Innholdsfortegnelse for August-September 2021/ No. 140 i International Artist

Welcome to issue 140. That is a lot of issues dedicated to artists and written—“For Artists by Artists.” The master painters that have donned our pages over the years are legendary. To think it all started in Australia with a vision for artists 23 years ago. This issue is particularly strong, and we invite you to enjoy some of our new demonstration mediums. In addition to our devotion to oil and watercolor demonstrations, we have scratchboard, gouache and pastel demonstrations. For watercolor painters—gouache has been used for over 12 centuries and is a natural pairing for watercolor painters. Scratchboard is a beautiful engraving art style that we show in detail in this issue. Our NEW website is also complete, and we encourage you to come visit. Our demonstrations are now…

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 an artist, it doesn’t mean you understand business. » Being an artist is not necessary for running a successful art business. But if this were not so, then how could galleries and agents survive? But a gallery means there is a business to run. » This takes time from the studio but it has to be done. Maintaining the passion is now harder rather than easier and can flicker. » But you have to know how to make the gallery business work. » The function of any business is to find and keep clients. The function of a gallery is exactly that too. With a market-oriented gallery the focus is on sales. » Exhibitions represent the best chance for bulk sales for you. » This could mean changes in…

We are excited to announce the launch of our podcast, The American Art Collective! This is the official podcast for International Artist Publishing and its five top art magazines: International Artist, American Art Collector, American Fine Art Magazine, Western Art Collector and Native American Art. Each episode will offer fresh perspectives on the American art market from many of the movers and shakers, including familiar faces that have been featured in the pages of our publications. We’re talking to top artists, gallery owners, museum curators, fair organizers and promoters, auction specialists and art dealers, as well as leading art experts in a variety of fields and genres. No stone will be left unturned as we dig into the fascinating and exciting world of American art. These voices will be a…

William F. Draper Grand Prize Winner Sponsored by: American Art Collector, Jack Richeson & Co., Inc., Portrait Society of America, and Silver Brush Limited Annie Murphy-Robinson, Carmichael, CA, USA Casey “After the Dance”, charcoal on paper, 59 x 42" (149 x 101 cm) First Place Painting Sponsored by: American Art Collector, Artwork Archive, Natural Pigments, PanPastel Colors, Portrait Society of America, and Silver Brush Limited Frances Bell Wooler, Northumberland, UK Self, oil on canvas, 36 x 34" (91 x 86 cm) First Place Sculpture Sponsored by: Artist’s Magazine, Portrait Society of America, and Synappsys Digital Services, Inc. Brittany Ryan Laguna Beach, CA, USA Midwest Mermaid, aqua resin, 31 x 14 x 14" (78 x 35 x 35 cm) Second Place Sponsored by: Airfloat Systems, New Wave Fine Art Products, Portrait…

I am deeply drawn to the dramatic I landscapes of the Pacific Northwest, and capturing the ethereal beauty of that moody scenery has become a deep passion of mine. I could get lost for hours watching the mist roll across the mountainsides while trying to understand the shapes, movement and subtle intricacies of the ever-changing landscape in front of me. When you really take pause and begin deconstructing the natural world around you, it is incredible to see how interwoven every little thing is with one another. Often we don’t give ourselves the time to truly connect with what it is that we are hoping to paint to life, and rushing that process is when that extra little bit of magic gets lost within your brushstrokes. I began my creative…

The endless wonders of the natural world inspire my artwork, for after one realizes there is magic in every cell of every living organism, one cannot look away. To me, not only are the lifeforms magic, but so too are the interconnections linking everything together. It’s tempting to describe this intricate balance of millions of organisms as supernatural, but in fact, it is plainly the definition of natural. My process starts with a lot of observation of color, form, patterns and idiosyncratic qualities that at once make something unique, but also reference something else. These connections, big and small, are reminders that we are all related as living beings on this planet and act as dots for me to connect. Often times these connections lead to creating what I like…

Watercolor is a magical technique and gives unlimited opportunities for expression. When I paint I use all possible watercolor techniques—wet-in-wet, wet-in-dry and dry-in-dry. There is transparency and airiness that can be expressed only with watercolor. I am a self-educated artist in the technique of watercolor and painting in general. This led me to have my own individual style which I feel makes me different and interesting. When I started working with watercolor, it was not a popular technique like it is now. I had to discover a lot of things by myself. Now there are so many training courses, I am doing master classes all over the world. It is much easier, and it takes less time to develop your talents now. But for me uniqueness is important. There is…

Inspired by endangered species, wild places, fur, feathers and scales, my work celebrates the personalities and unique details of wild animals. Each piece features layers of detail that bring the animal off the board and create life in the static representation. These details accentuate individual characteristics of the species highlighted in my work by making them clear and distinct. My hope and goal for each of my wildlife portraits is to give them a soul that begs the viewers to see them a little deeper. My choice to explore a world of vibrant color strictly in black and white allows me to emphasize textures, patterns and details in an intimate and unique way. Each hair is scratched in individually, every highlight in the eyes is placed with exacting precision, and…

Important points for me in my development as an artist were that I fully absorbed the talents and knowledge of major artists. Most important is they were strong individuals with dynamic thoughts and approaches in art. I couldn’t get enough from these masters in my learning years. As I often say, I’m now my own mentor. At the same time, I will continue to thank those who took the time in generously passing their knowledge to so many of us. For the Record I’ve worked with pastel on Canson paper for over half a century and not for one moment have I felt enough is enough. Every one of the billions of pastel strokes has inspired me for more. Each time I’m at the easel, I’m excited as if I…

One of the greatest things an artist can do is develop an online presence for their artwork. This will let collectors keep up to date on what you’re doing—new paintings, what shows you’re participating in and, most importantly, how to buy your artwork. It’s important to set up a website, but creating social media accounts just for your art is important too. And if you have gallery representation always let collectors know so they can see your paintings in person and attend any of your upcoming exhibitions. Many artists also have YouTube channels where they share works in progress or tours of their studios. This lets collectors feel like they are a part of your process, and they can learn more about your art if you’re explaining your techniques and…

ENTER OUR NEW ART COMPETITION CHALLENGE No. 126 Abstract / Experimental Art 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…

SCOTTSDALE ARTISTS’ SCHOOL: When did you first start painting? JOHANNE MANGI:I have loved art since I was a child but I lacked confidence in my creativity. Over time, I’ve realized creativity comes alive in many forms. In 2008, I decided to get serious about my art and focused on drawing. In 2010 I took the “plunge” and joined a historic painting group in New Haven called The Brush & Palette. SAS: Tell us about who or what has influenced you most? JM: I discovered Richard Schmid’s figure painting book at the public library and my jaw literally dropped. I wanted to paint that way! He became one of my mentors and several years later, I was invited to join the Putney Painters. This association has brought deep and lasting friendships.…

We all know it’s not easy being an artist. The world at large may have watched a delightful public television artist quickly create a landscape, complete with fan brush pine trees and palette knife snowcapped mountains suitable for a frame in 30 minutes—all the while speaking in a soft and comforting tone. Delightful, relaxing, and entertaining. Seems easy enough. After all, a tree is a tree is a tree, and if you don’t like it, you don’t have to buy it. It’s your world. The reality of painting portraits can be very different. There is only one Aunt Sue, and it must be her, without question, and not her first cousin. It is likely you’ve felt at times like John Singer Sargent, who was often overheard mumbling as he painted,…

The inspiration for this new painting that I am working on for my solo show in December with Arcadia Contemporary is from the work of 19th-century artist, Abbott Handerson Thayer. I have painted winged figures before, and I originally started adding the wings to my figurative portraits to enhance the background designs. STAGE 1 Once I have the reference I need, I spend a good amount of time working on my reference digitally. I try to have all the problems I will face in the process of painting (design, composition, color, etc.) solved before I put brush to canvas. In addition, I create a color study (pictured here) which helps me envision how the final painting will look and feel. I keep the color study small, so I do not have…

When painting a realistic forest scene, creating depth within the landscape is essential. Trees that are in the background are the lightest and then they gradually become darker and more pronounced as you move towards the foreground. The human eye loves imperfections and odd numbers. Do not make every tree look the same, and be sure to add a few dead trees throughout your painting. This gives the eye something exciting to be drawn towards. Also make sure that there are an odd number of trees at the end as this too is very pleasing for the eye. Do not be afraid to really push your large blending brushes into the canvas. To achieve realistic mist you need to practice the effects that different amounts of pressure have on your…

About 20 years ago, I finished the Afirst painting I remember really loving. Having just discovered acrylic paints, I was in a workshop with Mike Svob trying to understand this new medium. My background was in watercolor, so being able to paint light over dark was totally new to me. And the day that I painted my first selfdescribed “good” painting I had started it on a canvas that was completely black. As I look back on that day, I realize that the success of that painting was a combination of a few things. First, it was the last day of the workshop, and I think Mike’s great instruction had finally begun to sink in. Second, I got lucky and produced something that was beyond my experience and skill at…

With landscape-based paintings, no matter what the main subject is, the problem of what to do with that empty bit at the top often seems to crop up. It should be considered in the planning stage of a painting, not as an annoying space to be dealt with toward the end. The sky can have a big impact on, not just the balance of a painting, but the general atmosphere of the work you create. In this article we will explore different approaches to painting skies and their effect on the balance and atmosphere of the final result. Next time you are painting a sky, consider the various options available. Often the best solution is not what appears in front of you, but something that relates better to the painting…

Using acrylics like oils Recently I’ve been painting more acrylics than oils, though for many years I focused on oils. Of course that makes me miss some of the effects I can achieve with oils, that are more difficult to achieve in acrylics. Ever found yourself in that position when painting with acrylics? It can be very frustrating. Acrylics dry so fast it makes it difficult, especially in a large painting, to achieve large blends and softedged paint effects. Over time I’ve figured out a few tricks to make it much easier to paint in a wet-in-wet style in acrylics. The key to it all is to keep the paint on your canvas wet, so here’s how to do that: 1. Use lots of paint. If you have to keep…

Grand Prize Jeff Ripple Florida, USA, Cash Creek Cascade, oil, 14 x 18" (35 x 45 cm) Grand Prize is a four-page editorial feature in American Art Collector magazine Head in the Clouds Realist landscape painter Jeff Ripple is always looking to the sky. It’s one of his main sources of inspiration, he says, taking in the changing behavior of clouds, and staying in tune with the “changing quality of light throughout the day.” He says, “I am always fascinated by the effects and quality of light on a landscape, and that is what I am moved to paint. Sometimes the golden light at the beginning or end of the day is so lovely it breaks your heart. I want people viewing my paintings to feel the atmosphere, whatever it might…

Raymar’s mission and passion is to make the finest quality art panels for Rprofessional artists. Since 1998, Raymar remains dedicated to the craft of fine art materials. A second-generation family business of artists, Raymar knows quality materials are essential to advance an artist’s work and their latest Watercolor Aluminum Panels are no exception. Raymar’s hot press watercolor aluminum (ACM) panels are a dream come true for artists. The panels are crafted with the finest Fabriano Artistico 140 lb, mould-made paper from Italy. The paper is mounted to Raymar’s rigid ACM panels (aluminum composite material) with a conservator’s grade pH neutral adhesive. The result is an archival watercolor support that does not warp or buckle. The ultrasmooth hot press surface allows for artwork with a high level of detail. Ideal for…

Margaret S. Livingstone, a neurobiology professor at Harvard, said M that “artists are vision scientists; they just call themselves something different.” She’s right: we have a professional interest in being aware of how we see, and we are experienced at translating what we see into techniques for drawing and painting. Understanding how we see is an essential key to painting well. Fortunately, in recent years there has been great progress in the scientific understanding of visual perception. In this article I’ll share some of the new insights and consider how they can help us as painters. DO ARTISTS SEE DIFFERENTLY? Does everyone with normal vision see about the same? It’s hard to be sure how our vision compares to others, because each of us is locked inside the prison of…

My style can be described as Mpainterly realism. I carry on a lineage of late 19th-century painterly realists and impressionists like Sorolla, Sargent and Manet. Through painting directly my oil paintings are usually created in one or two quick sessions consisting of just a few short hours. Using the alla prima technique, I often begin on a toned hardboard panel. I like to use a full palette of colors (permalba white, cadmium yellow pale, cadmium red light, alizarin crimson, ultra blue, pthalo green) also including subdued hues such as ivory black and burnt sienna. Using a medium of 50/50 Gamsol and linseed or walnut oil I paint wet on wet, pushing and pulling the paint. Scraping and dashing marks and colors energetically and precisely, I often use suggestions over detail…

The twists and turns of my life and career shaped my perspective and technique. As a toddler, I painted the side of my father’s car with house paint and would stick my hands in my mom’s plants and use the soil to paint the walls. I did my first oil painting when I was 14, on my own, with no instruction, using a Sears catalog art supply kit. At age 18, I attended Chicago’s School of the Art Institute for a year, then left to marry and start a family. Three kids and a divorce later, I returned to school to study graphic design while working several jobs. Eventually, I became art director for a national magazine, mastering production and design. My experiences in life came together in 2012 when…

In my early days of painting landscapes, there were countless questions in my I mind: “Should I capture the exact colors of the scene?”, “Should I use black for the colors of the dark areas?”, “How to describe the atmosphere of a sunny day, a rainy day?” These questions often controlled my state of mind, making my paintings lack a variety of colors and making it difficult to express the atmosphere of the scenery. To take care of these issues, I’ve spent quite a while studying the landscape paintings of the masters and realized the method for making my artworks more realistic but also more romantic. Focus on the atmosphere you want to capture, not the reality The reality should be the reference, the inspiration, and the “material” to “build…