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Digital Subscriptions > The Artist > Sep-17 > Australia – a painter’s view

Australia – a painter’s view

Chris Forsey demonstrates how he captures the pure, glittering light and colours of Australia’s Great Ocean Road in mixed media, and shares the contents of his travel painting kit
Beneath the Lighthouse, Split Point, mixed media, 10 × 13in (25.5 × 33cm). The light was dazzling, the dark rocks glittering in the strong sunshine, the towering cliff stack reflecting darkly in the turquoise waters. I didn’t have time for much of a sketch here but managed a quick snap while walking, and then worked from that a few hours later while the image was still vivid in my mind. I used ultramarine blue, alizarin crimson and raw umber to give monumental solidity to the rocks, allowing flashes of bright colour to describe the form of the cliff. In the foreground I painted swift, broad brushstrokes of turquoise, alizarin, lemon yellow and umber to give light and strength without overdescribing the plants and grasses. For the shallow water at the base of the cliffs I used semi-transparent turquoise and crimson applied over the pale pink background, with cobalt blue and pale dioxazine purple for the deeper waters
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About The Artist

Welcome to an inspiration-packed issue with great demonstrations to follow in all media to help practise and develop your skills, from Paul Riley's focus on how to depict glass and reflections in watercolour, Chris Forsey's mixed-media demonstration of a light-filled Australian coastal scene to Rob Wareing's feature on painting skin tones and portraits in oils. With an insight into up-and-coming Richard Burger's approach to portraiture and Richard Pikesley's use of studio objects as tabletop still lifes, we also step into the shoes of professional artists to see what motivates them and how they approach their work. Young artist Marie Antoniou urges you to express yourself in acrylics with just one brush, Robert Dutton explains the rules of perspective while Paul Talbot-Greaves shows how to achieve depth in landscape compositions, Barry Herniman paints boats and harbours, and Liz Seward suggests the perfect antidote to painter's block by turning to collage. For help with colour mixing, Julie Collins turns our attention to the variety of whites available, and Catherine Strong tells us how to keep our greens clean and vibrant. Enjoy the issue and email your feedback and comments to us at theartistletters@tapc.co.uk We love to hear from you!
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