Innholdsfortegnelse for February - March 2019/ No.125 i International Artist

When I started working with International Artist magazine nearly 15 years ago, one of the first things I saw was a sign our publisher, Vincent Miller, had hanging on the wall of our Scottsdale office. It simply read, “How did you paint that?” For Vincent, that is the entire thrust of this magazine—to provide insight on how some of the best artists around the world create the wonderful works of art they have become known for. As time went on, we discovered that more and more artists were offering workshops out of their own studios in order to share this knowledge. Only recently, we came up with a handy guide to these workshops and now it appears in every issue of this magazine. We are proud to say that the…

My Inspiration My fascination for flowers started years ago when I lived in Mexico. I was amazed by their size, brightness and vibrant colors. Since then I always have flowers in my repertoire of painting subjects. I think that flowers give me a sense of abstract, as I don’t paint abstract, their colors and a photorealistic view make me feel as I was painting an abstract painting. I was paying a visit to a good friend of mine that lives in Alcalá la Real, Spain, and he showed me his Iris road. It took my breath away to see these iris in blue violet and purple colors. I knew I had to paint them. My Design Strategy I took hundreds of pictures to work later in my studio. Because of…

CHALLENGE ENTRY FORM SCHEDULE AND CLOSING DATES 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. Enter our Art Competitions from anywhere in the world HINTS FOR PHOTOGRAPHING YOUR ARTWORK • Set your camera to the highest quality…

Find art workshops near you » Choose Your Tutor » Choose Your Medium » Choose Your Dates VARIOUS LOCATIONS/Painting Getaways Ibolya Taligas is a Hungarian watercolorist who loves to travel with a sketchbook or two. To share this passion, she set up Painting Getaways and now offers plein air and studio-based workshops. Her plein air workshops happen in locations across Central and Southern Europe. She seeks out the most stunning scenery for our painting holidays. Many of her plein air workshops include walking so these are suitable for the explorer-type artist. UPCOMING WORKSHOPS Walk & Sketch in Rural Spain/watercolor/Ibolya Taligas/April 26-May 3, 2019 Wonders of Albania/water-based mediums/Ibolya Taligas/May 11-16, 2019 Highlights of Central Hungary/water-based mediums Ibolya Taligas/June 25-28, 2019 Plein air oil painting by Ammersee in Bavaria/various mediums/Tim Holmes/July 29-August…

Numbers are certainly an everyday part of our lives. Whether it is the amount you spend on groceries, the amount of your rent or mortgage, your age or today’s date, they surround us. In grade school and junior high, I found math quite easy, but as the years went by and more abstract concepts were introduced in calculus and physics, I had some difficulty. I could always visualize proportions and their relationships, however, and this has been very helpful in my sculpting career, especially with the enlargement and reduction phase of the sculpture process. While the numbers listed above relate to activities of the Portrait Society of America, we are more than just a listing of numbers. We are a growing and interconnected network of artists who form the heart…

STAGE 1: Brutal Action and Geometry One must resist the impulse to dive into the eyes, nose and mouth and instead keep the first statements simple and abstract. Distill the head into a rough egg or box, simplify the neck into a cylinder, and conceive the shoulders as a horizontal shelf created by the clavicles. The spirit of the pose will depend on the relationship between these three forms positioned in space. What is the axis of the egg? The cylinder? The rib cage? Here I have chosen a pose in which the head and shoulders are tipping in opposite directions, which creates expressive action much like a standing figure in contrapposto. Even a head-and-shoulders portrait has action and must be balanced properly in space. STAGE 2: Landscape of the…

Lake Michigan is one of my favorite subjects to paint because it is always changing and offering new challenges to problem solve. To quote Edgar Degas, “The creation of a painting takes as much trickery and premeditation as the commitment of a crime.” In other words, it’s about the process! My original early classical training was in portraiture. Working from live models taught me to observe how light moves around form and I also developed a memory for observing slight changes in the pose as the model settled. By looking at the shapes and their relationship to each other, I learned to create a likeness. While working as an illustrator and doing commissioned portraits of children at the beach, I found myself drawn to the forms I was seeing in…

I’ve never really perused a painting I “style”—my principal interests and goals are light, texture, composition and colour. These concerns override any desire to achieve a particular style. I am principally a landscape painter, deriving emotion and feeling from the forms and moods found in nature. I spent my early years drawing which proved to be a prerequisite for painting. This love of drawing would later attract me to watercolour. I follow the basic procedures of watercolour painting—working from light to dark, building tone and texture as I proceed with further washes. I put down bright washes first as these will “shine through” any subsequent washes. This also helps further washes from becoming muddy and dull. I have to be particularly careful to avoid this, as I like to create…

My approach to drawing is somewhat unconventional, probably because I’ve had to learn everything the hard way without any instruction, formal or otherwise. It started as soon as I learned how to hold a pencil. I first drew cartoon characters on every surface I could find. I then became interested in comic books and even dreamed of creating my own series. The older I got the more interested I became in science fiction and movie and music stars, and that’s when I realized that my passion was in portraits. They’re a conduit I use to express my emotions, record the world around me or simply immortalize special moments or people. Some of my drawings are autobiographical and others are portraits of people who have left a long-lasting impression on me.…

Friday 31 May to Wednesday 12 June, 2019 About your tutor One of the best-known international impressionist artists Robert Hagan presents a refreshing and unique approach to painting for both the studio and outdoor artist. Robert is totally self-taught, paints in oils and focusses on scenes of everyday life that feature figures at work and play. He has developed techniques and shortcuts in oils that makes his way of painting exciting and innovative yet with results that are spontaneous, energetic and highly appealing. His techniques of ‘wet-layering’ of paint together with his multi-functional ‘pastry brush and his EzyArt artist magnifier has enabled him to build a new way of painting that challenges the traditional yet yields exceptionally appealing results. Unique to Robert’s workshop is the rare opportunity of seeing how…

If Michelangelo would have had a tablet, sure as eggs he would have used it for playing with colour, so let’s do the same. It’s not cheating, it’s a tool, and a really good one. Most tablets and smartphones these days have cameras and basic image editing capabilities and you can always download an app for more complex features. Let me show you how I personally use a device as an artist to help with my work. Taking a Photo Zoom in on a subject by pinching outward in the middle of the screen. Ratio select the shape of your photo. I often use a square, because I like painting squares. Focus tap an object on screen to focus on it. Hold tap for a second to lock focus. Tap…

My Inspiration The transcendent beauty of these ranunculi was the inspiration for my painting, Dazzled by Your Charms (Ranunculus in Provençal Pitcher). In the Victorian era giving a bouquet of ranunculi was considered to be a way of saying, “I’m dazzled by your charms.” They are captivating blossoms of countless swirling petals. My Design Strategy The extremely subtle transitions of hue and value in each ranunculus bloom make them a difficult challenge to paint. I decided to use maximum contrast to highlight the blossoms against a dark background so that they would take on an otherworldly glow. I placed them in a hand-painted Arlesian (Provençal) pitcher—a favorite treasure I bought while teaching a workshop in France. In painting this I was attempting to communicate my love for and fascination with…

ENTER OUR NEW ART COMPETITION CHALLENGE No. 111 Seascapes, Rivers & Lakes 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 Grand Prize Winners receive a 2-page spread in International Artist magazine and a 4-page Editorial Feature in American Art Collector. Publicity at…

Why should you have a website? One answer might be to interest people in your works if they haven’t already seen them. Perhaps you wish to remind them of a painting they have seen in the studio or at a show? Maybe you want them to refer the website? You also might want to keep your name in their minds. Is a website the answer? » Usually it’s best for prospects to visit a studio or gallery to see actual works. » But many people live far and such a visit is unlikely, so they can use the website instead of coming in. » The website is basically set up as an electronic studio/gallery. That means decisions are made based on the website presentation. » In other words the website…

Traditions and methods are often passed from master to student and the Portrait Society of America is committed to creating opportunities for passing down knowledge between established and emerging artists. I recently asked several of the new faculty artists for the 2019 The Art of the Portrait conference to talk about how tradition is manifested in their work and in what manner they pass on these traditions to future generations of artists. In this issue, we feature Suchitra Bhosle, Adam Clague, Johanna Harmon, Ying-He Liu, Mary Qian and Tim Rees. Egnoski: For much of modern history, artists began their careers as apprentices, learning from a master craftsman before venturing out on their own. Has this form of traditional study methods shaped your own development as a professional artist and if…

I was born in a small town in east I China. During childhood I studied calligraphy for many years. The traditional Chinese art that nourished me during that period has had an important influence on my later artistic conceptualizations. My artistic style varies between figurative and abstract, realism and impressionism, to pursue a balance between representation and inference. It is not my goal to merely depict the details of a real scene but, through watercolor and brushstroke guided by my perception of what is before me, “interpret” that real object using my personal brushed-on language in order to express my inner response to what I see. My Urban Architecture Watercolors Perhaps my preference for the subjects found in the city, especially buildings, is derived from my profession as an architect.…

One of the most Oimportant, but not at first obvious, considerations when composing a painting is the correct placement, spacing and variation of repeating elements. Strangely, to randomly place elements in our paintings in a convincing way in nature and in the unconscious distribution of objects around us. When we see a contrived order to what should appear random it just doesn’t look right. Keep a conscious eye on the placement of every element of your paintings. It will soon become second nature to get that placement, spacing and variation to look just right. VISIT JOHN LOVETT ONLINE www.johnlovett.com www.johnlovettwatercolorworkshop.com…

STAGE 1 THE OUTLINE I drew the outline directly on Strathmore Bristol Vellum 300 series white paper using the grid system. I erased the grid completely and lightened the outline considerably before I started applying color. STAGE 2 MAPPING OUT THE FACE I first applied burnt sienna 10 percent all over the face and neck mapping out the lights and darks, leaving the eye white. I then added several light layers of burnt ochre 10 percent to the lighter parts of the face and neck, and burnt sienna 50 percent and burnt sienna to the darker parts alternating them. I gradually increased or decreased the pressure on the pencil where the values shifted. I added a touch of pink to the areas around the eyes and left cheek. STAGE 3…

Master the principles of painting that took Barry John Raybould from raw beginner to prize-winning professional in only five years. Barry’s work is proof that mastering these key discoveries really works, it worked for him and it can work for you too. "In the process of becoming a professional painter, I have spent countless hours and tens of thousands of dollars gathering and organizing knowledge to help me personally grow as an artist. I have searched out key discoveries from a wide variety of sources including apprenticeships with several world-class contemporary artists, a personal library of over 100 contemporary and out-of-print historical textbooks on painting, and my own personal discoveries in color harmony. I have found that if you want to learn to paint well, there are at least 700…

Ponder these truths: • Ludwig van Beethoven composed one of history’s greatest musical masterpieces when he was deaf: Symphony No. 9. • Mary Wollstonecraft Shelley wrote the novel of Frankenstein when she was 18 years old. • Anna Mary Robertson “Grandma” Moses started seriously painting when she was 78. • In chemistry, Harley Brown received the lowest marks ever in the 100-year history of his high school. The teachers totally understood and cheered him on with his art. Sometimes artists will say they’re putting in the subjects’ inner personality and that’s why it’s not an exact duplicate of the person. Yes, I’ve heard that one a few times. The thing is, we’re not after duplication, we’re after likeness brought about by an individual aesthetic approach. I’m also not needing to…

Saturday 18 May to Thursday 30 May 2019 About your tutor Colley Whisson was born in Brisbane, Australia in 1966. He has long believed “It’s not what you paint but how you paint it”. With this in the fore-front of his mind he has dedicated himself to developing skills to the highest level possible. Aiming to tell a visual story with clarity and sophistication but also driven to distort and abstract the image as much as possible while still maintaining a realistic image. Being in high demand to hold exhibitions, tutoring appointments, judging and demonstrations in Australia, Colley is one of Australia’s finest young Impressionist painters. His aim is to share his knowledge and joy of painting with like-minded artist’s world-wide. USA: 503 387-5549 • AUSTRALIA: 1800 033 436 (Toll…

Come celebrate and experience new programs, attend classes and workshops, enjoy technical discussions and lectures, benefit from portfolio critiques, network with artists and agents, travel to area museums and visit with friends, old and new. The Art of the Portrait®, held annually, is in its 21st year, and artists travel from all over the world to attend this one of a kind event. The 2019 featured faculty is made up of leading artists working in portraiture and figurative art, register today to watch demos and hear programs from Leslie Adams, Bo Bartlett, Suchitra Bhosle, Judith Carducci, Rick Casali, Casey Childs, Adam Clague, Rose Frantzen, Max Ginsburg, Daniel Greene, Johanna Harmon, Seth Haverkamp, James Head, Jeffrey Hein, Quang Ho, Edward Jonas, David Kassan, Daniel J. Keys, Everett Raymond Kinstler, Ying-He Liu,…

The demonstration painting in this article is a great example of what can be achieved through simple design, an understanding of water movement and a blending of interesting and balanced colours with strong contrasts. Water can be quite difficult to transpose onto the canvas; having a good reference to start with is always the number one factor in this instance. I have studied water as a challenging yet soothing subject to paint for many years now. I am always searching for the next adventure and drama bought on by our ever-changing weather and light conditions. As in most painting subjects, light can be your best friend with the early and afternoon light giving you plenty of contrasts. This painting is not so much affected by light as it is more…

I mentioned previously, one of the I reasons I love pastel as a medium is because there is always something you can do to mix it up. A couple of months ago I wrote about different types of underpainting. This month I want to discuss approaches to working paper to make it work even harder for us. I don’t know about you, but I often can’t find the right colour paper to work for a particular subject, or sometimes I just want to try something different. I often tint my paper with gouache or watercolour and sometimes even ink so I can get the colour I am looking for, or the effect I am trying to achieve. I begin by taking a white sanded pastel paper, or a light coloured…

Sunday 8 September to Friday 20 September 2019 About your tutor Internationally renowned colorist and painting instructor Camille Przewodek’s approach to plein air painting is all about capturing the illusion of light through color. She has won many awards including the Vanishing Landscape Award two years in a row at the Plein Air-Easton Arts Festival & Competition. USA: 503 387-5549 • AUSTRALIA: 1800 033 436 (Toll Free) • ALL OTHER COUNTRIES: +61 3 9729 8722 Website: www.paintingworkshops.net • Email: sales@paintingworkshops.net…