ArtistDrawingandInspiration 61
demonstration
I paintmostofmypastelsen
pleinair– it mustbemyEnglish
background.If it’sdaylightandnot
toocold,I wanttobeoutsidepainting;
withbinocularshandyincaseany
interestingbirdsarearound.While
paintingthiswork,I wasjoinedbya
familyofRed-tailedBlackCockatoos.
Thesemagnificentbirdswere
feedingonthenativeTerminaliaand
Canariumnuts,witha babycrooning
monotonouslyfroma leafytreenearby.
ForthispaintingI usedthesmoother
sideofredCansonMi-Teintespaper.
Thispaperis inexpensiveandreadily
available,soI don’tmindusinga lot
ofit,howeverit hasitslimitations.It
canonlytakesomuchpastelbefore
thesurfacestartsbreakingup.I chose
redbecauseI liketoletthepapershine
throughinsomeplaces– it creates
warmthandI didnotwantdullblack
shadows.I usedonlya halfsheetto
besureofcompletingthework.
STEPONE
I needtobeinspiredbymysubject
matter.Comingfromindustrialised,
crowdedEurope,tropicalnorthern
Australiais stillfullofunexpected
beautyandsurprises.Anyshortwalk
inthebushprovidesinspiration.This
groupofrocksintheMaryRiver
NationalPark(proposed)is oneof
many– butthepeculiaruprightstone
cappedwithanotherboulderhasa
special,commandingpresence.
Havingselectedmysubject,I
exploredit fromseveralangles
andpragmaticallylookedfora
viewpointthatprovidedtheartist
withsomeshade.I hitchedmy
tarpaulinundera smallrockfigtree.
STEPTWO
I carrya smallsketchbookinwhich
I tryoutseveralveryquicktonal
drawingstoestablishlight,shade
andalternativecompositions.
I realisedI hadtocaptureand
emphasisethemorningsuntomake
thetonalvaluesinteresting.
STEPTHREE
GracePalegintroducedmetothe
ideaofapplyingpasteldirectlyonthe
paperwithone’shands– andthenew
PanPastelsareidealforthis,even
if thismethodis notrecommended
bythemanufacturer.I established
basictones,compositionandshapes
usingblackandwhitePans,applied
withtheheelandsideofmyhandto
createdrywashesandsubtlemarks
thatwereeasytochangeorpaint
overasthepaintingdeveloped.
STEPONE STEPONE
STEPTWO STEPTHREE STEPFOUR