G’day viewers, my name is Graeme Stevenson and I’d like to invite you to come on a journey of
creativity and learning and adventure through the series Colour In Your Life. There’s an artist in every family throughout the world, and lots of times there’s an artist
deep down inside all of us as well. So grab your kids, your brothers,
your sisters, your aunties, uncles and mums and dads, and come and see how some of the best artists
in Australia do what they do. (Music Plays) GRAEME : Well g’day viewers and welcome back
to Colour In Your Life. We’re down at Dromana these days.
That’s the best way to say it isn’t it? CAROLE : Yes it is. GRAEME : In Victoria
down near the Mornington Peninsular and with a wonderful lady, Carole Foster.
Welcome to the show. CAROLE : Welcome, thank you for coming. GRAEME : Wonderful to have you here.
Now Carole’s got a really interesting history. I mean you have traveled extensively and lived extensively
throughout the world with your art. You were in Holland at one stage,
and then in Germany, and then in England, you’ve really moved around a lot. So tell me a little bit about your travels
as far as your art is concerned? CAROLE : I think with living
in different parts of the world you learn a lot from other cultures. And you kind of learn to create
in a broader, bigger way I guess, and you learn a lot from people’s colours, their environment and what they have to offer. It just makes you more complex as an artist I think, and you have more, more to give. GRAEME : Traveled a lot throughout Australia as well.
You’ve had twenty-nine shows, probably more. And you’ve been a professional artist
for thirty-five years, and a teacher as well. CAROLE : Yes.
GRAEME : So you’ve really had an extremely rounded career as far as art is concerned. How would you describe your art?
I can sort of see abstract and impressionism in there.
How would you describe it to yourself? CAROLE : I call myself a rhythm artist. GRAEME : Okay.
CAROLE : I paint rhythms of the land, and I have a real connection with the land.
I kind of paint by design of the earth. And it comes into something
quite modern and quite beautiful. GRAEME : Yeah I mean the colours are
absolutely dynamic. You’re a very prolific artist as well; you do a number of shows per year.
You’ve got a show coming up in Seattle in November. CAROLE : I do. GRAEME : So I mean, obviously moving around the globe as much as Carole does,
it’s quite an extraordinary career. But today we are going to go into
one of your beautiful iconic landscapes. And the beauty about this show today is that Carole actually works with spatulas a lot. And we haven’t had a lot of that on the show before, but this is really great because you really see the thickness and the luxury attitude of the paint
as it goes through. It’s pretty amazing. So let’s make a start on that and we’ll go from there. CAROLE : Okay, great. Thank you.
GRAEME : Sounds great. CAROLE : Today I’ve started by putting a sky,
a simple sky, in first and some under painting
so that it gives it a bit more body. And just a plain yellow underneath
and I’ve popped some sand in at the bottom here. And as you can see I’ve got a rough sketch
of what I’m going to do today, and now I’m going to put some darks in, just so that we can find it when we’re…
when I’m painting. I’m just going to roughly put those in, very rough. GRAEME : This is really,
I mean this is really attacking the canvas. CAROLE : It is.
GRAEME : In comparison to many other artists. CAROLE : It is.
GRAEME : You’ve gone out and taken your own photos of these as well? CAROLE : I have. This is a place called
Red Rocks Beach at Phillip Island. GRAEME : Okay.
CAROLE : And I looked at the formation of the rocks and I thought it was an interesting kind of area and had a nice design about it. Just a very, very rough block in. Now I’m going to go on with a palette knife. I’m just putting it on the table so I don’t get
too much on my palette knife. I really want a low coating of paint on it. GRAEME : Yeah.
CAROLE : And I’m going to come along into the sandy area. GRAEME : Okay.
CAROLE : And just give it a bit more texture and atmosphere, and I’ll just come in under the rocks. CAROLE : Okay that’s about it for the darks.
GRAEME : Yeah. CAROLE : I’ll now go in with some colour. GRAEME : Who’s your major influence then? CAROLE : There’s been lots of influences
through Australian artists. I like Brett Whiteley… GRAEME : Yeah.
CAROLE : Fred Williams and those types of people, but more recently people
who have lived more currently was Günther Kalbitzer.
He was my teacher for many years, and he taught me to locate me as an artist
and paint from the heart. You know from inside, not like other artists. He said where are you in this?
He said to me, he used to point at me and say, you’ve got to find you. You know, you the artist,
and connect with what you have inside. I mean from the day that he roared at me for all of that I came out and said I’ll show you, kind of thing.
And I went off into my little world and I know I was determined to show him
that I could do it you know. So it popped out and it never went back.
You know, Carole popped out. GRAEME : Absolutely. CAROLE : So it’s been wonderful.
GRAEME : And it’s the joy, and it’s the joy of what you do isn’t it? GRAEME : It’s just fabulous.
CAROLE : Absolute joy. I teach people to have fun, not to just paint, you know.
It’s about enjoying your life, coming into the class for fun
and just enjoying it, you know, CAROLE : and letting it rip, you know?
GRAEME : Fabulous. CAROLE : Having a good time.
GRAEME : Excellent. GRAEME : Alright, so where do we go from here? CAROLE : Well from here I’m going to put some colour on now. I’m going to build up some of the rock formations. I’m going to start out with a red ocher colour. GRAEME : You’ve got the Atelier Interactive… CAROLE : Paint.
GRAEME : Straight out of the… CAROLE : Straight out of the tub, no mixing.
GRAEME : Straight out of the tub. CAROLE : I do mix paint but on this occasion, CAROLE : this is not going to be a mixed paint day.
GRAEME : Oh look at that. CAROLE : It’s going to be just straight out because
the colours need to rich for the rocks. GRAEME : Yeah.
CAROLE : And I’m just going to show them as they are, you know…
GRAEME : Wow. CAROLE : …solid. The rocks go down in formation,
so I’m just following the rhythm of how they would be. GRAEME : I mean you must use a lot of paint then too. CAROLE : I do.
I go through, um… I wish they made them all in bigger tubs for me. GRAEME : But this is a, I think a technique as well where there is a lot of emotion that will go into your work. CAROLE : Well I think it’s your expression, when you’ve got a palette knife in your hand
you’ve got total freedom thing. It’s not something where you’re kinda
nicking corners and… GRAEME : Yeah. CAROLE : …trying to get something in.
You tend to… you have to go with the movement
of the shape of it even… GRAEME : Yeah.
CAROLE : …just about I’m now going into some reds,
which will be around some of the main rocks in a darker red. GRAEME : But I really like to see the yellows
popping through on those too. CAROLE : Yeah.
GRAEME : I’m not sure if you’re going to fill the whole thing in, but that just creates a great impression as well. CAROLE : I use a lot of yellow under my paintings,
not in all of them but a lot of it. It just gives a warmth to warm subjects. GRAEME : Yeah. I mean just watching you work, it’s just, I actually want to go over there and just
pick up a spatula and have a go. CAROLE : Well you can.
GRAEME : No I can’t. I’m not going to do it. CAROLE : I’ll let yah. GRAEME : This is fun. CAROLE : Well this is what this is meant to be, you know, and I really love doing palette knife.
I wish I could do all my work in palette knife. GRAEME : It looks great.
CAROLE : It comes, see the colours coming over… the other colours…
GRAEME : Yeah that looks just great doesn’t it? CAROLE : And it’s really starting to come into something.
GRAEME : Yeah. CAROLE : Now this orange is quite a good colour
to let in here as well. GRAEME : Ohhh. Oh goodness.
CAROLE : Nice and bright into the tops of some of them. Alright, I think I’m going to pop some trees in now. We’re going to do some trees up on the top of it. Now I’m going to mix some Burnt Umber with some crimson. Just a couple of bits of movement there
so I know where they are. GRAEME : And you’re just basically making an impression? CAROLE : Yeah.
GRAEME : It’s sort of like, you’re not trying to paint a tree really. CAROLE : No, it’s just a lump really.
GRAEME : Yeah. CAROLE : And I’ve put a… created a dip here
so that we get a bit of variety of where the trees might be. GRAEME : How about we take this off for you? CAROLE : Okay, thank you.
GRAEME : Excellent. CAROLE : That’s going to go in a minute.
GRAEME : Okay. CAROLE : Up here a little bit further. Now I’m going to put a bit of shape into these trees. GRAEME : So why a knife in comparison to
say the end of a brush? CAROLE : It’s a solid instrument that doesn’t bend and
it gives you a better direction with it, and you can turn it to thick and thin. You can do with a palette knife but
they tend to be a little bit flappy. GRAEME : Yes.
CAROLE : You don’t get the same effect CAROLE : or as good an effect.
GRAEME : Yes. CAROLE : And this, this just seems
to work better, you know, than the other things.
You can use anything really to scrape it through. It doesn’t really matter. GRAEME : It looks great but, doesn’t it? CAROLE : It comes up very quickly.
You can sort of… you still have to paint your trees but you can pull, you just make them up as you go really.
I think… GRAEME : That’s great.
CAROLE : I’ve sort of got the idea of the trees now. Now I’m going to pop this landscape in up here. So I’m going to choose a colour
that kind of goes with what’s here. GRAEME : Yeah. CAROLE : I’ll probably have a bit of this in it,
and a bit of beige in it, and just sort of put some
palette knife work across here. So a little while mixing that up. GRAEME : Yeah you really let the paint
do the work for you don’t you? CAROLE : Yeah it’s really just a lot of fun. GRAEME : Yeah.
Oh wow. CAROLE : Now I’m going to put a little bit of
colour in these trees but not much. Now I’m just putting this lightly over it not
to cover it too much, but just a little bit of… GRAEME : Just a touch.
CAROLE : A touch every now and then just to sort of refer it might be green or it might not.
You can’t really tell what colour it is. Now I’m going to do some edging on the painting. GRAEME : Okay.
CAROLE : So that we can make the rocks stand out a bit more. GRAEME : Okay well you’ve just about got there so,
but this one needs to dry off before you can actually finish it off. But you’ve got, seeing you’re such
an amazingly talented lady, you’ve another technique that you’d like to show us. CAROLE : Oh it’s a nice technique and it’s a drip technique, and it’s done with compound,
and I’d like to show you what I do with that. GRAEME : Okay. Well we’ll go to that next. GRAEME : Okay now for the second technique that Carole’s going to
show us, is actually using the Atelier molding compound initially… CAROLE : Yes.
GRAEME : …to get it started. And this is actually one that she’s going to go onto,
and she’s actually going to show us how to put the modeling compound actually onto the canvas. Well let’s go to this one.
I’ll put this over here, and we’ll have a look at what goes on. CAROLE : Okay. GRAEME : Right-O. CAROLE : Now this modeling compound I’m just going to put on nice and smoothly to start with. GRAEME : Yeah.
CAROLE : Just to cover it and I actually want the drawing to show through, so I can find it again. I sculpt into the drawing, put, not too thick,
it takes about, takes about two days to dry.
GRAEME : Okay. CAROLE : It takes a while, it’s not a fast drying thing. GRAEME : Yeah.
CAROLE : Now because this water is going to have a bit of a vertical approach to it, and I’m going to put the product on vertically as well…
GRAEME : Okay. CAROLE : Now that’s compound put on. Now what I’d like to do next, grab a smaller palette knife, these rocks here I’m going to find the shape of them.
GRAEME : Yeah. CAROLE : Often if you can’t see your reflection or understand it’s quite good to turn your painting sideways to draw reflections.
GRAEME : Sure. CAROLE : That’s quite a good technique when your brain
gets confused with which way to go. Okay lets bring that one down in there. Okay now the reflection in the water with these.
I’m just keeping fairly smooth cause you’ve got the texturey stuff
just on some of it, not all of it, this is whatever you want it to be. GRAEME : It really makes it look like
a rough sort of a rock in there. CAROLE : Yeah it kind of… turns into a rock instantly… GRAEME : Yeah.
CAROLE : …you might say. Now with water we can create these
little zig zaggy things… GRAEME : Yeah. CAROLE : …down like that.
GRAEME : Yeah. CAROLE : There’s bigger ones like this. GRAEME : Look at that one there. But do you use these techniques
on your other works as well? CAROLE : I use this with paint and sometimes, and it’s not necessarily for water, but I can use it into a rock face,
I can use it as abandoned landscape you know? And that usually just creates more interest
and surface on your painting you know. It’s just, just more fun in it. Now in the top half of it, we’ve got lots of trees, which I’m just going to draw some stems in for. GRAEME : Oh and this is your trusty knife again? CAROLE : Yes, my trusty kitchen knife, which has worked for a long, long time for
making trees and movements… GRAEME : Yeah. CAROLE : …and getting the edge of a rock
if you wanted it to. And that’s sort of a very quick demo of how you can use a compound, and takes, you know, two days to dry. GRAEME : Yeah.
CAROLE : And once it’s dry we can… GRAEME : Ready to go.
CAROLE : I’ve prepared another one so we can continue on with that. GRAEME : So what we’ll do is we’ll go from this one now, on to the next one, and you’re going to show us
a series of washes on that aren’t you? CAROLE : Yes.
GRAEME : Excellent. We’ll go from there. GRAEME : Okay, second part. Now that you’ve seen we’ve actually
put up the larger piece, and it is dry, so where do we go from here? CAROLE : Well at the start I’m going to put some darks and little bits and pieces around the rocks… GRAEME : Yeah.
CAROLE : …and formulate the top half of it. And so that I know where the shadows all go
and work for the bottom half. GRAEME : Okay.
CAROLE : So I’ll just quickly put in some darks. GRAEME : And you’re really not worried about
the fact that it’ll drip or run on this at all? CAROLE : Ah no. It probably will a bit. GRAEME : Yeah.
CAROLE : And it’ll probably make a mess down there, but once I get all the drips on,
they all run into each other and marry up. GRAEME : Okay.
CAROLE : So it won’t hurt it, if you know what I mean. It’ll just add to it. GRAEME : So it’s like your students
must have a really wide and varied different approach to work because you’re so, so diverse in so many different things. CAROLE : Well I try and take them
on the journey they want to go on. It’s not my journey… GRAEME : Yeah.
CAROLE : it’s theirs. So every student I work differently with,
and I try different approaches with, and I look for things that they need to have. And the journey that they want. GRAEME : Yeah.
CAROLE : So it’s important that they are doing, firstly doing something they enjoy doing. You know they’re not trying to draw
an egg or whatever it is you know. They’re having fun with whatever it is that they like. GRAEME : Sure.
CAROLE : And I get them to choose subjects that have a, they have an empathy with
or a connection with, you know? Something they really like you know. It’s just… GRAEME : Even that there, you can just see
those techniques coming through. CAROLE : Yeah they are just starting to show. GRAEME : That’s amazing, it just popped out. CAROLE : They just pop out of nowhere.
GRAEME : Yeah. CAROLE : Going all the way across here. GRAEME : And there they are.
CAROLE : And there they are. Come out… GRAEME : That’s great isn’t it?
CAROLE : …of nowhere. I’m going to put these rocks in, just with an undercoat. Looks like a yucky sort of a grey here, but its quite a, quite a rock colour. But it won’t be this colour in the end,
it’s just the colour I’m filling in, see all the textures…
GRAEME : Yes. CAROLE : …on the rock coming out now?
GRAEME : It’s wonderful. CAROLE : This is just a base colour for the rock. GRAEME : If you were to try and
paint that deliberately it would take you… CAROLE : Forever.
GRAEME : Yeah it really would. CAROLE : Okay this is just a base, it doesn’t
really look like anything much for the minute, but it’s just building it up a bit. There’s another stone up the top of the rock or stone up there. Now I’m going to get some trees in. GRAEME : You’ve really got quite
a runny palette there that you’ve made up. And you’ve separated all your colours. CAROLE : Yeah they’re one colour a palette. GRAEME : Yeah and they’re sort of like
but you’ve got this real mixture of very wet and sort of not so wet paint in there. CAROLE : Yes, so I’m picking amongst it
for what I want for this purpose. But I’m also using it for a runnier purpose as well in a minute, it’ll come down through here. It doesn’t really matter. When you’ve got a runny solution it allows you to be kinda be very flexible
with your brush and you know, just do things that are incredible. Rather than, you know, if you went to do that
with a solid mix of paint, it just wouldn’t,
you wouldn’t be able to do it you know. GRAEME : Yeah.
CAROLE : Your brush wouldn’t allow you to be as free. It’s a bit like watercolour you know, it allows you to kind of just do stuff
and enjoy it you know, and you can make it up as you go along. And it just creates more atmosphere I think, if you’ve got, things sort of going on
in behind the scenes there. Now I’d like to go back into these rocks now, I’ll go back into those for a little while
and make them look more like rocks. GRAEME : Next technique, the drip technique. CAROLE : It is. I’m going to show you, firstly with some dark drips on the painting. GRAEME : Yep.
CAROLE : And now here we go just like this. GRAEME : And it just runs down there does it?
CAROLE : It’s quite runny but it will. GRAEME : And this is… hence the reason
you’ve got plastic on the floor of course. CAROLE : Yes it does make a big mess. GRAEME : Oh look at that. CAROLE : Isn’t that fun?
GRAEME : Yeah. CAROLE : You know just to sort of… and you need to put it in fairly boldly to start with because it fades when the drips come out…
GRAEME : Yeah. CAROLE : …they lose their intensity of colour. GRAEME : But it’s got this really beautiful effect
coming even in this area in here. It’s soft, you can see the reflection starting to come in. CAROLE : It does, it makes its own.
GRAEME : Yeah. CAROLE : It’s sheer magic, you know. It’s not me creating it, just does it itself. Okay so that’s starting to come along. GRAEME : Mmm look at that. CAROLE : It’s lots of fun isn’t it?
GRAEME : Yeah. And it’s just creating
its own patterns all the way through. That’s amazing isn’t it?
CAROLE : I love doing this, this is just absolute fun. Okay that’s a good start to the drip work. GRAEME : Yep. CAROLE : Now I’d like to go back into the rocks and get them a little bit more realistic. GRAEME : A little bit more rocky.
CAROLE : Yeah. GRAEME : Okay.
CAROLE : A bit more rocky. GRAEME : Yeah that black highlight is sort of a bit of a trademark in your work.
CAROLE : It is. GRAEME : Yeah.
CAROLE : And you’d think that was kind of a, oh, I don’t know, its not kind of
a true arty thing to do really. GRAEME : Yeah.
CAROLE : You know, you’re suppose to be able to get the look of it without the outline.
GRAEME : But it looks great. CAROLE : But it’s just a, just a simple effect that makes them come alive you know,
and makes them work. GRAEME : Alright, we’ve got another one of these
that you’ve done, that’s sort of the dry section of this.
CAROLE : Yes. GRAEME : And what we’ll do is go to that one and then finish off the actual techniques
that you want to do when it’s dry. CAROLE : Okay then, I can do that. There’s still a few bits in this one that hadn’t gone
with the shadows in the water, but I can show you in the next one
where they’ve come from. GRAEME : Excellent. Let’s go to there. CAROLE : Now from area to area I’m going to
enhance this painting with some nice colours that will make it stand out more. So I was going to go around it with
this beautiful aqua colour that we have. Just touching it ever so lightly so we can… GRAEME : Just to pick up those areas. CAROLE : Yeah. Just a very light touch, you can even go into the greenery at the back here… GRAEME : Yeah.
CAROLE : …amongst the trees. Look at that, what it’s doing in there.
GRAEME : Just picks it up doesn’t it? CAROLE : It does, it’s just amazing,
it’s a lovely little bit to add into your painting. Wow. There you go. GRAEME : I like that. It looks great. Alright another amazing day with an amazingly talented lady. Carole, thank you very much
for having us in your studio. CAROLE : It’s been an absolute pleasure, thank you. GRAEME : Thank you, it’s been marvelous To see two incredible techniques, wonderfully talented human being
with such a diverse array of abilities, it’s just been amazing. Now you also teach as well,
and you have obviously various classes. We won’t mention the times
because you get booked up pretty quickly. CAROLE : I do.
GRAEME : Your website details are? CAROLE : www.carolefosterart.com.au GRAEME : Actually that’s excellent. Well, really well done, we’ve had a great day here. If you want to get in touch with Carole
about her work, and her workshops, absolutely get in touch through the website. You can see us on
our Facebook page of course, as always. And Carole’s work is actually in our site as well
at colourinyourlife.com.au. We’re going to head north now,
we’ve been down in Melbourne but we’re going to head back up north. I think we’re off to Townsville next time. But as we always say, before we go… CAROLE : Put Some Colour In Your Life. GRAEME : Exactly. Remember, make sure you Put Some Colour In Your Life and we’ll see you next time guys. CAROLE : Yay.
GRAEME : Bye now. See yah.