Innholdsfortegnelse for February - March 2018/ No.119 i International Artist

“How did you do that?” has been our guiding motto since the very early days of this magazine. In fact, it is printed out and on our wall for us to see every day. It is the simple idea that launched this magazine as well as the one that keeps us going well into the future. Artists want to see other work by artists, and when they see such work they typically want to know how it was created. That is where International Artist comes into the picture. There is another thing we are fascinated with. And that is a little beyond this simple question of how. It is with what? What materials did you use? What brushes? What paints? What pigments? What canvas? What palette? What easel? In fact,…

A continuing series of art competitions designed to encourage the best talent working in the world today open to any painting or drawing medium. ENTER OUR NEW ART COMPETITION CHALLENGE No. 105 Still Life See your work published in International Artist magazine and also receive a 4-page Editorial Feature in American Art Collector, the prestigious magazine read by collectors and galleries looking for new art work in the world’s biggest art market. Winners and Finalists in our competitions don’t just win awards to hang on their walls. The real value of entering and being one of the winners is that your work will not only be seen by hundreds of thousands of readers worldwide but also by leading galleries and collectors in America, the biggest art market of all. Our…

» Choose Your Tutor » Choose Your Medium » Choose Your Dates USA / CALIFORNIA / SAN CARLOS Bay Area Classical Artist Atelier Founded by Linda Dulaney, BACAA is built on principles and methods she learned from in_ uential teachers Ted Seth Jacobs, Tony Ryder and Michael Grimaldi. The atelier offers weekly classes, workshops, intensive summer programs and open model sessions for artists of all abilities who wish to study in the classical realist tradition. UPCOMING OIL WORKSHOPS Portrait Painting / Sean Cheetham / March 17-18, 2018 17th Century Dutch Still Life Workshop / Justin Wood / March 30-April 1, 2018 Non-symbolic Portrait Painting / Tony Ryder / July 30-Aug. 10, 2018 Contact Details info@bacaa.org | www.bacaa.org /bayareaclassicalartistatelier @bayareaclassicalartistsatelier @BACAALD CENTRAL & SOUTHERN EUROPE Painting Getaways Painting Getaways offers painting…

STAGE 1 FIRST OBSERVATIONS These days I have been creating drawings primarily on toned paper. I prefer to use Strathmore 400 series, which I tone lightly with graphite powder by sprinkling on the graphite and applying it gently and evenly with a paper towel before blowing off any excess. The beginning of a portrait from life (observation) occurs before the first marks are made. Examine your subject, which is precisely the light falling across the forms of the face of the person you are about to draw. What direction is the light coming from? Where is the darkest value within your composition? Where is the lightest? After spending a moment in thought, I make marks lightly (with a 3B pencil) regarding the contour or outline shape and movement of the…

STAGE 1: I begin by sketching out a gesture of the head with a pencil, triangulating major facial features. I usually don’t spend more than 10 to 20 minutes on this stage. STAGE 2: I usually use a raw umber diluted with some medium to lay in the darkest darks of the painting. STAGE 3: I paint in planes on a raw white canvas, so I work dark to light all over the entire form. This way, I am reusing the same color in more than one portion of the face, unifying shadows and darker midtones as much as possible. I also look for the most saturated hue in the flesh tones and try to lay that in quickly to give myself a guide for how vibrant to make the…

Perhaps because I began painting in watercolor years ago, I have never abandoned the use of transparent color in my oil paintings. Now, as an oil painter, the additional use of opaque paint next to, or painted over, wet transparent color is like having another tool in my toolbox of methods and materials. The stained glass look of color bouncing off a white ground just seems to inspire the use of creative color in my mind’s eye. This is how I use an underpainting of transparent color to enhance and unify color in my finished paintings. It also allows me to organize the “big idea” by using a simple value plan. Maybe you are familiar with the adage that “Color gets all the credit, while value does all the work.”…

STAGE 1 MONOCHROMATIC UNDERPAINTING I often begin paintings monochromatically. For Tranquillitas, I mix a large pile of alizarin crimson with viridian green (which will also act as my “black” in this painting), and then add white to subsequent piles—creating a range of values within this single color. The advantage to this method is I can work out the composition, scale, value scheme and basic edges without worrying about color or looking down to mix paint constantly. STAGE 2 BASIC ELEMENTS Here I’m using a large brush—a No. 8 filbert—and loose brushstrokes to quickly block in basic elements. However, I intend to let the underpainting show around the outside, so I’m carefully placing single strokes around the perimeter that will fade into more blended strokes closer to the focal point. Once…

All artists have techniques, tools and approaches that work to help achieve the vision they are pursuing for their body of work. For the most part, I paint with traditional materials and methods. Most of my work begins with a photo shoot. These photos are meant to find a pose that conveys the feeling I am looking for. The lighting, background and palette are created in the painting process. I use a gridding system for the outline of the figure, the muscles, facial and shadow information. I generally leave the drawing quite simple, as I prefer to do the “drawing” with paint. I paint wet on wet and background to foreground to create a sense of depth and consistency with how the lighting and color relate to each other. Starting…

I rarely re-create a real scene when sketching, because I think there are always imperfections in reality. If the goal of art is to achieve the ideal realm, creating things that do not exist in the reality, then copying reality is meaningless. Once the painting is too dependent on the objects described in reality, our imaginations are imprisoned and our hearts are enslaved. That does not mean that reality is completely unusable and unnecessary, but the description of reality should accord with our imagination and aesthetic appreciation. I think the creation of visual art does not really depend on the eyes, but on the mind, because the vision only takes the image while the mind can interpret the password of the image information. The significance of painting does not lie…

Part 8-Painting Faces In this article I am presenting ways to paint the face. This is not portraiture because “A portrait is a pictorial representation of a person usually showing the face. The intent is to display the likeness, personality, and even the mood of the person” (Merriam-Webster). Unless a portrait of someone is relevant to a buyer, friend/relative or is for a competition, paintings of recognisable people are usually very difficult to sell. A painting of a generic person is much easier to sell and can be turned into art rather than just a portrait. True purist portrait painting is an art genre of its own, which I greatly respect, requiring a much more disciplined approach. It relies on the innate talent of the artist who will use much…

We continue an instructional series on the use of pastel, which also has application to artists using all mediums Are you considering a painting holiday? They can be wonderful experience, providing time for both you and your art, a chance to visit a new or known place, and the time to enjoy it via paint or sketch. A bit ago, I was asked if I would like to lead a painting workshop to Norfolk Island in late 2017. Well, aside from the fact I’d never been there, it sounded wonderful. I did a little research, discovered something about the Islands history, and looked at some pictures. I decided it would be an interesting place to go, and accepted the invitation. If I was going to lead a workshop there, I…

Understand What It Is You Want To Say Understanding what I want to say about my subject allows me to design a piece to maximize the message. As a child, going to the beach was a yearly event. Often, our weeklong vacation was during stormy New England weather, leaving a bigger imprint on me than sunny beach days. My love for the sea began with those childhood summer vacations and my respect for its power came while body surfing: catching a large wave, I found myself suddenly at the top of a curl. I was powerless, and for that moment “of the wave” until it spun me out onto the sand below. That day sealed my respect for the immense strength of the ocean. The water crashing along the rocks…

In this demonstration, I will be revealing my technique of capturing the brilliance and luminosity of white florals. I have discovered over time that white flowers are anything but white! I start off by photographing my subject indoors by a window toward the end of the day when the light is golden and produces dramatic shadows and contrasts. This avoids any sort of breeze from moving the flower around, and it allows me to shoot at various angles, etc., until I am satisfied with the composition. Working with both a photographic reference and the lily, I begin my process by rendering the lily onto my canvas using a mid-tone grey pastel pencil and employing the grid method to enlarge my drawing onto a 30-by-30-inch canvas. I then invest some time…

The method I use came to me from American artists living in late-19th-century Paris, such as John Singer Sargent and Robert Henri, who in turn passed it down to painter-teachers in the U.S. such as Robert Brackman. I studied with William Schultz, a student of Brackman, in his studio for a number of years. My approach to painting requires that I do not see the subject before me, except insofar as it is an assemblage of sensations—the sensations of line and color. Line and color are sensual pieces into which my experience is broken. I then move back and forth between line and color throughout the process, putting the pieces back together according to my whimsy as I’m carried along. The point of painting, for me, is to escape into…

Watercolor is not a medium generally associated with texture, but there are a number of things we can do to create physical texture and many ways to create visual texture. Texture is often overlooked as an element in watercolor painting. Making a conscious eff ort to include it can really add to the interest of a painting. Contrasting areas of texture with areas of flat relief gives the texture more intensity and the painting more impact. JOHN LOVETT The High Country of Victoria Mansfield, Falls Creek and Bright, AUSTRALIA Monday 19 February – Saturday 3 March, 2018 Enjoy painting and sightseeing in the wonderful High Country of Victoria. It is an area that features alpine national parks, spectacular mountain scenery, lakes, snow resorts, vineyards and a rich history including gold…

FULL COLOR DIGITAL PRINT-OUTS Use the Official Entry Form over the page ONLINE Visit our website to upload digital files of the images you want to enter and pay for them using our secure server. www.internationalartist.com To upload your entries you need to prepare your image files to be at least 400 pixels at the shortest edge. Once you are in the Official Online Entry page simply select which challenge you wish to enter then follow the prompts and finally pay the entry fee via our secure server. There you can also see other entries received along with past winners of our competitions. HINTS FOR PHOTOGRAPHING YOUR ARTWORK • Set your camera to the highest quality available. • Shoot your paintings dead square on and fill the frame as much as…

Asking questions to your clients can help you handle any sales situation. Just remember to let the client answer each question before you ask another. Let’s look at different kinds of questions and how they might help us sell. Closed questions narrow the focus of the response. » They tend to encourage factual answers, often simply yes or no. » Usually closed questions begin with words like did, do, can, where and are. » For example, “Do you like my painting?” Open questions tend to encourage discussion. » That’s because they do not have simple responses. » They encourage opinions as answers and often begin with how or what. » Such as, “How do you think you’ll explain your choice to your husband?” Permission questions open up a situation. »…

Every drawing has a life of its own. From the second we touch graphite to paper, a drawing begins to flow and become alive. As draftspersons, it is our responsibility to guide this new life to its almost predetermined conclusion, much like the banks of a river lead water to the sea. We need to respect the works we are creating and allow them to grow into exactly what it is they were meant to be before the process of drawing ever began. Our practice of drawing is one of communication and discovery. As we seek to communicate our experience of the subject at hand, we inevitably discover and experience said subject in new ways and to greater depths. This is the joy and adventure of drawing! We get to…

The Portrait Society of America will be showcasing portrait and figurative work at our 20th annual artists’ national conference April 19 to 22, 2018, in Washington, D.C. Artists from all over the world gather to watch a variety of demonstrations, participate in hands-on workshops and receive one-on-one critiques from of our esteemed faculty artists. In this issue, we asked several of the faculty artists— Anna Rose Bain, Michelle Dunaway, David Kassan, Robert Liberace and Mario Robinson— to share their thoughts about artistic goals, struggles and discoveries. This is just a snapshot of ideas and teachings that you will be privy to at the conference, and we urge you to register early as we are already 80 percent full. EGNOSKI: What are your goals as an artist and have they changed…

Throughout my life, I seem to have been magnetically drawn to classical realism. I suppose I had such a great appreciation for the skill involved that it confounded and, truthfully, irritated me, that house paint dripped onto an un-stretched canvas was considered the “next step” in artistic evolution. It took several art history classes and countless visits to art museums to understand that it is more of an artistic liberation that has taken place, wherein we aren’t depending on the artist to merely capture a likeness. Today, anyone can capture a likeness with a phone. It’s the artist’s job to show us something unique, beautiful, disturbing, enticing, etc.; something we otherwise may have missed. To challenge our collective notion of what art is Marcel Duchamp put a toilet on a…

STAGE 1 IMAGE TRANSFER Using a neutral grey pastel pencil, I enlarge my artwork onto a 30-by-30-inch white primed canvas using the grid method. Pastel is great for this, as it is easily wiped away if corrections are necessary. It also blends away with the oil colour and doesn’t show through my painting. WHAT THE ARTIST USED Oil Colors » Burnt sienna » Cadmium yellow light » Dioxazine purple » Green earth » Ivory black » Naples yellow » Permanent green » Titanium white » Ultramarine blue » Yellow ochre Brushes » Nos. 3 and 6 bristle filberts » Sables » Oval wash brush for blending » Hakes brushes for background blending Other Materials » Liqiuin » 30-by-30-inch9white primed canvas » Grey Matters Paper Palette » Mid-tone grey pastel pencil…

As a painter, my medium and style have changed and evolved over time. I began as a commercial artist designing newspaper ads, which led to graphic design works for packaging and advertising. For my personal art, I have worked in caseins, watercolors and for the last 30 years, exclusively in acrylics— first on canvas and now on wood panel. My style has transitioned from traditional realism to impressionistic to contemporary realism, to what I’d now describe as graphic contemporary realism. Looking back, I’m realizing that my early design career has been a strong influence to my style these last 15 years. My work is very graphic with bold, saturated colors. Although my painting style is contemporary, the subject matter of the accuracy of place is maintained. An exception to all…

Painting the landscape, for me, is about rhythm and patterns, whether the inspiration comes from a light source, geology or the colors of Mother Nature. My hand and eyes follow a musical path through the painting process. I love this dance. Often, at the beginning of my process, I will create a strong monochromatic underpainting based on light and dark shapes in pastel that I melt with turpenoid and move around with a large bristle brush. If one were to watch me paint at this stage, you would see a lot of movement with the brush, working in a gestural fashion, implying detail with large strokes and a great deal of energy, almost salsa or tango like. Toward the end of completing a painting the rhythm shifts to a slow…

About Your Tutor Richard Robinson was a graphic designer until 2001 when he became a full-time artist. He’s best known for his idyllic New Zealand beach scenes. In the past few years he also has built a highly successful Internet business with his popular instructional painting videos on www.livepaintinglessons.com. Join me on a painting adventure to one of my favorite painting spots— Daisy Bay in Northland, New Zealand. Paint this stunning impressionistic beach scene with ease using big brushes. Follow along step by step using the resource photos, or use the techniques to create something more your own. Painting Critiques Carole Merly Daisy Bay, oil on canvas, 12 x 16" (30 x 41 cm) Great to see you using a variety of textures and mark making in this painting, Carole.…

There are some in the art community today who don’t like the word discipline. Luckily when I was a child, I understood its meaning and fell right in with “disciplined” drawings. As with walking and talking, hearing and feeling, all the taught “rules” become part of us. I talk like no one else and feel and think like no one else. I learned the crucial basics and evolved into myself with life and art. I could not have pushed my art all over the aesthetic map without that beginning—a “beginning” that can happen at any time in life. Start simple and when complex comes into play, it’s really not that complex. Money can be a problem, but try to get good art material. If you are placing yourself into the…