Australian How To Paint - Birds

84 Pages·2017·19.28 MB·English

A U S T R A L I A N
Birds
AArrPPttrreesseenniitteesdsdbbyy
PPaalleettttee
MMEEEETT SSEEVVEENN
TTAALLEENNTTEEDD
BBIIRRDD AARRTTIISSTTSS
DDRRAAWW AANNDD PPAAIINNTT
RRAAIINNBBOOWW LLOORRIIKKEEEETTSS,, BBLLUUEE
WWRREENNSS,, CCOOCCKKAATTOOOOSS AANNDD
MMUUCCHH MMOORREE……
EEAASSYY TTOO FFOOLLLLOOWW SSTTEEPP BBYY
SSTTEEPP DDEEMMOONNSSTTRRAATTIIOONNSS
FULL OF ARTISTS’ TIPS AND TECHNIQUES
READY TO PAINT

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Editor's Note
T
he last time we featured ‘Birds’ as our theme was
in Issue 5. We have covered many topics since
that issue and we thought it was time to take
another look at the wonderfuldemonstrations by artists
who love to draw and paint birds.
We chat with seven talented artists in this issue
of Australian How to Paint and have amassed eight
demonstrations of birds using different techniques,
skills and tips to make your art more pleasurable.
We would love to see your creations so please send
us an email or letter with photos of your work. Please
send them to Woodlands Publishing, PO Box 8035
Glenmore Park NSW 2745 or [email protected] .
If there is a particular topic or area of art you
would like us to cover please send us a letter to
Woodlands Publishing, PO Box 8035 Glenmore Park
NSW 2745 or [email protected] .
Paint and enjoy!
4 Australian How to Paint

nntteennttss
18
8 ARTIST INSIGHTS AND
DEMONSTRATIONS
8 James Hough
18 Rodger Scott
28 Marion Schumacher
38 Linda MacAuley
48 Rosslyn Warman
62 James Luck
68 Owen Pointon
ACRYLIC INSPIRATION
14 Bernard West
GUACHE INSPIRATION
58 Rhonwyn Rasmanis
REGULARS
4 Editor’s Letter
78 Books and Dvds Store
82 Next Issue
Cover image by: James Luck
28
48 14
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James Hough
Wildlife Artist
By James Hough
By using his skills as an artist and his lifetime
observations of Australia’s birds and animals,
James’ passion comes from an urgency
James Hough to protect our natural native heritage.
Wrens
8 Australian How to Paint
(cid:48) (cid:53) (cid:58) (cid:48) (cid:46) (cid:47) (cid:59)
T
hechatterofeasternRosellaspermeates
thesolitudeofanartist’sstudiothroughan
openwindowonasunnyJulyday.They’ve
settledinthewinterseedgrassoutside–leftlongon
purposetoattractmanyparrotstothegarden.King
parrots,grassparrotsandJamesHough’sfavourite
–theeasternRosella.Knownlocallybyhismoniker
Jim,silentlyhestopswork,reachesforhisSLR
camera–everpresentbyhisside– andbeginsto
photograph.It’sthebeginningofyetanotherwildlife
originalmasterpiece–anacryliconclayboard.
AftertheRosellasmoveonJamesputsdown
theSLRandgoesbacktohiseaseltopaint.His
studioissurroundedbyphotographsheusesto
getexactdetailsofhissubjectscorrect.AsJames
AGoodSeason
developshistalent,heusestheseimagesless
andless,paintingfrominstinctandmemory.
Jim’spaintingsaredifferenttomanywildlifeartists
inthatmanycontainafulllandscapebackground.Most
wildlifeartistswillpaintorairbrushabackground
intothepaintingbutifyoulookattheworkyou
willseethateventhebackgroundisactuallyinthe
foreground.Youseepaintingalandscapepainting
andawildlifepaintingaretwototallydifferent
techniquesandtwodifferentskillsareinvolved.
Alandscapepaintinginvolvesfadingoutthe
backgroundandhorizonsothatitissoftandblurry.
Asyoulooktothehorizoninreallifeitisoftenfuzzy,
blurred,hazy,andthisiswhatthelandscapeartists
needstocapturetogivethepaintingdepth.Landscape
artistsusuallyuseaselectionofwidebrushes.
Wildlifepaintingsareusuallysharp,focused
ontheanimalorbird,detailedintricateworks. InTheForestDeep
Wildlifeartistsusuallyusefinebrushessometimes
withjustafewhairs.Thisenablesthemtoput
thesharpmeticulousbrushstrokesintoshowthe
subjectinitsfinestdetail.Thisisusuallyatodds
withlandscapepainting.Thisiswhymanywildlife
artistsstrugglewithafulllandscapebackground.
Jims’mumwasalandscapeartistandJamesgrew
upwatchinghismumpaint.WithoutrealisingitJim
waslearninghowtopaintalandscape.Howeverwhen
Jimcommencedpaintingitwaswildlifethatwashis
passionsothisiswhathepursued.Howeverwhenhe
neededtoputinafulllandscapeinthebackgroundof
hiswildlifepaintingstheskillwasalreadythere-he
foundhehadthisnaturalabilitytocombinebothin
thepainting.ItisthisskillthatsetsJamesHough’s
paintingsapartfromsomanyotherwildlifeartists.
Whenapublishercamealongandaskedtoprint
someofJim’soriginalsaslithographprintsthe
subjectsheselectedwerealmostexclusivelypaintings
ofwildlifethathadfulllandscapebackgrounds.The
GardenRaider
saleswentcrazywithprintssellingoutinnotimein
Australian HowtoPaint 9
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outlets right across Australia. Retailers
said that customers loved the new
prints because they were so different to
the other wildlife prints they stocked.
This same publisher has now gone
back to James and used more images
for calendars, more prints and other
products thus increasing his profile
with the general public right across
Australia, America and other countries.
James Hough has a rare talent in the
world of wildlife art which sets him
apart. Whilst others paint wildlife onto
white backgrounds, or fade out the
background with mottled colour, James
often places his subject against a full
landscape background. Those eastern
Rosellas may be perched on a barbed
wire fence in the foreground, but with
rolling farmlands and a homestead with
smoke spiralling from the chimney
in the background. Towering gum
trees will frame the whole painting.
Hunter Valley born in Newcastle, NSW
in 1960, James Hough (pronounced Hoff),
was an engineering surveyor for 23 years.
His professional career was balanced
with a deep passion for Australian
wildlife and the environment, which
motivated James to indulge in painting
at his easel on his days off. From 1999-
2003 his hobby as a part time wildlife
artist continued to develop. All wildlife
is of interest to James and combining his
knowledge of birds and animals and their
environment with his art skills, means
his artworks reflect the deep respect
he has for the natural environment.
Much of his childhood was spent
on his family cattle property on the
Manning River on the Mid North
Coast. Drawing was always a favourite
pastime where horses, cattle, trees,
and buildings were preferred.
In fact his first art award came at
the age of six, and the prize was a
face washer and soap on a rope. An
early influence for wildlife art came
from perusing the illustrations and
paintings of William Cooper. “I have
always been intrigued by how cleverly
some artists breathe life into their
compositions, and to the fascinating
The Waiting Game depth of detail they achieve.”
James Hough did not start painting
10 Australian How to Paint