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The South African Artist - February 2018

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Issue No.30
• Stefan Smit
• Andrew Ntshabele
• Jeff Rankin
• Nic De Jesus
• Tony de Freitas
• oils
• acrylics
• soft pastels
• 365 day painting journey
• Visit Bellville Art Centre
• Big Painting Challenge
• Grassroots Art Project
& prizes
to be
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Issue 30
A note from the studio
Quick Art Quiz
The Big Painting Challenge No. 4
Challenge No. 3 winner
What’s in store: Art Savings Club
Plein air equipment
The Grassroot Art Project
Grassroots Artist: BAXOLELE GQOLA
Grassroots Artist: MASIXOLE ZOZI
JANET KINGWILL: 365 days of creativity
MASSA: 25 Years of Miniatures
New products from The Italian Artshop
Quiz answers
IN THE STUDIO: Belville Art Centre
Teachers Noticeboard
a note from the studio...
Managing Editor:
Linda Hodnett
Layout & Design: Xtreme Design
Linda Hodnett
Malcolm Dewey
Skye Kennedy
Janet Kingwill
Pieter Jacques Krugel Willie Jacobs
Joy Gibson
Chantelle van Zyl
Subscriptions: Ann Avenant
Ann: 078 086 9681
Reading about Janet Kingwill’s “365 days of creativity” on page
42, could just be the catalyst to getting more of us painting and
sketching more often. The secret seems to be in taking little steps:
start with a two week challenge and see where it takes you.
As usual we’ve got plenty of variety in this issue: our cover artist
Stefan Smit tells us about his plans for 2018 and gives a quick
oil painting demonstration; Jeff Rankin shares his technique for
printing and woodcuts; Tony de Freitas describes how he has
perfected a loose painting style and he illustrates this with an
acrylic demonstration; Andrew Ntshabele talks about his paintings depicting the working people
of the inner city of Johannesburg; and we also have Chantelle van Zyl’s delightful demonstration
of ostriches done in soft pastels.
There are also articles by regular contributors Malcolm Dewey, who enthrals us with a sunset
painting and Willie Jacobs with a brilliant portrait... inspiration on every page which will leave
you with no excuse for getting those brushes out.
Happy painting!
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© The South African Artist Magazine 2018.
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600 x 800 mm
oil on canvas
by Stefan Smit
Read more about this
artist on page 6.
I’ve been a subscriber to The South African Artist magazine
since 2012, and I look forward to every issue. Over the years the
featured artists have inspired me to try my hand at techniques
and mediums that I would probably never have thought of, or
been brave enough to try without the step by step guidance. This
year I plan to attend as many workshops as possible, so I am
looking forward to seeing the 2018 Workshop Directory.
At the moment my favourite mediums are charcoal and ink,
so I was thrilled to see Christine Lamberth’s article and
demonstration in issue 29. I look forward to reading more tips
on drawing in future issues, and in particluar I would like to learn
more about pen, ink and watercolour washes.
The writer of our winning letter will
receive a sketching pack worth R450
from Herbert Evans Art Shop.
Last year I gave an 80-year old friend of mine a subscription for
his birthday. He loved it and said it was the best gift he has ever
received. Thanks for inspiring us newbies!
11 famous landscape paintings - how many can you name? Answers on page 60
photo: Wesley Poon
Johannesburg artist STEFAN SMIT
is not only a trained classical pianist,
but also a tremendously talented
artist whose star is certainly on the
rise. He creates amazing portraits
using oil paint, spray-paint and his
own ten fingers. We chatted to him
about his success so far and what
2018 holds in store for him.
playing all the
I absolutely love creating strange
and new marks, whether it’s with a
windscreen wiper/palette knife/roller
or anything else I can find that might
make a mark I’m not familiar with.
right notes
After attaining his Degree in Contemporary Music in 2014, Stefan unexpectedly decided to pursue a career in fine art. He spent countless hours
studying his favourite artists online, watching YouTube videos and filling the pages of sketchbooks. Talent and an unwavering determination for
skills development hurdled this self taught artist into a full time professional career.
Opposite page and
above (detail):
812 x 610 mm
oil on panel
‘Collected Thought II’
255 x 310 mm
oil on panel
Right below:
‘Collected Thought I’
255 x 310 mm
oil on panel
“I’ve had so many amazing artists inspire me. If I had to
pick one it would probably be the American-Taiwanese artist
James Jean, because he was one of the very first artists to
light a fire in me and motivate me to fill sketchbook after
sketchbook”. While James Jean struggles to get into a daily
routine, Stefan believes that this is one of the most important
things for an artist. “It’s still something I’m trying to get right
so most mornings start with 30 minutes of piano practice
and exercise followed by several hours of painting and email
answering. Luckily these days I’m able to dedicate 99% of my
time to painting as my girlfriend, Natalie Poppy, works with
me, assisting with all the most important correspondence,
media campaigns and organisation”.
Although he has previously painted on linen, he now opts to
work on a more unusual surface. “I’ll start off by saying that
I don’t prep the surface I paint on because I generally use
ultra-smooth PVC foam panels that don’t require any prep.
They’re great for mark making and I’d recommend any artist
who is a fan of Jeremy Mann or similar artists to try it”. Stefan
purchases his foam pvc panels from Eco Signage Supplies in
Johannesburg. The panels come in varying thicknesses and
are approximately 3 meters x 2 meters in size. He usually
gets the 5 or 7mm boards and has them cut to size. “I find
the surface doesn’t need prepping and can be painted onto
directly. Once the painting has dried properly, you can varnish
it. I use a Winsor and Newton Matt varnish but I’m sure any
varnish would work fine”.
When asked about galleries, Stefan says he had a few
unpleasant experiences when he first started out. “They
promised me a lot and strung me along for several months
causing me to lose a few very good clients. If I could go back in
time, I would have avoided them. I now have a better understanding
of the industry and I have a lot of respect for the galleries that treat
their artists well. Working with galleries is essential but I also think
artists need to take the initiative to proactively market themselves
through social media. My personal favourite is Instagram because
of its focus on the visual aspect. My girlfriend is a marketing
professional, and having had years of experience in the advertising
industry her expertise is essential in navigating my social media
presence and growing my business”.
2017 was a phenomenal year which saw him working with
some major corporate clients such as Discovery, South African
Breweries and DSTV. “I also had my work exhibited in Cape Town
and Johannesburg; and I visited Denmark where my friend Chris
Valentine and I painted two murals and exhibited our work together”.
We are barely into the new year and 2018 promises to be even more
exciting. Stefan is working on six murals for SONY’s Johannesburg
headquarters and he will be jetting off to Sri Lanka at the end of
May to host an oil painting workshop. There are also plans for a trip
to London to work with his art sponsor, the Daler-Rowney brand.
“I’m really excited about the Sri Lankan workshop, as the location
is a luxury resort, ‘Kumara Villas’ right near the ocean - so it will
be like painting in paradise! Anyone attending can expect to learn
exactly how to take a painting from it’s earliest stages right through
to completion. I’ll be working with each participant and personally
demonstrating how I make my work as well as the unique tools
I use; exactly how I find my reference material and all the steps
involved in starting and finishing a painting. Novice and experts
Finally Stefan leaves us with some words of wisdom for new and up
and coming artists: “Don’t leave the success of your future in the
hands of anyone else. Accepting support and help is a great thing
but relying on anyone other than yourself to take you where you
want to go in life will yield nothing but disappointment”.
Planning for his first solo exhibition of 2018 is still under wraps,
but you can currently see his paintings at Gallery One11 in Cape
Town and The Gavin Project in Johannesburg. If you would like
a catalogue of available work please e-mail Poppy:
For more information on the Sri Lankan workshop, please visit
the website: and click on ‘events’.
Opposite Top left (cropped)
‘Collected Thought IV’
255 x 310 mm
oil on panel
Bottom left:
‘Recurrer / Icarus IV’
315 x 420 mm
oil on panel
Top right (cropped)
‘Tinker, Tailor, Soldier and I’
310 x 438 mm
oil on panel
Bottom middle:
‘Recurrer / Icarus I’
315 x 420 mm
oil on panel
Middle left:
‘Blackest Eyes II’
300 x 300 mm
oil on panel
Bottom right:
‘Recurrer / Icarus II’
315 x 420 mm
oil on panel
Top: ‘Easy Way Out’; 225 x 315 mm; oil on panel
Stefan’s studio which he describes as “normally a little messy with several
paintings in progress either scattering the walls or spread out on the floor”.
Middle right:
‘Breath Out’
438 x 310 mm
oil on panel
Stefan Smit Artist
words and photos: Stefan Smit
I start my painting by very roughly sketching in the
general shapes of what I see with a very watereddown combination of turpentine and oil paint and
then start blocking in the colours, working from the
largest details to the smaller nuances in the piece
coming last. I absolutely love creating strange and
new marks, whether it’s with a windscreen wiper/
palette knife/roller or anything else I can find that
might make a mark I’m not familiar with.
If you would like to watch a short
time-lapse of this demonstration,
click on the QR code. For more info
on how QR codes work, see page 4.
STEP 1: Using a thin mixture of turps and oils I start by sketching in
the general shape of the subject.
STEPS 2 & 3: I begin to block in colour, paying close attention to
the values.
STEP 4: I start laying down colour that might work with the
background. I might make a few attempts to find the right tone that
feels like it will work with the piece.
STEP 5 & 6: Once I get the tone right, I begin filling in spaces and
using a paper towel, soften strokes. This pushes the background
further away and keeps focus on the foreground.
STEP 7: I enjoy my mark making process and
destroying the work as much as I enjoy painting the
finer details so will always grab what tools I have
available such as turpentine to destroy or erode the
work. Here I am using a simple plastic scraper.
STEP 8: I add the final details to the piece, which are crucial, otherwise the work looks
unintentionally messy - it’s a fine balance sometimes. I stand back and take in the work.
Sometimes I overwork my pieces and find a lot of the expressive emotion is lost when
I do this, so I like to spend time just looking at the work and feeling whether or not it
needs anything extra. Finally if there is nothing left to do, it’s signed.
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... We aren’t necessarily
looking for photorealism, so use your imagination. The
overall winner will receive a hamper of products from
our sponsors... so, it's time to take up the challenge!
challenge no. 4
E-mail your entry to: The closing date is 13 April 2018. The winner will be announced in issue 34.
To download a larger version of the reference photo and a full set of rules, please go to the competition link on our website:
Challenge no. 3 Winner
Choosing a winner for this challenge was really difficult - we received so many excellent entries, but eventually our
choice was made: Congratulations go to JOHAN KOK for this stunning piece. The interesting composition; moody,
limited palette and subtle light caught our attention. Well done Johan!
Win a
worth over
Johan will receive a hamper of products from Art Board,
KOH-I-NOOR and Artiste which includes:
• 12 tubes of Artiste Oil Paint (40ml)
• A selection of 12 brushes
• KOH-I-NOOR Set of 12 Polycolour Artists’ Coloured Pencils
• KOH-I-NOOR Giocondo Drawing/Sketching/Toning Art Set
• KOH-I-NOOR Set of 12 Toison D’or Soft Pastels
• KOH-I-NOOR Set of 12 Aquarelle Woodless Coloured Pencils
1. This competition is open to all permanent residents of South Africa.
2. Works created using software or other digital means are not allowed.
3. The five artworks deemed to have best interpreted the reference will be chosen as the finalists.
4. The onus of delivery of the prizes falls upon the prize sponsors. The SA Artist magazine does not, in any way, take responsibility for the loss of prizes during transit or non-delivery
by the sponsor.
5. Prizes are not transferable nor can they be exchanged for cash.
6. To download a larger version of the reference photo please go to the ‘competition’ link on our website:
“Nature presents
and I present
myself, somewhere in the middle we make
magic. It’s an awesome friendship. The
more time I spend honing my craft, the
better I become at articulating the wonder
I’m experiencing”
Cape Town artist, NIC DE JESUS
has recently returned to South
Africa after a year-long residency
at Saltmarsh Farmhouse in East
Sussex, England. We chatted to
him about his experience and his
plans for the future.
a light
in the valley
Every year, hundreds of artists enrol in residencies worldwide. These programmes can last for anything from a week to a few months and
sometimes even years. Residencies offer an experience away from the familiar and can be in places as remote as the Antarctic; Rabbit
Island (a 91-acre island on Lake Superior); a 3-metre wide treehouse at the foot of Ben Nevis in Scotland or at the other end of the scale: a
neighbourhood museum or even Brisbane Airport which offers an artist-in-residence programme from January to June. For the artists these
are opportunities to find funding, make new friends and connections in the art world and probably most importantly: find inspiration.
One day, when on a walk with a friend, Nic de Jesus literally stumbled upon the 16th Century Saltmarsh Farmhouse where he spent his year
in residence. He sat down to tell us about this life-changing experience....
Above: A Light in the Valley - Study 1
10 x 15 cm
Egg tempera on panel
Right: A Light in the Valley - Study 3
20 x 20 cm
oil on Dibond
Righ below: Light Study
15 x 15 cm
charcoal on paper
“After working on my first drawing collection, ‘Mare Incognitum’ (which was
presented in the form of a solo exhibition at the end of 2015), I had decided to
take a ‘year off’ for health reasons, however, I was still working on a selection
of commissions and a group exhibition at Cameron Contemporary in Brighton,
UK. One commission, in particular, encouraged me to seek out the lovely
Seven Sister white cliffs along the English coast. I spent the better part of
summer 2016 along the coast, within the Cuckmere Valley. Autumn was fast
approaching, and one day after being caught in a squall while walking in the
valley with a friend, we decided to look around for a place to have a coffee and
dry off. This is when we found Saltmarsh Farmhouse and Nina Mastriforte, the
owner and founder of a spectacular country house. Needless to say, the house
seduced me and I fell in love instantly.
Nina, who owns Saltmarsh, began chatting with us whilst I worked on a sketch
inspired by the rain squall we had encountered in the valley. Nina began to
inquire further about my drawing, work and technique. I shared my website after
which she asked if I’d be interested in hanging some work in the Farmhouse. I
said yes as I had a few pieces left from a show.
A few days later I had asked if she’d be interested in hosting an artist residency
at the farmhouse, and she said yes. At the time I was based in Brighton, so I
began living at the farmhouse 3 days a week. Eventually we decided I would
live in the farmhouse permanently to develop the collection now known as ‘A
light in the Valley’. This is a selection of drawings and oil paintings inspired by
my time in the valley.
While navigating the conception and development of this new collection I
worked in and around the farmhouse helping with the day to day running of a
wonderful grade two listed building. I soon realised that I was welcomed into a
very special environment, a family of beautiful humans who I’ll always love and
cherish. Saltmarsh gave me a space to sail vast oceans and open myself up to
spaces I’ve always wanted to go within myself but never could. It was a very
special time in my life and as a result, has opened me up to so much. I continue
with my expansion based on the foundations laid at Saltmarsh. The privilege of
a year-long residency is a period I’ll always be grateful for.”
Nature Nurture
20 x 50 cm
charcoal and gouache on paper
Middle left:
Mare Incognitum
50 x 50 cm
charcoal on paper
Middle right:
A Light in the Valley - Study 2
20 x 20 cm
oil on Dibond
I found you here
18.5 x 21.5 cm
pastel and charcoal on Mylar on Dibond
my panels which are 640gsm weight, cotton paper mounted with a
conservation adhesive to a rigid support. If I’m spending hours upon
hours on a composition, I want to know that the materials I am using
are going to last and that my collectors feel like their investments are
Nic loves teaching and has set up an online teaching platform. “LASA
is my online atelier dedicated to the study of Landscape and Sea
- history, drawing, and painting. I teach the techniques I use while
working in charcoal, gouache, and oils. We study form and value while
learning to see from life including techniques by the old masters and
contemporary artists. I’m also fascinated with sharing the history of
Marine and Maritime art. Depending on the student’s requirements
and level, I’ll work closely with them facilitating their development
in a particular area, for example: I have a student who is focused
on drawing the sky in charcoal, she’s a competent artist in that
she understands the fundamentals of value, form, and perspective,
however, she came to me looking to explore and open up her technical
language with charcoal. I have set up a 3-week program - weekly
assignments and skype critique sessions. It’s a wonderful experience
and a pleasure to observe the transformation within her practice.
Nic is a self-taught draftsman and painter, however, he did spend
a number of years as a photographer and then magazine designer.
“The photographic medium had a profound effect on teaching me the
‘rules’ of composition and how to see light, shape and form and I
continued for several years in the medium while developing my craft
as a draftsman and painter”.
He works in a variety of mediums such as oils, egg tempera and
gouache but the base of his practice is charcoal. “I’m very interested
in how and where I can take charcoal as a medium and as a result
of this particular curiosity I have been exploring charcoal as a wet
medium. I grind large batches of charcoal sticks into a pestle and
mortar and jar them up. I’m interested in how I can handle charcoal in
various ways in a composition and how the magic of a brush can be
utilised too with this medium.
I have a recipe that I use to bind the finely ground charcoal to the
paper or Mylar which are now mounted to Dibond. I love using
sandpaper when working with charcoal. I work in layers, fixing the
charcoal between each layer and then I sand particular areas. The
sanding opens up the transitions between each value - it feels like
if there is a value say between 0 - 9 sanding offers a value scale of
1 - 20. This is particularly interesting to me when my work focuses on
atmosphere. Fusing Japanese tradition with Western tradition in my
work is of particular interest to me”.
I’ve been blessed to have had students from all around the world study
with me and I hope to continue to evolve the Atelier into a physical
space alongside the online platform. There are no prerequisites,
except a passion to learn and continue to explore”.
Mornings are very important to Nic and he feels that going for walks
along the rocks and beach, a surf or swim, or a hike in the mountains
or forest are all imperative to his process as an image maker and
teacher. “Before heading into a composition, whether, in the studio
or outdoors, I enter a space of daydreaming - external and internal
intwine and unravel. It sounds ridiculous, however, I’ve begun to
respect and nurture these spaces and incorporate them into my
morning practice. A good cup of coffee is always a must”.
Nic publishes a monthly newsletter which includes a calendar of
demos, events, lectures and collaborations on his website. If anyone
is interested in studying with him, they are more than welcome to
e-mail him:
Nic is currently working on ‘A Light in the Valley’ which will be exhibited
at the end of 2018 as well as ‘Mare Incognitum - Canto 3’ which he
hopes to show in 2019.
Nic believes in using good quality materiaIs and the support he favours
is no exception. “I use a company across the Atlantic to prepare all
International award winning
cinematographer and director,
Mark Waters, collaborated
with Nic to create this beautiful
documentary about exploring the potential we
have within ourselves. If you would like to watch
a short time-lapse of this demonstration, scan
the QR code. For more info on how QR codes
work, see page 4.
Instagram: @ nicdejesus
in store...
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To win any of these great giveaways, e-mail your name, address and contact number to:
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Closing date 13 April 2018.
From an early age, city-based
has been fascinated with the
people of the inner city. Here
he discusses his work which
reflects the day to day lives of
these men and women.
No matter how beautifully you paint,
if the initial drawing is inaccurate,
there will always be something
fundamentally wrong with it.
painting pictures &
telling stories
Andrew’s source material comes from his daily walks taken through the inner city of Johannesburg. “I take photos of the informal traders,
waste collectors; moments of laughter; moments of seriousness and the everyday life of the ordinary people as they go about their lives trying
to eke out an honest living”.
Opposite page:
Morutabana (The Teacher)
oil on Seshweshwe fabric
Above right:
The evicted 2
acrylic on newspaper
The clean up 2
oil on Seshweshwe fabric
Africa’s Crisis
tea bags on newspaper
His work is a form of social commentary and deals with
the socio-economic challenges faced by black South
Africans in post-colonial South Africa. Rapid urbanisation
in the inner city of Johannesburg and the pollution and
rubbish among which the inner city residents live, inspire
his subject matter.
“From kids who live in apartments and play carefree on the
streets, to responsible men and women who walk proudly
side-by-side with their children; and those who trade on
the streets, making a living for their families. This is how I
see and relate to the pressures and strains of the people I
encounter and interact with on a daily basis”.
He was born in the small rural town of Moruleng in the North
West province of South Africa. At the age of four his family
moved to Johannesburg. His passion for the visual arts
was identified by his teachers throughout his schooling and
he eventually enrolled at the University of Johannesburg.
Andrew completed his National Diploma in Fine Arts in
2012 and in 2013, his BTech degree majoring in painting.
His work incorporates more than one medium and are a
fusion of collage and acrylic paint. “In my latest body of
Dark City 1
oil on Seshweshwe fabric
Above right:
The blue series 1
acrylic on Seshweshwe fabric
The Ghost of the Manchester Hotel
acrylic on newspaper
work I’ve used even more variety of mixed media: Seshweshwe fabric;
dried tea bags; China bags; newspaper and found materials help me
explore different concepts in my painting style further and give me a
platform to experiment and grapple with them more.”
August House, where there are currently more than 50 artists working.
I have learned a lot from some of the more experienced artists who
are based there like Benon Lutaaya, Bambo Sibiya and Diane Victor”.
Andrew met Darryl Gray, the owner of the Henry George Gallery, in
2015 when he was involved in their first group exhibition ‘After the
Winter’. “After a successful stint at the Gallery, myself and two other
artists, Greatjoy Ndlovu and Solomon Omogboye are now represented
by the Gallery”.
For both his newspaper and Seshweshwe paintings he pastes either
newspaper or fabric on to primed canvas. A new type of mixed media
he is exploring are his tea bag paintings. “I use different brands of tea
bags which I boil then dry, I arrange the tea bags according to their
colour, then with a drawn image on my surface I begin painting using
acrylic gel pasting the tea bags with my fingers and forming a three
dimensional image”.
Andrew has participated in group exhibitions including: University
of Johannesburg student showcase group exhibition, North-South
Central Fringe of Johannesburg Group Exhibition and North/South
Student Showcase Travelling Group exhibition. Of his most notable
achievements are a painting merit award at the Ekurhuleni 2012
Thami Mnyele Fine Arts Awards; a commission to paint a portrait for
the Exxaro portrait project in 2012; another to paint the Minister of
Tourism, Derek Hanekom in 2015 and exhibiting at the 2015 Turbine
Art Fair as part of the emerging artists’ mentorship programme
hosted by Assemblage Studios and Fresh Produce.
Before he starts a new painting, Andrew makes sure that the
reference is impactful and powerful enough to develop into a good
painting. “I have learnt that image selection is one of the most
important processes of a painting. My next step would be drawing
onto whichever mixed media surface I intend to use. I make sure the
drawing is as close to accurate as possible and that all the proportions
are right. The actual painting process begins with the drawing stage.
No matter how beautifully you paint, if the initial drawing is inaccurate,
there will always be something fundamentally wrong with it”.
My biggest influences are Conrad Bo, the founder of the Super Stroke
art movement, and Benon Lutaaya, the impressionist/realism art
movement. For new artists my tips are never give up, let go of fear,
work hard and take advantage of every available opportunity”.
Andrew works in a studio at August House where he has been based
for about a year and a half. “I have had really good experiences at
Facebook: Andrewntshabeleart
The Henry George Gallery, Parkhurst
tel: 011 880 2698
The Henry George Gallery, Parkhurst
State of the Art Gallery, Cape Town
Living Artist Emporium, Johannesburg
Andrew will be part of the Valley Flair Art
Auction taking place on 24 February 2018,
at Klein Constantia.
This year he will be exhibiting at the Turbine
Art Fair and Joburg Fringe; as well as
holding a solo exhibition and taking part in
group exhibitions.
I am what survives of me
acrylic on newspaper
essential equipment
for plein air painting
air painting
in Namibia.
Gone are the days when, like the great artist Edgar Payne, you
had to hire someone to carry your painting gear on the back of a
donkey. With outdoor painting becoming more popular world wide,
the equipment has become a lot more portable and readily available
- but as with other outdoor activities your financial outlay could
run into thousands of Rands. Spending a large amount of money
on equipment does not guarantee your success as an artist; it is
however important to get the best equipment that you can afford.
For many years the classic “French easel” dominated the outdoor
painting scene. This wooden easel has three legs that fold out
from a draw-like structure, and an arm that can hold different size
canvases up to 75cm x 1m. They also include a large palette. The
advantage of this easel is that you can store all your paints and
accessories in one place. The downside is that it can take quite a bit
of effort to erect. The legs are fragile and if not assembled properly,
the whole easel can easily collapse. These easels tend to be quite
heavy - especially once packed with paints - and are better suited
for working in an outdoor area where you do not have to walk too
far. The easel will not fit into a backpack, and if you are travelling
by air you will either have to pack it into a large suitcase or get it
plastic wrapped and put into the hold - a risky option considering
airport baggage handling.
Canvas / paper / board
Paint, brushes, palette knife
Sketchbook, pencils, grey makers, charcoal
Bungee cords
2 airtight containers
Paper towel
Plastic bag
Paint scraper
Brush holder
Wide-brimmed hat
Insect repellent and sun block
Snacks and juice or water
“Black mirror” or red perspex
Latex disposable gloves
Wet panel carrier
Camera or cellphone
This easel has also been around for many years and has evolved into a
more portable box. They are made from a variety of materials such as
wood, steel, aluminium and high-tech carbon fibre. This system can
be mounted onto a standard camera tripod. The upside of this system
is that it is light, compact and can be erected in a short space of time.
This is critical if you work outdoors and the light doesn’t allow you to
take your time. Due to its compact size it fits neatly into a backpack
which makes traveling and transportation easy. The downside is that
you are limited to a medium to small canvas and on a windy day you
will have to weigh your easel down or attach your carry bag to the
tripod to prevent the wind from blowing it over.
paper towel to your easel with a length of chain and 2 hooks.
Plastic bag to collect the used paper towel.
Palette knife to mix paint.
Paint scraper to clean your mixing area.
Brush holder/folder.
A “black mirror” or a piece of see-through red perspex to see the
values of the scene you are painting.
• Wide-brimmed hat for sun protection and to block out light.
• Umbrella to block the light from your canvas and mixing area will
help to keep the paint colour and light intensity constant.
• Latex disposable gloves if you would like to keep your hands clean
or you are sensitive to paint thinners.
• A wet panel carrier to transport your finished paintings.
• Insect repellent, sun block, nuts, snacks and something to drink.
• A camera or smartphone for reference photos.
These are just a few accessories and with practice you will be able to
tailor-make your list to your own needs.
This is the more modern concept of the portable easel. It is a box with
folding sides for paints and brushes that open up to the outside of
the mixing area. The paint box is hooked on to the legs of a camera
tripod and a canvas holder fitted to the top of the tripod. It gives you
the freedom to have your canvas at eye level when you stand and
paint. This easel is very light; it can be erected under a minute and
can easily be transported and stored; but it has to be weighed down
on a windy day to prevent it from blowing over. The disadvantage, as
with the pochade box, is that it takes only a maximum canvas size of
40 x 50cm.
Make a list of your gear. Visualise your painting process to make sure
you have everything you’ll need. Keep your gear packed and ready so
that there is no excuse to get out and paint. Having the best equipment
or the lack thereof will not determine your ultimate success, but your
willingness and enthusiasm to improve your skill should be your
driving factor.
More information on the recommended equipment:
• The viewfinder will help to frame a good composition.
• A thumbnail or notan sketch can determine if there is a good
balance of tonal values and a strong composition. For this you need
a sketch book, pencils and some grey makers.
• Charcoal to draw on your canvas.
• Bungee cords can be handy to secure your easel or canvas.
• Small airtight containers: one for paint medium and one for paint
thinners to clean brushes.
• Paper towel to wipe brushes in between loading paint. Attach the
In the next issue we will look at finding the right location, setting up
and how to start your painting. Be sure not to miss that!
For information on Plein Air Painting in South Africa, the Two
Day Introduction to Plein Air Painting Course, or the 5 Day
Intensive Plein Air Painting Workshop:
Facebook: Plein Air South Africa
Making a difference:
The Grassroots Art Project
The Grassroots Art team is passionate about discovering hidden talent and
providing hope that it is possible to make a gainful living from a marketable talent.
The team is made of Abongile who is the talent scout, and Cara who handles the
reproduction and print sales.
Gifted fine artists from depressed socioeconomic communities seldom manage to establish a
viable following to earn a decent living from their talent. As a result many a Picasso or van Gogh
remains trapped in poverty in townships and rural areas and fine art consumers never get to
purchase any of these amazing artworks.
The Grassroots Art Project recognises that art entrepreneurialism has all the ingredients for
successful socioeconomic development that will lead to full-time self-employment. The aim is to
bring these artists work to the public by making print reproductions of their art. In this way the
artists following will be established so they can become part of the mainstream art community.
Many artists have struggled to externalize their artistic expression without access to art
resources, conducive working environment or training of any kind. Yet they have persevered as
they are innately driven to produce works of art. These talented artists deserve support to realise
their full potential as full-time economically self-sustaining artists.
Because disadvantaged artists often work in bad conditions, in dank and leaky shacks, original
works are seldom in a saleable condition. Print reproductions introduce the disadvantaged artists
work to the art consumers. Digital files are made of each artwork and professionally cleaned up
during the post-production process before they are printed. The Grassroots Art Project artists are
able to generate a second stream of perpetual income which will go a long way to establishing
income security.
Facebook: Grassroots-Art-Project
BAXOLELE GQOLA is 24 years
old and lives in Gugulethu with
his mother. He attended Wynberg
High School in Cape Town where
he matriculated in 2012.
grassroots art project:
Baxolele Gqola
See Baxolele’s work in our
new calendar (see page 81)
During his Matric year Baxolele received an A for Grade 12 Visual Art at the Frank Joubert Art Centre. In 2013 he went on to study Engineering
at the FET College in Vredenburg, and during this time he was invited by The Ibhabhathane Project – an Arts Education NGO – to join a select
group of promising young artists who created works to exhibit at the 2013 Kirstenbosch Gardens Centenary Celebrations. Baxolele sold a
number of pieces at this exhibition, including a painting of the gates of Kirstenbosch, to the SA Botanical Society. During the Kirstenbosch
Exhibition he was filmed by a UK film crew who made a short film about him at work and at home. The film has since been aired on UK TV.
His favourite subjects are portraits and local scenes such as Bo-Kaap. He has learned a variety of techniques and styles in oils, being taught
by some of the best teachers, particularly at the Peter Clarke Art Centre.
Baxolele enjoys experimenting with various media and is currently developing his skills in the art of mosaic-making. He is employed as a casual
member of the admin staff at Ibhabhathane - preparing materials that Ibhabhathane uses in its teacher training workshops held across the
One of his passions is to attend art exhibitions where he is able to learn more
about painting techniques and meet other local artists. He contributes to his
community by assisting Ibhabhathane in its mural-painting programmes at
local schools and uses his portrait-painting skills to create portraits of local
heroes as part of the murals.
Eventually Baxolele hopes to have his own gallery to display his paintings and
also show works of other developing artists.
If you would like to contact Baxolele, please see the Grassroots Art Project
details on page 27.
2013 Garden Boys at Kirstenbosch Gardens (100th Anniversary Celebrations
of Gardens)
2014 Solstice Exhibition, Cape Town
2015 I love my Laundry, Cape Town
2015Solstice Exhibition,Woodstock
2016/2017 Unsung Art online Exhibition
2017 EOS Art Gallery, Cape Town
Baxolele 4
84 x 112 cm
Below right:
Baxolele 9
60 x 60 cm
Self Portrait
112 x 84 cm
Baxolele 7
60 x 60 cm
Top right:
Baxolele 12
100 x 130 cm
25 years old and lives in
Khayelitsha. He studied Art
and Design at The College of
Cape Town.
Max’s work is featured in our
new calendar (see page 81)
grassroots art project:
Masixole Zozi
Max grew up in the Eastern Cape where there were no art schools. He has always enjoyed drawing, but was only exposed to art when he
moved to Cape Town in 2013. “The graffiti and murals around the beautiful City of Cape Town sparked a love for art and that is when I decided
to study Art and Design in 2014”. Max says he has learnt a lot through his studies such as techniques and history of art, and hopes to one day
continue his art education.
It has always been a struggle and being unable to afford art materials
meant he often submitted his projects late. “I thank my mother for being
so supportive. The most difficult time was when our shack burnt down.
I lost most of my art and materials, and was only left with a few pencils
and some blank sheets of paper”.
Max enjoys drawing portraits but he also paints landscapes and still life
scenes. He says: “I hope that when people see my art it portrays hope,
peace and love”.
He future plans include owning a gallery and helping other upcoming
artists. He dreams of exhibiting his work locally and perhaps one day
If you would like to contact Baxolele, please see the Grassroots Art
Project details on page 27.
Max 04
30 x 21 cm
Max 01
21 x 30 cm
Max 02
21 x 30 cm
Max 03
21 x 30 cm
Below right:
Max 05
30 x 21 cm
Eastern Cape artist JEFF RANKIN
is equally passionate about all
printmaking techniques, but he has
become well-known for his work with
woodcut. In this article he sets out the
process from start to finish.
Jeff’s work is
featured in our new
art calendar
(see page 81)
mastering the method:
hot off the press
With the advent of the digital era, it’s refreshing to find local artists who are dedicated to passing on their knowledge of hands-on methods. Jeff
holds regular workshops either from his own studio or at venues around the country. “At my studio near East London I offer printmaking classes
throughout the year, and workshops for those from further afield who wish to enjoy a creative retreat, away from the big city and life’s routines.
I also offer workshops at other venues, normally those with printmaking facilities, such as Studio3 in Durban. This year I have a 2-day Monoprint
workshop in Cape Town, and one in East London which is part of a national girls’ school festival. I hope to also increase my work in university
departments, following two very successful workshops in 2017 with Fort Hare/WSU and UKZN. Requests for workshops are welcome.
Linocut and Woodcut are part of the so-called Relief Print techniques. Jeff starts with a flat block of wood or lino (including linoleum tile). What
follows is the process for woodcut, but much of it also applies to linocut.
Opposite page: Grazing
Original hand-coloured woodcut. Size: 180 x 95 cm
Above: Windows of Betrayal (detail). Artist’s Book made from 12
three-colour reduction woodblocks. Size: 180 x 43 cm opened;
the book folds down to a single-panel size
Right: Squawk. 2-colour woodcut from separate blocks
Size: approx 25 x 25 cm
Right bottom: Couples with Birds; Mixed media: Original handcoloured woodcut on mdf, construction with mirror
Size 60 x 42 cm
The Cutting Surface or Block:
The type of wood depends on what's available and what
effect I'm aiming for. Jelutong, a Malaysian hardwood, has
traditionally been used for woodcut; it may be a hardwood
but it has a very close grain and is easy to cut. The grain also
shows in the printed artwork. This is true of other natural
woods, most of which are harder to cut than Jelutong (a
characteristic which can be used for sharper and more
expressive marks). Cost is a factor of course, and Jelutong
is costly and sometimes hard to find. The fate of Malaysian
forests is also a concern.
I often use Medium-Density Fibreboard (known as MDF or
Supawood), made from small wood fibres glued together
under pressure, and widely available because it's supplied
by hardware outlets for the construction industry. It comes
in very large sheets, either side usable. I like to use the
thinnest version (3mm) because it can be cut into smaller
sheets using a craft knife and steel rule (if used safely!). But
6mm thick MDF is also fine: it is easily cut with a hand or
skill saw. An important difference with MDF is that it has
no natural woodgrain: in the finished print it looks more like
lino than wood, the uncut (or relief) surface that prints being
perfectly smooth. MDF is available in much larger sheets
than lino, so it allows for large-scale woodcuts.
Preparing the Block:
After the block is cut to the required size I smooth one side
using medium and fine sandpaper, then darken the surface
moderately using diluted black drawing ink applied liberally
with a sponge or rag. This darkening makes the emerging
image easier to follow while I create the woodcut; when
this is dry I sand it lightly again to ready the surface for the
cutting tool.
Above left and right: Bizana Angel, Block and Print
Original hand-coloured woodcut from a set of 6 in the Angel series,
and 2-colour print of the same image made from separate blocks.
The master-block (black in the print) was used for hand-colouring.
A special small block was cut and inserted so the lettering was not
reversed when printed.
Size 43 x 32 cm
Right: Small linocut with tools
Unfinished work on Marley tile, which gives a finer cut. The tools
shown are Meguro ‘woodcarving’ tools, made in Japan but sold
widely in South Africa. From the set of 6 or 12, only about 3 or 4 are
commonly used.
Block size 26 x 15 cm
Drawing the Image on the Block:
Firstly is must always be noted that the image on the block will be
reversed (mirror-image) when printed; this is true of direct printing
methods such as woodcut and etching. I tend to ignore this unless I
have written words in the image or I'm depicting a well known place.
Most often I prefer to grant the process ownership of this surprise
element. I prefer not to trace the image on to the block. Not because I
work in a spontaneous or abstract manner, but because I like to 'draw'
with the cutting tool. So I will often have a drawing to work from, and
will use it as reference as I draw on to the darkened surface of the
block, establishing the main form and direction of the image. For this
I use a charcoal or conte pencil; it goes easily on to the darkened
surface of the block. I avoid small detail at this stage.
print to define the image. I work with a natural dark-light relationship,
where the cut-marks are highlights and the uncut darker areas are
shadow and edge-definition. But this is a choice - many artists use
the lighter cuts as defining lines, often with delightful effect.
Proofing and Printing:
When the image is considered ready, the cutting complete, the block
is ready for a proof print. Proofing is essential before being satisfied
that the image and block are totally ready for the finished set (edition)
of prints. The printing stage requires careful preparation including:
paper quality and size, where the block or image should be positioned
on the paper (registration), the mixing of the printing ink, setting up
the press and ensuring the studio is prepared for the process. With
these things done, a hard rubber roller is used to firstly roll out the ink
on to the inking slab (eg glass or formica-topped table used for this
purpose); with a thin and consistent layer rolled out, the ink is rolled
on to the block. The ink is slowly built up on the uncut parts of the
block-surface, being careful not to flood any of the cuts with ink. The
inked block is then placed on the press bed face-up, and the printing
paper placed on to the block in a pre-set position so that all borders
are equal and not skew.
The Tools and the Cutting:
The woodcutting is done using a set of specially made tools to remove
different widths and character of line. I use Meguro "woodcarving"
tools. They come in sets of 6 or 12, and are moderately priced, with a
good quality cutting point and longer handle. Of course there are many
woodcut tools available at higher cost from local and international
suppliers, but the Meguro sets serve me well. From the set of 6 or 12,
I only use the 3 or 4 gouges (U-shaped) and parting tools (V-shaped).
Paper and Ink:
Various art papers are suitable for woodcut. For high-quality prints I
use Fabriano Rosapino; it performs and lasts well. I still use oil-based
relief printing ink, as I have never had satisfaction from the waterbased inks made for the same purpose. For health reasons oil-based
inks must be used in a well-ventilated studio and with caution. If and
when a suitable water-based ink is available I will use it exclusively.
Practice allows for many different marks and effects to be achieved.
Even sandpaper and a ball-hammer have become part of my 'cutting'
tools. Working from the drawn image, I may change the form and
add a lot more detail, responding to the character of the tool and the
lighter mark it reveals on the surface. All of the uncut and therefore
highest (relief) parts of the block are the parts that will eventually
Top left: Stubborn Little Acts
Mixed Media, using hand-coloured woodblock with drawing on canvas
Size 29 x 29 cm
Left: Quench; technique Watercolour Monoprint with Drawing;
Full size 54 x 39 cm.
Above: Man Leaving
Mixed media: hand-coloured woodblock on textured acrylic ground
Approx size 55 x 40 cm
The Press:
If a small block is used, a small 'nipping' or book press can be used,
and is suited because it applies pressure straight down on to the
paper and block without the complication of sideways movement.
Large blocks are usually too big for this type of press, so for them I
use an etching press which rolls the paper & block horizontally under
the press-roller and blanket. This sideways movement can cause
issues which are dealt with during the proofing process.
with my students, we never fail to savour the magic of printmaking.
Finally the print is hung to dry; it's best to leave it drying for a few
days before allowing it to be handled or in contact with other sheets.
Some woodcuts are just too large to print in his studio, and Jeff
sometimes treats them as one-off artworks. These become so-called
original hand-coloured blocks; the finished block is presented in a
frame like a canvas, or in any other suitable way. The technique is
as follows:
The Magic Moment:
The press has a special blanket under the roller. With press-pressure
set, the block on the press bed face-up and the paper placed on top
of the block, this blanket stretched over the back of the paper, and
the press wheel turned to pull everything through for a print. Then
the magic moment - lifting the blanket and paper to reveal the print.
The woodcut is done as above. This is primed, pushing an acrylic
primer well into the cut lines and shapes. When this dry the block
is lightly sanded to remove excess primer. Artist's acrylic is used to
apply colour across the image using normal brushes; I have to be
relatively careful with the colour, but I'm also aware that the final
stage will resolve the definition for me. When the colour is dry, a light
sanding again removes the surface excess. Now for another magic
moment: using either black or a dark colour, I roll relief printing ink
across the surface of the coloured block, building it up carefully in
light layers. Suddenly the sharply-defined image comes to life, it never
fails to satisfy after not being quite sure about the image I have been
working at.
There's always an element of surprise, of uncertainty as to all things
being as they should for this particular print. But it is this moment
which attracts many artists to printmaking, and which has established
the master-print studio as a place where artists can have their
editions produced under an expert hand. I've enjoyed this privilege
at the Caversham Press in KZN; but at my own much smaller facility,
After receiving his Diploma in Fine Art (Printmaking Major) from
Durban Art School (later DUT), Jeff went on to receive a Printmaking
Certificate from Croydon College, London; and Higher Diploma in Fine
Art from Natal Technikon (later DUT). In 1997 he graduated with a
Master of Arts in Fine Art at Stellenbosch University.
your work on consignment at the high commissions charge, but the
artist can’t sit back - whatever marketing skills you have should be
used alongside the galleries’ efforts. Some artists have the skill and
tenacity for effective marketing; I count myself among those who
“Having had a thorough formal training, I am very sensitive to the fact
that the arts do not demand training for success (whatever success
is taken to be). I have seen untrained people staking their claim as
visual artists, not because the work is great but because they are
affirmed by uncritical comment, or by sales. If the work is of poor
quality this is an issue, as it also creates a glut of artworks to be sifted
through in order to find work of value. This may sound arrogant, but
I comment from experience: I have seen the glut develop, and I think
it's a challenge for new artists at the local and wider level. We need to
monitor quality critically wherever we can.”
The fact that I’m not a big seller has never affected my belief in my
work. I recently heard a useful comment which said, if artists are
forced to focus on the work because they struggle to sell, they should
welcome the creative space this offers. Online communication is a
clear advantage for new artists, especially those who are skilled at
managing social media to expose and sell their work, and build a
strong profile.”
He finds marketing to be an endless problem and considers it a
mystery. “I think all art students and professional artists should
have access to training in how to market themselves, or alternatively
how to source a marketing service or agent. I’ve sold more work in
physical galleries, but have also sold on Facebook and I’m a very
recent Instagram convert. Artists have to be properly organised in the
follow-up to selling online (efficient postage or shipping of artwork).
Galleries should certainly offer a good marketing service if they hold
Above: Etiquette
Monochrome Woodcut on Jelutong wood
Size 31 x 21 cm
Right top and middle: Interior & Exterior of Jeff’s studio on the East
Cape Coast (just north of East London).
Hearth Gallery. Chintsa East, ECape
Artvark Gallery, Kalk Bay
The Cape Gallery, Cape Town
Clocktower, V&A Waterfront
MOK Gallery, outside Stellenbosch
Facebook: Jeff Rankin
Jeff Rankin Artist / The Albatross Studio
Instagram: jeffrankinart
I have entered a Fine Art PhD programme UKZN Pietermaritzburg,
which began in January 2018. If I can find sufficient funding to
continue with this, the study will lead to a major solo exhibition
in due course. In the meantime I am working on a series of large
woodcuts for participation in group shows around the country.
Well-known artist and teacher,
WILLIE JACOBS, is back with a new
series! He will be testing a range
of art products from watercolours
and inks to oils and pastels. Follow
him as he discovers new tools and
Words and photos: Willie Jacobs
“I love the consiste
ncy of Lukas Oil Pa
They don’t dry out
on the palette and
you can
easily mix four colo
urs without creatin
g mud.”
Testing the tools of the trade:
painting with oils
This step-by-step demonstration is of Edwin du Toit, who recently passed away at the age of 87. He and Marie were
married for 60 years; raised 6 children and were blessed with 17 grandchildren and 5 great-grandchildren. In this
painting I tried to capture his gentle face and calm demeanor.
PRIME ART Canvas (22 x 28 inch)
Cadmium Red Light
Yellow Ochre
Ultramarine Blue
Titanium White
Burnt Umber
Cadmium Yellow Light
Alizarin Crimson
Cerulean Blue
Viridian Green
Sap Green
# 2 round, # 2,4,6,8 Long Flats
# 00 Round, # 10, 16, 20 Brights
ZELLEN Artists White Spirit
ZELLEN Zel-kin painting gel
PRIME ART Linseed Oil
Fig 1:
The sketch on the canvas was done freehand with a terracotta
pastel pencil, which erases quite easily. The placement is of utmost
importance. I usually hold my hand flat on the canvas in the area I
envision the face to be. My thumb represents the chin and my middle
finger represent the hairline. This is a life size measurement for an
adult. It gives me a good idea where the eyes should be placed. I make
a mark at my thumb for the chin and a mark just above my middle
finger for the hairline. Then I add a little extra for the top of the head.
The eyeline is halfway between the top of the head and where I
imagine the chin to be. The eyeline gives the position of the brow.
Halfway between the brow and the chin is the bottom of the nose:
normally the same distance as the forehead between the brows and
the hairline.
The mouth is halfway between the bottom of the nose and the chin.
The first mark represents the bottom lip, with the mouth opening just
a lip width above it. As a rough guide, the ears usually line up with the
brows at the top and the nose at the bottom.
mixtures on the face. I call it “Slightly Lighter” because it is meant to
be slightly lighter than my darkest darks. My experience is that this
“slightly lighter” mixture puts all my creative abilities in motion to
judge lights and darks.
I keep my sketch rough and the lines choppy, which gives a “true to
life” feeling.
The temperature of this mixture is very important. By mixing a bit
more red and blue in relation to yellow ochre, the mixture is more
purplish and is ideal for the hollows of the eyes and the shadow on the
lip under the nose. By mixing a little extra red in relation to the yellow
and blue it is ideal for the bottom of the nose.
Fig 2:
I always start with my darkest darks first. If you lose your darks you
lose your painting. The eyelashes are painted with pure Burnt Umber,
and the irises with a mixture of Burnt Umber and Ultramarine Blue.
The nostrils and the mouth opening with Burnt Umber and Cad Red
Light. The deep shadows in the neck are a mixture of Burnt Umber
and Cad Red Light and the clothing in shadow a mixture of Burnt
Umber and Ultramarine Blue.
The “slightly lighter” mixture can be pushed warmer and cooler, more
intense or less intense as the need directs. The foundation for the hair
and beard was already put in place with the “slightly lighter” mixture
and a little extra Burnt Umber and Ultramarine Blue (Burnt Umber and
Ultramarine Blue mixes a very handy Black) for a more greyish feel.
Note that the only place on the face where I use Burnt Umber and Blue
is where the irises are going to be painted later, no matter the colour
of the eyes. The combination of Burnt Umber and blue serves well to
seal the canvas so that the white does not shine through. Eyes need
to be solid.
Fig 4:
Next I paint in the halftones. The halftone value is quite easy to mix:
By mixing Cadmium Red Light and Yellow Ochre you will end up with
a beautiful fleshy orange in a halftone value. The value is perfect, but
too warm and intense to be used, so you need to add Ultramarine Blue
to the mixture. The blue will pull the value down towards the darks.
By mixing Ultramarine Blue with white you have a “Lightened Blue” in
a midtone value to add to the red and yellow mixture. So, the recipe
for halftone flesh is: Red, Yellow and Lightened Blue (Cadmium Red
Light, Yellow Ochre, Ultramarine Blue and Titanium White).
Fig 3:
When all the darkest accents are in place, I make a skintone mixture
with Cadmium Red Light, Yellow Ochre and Ultramarine Blue. To make
sure this mixture is slightly lighter than my darkest darks, I add a
hint of Titanium White. This mixture is one of the most importrant
On the forehead I add a little extra Cad Yellow Light. In the cheek area I
add a little extra Cad Red Light and Alizarin Crimson. In the chin area I
keep the mixture to the cool side: a blue-ish green-ish mixture.
To the shirt I add extra Cad Yellow Light, Yellow Ochre and a hint of Cad
Red Light. The hair and beard are greyed down with Burnt Umber and
Ultramarine Blue.
Fig 5:
For the lights I mix the same as Halftones, but with a lot of white. I try to
lighten the forehead as light as possible. The secret is in the amount of
paint I use. I usually keep the darks and halftones quite thin and make
the lights quite thick. By adding Zel-kin to the thicker mixture, it speeds
up drying so that I can work into it shortly and do not have to wait days
for drying. When I need to thin the paint for darker areas I mainly use
the 50/50 mixture of Linseed Oil and White Spirit because I do not want
darks that are glossy.
When I add the thicker paint in the light areas, I add enough to work
back into the darker areas, as shown in Step 7. This simulates the flow
of light over the face.
Fig 6:
Just before I restate the darks and add some detail in the dark areas I
work the lights back towards the darks with short brush movements,
knowing that the colour on the brush will gradually darken as I proceed.
You must clean your brush properly before you go back into the lights
Fig 7:
Now I go back into the darks and restate the dark value where it might
have become lighter. I also correct the shape of the eyes, the nose
and the mouth. I push back the darkest accents with Burnt Umber and
Ultramarine Blue where it is cold and Burnt Umber and Red where it is
warm. I use Burnt Umber and Viridian Green for the darkest darks of the
Again using short strokes to “walk” the halftones as creases into the
lights. This is a process of “walking” the darks towards the lights and
then “walking” the lights back around the darks for variations of light
and dark in the face, in both light and dark areas.
Fig 8:
Finally I use my palette knife to add the lightest
lights on the forehead, beard and hair. With the
palette knife I always use off-white mixtures
- I never use pure white except when the paint
underneath is wet and the white will mix into it.
I decide not to add a background, because I think
the pure white canvas complements the painting.
I found the products provided by Artsavings Club
to be perfect for this portrait. The Prime Art
canvas served as an excellent support under my
brushstrokes and palette knife work. I find Lukas
paints to be trustworthy and I love the consistency
they provide.
Dynasty brushes have been a favourite for years
and I find the synthetic range to be a pleasure to
work with.
Portraits with Willie Jacobs
5-9 Feb. Durbanville, Cape Town
Contact: Willie 0837461208
Landscapes with Willie Jacobs
3 & 10 March. Vereeniging. Contact:
Mattie 0825660527
Brush and Palette knife with Willie
Jacobs 5 to 9 March. Hermanus
Contact Gilly Shreeve 0828789558 or
After joining a Facebook page challenging artists
to do a drawing a day for the month of August in
2016, Graaff-Reinet based artist JANET KINGWILL
embarked on an ambitious project: to paint or draw
every day for 365 days. In this 2-part series she takes
us on her journey sharing the disappointments and
surprises, and giving tips on how to get into the habit
of creating art every day.
words and photos: Janet Kingwill
365 days
of creativity
I have drawn and painted most of my life but I realised a few years back that I had not improved much since my school days, so I decided to
make work of developing my God-given talent. I attended workshops and courses with wonderful teachers like Greg Kerr, Bob McKenzie, Darryl
Legg and Esme Goosen. One of the main events that triggered the start of my “365 daily art” offering was the wonderful “Sketch Pack Project”
run by Di Metcalfe of Cape Town (see her Facebook page). The idea is that for the month of August you draw or paint daily on a tiny (10x10cm)
series of papers that are all joined together in a concertina format. The art is shared on the projects Facebook page and at the end of the month
the sketch packs are exhibited in Di’s gallery in Cape Town. In September 2016 I was planning to travel to Italy so I decided to draw all things
Italian in preparation for my trip. I researched tourist venues and Italian art which I drew daily in my sketch pack.
Opposite page:
One of Janet’s earlier watercolour and ink sketches of
Riamaggiore, Italy
A miniature painting of Tuscany showing the watercolour set
and the very handy waterbrush.
Ink sketch of East London Post Office.
Sketching at Oropa Sanctuary in Northern Italy.
By the time I left for my Italian trip, I had become familiar with the
small sketchbook, a tiny watercolour set and a pen. I was also hooked
on the “feeling” that drawing a place or thing generated in me. The
fact that I had studied the topic long enough to draw it – even though
just a tiny sketch, and made it my own, meant that I really loved the
building or art work: a part of my soul was invested in it! I also enjoyed
the feedback from my fellow travellers and found it was a lot less
scary to sketch in public than I had imagined. Granted, my notebook
was tiny and hardly noticeable and I found that there were many other
artists drawing and painting in tourist places.
home, I found that I had so many wonderful images and photos from
my trip that I felt I wanted to continue daily painting.
Before long I realised the urge to paint all things Italian was over and
everyday local scenes were more interesting. My daily art became a
daily diary of my life: the farm and places I visited. I skipped a day
at one stage and had a desperate enquiry from a friend demanding
to know where my daily sketch was! I started to discover that I
had a following on social media that I did not even know about, a
‘responsibility’. I received wonderful, encouraging comments from
acquaintances and friends alike, many saying that my daily artwork
was the highlight of their daily Facebook perusing.
I was very lucky to accompany my husband on a second trip to Italy
that year so automatically packed my tiny sketching kit - it fits into a
small hip bag which is allowed into museums as rucksacks are often
banned - and made work of sketching as often as I could. It was then
that a schoolfriend challenged me on Facebook to take part in a 5 day
sketch and post challenge which was no problem as I was in the habit
of sketching anyway. After the five days was over, I was still in Italy so
I continued the daily skecthing and painting until I left. Once I returned
The feedback has been very much part of what this daily challenge
has become. I imagine that if there was no Facebook or Instagram
then the discipline required might really have been too great! Once I
reached Day 100 I debated with myself if there was a need to continue
but I was definitely not yet tired of the daily drawing. I promised myself
that if it ever became a bind or I lost interest I would stop. There were,
however, times late at night when I sudddenly realised with horror that
I had not yet drawn anything. In haste I threw together a quick line
drawing (some of them are great – many I cringe at as I know they are
sub-par!). Invariably I was so relieved that I had not let myself down
or broken the cycle that the lost sleep meant nothing over the peace
of mind I felt. I had appeased my inner child and went to bed with a
happy heart (Julia Cameron writes about this in her book “The Artist’s
Way”). Surprisingly some of those hasty sub-par sketches received
far more positive feedback than when it was something I felt was
good... maybe people picked up on the spontaneity?
they realised it was important to me, they were totally behind me. Of
course there were times that I neglected the boring administration
of life which meant I was often behind on the household paperwork,
possibly the biggest down side of any new passion!
I was lucky enough to take part in various group exhibitions and charity
auctions and also received commissions. The downside was that once
I had finished my daily painting routine, I felt I had had my “fix” and it
became increasingly hard to get down to paint commissions or finish
other pieces. I had to learn to balance the fun side of doing a quick
spontaneous piece versus the hard work of painting as a paid artist.
When I was with people they would ask me “what is your drawing
today? Is it something here? ” and I would get excited feedback if
they recognised that day’s offering! I took copious cellphone photos
of daily events and sights, and sifted through them for inspiration,
almost sorry that I only had to do one sketch a day. I have learned that
absolutely anything can be an inspiration! My cellphone has become
an invaluable tool to paint from.
I know that my earlier sketches are not bad but I can see that the later
ones are more relaxed. I started off drawing angles or proportions
incorrectly but soon became aware of rechecking before I put pen
to paper. I have become more confident in not needing to use pencil
prior to a pen, especially with figures. I now tackle them by saying to
myself: “I know I can get this right – just look harder and draw with
confidence”. I don’t stress about redrawing or correcting lines. With
the daily practice I could easily find the essence of the subject and
pick up my faults more quickly.
I watched and re-watched various Ted Talks where people had tackled
a year or more of daily creations – drawing, cartoons, sculpture or
writing; hanging on their revelations and looking to the time when I too
could arrive at that point! I think the space my family gave me was very
important; or else the whole project could not have happened. Once
I experimented with just about every medium including oil, acrylic,
inks, pastels (soft and oil), gouache, watercolour, charcoal, pen,
Oppposite page:
Trevi fountain sketch
Above left and centre:
Monument to the Family Biella.
Above right:
Sketching at Siena Pilazzo del Campo.
Sketching in freezing Biella, Northern Italy.
Facebook: Janet Kingwill
graphite – and I loved them all. I found that some mediums were
better for certain subjects but they all need to be played with and
tested to their limit: daily painting is a good excuse to try everything.
A wonderful tool I discovered is the waterbrush. It has a soft plastic
barrel which contains water. When you squeeze the barrel, water
enters the bristles, thus eliminating the need for a separate water
container - I found it very useful when sketching “on the go”. I have
tried the Pentel and Derwent makes of waterbrushes and love the
synthetic brushes as they retain a good point and can also flood the
page for washes.
better and more accurately. To make a good rendition has become
easier, however I need to work at people in movement: human
anatomy is still a huge area I am keen to explore. The concept of what
is “good art” is still something that I am trying to understand. What
really is meaningful and deeply emotional art, I think will come after
I have developed the technical aspects - something that this year of
regular creating has helped.
Everyone loves the idea of sitting at a café painting the passing scene
– my experience is that people are quite accepting of this so there is
no need to be shy. Most people are intrigued and good natured or
simply not interested in you! I didn’t set up an easel and paint with oils
or acrylics as many plein air painters do – simply because I was happy
working on my lap using watercolour and pen for outdoor painting.
Early in the course of the 365 day journey I realised that to make my
artwork saleable it would need to be on good quality paper and not
just in any old sketchbook. Quality of paint and paper became more
important: not that one needs an excuse to buy really good equipment.
I started moving to bigger pieces from A4 size and upwards. The
spontaneity changed, the brush sizes needed to enlarge as did the
Possibly one of the biggest positives to come out of this year has
been that I feel more comfortable with calling myself an “artist”. I
didn’t study art at university nor trained formally so felt that title was
reserved for others. My passion for art is out there now; I have proved
my commitment and am receiving recognition – so I feel I am earning
the title. As an Instagram friend said after the 365 days: “Now the
best is yet to come!”
I tried painting with wine, coffee and beetroot juice just for fun. I
painted very small (10x10cm) and very large (9x11m). I researched
old masters; looked up many painters of all art eras and tried to
understand their work. I experimented with a very varied style of art,
still trying to find what my personal signature was. I learned to draw
Read part two of Janet’s journey in issue 31.
One question a lot of art teachers are
often asked is: ‘how do I loosen up?”
Based in Drummond, KZN, artist
TONY DE FREITAS discusses his
technique for keeping his painting
style spontaneous and fresh.
Tony’s favourite quote: “Painting
should be like a conversation
and the artist shouldn’t do all the
talking”. Marilyn Simandle
mastering the method:
fast and loose
Learning to loosen up your painting style can take many hours of practise and patience. In this article, Tony de Freitas shares his secrets for
painting with confidence to create bold, energetic works. “The first step”, says Tony, “is that I don’t make a detailed sketch. I dive straight into
sketching with a paint brush, never a pencil, using a very weak wash of acrylic paint”.
All paintings are acrylic
Cosmos along the fence
30 x 40 cm
50 x 150 cm
Calm Cape Afternoon
45 x 60 cm
Right Centre:
The Dawn
30 x 40 cm
Right bottom:
In the Shade
30 x 40 cm
With the broad outlines established, he blocks in the main areas of colour
with a brush. This is followed up with the palette knife loaded with thick
impasto acrylic paint.
“Large brushes and large palette knives always work better for me, they
stop me from being too precise and allow for rapid strokes. For finer
finishing details I do sometimes use a small rigger brush”. Tony often paints
from memory and as the painting progresses he changes and modifies
the scene: some subjects can be removed completely or become more
prominent. This is how his paintings evolve and the end result is never
predictable. “Using a palette knife prevents me from being precise and also
gives rise to the unexpected”.
Although he has had no formal training other than taking art at school (he
passed art with distinction at Northview High School in Johannesburg),
Tony has been drawing and painting since childhood. He has studied many
well-known painters and counts watercolourist John Pike and oil painter
Trevor Chamberlain as the two who have influenced him the most. “South
African artists that have inspired me are Errol Boyley and Adriaan Boshoff
for their impressionism and capturing of light, which is primarily my focus”.
Tony describes himself as an erratic artist with no set routine. He is a keen
jazz musician and in between walking the dogs, making cups of tea or
coffee, practising the guitar, writing and preparing scriptural meditations
and lectures, he then paints with bursts of creative energy working rapidly
and prolifically.
His studio consists of three sections: A music corner which includes a large
bookshelf and all of his guitars hanging on the wall. On the other end of
the studio is a desk where he does all of his studies and in the middle of
the studio, with full view of the TV, is his easel and painting setup. “This is
where my paintings come to life! I like to study when I paint, so I listen to
historical documentaries and lectures. Sometimes I listen to my favourite
music, otherwise I keep up with the news or sport.”
He believes that he should concentrate on what he does best, which is
painting, and leave the marketing to the experienced gallery owners who
Top left:
Mountain Stream
60 x 90 cm
Top right:
Wagon for Two
20 x 30 cm
Sun is out
40 x 80 cm
30 x 40 cm
Pastel Skies
70 x 150 cm
do an excellent job promoting his work. “My wife Odile also does
some marketing on Facebook and my website”.
with wildlife and both the colonial and the traditional. It encompasses
much of what South Africa is, and the travelling time from the base
of Saunter 1 to the top of Saunter 5, without stopping … just 1 to 2
hours! Of course, it is the stops that make the journey special.
Having held painting workshops in the past, he has had to give up
teaching as demand for his work increases. “I have hosted many
workshops in Hermanus, Durban, Amanzimtoti and Drummond,
KZN, but because of the increasing demand to supply paintings
and commissions, I have no plans in the near future to do any more
workshops”. But although he will no longer teach, Tony is looking
forward to a new chapter in promoting his home studio and gallery.
“This is part of ‘The Saunter’ which is a newly launched venture,
similar to the Midlands Meander, that starts in Durban and ends
in Hilton”. The Saunter website gives this description: We have
handpicked some of the best places to eat, interesting and fun things
to do and you are invited into the studios of talented crafters and artists
for a private view. This beautiful area includes golden beaches, palms
and lush subtropical vegetation, stunning gorges and mountains as
far as the eye can see, Midland mellowness, African plain landscapes
There are five sections to the saunter:
Saunter 1: Durban North to the Berea
Saunter 2: Westville to Pinetown, Kloof and Forest Hills
Saunter 3: Waterfall and Hillcrest, Gillitts to Assagay and Shongweni
Saunter 4: Botha’s Hill, Drummond to Camperdown and the Richmond
Saunter 5: Ashburton, Pietermaritzburg to Hilton.
For more information visit:
Art lovers are welcome to visit Tony’s studio without an appointment
and help themselves to tea and cake. Open days will be Mondays,
Wednesdays and Saturdays from 10h00 until 16h00 - including all
public holidays when they fall on those days. Art lovers will be able to
see the studio, meet Tony and maybe even watch him at work!
Cell: 083 653 8979
Alice Art Gallery, Johannesburg
Art & Wine, Clarens
Chris Tugwell, Pretoria
Dante Art, Somerset West
Ferreira Art, Bryanston
Green Gallery, Mount Edgecombe KZN
Makiwa Art: Brooklyn, Dainfern, Franschhoek & Umhlanga
Riverbend Art Gallery, Ramsgate
Robert Badenhorst, Clarens
Robertson Art, Robertson WCape
Sembach Art, Hout Bay
Showroom Art, Pretoria
Village Art, Hermanus
Zulu-Lulu, Lions River, Midlands KZN
Zantman Art Gallery, California, USA
Tony’s work is featured in our
art calendar (see page 81)
in acrylic
We asked featured artist Tony De Freitas to try out
Amsterdam Acrylics. This demonstration shows Tony’s
method for painting with these paints: straight out of
the tube using broad brushes and a palette knife to
create a vibrant gem of a painting.
“I thoroughly enjoyed my painting
experience using Amsterdam Paints.
Easy-to-squeeze tubes and bright
colours with an ideal consistenc
for use straight out of the tube. The
deliver a good gloss feel and look
I’m looking forward to exploring the
full range of colours.”
STEP 1: Getting started, I have a basic scene in mind.
Using a brush and a very diluted acrylic wash of Burnt
Sienna and Ultramarine Blue I begin my sketch.
STEP 2: I rapidly sketch in the rough pathway and
flanking tree shapes featuring a bench on the left.
STEP 3: A female figure on the bench encountering an approaching
cyclist’s little dog makes for a useful ‘storyline’. I am still sketching
with the brush using the pale acrylic wash.
STEP 4: Using a thicker brush, I begin blocking in the basic colours,
blending warm and cool colours: Emerald Green, Carmine Red,
Gold Yellow, Burnt Sienna and Ultramarine Blue. A strong mix of
Sienna and Ultramarine gives me the darks of the tree trunks. I
carve out the source of light coming through the ‘forest opening’.
With very few details I want the scene and characters to remain
very impressionistic, yet identifiable.
STEP 5: With basic values and colours decided, I squeeze generous amounts
of Amsterdam Acrylic onto my palette and apply directly from the tube with my
palette knife. The knife prevents an over-careful, precise approach – exactly
the loose, random look I want to achieve. Here I am matching the colours of
the sketch with Emerald Green, Carmine Red, Gold Yellow, some Naples Yellow
Light, Sienna and Ultramarine.
STEP 6: To achieve the background light streaming through the ‘forest door’
I use Azo Yellow Light with Titanium White, surrounded by some mixtures
already on the palette. I need to work with quick, bold, decisive strokes,
necessitating the temporary obliteration of my cyclist. However the girl and
the friendly little dog provide enough storyline substance to the scene, so my
cyclist loses his ‘role’.
Burnt Sienna
Ultramarine Blue
Emerald Green
Carmine Red
Gold Yellow
Naples Yellow Light
Azo Yellow Light
Titanium White
STEP 7: I decide that the painting is finished but
then I notice that the white blouse looks a little
insipid, so I decide to add a little more colour,
echoing the background forest foliage, with
some Carmine Red, Naples Yellow and Emerald
STEP 8: Time to stop fiddling… enough
has been stated in under 2 hours. Painting
Amsterdam believes in the artist;
the artist who opens up his eyes
and has the courage to go for
it. Who transforms dreams into
creations. Use an idea, a vision.
Look around you. Surprise and
amaze yourself. Dare to dream in
Watch artist Noe Two painting a
Gorilla using Amsterdam Acrylics.
Click on the QR code to watch the
video. For more info on how QR
codes work, see page 4.
The binder for both acrylic paint and acrylic mediums consists of a dispersion
of acrylic resin particles in water. As long as the binder contains water, the
binder is white. When all the water has evaporated after drying, the acrylic
resin particles in the binder form a continuous colourless transparent film and
the white will have disappeared. This explains why the acrylic paint colours
become darker as they dry. When mixed with a medium the wet paint therefore
also becomes a little lighter; once dry the colour is the same as pure dried paint.
The binder of acrylic paint consists of a dispersion of acrylic resin particles in water. During the drying
the water evaporates and the volume of the paint layer decreases.
A thick layer of acrylic colours is not very porous and therefore not suitable as an undercoat for oil colours.
Oil colours can, however, be painted over acrylic colours if one of the following methods is followed:
• Thin the acrylic colours with water and make a thin underpainting on a universally-primed surface.
Universally-primed means that the preparation layer is suitable for the adherence of both oil colours
and water-thinnable paints. Each painted surface now contains less acrylic resin. Once the water has
evaporated, the paint layer is porous enough to allow the oil colour to adhere into the layer of acrylic
colours. Where the oil penetrates the acrylic colour, it can adhere into the preparation layer.
• For the underpainting use Gesso instead of white acrylic colour when mixing the colours. In order to
ensure the adherence of the oil paint, each colour must be mixed with sufficient Gesso. Gesso is also
a pure acrylic, though it is specially developed and produced according to a particular formula for the
adherence of oil colours.
25 Anniversary Exhibition
By Joy Gibson
A Most Special Occasion!
It was with great excitement and anticipation that the members of the Miniature Art Society of South Africa - MASSA started planning and preparing for our 25th ANNIVERSARY EXHIBITION.
There was a flurry of purchasing of polymin, canvases, (in the miniature dimensions), and prescribed frames, suitable to the miniaturism world.
At the given time, works started arriving from all over the country, some from as far
and wide as Cape Town and Port Elizabeth.
Excitement was mounting as the committee met, at repeated occasions, to plan the
setup and lay out of all the art works and other administrative necessities.
It was decided to support the “COTLANDS” charity and a special stand was prepared
with all the information as well as the raffle details. This was very well supported by
the public, for which we are most grateful, and a most beautiful painting, masterly
created by Gini Harris, was won by Jean Lydall at the draw which took place on
Monday 30th October.
A painting by the late Sylvia Cohen was discovered in the archives and it was a
most appropriate decision at this time to draw a winner from all the buyers of her
beautiful landscape. The Painting was won by the exhibition co-ordinator Carolina
van der Poel’s son, Martin van der Poel. Congratulations to Martin and Jean.
A once in the life-time of MASSA special “CHALLENGE” was included in the event
whereby a stand was set up for very small images (35mm x 45mm ovals and
40mm x 40mm circles).
These paintings depicted the silver theme of our 25th Anniversary most aptly and expertly. Members came up with the most delightful ideas
to reflect this highlight of MASSA’s existence. There were silver rings, silver glasses, silver bowls, spoons, cups, and so much more to delight
the eye of the beholder, in the tiny silver small.
The first prize in this category was won by Gini Harris who painted a silver gravy bowl filled to the absolute brim with shiny lifelike, almost
edible grapes. A well deserved 1st.
The second prize was won by Eileen Bass, who ingeniously invented a double mount, of setting an oval within a rectangular mount, giving an
extra dimension to her painting of an antique silver teacup and fruit.
The third prize went to Paul Allan who painted a silver teapot with the most striking reflections on it. Altogether 21 “Challenge” entries were
Silver and Green; 35 x 45 mm; oil on canvas
by Gini Harris
Antique silver and fruit; 35 x 45 mm; watercolour
by Eileen Bass
Teapot; 40 x 40 mm; oil on canvas
by Paul Allan
Of the many entries received in the greater exhibition there
were 150 submitted by 31 artists which were accepted by
the judges. They used a most fair system, devised by the
Chairlady, Leonora de Lange, whereby judges worked on their
own assessments and then in a group decision on border
cases, as well as then choosing the prize winners according
to the points system.
It is most heartening that we sold more than last year in these
hard economic times and we hope to score even more sales
next year!
There were 10 Highly Commended prizes awarded to the
topmost entries:
Top row:
Gini Harris: “Sweet Red Grapes”
Paul Allan: “White Rhino Feeding”
Nikolai Loukakis: “Slovenija-Bled” in an antique look frame
Karyn Wiggell: “Enjoy The Ride”
Middle row:
Liliane Balthazar: “Thistle and Calla Lilies”
Sue Lippiatt: “Sunrise Greeting”
Eileen Bass: “Still Waters”
Ann Ludwig: “Mountain Stream”
Bottom row:
Nikolai Loukakis: “The Man Of All Seasons”
Chrysoula Argyros: “Boat In Lemnos”
Congratulations to all these exemplary artists.
Our artworks looked most professional displayed on cube
stands with our bold signage which attracted much attention.
People simply enjoyed visiting these beautiful art works
viewing them in the “round” through the magnifying glasses.
It’s hard to think that this Society has been at it for 25 years
now, and here’s wishing you another 125 years MASSA!!
New Products
Nitram Charcoal now
available in SA
Nitram is the Preferred Charcoal of
Professional Artists, Academies and Ateliers
Prices available at
These sensational sketch pads have been developed with a flat, central
seam which cleverly allows artists to create uninterrupted artworks that
can run across each double page spread.
Double the size of your working area
Draw right across the flat margin thanks to its unique lay-flat design
20 x pages of high quality 300gsm cartridge paper
Bonded onto durable heavy weight board for easy sketching
Finally A Lay
Flat Sketch Pad!
Available in A5 (R195.00)
and A4 (R235.00)
Stainless Steel Brush Washer
Range Of New
Art DVD’s
This handy little paint pot is excellent for keeping your water and brushes free of
paint particles ensuring that you don't mess up your work. The flat base gives
it stability and it has an inner pot which easily lifts out and acts as a sieve, plus
a clip-on lid with rubber seal and handle making it ideal for artists on the move.
Brush Washer:
Stainless Steel . Height: 9.1cm, Diameter 8.1cm
Please visit to
see the available titles and prices
Stunning Leather Sketchbooks
There isnt a better gift than this- the quality
and craftsmanship will blow you away
These leatherbound sketchbooks come in a
variety of colours and styles and contain 100
pages of beautiful Fabriano 200g paper. Each
page is hand torn to create a beautiful deckled
edge. The edges are flattened by hand using a
bone folder. Perfect for drawing and sketching,
but this paper will also take lightwater.
Drawing Gum
Range Of Natural Linen
Canvases And Canvas Boards
(Masking Latex) with Applicator:
The applicator lets you squeeze out lines
directly from the bottle like a drawing
Stunning premium natural linen canvas surface, ideal for artists looking for a
truly beautiful and unique texture in their masterpieces!
No need to worry about preparing a background - the beautiful texture of the
linen becomes an integral part of the painting, with the colour of the linen
surface adding great depth, dimension and softness to your artwork. These
high quality 300gsm clear primed canvases will delight both oil and acrylic
artists alike.
We also have a range of ready-made linen canvases and oil primed canvasesOnly available at The Italian Artshop
Masking Fluid Set
This set which includes White Masking fluid, Masking Fluid Brushes and a
Ruling Pen will help improve your use of masking fluid no end!
Scale And Colour Finder Set
Effective, simple and easy to use - this practical set includes 5 essential
artistic accessories that you shouldn’t be without:
Tonal Value Finder - ensures you get the perfect tone in your
paintings time after time.
Colour Finder - this simple yet effective tool helps you identify the
right colour for your artwork.
Perspective Finder - practical accessory for achieving picture
perfect perspective every time.
Picture Finder - composition, perspective and proportion all solved
with this handy finder.
Scale Finder - achieve perfect scale and proportion as you work
from photographs or from life.
Rosemary & Co R12 Travel Brush
Makes a stunning gift
The reversible Pocket Brush is a convenient addition to your brush
collection for those who like to paint on the move. The reversible
handle allows for a convenient storage and prevents damage to the
brush. A dream for urban sketchers, and a Plein Air must-have.
The Italian Artshop is giving away two gift vouchers valued at R250 each.
e-mail your name, postal address and contact numbers to:
Closing date: 13 April 2018
New Range Of Watercolour
And Acrylic Palettes
The Italian Artshop has become
synonymous with excellent quality
brands in South Africa, and we
are dedicated to offering excellent
quality at the very best prices.
Tinting Saucer
Focusing only on fine arts,
The Italian Artshop stocks
everything from paint and
brushes to traditional ingredients
like Copal Manilla, Venetian
Turpentine, rabbit skin glue etc.
Mixing Tray
You’ll be amazed at our wide
range of products.
Delivery is free for orders over
R500.00 and only R50.00 if your
order is under R500.00 *
*terms and conditions apply
Travel Brush Set
The perfect alternative to Sable hair, Silver
Brushes are made using a synthetic mix that
is great at holding lots of paint and keeping its
Paint with these stunning brushes wherever you
are! Contains 4x round brushes and travel case.
Compare Our Prices
Liquin Original 75ml - R185.00
Arches 300g Sheets - R189.00
FC Polychromos Pencils - R34.00
Winton Oil 37ml - R74.00
**This is not a special offer, these are our regular prices
Ground Floor
Riverside Mall
Main Road
Tel: 021 685 1877
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.
Sunset Impression
painting demo
Paint a Sunset Impression Using Glazing Techniques - Plus Gilded Frames from Winsen’s Canvases
A large painting can create problems especially if you tend to paint smaller sizes. A lot more canvas to cover means mistakes tend
to increase. Plus doubts creep in and you may find that you want to change the original concept. So it was with some trepidation
and excitement that I started this painting on a 1m x 1m canvas. However the canvas, supplied by Winsen’s Canvases, is a stunner
made of Belgian linen. My studio was filled with the smell of fine linen canvas, which added to the occasion.
I decided to paint a rich sunset to make the most of the canvas size. I used a number of smaller
paintings as references together with a few photos that I had taken of sunsets.
My palette, to begin with, leans to warm colours with Naples Yellow
featuring more in the early stages. The cools are Ultramarine and
Cerulean Blue. Alizarin crimson is also important for a rich and cool red.
Step 1: I prepared a small notan sketch to plot out the basic
arrangement of mass shapes. The composition is simple. The impact
would hopefully come from the colour and value contrast.
Step 3: Use charcoal to roughly draw the composition onto the
canvas. First make sure of the horizon line. You want to avoid making
the horizon in the middle of the canvas.
Step 2: I painted a few colour notes on primed paper to get a sense
of the colour to use and to get more direction. This is a useful step in
the planning stage.
Step 4: Start blocking in the main shapes. I usually start with the
darkest masses. However in this case the sky is my main focus. If I
can get the colours and design of the sky and clouds sorted out I will
feel more confident going forward.
Step 5: With the sky blocked in I start on the dark mass shapes of
the trees. Ultramarine Blue with a little Alizarin make a useful dark. If
it looks too red add a touch of Pthalo Green.
Step 6: With the treeline blocked in I move onto the foreground
mass shapes. There will be water reflecting light and leading the eye
to the focal area on the left. I am still deciding on how to depict the
water and have a broken surface in mind rather than a flat “glassy”
The structure is taking shape. The perspective is working and there is
strong light and dark contrast.
Step 8: Now back to the sky and using Naples yellow, Titanium
White, Cadmium Yellow Deep and Cadmium Orange for the warm
colours. The clouds are Cerulean, a little Cad Orange and Alizarin
Crimson. The sky will be more blended whereas the foreground more
blue. The lower sky will follow with more blue than pink. I am also
testing colours in the trees. It is a balance between keeping the trees
dark, but still colourful.
Step 10: More colour into the foreground. Paint and step back to
assess. I think I will be getting a lot of exercise!
Step 9: Refining the sky colours is a trial and error process. I want
the distant shore to recede into the haze so I will use desaturated
Step 7: With the composition blocked in I start working over the
entire surface. There is so much to consider, but I am trying to get
into a rhythm of painting. This is a long term project so step-by-step
is the idea.
Step 11: The trees need thinning out. I also want light on the distant
water, but still keeping the colour temperature cool on the distant
water for perspective.
Step 13: Once dry I glaze the painting with a mix of Indian Yellow,
Burnt Sienna and linseed oil. This will add to the richness and warm
up the darks too. Apply with a large soft brush. Then wipe off gently.
Leave the surface wet, but not running.
Step 12: In a flurry of frustration I get the main shapes filled with
colour. Too much blue is evident and I need to warm up the painting.
First let the painting dry for a few days.
Step 14: With the glaze still wet I can
add warm reddish greens to the trees.
More Alizarin near the tips of the trees.
The painting starts to take shape.
Step 15: More warm colour in the water.
The other focus is to bring cool greens and
darks into the foreground grasses and reeds.
This area was too busy so I have to reduce
value contrast to reduce detail. The trees get
more attention with the trunks getting touches
of light. Pinks, oranges and touches of violet
all add life and interest to the trees.
A stunning gilded frame hand-made by Winsen’s Canvases
adds a wonderful finish to the project. The gilding is toned
down with skillfully applied washes. The result is a warm
and rich feel that brings out the colours in the painting and
holds it all together. A big thank you to Gavin and his team at
Winsen’s Canvases for this beautiful frame.
If you would like to watch the
making of this painting plus
some extra hints and tips,
scan this QR code. For more
info on how QR codes work,
see page 4.
Personal Art Coaching: Online live video lessons
with Malcolm Dewey
How it works:
Without doubt personal painting instruction will help you learn quicker. The
problem is time, costs and the inconvenience of travelling to art workshops.
Sound familiar? I have you covered though!
I am offering online painting lessons with you via:
• live video calls via Skype and
• through written or recorded video painting critiques.
Platinum Mentor Package: Best Value: Purchase live video coaching via
Skype plus offline critique and instruction via email and/or recorded video.
Gold Instruction Package: A Pay-as-you-go option
Share photos of your work with me and I tailor lessons to meet your needs.
Lessons focus on landscape painting in the loose, painterly style. Then oneto-one video lessons to give you the benefit of undivided attention.
Contact me for more information.
Facebook: Malcolm Dewey Fine Art
Our Custom Gilded Frames are Hand-made and designed
to add value and elegance to Original Artworks.
Custom Designed and gilded frames for the individual artwork, various
moulding profile and gilding finishes are available. With experience in
gold and silver leafing and painting methodologies, we apply gilding and
wash techniques such that finishes can range from clean crisp to highly
distressed – all with aim to enhance artwork features.
All frames can have backing-board and clear glass added. This is useful
for framing prints or works completed on board. An inner spacer frame
can be added between the glass front and artwork surface.
As all mouldings are profiled in-house, artists can design their own
signature moulding such that a profile remain exclusive and unique to
their works. This is the original source of our range.
Please call or email us to get costing on the various frame mouldings.
Art.b, the Arts Association of Bellville, is the Western Cape branch of the South African National Association
of Visual Art. It is a non-profit membership-based organisation open to all. The gallery is maintained and
managed with the support of the City of Cape Town.
in the studio
Bellville Art Centre
It is an innovative, community – orientated organisation, sensitive to
new ideas and supportive of established and emerging artists from all
cultural backgrounds. Art.b, through its vibrant art gallery, creates a
platform for and showcases visual art and artists in the Western Cape
to raise public awareness of art.
The Bellville Art Centre, situated in the Library centre offers a large
range of courses in the arts and crafts. Community workshops
are held which are specifically aimed at uplifting disadvantaged
communities through the medium of art and empowering students
with income-generating skills. The centre offers courses in painting,
drawing, portrait studies, printmaking, photography, pottery and
more for adults and children.
The Bellville Art Centre has a spacious interior. The main area can be
divided into three separate class areas each accommodating between
10 - 20 students. The pottery studio can accommodate about 10 - 12
students and is fully equipped with slab rollers, wheels, two large
firing ovens and an amazing array of other pottery equipment. The Art
Centre also has a darkroom for photo development. Other equipment
includes a printing press and screen print table.
For information on courses please see details in the Workshop
tel: 021 444 7230 e-mail:
Facebook: @bellvillekunssentrum website:
address: cnr AJ West & Carel van Aswegen Road (Library Centre/ Biblioteeksentrum), Bellville, Western Cape
Cape Town based artist, CHANTELLE VAN
ZYL loves painting wildlife. Her preferred
media includes oil on canvas; soft pastels
and oil pencils; and Black and White pencil
on paper. In this demonstration she uses
Rembrandt Soft Pastels to paint ‘Ostrich
Chicks Under The Camel Thorn Tree’.
birds of
a feather
Rembrandt promise high pigment in their soft pastels - and they
deliver. A white pastel has to stand up to quite a lot during my
drawing. The ultimate test is to be applied on a large surface
where the background has to remain white – no matter what.
This one scores high marks as my background could easily be
tidied up of loose dust at the end with some prestik, without
removing the first white layer. The pastels also spread very well
with minimal application. The colours are solid and I would not
have been able to blend a better selection of colours myself
than in the set of 30 pastels. They grip the artwork where you
want them to and can be dusted off with your fingers or a fanbrush easily for a lighter “pushed-back’’ effect. The quality of
Rembrandt Pastels is undeniable.
Step 1: I started by outlining the Ostriches with Deep Yellow ,
Orange and Burnt Sienna. Then pressed over the outlines with Prestic
to mop up any loose powder. I then covered the background from the
middle, upwards with a thick White layer. On top of that followed soft
orange and yellow detail.
the Ostriches got some Bluish Green whilst the warmer got Permanent
red and Light yellow.
Step 3: Yellow Ochre was used in the head and necks with some
Light Oxide Red (another great colour) for the highlighted areas and
Burnt Sienna. Raw Umber could be used for shading in the white
areas on the face. The Prussian Blue is a wonderfully understated
blue. Perfect for the eyes and beak.
Step 2: I then darkened the detail in the background layer with
burnt Sienna and Green grey (very useful colour). The cooler areas on
Step 4: The Black is a very intense pigment, so I pushed
it back with a bit of Cinnabar Green in the spots on the neck
and softened some edges with Burnt Sienna. The branches
in the back also got some green and black to bring them up
from the background. I softened the lines on it with a very
small brush so the detail would not overwhelm the main
subject. The black I spread with my fingers (this is the part
that makes you feel like a kid again) and softened the edges
of the feathers.
Step 5: The strange, un-feathered undercarriage of the
bird was done with the great selection of blues and Blue
Violet . Although the black pigment is strong, other colours
sit well over it and it blends well.
Step 6: The un-feathered backside was done with Blueish
Green and Blue Violet. I used Phthalo Blue, Permanent
Yellowish Green and White to highlight.
Step 7: The feathers were fun to do as they are mere flicks
of Yellow Ochre, Burnt Sienna, Light Oxide Red, Blueish
Green and White. This is where White had to prove itself
again by sitting on the Black where it needs to and blending
subtly in other places.
Step 8: The Feathers on the body were slightly softened by brushing
very lightly over them with a medium fan-brush. I was not too worried
about blowing the dust away over my light background as I have a
good method to remove it at the end.
Step 9: The legs were done with Burnt Sienna with Prussian Blue
and Blue Violet for shading and Madder Lake Deep (red) and Deep
yellow for warmer areas. Again I lightly brushed the legs with a small
brush and fingers.
Step 10: I applied and spread Burnt Sienna for the
red Kalahari soil. The Camel Thorn seed pods on the
ground was first done with a reasonable amount of
detail and colour as it is difficult to get a subdued
affect with the strong pigments. I used Black,
Grey, Phthalo Blue and Prussian Blue with hints of
Yellowish Green and White.
Final Step: I then pushed back the middle-ground
towards the light by first blending in small movements
the seed pods with my fingers (sideways), cleaning
my fingers with a wet cloth in between strokes. I
then pushed it back a bit more, so the Burnt Sienna
shone through, with the fan-brush. This makes the
Ostriches come forward more. Then came a stick
and a twig for luck. By this time the light background
has lots of pastel dust on it. Clean this up by pressing
fresh Prestic lightly on the picture where you need
to pick it up. Knead the Prestic a bit and repeat until
all the dust is collected. If you are careful it does not
affect the drawing. Voila!
Chantelle van Zyl began painting and drawing at the age of 15. She gained a solid grounding
in her Art education at school. Extra art lessons plus studies in Graphic Design rounded
off her formal education. Because she spent as much of her youth as possible in the
bushveld, close to nature, Chantelle developed her love for wildlife, making mental studies
of animals, their behaviour and their environment.
Want to learn how to draw with soft
pastels? Get inspired with this video of
renowned professional artist Elena Kulik.
She demonstrates how she uses Rembrandt
pastels to draw the sea.
Chantelle has settled in Cape Town where she thoroughly enjoys living and working as a
full time artist, taking working holidays up north for photo excursions. She is a member
of Constantiaberg Art Society as well as the South African Society of Artists. She has had
many group exhibitions at Kirstenbosch Gardens and sold work to visitors from various
Click on the QR code to watch the video.
For more info on how QR codes work, see
page 4.
“My love for nature and art is combined in each piece of work that I do.”
Chantelle’s work is featured in our
new 3 year calendar (see page 81)
Got a technical question? Ask The Guru. Send your questions to: or post to: The SA Artist, Suite 10233,
Private Bag X7005, Hillcrest 3650 KZN
Why do the colours of acrylic paints get darker when drying?
The binder for both acrylic paint and acrylic mediums consists of a
dispersion of acrylic resin particles in water. As long as the binder
contains water, the binder is white. When all the water has evaporated
after drying, the acrylic resin particles in the binder form a continuous
colourless transparent film and the white will have disappeared. This
explains why the acrylic paint colours become darker as they dry.
When mixed with a medium the wet paint therefore also becomes a
little lighter; once dry the colour is the same as pure dried paint.
How can an old varnish layer be removed?
When removing old varnish layers one must take care and be on the
lookout for any possible problems arising during cleaning. If a painting
was varnished before it had time to completely dry, the paint beneath
the varnish would remain soft for quite some time as the varnish layer
would have sealed the paint from oxygen, making it difficult for the
paint to continue drying. In this case, should the varnish be removed
the paint would also be able to (partially) dissolve.
Take a flat brush of a few centimetres wide, dip it into white spirit
and brush it over a surface area of around 15 x 15 cm. Wait until the
varnish begins to swell. In the meantime, rinse the brush and repeat
the procedure over the swollen varnish. This will now partially dissolve
in the white spirit contained in the brush. Continue the procedure with
a rinsed brush until all the varnish on this area has been removed. You
can then treat the next area. Once the varnish has been removed it
will appear as if there is a white film on the painting. This disappears
as soon as a new layer of varnish is applied.
Can the short drying time of acrylic colours be extended in order to
paint alla prima (wet-into-wet)?
Acrylic retarder may be added to the paint up to a maximum of 5%
and increases the drying time by a maximum of 20%.
What is the difference between alkyd paint and water mixable oil
Technically-speaking the difference lies in the binder. With alkyd
paints this is an alkyd resin dissolved in white spirit. With water
mixable oil colours this binder consists of drying oils. Its use results in
the following differences:
Alkyd paint dries considerably faster than water mixable oil
colours, whereby there is less time to work wet-into-wet.
Our stores have a huge range of products for artists,
hobbyists, schools, crafters, architects, designers,
budding artists, students and creative activities for kids. or
Whether it's a sketch pad or a long list of supplies, the
chances are we'll have what you need, it will cost
less, and we'll find it quickly with a smile!
Herbert Evans is THE complete art supply store catering
to the needs of all creative pursuits.
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
How can brushes best be looked after?
The life of a brush can be considerably lengthened if used correctly
and maintained well. Particularly with paints that dry quickly and
water-resistant (for example acrylic paint), the brushes must be
regularly kept moist or cleaned to avoid the paint drying within the
brush. When working with oil paints the brushes can be rinsed in
white spirit.
Solvents are necessary for Alkyd paint in order to thin the paint
and clean the equipment. For water mixable oil colours no volatile
solvents are necessary. Water can simply be used.
When using pure Alkyd paint some of the brush stroke is lost
when drying due to the evaporation of the white spirit. When
using pure water mixable oil colours the brush stroke remains
100% during drying.
Never allow soft brushes to rest on their point in the solvent. The hair
bundle can become irreparably damaged.
Can different varnishes be mixed with one another?
Glossy and matt varnishes of the same type can be mixed in any ratio
to bring about the desired level of gloss. When applying a varnish that
contains a matting agent the last action should be to brush the varnish
in a single direction to achieve an even matt finish.
After use, brushes can be cleaned in the following way:
• First wipe the brush with a cloth or tissue. Particularly with
thicker paints the remnants must be carefully squeezed from the
ferrule to the tip of the hair bundle.
Does a medium have to be used when glazing with acrylic colours,
or can only water be used and what is the difference?
For glazing with acrylic colours the best results are obtained with an
acrylic medium. When thinned with water there will be less binder in
the same area; this makes the colour more matt.
Rinse the remnants of water-thinnable paints in water. While
doing so, do not press down the hair bundle on the bottom of
the pot. Softer types of hair are particularly prone to breaking on
the edge of the ferrule. Rinse remnants of alkyd and oil paints in
white spirit.
When thinning with a glossy medium we add a binder; this makes
the colour more glossy which strengthens the colour impression. If
an extreme thinning is required, it is always advisable to use acrylic
medium instead of water as the addition of large amounts of water
can release the pigment in the paint from the binder; the pigment
would then lie unprotected on the painting and could rub off.
Then carefully wash the brush in the palm of the hand with
household soap or washing up liquid and water (preferably tepid)
until the foam is completely clean. Do not press too hard on the
hair bundle; softer types of hair are particularly prone to breaking
on the edge of the ferrule.
Rinse thoroughly with clean water and shake out excess water.
What sort of brushes are suitable for acrylic paints?
Firmer types of hair are the most commonly used hair in brushes for
acrylic paints. Hog hair brushes can hold a lot of thick paint, but have
a brush stroke that is too inaccurate for working in fine detail. What’s
more, with water hog hair brushes become a little less resilient.
Bring the hair bundle back to its original shape with the fingers
and allow the brush to dry in a pot with the hairs pointing
Which grounds are suitable for acrylic colours?
Acrylic colours adhere onto all possible grounds such as paper,
cardboard, universally-primed artists’ canvas and canvas board,
unprimed artists’ canvas, stone, wood, concrete and unglazed
Synthetic (selected filament) brushes are not affected by water and
are suitable for both thick and strongly diluted paint as well as fine
Acrylic colour brushes have a long handle so that sufficient distance
can be maintained from the painting.
A condition for good adherence is a ground that is free of dust and
grease and that is somewhat absorbent. Priming is not necessary for
a good adherence, though it is, of course, possible. If the colour of the
ground has to function as part of the painting itself, then Preparing
Size (a pure unpigmented acrylic dispersion that dries colourless and
transparent) can be applied as a preparation layer. Use Gesso if a
white foundation is required.
Brushes are available in different price categories and qualities. The
Rembrandt brushes are made completely by hand and provide the
highest possible quality. Van Gogh brushes, also made by hand, are
attractively priced and of an excellent quality. Talens brushes provide
a good quality at very competitive prices.
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Whether you’re keen to start painting; or you’d like to brush up on your skills;
learn to use a different medium or experiment with a new style - there is a
workshop here to suit everyone.
Use this guide to plan ahead for a year of creativity.
Mixed Media with Dalila De Matos
2-3 Feb. The Art Farm, Alberton
Contact Hannah: 0823736076 or
Dalila: 0721323954
Oils: Colours that sing: Helena vd Nest
3 Feb. Waverley, Pretoria
Contact Helena: 0848601610
Self development through self portraiture with
Isa Gesseau 10 Feb. 14h00 to 17h00 Craighall,
Jhb Contact Isa: 0836004030 or
Free-Style Watercolours with Ajay
4 Feb. Kempton Park. Contact Ajay:
011 972 8557 /
Art Journaling - Love is in the air
10 Feb. Purple Palette: Mall@Reds; Centurion
Contact Rene: 0826911288
Oils: Composition with Helena vd Nest
17 Feb. Waverley, Pretoria
Contact Helena: 0848601610
Ladies night - Tranquility
23 Feb. Purple Palette: Mall@Reds; Centurion
Contact Rene: 0826911288
Painting for children: Glazing with Tarryn
Roos. 24 Feb; Kyalami/Fourways; 084 3797 202
or email:
Painting for children: Waterfall Forest with
Tarryn Roos. 25 Feb; Kyalami/Fourways; 084
3797 202 or email:
Landscapes with Willie Jacobs
24 Feb. Vereeniging. Contact: Mattie 0825660527
Pastels: Landscapes with David Johnson
24 to 25 Feb. Kempton Park. Contact: David
0838785588 /
MARCH 2018
Beginners Mixed Media with Ajay
1 to 4 March. Hobby-X, The Dome. Contact Ajay:
011 972 8557 /
Oils: Tonal Values with Helena vd Nest
3 March. Waverley, Pretoria
Contact Helena: 0848601610
Landscapes with Willie Jacobs
3 & 10 March. Vereeniging. Contact: Mattie
0825660527 /
Oils: Painting Shadows with Elaine Marx
5 & 6 Mar. Benoni. Contact: Elaine 0845816340
Ladies night - Beach Sunset
9 March. Purple Palette: Mall@Reds; Centurion
Contact Rene: 0826911288
Painting for children: Trees with Tarryn Roos.
10 March; Kyalami/Fourways; 084 3797 202 or
Painting for children: Impressionism with
Tarryn Roos. 11 March; Kyalami/Fourways;
0843797202 or email:
Painting with Bob McKenzie
16-19 Mar. Bryanston. Contact Myrtle Wilson
0833722046 or email:
Oils: Finding your style with Helena vd Nest
17 March. Waverley, Pretoria
Contact Helena: 0848601610
Portrait Painting with Elize Bezuidenhout
22-24 Mar. Roodepoort. Contact Rona:
Creative Wshop: Shoes with Helena vd Nest
24 March. Waverley, Pretoria
Contact Helena: 0848601610
Drawing faces and figures
24 March. Purple Palette: Mall@Reds; Centurion
Contact Rene: 0826911288
Pastels: Seascapes with David Johnson
24 to 25 Mar. Kempton Park. Contact: David
0838785588 /
Palette Knife Techniques with Elaine Marx
24 to 25 Mar. Benoni. Contact: Elaine
APRIL 2018
Oils: Palette Knife with Helena vd Nest
7 April. Waverley, Pretoria
Contact Helena: 0848601610
Ladies night - Fire Flies
13 April. Purple Palette: Mall@Reds; Centurion
Contact Rene: 0826911288
Painting for children: Beach scene with Tarryn
Roos. 21 April; Kyalami/Fourways; 084 3797 202
or email:
Self-Development & Personal Strategy
through Self-Portraiture Workshop
10 February 2018:
Learn about self through
a very fun process
drawing yourself in
a new way. Signs,
Symbols, Colour and
Values are used to
define your year ahead.
Contact Isa
083 600 4030
Oils: Composition with Helena vd Nest
21 April. Waverley, Pretoria
Contact Helena: 0848601610
Painting for children: Still life with Tarryn
Roos. 22 April; Kyalami/Fourways; 084 3797 202
or email:
Watercolor pen and wash
28 April. Purple Palette: Mall@Reds; Centurion
Contact Rene: 0826911288
MAY 2018
Painting with light with Helena vd Nest
5 May. Waverley, Pretoria
Contact Helena: 0848601610
Live Figure Drawing with Ajay
6 May. Kempton Park. Contact Ajay:
011 972 8557 /
The Crescent Moon
11 May. Purple Palette: Mall@Reds; Centurion
Contact Rene: 0826911288
Oils: techniques and textures with Helena vd
Nest 19 May. Waverley, Pretoria
Contact Helena: 0848601610
Painting for children: Koi with Tarryn Roos.
19 May; Kyalami/Fourways; 084 3797 202 or
Painting for children: Animals
with Tarryn Roos.
20 May; Kyalami/Fourways; 084 3797 202 or
Art Therapy: Abstract
26 May. Purple Palette: Mall@Reds; Centurion
Contact Rene: 0826911288
Pastels: Landscapes with David Johnson
26-27 May. Kempton Park. David 0838785588 /
JUNE 2018
Oils: Creativity with Helena vd Nest
2 June. Waverley, Pretoria
Contact Helena: 0848601610
Landscapes in oils with Ajay
3 June. Kempton Park. Contact Ajay:
011 972 8557 /
Painting for children: Abstract with Tarryn
Roos. 9 June; Kyalami/Fourways; 084 3797 202
Painting for children: Boat scene with Tarryn
Roos. 10 June; Kyalami/Fourways; 084 3797 202
or email:
Ladies Night: Warm winter snow
15 Jun. Purple Palette: Mall@Reds; Centurion
Contact Rene: 0826911288
Oils: Impressionism with Helena vd Nest
23 June. Waverley, Pretoria
Contact Helena: 0848601610
Pastels: Rocks/mountains
with David Johnson
23 to 24 Jun. Kempton Park. Contact: David
0838785588 /
Van Gogh with a twist
30 Jun. Purple Palette: Mall@Reds; Centurion
Contact Rene: 0826911288
JULY 2018
Charcoal Drawing with Helena vd Nest
7 July. Waverley, Pretoria
Contact Helena: 0848601610
Galaxy in the woods
13 July. Purple Palette: Mall@Reds; Centurion
Contact Rene: 0826911288
Watercolour pencils with Helena vd Nest
21 July. Waverley, Pretoria
Contact Helena: 0848601610
Pastels: Landscapes with David Johnson
28 to 29 Jul. Kempton Park. Contact: David
0838785588 /
Abstract mixed media
28 July. Purple Palette: Mall@Reds; Centurion
Contact Rene: 0826911288
French Food, Wine and Art
29 July. Kempton Park. Contact Ajay:
011 972 8557 /
Mixed Media with Helena vd Nest
4 Aug. Waverley, Pretoria
Contact Helena: 0848601610
Ladies night - Music in a glass
10 Aug. Purple Palette: Mall@Reds; Centurion
Contact Rene: 0826911288
Creativity Workshop with Helena vd Nest
18 Aug. Waverley, Pretoria
Contact Helena: 0848601610
Palette Knife with Ina Van Schalkwyk & Petra
Stiglingh 20 to 24 Aug. Krugersdorp.
Contact: Sarel Barnard 0116605548 or
Flower Power
25 Aug. Purple Palette: Mall@Reds; Centurion
Contact Rene: 0826911288
Pastels: Landscapes with David Johnson
25 to 26 Aug. Kempton Park. Contact: David
0838785588 /
Oils: Darks and Lights with Elaine Marx
25 to 26 Aug. Benoni. Contact: Elaine
New Beginnings with Helena vd Nest
1 Sept. Waverley, Pretoria
Contact Helena: 0848601610
Live Figure Drawing with Ajay
2 Sept. Kempton Park. Contact Ajay:
011 972 8557 /
Ladies night - It is Spring!
14 Sept. Purple Palette: Mall@Reds; Centurion
Contact Rene: 0826911288
World inspiration with Helena vd Nest
15 Sept. Waverley, Pretoria
Contact Helena: 0848601610
Landscape mixed Media
29 Sept. Purple Palette: Mall@Reds; Centurion
Contact Rene: 0826911288
Pastels with David Johnson
29 to 30 Sept. Kempton Park. Contact: David
0838785588 /
Trees with Helena vd Nest
29 Sept. Waverley, Pretoria
Contact Helena: 0848601610
Overcoming artist block with Helena vd Nest
6 Oct. Waverley, Pretoria
Contact Helena: 0848601610
Ladies night - Peaceful beach day
12 Oct. Purple Palette: Mall@Reds; Centurion
Contact Rene: 0826911288
Collage with Helena vd Nest
13 Oct. Waverley, Pretoria
Contact Helena: 0848601610
Painting with Bob McKenzie
19-22 Oct. Bryanston. Contact Myrtle Wilson
0833722046 or email:
Pastels: Desert Landscapes with David
27 to 28 Oct. Kempton Park. Contact: David
0838785588 /
Charcoal Drawing: still life
27 Oct. Purple Palette: Mall@Reds; Centurion
Contact Rene: 0826911288
Plein Air Picnic with Ajay
28 Oct. Johannesburg. Contact Ajay:
011 972 8557 /
Watercolours with Helena vd Nest
3 Nov. Waverley, Pretoria
Contact Helena: 0848601610
Ladies night - Steps to the beach
9 Nov. Purple Palette: Mall@Reds; Centurion
Contact Rene: 0826911288
Watercolour, pen & ink with
Helena vd Nest
17 Nov. Waverley, Pretoria
Contact Helena: 0848601610
Pastels with David Johnson
24 to 25 Nov. Kempton Park. Contact: David
0838785588 /
24 Nov. Purple Palette: Mall@Reds; Centurion
Contact Rene: 0826911288
Pastels with David Johnson
8 to 9 Dec. Kempton Park. Contact: David
0838785588 /
Fabtasy Art
15 Dec. Purple Palette: Mall@Reds; Centurion
Contact Rene: 0826911288
Portrait Painting for Beginners with Ajay
16 to 18 Dec. Kempton Park. Contact Ajay:
011 972 8557 /
Oils with Ina van Schalkwyk
1 to 3 Feb. Kleinmond. Contact Tracy:
0823693253 /
Portraits with Willie Jacobs
5-9 Feb. Durbanville, Cape Town
Contact: Willie 0837461208
Urban Sketching with Willie Jacobs
12-16 Feb. Cape Town
Contact: Willie 0837461208 or Annalie
0824509532 email:
Portraits in oils with Elize Bezuidenhout
14 to 16 Feb. Kleinmond. Contact Tracy:
0823693253 /
Colour: Skin tones with Revalle Beaton
16-19 Feb 9:30-13:30; Creative Arts Atelier
(Durbanville); 021 975 5373 or
Sunnyside Farm, Clarens, Free State: 11 to 15 May 2018
Montpellier de Tulbagh, W Cape: 18 to 22 May 2018
Seascapes, Interiors, City Scenes, Still-Life, Landscapes & Figures
“One o
Austra ng
with Australian Artist
students o
all levels
working in
oils or
“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.
Sunnyside Farm,
BOOK11EDto!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.
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:
082 786 4071
011 972 8557
Painting with Bob McKenzie
17 Feb. Knysna. Contact Peter 0614832061
or email:
Portrait Painting with Elize Bezuidenhout
27 Feb - 1 Mar. Durbanville.
Contact Elize: 083 308 1199
MARCH 2018
Portrait painting with Revalle Beaton
3, 10, 17, 24 March 09:30 - 13:30; Creative Arts
Atelier (Durbanville); 021 975 5373 or email:
Brush and Palette knife with Willie Jacobs
5 to 9 March. Hermanus
Contact Gilly Shreeve 0828789558 or
Watercolour Landscapes - Inge Semple
24 & 25 Mar. Barrydale. Contact Inge:
0725975375 or
MOK Gallery Figure & Still life painting with
Clare Menck. 3/4 March 2018. Muratie Wine
Estate near Stellenbosch.
Contact Clare 0832250059.
APRIL 2018
Urban Sketching with Willie Jacobs
9-13 April. Stellenbosch. Contact: Willie
0837461208 or Annalie 0824509532 email:
Art as therapy with Revalle Beaton
14 April 09:30 - 13:30; Creative Arts Atelier
(Durbanville); 021 975 5373 or
Portrait Painting with Elize Bezuidenhout
18 - 20 Apr. Stellenbosch. Contact Ilse:
Painting & drawing in Sutherland with Clare
Menck. 20-22 April. Theme: swimming and
water. Call Clare 0832250059
MAY 2018
Portrait Painting with Elize Bezuidenhout
2 - 4 May. Durbanville.
Contact Elize: 083 308 1199
Abstract painting with Revalle Beaton
5, 12, 19, 26 May 13h00 to 17h00; Creative Arts
Atelier (Durbanville); 021 975 5373 or
JUNE 2018
Painting workshop in Cederberg near Ceres
with Clare Menck. 1-3 June.
Contact Clare 0832250059.
Old Masters with Revalle Beaton
2, 9, 16, 23, 30 June 09h30 to 13h30; Creative
Arts Atelier (Durbanville); 021 975 5373 or email:
Painting with Bob McKenzie
15-18 June. Sedgefield Contact Zanne Small:
082 775 1104 email:
Lifedrawing marathon Schalkenbosch Wine
Estate, Tulbagh with Clare Menck.
11/12 August. Contact Clare 0832250059
Watercolours with Inge Semple
15 & 16 Sept. Newlands. Contact Inge:
0725975375 or
Plein air/water painting/drawing with Clare
Menck. Calitzdorp/Karoo 21-24 Sept.
R4200 pp incl meals and accom.
Contact Clare 0832250059
Printmaking and linocut with Theo Paul
Vorster 3-6 October. Muratie Wine Estate
Stellenbosch. Contact Cecile 072 553 5547 or
Art Camp: Elize Bezuidenhout & Sonja Frenz
5 - 9 Nov. Ladismith.
Contact Elize: 083 308 1199
Paternoster Art Retreat with Ajay
11 to 17 Nov. Paternoster. Contact Ajay:
011 972 8557 /
Painting with Bob McKenzie
7-10 Dec. Sedgefield Contact Zanne Small:
082 775 1104 email:
“Being Here”: 5 days, 5 teachers
2 to 5 Feb. Curry’s Post. Contact Hermine:
Colour Mixing with Dee Donaldson
10 Feb. Durban. R550 e-mail:
Flower Design: Hermine Spies Coleman
17 & 18 Feb. Curry’s Post. Contact Hermine:
Watercolours with Grant Wood
21 to 25 Feb. Umzumbe, KZN SCoast; Contact
Grant 0396846381 or
Urban Sketching with Stuart Talbot
25 Feb. Durban. Contact Stuart: 0833844410 or
Landscapes with Dee Donaldson
26, 27, 28 Feb. Durban. R1900 e-mail:
MARCH 2018
Wcolour Landscapes - Marion Townsend.
2 Mar. Curry’s Post. Contact Hermine:
From drawing to painting 2 - Jinny Heath
3 Mar. Curry’s Post. Contact Hermine:
Decoupage with Stella Stevens
10 Mar. Curry’s Post. Contact Hermine:
Colour Mixing with Dee Donaldson
10 March. Durban. R550 e-mail:
Relief Cement Sculpture with Peni Miller
16 to 18 Mar. Curry’s Post. Contact Hermine:
Still Life with Dee Donaldson
24, 25, 26 March. Durban. R1900 e-mail:
Urban Sketching with Stuart Talbot
25 Mar. Old Station, Durban. Contact Stuart:
0833844410 or email:
APRIL 2018
Painting with Bob McKenzie
3 - 6 Apr. Nottingham Rd. Contact Sylvia Smythe
0825617770 or email:
Designing a landscape painting: Hermine
Spies Coleman 14 & 15 Apr. Curry’s Post.
Contact Hermine: 0826525682
Painting with Bob McKenzie
17-20 Apr. Riverbend Croc Farm, Ramsgate.
Contact Howard Kelly: 0832655983 /0893166
204 or email:
Watercolours with Marion Townsend.
20 Apr. Curry’s Post. Contact Hermine:
From drawing to painting 3 - Jinny Heath.
21 Apr. Curry’s Post. Contact Hermine:
Portraits with Dee Donaldson
21, 22, 23 April. Durban. R1900 e-mail:
Painting with Bob McKenzie
24-27 Apr. Himeville, Drakensburg. Contact Mike/
Meg 0823722374 email:
Watercolours with Grant Wood
25 to 29 April. Umzumbe, KZN SCoast; Contact
Grant 0396846381 or
Urban Sketching with Stuart Talbot
29 Apr. St Pauls Church, Dbn. Contact Stuart:
0833844410 or email:
MAY 2018
Intro to oil painting with Dee Donaldson
5 May. Durban. R550 e-mail:
Portrait painting with Jane Digby.
8 & 9 May. Curry’s Post. Contact Hermine:
Exploring Art Therapy - Dr Anni Wakerley
12 & 13 May. Curry’s Post. Contact Hermine:
Landscapes with Dee Donaldson
26, 27, 28 May. Durban. R1900 e-mail:
WColour Monoprints on perspex - Ian Calder
26 & 27 May. Curry’s Post. Contact Hermine:
Urban Sketching with Stuart Talbot
27 May. Kwa Muhle Museum Durban.
Contact Stuart: 0833844410
or email:
JUNE 2018
Hand Build Pots with Gillian Coleman
2 & 16 Jun. Curry’s Post. Contact Hermine:
Watercolours with Grant Wood
20 to 24 June. Umzumbe, KZN SCoast; Contact
Grant 0396846381 or
Skies with Marion Townsend
22 Jun. Curry’s Post. Contact Hermine:
From drawing to painting 4 - Jinny Heath.
23 Jun. Curry’s Post. Contact Hermine:
The Figure (advanced) with Dee Donaldson
23, 24, 25 June. Durban. R2100 e-mail:
Urban Sketching with Stuart Talbot
24 June. Colonial Mutual Building Durban.
Contact Stuart: 0833844410 or
Giverny Country Studios KZN
Workshops and courses. Experienced teachers
in drawing, painting, printing and pottery
Contact Hermine Spies Coleman
JULY 2018
Urban Sketching with Stuart Talbot
29 July. Greenacres, Durban. Contact Stuart:
0833844410 or email:
Ceramic tiles: press-moulded with Ian Calder
4 & 5 Aug. Curry’s Post. Contact Hermine:
Watercolours with Grant Wood
9 to 12 August. Umzumbe, KZN S Coast; Contact
Grant 0396846381 or
Water & Reflection - Marion Townsend
17 Aug. Curry’s Post. Contact Hermine:
Abstract Painting: Hermine Spies Coleman
25 & 26 Aug. Curry’s Post.
Accommodation, Food, Wine,Teas,Tuition
and all Art Materials
2018 Availability: Feb 21-25, April 25-29,
June 20-24, August 9-12, October 10-14,
November 28-2 December
Contact Grant Wood
083 658 2053 or 039 684 6381
WIN! We love getting feedback. Send us your suggestion for making our art escapes even better.
The best suggestion will win a place at one of our upcoming workshops including accommodation,
all meals and art materials. Send your suggestion to:
Contact Hermine: 0826525682
Urban Sketching with Stuart Talbot
26 Aug. Children’s Hospital Durban.
Contact Stuart: 0833844410 or
Fabric Painting with Cath Stempolski
1 Sept. Curry’s Post. Contact Hermine:
Still Life with Liz Speight
5 to 7 Sept. Curry’s Post. Contact Hermine:
Art Therapy - Dr Anni Wakerley
8 & 9 Sept. Curry’s Post. Contact Hermine:
Pastels: Landscapes with David Johnson
11 to 13 Sept. Wartburg. Contact: David
0838785588 /
Pastels: Landscapes with David Johnson
18 to 20 Sept. New Hanover. Contact: David
0838785588 /
Urban Sketching with Stuart Talbot
30 Sept. Mosques in Durban.
Contact Stuart: 0833844410
or email:
Wcolour: Buildings - Marion Townsend
5 Oct. Curry’s Post. Contact Hermine:
From drawing to painting 5 - Jinny Heath.
6 Oct. Curry’s Post. Contact Hermine:
Watercolours with Grant Wood
10 to 14 October. Umzumbe, KZN S Coast;
Contact Grant 0396846381 or
Nerikomi pottery - Hermine Spies Coleman
20 & 21 Oct. Curry’s Post. Contact Hermine:
Urban Sketching with Stuart Talbot
28 Oct. Quadrant House, Durban.
Contact Stuart: 0833844410
or email:
Painting with Bob McKenzie
29Oct-1 Nov. Valley Bakery; Champagne Castle.
Contact: Kim 082 800 6845
Watercolours with Marion Townsend
2 Nov. Curry’s Post. Contact Hermine:
From drawing to painting 6 - Jinny Heath.
3 Nov. Curry’s Post. Contact Hermine:
Painting with Bob McKenzie
6-9 Nov. Kokstad. Contact Anne 0834075222 /
0397274045 email:
Urban Sketching with Stuart Talbot
25 Nov. Playhouse, Durban.
Contact Stuart: 0833844410
or email:
Watercolours with Grant Wood
28 Nov to 2 Dec. Umzumbe, KZN S Coast;
Contact Grant 0396846381 or
Urban Sketching with Stuart Talbot
30 Dec. Emmanuel Cathedral, Durban.
Contact Stuart: 0833844410
or email:
Alternative Art Methods - Theona Truter
21-24 Feb. Kroondal. Contact: Sanmarie
0827857513 /
Paint a Sunset with Ina Millman
3 to 4 Feb. Wakkerstroom. Contact: Ina 083 409
3867 /
MARCH 2018
Painting with Bob McKenzie
2-4 Mar. Ambience Guest House, White River.
Hannes Scholtz 0828215060 or email:
Painting with Bob McKenzie
6-8 Mar. Ambience Guest House, White River.
Hannes Scholtz 0828215060 or email:
Paint trees with Ina Millman
31 Mar to 1 Apr. Wakkerstroom. Contact: Ina 083
409 3867 /
MAY 2018
Paint mountains with Ina Millman
26 to 27 May. Wakkerstroom. Contact: Ina 083
409 3867 /
JULY 2018
Paint Ethereal Clouds with Ina Millman
21 to 22 July. Wakkerstroom. Contact: Ina 083
409 3867 /
Portraits (live model) with Ina Millman
15 to 16 Sept. Wakkerstroom. Contact: Ina 083
409 3867 /
Paint Wildlife with Ina Millman
10 to 11 Nov. Wakkerstroom. Contact: Ina 083
409 3867 /
Painting with Renier Oosthuizen
18 to 23 Feb. Magoebaskloof Mountain Lodge.
Renier: 082 344 0058
MAY 2018
Painting with Renier Oosthuizen
20 to 25 May. Magoebaskloof Mountain Lodge.
Renier: 082 344 0058
Painting with Renier Oosthuizen
16 to 21 Sept. Magoebaskloof Mountain Lodge.
Renier: 082 344 0058
MAY 2018
Oil painting with Shirley Howells
20 to 26 May. Clarens. Contact Shirley: 031 702
6436 /
Art Holiday with Koos Bronkhorst & Ina
Millman 1 to 8 Sept. Clarens. Contact Ina: 083
409 3867
Painting Holiday with Elaine Marx
21 to 27 Oct. Clarens. Contact: Elaine
Figure Studies with Petra Stiglingh
6 to 9 Feb. Jeffreys Bay.
Contact: Petra Stiglingh 0723888738
Watercolours: ECWA and Jo Daniels
Wesley Gdns Methodist Home Hall, P.E.
7 Feb. Tel: 084 240 5218 / 072 256 7154
APRIL 2018
Palette Knife with Ina Van Schalkwyk & Petra
Stiglingh 10 to 14 April. Jeffreys Bay.
Contact: Petra Stiglingh 0723888738
MAY 2018
Painting with Bob McKenzie
8-11 May Port Alfred. Contact Bob: 0836932442
Figure Studies with Petra Stiglingh
15 to 17 May. Jeffreys Bay.
Contact: Petra Stiglingh 0723888738
Painting with Bob McKenzie
8-11 May Port Elizabeth. Contact Bob:
083 693 2442 email:
JULY 2018
Flower Study with Petra Stiglingh
10 to 13 July. Jeffreys Bay.
Contact: Petra Stiglingh 0723888738
Painting with Bob McKenzie
17-20 July. Port Alfred. Contact Bob:
0836932442 email:
Painting with Bob McKenzie
20-23 Aug. Adelaide; Glendenning Farm.
Contact Kate Moragn 0810247542
Painting with Bob McKenzie
TBC. Kidds Beach. Contact Sharon 0832543816
Painting with Bob McKenzie
18-20 Sept. Parys Afridome Agi Trade show
Contact Bob: 0836932442
Landscapes with Petra Stiglingh
9 to 12 Oct. Jeffreys Bay.
Contact: Petra Stiglingh 0723888738
Palette Knife with Ina Van Schalkwyk &
Petra Stiglingh 10 to 13 Oct. Jeffreys Bay.
Contact: Petra Stiglingh 0723888738
Figure Study with Petra Stiglingh
13 to 16 Nov. Jeffreys Bay.
Contact: Petra Stiglingh 0723888738
Painting with Bob McKenzie
20-23 Nov. Port Alfred. Contact Bob:
0836932442 email:
Painting with Bob McKenzie
23-26 March and 13-16 Oct. Harare.
E-mail Lizzy Brown:
or Sharyn Hayter:
Painting with Stefan Smit
26 May 26 to 2 June. Kumara Luxury Villas,
Weligama. Contact Krissy +61413613131
Mixed Media and textile painting
Sandringham: Tues: 14h00 to 16h00;
Thurs: 14h00 to 16h00;
Sat: 14h00 to 16h00
Edenvale: Tues: 19h00 to 21h00;
Thurs: 18h30 to 20h30.
Bedfordview: Fri: 09h30 to 12h00.
Contact Monique Bailey 083 743 8480 or
iBi Art
Mon 16h30 - 17h30 Children’s classes
Tues & Wed 18h30 - 21h00 Adult classes
Fri 15h30 - 17h00 Adult and children’s classes
Painting, drawing, collage, clay work, acrylic,
exploration with various techniques & materials.
Reference to old masters & art history as you
learn. A free space to explore and indulge in your
own creativity.
Contact Isa: 083 6004030
or e-mail:
Absolute Beginners to Post Graduates:
Drawing, Painting, Sculpture, Mixed Media,
Workshops and Art Retreats, Portfolio Work and
Designer Courses. Since 1997.
Facebook: Ajaysart
tel: 011 972 8557 Cell: 082 786 4071
Adult Art Classes in all mediums with
artist, miniaturist and art teacher
Leonora de Lange
(B.A. Fine Art, AWSSA,
All levels, from beginners to
advanced welcome.
Tel: 082 334 7891
Meggan’s Art Studio, Christ Church
Thurs 18h00 to 20h30; Sat 09h30 to 12h00
Contact Meggan 0823278553 or
Portraits with a Difference (beginners &
advanced) with Laura Wenman
Weekends in Parklands. Cape Town
Contact: Laura. 0844072282
Weekly classes and workshops for students
of all levels of experience.
Learn from highly qualified and experienced
teachers to draw, paint, design, print and make
pottery: Jinny Heath, Ian Calder, Jane DigbyBlacklaw, Marion Townsend, Liz Speight, Peni
Miller, Hermine Spies Coleman, Lorraine Wilson,
Catherine Stempolski and Gillian Coleman.
For info, bookings or just to receive our
newsletter contact:
cell: 0826525682 (whatsapp or sms)
Art classes by Ina Millard-Eksteen. Proven
curriculum for more than 30 years. We cover
all aspects to empower you as an artist to paint
your own composition. Full day art classes on
Saturdays and weekdays.
Enquiries: Millard Art Gallery
Tel: 011 462 5577 Ina: 081 735 2489
Learn to draw and paint like the Old Masters.
Create realistic pictures through observation,
lighting & age old techniques.
Bridging classes for architecture, design
and visual art student’s portfolios.
All levels welcome - beginners,
intermediate and experienced artists.
Expert guidance by Florence-trained artist
Contact Kim Myerson: cell: 072 064 5775
Printmaking with Judy Woodborne
Wednesday 2 to 5pm and Friday
10.30am to 1.30pm.
Contact Judy: 083 415 0667
Tuesday and Thursday mornings
in Benoni, Gauteng
Contact Dawn Beadle
Cell: 073 826 1973
Fine Art Calendar
2018 to 2020
Page-a-Day A5 3 Year Desk Calendar
featuring 365 South African Artworks
Loose Sheets In A Sturdy Acrylic Holder
Rotates Over 3 Years
the perfect
gift for any
art lover
Журналы и газеты
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The South African Artist, journal
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