G’day viewers, my names 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. 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 do what they do. (Music Plays) (Graeme) Well hi viewers, well we’re in New Zealand, for this part of our show and we’re in Christchurch, the beautiful town of Christchurch, and with a very talented lady: Svetlana Orinko. How are you darling? (Svetlana) I’m good thank you. (Graeme) Welcome to the show. (Svetlana) Thank you, Graeme. (Graeme) Now this young woman has a very, very interesting history. She came from the Ukraine – migrated from the Ukraine, but I would say to the least that you’d had a really extensive art education in classical art, but Svetlana started when she was twelve years of age going to art collage. She’s very multi disciplined in what she does with watercolors and oils. I mean you’ll see some absolutely magnificent work as we go through. But to start at the age of twelve, and then go through to twenty-two years of age. Tell me a little bit about your collage and university experience because it’s you know, generally in our society people don’t go to art collage at twelve. (Svetlana) No (Graeme) But you’ve been to America and studied with, David Leffel (Svetlana) Yep. (Graeme) as well. Who is regarded as like the Rembrandt of America, and then gone on to do a number of workshops with other talented people. I mean Svetlana does workshops herself. I mean I would highly recommend anybody in New Zealand or the Christchurch area to come and talk to her. But very, very disciplined in what you do, very organised from what I can see as well. So today we’re going to do some apple blossoms, I can see on your laptop just there they look fantastic, and you’re going to do them on watercolor – (Svetlana) Yep. (Graeme) watecolour paper. Now this is pretty thick from what I can see here. How (Svetlana) Yeah. It’s 640 grams, (Graeme) 640 grams (Svetlana) Archers. (Graeme) Archers, yes. Has it in the corner, yep. (Svetlana) And hot press. (Graeme) Okay. Well what I’m going to do is I’ll step out of shot as I normally do of course, and I’m going to let Svetlana do what she does. As I said you’re going to have a great day today. This is a really talented woman, and we’re going to see one of her pictures come to life. So lets get stuck into it. (Svetlana) I like to start by I’ll wet the whole area, only leave my whites dry because with watercolor your whites is your paper. So like you use angle to see where the gloss and shine is. (Graeme) Yes, I can see that you really soak the paper. (Svetlana) This is a particular technique I call layering. The problem with a lot of people who study watercolor, they don’t put enough pigment in – they’re too afraid to. (Graeme) Yes. (Svetlana) I put a lot of color to start, cause they think watercolor is unforgivable – (Graeme) Yeah. (Svetlana) It’s not true. I do a lot of lifting out. And I lift out paint as much as I put on.(Graeme) And that’s just wetting the surface and then pulling the color off. (Svetlana) Yep. (Graeme) But you were saying that when you were a young woman you were required to produce twenty watercolors and sixty drawings and (Svetlana) Yeah, as homework. (Graeme) so that you wouldn’t double up on them, you actually used to burn them at the end of the term (Svetlana) That’s right. (Graeme) so that they teach you discipline and you had – it was like homework (Svetlana) You have to producing a lot. to keep you, it’s like um, training. (Graeme) That was per week. (Svetlana) Per week. (Graeme) That was per week. (Svetlana) We were going with sketch pads everywhere. (Graeme) Yeah. (Svetlana) You know, waiting for the bus. At the bus stop and you’re sketching. You go to the market, your sketching. (Graeme) But per week. (Svetlana) It’s insane. (Graeme) That’s eighty pieces a week (Svetlana) Yep, and it’s all destroyed. (Graeme) for ten years. That’s insane. My goodness. (Svetlana) But it all pays off. (Graeme) It’s practice. (Svetlana) Yep. (Graeme) Absolutely it’s practice. (Svetlana) Yeah, it teaches you how to see the form (Graeme) Yeah. (Svetlana) and you know how to turn the form. (Graeme) Yeah. (Svetlana) When painting or drawing it’s so important. (Graeme) Well I can see little white spots that you’ve left loosely everywhere on this picture. (Svetlana) Yeah, some of them I need to cause paper absorbs a lot of water. (Graeme) Yeah, but it’s surprising with the Archers, that it’s only absorbed in the areas where you actually put the water down, (Svetlana) Yeah. (Graeme) and the rest of it just stays there. (Svetlana) If you have a good sizing. (Graeme) Yeah, soaks through, but leaves that sort of definite line there. (Svetlana) Good quality paper will do that. If it doesn’t leave that line then it’s not good quality paper, or something wrong with the sizing. (Graeme) Yep. (Svetlana) I come across a few times um, it’s not supporting. Is to have good quality paper if you put a drop of water (Graeme) Yep. (Svetlana) it should stay like that until it dries, it’s not (Graeme) It doesn’t soak in. (Svetlana) suppose to go into it. (Graeme) Yeah. (Svetlana) So I’m probably using two or three primary colors at this stage a red, and yellow. I’m just using pure pigments. I use transparent pigments at this stage they can just mix for me on the paper. I probably concentrating more on the background now, because my background could be in many places just one layer. (Graeme) So you spent some time with Nancy Tichborne, when you first came out. (Svetlana) That’s right, yeah I discovered this amazing artist and she was great inspiration for me. And she taught me this layering technique because until then I was painting differently, and watercolour was, I was limited with time. I had pretty much was wet on wet, by time the painting was dry it has to be finished. And if you fiddle too much your colors become to muddy. Nancy taught me how to separate the layers and you can achieve amazing results with this technique. Very realistic results, if you really want a lot of detail it’s the way to go. (Graeme) How many colors do you work with on your palette? (Svetlana) I use a lot of colors, I’m not really a limited palette person. (Graeme) Yeah, I can see you’re sort of really separating those colors so that when they mix they mix themselves, instead of you doing it. (Svetlana) Yeah, exactly. My aim is to put enough color which will fit the mood of the painting and save me a lot of work later. (Graeme) Now what you’ve just done there, there is another piece that you’ve pre prepared because of your diligent in putting your records together. It’s called La Vie En Rose. which is a beautiful piece. And you can actually see all of the different layers that you’ve put them together as they’ve gone through the varying sequences to get to the end result which is the beautiful piece. But this is pretty well much of what we’re doing today as well isn’t it? (Svetlana) Exactly the same, yeah. (Graeme) Yeah. (Svetlana) In this process we start with underpainting, get rid of all the white paper and then you’re ready to do another layer. (Graeme) Fantastic, so in saying that this is pretty wet as well because of the color that’s gone in there. (Svetlana) Well now we need to do the important part. (Graeme) The important part, so I can see that (Svetlana) Let water do the job. (Graeme) so the water, you’re just going to let that sit by itself.(Svetlana) No, no, I’m to use gravity to mix color (Graeme) Okay. (Svetlana) and that’s why I left my white dry because it doesn’t matter which way I tilt the paint just goes around it (Graeme) Goes around it, yeah (Svetlana) and stays there. (Graeme) that’s pretty cool. (Svetlana) So what I do is um, I pick up the painting. (Graeme) So you’re just going to let it sort of move in its own direction. (Svetlana) Yeah, yeah I’m just going to I just (Graeme) Trim those edges. (Svetlana) on the carpet, otherwise I’ll dribble on the carpet. Yeah, it’s beautiful. (Graeme) Yeah, they’re lovely colors aren’t they? And now they’re just sort of (Svetlana) And It’s much nicer than doing it with brush. (Graeme) Yes. (Svetlana) Yeah, it’s hard to do. (Graeme) It looks a lot more natural as well. (Svetlana) Yeah. I still have white here but that’s okay, my whites are actually on the flowers which I’m going to do lots of layers. It’s the background I want to have similar flow through it, (Graeme) Yep. (Svetlana) and it looks a bit nice and soft and if I see any dry bits I don’t want I’ll just put a little water. (Graeme) Holding it at an angle like that you can see those pop up as well. (Svetlana) Yeah, yeah. Well at this stage I can see I would like to do some corrections. It’s not too dry it’s sort of a matt, it’s not to shiny or wet so it’s a good time for me to lift out the color. And the fresher paint is easiest to lift out. If you leave it for a week it will be much harder to lift out. And like this one here’s a warm color, where I know were one of my cool colors and if it’s a yellow bleeding into it there’s no way I could cover it, because it transparent. So I could take away a bit of warmth and other way around, I could take away some colds if I want to put warm. And some areas I would like to make it a bit lighter cause you know, it just happen, darken up a bit. Just the way paint flows and bleeds – you can’t control. But from now when I’m taking control of it, and so what I’ll do, I’ll just have some paintbrushes that are, they’re actually oil brushes – a bit stiff, and I wet area like here, and I put my water. I just don’t want that warmth there. In some pigments are easier to lift up than others, cause um, staining pigments very difficult to lift up so I try to avoid them at this beginning stage. So I take a (Graeme) So tissues. (Svetlana) tissues and you can see the difference. (Graeme) You’ve taken it off, yeah. (Svetlana) A subtle difference but (Graeme) Yeah. (Svetlana) it’s what I want. And I prefer that, than paint around, you know. It just saves me so much work, (Graeme) Yeah. (Svetlana) hours and hours of painting around. (Graeme) Yes, I think the easier the picture is produced, the better looking it looks as well, if it’s not too labour intensive. (Svetlana) Yeah, its got this looseness, I don’t like tight paintings control, like watercolour needs to flow freely and yeah, I try to paint loose. Now I’m going to wet my paper again. (Graeme) When you say you’re putting water back on, you’re putting it in some fairly selected areas. (Svetlana) I do yeah, I’m constantly thinking where should I be, cause it will create very interesting patterns, you know. The boundaries between wet and dry, cause there’s a lot of water. It would be, everything will be soft and subtle and then suddenly you have this crisp edge. (Graeme) And you’ve got another technique that you’ve developed and unfortunately we won’t get to see that today. But we’re just screening up some pictures at the moment. Distant Shores, (Svetlana) Yep. (Graeme) and also another one called Green Island. Now this is a technique that you call, and it’s an Orinko special. Orinko special: saturated granulation. (Svetlana) That’s right. (Graeme) So we’re going to have to do another show with you just to see saturated granulation. Or a better idea would be is that you do do workshops and also weekly teaching here in Christchurch, because it’s a fascinating technique, I mean just looking at those pictures there, you can see, I don’t know how you’ve done it; I want to of course. (Svetlana) No one knows. (Graeme) But if – oh, there you go, if other people wanted to come along and they can come to your workshops, and they can go to your website. It’s svetlana orinko dot com. So I can just sort of see you sort of ducking down every so often to see the angles of the water. (Svetlana) Yeah, I’m just going to create some abstract shapes on this, (Graeme) Yeah, (Svetlana) and see what (Graeme) as though they were leaves or branches, (Svetlana) yeah, the light coming through the petals, it’s the complexity. (Graeme) just using water. (Svetlana) Yeah, I could put colors. (Graeme) Now for the colors; the exciting part. (Svetlana) I’ll go for Colbert Blue. Exciting part, Colbert Blue is another of the pure colors which layers beautifully (Graeme) Yeah. (Svetlana) on top. Can you see how much water I’m putting? (Graeme) Yes. It’s still (Svetlana) A lot of my students just couldn’t believe how much water, (Graeme) but you’re still loading the water in there. (Svetlana) water wow, you wouldn’t even think. (Graeme) But the water acts as a continual vehicle. (Svetlana) Yeah, I could just direct it. (Graeme) Actually what you’re doing now um, you’ve got a picture and when I first saw it I thought wow, this is really dramatic and it’s sort of an idea of love and loss at the same time, and it was the picture of Loving Memory, the rose, and it looks like the petals are bleeding. (Svetlana) Yes, that’s right. (Graeme) So it’s like you’ve lost somebody that you’ve cared (Svetlana) Yeah, well the loving memories are always usually, a lot of people blind. (Graeme) Yes well when you did those roses you must have let them bleed through. (Svetlana) Oh yeah, because I’m a watercolor artist, even though I paint in oil (Graeme) Yeah. (Svetlana) I love those drips you know, and of course because it’s vertical you can’t avoid it, (Graeme) Yes. (Svetlana) you know. You can take them away, but I just think they’re beautiful; I like that. (Graeme) So this is always remembering as you go along to make sure that those white areas are not touched at all. (Svetlana) Yes, well what’s the point in the first place? You put all this work preserving them, yeah I like to keep them pristine. (Graeme) Well with all the training you’ve had, and all the people that you’ve done workshops with and worked with, I mean you’ve got this huge body of knowledge behind you (Svetlana) Yeah. (Graeme) that’s available for other people to tap into, which is pretty cool. But funnily enough there seems to be detail developing and you’re not actually trying to do it anyway. It’s sort of the paint’s doing it itself. Particularly with this one picture that I saw of yours called Love Is in the Air, (Svetlana) Yeah. (Graeme) and it’s an oil with Cherry Blossoms and the composition’s great. But you can see that everything around the outside is all literally faded out (Svetlana) Yep. (Graeme) and then we come into the detail in the middle and it’s (Svetlana) Yeah. (Graeme) The composition’s great in that piece it really is. (Svetlana) Thank you. What I aim to achieve with my painting is a balance of subtlety and drama. If you have enough subtlety and not enough drama then its not strong. And next step I’m going to do background to compliment my foreground. So with my lights come my subject, I’m going to put really dark background and it will make my foreground pop. Okay, again I’m wetting my paper. (Graeme) Yes. (Svetlana) You know, I’ll have some hard edges I’ll stop like a leaf coming out which make it nice and easy. So for my background I use a couple of mixtures, warm my green and then really dark green. You know you just put a brush stroke and it looks beautiful, the paper takes beautifully – its like a velvet. (Graeme) Yeah, I can see how you can develop these effects of yours by layering them, and continuously coming back over by leaving those lighter areas but layering the backgrounds, it’s great. (Svetlana) That’s right yeah, and this is an area where a viewer will look, because the biggest contrast there, so like me to show so I can say look there, don’t look there. A contrast in edges. (Graeme) It’s a fantastic technique; it’s a lot like some of the other pictures you’ve done. Iceland Poppies, which I think’s got really great light in it. And then just another one, Poppies in the Blue Water, which is really quite nice as well. But there’s another style that you’ve done which is the exactly the opposite to this, which is the picture Romanee Conti, which is wine and boxes which is really detailed. So it shows the extent of how detailed you can go, and then moving on to this abstract type form of watercolor. (Svetlana) Yes, yeah. (Graeme) So over the years who do you feel has influenced your work mostly? (Svetlana) Well I admire a lot of artists. You know, in Russia we have a lot of beautiful artists. I admire Ilya Repin and Vasily Suricov and Valentin Serov, also Nicolai Fechin also had a big impact. Of course they are all oil painters. Sargent would be my watercolor inspiration. (Graeme) Singer Sargent. (Svetlana) Yeah, I also learned a lot not personally, but from books and DVD’s and reading. Richard Schmid is one of my favourite. (Graeme) Apart from your great watercolors, you’re also a keen Plein Air artist as well. And we have a shot were you can see where you’ve actually taken the scenes that you’ve got, and then turned it into a beautiful oil painting called Blue Bells. And also there’s a great progression that you have here of a lake called Lake Wanaka, which goes through all of the stages and it looks like a sunset to me across the lake; it’s a really, really gorgeous piece. But when you where in the States, down at Taos in New Mexico, and Scottsdale in Arizona, doing some Plein Air work down there as well. Who were the instructors you were with down there? (Svetlana) David Leffel and Sherrie McGraw. (Graeme) Well it’s all this information that you bring to the fore in your own work as well, particularly with your own workshops. I mean learning what you have you know, from all these different places. (Svetlana) I get so much information and so much knowledge, from these top artists and bring it to New Zealand, which is not available here, is quite special. (Graeme) That’s fantastic. (Svetlana) And I would like to share what I learned. (Graeme) It’s always when I see your work, I can see you planning it in your head. (Svetlana) Yeah, exactly. (Graeme) Where do I have to go now? What do I do now? (Svetlana) It’s when painting happens, you think. (Graeme) You have to plan it. But the pictures developed a really wonderful abstract quality to it as well. (Svetlana) Yeah, I’m pleased about it. Yeah, excited – a feeling of excitement when you know it’s going really well. There’s nothing like that in the whole world; it’s like a drug I guess. For some people. (Graeme) It’s a healthy drug but. (Svetlana) Yes, it is. (Graeme) That’s the main thing. You know what it is? It’s a really good antidepressant. (Svetlana) Totally, yeah. (Graeme) It stops people getting depressed, which is the best part about it. (Svetlana) Oh yeah. (Graeme) If you’re feeling down, everybody out there in art world, this is the best way to do it. (Svetlana) Yeah, that art to me always picks me up and uplift me. Now actually I’m going to change my angle back to (Graeme) Yeah. because I want my darker, I want to create a darker edge here against the light background (Graeme) Now apart from being incredibly skilled with florals, and nature, and landscapes, you’ve also been a really amazing portrait artist as well. And there’s one portrait that we’re putting up right now, it might be pretty recognisable to the audience out there. It’s a self-portrait of you which you actually just recently won the Lysaght Art Award with. And there’s another one of actually a friend of yours from the Ukraine I think, its called Lace Shadows, (Svetlana) Yes. (Graeme) which is a beautiful piece of work as well. (Svetlana) Not every, I’m just sort of using brush to sort of pick up the background color in, because I don’t want them that obvious, you know I just want only suggestion of them, so I’ll just mixing layers previously, so taking away that sharpness, and ageing some yeah, well yeah. And now I would like to show you another tool I’m using a lot at this stage, like finishing is to lift out – how I could create a petal without painting it – just suggest. And I like this technique because you don’t need to paint it. It works really well in the shadow areas where it’s soft and subdued. I could just wet the edge of the petal and I could can you see how this looks, (Graeme) Yes, yes. (Svetlana) and I don’t need to paint. (Graeme) And you just basically lift it off with a tissue. (Svetlana) Yeah. And the more layers you put, the easier is to lift up. Like for example this leaf, I could just – instead of painting around it, what I could do, I could just lift it out. (Graeme) There you go. (Svetlana) You see? (Graeme) Straight away. (Svetlana) and I could tidy up you know, the messy area. (Graeme) Alright Svetlana, well you’ve shown us some fantastic techniques today, and I think that anybody that really wants to learn some of these really wonderful techniques that you’ve picked up over the years, and all of the years you’ve been studying they should come to your workshops, and at your weekly teaching as well. And they can go to svetlana orinko dot com, and have a look from there. But because of the beauty of television, you can now see the finished piece in front of you which looks absolutely fantastic as well. So it’s been a fantastic day, and (Svetlana) Thank you. (Graeme) really well done. (Svetlana) I enjoyed it too, thank you. (Graeme) Thank you darling. Well guys, ah great day; beautiful, beautiful piece of work. I actually love the colors, the way that Svetlana puts those multi faceted rainbow colors behind her watercolors is really fantastic. Now the workshops as well, if you’re in the Christchurch area, and even if you come to New Zealand, and you want to spend some time with a really multi talented, multi disciplined woman. Svetlana, your website is? (Svetlana) svetlana orinko dot com (Graeme) Yeah, so come and say hi to her, some other really great stuff she has in her website as well. Of course come and see us as well at colour in your life dot com dot au. And come in and friend us on Facebook, or like us on Facebook, and YouTube as well. Come and see us on YouTube, YouTube channel is going fantastically well these days, and we’re obviously spreading the word of art to many people across the world as best as we can. But love New Zealand, hope we can get back here as much as we possibly can to some fantastically talented people. But we’re going to head off again – remember guys: make sure you put some color in your life. We’ll see you next time. (Svetlana) Bye-bye. (Graeme) See you guys.