Artists Down Under - Australia and New Zealand - August 2019

DOWN UNDER Australia and New Zealand

issue 29 - august 2019 | digital artistry

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06 E D I T O R ’ S M E S S A G E

by Pam Henderson

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60- S U E M A P L E S 61 - B r i l l i a n t B r i d g e

- Old Car At Farina Ruins

PHOTOSHOP ARTISTRY

by Sebastian Michaels

- Care For Africa Foundation and WorldPix.org - Water From Ar t - Helping Women with Endometriosis - Forest & Bird Online Store - A Solo Exhibition with Judi L apsley Miller - Di s c o v e r y, A C ur a t e d E x hibition

62 M I C K R O O N E Y - Brothers - Coffee

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MARY KNAGGS - Autumn Leaves - Dusk Quinns Rock

64 J O H N F. K E L LY - B i r d ’s E y e V i e w - Prawns

65 M A R J O R I E L O R D

- T he Reculture O f Grace

- Dusk T ill Dawn Whitianga Camera Club E xhibition - African Animals - Memories Of Namibia Exhibition - On-Line Courses - My Creative Still Life Cour se - For The Love Of Food - Food Photography Course

20- A R T I S T S A C H I E V E M E N T S 31 - F a c e b o o k P a g e - Light Space & Time - Shif t Ar t - Living The Photo Ar tistic Life - Fusion Ar t - Nature Ar t E xhibition - Marsden Ar t Group E xhibition - Ar t Sold

66 C H R I S B A R N E S - Lookout Duty

67- F E AT U R E D A R T I S T DENNIS RICK ARD 77 - Banksia

- Prowling - Flight - Intent - Ambling

49- A R T I C L E 58 b y J u d i L a p s l e y

Miller

- 2019 Wildlife and Native Photography Challenge

59 J U L I E P O W E L L

- S ci s s or s A nd Tw ine - Winter Is Coming

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84- C O L I N K I L L I C K 85 - N e v e r P r o v o k e A D r a g o n

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- Never Provoke A Dragon II - Night Drive II - Sunset Over T he Big Cit y

86- A R T I C L E 87 C A R O L I N E J U L I A

MOORE

IN T ERVIE W

b y Tr i s h H o s k i n

88- P E N N Y D E J O N G 89 - T h e D r o u g h t B r e a k s - F u l l Ta n k

- Out Of Fuel

90- A N T H E A S C O T T E 91 - J u n e B r i c o l a g e C h a l l e n g e

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- June Bricolage Challenge II

92- S H A R O N R A N K M O R E 93 - J o u r n e y - Perplexed

94 A N N A L C O C K - Green Hills

- Threatened

- Flight Of Fantasy

- Oasis - Beyond - Ta t h r a W h a r f - Best Seat In The House - Moscow Metro - Pelican L anding - Me e t Your A r t i s t

CHALLENGE

By Pam Henderson

Festival

- Camel Rock

- Suitcase At No. 38

32- A R T I S T S C H A L L E N G E 48 M O N T H L Y P H O T O G R A P H I C

Fold

- Seriously Blonde

08- N E W S / W H AT ’ S O N 19 b y A D U M e m b e r s - Care For Africa Raf fle

82- D A L E B O T H A 83 - L i g h t P a r a d e , W o o d f o r d

78- I L O N A A B O U - Z O L O F 79 - A n A n g e l W a t c h i n g - Carnival Dolls

80- B A R B A R A D U D Z I N S K A 81 - F r a c t a l s M o d e l - Model In Blue

95- F E AT U R E D A R T I S T BILL OLDHAM 104

- H e y H e y G o o d L o o k i n ’, W h a tc h a Go t C ook in’ - Older Man - W ho You C allin g B e a k f ac e?

- Man And Lizard - Purple Fantasy - Purple Petals - Flowers And Leaves In Black And White - Pinwheel Abstract - H e r e ’s L o o k i n ’ A t Y o u - Tr i o O f P i n k i s h F l o w e r s - Me e t Your A r t i s t

105 I N G R I D J A K O B S E N - Cit y Building s I

123- F E AT U R E D A R T I S T RHONDA R AMADGE 131 - Just Floating By

- Cit y Building s II

- Warrior Girl

106- P H I L L I PA F R E D E R I K S E N 107 - W o v e n L a n d s c a p e

- E xploring T he New World - Bird Girl

- R i d i n g T h e Tr a i l - Riding With Wolves - Moonlight Escape

- The Model

- Finding The Way - Me e t Your A r t i s t

110- G I TA M A D AY 111 - D i s c B u d

- Painted Peony

112- R O C H E L L E M A R S H A L L 113 - A d r i f t

- Bridge Over The River Maitai

114- A R T I C L E 115 C H I N E S E W H I S P E R S

by Maureen Max well

116- PA M H E N D E R S O N 117 - M a g i c F o r e s t - The Model Within

118 K A R E N WA A L W Y K - Booby I

- Booby II

119 C H R I S T I N A B R U N T O N - African Pelican

- Nor thern Black Korhaan

- Pennies From Heaven

122 G E O R G E K O N C Z

- Memories Of A Past Era - Exotic Dancer From T hailand

152- M I K E K A N E 153 - M o v i e P o s t e r - Rouge

154- C LY D E S C O R G I E 155 - S l e e p i n g C a v e m e n 156 H E L E N A K E R S T R O M

134- T R I S H H O S K I N 135 - L o n d o n To w n

157- F E AT U R E D A R T I S T SUSAN MOSS 165

- Cheetah Sketch

- Cheetah Orange

- T he Blue Jug

- Pret ty In Pink

136- K AY E V I S O N 137 - W i t c h i n g H o u r

- Just Made For Walking - Blossoms

- Moonlighting

- G o l d e n Tu b u l a r B e l l s - Going High

138- A N N L AV I N 139 - D a n c e r

- P a i n t e r l y Ta b l e A n d C h a i r s - Red Door Provence

- Bygone Days

- Lawson - Stella In Wonderland

140 A R T I C L E

- Me e t Your A r t i s t

S OME P HO T OSHOP INSP IR AT ION

by Andrew Haysom

141 J I M M E R C H A N T

- Waiting For The Parade - Abby Relaxing

120- J U D I L A P S L E Y M I L L E R 121 - A l l T h e C o l o u r s

150- K Y E T H O M P S O N 151 - F a c e I t

132- M A U R E E N M A X W E L L 133 - P i e m a n R i v e r R e f l e c t i o n

- The Mews

#21

- T he Fire Of Autumn

- Secret Rock

- Alien Girl - Through The Por tal

108- S A N D Y B O L E S 109 - A m b e r

149 M A R G O Z E R B E S

142- D E N I S E M c D E R M O T T 143 - S t e a m p u n k P o r t r a i t - T he Reader

144- A L B A M A S S 145 - S t e v i e S t r a n g e

166- A N N W E H N E R 167 - D o Y o u H e a r ?

- On A Wing And A Prayer

168- D E A N H O H N 169 - M o r n i n g R a i n

- The Scent Of Lavender

170- J U L I A H A R W O O D 171 - K a n g a r o o s ’ H a l o W i t h Fields

Sunset

- Tr e a s u r e Y o u r L o v e d O n e s

- At The Bridge

172 J O Y C E M A R I S FRONT COVER

by BARBAR A DUDZINSK A - Windmill In Amsterdam

146- A R T I C L E 148 U N D E R W A T E R

- Ta p e s t r y D o l l I I

PHOTO SHOOT

by Ilona Abou-Zolof and Christina Brunton

173 C O L I N C A M P B E L L - Palms

- 1 9 8 0 ’s C a i r o S n a p s h o t

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174- A R T I C L E 179 A R T E X H I B I T I O N

AND GALLERY

FR AMING HIN T S

by Judi L apsley Miller

180 M A R G A R E T K A L M S

- Bleeding And Spot ting

181 M A R I S A L I B E R AT O - Mashed Potatoes

- R un W hile You C a n

182- L O U I S E S M I T H 183 - C i t y G i r l

- Unlock My Hear t

184- A L I O P P Y 185 - T h e Tr e e O f

Eternity

- Ambrosine

186 G E R A R D W H E L A N - Lupins Painting - Lupins Beauty

187 L E A N N E M W I L L I A M S - N a t u r e ’s B e a u t y

- Sing A Song Of The Fairywrens

188- A N D R E W H AY S O M 189 - A s c e n t - Soaring

- Ghost Of A Girl

Louise Smith - Pretty In Pink

Jim Merchant - Minority One

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Colin Campbell - Country Heart

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aD rOt W i s tNs U N D E R Australia and New Zealand

EDITOR’S MESSAGE Welcome to the August edition of Artists Down Under where I delight in bringing you a jam packed edition of interesting interviews, articles and of course the amazing images from our artists.

This month’s theme for our Artists Down Under Artistic Photographic Challenge was all about the “ABC’s”. I asked our artists to be creative and let their artistic minds create. We received an array of fantastic images to share with you.

Browse through our artists achievements as they continue to be successful all around the world.

Judi Lapsley Miller shares with us once again some of her talented photographers on their journey with the Art Of Birding Wildlife And Nature Photography Challenge.

Trish Hoskin has an amazing interview to share with you with the very talented designer Caroline Julia Moore.

Another collaboration from the Redlands Digital Artists group has been kindly shared with us as they continue their Chinese Whispers Series.

The newest of the Photoshop Tutorials by Andrew Haysom, this month on Lightroom Presets in Adobe Camera Raw. Two of our talented artists, Ilona AbouZolof and Christina Brunton, share with you the in’s and out’s of their recent underwater shoot. It sounded like lots of fun was had.

Judi Lapsley Miller has kindly shared a few hints with us on Exhibition and Gallery Framing, something I am sure we will all read and learn from.

Anthea Scotte - Nothing Is Impossible

I am delighted to share with you four more of our very talented artists in our Feature Artist section - Dennis Rickard, Bill Oldham, Rhonda Ramadge and Susan Moss. I hope you enjoy their images as much as I do.

Get yourself comfy and I hope you enjoy this edition of Artists Down Under, keep warm, stay safe & see you all next month.

Pam Henderson

AL Ba Mass - Dreams Of A Wish Backgrounds: Foxy Squirrell Laitha’s Designs - Jai Johnson - White Lane Studio Copyright 2017 © Artists in this publication are responsible for any rights appertaining to their work.

Clyde Scorgie - Miss Steampunk

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HTTPS://PROPHOTOSHOPARTISTRY.COM

Image by: Gail Edwards, Photoshop Artistry Student (Canada) Portfolio at: https://artboja.com/art/gvw704/

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aD rOt W i s tNs U N D E R Australia and New Zealand

NEWS

Care for Africa The raffle image has been kindly printed and donated by Print 2 Metal in Melbourne in support of the Care For Africa Foundation. A huge thank you to Marie and Frank for their ongoing support.

The raffle image is titled “Water Is Life ll”. The image is a Unique State image and a collaboration between Nigel Lazenby and myself. The image is 20”x30” printed on ultra gloss white coated aluminium with a floating frame.

The raffle will be drawn on a date TBA. Raffle tickets are available 1 for $5, 3 for $10. Tickets are available by emailing Dean at dean.hohn@bigpond.com.

You can also purchase tickets online direct from Care For Africa.

Direct deposit into: Care for Africa: BSB: 037608 Acc: 387249 or Email: jennysaunders122@gmail.com Will ship to anywhere in Australia.

Digital Art links the Care For Africa Foundation with WorldPix.org!

Never think for a minute people don’t take notice of your art and what you’re doing. Especially if it’s for a good cause!

I got noticed by Mike Goldner, at ArtisanHD, from my ArtBoja page, who in turn told Paul Lynch, the founder of WorldPix.org about the work I was doing with the Care For Africa Foundation, raising funds for drilling fresh water wells. Thank you Mike Goldner for passing my information on to Paul Lynch.

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It is coming up 12 months ago that Paul first contacted me to see if I would be interested in joining their group, who are doing similar work to what I’m doing for the Care For Africa Foundation, in various locations around the world.

I said yes and filled out the application form, but I didn’t really meet the requirements of their organization because I have never been to Tanzania and therefore couldn’t provide images of the people or animals from the villages we are supporting.

Dean L Hohn My dream is to visit the Tarime District of Tanzania and spend time with the villagers and attempt to capture their stories and include them in my gallery.

The Care For Africa Foundation, that I am raising funds for is based in Launceston, Tasmania. As a result of not having been to Tanzania, the board of WorldPix has been gracious enough to allow me to use my digital art images from around Tasmania, until such time as I’m able to actually visit Tanzania. I thank them for this privilege.

Combine that with the fact I did digital art instead of straight photography and it took a bit for the board You can see my gallery of images at https:// to work out how I could fit into their organization. worldpix.org/galleries-2/ In the end, we have overcome the hurdles and I am delighted to be a member of WorldPix.org.

Dean Hohn

Care for Africa Cont ...

WATER FROM ART As many of you will know, my “WHY”, is using my art to support the Care for Africa Foundation to drill fresh water wells in the 6 villages it supports in the Tarime District of Tanzania. These villages are off the tourist route and therefore received no form of aid until the Care For Africa Foundation heard about their plight and decided to do something to help.

It was the middle of June 2016 when a friend and fellow photographer posted some of her designs on Facebook that the idea of using my art for designs on clothing and scarves hit me. I asked her if she would mind if I copied the idea, of using my art on clothing and she said no.

The end of June 2016 I launched my Nuna Collection, with designs originating from my rock art that dated back to the Nuna Era. As a designer I receive a commission of 10% for each piece that is sold and I in turn donate all proceeds to the Care For Africa Foundation.

My designs have evolved over time and my latest designs are more contemporary and varied. You can view the collection at

https://tinyurl.com/yc5ar9gw

I also do custom designs and if you would like something created especially for you, you can contact me at dean.hohn@bigpond.com and I will be glad to discuss it with you.

The scarves are available in Modal, Cashmere Modal, Cashmere Silk and 100% Cashmere. If you find a design you would like in a fabric other than shown, please contact me and I’ll add it and let you know when it’s available to order.

I’m truly grateful for the support I’ve received to date and would appreciate any support you can give me in the future.

Dean L Hohn Below are samples of some of my latest designs.

Flowers Of The Field 1 Cashmere Silk Scarf

Flowers Of The Field 3 Cashmere Silk Scarf

Flowers Of The Field 9 100% Cashmere Scarf

Flowers Of The Field 15 Cashmere Silk Scarf

Idlenot White Peony Cashmere Scarf

Peony Cashmere Scarf

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Helping Women with Endometriosis 50% of profit donated to endometriosis research

My compassion inspires my photoart which I show in presentations to raise awareness. I joined Awake to teach me advanced Photoshop skills, specifically to expand my photoartistic skills to create imaginative and dramatic images.

26 women with endometriosis have told me about their experiences. They spoke to me about their concerns and collaborated during the photo session. We explored meanings of body, ideas of self and impacts of illness together, agreeing which ideas we would explore photographically.

My photos are often carefully arranged, but that doesn’t mean they are fake. They represent the personal truth and experiences of 26 women with endometriosis. These women are remembering and acting out their OWN experiences. They choose their own stance and facial expression.

Women with endometriosis are the only people who truly know what endometriosis FEELS like.

My photoart opens dialogue enabling freer expression of hidden feelings, experiences too private to mention in ordinary conversation. I create photoart inspired by the concerns of women with endometriosis. Several women have said that the process of imaging their suffering has helped them to face their pain and illness. There is immense strength in being heard. I want my photoart to become visual screams!!

Unfortunately endometriosis is relatively common; an estimated 1 in 10 women living with endometriosis, being over 175,000,000 women worldwide! And an estimated 500,000 women in Australia! Their experiences are heartbreaking. Regular illness and debilitating pain result in missed education and poor career opportunities leaving them women vulnerable to poverty.

When I first heard about endometriosis I felt a deep compassion and need to do what I could to help.

Women with endometriosis suffer debilitating pain, disruptive symptoms and often endure multiple operations simply to function normally. Few people are patient when listening to descriptions of pain, symptoms or illness. This can have the effect of silencing people who are ill.

Share ‘EndoWomanArt’ with your friends on social media to raise awareness and money for women’s health!

We all need clothes & household goods. Buy yourself a treat or buy a special gift for your friends. Make your shopping count!

Remember 50% of profit goes to endometriosis research!

https://w w w.redbubble.com/ people/EndoWomanArt/shop Follow ‘Life with Endometriosis’:

ht t p s : / / w w w. f a c e b o o k . c o m / LifeWithEndometriosis See Margaret Kalms photoart, ‘Life with Endometriosis’:

http://www.endowomanart.com Margaret Kalms

Women with endometriosis need real medical progress to reduce their suffering. I passionately desire to raise money for endometriosis research so that faster diagnoses are made and more effective treatments are found. To raise money for endometriosis research, I host events and sell products on Redbubble. Recently I gave $3,000 to Canberra Endometriosis Centre!

Bunch Of Butterflies On Grevillea Sweatshirt

Butterflies False Colour Grey Stripes

Bunch Of Butterflies On Grevillea Pencil Case

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FOREST & BIRD Online Store Bird Art by Judi Lapsley Miller

Forest & Bird’s online shop now stocks four new fine-art bird prints by photo-artist Judi Lapsley Miller, featuring the beloved tūī. Sales support Forest & Bird’s enduring advocacy work for the wildlife of Aotearoa. Judi also donates 10% of her proceeds to Zealandia EcoSanctuary. Forest & Bird is New Zealand’s leading independent conservation organisation. For nearly a century they have been protecting and restoring Aotearoa’s wildlife and wild places - on land and in the sea. Judi has been a member and supporter for over 15 years and is delighted to be able to further support their efforts through her wildlife-advocacy-inspired art. https://shop.forestandbird.org.nz/bird-art-by-judi-lapsley-miller?gn=Home&gp=3

From Whence Cometh Evil

At What Cost Forever

Sad Wings Of Destiny

The Collector

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WHAT’S ON Judi Lapsley Miller Visions Of Zealandia 2 Zealandia EcoSanctuary

1 July 2019 - 31 August 2019 3 Waiapu Road, Karori, Wellington, NZ www.artbyjlm.com/visions-of-zealandia2

A SOLO EXHIBITION by JUDI LAPSLEY MILLER 1 JULY - 31 AUGUST 2019 ZEALANDIA ECOSANCTUARY, WELLINGTON Following on from her wildly successful 2017 exhibition at Zealandia, Judi’s latest exhibition tells us new stories about Zealandia’s birds, with images exploring their intelligence and curiosity, their history and beauty, and what the future might hold for them. “Visions of Zealandia 2: the big idea” celebrates each bird as an individual, unique soul with a story to tell in a series of painterly portraits. Of special note is “Imagine” - a commissioned work by Jim and Eve Lynch, founders and visionaries of the Zealandia project, created especially for Jim’s upcoming book on the history and impact of Zealandia.

For many years now, Judi has advocated for birds through writing and photography, as well as field work. Her step into wildlife advocacy through creative interpretation was a natural progression. Freed from the constraints of pure nature photography, Judi exposes her interpretation of the inner world of others – their thoughts and feelings, their hopes and desires – in a form tangible to the human viewer that she hopes engenders empathy with other living creatures. Caring and understanding at an emotional level can translate into action that will ensure these precious species survive.

What is fine-art photo artistry?

For photo-artists, the photograph is just the first step in the creative process. One digital photo-artistic image can consist of hundreds of layers of photographs, graphics, scanned ephemera and textures, lighting and colour adjustments, and digital brush strokes all blended and masked together to form an image that is more painting than photograph. The image may then be Giclée printed onto archival fine-art canvas or paper or other substrates.

Archival framed and unframed limited-edition prints are available in three sizes. They can be purchased and/or ordered at Zealandia or via Judi’s website. For all the pictures in this exhibition, 10% of the artist’s proceeds goes back to conservation in addition to the gallery commission (which also directly goes to support Zealandia’s conservation work), thus both the artist and the art collector are participating in wildlife conservation.

Judi will be at Zealandia EcoSanctuary on Thursday, 4 July from -6.30pm for a special viewing with drinks and nibbles. If you would like to join us, please RSVP by 1 July. Or please feel free to contact Judi to meet at another time by arrangement, including joining her and her photographer friends for their regular Sunday morning photo-walk.

Enquiries to Phone +64 4 920 9213 Zealandia EcoSanctuary Email info@visitzealandia.com End of Waiapu Road Or Karori, Wellington judi@artbyjlm.com www.artbyjlm.com/visions-of-zealandia2

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https://www.visitzealandia.com/ Opening Hours 9am till 5pm every day

A SOLO EXHIBITION by JUDI LAPSLEY MILLER (Cont ....)

The Reckoning

Portrait Of A Tui

At What Cost Forever

It’s About Time

From Whence Cometh Evil

Sad Wings Of Destiny

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A SOLO EXHIBITION by JUDI LAPSLEY MILLER (Cont ....)

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I Shall Ride Every Storm

Professor Polly

The Collector

The Big Idea

A Quick Study

Imagine

OPEN CALL FOR EMERGING ARTISTS Creative Compass aims to help emerging New Zealand artists navigate the art world. Our first annual juried exhibition is open to all emerging artists including sculptors, jewellers, traditional artists, digital artists and photographers.

30 artists will be selected to exhibit their work at Deciduus, Tirau and online at Creative Compass.

Theme: “Discovery” open to the interpretation of the artist.

Exhibition Duration: 1 August – 18 September 2019.

Submission deadline: 20 July 2019.

Submission Fee: $15 – Up to three works can be submitted per artist. Creative Compass reserves the right to select all three or the best of your pieces.

The winning artists will have their works showcased in the “Discovery” exhibition at Deciduus, Tirau. The overall winner will receive 3 months free one on one mentoring from Creative Compass (valued at $600). The winner of each category will receive a complete set of Creative Compass downloads to help them launch their art career.

SUBMISSION: Entry is via the link below and must include one JPG image of your chosen work. Upon successful upload and submission you will receive an auto-reply with the bank account details for paying your submission fee. Works will not be considered submitted until the submission fee is paid.

Artwork must not exceed 30x30cm for 2D pieces OR 30x30x30cm for sculptures/ceramics/jewellery.

You must include a brief statement about the work.

https://creativecompass.nz/open-call-for-emerging-artists-discovery-show/ ACCEPTED MEDIA: Painting, Drawing, Photography, Sculpture, Mixed media, Digital, Ceramic, Jewellery.

JURY PANEL: All submitted works will be judged by Creative Compass founders Santie Cronje (Deciduus) and Vicki Fox (Quirky Fox), along with a panel of three experienced artists in their field: Judi Lapsley Miller Susannah Salter Ema Frost SELECTED ARTISTS: If your work is selected by the jury, you will be contacted by a member of Creative Compass to congratulate you and give you further information about taking part in the exhibition.

SALE OF ARTWORK: All artwork selected for the exhibition must be for sale to the public and its value must not exceed $500NZD USE OF IMAGES: Creative Compass reserves the right to publish images of all artwork selected by the jurors on our websites, as well as our social media, in order to promote both future competitions and the artwork.

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WHAT’S ON Kay Evison Dusk Till Dawn Photography The Back Room, Lotus Realm

3 August 2019 to 31 August 2019 714 Pollen Street, Thames, New Zealand

https://www.eventfinda.co.nz/2019/dusk-till-dawn-whitianga-camera-club-exhibition/thames

DUSK TILL DAWN WHITIANGA CAMERA CLUB EXHIBITION Whitianga Camera Club’s first show!

There are very talented photographers in the club and 13 of our members will be exhibiting approximately 20 images, primarily Landscapes and Astro Photography but also Light painting and Digital art.

Notable achievements for members who are exhibiting work, include Hakan Nedjat - finalist in the 2018 NZ Geographic Photographer of the year.

Lia Priemus - this year Lia had 2 acceptances in the Northshore salon of photography competition. Quite an honour as only top photographers enter this competition.

Karen Moffatt-McLeod - placed 3rd in the 2018 Monochrome category of the D-Photo Sigma photographer of the year. She received both Bronze and Honours at the Northshore salon of photography competition. Also gained LPSNZ qualification. (Licentiate Photographic Society of New Zealand) Kate Beauchamp - had an image featured in Practical Photography magazine, the UK’s leading Photography publication earlier this year.

Paul Schrader - a large 6.7 metre print of one of Paul’s images is displayed at Pauanui Village Centre. 80% of Paul’s images are taken within a 3 km radius of his home in Pauanui.

Kay Evison - Kay’s digital art regularly features in the magazine Artists Down Under.

‘Dusk till Dawn’ can be viewed from Saturday 3rd August through to 31st August, at The Back Room, Lotus Realm, 714 Pollen Street, Thames.

If you are in Thames please feel free to pop in for a look, it’s free entry and all works are for sale.

Kay Evison - Moonlighting

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Kay Evison - Witching Hour

WHAT’S ON Christina Brunton and African Animals - Memories of Namibia Gallery On Track Ilona Abou-Zolof 1 September 2019 to 30 September 2019 Blackshaw Road, Goulburn, NSW

http://www.galleryontrack.org

AFRICAN ANIMALS - MEMORIES OF NAMIBIA

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aD rOt W i s tNs U N D E R Australia and New Zealand

MY CREATIVE STILL LIFE JOURNEY ON-LINE COURSE Find your way to peace, quiet and creative calm in this online Still Life class. Feeling a little overwhelmed and uninspired .. life a little less than creative?

Internationally published and award winning photographer, Julie Powell has put together a self paced 12 week module online class, based on some of her most sought after and booked out Studio Workshops. * Learn to put yourself first (just for a little bit), take some time to be, see and grow as a photographer. * Learn to embrace the process of creativity and get inspired weekly. * Learn to make and take beautiful pictures along the way. * Share, be inspired and just have fun.

https://julie-powell-photography.teachable.com/p/my-creative-still-life-journey This Class is for You if: * You love still life photography, but you’ve lost your mojo? Your inspiration? Your spark?

This could be your Restart. * You have a camera and a desire to capture and create beautiful Still Life through photography. * Smart Phone, Point & Shoot or DSLR cameras are all welcome. Students are encouraged to make the most of their camera of choice. * This is something you have always wanted to try, but were never sure where to start.

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aD rOt W i s tNs U N D E R Australia and New Zealand

FOR THE LOVE OF FOOD - FOOD PHOTOGRAPHY

ON-LINE COURSE

Create mouth watering images that make your viewer crave your dish Come on a journey of self discovery and learn to take beautiful photos like a Pro with award winning Photographer Julie Powell.

My Hope is that the “For The Love Of Food” class will inspire you to: * Put yourself first (just for a little bit), take some time to be, see and grow as a photographer. * Learn to embrace the process of creativity and get inspired daily, weekly or monthly. * Learn to make and take beautiful pictures along the way. * Share and inspire and just have fun.

https://julie-powell-photography.teachable.com/p/for-the-love-of-food-food-photography This Class is for You if: * You love still life & food photography, but you’ve lost your mojo? Your inspiration? Your spark? This could be your Restart. * You have a camera and a desire to capture and create beautiful Food/Still Life through photography. * Smart Phone, Point & Shoot or DSLR cameras are all welcome. Students are encouraged to make the most of their camera of choice. * This is something you have always wanted to try, but were never sure where to start.

This class offers a variety of foods and styles in natural light. Learn to make the most of what you already have.

Learn to work on the Stories within the photos and capture magic ...

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ALBaMass - The Difference

artists down under monthly Achievements

Louise Smith - Chance Encounters

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artists down under facebook

Colin Campbell - Centre Back Down Under

Maureen Maxwell - Wild Orchid

page

Ann Lavin - Just A Little Cutie

The Artists Down Under Public Facebook page has been set up to allow the artists in the group to showcase their work and to enable them to share promotional information about themselves, e.g. exhbitions, awards etc...

You can find the Artists Down Under Public Facebook page at this address; https://www.facebook.com/groups/ArtistsDownUnder/ So, if you are an artist in the group, don’t forget to regularly share your work and information here, and to let your friends and family know about the page if they are interested in viewing the latest art and news from the group.

If you are a reader of the magazine who does not have access to the page, please click the link above and request to join.

When you request to join you will be asked to answer three simple questions that will allow us to determine if you are an eligible artist who may wish to join the group and therefore be able to post on the page, or a member of the public who can view, comment and like the work on the page.

It’s a great place to see some great art from this vibrant group every day!

Leanne M Williams - All Alone

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Louise Smith - Going Nowhere

Mike Kane - Goth Pin-Up

Joyce Maris - Purple Splash

Gitama Day - Lounging

Three ADU members receive a special gift Our very good Awake friends Teddi Rutschman of Foxey Squirrel and Diane Stafford from WhiteLaneStudio continue to give gifts as a reward for members of the Artists Down Under group who contribute to the ADU Facebook page by regularly posting their artworks and supporting other members with their comments.

Teddi, from Virginia, USA, is well known for her fantastic sets of digital designer backgrounds, masks and all kinds of wonderful elements ready for designers to add to or build a wondrous creation.

Teddi Rutshman can be found at

http://www.foxeysquirrel.com/ http://www.oscraps.com/shop/Foxeysquirrel

The August lucky winners are Teddi Rutschman (Foxy Squirrel) Gift Voucher of $10.00 - Jim Merchant Dianne Stafford (WhiteLaneStudio) texture & Overlay Kit - Louise Smith - Sue Masterson

Teddi has given a $10.00 voucher for one very lucky member to spend in her on-line shop.

Diane Stafford from Chester, UK, designs Photoshop textures and overlays for photo artists and photographers to use in their digital artworks. Diane has created another special kit just for Artists Down Under for the month of August.

Two artists will receive a Diane kit each.

Diane Stafford can be found at

https://www.etsy.com/shop/whitelanestudio

Trish Hoskin - Lincoln House

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Light Space and Time “Primary Colours”

Andrew Haysom - Dis-Union Jack

Margaret Kalms - Autumn Sunshine With Red Umbrellas

Margaret Kalms - Primary London Icons

Photography & Digital Category 9th Place - Margaret Kalms - “Autumn Sunshine With Red Umbrellas”

Special Merit Andrew Haysom - “Dis-Union Jack” Margaret Kalms - “Primary London Icons”

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shift art july 2019 summer challenge Congratulations goes to Tracy Ryan on receiving an Honorable Mention in the July ShiftArt Challenge for her entry “Softly Shines the Summer�.

Tracy Ryan - Softly Shines The Summer

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LIVING THE PHOTO ARTISTIC LIFE

https://issuu.com/thephotoartisticlife/docs/issue53-final?fr=sMTc0OTI1ODEw

Dale Botha - Solo Surfer

Denise McDermott - Airship Flypast

Gitama Day - A Little Bit Lost Denise McDermott - Airship Flypast Dale Botha - Solo Surfer - Rose Tinted Spectacles Rochelle Marshall - Khayotic Barbara Duudzinska - Knowledge - Lost In A City - Conversation Louise Smith - Fair Maiden - City Girl Ann Lavin - Black And White Ilona Abou-Zolof - Zarah In The Forest - Into The Unknown Julie Powell - Firefly Magic - Taurus Trish Hoskin - Off To Work - Downtown Christina Brunton - Steampunk Tricycle Bernice Fargus - Bird Song

Julie Powell - Taurus

Gitama Day - A Little Bit Lost

Dale Botha - Rose Tinted Spectacles Rochelle Marshall - Khayotic

Ilona Abou-Zolof - Zarah In The Forest

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Gitama Day - A Little Bit Lost

Ilona Abou-Zolof - Into The Unknown

LIVING THE PHOTO ARTISTIC LIFE (cont ...)

Louise Smith - Fair Maiden

Trish Hoskin - Downtown

Trish Hoskin - Off To Work

Barbara Dudzinska - Conversation

Christina Brunton - Steampunk Tricycle

Ann Lavin - Black And White Barbara Dudzinska - Knowledge

Bernice Fargus - Bird Song

Louise Smith - City Girl

Julie Powell - Firefly Magic

Barbara Dudzinska - Lost In A City

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fusion art Colin Killick Congratulations goes to Colin Killick for being a “Finalist” with two of his images in the July “Lines, Shapes And Objects” competition.

Colin’s images were “Night Drive 2” and “Sunset Over The Big City”

Colin Killick - Night Drive 2

Colin Killick - Sunset Over The Big City

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nature art exhibition

Margaret Kalms Congratulations to Margaret Kalms who was awarded as a “Finalist” in the recent “Nature” Art Exhibition with the Art Room Gallery Online. http://www.artroomgalleryonline.com/current_exhibition.html The second Art competition “ Nature” started in June 2019 and concluded on July 09, 2019. Art Room Gallery received entries from many countries around the world: USA, Canada, Australia, Russia, United Kingdom, Japan, Italy, Guatemala, Romania, Hong Kong, Ireland, Czech Republic, and Poland.

The Nature theme in this competition included a diversity in types, styles and mediums (oil on canvas, acrylic, photography, mixed media, digital, glass, bronze, pastel, pen and ink, watercolor, collage). The following evaluation criteria has been used for judging the artwork: creativity, interpretation of the theme, originality and quality of art, overall design, demonstration of artistic ability, and usage of medium. Jury decided to select 72 artworks for inclusion in the exhibition. Aside from First, Second, and Third place Jury also presented Merit awards and Honorable Mention awards.

Margaret wrote on her entry form, “Christmas Bells and Rainbow Baubles” is a playful image using Australian Christmas bell flowers (Blandfordia nobilis), a red insect and a butterfly in a composition to celebrate the joy of Christmas. There has been a sun shower and the raindrops glow spectrum colours in the sunshine”.

Margaret Kalms - Christmas Bells And Rainbow Baubles

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marsden art group exhibition Margaret Kalms Margaret was thrilled to be part of the Marsden Art Group exhibition ‘Obscura’ at Splatter, Level 3, Westfield Shopping Mall, Belconnen ACT. ‘Ancient Australia with Trees’ is her response to controversy about Australia Day, acknowledging our First Nations’ continuous ancient heritage in Australia. The full moon is engulfed by the Aboriginal flag while Aboriginal hand prints span the sky with mortar that is reminiscent of bars.

‘Tree in a Rainy Night’ is her response to Obscura, a play with light, space and time. The delicate lacy curtains veil the rainy night, graced by an old gum tree silhouetted by the full moon and lights from a busy road.

Margaret is wearing one of her designs; a T-shirt dress.

See EndoWomanArt where 50% sales go to endometriosis research:

https://www.redbubble.com/people/EndoWomanArt/shop

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art sold Congratulations to Mike Kane Mike recently sold these two stunning pieces of art at the Digital Mindscape Exhibition, held at the Gladstone Gallery, NSW.

Mike Kane - Morning Light

Mike Kane - Rouge

Both images were sold as A3 size framed prints

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artists down under monthly artistic photographic challenge theme:

Abc’s 33

Karen Waalwyk - Game Of Letters

Penny De Jong - The Letter A

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Sharon Rankmore - Mixed Messages

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Ann Lavin - Art

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Chris Barnes - Letter Challenge

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Colin Campbell - EIGH

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Jim Merchant - T Is For Triangles

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Margaret Kalms - Art Can Express Endometriosis Pain

Maureen Maxwell - Travel The World

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Mick Rooney - Anne

Andrew Haysom - A Is For Abstract

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Janelle Merrett - Tea For Two

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Judi Lapsley Miller - Alphabet Challenge

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Leanne M Williams - ABC Challenge

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Barbara Dudzinska - Golden Alphabet

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Trish Hoskin - T Is For Tower

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Ilona Abou-Zolof - Alphabet

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Art of Birding 2019

Wildlife & Nature Photography Challenge 49

For the second year, join us on a year-long weekly photography challenge, designed especially for nature and wildlife photographers.

Storytelling, wildlife advocacy and creative/artistic photography is where my heart is and I hope to encourage more photographers to not just stop at taking gorgeous wildlife photos, but to take them further.

These weekly challenges encourage you to think about how your images can be composed and used to advocate for our precious wildlife (story), to hook the viewer in with compelling creative images (creative), and to increase your technical skills and development (technical).

I have created each challenge so that most people can participate, regardless of skill level or where you live in the world (though you will notice a New Zealand bias!). Most challenges can be achieved with just a camera phone. Be warned - you will (hopefully!) be pushed outside your comfort zone, and you will likely need to do some Googling to learn more about new techniques, but that’s also the point.

This is your challenge - do as much or as little as you want and in your own timeframe - it’s up to you to decide what works best for you. I do encourage you to take photos for the challenges, rather than digging through your archives. You can take photos in advance and “bank” them and you can do them out of order. All I ask is that you try to take the photos intentionally with the challenges in mind, rather than retrofitting an image to fit the theme.

With an emphasis on storytelling and advocacy, I encourage you to post your images to social media (especially Facebook, Twitter, Instagram and Flickr) and to your blog if you have one. Use hashtags to enable us to find and share your images. Challenge hashtags: #artofbirding, #artofbirding2019, #aob2019week1 through to #aob2019week52. Find the hashtags used by the conservation projects you are photographing, e.g. #sharemesealandia, #orokonui, so they can pick up and share your photos too. Use the hashtags commonly used for your critter: e.g., #kaka, #takahe, along with #conservation, #wildlife, and many more general terms.

Join our Facebook group and post your photos, discuss the challenges, and get and give help:

https://www.facebook.com/groups/aobphotochallenge/ Download an iCal (*.ics) calendar or link to the public Google calendar.

© Concept and Challenges by Judi Lapsley Miller

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www.artbyjlm.com

RAINBOWS (CREATIVE) Week 32: 05 Aug 2019 Either take a photo of a rainbow or, if nature doesn’t cooperate, light refracting through a bubble or dewdrop, etc.

STARBURST (TECHNICAL) Week 33: 12 Aug 2019 Learn how to take a photo with a starburst effect by setting your aperture to be very narrow and pointing it at a point light source (fairy lights, street lights, the sun). DON’T LOOK THROUGH THE LENS if you use the sun! This technique works well with low sun through twigs. You’ll likely find a tripod handy as the shutter speed might be quite long.

SPIRALS (CREATIVE) Week 34: 19 Aug 2019 Nature is filled with spirals - from sunflower seeds to snail shells and more. Show a natural spiral in a creative, compelling way.

LET YOUR PHOTO FLY FREE (TECHNICAL) Week 35: 26 Aug 2019 Give a gift to the world and donate a photo to Wikimedia Commons for anyone to use. We all use Wikipedia so I believe we should all give a little back too. You can choose what level licence to give (I use CC-BY-4.0: free to use including commercially, but with attribution). Think about a subject that is special to where you live or an exotic place you have travelled. Do you have photos of rare species?

A sexy slime mold? A rare lichen? The more esoteric the better - just be sure it’s correctly identified!

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BUSY BEES (STORY) Week 36: 02 Sep 2019 Bees are vital to many ecosystems but are imperilled by human activity. Tell a story about either your native or introduced bees.

DOUBLE EXPOSURE (CREATIVE) Week 37: 09 Sep 2019 Somewhere in your camera menu will be a function that allows you to take multiple exposures and overlay them. Use it creatively to superimpose a second picture on top of your main photos. Advanced/Alternative: using Photoshop, blend multiple photos together using blend modes and masking.

CARBON (STORY) Week 38: 16 Sep 2019 Carbon footprint, carbon sequestering, carbon sink, ... carbon is the story of our time. Find an angle and help us understand the role carbon plays in our environment. Advanced: carbon dioxide and methane are both invisible gases - can you find a clever way to illustrate them or their effects visually?

COMPLEMENTARY COLOURS (TECHNICAL) Week 39: 23 Sep 2019 Check out the colour wheel and choose two complementary colours (think red–green, yellow–purple, and blue–orange) and take a photo where those two colours dominate. Don’t get too hung up on exactly which colour model to use - just choose one :). Advanced challenge: go for three colours that are split complementary where one complementary colour is split into two nearby analogous colours.

A CALL TO ACTION (STORY) Week 40: 30 Sep 2019 Cover a local event that has the environment at its heart - perhaps a protest, an art exhibition, a bioblitz, ... Advanced challenge: blog about the event.

INTENTIONAL CAMERA MOVEMENT (CREATIVE) Week 41: 07 Oct 2019 Spin your camera round and round or up and down to get an image with intentional camera movement. Aim to do so in a way that adds to the subject you’re shooting (e.g., up and down movement to capture the majesty of a grove of tall trees). Advanced challenge: use the Path Blur filter in Photoshop to add movement in post-processing.

FOOD CHAIN (STORY) Week 42: 14 Oct 2019 Illustrate the concept of the food chain in a photograph. Advanced challenge: how many different lifeforms in the same food chain can you get in one photograph?

SELECTIVE BLUR (TECHNICAL) Week 43: 21 Oct 2019 If you have a lens baby or wide-aperture art lens, you will love this challenge! This technique is also easy if you have a tiny macro lens for your cell phone camera. If you don’t have any of these lenses, fear not, you might have to more carefully choose an appropriate subject but it’s still doable. Using a wide aperture, focus on only one small but important part of the subject, letting the rest fall off into blur. This technique works well for flowers: consider the form of the flower in question and see what first draws your eye - is it a curl of a petal, the curve of the stem, the pop of a stamen? Focus only on that. Think carefully about your composition and where that sweet spot of focus will fall. Hint: you can also use Photoshop or apps to selectively blur in post-processing. Advanced challenge: add a painterly texture.

CREEPY (CREATIVE) Week 44: 28 Oct 2019 Just in time for Halloween, tell a creepy story. It could be about a creepy-crawly, or wherever your imagination takes you.

FOR A FRIEND (TECHNICAL) Week 45: 04 Nov 2019 By now you will have some stunning photos, so let’s do something with them that you can give as a gift and bring joy into someone’s life. Ideas: design a calendar, print greeting cards, print and frame your favourite photos, make a blurb book, make a handbound book - the sky is the limit! You’ll be surprised at the difference it makes getting your images off your computer and into the world.

MY HAPPY PLACE (STORY) Week 46: 11 Nov 2019 Show us your happy place and make us happy too.

© Concept and Challenges by Judi Lapsley Miller

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www.artbyjlm.com

REFLECTIONS (CREATIVE) Week 47: 18 Nov 2019 Double the impact with a reflection. Advanced challenge: show only the reflection in a creative way or add a fake reflection using Photoshop (or similar) and see if we can tell :) ONE SHOT WONDER (TECHNICAL) Week 48: 25 Nov 2019 You get one shot - so triple-check all your settings and think long and hard about your composition before pressing the shutter. It’s so easy these days to pray and spray, hoping to get the perfect shot while consigning yourself to an afternoon of deleting a thousand identical photos.

STILL LIFE (CREATIVE) Week 49: 02 Dec 2019 Arrange a still life scene and photograph it compellingly. Try to tell a visual story that links each element - though it doesn’t have to be an obvious one.

Don’t be satisfied with your first photo, try different angles and settings and explore the scene. Advanced challenge: include memento mori to represent the transience of life and feel free to use Photoshop compositing and photo-artistry techniques to turn your still life into a work of art.

EXPOSURE BRACKETING (TECHNICAL) Week 50: 09 Dec 2019 Do you get frustrated with photos that are either overblown in the highlights or have no details in the shadows? Extend the dynamic range of your photos by exposure bracketing to take multiple photos with different exposures, then combining them in-camera (if your camera does that) or externally in Lightroom or Photoshop either manually or by using the inbuilt features. Most cameras will have an exposure bracketing setting that will automatically take the set of photos at each exposure value. A tripod will also come in handy.

ON THE EDGE (STORY) Week 51: 16 Dec 2019 Find a region where two ecosystems overlap and meet the locals, e.g. the littoral zone at the beach, an estuary, wetlands ...

PHOTO ESSAY (EVERYTHING) Week 52: 23 Dec 2019 This is when we bring it all together. Think of the skills you’ve developed this year and create a photo essay of 5-10 photos, related by theme or topic, and use it to advocate for something you care about. Feel free to use photos you’ve taken this year or take new ones. Aim for a consistent look-and-feel across the photoset, while ensuring each picture contributes uniquely to the story. How to present your essay? Possibilities include designing an Adobe Spark presentation, Instagram story, YouTube slideshow with sound track. Make sure to tell the world about your essay through social media posts etc.

Advanced challenge: arrange to print and exhibit your photo essay.

BONUS WEEK FOR PHOTO ESSAY (EVERYTHING) Week 53, 2020: 30 Dec 2019

© Concept and Challenges by Judi Lapsley Miller

www.artbyjlm.com

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Art of Birding 2018 Wildlife & Nature Photography Challenge

Photographers’ Photos from June 2019 Challenge

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Art of Birding 2018 Wildlife & Nature Photography Challenge

Photographers’ Photos from June 2019 Challenge MY FAVOURITE CRITTER (STORY) Week 23: 03 Jun 2019 Wrybill (Anarhynchus frontalis) Wrybills are the only birds in the world that have a beak that turns to the right. They only breed on the shingle areas of the braided rivers in the South Island of New Zealand. The main threat that the Wrybills face is from predation (by introduced mammals such as stoats and ferrets) and native birds such as the Southern Black-backed Gull. A whole colony can be wiped out when rivers are in flood if they have chosen to nest where the floodwaters end up due to change of course. Humans using their nesting sites for recreation (off-road 4-wheel driving) and not making themselves aware of their presence can decimate the nests or cause the parents to abandon them altogether. Feeding on worms, molluscs insects and occasional small fish they are reliant on the water levels to be suitable for their food and with water levels being reduced through irrigation their food supply can literally dry up. Many of the braided rivers have also been taken over by introduced weeds such as lupins, which not only reduce available areas for their nests but also harbour predators. This image shows a Wrybill feeding at Lake Ellesmere on its way to the North Island to over-winter.

Nadine Campbell Christchurch, New Zealand

Nadine Campbell - Christchurch, New Zealand

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VIDEO (TECHNICAL) Week 24: 10 Jun 2019 ‘Kākā Revival’ is an artwork that celebrates the growing population of the Kākā in the Wellington region. The artwork is based on a photograph I took at Zealandia Ecosanctuary in Karori, Wellington. The initial introduction was with 14 birds to Zealandia in 2002. By the end of the 2018/2019 season, over 1,000 Kākā have been banded by their very successful breeding program. You can now see Kākā around the greater Wellington region; they have even been seen down and around Parliament! Like their cousin the Kea, Kākā are considered to be one of the world’s most intelligent birds.

I created this video as a way to capture the start to finish process of my native bird artwork. I used solely my phone and used the timelapse mode for my drawing. I then collated the footage using the ‘Quik’ app, which is an easy way to create short videos with your phone.

https://www.youtube.com/watch?v=h0qXd_VVYxE Hannah Shand Kāpiti Coast, New Zealand

Hannah Shand - Kapiti Coast, New Zealand

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MUCKING IN (STORY) Week 25: 17 Jun 2019 Many local community group planting events help to improve Waitangi Regional Park, in Hawke’s Bay. It is a wetland habitat for birds, fish and other creatures, on the coast near Clive.

This photo shows part of the Star Compass, a resource used by ancestors of the Māori to navigate sailing Waka throughout the Pacific Islands. The spot also marks the first place in Hawke’s Bay where Europeans and Māori lived together as a community.

Jillian Selkirk Hawke’s Bay, New Zealand

Jillian Selkirk - Hawkes Bay, New Zealand

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MOTION BLUR (CREATIVE) Week 26: 24 Jun 2019 Springboks (South Africa’s national animal) are known for the great height they reach when leaping into the air as they run from their foes (usually the big cats, but also hyenas). They move in big herds, usually, grazing on the hoof. It is a tremendous sight to see them all on the run if a pride of lions or cheetahs are after them. They “pronk” into the air on all fours, and then run all together in a sea of bodies, leaping high over bushes or roads - even cars- to outrun the predators. Amazing stuff! I was on a photographic safari when I took this image, with a great wildlife photographer called Hannes Lochner, who taught us all how to pan wildlife effectively.

Deborah Atkinson Capetown, South Africa

Deborah Atkinson - Capetown, South Africa

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SCISSORS AND T WINE

WINTER IS COMING

by JULIE P OWEL L

Australia

ht tps:// www.juliepowellphoto.com/ ht tps:// artboja.com/art/glul6i/

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BRILLIANT BRIDGE

by SUE MAPLES

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Australia

O L D C A R AT FA R I N A R U I N S

by SUE MAPLES

Australia

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BROTHERS

COFFEE

by MICK ROONE Y

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Australia

A U T U M N L E AV E S

DUSK QUINNS ROCK

by MARY KNAGGS

Australia

https://artboja.com/art/oc091r/ https://www.facebook.com/MaryK-Photographic-Art-145293185640662/

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BIRD’S E YE VIE W

P R AW N S b y J O H N F K E L LY

New Zealand

http://www.facebook.com/johnfekellyphotographer/photos_stream https://www.rps.org/member/profile/john-kelly

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T H E R E C U LT U R E O F G R A C E

by MAR JORIE LORD

Australia

https://www.marjorielord.com.au https://facebook.com/ArtMuse.MarjorieLord

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LOOKOUT DUTY

by CHRIS BARNES

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Australia

D EN N I S R I C KA R D

BANKSIA 67

PROWLING

FLIGHT 68

INTENT

AMBLING 69

CAMEL ROCK

T H R E AT E N E D 70

OASIS

BEYOND 71

TAT H R A W H A R F

B E S T S E AT I N T H E H O U S E 72

S U I T C A S E AT N O . 3 8

MOSCOW ME TRO 73

PELICAN L ANDING 74

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Meet your artist DENNIS RICKARD Numerkah, VIC Australia

Website:

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https://www.instagram.com/dennisrickard/?hl=en

Tell us a little about yourself and where you live.

I grew up in Numurkah in country Victoria where I still live and work. I have been working for Telstra for the last 34 years.

How did you become interested/get started in Photo Artistry?

I have always wondered how people created those amazing images in magazines, etc., and saw the ad for Photshop Artistry and signed up. And I had some images I had taken and had an idea that I could create something out of them.

What inspires you or gives you inspiration to create your art?

All the great images that I see in both Photoshop Artistry magazines and other Artists I follow online.

Do you have a certain approach to creating your art?

Primarily I use my images I have taken to try and create a work out of them by combining them and adding different textures/ effects.

What does your art mean to you?

My art gives me great satisfaction in being able to create something that I have visualised and be able to get it to come to fruition.

Do you think since starting in Photo Artistry it has changed you and if so, how?

Photoshop Artistry has given me the confidence to expand on my ideas and put them out there for all to see.

Is there anyone that you draw inspiration from?

All the great artists in magazines ... to see the many creative ideas that they come up with certainly inspires me when my creativity is not as I would like it.

Where do you see (or hope to see) your art taking you in the future? What are your next steps?

To keep learning and improving my work to create work that is inspiring to the viewer.

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A N A N G E L WAT C H I N G

by ILONA ABOU -ZOLOF

Australia

https://www.zolof.net/ https://artboja.com/art/4zzu8q/

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C A R N I VA L D O L L S

by ILONA ABOU -ZOLOF

Australia

https://www.zolof.net/ https://artboja.com/art/4zzu8q/

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F R A C TA L S M O D E L

by BARBAR A DUDZINSK A

Australia

ht tps:// www.SmartArtPlace.com ht tps:// artboja.com/art/7qn7s6

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MODEL IN BLUE

by BARBAR A DUDZINSK A

Australia

ht tps:// www.SmartArtPlace.com ht tps:// artboja.com/art/7qn7s6

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L I G H T PA R A D E , W O O D F O R D F O L D F E S T I VA L

by DALE BOTHA

Australia

https://artboja.com/art/x1el96/

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S E R I O U S LY B L O N D E

by DALE BOTHA

Australia

https://artboja.com/art/x1el96/

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NEVER PROVOKE A DR AGON I

NEVER PROVOKE A DR AGON II

by COLIN K IL LICK

Australia

https://driftingleaves.net

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NIGHT DRIVE II

SUNSE T OVER THE BIG CITY

by COLIN K IL LICK

Australia

https://driftingleaves.net

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aD rOt W i s tNs U N D E R Australia and New Zealand

CAROLINE JULIA MOORE INTERVIEW Trish Hoskin This month we have a very special and talented lady who has agreed to tell us more about herself. Most of our Awake and Kaizen group would be very familiar with Caroline, but she is far more talented and involved with the art scene and promoting herself than we may have realised.

I asked Caroline to give us an overview of how she started and where her artistic life has taken her. Sit back and have a great read below.

Overview: I grew up in Kingston-Upon-Thames in UK and moved to South East London in 1991 when I studied Psychology at Goldsmiths. I spent many years researching cognitive neuropsychology using functional imaging. In 2003 I moved to West Dorset where I now live with my 3 children and 4 cats.

I first started using Photoshop in the Summer of 2014. My work primarily involved using stock images. Since 2016, most of my work has incorporated my own photography. My more recent work has developed a stylized, cinematic, photo-realistic look. I also like to do more experimental, conceptual photography-based work in black and white. I aim for my work to evoke an emotive reaction. Over the last few months I have been creating moving images from my digital art.

I am currently a self-employed digital artist. I have been lucky enough to work for Sebastian Michaels on numerous courses, and Andrei Tallent on Shift Art. Part of my work with Sebastian Michaels involved working with the software company, AutoFX. I have freelanced for Corel and my artwork has been featured in their advertising campaigns for Particleshop. I have also worked for musicians, such as The Gravity Drive and Starsha Lee, providing artwork.

I work as a co-editor for Gallery Of Refined Art, which is a facebook publication: https://www.facebook.com/galleryrefinedart/.

My work has been published internationally. Publications include Photoshop Creative, Digital Photographer, Somerset Digital Studio, Dorset Artist, Dark Beauty, Living The Photoartistic Life.

I have had numerous exhibitions of my work in Bridport, Beaminster and Weymouth (in Dorset, UK). My work was selected to be displayed by Artisan Colour for their promotional material. One of my images, printed by Artisan Colour, is currently exhibited in a gallery in Asheville (see https://www.facebook.com/PhotoshopArtistry/photos/a.149983125193964/532334733625466/?type=3&theater).

I also produce Photoshop resources; many of these are hand painted. The resources have been used for course content (including courses by Sebastian Michaels and Susan Tuttle) and are sold via ShiftArt and my etsy shop (https://www.etsy.com/uk/shop/CarolineJuliaMoore).

I provide stock images of Models every month for Kaizen but am also working with Shift Art to provide sets of images for the shop.

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CAROLINE JULIA MOORE INTERVIEW (Cont ...)

Below is a brief summary of my current work and achievements: Contributor on the following courses Sebastian Michaels: Photoshop Grunge, Awake, BW Creative and Kaizen.

ShiftArt & ShiftArt Summit (https://shiftart.com/).

Tutorials & Webinars Monthly tutorials for Sebastian Michaels’ Kaizen Numerous tutorials and monthly webinars for ShiftArt Corel Painter (Particleshop) Webinars:

https://learn.corel.com/tutorials/artistic-photo-composites/ https://learn.corel.com/tutorials/webinar-photo-art-composites Blogs and Interviews

https://www.painterartist.com/en/pages/interviews/caroline-julia-moore/ https://www.quillandcamera.com/interview-with-caroline-julia-moore-2/ https://www.quillandcamera.com/interview-with-caroline-julia-moore/ https://shiftart.com/interviews/caroline-julia-moore-interview/ https://shiftart.com/interviews/caroline-julia-moore/ Wow! Well that really is a full and amazing artistic life. I really appreciate Caroline taking the time to fill us all in on everything she is doing and showing us that you need to get out there if you want to make it happen. Something I have on my to do list this year for sure. Thanks so much Caroline. There are certainly some more links to visit to see some of Caroline’s amazing work and textures available for purchase.

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THE DROUGHT BRE AKS

by PENNY DE JONG

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Australia

F U L L TA N K

OUT OF FUEL

by PENNY DE JONG

Australia

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JUNE BRICOL AGE CHALLENGE I

by ANTHE A SCOT TE

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Australia

JUNE BRICOL AGE CHALLENGE II

by ANTHE A SCOT TE

Australia

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JOURNEY

by SHARON R ANK MORE

Australia

https://artboja.com/art/07l9aj/

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PERPLEXED

by SHARON R ANK MORE

Australia

https://artboja.com/art/07l9aj/

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GREEN HILLS

F L I G H T O F FA N TA S Y

by ANN ALCOCK

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Australia

BILL OLDHAM

H E Y H E Y G O O D L O O K I N ’, W H AT C H A G O T C O O K I N ’ 95

OLDER MAN

W H O Y O U C A L L I N G B E A K FA C E ?

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MAN AND LIZARD 97

P U R P L E FA N TA S Y 98

P U R P L E P E TA L S 99

F L O W E R S A N D L E AV E S I N B L A C K A N D W H I T E

PINWHEEL ABSTR ACT 100

H E R E ’ S L O O K I N ’ AT Y O U

TRIO OF PINKISH FLOWERS 101

Meet your artist Bill Oldham Melbourne, VIC Australia

Website:

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https://www.flickr.com/photos/25818712@N04/

Tell us a little about yourself and where you live.

I grew up in Louisville, Kentucky and came out to see Australia in 1972. I had a job lined up before leaving the US as a start up engineer with John Thompson Aus Pty Ltd working on the Yallourn W power station in Victoria. Unfortunately, I was in the sad position of being the least mechanical engineer that I have ever met.

While dangling in a bosun’s chair 100 m above the floor of the boiler trying to take pictures of a roof tube leak, with no safety harness, I suddenly realised that it was time to look for another job.

As the old expression goes, those that cannot do something become teachers of that something. So I went back to college for a year and qualified as a teacher.

Then about two years later I returned to the local technical school to teach the power plant operators something titled “How not to blow up your boiler.” Whenever we had an excursion to the power stations, I insisted that the students keep their hands in their pockets. My fear was that they would playfully press an emergency stop button and trip the whole power station as a result.

Along the way I became interested in computers and what you could do with them. They were great for classical guitar duets because you did not have to cuss and discuss pieces that you were playing.

How did you become interested/get started in Photo Artistry?

Around 2010, I took a sessional teaching job with the Media Design stream of international students doing Foundation Studies at the Royal Melbourne Institute of Technology. My bit was to introduce the students to Photoshop and InDesign with the goal of producing their own fifty page class magazine by the end of the year.

The frustrating part was never being able to really teach Photoshop in depth. Just a short three hour introduction to a topic (like animation) and then on to the next topic.

I retired from teaching in 2013 and began playing with Photoshop. I soon became an online course addict starting with Photoshop Artistry. And it just sort of grew from there.

What inspires you or gives you inspiration to create your art?

The training modules in Awake and Shift Art give me new things to try out as I work my way through the modules. I go back every few months to look at the Photoshop Artistry challenges. They always seem to help with a new project.

Do you have a certain approach to creating your art?

I am still at the stage of simply looking through the resource materials from PA, Awake and Kaizan and putting them together with no particular plan. They just kind of develop themselves.

The few occasions that I have tried to plan something out in advance, it morphs into something completely different than what I had intended at the start. But that suits me just fine.

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What does your art mean to you?

Art to me means always lacking confidence in myself and wondering how all the others have images that are so stunning. Then every now and then I nail it and pat myself on the back and think, “Hot damn, boy! You done good on that one.”

I always enjoy looking through the monthly issues of ADU and the Awake online magazines. Some times I might wonder to myself, “What’s with all the wings coming out of the back and all the flocks of black birds?”

And now I am quite happily adding flocks of birds whenever the urge strikes me. Thanks to Distressed FX+. Not to the point such as of adding wings on the backs of models just yet.

Do you think since starting in Photo Artistry it has changed you and if so, how?

Yes, I have changed. First, I am a lot more goal oriented. Second, I tend to live in the day. If something else appears to take up time (getting ready for a concert with Concordia Mandolin and Guitar ensemble), then I don’t feel that I have to do three finger exercises a day. But I cannot go more than two days without trying a few finger exercises. That has been ingrained in me by Sebastian Michaels. Do some art creation every day!

Is there anyone that you draw inspiration from?

Ansel Adams and Gaspar Sanz (baroque guitar composer and player) as well as all the members of PA, Awake and Kaizan.

Where do you see (or hope to see) your art taking you in the future ? What are your next steps?

I used to be concerned that I had not sold any pieces. Then I got over that concern and settled for the enjoyment that pottering about brings to me.

My next steps are to keep revising the PA and Awake training modules to remember to try different techniques. The Kaizan course is something that I look forward to doing a lot more with.

I regard my art as a path to grow along.

In a sense it is similar to a music path. You play guitar in your room until a friend says to come out and play for them. This leads to playing with other people. You might move on to solo gigs at a local cafe or restaurant where you actually get paid.

Then comes the next level of being in a band and playing regular gigs at pubs, weddings, etc. Very few musos actually make a living out of just playing music. Same as with an artist.

But boy, we have a lot of fun along the way!

That’s all, folks!

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CIT Y BUILDINGS I

CIT Y BUILDINGS II

by INGRID JAKOBSEN

Australia

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WOVEN L ANDSCAPE

by P HIL L IPA F R EDERIKSEN

https://artboja.com/art/33o0hk/ http://phillfoto.smugmug.com

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Australia

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AMBER

by SANDY BOLES

Australia

ht tps:// www.facebook.com/photographybySandyboles

https://www.sandybolesphotography.com

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THE MODEL

by SANDY BOLES

Australia

ht tps:// www.facebook.com/photographybySandyboles

https://www.sandybolesphotography.com

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DISC BUD b y G I TA M A D AY

gitamaday.com/gallery

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Australia

PA I N T E D P E O N Y b y G I TA M A D AY

Australia

gitamaday.com/gallery

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ADRIF T

by ROCHELLE MARSHALL

New Zealand

https://www.darksapphirephotography.com

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B R I D G E O V E R T H E R I V E R M A I TA I

by ROCHELLE MARSHALL

New Zealand

https://www.darksapphirephotography.com

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a r t i s t s DOWN UNDER Australia and New Zealand

REDLANDS DIGITAL ARTISTS GROUP A COLLABORATIVE GROUP OF PHOTO ARTISTS

By Maureen Maxwell

STAGE 1

CHINESE WHISPERS #21 “GOOD OLD DAYS”

STAGE 2

Pam Henderson

Gerard Whelan

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This month Pam Henderson started off our collaborative efforts and decided to take us back to ‘The Good Old Days’. In so doing she gave Gerard Whelan, as the second person to have a go, an interesting challenge.

Gerard then gave me, as the last in this month’s collaborative effort, a few ‘brain scratching moments’.

Going last can either be the most challenging, or an interesting creative opportunity, depending on your point of view. I added more elements, then took the whole composite in a slightly different direction.

The three of us enjoy these challenges each month, and can recommend giving it a go with a couple of artistic friends.

We hope you enjoy!

FINAL STAGE

Maureen Maxwell

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MAGIC FOREST

by PA M HENDERSON

Australia

https://www.facebook.com/snapnshootdesigns/ https://artboja.com/art/dmfi9d

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THE MODEL WITHIN

by PA M HENDERSON

Australia

https://www.facebook.com/snapnshootdesigns/ https://artboja.com/art/dmfi9d

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BOOBY I

BOOBY II b y K A R E N WA A L W Y K

Australia

https://www.flickr.com/photos/88165766@N05 https://artboja.com/art/i1sahn/

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AFRICAN PELICAN

NORTHERN BL ACK KORHA AN

by CHRIS TINA BRUNTON

Australia

https://artboja.com/art/1pa52q/

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ALL THE COLOURS

by JUDI L AP SL E Y MIL L ER

https://www.artbyjlm.com

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New Zealand

P E N N I E S F R O M H E AV E N

by JUDI L AP SL E Y MIL L ER

New Zealand

https://www.artbyjlm.com

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M E M O R I E S O F A PA S T E R A

E XOTIC DANCER FROM THAIL AND

by GEORGE KONCZ

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Australia

R H O N DA R A M A D GE

J U S T F L O AT I N G B Y 123

WA R R I O R G I R L 124

E XPLORING THE NEW WORLD 125

BIRD GIRL 126

ALIEN GIRL

T H R O U G H T H E P O R TA L 127

RIDING THE TR AIL

R I D I N G W I T H W O LV E S 128

MOONLIGHT ESCAPE

F I N D I N G T H E WAY 129

Meet your artist Rhonda Ramadge Gold Coast, QLD Australia

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Tell us a little about yourself and where you live.

I live on the Gold Coast in South East Queensland, Australia.

How did you become interested/get started in Photo Artistry?

I saw the Artistry magazine on Facebook and was very impressed with the work being done. After a bit of research I found the Photoshop Artistry course and signed up.

What inspires you or gives you inspiration to create your art?

Inspiration is all around from viewing other works, listening to great music , particular scenes in movies that exude emotion and sometimes just sitting and daydreaming.

Do you have a certain approach to creating your art?

Often I will have an idea for a piece and begin the process. More often than not the finished piece is nothing like my original idea. I guess you could say creating on the fly is my often used approach.

What does your art mean to you?

Creating is a great way to relax. Very pleased when others like my work but the most enjoyement I get is the actual process and when a piece is finished and I’m happy with the outcome.

Do you think since starting in Photo Artistry it has changed you and if so, how?

I’m not sure that it has changed me. I’ve always been interested in the creative side of photography. Photo artistry has given me a platform to show my work and helped me develop skills to improve.

Is there anyone that you draw inspiration from ?

No one person in particular.

Where do you see (or hope to see) your art taking you in the future? What are your next steps?

I haven’t really thought about the future of my art. Just really happy creating and being able to show my work.

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PIEMAN RIVER REFLECTION

by MAUREEN MA XWELL

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Australia

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LONDON TOWN

by TRISH HOSK IN

Australia

https://www.trishphotography.com https://artboja.com/art/726rzm/

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THE MEWS

by TRISH HOSK IN

Australia

https://www.trishphotography.com https://artboja.com/art/726rzm/

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WITCHING HOUR b y K AY E V I S O N

New Zealand

https://www.facebook.com/artist.kay.evison/

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MOONLIGHTING b y K AY E V I S O N

New Zealand

https://www.facebook.com/artist.kay.evison/

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DANCER b y A N N L AV I N

Australia

https://artboja.com/art/d6au4o/

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B Y G O N E D AY S b y A N N L AV I N

Australia

https://artboja.com/art/d6au4o/

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aD rOt W i s tNs U N D E R Australia and New Zealand

SOME PHOTOSHOP INSPIRATION LIGHTROOM PRESETS IN ADOBE CAMERA RAW

By Andrew Haysom

Lightroom Presets now appear in Adobe Camera Raw With the update to Lightroom Classic 7.3 in April 2018, Adobe introduced changes to Lightroom Develop presets. How the files they saved as changed from .lrtemplate to .xmp extension and their location on the hard disk was changed to the following; Windows

C:\Users\[user name]\AppData\Roaming\Adobe\CameraRaw\Settings Mac

~/Library/Application Support/Adobe/CameraRaw/Settings Old format files were automatically converted and moved to the new location when you loaded the new version of Lightroom for the first time. If you import old format templates into a newer version they are automatically converted at import time.

If like me you are not a Lightroom user (I just use Photoshop), the other advantage is that the presets imported into Lightroom automatically become available in the Presets tab in Adobe Camera Raw (see Figure 1).

[Fig 1 – ACR Presets Panel]

So, if you have obtained some Lightroom presets, just run Lightroom and import them to make them available in Adobe Camera Raw.

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WA I T I N G F O R T H E PA R A D E

ABBY REL A XING

by JIM MERCHANT

Australia

https://jimmerchant.smugmug.com/browse https://www.instagram.com/jimmerchant/

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STE AMPUNK PORTR AIT

by DENISE McDERMOT T

Australia

https://www.imagesbydenise.net

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THE RE ADER

by DENISE McDERMOT T

Australia

https://www.imagesbydenise.net

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STEVIE STR ANGE FIELDS

by ALBAMASS

Australia

https://artboja.com/art/nsthnn/

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AT T H E B R I D G E

by ALBAMASS

Australia

https://artboja.com/art/nsthnn/

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aD rOt W i s tNs U N D E R Australia and New Zealand

UNDERWATER PHOTO SHOOT

By Ilona Abou-Zolof and Christina Brunton We enjoy doing photo shoots and using our own photos for our artistry. This particular time we decided to do an underwater photo shoot. I had the pool and we had a keen model, Effie Lmn. We purchased waterproof pouches for our cameras and we tested that they were waterproof by placing tissues into the pouch and submerging the pouches under water in the bath without the camera. Luckily the tissue remained dry. On the day of the photo shoot we heard blob, blob, blob as the cameras went underwater in the pouches with lots of bubbles. It was a scary moment at the time, but all was good and dry.

We had a number of problems • Glaring sun so not able to see in the live view screen.

• Although I had treated the pool with chemicals that morning the water had turned from clear to milky. In my enthusiasm to have things perfect I

may have over treated the pool as it had been clear earlier and it was late afternoon before it cleared up, so in hindsight it would have been better

to not put any chemicals in the water until after the photo shoot.

• Initially Effie was not able to stay down and was holding air in mouth which made the cheeks look bloated. After some practise we all got used to

doing the breathing and to make it look normal.

Things we learnt that day • Shorter fabric is easier to work with as longer 10 metres fabric was hard to work with.

• Lace umbrella was great to work with underwater as we tried a normal umbrella which broke under water.

• Put pool chemicals in the day before to allow the chemicals to clear.

• Practice makes perfect.

I hope you can learn from our experimentations as our first time doing it was a big learning curve, but it was also fun and had us in stitches laughing throughout the day.

We are now looking forward to doing it again when the weather is warmer.

Give it a go if you dare!!!

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UNDERWATER PHOTO SHOOT (Cont ...)

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UNDERWATER PHOTO SHOOT (Cont ...)

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THE FIRE OF AUTUMN

by MARGO ZERBES

Australia

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FA C E I T

by KYE THOMPSON

Australia

http://artboja.com/art/xb2kgr/

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SECRET ROCK

by KYE THOMPSON

Australia

http://artboja.com/art/xb2kgr/

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MOVIE POSTER

by MIK E K ANE

Australia

https://www.mikekanephotography.com.au/

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ROUGE

by MIK E K ANE

Australia

https://www.mikekanephotography.com.au/

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S L E E P I N G C AV E M E N b y C LY D E S C O R G I E

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Australia

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C H E E TA H S K E T C H

C H E E TA H O R A N G E

by HELEN AK ERSTROM

Australia

https://www.facebook.com/helen.akerstrom https://www.instagram.com/ha2260/

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S US A N M O S S

THE BLUE JUG 157

PRE T T Y IN PINK

J U S T M A D E F O R WA L K I N G 158

BLOSSOMS

GOLDEN TUBUL AR BELLS 159

GOING HIGH 160

PA I N T E R LY TA B L E A N D C H A I R S 161

RED DOOR PROVENCE 162

L AW S O N

STELL A IN WONDERL AND 163

Meet your artist Susan Moss Perth, WA Australia

Website:

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https://www.susanmossartandphotography.com.au

Tell us a little about yourself and where you live.

I grew up in Sydney at Gordon, attended Pymble College then did my Mothercraft training at Tresillian Willoughby before starting to travel around Australia and finally came to live in Perth around 50 years ago!

My husband Ray and I live in a small retirement village in Perth, we have 11 grandchildren between us and 7 are here in Perth.

I have always had a camera since being a teenager but also loved dabbling in art. I have been a member of the Watercolour Society of WA for around 10 years. I also joined the WA Camera Club 7 years ago, and I have come a long way with my photography since then, I have learnt so much.

We love to travel and have done France quite a few times, in fact going back in 2020 for more! Also love India and going back for my 3rd visit in December, just love the colour there, it’s a real feast for all my senses. Last year I was invited to host a photography tour to China and we had a fabulous trip, leading my second tour this coming October and can’t wait to go back.

How did you become interested/get started in Photo Artistry?

I am not really sure how I found Photo Artristy online, but it was a few years ago. I guess it is the artist coming out in me and always wanting to do something extra with my images. So much to do, so much to learn and there never seems enough hours in the day to do all that I would like to do! So I just have to do a bit at a time, learn, never stop learning and I keep playing in Photoshop.

What inspires you or gives you inspiration to create your art?

I am always looking at other artists’ creations and then thinking what can I do to achieve that with one of my images. Checking out the modules and working through them as time allows. Always dreaming about what I could do!

Do you have a certain approach to creating your art?

Not really it all depends on the image and what I feel about it and I generally have a play around, maybe in Topaz Studio to see what effects I can get, or I have a huge storage of texture images that I also work with.

What does your art mean to you?

Being able to be creative is what really gets me motivated, I haven’t done much actual painting over the last year, because of an eye problem, but that is really good now, so just starting back again with some really creative abstract work. I am happy just to be creative be it with my photography or painting.

Do you think since starting in Photo Artistry it has changed you and if so, how?

Yes, it has made me more focused on being creative and making sure I have some ‘me’ time to work at it.

Is there anyone that you draw inspiration from ?

I do love the work of Catherine Matthys, photographer also from Perth, as well as all the members of PA, Awake and Kaizan whom I keep watching on the facebook pages.

Where do you see (or hope to see) your art taking you in the future? What are your next steps?

I need to keep focused on my artistic pursuits, learn more from the Awake modules, get more skilled in Photoshop, be more adventuresome with my creating of artistic images, keep on taking lots of images to work with. Best of all is having so much fun with what ever I am doing!

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DO YOU HE AR?

by ANN WEHNER

Australia

https://www.annwehnerdigitalartistry.com https://www.flickr.com/photos/annwehnerdigitalartistry/

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O N A W I N G A N D A P R AY E R

by ANN WEHNER

Australia

https://www.annwehnerdigitalartistry.com https://www.flickr.com/photos/annwehnerdigitalartistry/

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MORNING R AIN

by DE AN HOHN

Australia

ht tps:// www.facebook.com/Dean-Hohn-Photo-Artistry-247723325687722/ ht tp:// artboja.com/art/yw8ic8/

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T H E S C E N T O F L AV E N D E R

by DE AN HOHN

Australia

ht tps:// www.facebook.com/Dean-Hohn-Photo-Artistry-247723325687722/ ht tp:// artboja.com/art/yw8ic8/

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K ANGAROOS’ HALO WITH SUNSE T

by JULIA HARWOOD

Australia

http://www.redbubble.com/people/JuliaKHarwood https://photographybyjuliakhar wood.shootproof.com/galler y/1887205/

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TRE ASURE YOUR LOVED ONES

by JULIA HARWOOD

Australia

http://www.redbubble.com/people/JuliaKHarwood https://photographybyjuliakharwood.shootproof.com/gallery/1887205/

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TA P E S T R Y D O L L I I

by JOYCE MARIS

Australia

https://www.instagram.com/jmarisart/ https://artboja.com/art/5y5m3p/

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4 PA L M S

1980’S CAIRO SNAPSHOT

by COLIN CAMPBEL L

Australia

ht tps://colincampbell.mypor t folio.com https://artboja.com/art6bq9cj/

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aD rOt W i s tNs U N D E R Australia and New Zealand

EXHIBITION AND GALLERY FRAMING HINTS

By Judi Lapsley Miller So you’ve taken the plunge and agreed to do an exhibition - congratulations! One of the first major decisions is framing. If you’ve not done it before, it can be quite intimidating. Hopefully this article will take some of the uncertainty out of it, or at least will help you know which questions to ask.

My key take home message? It is important to see the frame not merely as a vehicle for the print but as an extension of the art itself.

Exhibition framing is a big decision, a big expense but it is also an investment. It pays to take a long view and not worry too much about recouping your costs in just one exhibition. Instead, look for and line up future opportunities to use your frames, including galleries, personal customers, and group exhibitions and competitions.

Why frame? For exhibitions its usually essential if you’re printing on paper (I’m mainly considering photo-artists here who deal with prints). You can hang paper prints, but they risk damage. Galleries and stores usually like a couple of framed pieces even if you’re mainly selling prints. Some customers are happy to frame their own prints, but many more find the thought of choosing a frame inconvenient and even formidable, especially if they can’t visualize the results. Many would very much like the artist’s choice (and this might come as a surprise) because they feel confident that we know what we’re doing and that we have an artistic vision for the piece. If nothing else, having something tangible in front of their eyes helps them visualize what it will look like in their home.

To give you some idea what experiences have led to my opinions about framing, over the past couple of years I’ve participated in and organized a number of solo and group exhibitions and have put framed pieces into galleries. I was lucky enough to win a weekend course with The Learning Connexion and chose their framing course. I was also fortunate to have an exhibition at Edges Art + Framing and spent a couple of days getting a behind-the-scenes look into what’s involved with framing and time to consider the choices. From these experiences, I created the Tiny Art project where I mount tiny versions of my prints in tiny frames that Edges make, which has allowed me to experiment with many types of frames and framing techniques. In exhibitions, I’ve used stretched canvas, simple black frames and white mats that were professionally made, simple black frames and white mats that were purchased online, slim rustic wooden frames and glass, TinyArt pieces that covered a wide range of frame styles, and now large rustic frames or ornate Italian-style frames both with anti-reflective glass. For pieces going into galleries, on occasion I’ve pulled out all the stops with ornate frames and internal champagne gold filets with anti-reflective glass - expensive but they look stunning and are hard to resist! So over time I’ve gathered many hints and tricks.

Four TinyArt tūi pieces surround an ornately framed medium-sized tūī print, in the NZ Academy of Fine Arts shop.

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EXHIBITION AND GALLERY FRAMING HINTS (Cont ...)

Framing with exhibitions and reuse in mind

In your exhibition planning, start discussions with your framer early on - ideally a couple of months beforehand. It can take some time to decide on the specifics, and even once decided, the framer will need to order in supplies and will also need to slot you into their schedule. There are enough lastminute things to sort with an exhibition that you don’t also want to be stressing about framing too.

How to keep costs down?

Find a local framer you click with and do all your business with them. The more they know and understand you and your art, the more help they will be to you. Many framers will offer artists a discount in the anticipation of large orders, ongoing business, and customer referrals.

Reusing frames at the NZ Art Show 2018. After this show, I decided to switch from plain glass to UltraVue - those reflections are a real detraction from viewing the art both in real life and when trying to photograph them. (Photo by Linton Miller)

Consistent print sizes

Have consistent sizes and aspect ratios for your prints so you can reuse frames with new prints and so your framer can make the same frame in bulk.

Making your own

Unless you have access to all the gear and the space, and unless you enjoy it, making your own frames is not cost effective, especially once you add in your time. Most of the cost of framing is in the materials rather than the labour. But you might be able to make some savings if you do your own mounting. Mounting does not need nearly as much specialist equipment. You may or may not want to cut your own mats. Cutting your own is doable but it’s much harder to get a professional finish. A framer will have a precision cutter, and mats don’t cost much to cut.

The most useful skill is learning how to hinge a print to a mat so you can reframe with a new print without having to return to the framers. All you need is hinging tape, a bone folder to emboss the tape down, paper framing tape to reseal the back of the picture, and a utility knife or scissors. I also find an air blower and a brand new microfibre cloth useful to remove dust.

Buying ready-made or discount frames

You can buy ready-made frames online, and although they can be quite cheap, they are quite expensive for the quality of the materials used. They tend to feel flimsy and chip easily. If you go this route, you will need to learn how to mount the prints, but there are lots of examples on the internet. Many artists and photographers use the cheapest frames they can find from discount stores. Although sometimes a necessity due to time constraints and budget, they do not do your art justice and may also damage the print over time because they are not likely made with acid-free archival materials.

Vintage and recycled frames

Repurposing vintage frames is another option - check out second hand and charity stores, estate sales, garage sales, and the like. They usually need refinishing, it’s unlikely you’ll get matching frames, and the quality may not be apparent. I’ve had some success using metallic lustre wax on old frames to give them new life. You and everyone else are on the lookout for second-hand framing bargains so give yourself plenty of time to source them if you go this route.

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EXHIBITION AND GALLERY FRAMING HINTS (Cont ...)

Other cost considerations

To get more bang for your buck, consider trading off a cheaper frame for more expensive glass. Photo-art can look much better behind anti-glare glass as there are fewer distracting reflections. It also tends to look more painterly than photographic, if that’s the style you’re going for. It is more expensive, but I personally think it’s worth it because the art looks better and is therefore more attractive to a prospective buyer. Although the framing is an extension of the art, you need to be able to SEE the art first and foremost.

When you are pricing your framed artworks, be sure to account for the gallery commission so that you cover the cost of the frame even after the commission is taken out. A painful mistake made by many. If you have an artist’s discount, that saving helps cover the commission.

Adventures and advances in framing: (Left) Simple black frame with white mat and plain glass, purchased online, signed and editioned in the margin; (Middle, photo by Linton Miller) same picture but with a frame chosen specifically for the piece, framed to the edge, and using anti-reflective glass because the photo is taken at an angle, there are some reflections, but face-on it looks fabulous - certainly much better than the photo on the left.

(Right) TinyArt piece where the print is embellished with a bronzed edge, float framed over “wallpaper” created from the original piece in an ornate frame with anti-reflective glass. The TinyArt project has allowed me to experiment at a smaller scale - I can’t wait to do this piece BIG!

Reusing frames

There are some things you can do to enable you to more easily reuse frames, thereby offsetting some of the risk. Unless you ask, your framer might use techniques that make it difficult to switch out the prints. Ask your framer ; • To use two sets of D-ring hangers.

- One set of D-rings should be used to attach the string, rather than stapling the string to the frame. It is hard to remove the backing

board and the print if you can’t easily detach the string.

- The other set of D-rings should be attached approximately 5cm from the top of the frame, facing up, so they can be used with gallery

hanging-systems. The picture will hang flatter against the wall if the hanging points are near the top of the frame.

• To use “bendies”. The back of the picture is fastened in using metal points, and points can be either rigid or bendable. Both can be removed, but

“bendies” are designed for reuse - all you do is bend them back to remove the print then bend them back into place.

• If you are using a mat, touse archival hinging tape to mount the print on the back of the mat rather than mounting the print using adhesive backed foamboard. This enables you to easily remove the print and switch with another. It is also an archival method causing the least damage to

the print.

• If you are framing to the edge of the print, to use a hidden mat or risers within the frame rebate to ensure the print doesn’t touch the glass.

• Even if you plan on reusing the frames if a picture doesn’t sell, to always finish the back with paper framing-tape. You don’t want a customer to

have an unfinished frame that could be more easily exposed to insects, dust, and mould. Nor do you want this to happen if you’re storing your

frames for a while.

• If you’re storing your frames, to use cardboard protectors on the corners as the corners can easily be chipped. Your framed pieces should be

delivered with these protectors - keep hold of them.

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EXHIBITION AND GALLERY FRAMING HINTS (Cont ...)

Attaching D-rings to a TinyArt piece. Use an awl to create a guide hole for screwing.

Protective cardboard corners. In this piece, I’ve used a filet and anti-reflective glass.

Deciding on a frame

When it comes to deciding on a frame, there are a million-and-one possibilities and it is quite overwhelming. Initially I was ultra-conservative and opted for simple black frames and a white mat to try and appeal to more customers, but nowadays I throw caution to the wind and use a range of frames, sometimes quite ornate and sometimes with internal filets to give that extra special touch.

Nothing beats visiting your framer, getting their advice, and trying out lots of possibilities. There are also online framing services where you can upload photos and try out styles. It is hard to get a sense of the contours of the frame online though, so I do recommend looking at them in person if you can.

If you’re framing for an exhibition, it is usually best to use the same frame style for all pictures for a consistent look-and-feel, though this might not be possible if you have an eclectic range of prints. For my first couple of exhibitions, I opted for identical frames, but this meant compromising for a couple of images where the frame wasn’t ideal. In my current exhibition, I opted for two frame types as I had two distinct series in the exhibition.

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EXHIBITION AND GALLERY FRAMING HINTS (Cont ...)

So many choices of filet that can be used to elevate a frame into something unique and special.

Trying out possibilities at Edges Art + Framing. This frame is so gorgeous on its own, I use it without a mat or filet.

Pros and Cons of three common framing methods: Frame with mat and white margin

A classic way to frame is to leave a margin of plain paper between the print and the mat. At the bottom goes your signature and edition number, and optionally the title and year.

Cons: matted prints are larger and use more frame mouldings and glass, so this makes them more expensive to frame. They can also look more “photographic” which might not be the effect you are looking for with your art.

Pros: you get to see some of the unadorned paper, which can often be quite beautiful if you’ve printed on fine-art paper. Matted prints are larger, which can be a benefit if you’re looking for a bigger presence on the wall. It can also give the picture room to visually “breathe” within the frame.

Frame with mat and no margin

Similar to framing with a mat and margin, this method mats just over the edge of the print. The framer will need around a 3mm overlap between the mat and the print. They can actually use a smaller tolerance but it’s more fiddly and they will curse you. Instead of signing underneath the print, you sign on the print itself - make sure to leave enough tolerance so the signature is clear of the mat. (Note if you sell prints with your signature in the margin, some customers will still choose to mat to the edge of the print and over the signature! Because I usually print-on-demand, I ask my customers if they have a preference).

Cons: If your print has a strong edge effect, it might be noticeable that the mat is cutting out some of the picture.

Pros: your picture may suit not having a white margin, e.g., if it’s dark and moody, so matting over the edge of the print may be aesthetically more pleasing. It may also make it appear more painterly.

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EXHIBITION AND GALLERY FRAMING HINTS (Cont ...)

Frame with hidden mat

I now frame a lot of my prints with the frame to the edge of the print (usually with a hidden black mat or riser), because it has a more painterly look. If you choose this style of framing, then you need to consider that due to the glass (which is about 2mm thick), when looking at an angle, you can see around 3mm past the edge of the print. If you have a dark print on white paper this is extremely noticeable. If I know I’m going to frame in this way, I make special prints with a “framing margin” where I extend the edge of the print with a reflected blur (similarly to how you’d do a gallery-wrap on a canvas print), a dark colour, or I create the picture in the first place with an extra 1cm or so of picture that the framer can use as tolerance. I also add crop marks to help the framer line things up.

Things to consider: you will need to sign on the print itself - make sure you give enough clearance so the framer doesn’t overlap the frame and signature.

Rustic wooden frame with white mat, white margin left around print to show edition and signature. A safe choice.

This dark and moody print suited framing to the edge of the print with no visible mat and anti-reflective glass. Signed on the print itself.

Why does the frame cost more than the print?

Unless you’re an artist in a league way higher than most of us, framing will cost you and your customers more than the print. The reality is that a print is simply some ink and thick paper, which is way less costly to manufacture than wood and glass.

What next?

I hope this hasn’t scared you off exhibiting - the first one is the hardest but it’s a fantastic experience and you will learn so much. As I said at the top, if you treat framing as an extension of the art and the creative process, you will likely find it easier to make decisions as the art and your vision will determine the direction you go.

www.artbyjlm.com https://www.artbyjlm.com/blog/exhibition-gallery-framing-hints

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BLEEDING AND SPOT TING

by MARGARE T K ALMS

Australia

http://www.endowomanart.com https://www.facebook.com/LifeWithEndometriosis/

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M A S H E D P O TAT O E S

RUN WHILE YOU CAN b y M A R I S A L I B E R AT O

Australia

https://www.marisalphotography.com

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CIT Y GIRL

by LOUISE SMITH

Australia

https://www.instagram.com/lksmithphotography/ https://www.facebook.com/lksmithphotography/

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UNLOCK MY HE ART

by LOUISE SMITH

Australia

https://www.instagram.com/lksmithphotography/ https://www.facebook.com/lksmithphotography/

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THE TREE OF E TERNIT Y

by ALI OPPY

New Zealand

https://www.facebook.com/Mysticsparrows https://artboja.com/art/lzqpfy/

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AMBROSINE

by ALI OPPY

New Zealand

https://www.facebook.com/Mysticsparrows https://artboja.com/art/lzqpfy/

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L U P I N S PA I N T I N G

LUPINS BE AUT Y

by GER ARD WHEL AN

Australia

https://artboja.com/art/abf48i/

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N AT U R E ’ S B E A U T Y

S I N G A S O N G O F T H E FA I R Y W R E N S

by L E ANNE M WIL LIAMS

Australia

https://www.facebook.com/leannemwilliamsimages/ https://www.instagram.com/leannemwilliams333/

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ASCENT b y A N D R E W H AY S O M

Australia

https://www.flickr.com/ajhaysom/ https://andrewhaysom.myportfolio.com/

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SOARING

GHOST OF A GIRL b y A N D R E W H AY S O M

Australia

https://www.flickr.com/ajhaysom/ https://andrewhaysom.myportfolio.com/

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http://tinyurl.com/artisitsdownunderpublic

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