When Commander Andrew Littlejohn paints a picture, technical aspects like colour theory and perspective are his focus to develop skill, more so than an underlying message.

“What I prefer to do is more representational. I'm not trying to push a narrative or get things out,” he said.

Commander Littlejohn’s longstanding interest in art comes from his background as a commercial artist.

Before joining Navy as a maritime warfare officer, he was the lead illustrator for Ford Motor Company, designing and illustrating owner’s manuals, books and websites.

“My concern was, I was still young enough to have done something more interesting than sitting behind a desk. So I ran away and joined the Navy,” he said.

Despite the drastic career change, Commander Littlejohn always kept art around, whether designing a unit logo or creating pieces for command teams.

Copper plate etchings has been one way he pushes his technical abilities, becoming engrossed in the process.

To do this, a copper plate is polished perfectly flat, before a thin coating of bitumen is applied to act as a resist. A stylus is used to scratch in a design, which is etched with acid to create a printing plate and then make the image.

Each pass of acid will make the lines and blocks of colour darker, giving the plates what Commander Littlejohn describes as “an infinite level of detail”.

“You've really got to plan them out. It’s a different approach rather than just rushing in, slapping stuff together or having a crack. There's this process and intent behind it,” he said.

“I've got a small tin box full of plates that are ready to go, so if I’m out somewhere and see something, I can do a sketch. You can take that home and work with it and make it better.”

'The works don't focus on strong colours. Hopefully it draws you in a lot more because you're looking at the subject, not being assaulted by jarring colours or crazy shapes that are coming out of it.'

On display at the 2026 Defending the Arts exhibition was one of Commander Littlejohn’s etchings of the Port Jackson Radio Tower, a landmark iconic among the maritime warfare community.

He also exhibited oil paintings, including a portrait of his daughter wearing her great-grandfather’s WWII flying jacket.

The juxtaposition of the child’s small frame wearing the oversized military coat made for a powerful image, as well as an opportunity to work with forms and a limited colour palette.

“In a lot of my work it's all very constrained colours. I'm trying to make things harmonise rather than pop off the surface. It's a more disciplined approach, which helps build skill and technique,” he said.

“The works don't focus on strong colours. Hopefully it draws you in a lot more because you're looking at the subject, not being assaulted by jarring colours or crazy shapes that are coming out of it.”

Defending the Arts is the annual festival for the ADF Creative Arts Association (ADFCAA). Participants attended workshops, toured the Australian War Memorial and took part in a Last Post ceremony.

The week finished with a performance night showcasing, song, dance, music and drama.

It’s not the first time Commander Littlejohn’s art has been displayed. In 2022, he was a finalist in the Napier-Waller Art Prize and had two pieces purchased by the Australian War Memorial for their permanent collection. He was also a finalist in the 2024 Gallipoli Memorial Art Prize.

He has had paintings hung in Parliament House, and his painting of General David Hurley is on display at the Australian Embassy in Jakarta where he spent five years of the past decade posted to Indonesia.

ADFCAA promotes artistic endeavour, collaboration and expression. It continues the tradition of creativity within the ADF, exemplified by the nearly 30,000 creative artefacts held by the Australian War Memorial.

With about 170 members across Defence, it provides an avenue for serving personnel to network, develop and showcase their creativity.

To join the association or find out more, email adf.creative@defence.gov.au