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Linda Douglas
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  • Brisbane
  • Australia

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Linda Douglas's Blog

New books and exhibition in Braidwood, NSW, August 2013.

Posted on December 9, 2013 at 19:55 0 Comments

In August this year, Julian Davies owner of the Left Hand Gallery in Braidwood, held an exhibition of printmaking using linocuts and woodcuts titled, Making the Cut.  Invited artists exhibited their work. I was invited to exhibit my miniature artists books.  These have been uploaded.  The books were displayed on plinths in the centre of the room and were a surprising addition to the exhibition.  I was overwhelmed when many of the books sold…


Exhibition, Bribie Island, Cover to Cover, October 2012

Posted on August 22, 2012 at 10:48 1 Comment

Bribie Island Museum is holding its first artist book exhibition and is calling for entries of up to 6 books. There is no restriction on when the books were made.  The exhibition will be opened on October 6 and a series of workshops will be held during the months of October and November.  If you are interested in exhibiting, please contact Leonie Meyer at for all the details.

Australian Book Arts Journal issue 7

Posted on November 29, 2011 at 0:30 0 Comments

Issue 7, Black, White and Red (Read) all over  is the last journal to be published.  UPdates will appear on the website from time to time. 

ONline exhibition matchbox zines and bound and bagged project

Posted on November 14, 2011 at 23:27 0 Comments







At last!!!!!!!!!!!!!!!!!!!!!!!  The amazing entries for the above two projects are now uploaded to the website.


Please take some time to go check them out at


Click  down the bottom on






June 2011 Issue of the Australian Book Arts Journal, Paper: The Connecting Thread out NOW!

Posted on July 6, 2011 at 20:59 0 Comments

The Australian Book Arts Journal, June  2011 issue, Paper: The Connecting Thread, is now out and includes:  Paul Johnson (UK, paper engineering), Gail Stiffe, Manly Artist Book Acquisitive awards, Kirstin Berg, HIlary Peterson, Southern Cross University Artist Book acquisitive awards, Fiona Dempster, Smells Like Zines, Sweets Workshop, Victoria Atkins, Nicci Haynes, Lawrence Finn and Sally Darlison.  Check out the website at…


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At 13:49 on May 30, 2011, Rosemarie Jeffers-Palmer said…

Linda, I will subscribe to your magazine and hope I can stir up articles etc for you.

It was wonderful to meet you.

At present I am flat out getting information out regarding our forthcoming Artists' Book exhibition - should we place a small advert in your magazine or are we too late - entris have to be photographed and submitter by early August? Let me know.

Send me a quick email so that i can at least send you the entry forms etc. You will know lot of potential exhibitors so, if you can spread the work around, that would be great.

Apologies but this is rather a hasty comment to you but we can chat more later I a sure.

At 10:59 on April 19, 2010, Lyn Ashby said…
thank you for your kind comment about my book. I presume you mean the one in the Mackay exhibition. It was lovely meeting you (and others). I missed the opportunity to get a copy of the magazine. I will get a subscription. Also I would be honored to do a wee profile for the Men of the book issue.
Lyn (Ashby)
At 19:37 on February 17, 2010, Sandra Wright said…
Wow hope to catch up with you when you are here. Are you going to Mackay? The journal sounds great, I'll try to put my mind to a book review or something. Cheers :)
At 10:53 on December 9, 2009, Ross McMaster said…
Hi Linda, sorry about my tardiness in replying. thanks for your comments on story of the bible ( now in the collection of Monica Oppen ) still working on the whole validity of organised religion in contemporary society ideas, plenty of print fodder in that one! would be nice to get to mackay next year yes! i have a solo coming up in february at Barratt Galleries in Alstonville. will send you an invite. hope everything is going well for your and you're not suffering in this heat as much as we are down here in Lismore. The process i used for story was screenprint, multi layered CMYK and single colour overlays with some collage on handmade 100% cotton paper.
take care
At 9:31 on November 18, 2009, Sandra Wright said…
Hi Linda, working backwards...Yes I would love to know what your Italian c/c experience was like, sweet & gentle I hope... ;) and yes I'm definitely aiming to be in Mackay, and no I should be finished but not quite. We loved those surreal photos you sent a little while ago too.Thanks, hugs
At 10:19 on May 18, 2009, Sandra Wright said…
Hi Linda, Thanks I'm very glad you like them. :) Good luck with the move. hugs Sandra
At 2:08 on April 14, 2009, Kathleen Garness said…
No, actually I don't think it takes YEARS of practice, maybe you should see results you like after 50 hours or so. Really! : ) Start small! : ) Study the details, draw incessantly! : )
At 0:28 on April 14, 2009, Kathleen Garness said…
Oh, some years ago I went to the Chicago Botanic Garden. There was an exhibit there of about twenty studies that an artist did of cut flowers, all in a row. He had been between jobs for a long time, and every few days or so, he went to the florist and purchased a single cut flower - all fairly simple flowers I believe - and arranged them in a series, from left to right, maybe six or seven on a page, on full sheets of watercolor paper. As I was looking at that exhibit, in a very well-respected venue, I asked myself "What's the difference between him and me? Why is is work up here and not mine? I don't see a difference in quality!" (not having much ego here, cough, cough, cough! ; )) and the answer I came up with was two-fold - he had the connections, somehow, and he had accomplished the body of work. He was persistent. So what do they say? 10% inspiration, 90% perspiration? You can do it! : )
At 0:23 on April 14, 2009, Kathleen Garness said…
As an accomplished book artist, you have a lot to offer other artists - don't forget that. : )

I work life-size, BTW. It's easier to measure proportions directly. One of the mistakes I made starting out, which discouraged me, was thinking I had to cover a huge piece of white paper all at once. I should have made smaller studies of single things and then moved up from there as my skill increased.

Several years ago, I had the time to do the botanical art certificate here at Morton Arboretum. The certificate consisted of about eleven classes: drawing, Watercolor 1&2, botany, tree identification, one or two other elective natural history classes, scientific illustration, and choices between the various electives they offered. Although I had worked for many years as a commercial artist, I found the watercolor class most helpful: the instructor made us do several studies, starting out with blind contour drawing (drawing something without looking at hand or paper), an eight-tone value scale from white to black, the color wheel you described, the overlapping stripes exercise described earlier, and what was most helpful, a single study of a walnut meat, first in two values, then three values, then five values. It's harder than it sounds, but it taught me to really see value and not be afraid of going as dark as the subject presents itself to be.

Good luck and do post some of your work online! : )
At 13:59 on April 13, 2009, Kathleen Garness said…
Superglue. Yes, being very respectful of your tools is a good philosophy, in all things! : )

Watercolor: you're right in saying the basis of much good watercolor painting is good drawing. : )

"Watercolor is hard" is a myth. I have disproved that myth. : ) Watercolor DOES need patience, just as oil painting does. It requires learning to see values and color both accurately and creatively, learning to build value carefully, and keeping color mixes very simple (best not to mix more than two simple pigments at a time). (look for colors that only have one pigment in a tube - the teeny little numbers like OR23 or Y165 etc you will see on the sides of the reputable brands)

You can (unless you're in the habit of always using staining pigments) wipe back quite a bit, almost to white. And you can use an eraser or knife when needed to scrape back color. If you have raised the grain of the paper that way you can rub it back down with the back of a spoon. For worse cases,you can make thin gelatin sizing and restore the finish to a damaged area and then repaint small passages. Or even rework your composition to hide the flaws, which you only will know about and obsess upon. : )

You do have to know your pigments and your papers, which takes a bit of practice. I make a practice grid of stripes of each pigment, and then make another set of the same stripes crisscrossing the first, to see how the colors look when they overlap. That's an essential exercise to learn from. But it's fun, you can be tight or loose, expressive or realistic to the Nth degree. There are no solvents to deal with, it dries quickly, it's less expensive per square inch than oils or acrylic and often is much more durable. : ) No, don't be intimidated by the watercolor myths. Go have fun and disprove them! : )

My first assignment to all my art students is drawing in full value, then painting, an egg. If you can paint an egg, you can paint anything. : )

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