ArtEyeDeer in Adelaide, South Australia | Art school
ArtEyeDeer
Locality: Adelaide, South Australia
Reviews
to load big map
25.01.2022 NEW LESSON "Klimt Inspired Tree" (level 2 complexity) This patterned tree design is inspired by the decorative work of Austrian artist, Gustave Klimt and the ornate details of Art Nouveau.... Lightly draw a tree structure to work within, considering the twisted trunk and a circular canopy. Then fill the canopy with small repetitive circle patterns using various coloured felt markers. Restrict the colour scheme to autumnal hues and layer the patterns with dots to add depth and complexity. Finally, use a white marker to highlight patterns, show direction of light through the trunk and to act as a border around the tree. www.arteyedeer.com.au Happy arty days, Kirsty xx
25.01.2022 NEW LESSON "The Contents Within" (level 4 complexity) An observational drawing exercise, based on personal belongings which could tell a story, or your own individual narrative.... Open a purse, a bag or a pencil case and spill half of its contents onto the surface in front of you. These items, which have randomly tumbled from within, will form the subject of your still life artwork. Closely observe the angles between items, the shapes that are created by overlapping objects, the shadows looming from inside spaces. Using a fine black pen, roughly block in the main shapes, lines and details, paying attention to perspective. Fill in the shadow shapes using repetitive line and cross hatching to create three dimensional forms and the illusion of darkness within. Once the contents have been drawn in black and white, add gestures of colour using assorted coloured markers and this will reinforce the illusion of depth and realism. Happy arty days, Kirsty xx
24.01.2022 NEW LESSON Stairwell Spirals (level 4 complexity) This lesson demonstrates ways to apply visual thinking processes to the development of an original design.... Often when we find an image, or series of images that we are visually drawn to, we do not always know how to interpret them as a work of art or design, in a way that removes them from appropriation (copying verbatim, or literally). This design process of working from a collage of cut sections of graphic stairwells from several similar visual sources, tracing and/or freehand drawing a contour line composition, then transposing this to a black and white design guarantees an original approach to the subject matter. The process, however, still retains the original visual qualities that were attractive about the sourced images. This is why creative visual thinking is important to the development of fresh images. www.arteyedeer.com.au Happy arty days, stay safe and healthy xx Kirsty xx
22.01.2022 NEW LESSON ONLINE NOW "Toy Stories" Using benign objects such as toys and games to communicate an idea, narrative or message. This duplo man, sitting on a high column, is drawn realistically using pencil on black paper. The fall of light and cast shadow is observed and this is reinforced by the use of artificial light. The shiny plastic surface of toys is also depicted through the blending of colour and use of white highlights.
20.01.2022 NEW LESSON Light on Water (level 2 complexity) This lesson explores the ways artists can create illusions of light on water using watercolour paints and resist methods. Use masking tape to mask a white border around your pages of watercolour paper as this will allow you to paint freely across the surface. On one page, use light coloured oil pastels to draw representations of ripple marks which range from dense thicker lines at the top of the page to thinner lines at the botto...m. Apply watercolour paint using a soft brush, graduating the green and blue colours from lighter colours at the top to deeper blues towards the base. This creates the illusion of depth. On the second page, apply masking fluid with a soft brush. These lines will range from more solid application at the top of the page and finer lines towards the bottom. Again, paint over the page, from light colour at the top to darker colours towards the base. Graduate the colours smoothly as this will create the illusion of sparkling light on water. www.arteyedeer.com.au Happy arty days, stay safe and healthy xx Kirsty xx
19.01.2022 NEW LESSON "Gum Nut Designed Two Ways with Black and White" (level 3 complexity) This is a great opportunity to practise your design skills using black and white to create positive and negative shapes interspersed with decorative pattern.... Using one simple motif - a gum nut - to create a design, teaches you about the aesthetic value of high contrast black and white. This is a lesson where experimentation is encouraged. The value of dividing the composition in half vertically is that it allows you to see the way positive and negative spaces can alter the relationship to the motif. Designs such as this can be used to create bold black and white lino prints. www.arteyedeer.com.au Happy arty days, Kirsty xx
19.01.2022 NEW LESSON ONLINE NOW "Red Onion with Patterned Background" This is a drawing requiring good observational skills, coupled with the freedom to create a looser, patterned background to enhance the key shape motifs of the artwork. This is a lesson in finding the subtle tonal contrasts within an object, drawn using a limited palette of colours. There are opportunities to explore transparency in the onion skins against the opaque qualities of the cut through onion. It can take a... bit of a leap of faith to then loosen up your drawing style to develop the background pattern motif and know that the two highly contrasting styles of drawing will harmonise to create the resolved artwork. www.arteyedeer.com.au AND heres 2 paintings I completed at the end of 2019, thought you might like to see! #arteyedeer #art #painting #teenageart #artresource #artteacher @ Adelaide, South Australia
17.01.2022 NEW LESSON ONLINE NOW Woven Portraits Two photographic portraits are cut into strips and rearranged, through the process of weaving, to create a pixelated aesthetic. Photographs of portraits are enlarged and printed in either black and white or colour. Cut two of the photos into strips, then weave them back together. To ensure that the warp or vertical strips do not move they can remain uncut at the top and bottom of the page. This will help to keep the strips secure while ...you weave the weft or horizontal strips between them. Once the two portraits have been woven together to create a new merged and pixelated image they can be secured with tape on the back. Happy arty days Kirsty xx @ Adelaide, South Australia
17.01.2022 NEW LESSON Inspired by The Kiss (level 3 complexity) In this lesson, a photograph of a couple in an embrace is merged with the ornate and stylised aesthetic of the Gustave Klimt painting, The Kiss.... Reference The Kiss, by Gustave Klimt, and observe this painting as you work through the lesson. Paint the surface of black card using thick acrylic paint which is gold, metallic or rich yellow. Find an image which shows two people in an embrace and cut away all the peripheral background area, leaving the arms of the couple or the upper torso area which links them together. Once this has been glued to the gold surface you are ready to draw in the shapes of the blanket or cloak which enshrouds the couple. Using fine black pen, add details of pattern which reflect the aesthetic of art nouveau; geometric forms, floral shapes and repetitive patterns. Fill some of this pattern with solid black and other sections with colourful paint which create jewel-like designs. Flower shapes and repetitive forms fill areas of the background. Paint a halo shape of solid acrylic yellow around the couple and this will reinforced the glow of gold lustre which unites them further. www.arteyedeer.com.au Happy arty days, Kirsty xx
17.01.2022 NEW LESSON "Experiencing the Funfair" (level 1 complexity) Experiences can be represented as themes as in artworks. The act of making the artwork can also become the experience, or reminiscence of the experience.... Our experience of the world around us can shape the way we perceive it as a work of art. Emotion, observation, and memory all contribute to the notion of experience. Emerging Australian artist Mary Barton takes her experience of the world and reformulates it as vivid paintings using arbitrary colours (colours that are not necessarily realistic or representational of the observable world) and energetic pattern play. Almost any exhilarating experience could motivate a visual response that uses colour and pattern in a similar visual way think about travel or entertainment experiences. Funfairs evoked this possibility for me. There are no rules for applying colour or pattern fill the composition until it is saturated with both. Use your memory and/or visual prompts and let yourself become completely absorbed in visually recording the experience as colour and pattern sensations. Search for Mary Barton images from her exhibition: Sometimes for some reason 2019. Happy arty days, Kirsty xx
16.01.2022 NEW BLOG ONLINE NOW: Illustration and Visual Communication The act of drawing is an act of visual communication. In every drawing there will be at least one entry point where a viewer might access a window to the message or meaning embedded in a drawing. Sometimes this message or meaning might be quite clear; at other times, the drawing might cloak its meaning in metaphor or narrative... (keep reading by clicking here: https://arteyedeer.com.au/blog/ ).
16.01.2022 NEW LESSON Retro Graph There are many ways to create a patterned design. In this lesson, graph paper provides the impetus for the design process. There are only three simple geometric shapes used in this design: an arch, a square and a rectangle. Variations of these shapes extend the potential to create a busy and lively design. Colour also helps to produce rhythms within the pattern-making. Colours are restricted to simple complementary and near complementary contrasts of bl...ue/orange. Black and grey are neutrals which make each colour bolder and more vivid. Counting individual squares on the graph paper helps to create a free repeat pattern. Happy arty days, stay safe and healthy xx Kirsty xx
14.01.2022 NEW LESSON Flat Pots and Patterns This lesson explores the concept of Arrangement through relationships between space, scale, shape and pattern. Collage is a great way to manipulate shapes to create new arranged compositions. Exploring ways to maintain a relationship between shapes when they are overlapped helps to stimulate your design thinking. You are putting into play your understanding of scale (relationships of size), shape (how forms can share similarities), space (p...ositive and negative shapes created by your forms) and pattern (repetition). Vessels (pots, vases, bottles, containers) are good to use for experiments with arrangements because of their versatility. Happy arty days, stay safe and healthy xx Kirsty xx
14.01.2022 NEW LESSON "Playing Picasso" (level 2 complexity) This lesson focuses on semi-abstraction, working from a self portrait in the style of Pablo Picasso.... You can either reference a photograph, look in a mirror or simply work from memory with this semi-abstract portrait. Using a pencil to begin with, make a drawing of your face using simple lines to inform the facial features and structure. Light coloured oil pastel will emphasise these lines and create borders to resist paint. Use bright watercolour paints to fill the facial shapes, keeping the colour within the linear borders. www.arteyedeer.com.au Happy arty days, Kirsty xx
14.01.2022 NEW LESSON "From Memory, Across the Bay" (level 2 complexity) Understanding landscape conventions is key to creating this artwork in relation to core visual art concepts of perceived space and distance.... This art lesson is a memory exercise. It requires you to know a place well in your minds eye. The exercise encourages you to consider this sense of place from an atmospheric viewpoint the amount of detail you include is up to you. How do you remember this landscape? What is the time of day? Season? What are the weather conditions? You will either have a fleeting memory that is locked into a formula of how you know this landscape, or you may remember a particular day because there was some aspect of the conditions of the day that made it memorable. This example is a stitched together memory of a beachscape long visited over many decades, so specifics have been subsumed into a generalist feeling of place. Watercolour is an excellent medium for trialling different atmospheric effects that can bring this memory into focus. www.arteyedeer.com.au Happy arty days, Kirsty xx #beachpainting #learnart #beach #arteyedeer #artteacher #highschoolart #secondaryschoolart
13.01.2022 NEW BLOG Responding to Indigenous Art: Learning and Teaching I love this blog, its my favourite by Wendy! Jump online (click link in bio) to read it. NEW LESSON... Slithers in the Sand (level 1 complexity) Developing an abstract painting derived from an existing image can encourage the consideration of the history of the original image within the construction of the new artwork. Viewpoints are important to artists as sources of visual and historical information and inspiration. In this lesson, we take a literal interpretation of both the visual and historic. By selecting an image of marks left by a snake slithering through sand, we consider an aerial viewpoint. The marks suggest something of the history of its maker what was the snake doing? Where was it going? When we isolate these marks with a black marker, they become primitive shapes and lines, suggesting some kind of tribal influence. Simple pattern-making, and paint colour and application work to enhance this abstracted viewpoint. Happy arty days, Kirsty xx
13.01.2022 NEW LESSON ONLINE NOW (Social Distance) Small Figures, Big Spaces These paintings explores relationships between the figure, space and viewpoint.... Aerial viewpoints offer a unique perspective on compositional interactions. Figures become small additions to a landscape that is dominated by space. The addition of shadows tells us something about time. In artworks like the two presented here, there are opportunities to create narratives that stimulate the viewers visual thinking processes. Where is the lone figure in painting one going? Where has he/she come from? In painting two, is there a relationship between the three figures, or are they somehow unaware of each other? Does the addition of an object in this case a ball help to create a reason for the figures to be there? www.arteyedeer.com.au/lessons Stay safe and healthy my friends xxx Kirsty @ Adelaide, South Australia
13.01.2022 NEW LESSON Klimt inspired linear portrait In this lesson, we merge the portrait photograph of a 21st century woman with the ornate and stylised aesthetic of a Gustave Klimt painting.... Select a portrait photograph in which the character is in a pose similar to the painting you are appropriating or referencing. In this case, my subject has her hands clasped together, holding a camera. Once you have cut out the main feature and secured it to your card or paper, you are ready to incorporate all the decorative elements of a Klimt artwork. Look at Klimt portraits and decide which patterns you will include and how you will dress your subject. There are no rules, just free-flowing organic and geometric patterns working together to produce a highly decorative artwork which echoes the aesthetic of Gustave Klimt. Happy arty days, stay safe and healthy xx Kirsty xx
13.01.2022 NEW BLOG Embracing the Solitude while Creating Art at Home In this time of the strangeness of social isolation due to the worldwide spread of COVID-19 (Coronavirus) new ways of experiencing seclusion are suddenly upon us all. What we want and need to understand to keep our spirits and morale up is that separation does not always have to mean isolation. It can also mean connecting to the idea of solitude as a comforting balm for the creative soul that is alive in you.... www.arteyedeer.com.au/blog Stay safe and healthy xxx
12.01.2022 NEW LESSON ONLINE NOW "Falling into an Optical Chasm" Focus: Creating an optical illusion by manipulating the device of one point perspective. A black and white converging pattern reinforces the illusion of depth. After finding a central point within a plane, a chequered pattern is created by drawing converging lines towards that point then blocking in alternate solid shapes. Make sure the pattern is smaller towards the centre as this will reinforce depth and the illusion of... a void. Drama and a human narrative is added by inserting the silhouette of a person in a falling position at the centre. #arteyedeer #artforteens #artresource #artteacher #artforteenagers #learnart See more
11.01.2022 NEW LESSON "Creek Dreaming" (level 3 complexity) This lesson connects you to a sense of place. Mapping a waterway as a series of significant visual moments along the waterway, helps you to link memory and experience with place.... Indigenous Australian peoples understand a sense of place as country. It identifies areas of their lived and dreaming experiences as integral to their heritage past, present and future. The artwork here identifies a creek waterway as significant to my experience. To understand the significance, it is necessary to really know the site. Selecting aspects of the creek journey to portray as a language of simple symbols becomes a way to story tell. Keeping the visual impact to black + white + one other solid colour gives the composition strength and unity. Thinking of the creek journey as an aerial view assists me to link the visual narrative of shapes and symbols as I mentally, and artistically record the journey of the creek. www.arteyedeer.com.au Happy arty days, Kirsty xx
11.01.2022 NEW BLOG Responding to Indigenous Art: Learning and Teaching I love this blog, it's my favourite by Wendy! Jump online (click link in bio) to read it. NEW LESSON... Slithers in the Sand (level 1 complexity) Developing an abstract painting derived from an existing image can encourage the consideration of the history of the original image within the construction of the new artwork. Viewpoints are important to artists as sources of visual and historical information and inspiration. In this lesson, we take a literal interpretation of both the visual and historic. By selecting an image of marks left by a snake slithering through sand, we consider an aerial viewpoint. The marks suggest something of the history of its maker what was the snake doing? Where was it going? When we isolate these marks with a black marker, they become primitive shapes and lines, suggesting some kind of tribal influence. Simple pattern-making, and paint colour and application work to enhance this abstracted viewpoint. Happy arty days, Kirsty xx
10.01.2022 NEW LESSON "Day of the Dead Skull with Rose" (level 4 complexity) Responding to 'The Day of the Dead' traditions, the skull and flowers are used in celebration to remember loved ones who have passed. This drawing is a close observation of the human skull, rendered using fine cross hatching processes.... Staining a page of text creates an aged appearance for the surface, before working. Wash the page with diluted tea or coffee or a thin wash of earth coloured paint and allow time for drying. The skull structure is closely observed, paying attention to symmetry, proportion, detail and the actual contours that are created by the use of dark shadow and fine pen marks. Cross hatching allows for variation of tone and strong contrasts which help to create the three dimensional qualities of the drawing. A flower is added for effect and to pay homage to the 'Day of the Dead' aesthetic. Happy arty days, Kirsty xx
09.01.2022 NEW LESSON ONLINE NOW FeLine This lesson demonstrates how using one medium to express a minimalist aesthetic can capture the essence of a subject. Becoming proficient in the use of one medium involves repetition of technique. In this lesson, brush and drawing ink are used to render the form of a cat, using as few lines as possible. This approach requires fluid gestural brushstroke actions, which means that each line counts towards offering some definition of the cats form an...d pose. Keep practising it is often not possible to capture this kind of minimalism with one go. Attempting the same pose over and over helps to hone your skills. When you are comfortable with the technique, try using it to draw from life, or from photographs you take. It does make a difference the final ink drawings in this series are from my own cats they are more expressive and real to me because I know their gestures so well. Stay safe and healthy my friends xxx Kirsty
08.01.2022 If you know some younger kids who might like a free art class, tag friends :) Kirsty x
08.01.2022 NEW LESSON His Shiny New Bucket and Spade (Level 5 Complexity) This lesson encourages connections between nostalgia, memory and drawing from vintage photographs.... When drawing the figure from photographs, it is often helpful to begin with images that are steeped in nostalgia especially if they are sourced from family archives. This can often free the artist to respond with a mixture of sentiment and wonder at these small captured moments in time. Beginning the drawing with a lightly traced framework assists with placement and scale. Try not to rely too heavily on traced detail though, as this can render the drawing as stiff and too lifeless. The aim is to retain something of the original (and often fuzzy) freshness of the original snapped image. Layering with coloured pencils can be as loose and responsive to the local colours of the photograph as you wish. Happy arty days, stay safe and healthy xx Kirsty xx
08.01.2022 NEW LESSON "Two Great Waves" (level 2 complexity) This lesson looks at two very different stylistic approaches to creating the patterns and movement of a giant ocean wave.... Although the waves are quite different in design they are still making reference to the movement of water, so the approach will be very similar. Collect an assortment of blue and green coloured marker pens to work with and begin both drawings from within a rectangular frame. Using line, draw the main wave shape lightly, referencing splashes and foam at the crest, and then add the layers of water, ripples and any other smaller waves below. You can now fill all the patterns and layers using various greens and blues, making note that the darker blues will imply deep water and the pale greens will suggest light through the water. Patterns will also help to create the illusion of movement as the wave starts to break. The sky is filled with lighter colour and the suggestion of cloud. White pen can be added for interest, highlighting patterns and playful details. Happy arty days, Kirsty xx
08.01.2022 10 years old! @lmay.78 just sent me this, her incredible 10 year old just completed this! What a challenge, accepted by a great little artist. Im so proud.
08.01.2022 NEW LESSON Changing Chameleons This lesson focuses on the ways one subject can be interpreted using a variety of patterns, taking a simplified chameleon shape and immersing it in colourful camouflage. Make a simplified representation of a chameleon using solid black lines to reinforce the shapes. You can add a simple background or vegetation to help assist your design. Repeat this drawing several times so you can experiment with a variety of colour and pattern combinations. U...se pattern to cover the animal as well as filling its surrounds with a correlating theme. Use seasons, locations and time of day to inform the concept of camouflage. www.arteyedeer.com.au Happy arty days, stay safe and healthy xx Kirsty xx
07.01.2022 NEW LESSON "Plastic Portrait" (level 2 complexity) This is an efficient way to transpose a photographic image onto a plastic surface; in this case, a portrait becomes a pointillist drawing.... Enlarge and print out a portrait photograph to a black and white A4 copy, ensuring that there are strong tonal contrasts and the image details are clear. Slip the copy into a plastic sleeve and this becomes the surface to draw upon. With a black marker pen, using only dots, trace over the photograph to replicate the image beneath. Ensure that the dots are bold and much denser over the black and darker areas. Where you are drawing over line, employ the dots close together in a linear sequence. Work across the drawing from left to right to avoid smudging and reverse this if you are left handed. Leave white areas empty. Once you feel that the drawing is complete, remove the photograph from the sleeve and make additions and adjustments where necessary. Now you can insert plain white or coloured paper into the sleeve and it is ready to hang. Happy arty days, Kirsty xx
07.01.2022 NEW LESSON To the Lighthouse This lesson demonstrates ways to consider space, perspective and viewpoint as the means to conceptualise a visual narrative. When looking at the drawing produced by the architect Peter Salter, we are concentrating on his technique of processing space by locating a figure, or figures within it. His drawing style is loose and expressive. He offers us, as observers, an opportunity to enter the drawing through a pathway. But then, where do we go? What... will we find? It is these two questions that we focus on in the artwork created for this lesson. Beginning with a collage, find sections of different images that can be collaged together to eventually lead the observer to a destination in this case, a lighthouse. But, do not make the journey too easy. Experiment with differing viewpoints and perspectives that offer alternative ways to think about physical spaces. In this way, your observer must take time to process the visual journey to the destination. Remember to place at least one figure into the composition for a visual connection to the observer. Happy arty days, stay safe and healthy xx Kirsty xx www.arteyedeer.com.au
06.01.2022 NEW LESSON Frogs Inspired by Olsen Observing the structure and mannerisms of frogs while considering the work of Australian artist John Olsen. Find some images of frogs which will inspire your work, selecting photos which show frogs climbing, stretching and leaping. Experiment by drawing the frogs in simple, minimal line while trying to reference the structure and movement of the amphibious creatures in motion. On black card, you can also add coloured inks which will create d...ecorative interest and solidity to their interesting body shapes. www.arteyedeer.com.au 122 ART lessons to choose from Happy arty days, stay safe and healthy xx Kirsty xx
06.01.2022 NEW LESSON ONLINE NOW Bee-ing Mindful To approach a drawing from conceptualisation to resolution where the focus is on considering mindful drawing practices. The bee as a species (in this lesson, a Common Blue-banded Bee, found throughout most Australian states) is known as a barometer for the health of our planet. Instead of simply drawing the bee, this lesson encourages you to think beyond the purely visual representation, to a place where you can consider and understand th...e implication of humanitys destruction of natural habitat. The bee becomes a symbol, or narrative for our need to connect to important conservation and environmental issues. This lesson does this by adopting a mindful approach to drawing. The bee is the inspiration for the drawing, and the mindfulness practice is the influence for contemplating a deeper message or meaning. Happy arty days, Kirsty xx www.arteyedeer.com.au #artclass #teacherresource #artteacher #highschoolart #secondaryschoolart #arteyedeer #kidsart #learntodraw #bee #beeingmindful
05.01.2022 NEW LESSON "Tiny Town in the Sky" (level 3 complexity) This lesson combines representational motifs with an element of whimsical fantasy.... What happens when you use motifs that are highly recognisable (houses, trees, rock, clouds and sky) and represent them in ways that changes how we imagine them to be? Whimsy (a sense of quirkiness) can be achieved when you draw with a nave (simple) style, using bright arbitrary colour. Compositions like this can encourage conversations about story-making and story-telling both important elements of an artists role in society. www.arteyedeer.com.au Happy arty days, Kirsty xx
04.01.2022 NEW LESSON ONLINE NOW "Filling in the Dragon" This is an excellent lesson for developing personal exploration. As dragons are mythical, their physical makeup can be determined entirely through imagination alone. For those who need a little help, the process of combining physical aspects from other artistic representations utilising a collage process can assist with creative interpretation. The lesson demonstrates strategies for developing the form of the dragon but does not ...dictate a formula for this. Dragons, in particular, should be creatures of the imagination where your insight into what they may look like is important. The main thrust of the lesson is to encourage the use of colour through painting and drawing that will assist you to flesh out your dragon. #dragonart #arteyedeer #creative #creature #dragon #flying #teenageart #artresource #artteacher #teacherresouce @ Adelaide, South Australia
03.01.2022 We have a brand new art lesson for you ... NEW LESSON "Future Architecture" (level 5 complexity) Hypothesising is an important facet of architecture. The notion of What if often drives architects to conceptualise in highly experimental ways.... In this lesson, the goal is to produce an architectural concept drawing that is not related to a brief. It is purely about the methodology of making architectural marks part plan, part elevation and wholly from the imagination, without any necessity for the drawing to be translated into a feasible built form. Visual theories of structure are flexible and subordinate to creativity and inventiveness. Happy arty days, Kirsty xx #architecture #learnarchitecture #building #architectureideas #arteyedeer #arteducation #artteacher
03.01.2022 NEW LESSON ONLINE NOW "Tea Time" Realistic depiction of a still life subject using watercolour media. Pay attention to the perspective of elipses, the ways circular forms appear as flattened shapes. Watercolour is layered over time, to enable depth and detail to build. Select a variety of cups and saucers and arrange them in a pile. Exaggerated shadows and light shapes can be created with the implementation of a small desk lamp. Base colour is applied as a wash and then allo...wed to dry slowly or with the aid of a hairdryer. Build colour slowly once each layer is very dry, paying attention to shadow shapes which can be referenced with the use of purples and blue wash. Finer details of pattern, such as the Blue Willow pattern, are painted with a reasonably dry brush, or drawn with watercolour pencil. Small highlights of white, to communicate shine and light, can also be applied. See more
02.01.2022 NEW LESSON ONLINE NOW "Animated Gnarled Trees" Two drawings that demonstrate the artists interpretation of the relationship between nature and imagination. The book illustrator and artist, Arthur Rackham (1867 1939) created extraordinarily animated pen and ink, and watercolour drawings that still enchant people today. His linework was very expressive and lively. His illustrations of natural phenomena like old gnarled trees tended towards anthropomorphism the quality of ...infusing animals or objects (both natural and man-made) with human characteristics, traits or behaviours. These drawings require you to think of gnarled trees as old men, where you look for natural markings and shapes in the trees that, with an added element of imagination, as well as exaggeration, can be interpreted as facial features, hair, beards, bushy eyebrows, arms, hands and fingers. www.arteyedeer.com.au
01.01.2022 NEW LESSON ONLINE NOW Cracks and Camellias Sometimes, it is the detail in an otherwise ordinary subject matter that can be harnessed to make a painting composition. Colour is also a great vehicle for creating vitality in an artwork. This lesson combines colour and detail to produce two energetic watercolour paintings. The two photographs used in this lesson to inspire watercolour paintings have very different subject matter. Yet, the similarities in their colour palettes, and... the attention to texture and layering give them a connection where they work well together visually. Brush marks are important: let them form part of the complex layering of tone, transparency and texture in both paintings. The photographs ultimately, should form a springboard for technical experimentation with watercolour. Happy arty days Kirsty xx @ Adelaide, South Australia
01.01.2022 NEW LESSON Deep Blue Seas Two different ways to represent the colours, pattern and movement of a deep blue ocean, using acrylic paint. One painting is still, silent and realistic, the other represents motion, pattern, painted in a stylised representation. Apply acrylic paint generously across two separate grounds; in this case, watercolour paper was used. Apply the paint with little water, blending each layer as you go, working from deep, darker colours at the bottom to light...er green-blues towards the surface. Keep working backwards and forwards to graduate the colour transition smoothly. The hard edge design is achieved by creating a definite horizon line where the sea and the sky meet. The softer blurred horizon occurs where the water actually blends into the pale sky. In this softer composition, add a subtle white line across the horizon, feathering the paint using a dry brush so there are no sharp lines. Once the paint is very dry you can begin to add other media. The abstract and stylised wave patterns are drawn using a white Posca pen. Let the lines flow like the troughs and peaks of waves and then add pattern in between. The same technique applies to the clouds and sky. With the still ocean painting, coloured pencil is utilised to suggest the ripples and undulations of wave formations. A small sail boat is drawn on the horizon and then shaded reflection will reinforce the illusion of quiet, calm waters. www.arteyedeer.com.au Happy arty days, stay safe and healthy xx Kirsty xx @ Adelaide, South Australia
