G’day viewers my name’s Graeme Stevenson and like to invite yo 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. 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 hi viewers and welcome back to Colour In Your Life. Well we’re down in Victoria, at a beautiful town called Healesville, and I’m with a very talented lady, Lynette Orzlowski. (Lynette) Thanks Graeme. (Graeme) How are you Darling? (Lynette) Good. How are you? (Graeme) Great to be here. Now Lynette is an award winning, multi award winning artist, she’s won over one hundred awards which is amazing, and also a multi disciplined artist as well. Lynette is disciplined with pastels, with oils with acrylics. And today – which is really cool because we haven’t had this on before she’s also an airbrush artist, and she’s going to take us through a bunch of things with airbrush today which is fascinating. And when you see the quality of her work you’ll perfectly understand what I’m talking about. I mean she uses a number of different ideas to put into her work. Loves animals and you’ve really been working on horses for a long time. So tell me how the airbrushing and the horses actually came about? How does that fit together for you? (Lynette) Well I’ve been airbrushing for about sixteen, seventeen years now. (Graeme) Okay. (Lynette) And the horses were something that I had in my younger life. I use to ride horses, use to have horses, and now it’s sort of transferred into my daughter riding horses – and she Events. So I get to go out there with camera and take a lot of shots. And literally the airbrush is a tool that I’ve used for quiet a few years, and now I’m just putting it into practice on the canvas. (Graeme) That’s fantastic. And obviously there’s a lot of studs in the area. (Lynette) There are, yeah there are. They’re all diversified as well so you know, you’ve got racehorses, you’ve got Friesian’s, you’ve got Quarter Horses, you’ve got Thoroughbreds, you’ve got pony clubbers all that sort of stuff, so lots of different horses. (Graeme) The difference with the airbrush is you can get a lot done but still, as easy as it looks, there’s a lot that’s involved in actually building it. And it’s layers of airbrushing that you ave to build up, (Lynette) Yeah, absolutely. (Graeme) a little similar to normal painting but the fact is it’s pretty well dry as soon as it hits the canvas isn’t it?(Lynette) Yep, that’s right. (Graeme) Yeah, so alright we’re going to go through this, this is really interesting stuff. I mean I used to do this as a young man myself and I find it quite fascinating but come on the journey. We are going to do some backgrounds initially which is similar to this one here. (Lynette) Yep. (Graeme) And then Lynette is actually going to start to work on this particular piece right here as well, and it’s going to be fantastic so come along for the ride. (Graeme) Okay Lynette, now you’ve got the blank canvas up there. Now one thing you did say to me just before we started was you use the best canvas. (Lynette) Yes I do. (Graeme) And what is that? (Lynette) It is from Art Spectrum, and it is the Claessens Belgian linen stretched canvas. (Graeme) You can’t get any better can you? (Lynette) It’s beautiful. (Graeme) It’s fantastic stuff so what you’re going to do is, using the Golden acrylics (Lynette) Yes. (Graeme) and you’re going to do – I don’t know how you do what you’re doing of course, but you’re going to do that effect, the background effect for us. (Lynette) Yep, absolutely, so (Graeme) How do we start? (Lynette) what I do with my paintings is, I have a like a real wash effect. So this one I’m doing a little bit different to what I’m going to demonstrate later, but this is the same sort of style so it sort of going to be a bit old worldly sort of, sort of have a little bit of stencilling in it and stuff like that, so we’ll go through that. (Graeme) Excellent. (Lynette) So I’m just going to start with some Raw Umber, from Golden. Now there is a medium that you can put into it, and I do use a liquid glazing medium, but only a little bit cause it doesn’t really need it actually. (Graeme) I love the fact that your table is your palette. (Lynette) Yes. (Graeme) It’s great. (Lynette) Oh look, I’ve had palettes before that have just been a board. With acrylic, because of the way they dry you can’t just scrape them off. (Graeme) Yep. (Lynette) So just using a little bit of water, (Graeme) Yep. (Lynette) now I did have the background painted, but I needed that dry so I can show you what I do in the second layer. (Graeme) Okay. Was it gesso you painted the background with? (Lynette) No, no, it’s actually Golden Raw Umber with Titanium White. (Graeme) Okay. (Lynette) So it’s the same sort of tonal that I’ve got the Raw Umber (Graeme) Yep. (Lynette) but just really lightened off. These Belgian linens are actually primed in acrylic. You can get them in oil as well, if you want to do oils, (Graeme) Yep. (Lynette) but this is acrylic primed. (Graeme) Yes if you’re going to do great work you may as well have the best. (Lynette) Yeah, exactly. (Graeme) You’ve very much involved in the arts in the area. I mean to the extent that some of the memberships that you actually have are with: Illustrators Australia, the Wildlife Artist Society of Australasia, the Australia Gild of Realist Artist, Illustrators Australia, the Yarra Rangers Photographic Society, Institute of Equine Art Association. Do you find that being a member of all those institutes helps you with your connections? (Lynette) It does, absolutely and I really, really enjoy when I actually get time to go to the meetings and you know, join their exhibitions and stuff like that. I do find with a busy life of painting and everything like that, it’s very hard to get around around to them all. But yeah, I enjoy being with them all. They give you a little bit of information all the time so it’s great. (Graeme) So this is a really loose mixture that you’ve got here. It’s mostly water and then just sort of obviously got a big brush there as well – letting, letting the paint sort of do its own thing. (Lynette) Yeah, sometimes it needs extra layers, extra colours, there could be drying time in between, until you get the desired effect. (Graeme) Yep, so you’ve got a spray bottle there. (Lynette) I have a spray bottle just with water. (Graeme) Yep. (Lynette) I can actually use a spray bottle with metho in it if I wanted to, to breakup that paint. (Graeme) Aha. (Lynette) It doesn’t damage the paint it just separates it from the canvas. (Graeme) Yep. (Lynette) So this one I want it to be a little bit more Baroque style, sort of old world sort of something you would see on an old building. (Graeme) Yep, and that’s just Golden acrylic white. (Lynette) Golden Acrylic Titanium White. (Graeme) Okay. (Lynette) Absolutely, so I’m not actually watering this one down as much, so I’m getting a little bit more of a stronger effect. But then if I don’t like it, then I can come back over with my squirt bottle and water it up again. (Graeme) Okay. (Lynette) So I’m just going to squirt a bit more water just to make it run, just to break it up a little bit more. So that’s it, (Graeme) A great looking background. (Lynette) we need to let that dry. (Graeme) Absolutely. (Lynette) Once I’ve done the background and I’ve marked out my image, I then block in with white. So I’m just using the Golden High Flow acrylics, and it’s especially formulated for you know, pen and ink, airbrush, anything like that so it’s nice and thin. So yeah, I use a mixture of that which I’m going to strain. (Graeme) And that’s actually a strainer. (Lynette) That’s actually a automotive stainer yeah, so it’s a real fine strainer. So any impurities or any you know, extra sort of you know, lumps of pigment that are in the paint will actually be strainer out. The reason why I do this is cause the airbrush that I’m using which is a HPC Iwata airbrush. That’s a point three eight needle. I don’t change needles I use the same needle so I need it to be actually quite fine to go through. (Graeme) And what are you putting in there now? (Lynette) Okay, so what I’m adding is a little bit of airbrush Transparent Extender. (Graeme) Yeah. (Lynette) I just find that it happens with the flow, (Graeme) Okay. (Lynette) cause what happens is acrylics have a tendency to tip dry, and I just find with that little bit of airbrush Extender it’s not going to tip dry as much. (Graeme) Okay. And you sort of get beading at the end of that little needle. (Lynette) More than beading it’s actually just dry paint. (Graeme) Okay (Lynette) Yeah, so I’m going to start. So just working off my reference here. (Graeme) Do you normally wear a mask at all? (Lynette) With automative – absolutely, (Graeme) Yep. (Lynette) and I normally do in the studio but because we’re filming it would look really silly me to talk to you with a mask on. So as you can see I can come in and do some really nice sharp lines, and then the rest of it I can sort of just bring the airbrush back off the canvas and I just hazes in. (Graeme) The viewers mightn’t understand that the reason you keep spraying it on your hand is to check for moisture. (Lynette) It’s not just that Graeme, it is (Graeme) Yeah. (Lynette) and with moisture it will actually effect your painting and you won’t be able to paint, (Graeme) Yeah. (Lynette) cause it will spirt out water onto your painting, especially using acrylics and water based it doesn’t work. But no, it’s actually to clean the tip, because what happens is when you shut down your airbrush a little bit of paint sits on your needle, and a lot lot of people that have started airbrushing will find when they start their airbrush up on their page, they’ll get splats of paint (Graeme) Okay. (Lynette) and at least this eliminates it. So what I’m doing is I’m cleaning that needle first, making sure there’s no paint and it’s ready to go. (Graeme) And you can see the effects that you can get, and it’s pretty well drying as soon as it hits the canvas. (Lynette) Yeah, there’s a little bit that you can rub off, but because yeah, it’s been blown by the air it dries fairly quickly. (Graeme) Now these types of products I mean if anyone wanted to get these, particularly in this area, they’d be best of going down to Bayswater, to the Art Shop. (Lynette) Absolutely, go and see NIck, Justin. (Graeme) Yep, see the guys down there because they’ve got a full range of all of these products. Sort of a one stop shop for people in the Bayswater area. (Lynette) Yeah. And look, you know, there’s lots people that come from many different you know, areas, they do an online ordering system so even if you’re in the other states they’ll post out to you. (Graeme) I mean your horses are just amazing, there’s one piece called Violet Rhapsody, and you’re using these backgrounds. I mean the thing that I love about a lot of your work is that there’s these wonderful negative spaces, and you’ve just got the animal sort of looming out of these various spots on the canvas. The majority of your work I mean you sell out before the damn things even get to the gallery which is fantastic for you and I can see why just by watching you work. But if people want commissioned work from you, they can just get in touch with you at your website, which is orzlowski dot com dot au. And if you want paintings of your horses done, I suggest you come in and say hello to her. (Lynette) So what I’m trying to create here is muscle tone. So yeah, you’re seeing the white highlights. Now sometimes things’ll knock itself out with contrast, but with the other colors I’ll bring contrast back in. (Graeme) Okay. (Lynette) So it can look a little bit flat sometimes but that’s simply just a layer that I just haven’t done yet. (Graeme) But the amazing part about this is you’re creating all this with one color at the moment. (Lynette) Yeah, yeah, actually a lot of people have said to me that I should leave it like a ghost figure, but I say the animals not dead so I won’t do that yet. (Graeme) Yeah, so how long does one of those little pots normally last for. I mean it seems to be extended pretty well. (Lynette) Yeah, well this one here I’m only half way done, (Graeme) Wow. (Lynette) so I would be able to do the whole horse. (Graeme) Wow that’s amazing (Lynette) Yeah, so you don’t use a lot of paint and that’s why there’s not a lot of overspray, as you can tell it’s not really you know, billowing clouds of smoke or anything like that you know, galvanised paint. So what I’m going to do, cause it’s going to take about you know, another hour or so to do the white background, and because I want to show you guys how I actually create this, I’m going to change colors. (Graeme) Okay. (Lynette) Okay. (Graeme) Cool. (Lynette) I’m going to pop this up there. (Lynette) Um cause he’s a chestnut, I’m picking these lighter sort of colors. So just testing the airbrush (Graeme) Yep. and just coloring in like a coloring book – in a way. (Graeme) Oh and the other tonal values are still popping through from the back. (Lynette) Because they’re, they’re almost transparent. (Graeme) Yeah. (Lynette) Sill got a little bit of a opaque to it (Graeme) Yeah. (Lynette) but yeah, it’s really picking up that um, those background colors so the places that I haven’t airbrushed, and left the background color is going to come right through. And always do reflective light into white. (Graeme) And the beauty about the Golden paint all the colors are there, you actually don’t have to mix the colors, they’ve got such a huge range. (Lynette) Yeah, absolutely. Not overly extensive in the High Flow, but definitely in the Heavy Body that I did the background with. (Graeme) Yep. (Lynette) Yeah, there is an extensive range of colors in that. (Graeme) The Anest Iwata – the cost of these guys is it expensive to have an airbrush? (Lynette) Something around this sort of caliber is around the three hundred and seventy, (Graeme) Okay. (Lynette) but you can actually have an entry level one that’s just going to be just as nice, about a hundred and ten. (Graeme) And then obviously just your compressor and your lines. (Lynette) And look, you can get a compressor anywhere. You can actually buy the little smart compressors (Graeme) Yep. (Lynette) that are silent and they can go into anybody’s flat and unit. Now I’m going to choose Burnt Sienna this time. (Graeme) Right. (Lynette) So once again I actually haven’t had the transparent – the airbrush Extender in these, cause I haven’t felt the need to I’m not having to detail a lot – I’m just coloring. (Graeme) Okay. (Lynette) So this is not – it’s not critical. So as you can see this is really going to really orange him up. (Graeme) Yeah, sure does isn’t it? (Lynette) I love this beautiful, you know sienna color against this, you know the Colbert turquoise here. (Graeme) And I must admit you have a fantastic studio and a gallery, but we’re in Melbourne and we’ve got a tin roof, and we’ve got four seasons in one day in Melbourne. (Lynette) Yeah, you can hear the rain. (Graeme) Yeah. (Lynette) So I’m just leaving that muzzle area cause it’s not orange really. So um, it has more softer greys, (Graeme) Yeah. (Lynette) has little reflections like just under the nostril here will have a reflection of this color. (Graeme) Yep. (Lynette) But yeah, I try, try not just cover the whole lot. So now I’m just going to come in with some darker browns, and all those shadow that I had before, I’m actually just enhancing with a bit more depth of color. (Graeme) Okay. (Lynette) And this is where I’ll start to bring in some detail of the eye as well, and you get these beautiful soft shading in the eye. (Graeme) It’s a matter of perfecting that finger movement back and forth, it’s very slight isn’t it? (Lynette) It is, and you know when it comes to real sharp detail (Graeme) Yep. (Lynette) you’ve got to be really precise (Graeme) Yep. (Lynette) and it’s just a matter of practice. So basically what I’m doing here is I’m just going over my darks again, just reinforcing that color. (Graeme) Aha. You just get to the stage were you’re refining, refining, refining, and (Lynette) Yeah, absolutely. (Graeme) more and more and more. (Lynette) Yep, so on this one I can’t see a lot of his veins – I’ve got a few in there, but yeah, just trying to refine the veins in the painting as well. (Graeme) So you say airbrush is your favourite medium? (Lynette) Yeah, it is actually. I really, really enjoy the fact that you can get this realism from it, and it’s so easy to do. (Graeme) Yeah. (Lynette) It’s a lot harder to get the blending effects via brush than what it is to do with airbrush (Graeme) Oh god yeah. (Lynette) and I just find that yeah, the technique that is used to get these, these finished pieces I really enjoy. (Graeme) Yeah, if you were painting that with oils or acrylics you’d wouldn’t be anywhere near you are now. (Lynette) Oh no, (Graeme) Yeah. (Lynette) no. So just coming in with a little bit more detail here. Now I’ve really colored up the where the pupils going to go, so just need to dry that off so I’m just blowing cold air onto it, or the compressed air. So I’ve just picked up the white airbrush, not to say that it is a white airbrush: it’s silver. But I’ve actually picked up my second airbrush that I had the white in previously, and I’m just going to start on the muzzle. (Graeme) There’s a lot of artists do use stencils but you’re that proficient at doing this that you do it mostly freehand which is, it’s not – it looks easy, but it’s really not easy to do. (Lynette) No, you’re right. It’s a lot of practice. So I’m over highlighting, just so I can get that white back in, and then obviously we’ll knock that back with another set of colors. (Graeme) I was going to say with your commissioned pieces you go right out; I mean you prefer to take your own photos. You’ll go to the property where the horses actually are and then look at the animal and learn to understand it, and take your photos to get the best result. (Lynette) Yeah, absolutely. I really, really enjoy doing that. One, I get to meet the animal or the animals, and I get to see their personality, their traits, what best light suits them as well. So yeah, I really do enjoy coming out to people’s properties and actually taking the shots, interacting with both the client and the animal. (Graeme) And I just want to bring up a piece that you’ve done called A Moment In Time, of your beautiful daughter, the darlingist person in your life. (Lynette) Yeah, she’s beautiful. (Graeme) Yeah, it’s fantastic. Plus the fact that your daughter does dressage as well, means that you’re involved with horses a great deal; you understand them. (Lynette) Well she does not only dressage but she does all three disciplines: dressage, showjumping and the cross country. So she does a lot of horse trails and eventing, so I’m out there in the field and them come back into the studio and start painting them as references. (Graeme) Okay, well I can see there you’ve just picked up a palette and a brush. You’re just getting those super fine lines and then highlighting everything with the brush. Now in saying that as well, a lot of the work that you do, you do pastel, and you do oils, and you do acrylics. You do combine your airbrushing with your painting style as well. (Lynette) Yeah, in some of the pieces I actually do; I’m just not solely an airbrush artist even though I do use the tool a lot. With my commissions they’re not soley based on the airbrush, I do actually do pastels, watercolors, acrylics. Even though I do really enjoy the airbrush and I love painting with it – depends on the subject – I don’t have to use it all the time. So at the moment with this I’m actually using the High Flow, using the brush with the High Flow paint. I just find that it’s already pre-thinned. You don’t have to, have to worry about watering it down or using a medium or anything like that. I do have the Heavy Body Titanium there if I do need to use it or want it a little bit thicker. But I’m just finding that with this fine Rigger brush it’s just working perfectly with it. So basically what I’m doing is I’ve got that out of focus airbrushing on the mane, and then what I’m doing is I’m bringing that depth of field so with the detail. Which with everything with these pieces, it’s all getting in your layers with your highlights, and then knocking it back down with your dark tones. Okay, now that I’ve actually done the brushwork that I’m happy with, I’m just going to come in with my white airbrush and just finish off a little bit more highlighting. So now I’m just doing short strokes, just to create the direction of the hairs going. These are really, really short dagger strokes we call them, in the airbrush world. (Graeme) You do like two workshops a year and they’re generally pretty booked out, (Lynette) Yeah. (Graeme) so if somebody wants to come along they can obviously go to Lynette’s site and then talk to her about it. But I would have to enfaces that she does book out extremely quickly, so if you wanted to be part of it you have to get in early. (Lynette) Yeah, you’ve got to be careful at this stage now, that you don’t put your hand over your wet area, cause I’ve gone in really heavy so this time it is actually really wet, so I’m just waiting for it to dry. (Graeme) You’ve obviously got there’s a lot still to do, but with the beauty of television as you can see we’re just putting up the final piece now, of this magnificent painting that Lynette did for us today. As you can see it’s just really quite extraordinary – beautiful piece of work. Okay viewers, fantastic day. Wow. Horses: look at this piece here. This is just amazing isn’t it? I mean this is the talent that this woman has; this is a painting – it’s incredible, it really is. Now if you would like to commission Lynette to do some work for you, your website is? (Lynette) orzlowski.com. au. (Graeme) And also for Lynette’s workshops as well. They book out really quickly so my suggestion is if you want to do, or learn how to do this, you get in touch with Lynette asap. There’s some people you’d like to thank as well. (Lynette) Yeah, absolutely. I’d like to thank Anest Iwata, Golden Paints, the art shop dot com dot au, art stretchers which is Art Spectrum who supplied the the beautiful Belgium linen, Mooroolbark Picture Framing, and also Mugshot Hair. (Graeme) That’s fantastic. It’s people like that and organisations that are getting behind artists like Lynette that enable them to be part of the show and it obviously helps them out as well. We have a huge audience these days, literally right across the world. So if you’re artists out there and you want to be part of what we’re going – go and talk to some people, I think it’s essential to do that. We’re all in this together and you’ve just proved that by getting those other people on board. (Lynette) Yeah. (Graeme) If you’d like to see some more of Lynette’s work you can come to colour in your life dot com dot au. Our Facebook page and our YouTube site as well – go in and subscribe also. We’re off. We’ve had a fantastic time again in Victoria, and beautiful Healesville; it’s been great down here. And you – fantastic woman. (Lynette) Thanks. (Graeme) Until we meet again guys – remember – as always: make sure you put some color in your life. See you guys. (Lynette) See you. (Graeme) Bye now.