what you love. Paint the things you like painting. As to
buying art, surround yourself with pieces you like, so
youll get enjoyment out of it no matter what happens
in the market.

Andrews work may be found in the following


galleries:
Red the Gallery, Steenberg, Cape Town
Carmel Art, Waterkant, Cape Town
Sembach Gallery, Hout Bay
Marze Botha, Stellenbosch

Above:
Dry River Bed, Karoo; 100 x 160 cm; Acrylic

Left:
Signal Hill to Table Mountain; 70 x 110 cm; Acrylic

Bottom left:
Mystical-Sacred Prayer flags; 129 x 230 cm; Acrylic

CONTACT ANDREW
e-mail: andrew@cooperart.co.za
Facebook: @andrewcooperart
Website: www.cooperart.co.za

37
COVER
GET YOUR ART ON THE
PLUS WIN A WORK
S HOP
with Australian ar tist

p
u n n e r s- u
R uc t
prod wor th
er s
hamp R40,000!
over

38
COVER
COMPETITION
2017

HOW TO ENTER:
1. Complete an entry form, which is available for download on our
website (www.thesaartist.co.za) or email: cover@thesaartist.co.za to request
an entry form.
2. Make your payment of R100 per entry. Proof of payment must accompany each entry form.
3. E-mail a photograph of your painting to: cover@thesaartist.co.za
4. Closing date is Sunday 31st December 2017.
5. Ensure that you read and accept the competition rules.
6. You can send in as many entries as you like.

RULES:
1. This competition is open to all permanent residents of South Africa.
2. There is an entrance fee of R100 per image. There is no limit to the number of images you
may submit and you may make one payment to cover multiple entries, but any images
submitted without proof of payment will be disqualified.
3. A full set of rules can be found on the entry form.

39
DEMONSTRATION
INGE SEMPLE runs drawing and By Inge Semple
watercolour courses from her home
in Cape Town, helping her students to
find their artistic voice.

Into the Light


from the Silo Hotel
Watercolour is such an apt medium for portraying this subject, as it lends itself to the alternate
use of transparent, semi opaque and opaque pigmented washes, as light penetrates through
the pigment to the paper and bounces back through transparent washes and cant penetrate
through the opaque. For this reason I choose my pigments carefully. I have been experimenting
with all the brands available locally and I particularly like Daniel Smith, Sennelier and Maimeri
Blu for their large tube size -15 ml, and their brilliantly strong colours - particularly the reds of
Daniel Smith.

This painting was painted in stages from a photograph I took in the late afternoon into the setting
sun over the Alfred Basin, V & A Waterfront, and Cape Town Stadium towards Mouille Point.

AIMS:
- work towards creating warmth and intensify a glow
- keep looking for the big shapes, and combine small shapes to create a passage for the eye
- keep a balance between detail and impression
- introduce a similar palette of colours in different quantities throughout the painting.

PLANNING STAGE : With the Alvaro mop brush I lay the sky shape down with three colours-
1. Plein air sketches or photography visits on site to gather material, Cerulean Blue, Daniel Smith Yellow Ochre (Transparent) and Cadmium
then select an image Red wet into wet. I use the Cadmium Red opaque on the far right of the
2. Pencil or charcoal sketch to plan composition glow to create warmth.
3. Tonal sketch, usually in pencil, and white shapes plan in grey koki. It
is important in watercolour to leave your white shapes intact - I dont I start the first layers to create a glow in the mid ground shapes using
like using masking fluid as it leaves hard edges Cadmium Yellow, Hansa Yellow Deep, Translucent Orange, Mayan Orange,
4. Draw up the composition in HB pencil on a full sheet of my favourite and Permanent Rose using the Pictor round workhorse brush size 16. I
Arches Rough 300 g paper prestretched on a board with the strong, then add the first stages of horizon shapes, and begin connecting some
brown gum tape and then overlay that with masking tape to create a of the darker shapes far left and right using Cerulean Blue and Cobalt
good clean border around the work. I usually frame the work with this Blue glazes over the initial warm colours, and connect the building
white border showing as the outline of the painting takes on a lovely shapes with their shadow shapes using Cadmium Red and Permanent
edge. Rose wet into wet with small touches of Cobalt Blue.

It is interesting to note that these days watercolour can be scratched out, I use a cut square piece of Magic Eraser to scrub some colour off around
scrubbed out and erased, even staining colours with either a scrubbing the glow of light in the sky.
brush under the tap; a stiff bristled brush or with a wonder product
available from the Italian Art Shop: The Addis Magic Eraser.

40
I am not wanting a kitsch sunset. Using the Pictor brush
I connect up dark shapes with their shadows lower
left continuing working up glazes of warm light areas
and horizon top left, slowly starting to encroach on the
central light pieces.

Permanent Rose and Cadmium Red are added onto the


row of foreground shapes being careful to leave the top
of the joined building shapes wet into wet to keep a
sense of light.

Using Permanent Rose and Cobalt Blue Light in the


shadows bottom left and in the top right, I work wet
into wet on the water reflections.

I use Cerulean Blue near the glow (actually the same as


Phthalo Blue) as I firmly believe it to be a warmer blue
than Cobalt and Ultramarine Blue as it is closer on the
spectrum to yellow.

I add Cobalt Blue and Indigo into the top left dark Cape
Grace shape over the Cerulean Blue, and another layer
of Cadmium Red into the reflected piece on the right of
this building. It is now dark, warm but opaque on the
left of the light glow.

I use Ultramarine and Permanent Rose to darken the


shadows on the bottom left, adding a little Indigo. This
is cooler being further from the source of light and
glow. Also I add a red zebra crossing which will maybe
glow warm through the shadow applied later. You will
see colour is being exaggerated in various places. This
is due to the light coming through the Silo Hotel semi-
geodesic windows which create an extra sparkle and
glow.

Cobalt Blue and Permanent Rose glazing of the upper


right darks and the little piece of water shape upper
right below the dark shapes is darkened with Cadmium
Red, Indigo and Permanent Rose.

I adjust angles of the bottom left wharf and building


again. Scrubbed out with trusty scrubber and magic
eraser. Beautiful Neutral Tint is added to the mix of
Ultramarine, and Rose to darken areas around the
central buildings.

I try to create an opaque band that is not too dark to


contrast with the transparent light area of the diagonal
stripe of water reflection to create drama.

I scratch out more crane and yacht mast verticals near


the glow with a craft knife.

41
I revisit the light/dark pattern and redraw it in pencil in my sketchbook. I enjoy painting in the central light boat shape that appears to dissolve
I need to warm up the path of light and work on the diagonal passage of in the light. I work once again to intensify the glow, work on the water
light water reflections with light transparent glazes, some wet into wet. shapes and soften a couple of dark shapes on the two wharf edge
I scrub out areas too dark and add longer shadow shapes around the shadow shapes near the glow - I felt they were too stark. I work on
dark band of building shapes, using Neutral Tint, Cobalt Blue, Indigo (all the dark yacht mast shape with no 1 rigger, softening it in places as it
cool darks) and Shadow Violet (a warm dark towards the warmer part appears too stark.
of light), soften edges and add another warm glaze over the horizon and
stadium shape.

I work on the final pieces of light diagonal water shape bottom left, and upper right, adjusting the smaller boat shapes Into the Light
bottom left using a Raphael round brush no 4, lengthen shadows on the people bottom right, and adjust proportion on the 49 x 69 cm
figure on the dark yacht by scratching out with a craft knife. I am happy with the result, knowing that a painting is never
an exact replica of a photo, but as the artist I ask each time, What can I bring to the party? and What can I learn?

42
CONTACT INGE
e-mail: inge.semple@gmail.com Cell +27 72597 5375
To see more of my work on Instagram and Facebook: Inge Semple Art
www. thecapegallery.co.za
I always knew I wanted to be an artist. Ellalou OMeara introduced me to
exciting new aspects of watercolour at Stellenbosch University in my fourth
year of studying BA Fine Art HDE and since then Ive been working in both
oils and watercolour. Ive had four solo exhibitions over the last 19 years: the
first in 1998 was a sellout, the third at Kirstenbosch where I exhibited 100
paintings. All this while home educating my children! Besides painting and
teaching I produce and sell cards of my botanical paintings, called Cape Fauna
and Flora. There is a current revival of interest in watercolour worldwide, and
one of my aims is to see the medium elevated to a similar status as oils here
in South Africa. I am a member of the International Watercolour Society, At The Italian Artshop
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43
2017 Hilton Arts Festival
The Hilton Festival celebrates a quarter of a century sharing the best photographic works from Mandelas birthplace, the infamous Rivonia
of South Africas magnificent art, theatre, music and so much more. Trial, life on Robben Island and private moments shared with Mandela
And this year promises to be no different, with an exciting line up of during the last 10 years of his retirement.
some of the countrys most sought after art exhibitions.
Another photography exhibition that looks to be magnificent is
We are taking art to a whole new level. Festival Director Sue Clarence the International Photo Exhibition that takes up the whole library.
stated. The festival has secured the opportunity to showcase the Freelance journalist and photographer, and founder of Africa Media
work of legendary Italian film director and screenwriter, Federico Online, David Larson is curating this wonderful selection of global
Fellini. We will be hosting a selection of his drawings and movies as work.
one of the festival highlights this year.
The festival will have two art tents alongside the Bell Tower which
We are excited to be welcoming an innovative interactive arts will be part of the free public spaces that festival-goers are invited to
experience in the form of a fabulous Living Art Exhibition hosted by enjoy. There will also be a brand-new exhibition area in the Campbell
Grant Wood and Tony Durrheim. Every day they will alternate and do building.
a 45-minute live painting session, during which they will talk you
through their techniques and share some of their skills, ideas and
influences.

Festival-goers can enjoy a phenomenal exhibition by Matthew


CONTACT DETAILS:
Willman. With kind permission from The Nelson Mandela Foundation, Festival Office: 033 383 0127
commissioned photographer to the Nelson Mandela Centre of
Memory, photographer Matthew Willman brings his astonishing solo Website: www.hiltonfestival.co.za
exhibition A Life Less Ordinary for us to enjoy some never-before seen
images of one of the greatest men to ever live. The exhibition details
44
TRAVEL

PAINTING
by Yvonne Ankerman - Resident Artist
on board the MS Expedition,
operated by G Adventures

SOUTH
AMERICA
Cape Town-based artist YVONNE ANKERMAN has been fortunate enough to be invited to work as Resident Artist on the
passenger ship MS Expedition. Her job involves travelling to remote but fascinating destinations while presenting art
workshops, powerpoint lectures, working as a nature guide and driving a Zodiac power boat. Here is part two of a two part
series describing Yvonnes trip up the West Coast of South America on board the MS Expedition in March and April 2016.

CROSSING THE EQUATOR pool, while others have to kiss a slippery fish. Everybody loves this
King Neptunes" initiation ceremony, as its called, is taking place on lighthearted entertainment. This brings the party into full swing and a
the aft deck and there is huge excitement among the guests. new part of the journey begins.

Preparations are in full swing, for the Equator crossing. All the staff DAY AT SEA
members wear their fancy dress costumes. I am dressed as a pirate. The Art workshop today, consists of en Plein Air sketching and we
The golden key is handed over to the Captain of the ship, and King choose an interesting spot on the deck to sketch from. Some sketch
Neptune gives us permission to cross the Equator. the intricate shackles, machinery and intertwined rope, while others
choose to draw their fellow passengers lounging on the deck chairs.
The guests, especially first time crossers, are also pulled into the A difficult exercise, at the best of times, but the positive result is proof
whole spectacle. King Neptune orders some to take a dip in the of good concentration and skill.

Darien Jungle, Colombia


Kevin, our Ornithologist, gives a fascinating presentation on the life of This 100 year old and 77 km long channel stretches from the Pacific
Tropical birds, in the lecture lounge and the day ends with a yummy Ocean to the Caribbean Sea and is a masterpiece in engineering.
food demonstration on ceviche, a Typical Peruvian fish salad. From the deck of the ship, we witness the fascinating interleaving
Yummy! locks first hand. Our neighbour in the channel, is a supertanker
towering above us, but big or small, we both rely on trains to pull us
BAHIIA SOLANO AND ISLAS DE LAS PERLAS (PEARL ISLANDS) through to the next level in the lock.
My first real Colombian coffee, ahhhhhhhhh - this coffee tastes so
good. The guest depart for a guided tropical forest walk but I am on
Zodiac duty, and I ferry guests to and from the ship.

It is the perfect time to develop my Zodiac driving skills, especially


reverse landing on the beach. A tricky exercise in breaking waves!

I stroll along the shore and find a quiet spot to do some sketching. I try
to capture the turquoise colour of the water and the light and warmth
of the day. The water shimmers under the suns rays and the heat is
getting intense.

Further down on the shore, refreshing watermelon and pineapple


is being served and we quench our thirst. Another perfect day in
paradise.

DARIEN JUNGLE, COLOMBIA


At the break of dawn, traditional Colombian fishing boats collect us.
We zip threw channels of mangrove swamps and towering tropical
trees, and arrive in a traditional Ember Tribe village where the locals
welcome us into their home. The Ember woman are wrapped in Parquet masks, Darien Jungle
jewel-coloured cloth. Printed with flowers and tropical plants in hues
of yellow, reds and greens, mixed with a slash of tropical pink. Out on deck we spot howling monkeys and tropical birds along
the shoreline, as we gracefully slide by. I even find time for some
The men are covered in tattoos, made from a local Genip berry, sketching, and try to capture a bit of this incredible history. It takes
(Genipa Americana) and perform a chanting ritual, while the women us seven hours and we have now reached the Atlantic and pristine
sell their wares. waters of the Caribbean Sea.

The coiled basket-ware that is for sale, is incredibly intricate, with SAN BLAS ISLANDS
motives of owls, parrots and flowers. I am fascinated and make an Like pearls dotted in the Caribbean sea. Transparent turquoise water,
instant decision to buy a Parquet mask. It is overwhelming and I have white sandy beaches and red star fish on the sea floor. We have
to pinch myself that I am actually here! My artistic sensors are alive. arrived in a bit of paradise.

The local Kuna Indians, greet us at their village and I am fascinated


by the designs of Mola needle work, which we first saw in Panama.
These wonderful colours and fine craftsmanship are a feast for the
eyes. All the guests, including myself, are keen to learn more and to
purchase one of these beautiful pieces.

Darien Jungle, Colombia


PANAMA CITY
French Colonial buildings in pastel shades, Panama hats and
scrumptious food! This old district of Panama is a fascinating place,
and a feast for the eye. I spot a local artists, with easel in hand,
painting on a street corner, and Kuna Indians selling their intricate
Mola design cloth to interested tourists. But too quickly, we head back
to our little red ship as one of life's special journeys is about to begin:
the legendary Panama Cannel crossing.
San Blas Islands
46
CARTAGENA, COLOMBIA
Five weeks have sped by so quickly. The day is hectic as all guests are
departing to various hotels.

I have decided to spend two nights extra in the older traditional part
of Cartagena and I am not disappointed. The warm colours of the
buildings, old churches, forts, restaurants, museums and amount of
art for sale, is incredible. Much to my delight, I discover an original
Fernando Botero sculpture! This Colombia Artist is known worldwide
for his delightfully voluptuous paintings and sculptures.

Two nights are not enough. My sketchbook is full to capacity and I


make a mental note to return one day; to this very special city and this
very special continent called South America.

Mola Textiles

We snorkel around a small sunken trawler where the variety of tropical


fish is mind boggling. I struggle against the strong sea current that
swirls around the wreck, but the effort is worth it. I have not seen
such a variety of fish in many years.

We relax on the beach and enjoy a scrumptious lunch of fresh fish,


rice and watermelon for dessert. Just what the doctor ordered.

Back on board, it is our special night! The art exhibition of drawings


and paintings done by the students are being displayed for everyone
to enjoy. It is greeted warmly by all the other guests. I can hardly
believe that this great work has been produced during our South
American trip. I am a proud teacher indeed.

Botero sculpture, Colombia

Nautical chart decorated by Yvonne

CONTACT YVONNE
e-mail: yvonnea@soft.co.za
Facebook: Yvonne Ankerman
Website: www.yvonne-ankerman.pixels.com

Peruvian Pelican
Website: www.gadventures.com
47
DEMONSTRATION
JAN PENTZ works out of her studio at The
Natural Way Cafe in Gordons Bay, Western
Cape. She has been painting for most
of her life and enjoys working in many
different mediums, favouring portraits,
flowers and still life as her subjects.

Proud Peacock!
Peacocks are magnificent and majestic birds! It is
quite a challenge to capture the true iridescence of
a peacocks feathers in paintings but Amsterdam
acrylics have a brilliant range of colours to choose
from and their slow drying quality makes them
workable on the palette for a long period of time.
These paints are easily thinned with water for
an almost watercolour-like effect and yet also
have enough body for thick impasto. I enjoyed
experimenting with the versatility of these paints.

1 2 3

1. On a 20 x 20cm Acrylic gesso primed mdf board I began with an initial 2. I added a darker splatter of emerald on top to add some contrast. I
background wash of Greenish Yellow with a touch of Emerald. I thinned always enjoy experimenting with backgrounds to create loose and
down the paint with water and then flicked and splattered it onto the spontaneous effects.
board with an old toothbrush. I used a fine mist spray bottle to wet the
surface again and tilted the board to move the colour around, blowing 3. I lightly pencilled in an outline of the peacock's body. I did not draw
hard with my breath to disperse the paint in an outward direction too much detail as I did not want the pencil lines to show through the
towards the edges of the board. translucent layers.

48
4 5 6

7 8 9

4. I began with the lightest areas of Greenish Yellow, keeping in mind 7. I used diluted Black to outline the feathers in the tail and Greenish
which parts I wanted to keep fairly translucent. The body is painted Yellow with a spot of Emerald to outline the eyespots further. I created
predominantly with Ultramarine Blue. I added Permanent Blue Violet, more depth in the eye by adding Black and Burnt Umber.
Phthalo Blue and a touch of Black for the darks and the highlights were
a mix of Emerald and Turquoise with a touch of White. The peacock's 8. At this stage I continued to deepen darks and add touches of highlights
head has an initial layer of Turquoise. I found that the Ultramarine Blue throughout the bird. I worked Deep Gold back into the eyespots as it
was fairly translucent and so built up the body in many layers. The is a fairly transparent colour and needs layering for density. I added
Turquoise is more opaque and required less layering. The beak was strokes of Deep Gold into the small tail feathers and began to indicate
painted with Burnt Umber, White and a touch of Black. The eye was the fine feather lines with a mixture of Black and Burnt Umber. I
painted with Burnt Umber, White and a touch of Permanent Red Violet. smudged these lines with my finger as I didn't want them too distinct.

5. I continued to build up the layers of colour adding Emerald onto the 9. The detail in the head and eye is very important to represent the
base of the Greenish Yellow tail and dry brushing some more highlights character of the bird and quite tricky for such a small painting. The
of Turquoise and White onto the chest of the peacock. I worked some round 00 paintbrush worked well for this detail. I used Burnt Umber,
Ultramarine into the dark areas of the head and head feathers and Black and White for the stalks of the head plumage. I added a touch of
used Turquoise for the highlights. I started on the tail feathers marking Emerald over the dark under the peacock's eye and more Burnt Umber
the darkest parts of the iridescent eyespots with Ultramarine. into the beak.

6. Focusing on the eyespots in the plumage - they have Turquoise


surrounding the dark Ultramarine, and then Dark Gold encircling that.

49
Opposite: In the final stages of the painting I added some Permanent Red Violet to Proud Peacock
Burnt Umber and did a light wash over the Gold part of the eyespots to tone down 20 x 20 cm
the shine of the Gold. Amsterdam Acrylics

I scumbled some Permanent Red Violet and Permanent Blue Violet into the plumage
closest to the body and feathered some more Emerald into the overall plumage.

I splattered some more diluted Emerald into parts of the background for greater
contrast and to enhance the effect of an explosive movement of colour. I had fun
doing this demo and hope you do too!

50
AMSTERDAM STANDARD SERIES ACRYLICS:
Titanium White
Azo Yellow Lemon
Greenish Yellow
Transparent Yellow Medium
Emerald Green
Turquoise Blue
Ultramarine
Phthalo Blue
Permanent Blue Violet
Permanent Red Violet
Burnt Umber
Deep Gold
Lamp Black

PAINT BRUSHES: round 00 and 2

See more of Jans work at her solo exhibition: CONTACT JAN


14 21 October 2017
The Little Gallery at Imibala, Cell: 072 200 1069
email: jlpentz@me.com
16 Bright Str, Somerset West, Western Cape. Facebook: Jan Pentz Art

51
Framing Miniatures
There is more to miniatures than meets the eye. Not only do
they have to be very small renderings with lots of fine details,
painted, drawn, etched, sculpted, but they also have to be
correctly framed. The framing plays a vital role in the judging
of miniature works, and often leads to disqualification if not
framed properly.

All works done on paper supports must be mounted with acid-free, or preferably
archival mount boards. These may not be more than 25mm wide, but can be less, and
should be in keeping with the size of the artwork.

The mountboards need to be very precisely cut, perfectly square and with no overcuts
in the corners.

There must be no marks or specks of dust on the mountboards and they must fit neatly
into the frame and not be able to move around.

This also applies to the glass. It must not rattle in the frame and must be perfectly
clean. No finger marks or specks of dust on the inside of the glass. Only ordinary glass
is permitted, no non-reflective glass or plexiglass is allowed.

The artwork must fit exactly into the window of the mountboard. No little gaps peaking
out, so it is advisable to make your artwork a fraction bigger than the window in the
mountboard. It is best for your piece of paper (or any other support) to fit exactly into
the frame, then it cant move around, or alternatively you can hang your painting in
the window with acid-free tape. All materials used in the framing of your artwork need
to be acid-free.

Once you have made sure that everything so far is o.k. an acid-free backing board( and
if necessary foamcore), cut to the exact size of the recess of the frame is kept in place
with tiny nails or pins to secure it. It is best to have a special staple gun for this, but if not
you need to hammer them in very carefully. A piece of acid-free tape should be placed
over each nail or pin to prevent them damaging the paper backing.
52
The acid-free paper backing should be cut to the exact
outer edge of the frame, which in the case of mounted
works may only be 25mm wide.

Acid-free double-sided tape should then be used to attach


the paper backing to the back of the frame neatly. If there
is a slight protrusion of the paper backing beyond the
frame it must be carefully sliced away with a craft knife or
can be filed away to be flush with the edge of the frame.
Be careful not to damage the frame in the process.

You then need to screw in tiny screw eyes, or tiny D-rings


about 30- 50mm from the top of the frame, depending on
the size of your artwork of course. Measure exactly the
same on each side. 2 strands of thin 8 strand brass or
copper wire is then threaded through the eyes or D-rings
for hanging.

Some overseas societies require a single hanging eye


in the centre of the top of the artwork and some require
velcro to be attached in the bottom corners.

Your label should be neatly attached with double-sided


acid-free tape on the back.

Oils and varnished acrylics can be framed without


mountboards and glass. The frame can then be a maximum
of 30mm wide.

The frames must not have any marks or chips and must be
very well joined in the corners. Not gaps permitted.

Oval and round mountboards and frames are also


permitted.

Beautiful metal oval frames with convex glass looks really


stunning on miniatures but are difficult to obtain and are
quite pricey as they are imported, usually from the U.K.

Castle Flowers by Joy Gibson Gloriosa, Superba by Eileen Bass


87 x 65 mm; 55 mm round;
oil on polymin watercolour on polymin

Next Miniature Art Society Exhibition:


24th to 30th October 2017 at Hyde Park Corner Shopping
Centre in Johannesburg. We hope you will pay us a visit
to see these magnificent little gems.
53
FEATURED ARTIST
NANETTE RANGER studied Fine The natural world and our
relationship with it is a constant
Art at the University of the Free source of inspiration. I make art
State where she completed a because I believe that it ignites life
four year Art degree in 1993. for the artist and the viewer.
Here she reflects on her career
so far.

creating
connections
Nanette has been exhibiting consistently since 1987 and has participated in and curated many exhibitions throughout South Africa. Her work
has been sold both nationally and abroad and apart from being an accomplished sculptor in her own right, she also runs an art school. We
decided to find out more...

Hibernation; Ceramic
54
Above left: Breytenbach Sculpture; Steel and Cold Marble

Above middle: Anchor; Ceramic

Above right: Dendrite; Cold Marble

Right: The Connection Series; M1 Castings and Twine

What first sparked your interest in sculpture?


At school my art teacher Fiona Jones gave me a piece of clay that I took
home and worked on right through the night to make a pot and since then
I have loved working with clay.

What inspires you?


I am primarily inspired visually and conceptually by the world around me.
I often use textured objects that I find in the natural world which I then
imprint into the clay. This becomes the interface and connection between
the natural world and the concept of the piece I am creating. I like to
read about the concepts that intrigue me and will often do research about
elements I want to include in my work. I am very inspired by the thought
that art ignites life. The natural world and our relationship with it is a
constant source of inspiration. I make art because I believe that it ignites
life for the artist and the viewer.

If I am sculpting a figure, I find that I look around me and become acutely


aware of what people look like. I really start noticing how light falls across
a figure, or how the skin makes gentle folds where the body bends, or the
quirky dimple at the corner of a mouth. Looking at the world around me in
this way, I often will see beauty in things that are traditionally considered
ugly - such as the gentle folds of fat on an old womans belly or the play of
light and dark on an elephants bone white scull. This vision of the world
then often leads me to contemplating the world in a more philosophical
way.

I am currently particularly interested in the connection and the


disconnection between all things and people as illustrated by my series
of hand-sculptures. I love it when a work finds connection / resonance
with another person, when a viewer finds meaning and the work speaks
to them at a personal level. Much of what I do is also trying to have a
mutually enriching discussion with the viewing public through the medium
of sculpture.
55
56
What has been your proudest artistic achievement? Tell us about the Art School you run.
The Breytenbach Sculpture that I made as a commission for the I teach most of the classes myself and I have the talented Willeen van
Breytenbach Centre in Wellington is one of the sculptures that I Rhyn teaching the adult drawing and painting classes. I love teaching
enjoyed most making. art and each student is special to me. The world needs creative
people and I think that there is a great need in our communities for
Tell us about a typical day - do you have a set routine? an artistic outlet.
My routine isnt set in stone, but I do have a certain rhythm that I
work to. I usually get up between 3 am and 4 am in the morning to The studentss ages range between 5 and 85 years old. The school
work on my sculptures. I find that I need the quiet morning hours to offers painting, drawing, print making, sculpture and pottery. I feel
be creative. In this way, I can get in five hours of work before the rest invigorated by people and learn as much from my students as they
of the sculpture team (Willeen, Katriena, Francois and Jeffrey) arrive learn from me. Students attend classes weekly on Wednesdays,
for work. Thursdays and Fridays, morning, afternoon and evening classes.

When I am engrossed in creating a sculpture, it is not uncommon that Any tips for new artists wanting to pursue a career in sculpture?
I will work eighteen or twenty hour days. After the team arrives for A good sculptor friend Jaques Fuller gave me a very important tip
work, I make sure that everybody knows what to do for the day and respect your materials you have to be true to your materials
that they have all the tools and materials required. When everything and get to know them very well get to know their possibilities and
is set up, we do all the modelling, moulding, casting, firing, sanding, limitations. Work very hard and dont fool yourself about how hard you
finishing and painting that happens in a sculpture studio. The team are working, by work I mean actual hours actively working on a piece.
works until 4 pm and I will often continue working until after they have
left. Its a weird thing that is difficult to describe feeling compelled to Try to be prolific you will learn faster that way. Visit other artists and
create art every day. learn from them; see what they do to achieve success. Believe in what
you are doing and believe in the work you create.
If you could own one piece of art, what would it be and why?
I am a compulsive collector of art, our home is full of work by a wide Whats next for you?
variety of artists some known and others not. So difficult to answer. The journey is constant I would love to expand my work into other
But Auguste Rodin Danae would probably be it for a sculpture from materials like bronze, work at larger scales, expand my market to
antiquity. more countries overseas, connect with more people.

GALLERIES:
Opposite page top left: Symbiosis; Ceramic Breytenbach Gallery
Top middle: Mother Africa; Metla, bark & Ceramic Durbanville Hills Sculpture Garden
Top right: The Gift; Ceramic Almenkerk Sculpture Garden
Artvark Gallery
Middle left: Fynbos Woman; Ceramic
Middle centre: Mimicry; Ceramic
Middle right: Life; Ceramic
CONTACT NANETTE
Bottom left: In recognition of; Ceramic e-mail: nanette.ranger@gmail.com
Bottom right: The Gift (detail); Ceramic website: www.nanetteranger.co.za
This page below: Earth Mother; Cold bronze Facebook: @NanetteRangerArtist
Instagram: nanetteranger

57
Butterfly Studio The Gardeners Cottage

Pangolin Press Lesley Charnock Gallery

The Greenhouse Nursery David Krut Projects

Montebello Craft Shop Angelworks

Nienkes Ceramics John Bauer Ceramics


58
IN THE STUDIO MONTEBELLO DESIGN CENTRE
Have you visited Montebello Design Centre? It is a must for your The newest studio to open is Mogalakwena Craft Art Development
to do list. Situated in historic buildings in beautiful grounds in Foundation situated in the Stables. The Foundation provides training
Newlands, Cape Town, the PBO project nurtures dreams to grow and employment for people to create beautifully designed products
creative solutions from Africa. It includes art, design, craft studios and artwork using embroidery, knitting, crochet, weaving, applique
and programmes, shops, a restaurant, a garden nursery and a and sewing skills.
creativity project facilitating design & entrepreneurship.
The Montebello shop sells a wide range of Southern African stock.
Studios & workshops welcome visitors. Some run classes. They Gardeners Cottage offers delicious breakfasts, lunches & teas, the
represent the best of good local design ceramics, beadwork, African Greenhouse nursery specialises in a wide range of organic plants &
musical instruments, cement & wood sculptures, artwork, handmade products for the garden.
slow cosmetics, design & art books, township art, rustic garden
furniture and fencing. The Centre is open daily from 9am 5pm. Please visit our website for
more details of studios and shops.
Sample Brew Kombuchas naturally fermented & crafted organic
drink, Farm Kitchen Tables design for a healthy farm-to-table lifestyle
and FlavourUnions newly designed taste combinations.

African Ethos Right Sculptures

Beloved Beadwork Mogalakwena Craft Art

CONTACT MONTEBELLO
Tel: 021 685 6445
e-mail: montebello@telkomsa.net
Facebook: montebellodesigncentre
website: www.montebello.co.za

Garden Furniture
59
DEMONSTRATION
MALCOLM DEWEY is an artist and
art teacher based in the Eastern Cape.
He paints landscapes, seascapes
and figure studies. You can view his
gallery, sign up for FREE art lessons
and more at his website.

Summer Lane
One of the pleasures of painting landscapes is interpreting the scene in your own way. A common
error is to try and duplicate a scene onto canvas. There is no real art without interpretation. However
this process will be made easier if you approach the painting in a structured way. Lay the foundation
first then develop from there. Simplifying a scene is essential. But simplification is not easily achieved.
In this demonstration I want to illustrate a strong process that anyone can follow. A process that will
also make your own interpretation of a scene easier to achieve.

Use a thumbnail sketch to compose the scene. Isolate the big shapes Block in composition with burnt sienna thinned with a little white
of light and dark. I have used felt tip markers in dark and mid-values to spirits. The emphasis is on big shapes.
establish the structure at an early stage. This foundation can be carried
over to my canvas.

Roughly block in the darks and shadows with ultramarine blue. The Block in light shapes. This overall harmony of big shapes is the most
pattern of light and dark shapes hold the painting together. important part of a strong painting.

60
Now block in the middle value shapes. Keep white paint out of the darks Continue to develop shapes with the large bristle brush. The first layer
and colours for as long as possible. This keeps colours vibrant and avoids of the painting is always about big shapes in light and dark and warm
a build-up of cool chalky hues from using too much white paint. and cool shapes. I prefer to get this structure in place and return to the
painting the following day with thicker layers and smaller shapes.

With the composition established I begin to explore colour relationships Build up shapes from light to dark to emphasise the three dimensional
and getting the mood of the scene. I want this to be a warm and light illusion. Up to now the painting is still very much two dimensional and
filled scene so the interpretation of this idea gains more importance needs the shapes to develop further. Aerial perspective also plays a part
from this point onwards. in this although there is not much distant views in this scene except for
the glimpse of mountains.

Re-establish the dark pattern. Often the darks get lost once the mid After letting the painting rest for a day or two I have started adding
value colours are put in. This means putting in darks again before thicker layers working all areas of the painting. Shapes are described
going further. Note the relative absence of white paint makes this step in more detail using smaller shapes.
much simpler.

61
The painting is almost done with impasto touches of colour to add
vibrancy. A figure adds life and scale to the scene. The road needs more
work to warm up the colour and take the eye into the middle distance.

Malcolm Dewey is an artist and art teacher based in


the Eastern Cape. He paints landscapes, seascapes and
figure studies. You can view his gallery, sign up for FREE
art lessons & more at his website.

Malcolm says: "I can easily call my style of painting


impressionist-inspired. A painterly style of loose
brushwork and generous paint application. Outdoors
instead of in the studio - and so on. But these labels are
not important. I paint because it is my calling to paint.
I am drawn to landscape and there is little I can do to
resist it. It is part of me and that is my daily challenge.
To become more in tune with my subject I must paint
as much as possible. Study the masters, but find my
own way".

His studio gallery is in East London although he sells his


works all over South Africa and overseas.

CONTACT MALCOLM
e-mail: studio@malcolmdeweyfineart.com
Facebook: Malcolm Dewey Fine Art
Website: www.malcolmdeweyfineart.com

62
Above:
With warmer temperature colour on the road and scumbled lights OIL PAINTS:
over the grass the painting is complete in a loose impression of
this sun filled lane. Limited palette of:
Cadmium Yellow Lemon
Cadmium Red Light
Yellow Ochre
Burnt Sienna
Alizarin Crimson
Ultramarine Blue
Cerulean Blue
Titanium White

BRUSHES:
Long flat bristle in sizes 4 and 6
Rigger for details

63
EXPAT ARTIST
Originally from Cape Town, It has taken me some years to
INGE DU PLESSIS now lives in find a balance between being
Maidenhead, UK. She recently seduced by the first layer of
starred in the British TV Series paint and over-painting or
Portrait Artist of the Year - we becoming forensic...
tracked her down to find out more.

fearless
painting
Inge completed a Fine Art degree at UCT in 1990, although the emphasis there was very much on whether your concepts were sound and you
were able to convincingly communicate them verbally as well as visually. I feel like I truly started learning about painting how to really use
every aspect of my medium to communicate, when I finally returned to painting at age 30 and moved on to oils.

Angel; 1 x 1.5 m; oil on canvas


64
Above: Finding the Light 2; 40 x 39 cm; oil on canvas

Right: Finding the Light; 90 x 70 cm; oil on canvas

Bottom right: Stag (Hygend Hert de Jagd ontkomen); 1.5 x 1 m; oil on canvas

Inge moved from Cape Town to England due to her partners work
commitments, and she immediately noticed the difference between the
art worlds in both countries. In Cape Town, tiny as it is, I could walk into
a gallery and ask them how they would prefer me to make submissions
for a show. London is full of wonderful galleries, but getting even a toe
in the door is very hard, unless you can be referred by the right people.

Inge has approached many galleries but has yet to find one willing to
consider her for a solo exhibition. The smaller galleries in the towns
around London (which is where I live), tend to focus on smaller landscapes
or abstract paintings and my work does not really fit in. I will persevere
and am confident I will find one London gallery that will let me in. In the
meantime I make do by entering competitions and taking part in group
shows.

One major competition she recently took part in was Sky Arts Portrait
Artist of the Year 2017. She was one of three finalists in her heat, but
unfortunately did not get chosen as the winner of the day. I thoroughly
enjoyed the competition. Working from life is thrilling and my sitter, Ben
Okri, was a lovely man to paint. There were some very accomplished
painters working alongside me and it was fascinating to watch them at
work.

Concentrating on her work with the cameras and lights, nose powdering
and spectators was not a problem for Inge. I just couldnt sleep the
night before, so was absolutely exhausted and felt a bit tongue tied when
asked about recent colour choices or how I was feeling about my work.

Until mid last year she had a massive space in a communal studio
an old 80s office building filled with artists and drama groups, but the
building was sold and she is once again like a destitute 20-something,
back working at home. I share a small sunroom with our two clingy
beagles who lie under my feet and run away with my wet paint cloths.
I hope to build a studio in the garden soon or have a kindly patron offer
me residency.

Until a few months ago Inge was a part time art technician at a local
high school and could only concentrate on her own work when there was
65
All images above:
Scenes from Sky Arts Portrait of The Year 2017.

Above right:
The Self Portrait which earned her a place on the show.
1 m x 50 cm; oil on canvas

Right:
Backseat Driver, Tempered; 1.5 x 1 m; oil on canvas

Far right:
The Tide Watch; 70 x 50 cm; oil on canvas

66
any spare time available. Thankfully, due to the screening of Portrait some trepidation how to attain the same focus; how not to spoil
Artist of the Year, I was offered a lovely teaching post, occupying the fresh beautiful first layer, how to get exactly the same colours. It
only one day a week, which means I have four glorious days to paint has taken me some years to find a balance between being seduced
and find that routine I aspire to. I am a morning lark and definitely by the first layer of paint (a warning from my UCT lecturer, Peggy
work best during office hours, which never suited the artist image. I Delport) and over-painting or becoming forensic (a warning from
prefer to get started early, clear my head and shift into focus mode. I my painter friend, Stanley Hermans). I also realised, while viewing
surround myself with my work, so that when I am not painting, I can a Marlene Dumas retrospective in Cape Town in 2006 when I had a
look intently, studying my paintings until I resolve any niggling issues. small toddler and was unable to paint at all, that I had been learning
My son moves to high school later this year, so until then my work day how to paint, but what grabbed me about Marlene Dumas work
also has to end at around 3pm. was that I had to learn when to stop painting. I am getting better at
knowing when a work is done and I should back away but I will be
For Inge, the visual idea definitely comes first and once this is pursued, learning and hopefully improving on this until the end.
the concept or meaning begins to emerge. Of course I have spent
many years trying to work the other way around to visually execute Of the immediate future she says: It would be good to remain as
a preceding idea, but this invariably lead to complete frustration - the fearless of failure as I was when I started painting full time at age
work felt fraudulent and forced and was ultimately abandoned. 30. I convinced a gallery in Bree Street in Cape Town to book me as
a complete unknown for a solo show, but ran out of money for paint,
Now she starts every painting with a visual idea or an image. She not to mention rent, a few months before. I phoned around madly,
constantly makes notes which she scribbles down, regularly adding eventually convincing an investment company to give a short speech
more notes, often in poetry form for her own enjoyment. I become at my opening in exchange for funds, I found a paint manufacturer to
more analytical about the idea work out what references I need, try his, then new, oil paint range and begged wineries to donate wine
take photos and make further drawings to work out composition for the opening night in exchange for some advertising posters on
and colour themes as well as painting size and shape. At this point I the night. It was wonderful and I sold lots of paintings only for the
prepare and underpaint the canvases usually with quite bright warm gallery to go bust straight after my opening! I am having to be fearless
hues. Then more drawing onto the prepared and smoothed canvas about approaching galleries as a complete unknown all over again
this time and then, finally, I can start painting. and it just doesnt get easier.

The first two days spent on a new painting are usually quite frenetic Inge is currently working towards an exhibition which will likely be
and manic with her working on a slight high and fearlessly moving held in an old barn - the home of English painter, Stanley Spencer
paint around. Once that initial burst of activity dries and I return to The Stanley Spencer Gallery in Cookham - in September.
it say, after a weekend or a work break, I often have to work through

Above:
Everywhere the Light;
40 x 30 cm; oil on canvas

Left:
Regina;
90 x 70 cm; oil on canvas

CONTACT INGE
e-mail: inge@ingeduplessis.com
Website: www.ingeduplessis.com

67
Fantasia - Mark Schwartz A Little Interruption - Sharon Gow Humansdorp - Barbara Becke

Tranquility - Des Freeman Cattle Drive - Shirley Howells

Pink Blossoms- Michelle Hauser Sunset - Chris Khoury Blushing Bride & Queen Proteas - Jenny Smith

68
GET TO KNOW...

North Coast
Artists
Meta Orton (23 Oct 1912 - 12 Jan 2001) was the driving force behind After a short break for tea and a social chat amongst the members,
the formation of the North Coast Artists. After 10 years of living in a guest professional artist gives a demonstration of their technique.
London and travelling around the world, she returned to South Africa
and settled in Umhlanga Rocks. Metas studio became the meeting At every meeting there is an in-house competition where members
and working place for local artists, who painted under her tuition. In display their work according to a theme. Members and guests vote
1975 she sold her home and Lib Steward, concerned that the Group by secret ballot, for the best painting in three different categories. An
might disintegrate, suggested they form a properly constituted Group overall winner is chosen by the guest artist of the month.
complete with President, Secretary and Committee. The Group was
initially known as the Meta Orton Art Group (MOAG) and is now known Annual membership is R100 with an entrance fee of R30 per meeting
as North Coast Artists. (R40 for non-member guests). North Coast Artists consists of 223
active members who are all eligible to enter their work for sale at the
NCA hold their meetings on every second Saturday of the month two exhibitions held each year. All commissions from sales are in aid
from 09h00 to 12h00 in Durban North. The current President, Wendy of the animal anti-cruelty league.
Fundudis starts off each meeting with a short welcome speech
and discusses any issues that need to be raised. There is then a If you are interested in becoming a member, please see contact
presentation of technical tips given by different speakers each month. details in the block below.

Some of the committee members at a recent exhibition

The Photographer - Syd Sellars

Reflections - Wendy Fundudis

CONTACT NORTH COAST ARTISTS


e-mail: wendyfundudis@gmail.com
tel: June 082 7715374
tel: Wendy 084 7511432
Early start - Gretta Jerner Facebook: North Coast Artists
69
FEATURED ARTIST
NICKY THOMSON is an artist who
If the viewer feels uplifted and
combines her life-coaching skills
with her passion for art to take refreshed when observing my
her students on a journey of self- work, then I believe my journey
discovery. through art is complete.

a journey of
creativity
Nicky Thomson has been painting for almost 30 years now and has taught adult art classes for 25 of those. Her time is divided between
painting, teaching and running workshops and retreats. She is passionate about imparting her knowledge and gets great pleasure from the
achievements of her students.

Mystical Forest; 40 x 20 inches


70
All painted with Golden Acrylic paints
Above: Protea Extravaganza; 40 x 20 inches

Above right: Horn Bill Chit Chat; 30 x 15 inches

Right: Tree Dance; 30 x 15 inches

I host and run boutique art classes for adults during the week as well as
various art workshops on selected weekends and holidays for people of all
ages. During the course of the year I organise exciting art retreats and various
art functions. It is always so rewarding when I receive letters of appreciation
from my students acknowledging my dedication and enthusiasm in their art
journeys.

Nicky says she likes to express who she is through what she feels: Capturing
the essence of the moment in its purest sense, through colours, shapes, forms
and textures, enabling me to express the beauty and wonder of everyday
life within and around me. If the viewer feels uplifted and refreshed when
observing my work, then I believe my journey through art is complete.

An internationally trained Golden Educator, in 2012 Nicky was one of four


South African artists selected for the GOLDEN Artist Colours Artist Educator
Programme. She travelled to Ljubljana, Slovenia for an intensive four day
workshop hosted by GOLDEN Artist Colours.

It was a wonderful experience and the training we received was invaluable.


The programme is designed to enhance art teachers skills in using acrylic
products and to give them new teaching ideas and techniques which they can
introduce to their students.

GOLDEN Open Acrylics has also changed the way she works. This slow-drying
acrylic paint allows the artist more flexibility in applying, mixing and blending
colours. These paints can remain usable on the palette for up to four days.
The high pigment content of the paints means that there is no loss of colour
intensity as they dry, she explains. There are also three mediums that can
be used with the OPEN Acrylics which extend their application and versatility.

In 2015 she attended an International Golden three day conference in Fort


Lauderdale, USA, where she was very honoured to have been selected to
present an art demonstration. She also had the opportunity to attend the Art
Basel Fair whilst there.

Apart from her weekly classes, Nicky also offers a variety of workshops on CONTACT NICKY
using GOLDEN Acrylic products with techniques including subtractive painting e-mail: mwpinett@mweb.co.za
techniques and sgraffito; digital grounds and transfers; innovative textures and Facebook: Nicky Thomson
mediums and many other creative techniques. Contact her for more details.
Website: www.nickythomsonart.com
71
FLORAL
MATERIALS USED MIXED MEDIA
PAINTING By Nicky Thomson

1. Spritz entire canvas lightly


1 2 3 and apply few drops of High flow
white and then other colours,
allow to blend and to create more
of a blend by tilting canvas up and
down.

2. Plan collage design with


assorted materials and stick on
to canvas 2/3rds from the bottom
see picture with either Golden
Soft Gel Gloss or Wood glue.

3. Apply Crackle paste randomly,


bearing in mind that a thicker
application creates bigger cracks
as opposed to a thinner layer
and finer cracks. In order for the
collaged items not to just look
stuck on, one can incorporate
them by overlapping edges with
various Golden mediums such as
Crackle Paste, Granular Gel, Glass
Bead Gel, Pearl Mica Flakes.
4

4. Choose a stencil and with a


sponge and Heavy Body acrylic
create a stencilling effect. Instead
of using a sponge, one can mix
paint with High Solid Gel and
apply with a palette knife over the
stencil to create a raised stencil
effect.

Note that it is best if the paint is


thicker, because if it is too runny it
will bleed under the stencil.

72
5

5. While the collaged area is drying, begin the palette knife layering technique on the
upper half of the canvas. Using a 50/50 mix of Heavy Body acrylic and High Solid Gel
create the first layer with palette knife and gently drag Teal paint onto canvas allowing
under painting to show through randomly.

6 7

6. While the upper half of the painting is drying, begin 7. Glaze, crackled area by firstly wetting the dry layer of
working on the lower half adding more stencilling and paint crackle paste and then apply diluted Yellow Ochre with
brush and allow to dry. One can also apply more diluted
layers to create more depth and colour combinations
73
8 9

8. Apply skin which is made from left over dry paint on palette and a 9. Draw on flowers with charcoal and paint flowers and stems with Heavy
thickish layer of Golden High Solid Gel smooth over gel using a palette Body Acrylics Titanium white, Teal and Yellow Ochre (white Cosmos will
knife. Leave to dry and then peel off. Note that the skin will only peel of never just be plain white as they will reflect surrounding colours).
a plastic or glass surface. Tear skin into different shapes and sizes and
stick on to painting with Soft Gel Gloss.
Opposite: To make the flowers pop a little more one can use a fine rigger
To incorporate skin without it looking just stuck on one can soften edges brush and loosely outline flowers and stems with black. Once dry apply
with paint and other collage materials. one coat of gloss varnish

74
75
TECHNICAL

questions &
answers
Got a technical question? Ask The Guru. Send your questions to:
theguru@thesaartist.co.za or post to: The SA Artist, Suite 10233,
Private Bag X7005, Hillcrest 3650 KZN

How safe is it to paint acrylics under oils? Try using Winsor and Newton Professional Acrylic Flow Improver. It
When acrylic colours first became widely available in the 1950s and maintains no colour shift from wet to dry when used with Artists
60s, there was a reluctance to recommend overpainting them with oil Acrylic. Increases the flow of colour allowing the application of areas
colours because of suggestions that this might be unsound notably of flat, even colour without changing colour strength. Also maintains
the fact that the acrylic colour does not become brittle with age like oil the stability of colour and slightly slows drying.
colour, so an inflexible oil colour film over a flexible acrylic film could
lead to cracking. I have recently started using water mixable oils. Is there a
specific range of mediums to use with these paints?
In practice these fears have not been confirmed and at Winsor As the name suggests, water (rather than solvents) can be added
& Newton we are not aware of a single case of cracking caused to Artisan Water Mixable Oil Colour and this will help thin the colour
by painting in oil colour over acrylic, either as a complaint from a and give good results. To experiment and explore areas such as flow,
customer or in laboratory tests. consistency, drying times and gloss levels use the dedicated range
of mediums created for this range. Different mediums will work for
However, it is recommended that if you are overpainting acrylics with different kinds of work.
oil then keep the acrylic layer thin, absorbent and fairly lean to limit
its flexibility. It is still not recommended to paint with oil colour over Artisan Water Mixable Linseed Oil is the main binder in the Artisan
thick impasto layers of acrylics, due to the flexibility differences in the colours and when added as a medium to colour it reduces its
layers during the drying process. consistency. Linseed oil is the most commonly used medium. It is
combined with water or Thinner to maintain the structure of the paint
My acrylics seem to become dull once they have dried. How can film. It is also used when painting in layers to maintain the fat over
I keep the colours bold? lean rule where each successive layer must have more oil than the
Used correctly, some mediums can help maintain the stability and previous one (see below).
vibrancy of your colours over time. Applying too much water or too
much medium to acrylic paint, however, can cause overthinning, which Artisan Water Mixable Safflower Oil is a paler yellow, which means
dilutes the acrylic binder and can leave an insufficient remainder of the paler pigments maintain their brightness. It also increases gloss
binder for the pigment. To ensure you have the boldest colour finish, and transparency. Safflower Oil is slow drying and should not be used
use your mediums in the way they were intended, for a specific under faster drying layers, e.g. layers containing Fast Drying Medium,
purpose, to achieve the best possible result. or layers with faster drying colours such as umbers etc.

Our stores have a huge range of products for artists,


hobbyists, schools, crafters, architects, designers,
budding artists, students and creative activities for kids.
Whether it's a sketch pad or a long list of supplies, the
chances are we'll have what you need, it will cost
www.herbertevans.co.za or less, and we'll find it quickly with a smile!
e-mail: info@herbertevans.co.za Herbert Evans is THE complete art supply store catering
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FOURWAYS Upper Level, Fourways Crossing, William Nicol Dr. Tel: (011) 465-8989
ROSEBANK Shop F14, First Floor, The Zone@Rosebank Phase 2, Oxford Road Tel: (011) 447-3262
76
Artisan Water Mixable Stand Oil is the most durable type of linseed oil, Making your own mediums
but because of the way it is produced will mean longer drying times. Many artists mix linseed oil and solvent together whilst painting with
The benefit of Artisan Water Mixable Stand Oil is that it produces conventional oils. You can do this with Artisan by adding Artisan
a paler, more flexible film with excellent levelling properties. It is Thinner or water to Artisan Linseed Oil, Safflower Oil or Stand Oil. If
therefore a good glazing medium and can be combined with water or you make your own medium, mix the components thoroughly and stir
thinner to do this. It also increases gloss and transparency. every time before use.

Artisan Painting Medium is a stand oil based medium, ready-made How much medium to add
from the bottle. This medium thins the consistency of Artisan oil Mediums are additives and should be used in modest proportions,
colours and helps if your work involves creating fine details. It also just enough to achieve the desired result. Too much Artisan Linseed
improves the flow and wetting of the colour. It dries slowly to a flexible Oil or Stand Oil will lead to wrinkling of the surface, just as it would
film and is good for oiling out. Oiling out is the application of an with conventional oils.
oil medium to a painting which has sunk or lost its oil to the layer
underneath. Substituting water for turpentine
In terms of the fat over lean rule, water can be thought of as a solvent
Artisan Fast Drying Medium speeds the drying of oil colour by for Artisan, but for the best results do not use water. Although Artisan
about 50%, allowing further layers to be applied more quickly. The is fully mixable with water, Artisan Thinner has a stronger solvency
formulation has been improved and this has helped to wet the colour than water which means that Artisan will accept comparatively more
better. It thins the colour and increases gloss and transparency. When Artisan Thinner than water. Therefore Artisan can be thinned further
painting in layers it can substitute linseed oil and be combined with with Artisan Thinner than with water in lower layers. In addition
water and/or thinner to maintain fat over lean (see below). Artisan thinned with Artisan Thinner feels slightly better on the brush
than Artisan thinned with water. Whether you use water or Artisan
Artisan Impasto Medium is a water mixable impasto and texturing Thinner, you can still clean the brushes with water.
medium for use with Artisan oil colours. It will maintain the tube
consistency of the colour and speeds the drying of the colours by Source: www.winsornewton.com
about 50%. For thick impasto, build the texture in several layers
allowing each layer to dry first, mixing the impasto medium thoroughly
into the colour before use.
ANSWERS TO THE QUICK ART QUIZ
The chemistry of Artisan colours and mediums is of course different (PAGE 5)
from conventional oils and different brands of water mixable oils are
not necessarily compatible. We only recommend the use of Artisan 1. Countepose (eg. the stance of Michaelangelos David).
mediums with Artisan colours. 2. Gesamtkunstwerk (gesamt [total] + kunst [art] +werk
It is important to remember that the three rules of oil painting still [work])
apply when using Artisan colours. Ignoring these rules may lead to 3. A banquet piece is a still life painting that features
your work being damaged: a lavish arrangement of expensive foodstuffs and
serving pieces.
Fat over lean (flexible over less flexible). When oil painting in layers,
each successive layer must be more flexible than the one underneath. 4. Sfumato
To do this you need to keep on adding more medium to each 5. Impasto
successive layer. 6. Trompe lOeil
Thick over thin. Thick layers of oil colour are best applied over thin
7. Pentimento
under layers. Thin layers on impasto paintings are likely to crack.
Slow drying over fast. Slow drying colours should not form continuous 8. Doorsien
under layers as any faster drying layers on top may crack. 9. Tondo
10. Reasoned Catalogue
Combining mediums
Artisan Mediums can be mixed together - make sure you mix them
thoroughly and stir before using them.

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LUCKY DRAW NUMBER 6
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Willie
Strydom
featured in
issue 19
District 6
by Willie Strydom
40 x 30 cm
oil on canvas
78
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Classes and Workshops
Advertise your Art classes or Workshops for R180 (max 30 words)
e-mail: adverts@thesaartist.co.za

FREE STATE PARKMORE/SANDTON


BLOEMFONTEIN Learn to draw and paint like the Old
Ervare skilder en kunsonderwyseres, Masters. Create realistic pictures through
Nannie Henning (AWSSA), observation, lighting & age old techniques.
bied in Bloemfontein KUNSKLASSE Bridging classes for architecture, design
vir tieners tot bejaardes aan. and visual art students portfolios.
Kontak Nannie by 083 669 6676 All levels welcome - beginners,
vir meer inligting. intermediate and experienced artists.
Expert guidance by Florence-trained artist
GAUTENG Contact Kim Myerson
KLIPRIVER/ALBERTON cell: 072 064 5775
Art classes with teacher and artist, e-mail: kmyersonatelier@gmail.com
Barbi Vandewalle. Visit: www.kmyerson.com
Any medium, beginners to the more
experienced all welcome. Work in a KYALAMI/FOURWAYS AREA
friendly and informal environment. Morning Art classes for adults
Tel: 082 373 9355 Nicky Thomson
e-mail: barbi@wam.co.za Oils and acrylics & mixed media
www.barbivandewallefineart.weebly.com Friendly and peaceful environment
All welcome - beginners and advanced
EASTERN PRETORIA Cell: O82 882 4791
MORELETA PARK e-mail: nickythomsonart@gmail.com
Art classes for adults: www.nickythomsonart.com
oil painting and drawing lessons As well as Art Workshops and Retreats
- advanced and beginners.
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Contact Thea Burger Adult Art Classes in all mediums with
Cell: 082 323 5388 artist, miniaturist and art teacher
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web: www.theaart.com (B.A. Fine Art, AWSSA,
MASSA, HS, MPSGS )
KEMPTON, FOURWAYS All levels, from beginners to
AND SANDTON advanced welcome.
Absolute Beginners to Post Graduates: Tel: 082 334 7891
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I also travel for groups. R950 per course.
EDLEEN, KEMPTON PARK Contact Ina 082 565 8624 or 012 3310707
The Sketch Art Studio Art classes for all
ages. Drawing & painting; Illustration & KWAZULU-NATAL
character design. All levels welcome. DURBAN NORTH
Contact Neva Duncan (BVA UNISA 3rd yr) If you are serious about learning to paint
Cell: 072 238 7948 well, go to John Smith for classes.
thesketchartstudio@gmail.com He is a fairly tough teacher, but you
fb.me/thesketchartstudio need this to progress.
www.nevaduncan.co.za John 031-563 3753
80
LIEZE MEYER Above top: Contemplation; 1.5m x 1m
Above: Olympics; 1.2m x 0.6m
Emotion plays a major part in each of my paintings, whether
it is in the eye of an Nguni cow looking at her calf, the way a
newborn donkey stands on its wobbly legs or almost hearing
the flapping of wings at a vulture feed.

A LOOK INSIDE DRAWING IN PLEIN AIR PAINTING: TEST LAB:


THE BAG FACTORY CHARCOAL IS IT FOR YOU? PRIMERS AND GESSO
The Bag Factory is an Essential charcoal drawing Open air painting can end A group of artists put a
interactive studio space techniques including the up being disastrous. We variety of primers and
for practising artists where basics like shading and chat to an artist who is gesso to the test: so
the exchange of ideas is shaping and which materials making it his mission to get exactly how will they
encouraged and stimulated. are best to use. more artists outdoors. shape up?

Contents subject to change.