Innholdsfortegnelse for October-November 2022/ No. 147 i International Artist

Welcome to the International Artist #147 October/November issue! As we paint into the fall season, we have some amazing demonstrations for you. As publishers, when we look at the page plan as the magazine comes together and see demonstrations for pastel, watercolor, oil, acrylic and mixed media, we know our editorial team has hit the epicenter for you—our artists—and our work is complete. American Art Collector, the sister title to International Artist, showcased our most popular collector genre, landscapes, in September. As artists, we can certainly agree that landscapes are highly popular for both collectors to buy and artists to paint. Why do we all love landscapes? We have contemplated this for 14 years and our overall conclusion is that like art itself, landscapes in particular evoke the emotion for…

Second Prize Second Prize is a two-page editorial feature in American Art Collector magazine My Inspiration Adult white ibis are mostly white with black-tipped wings, a reddish colored face and legs, and a very distinctive downcurved, pink bill which is used to probe the ground for food while foraging. It was that beautiful and distinctive coral colored bill that caught my attention for this piece. The upward turned bill and this magical pose during preening, it reminded me of a model striking a pose during a photoshoot. I knew from the first time that I saw my reference photos, it was the moment frozen in time that I wanted to capture. My Design Strategy As in most of my art, I strive to simplify the process of line, shape, color…

Vincent Miller, founder of International Artist magazine, is our Chief Judge for our challenges. He has judged art for more than 40 years worldwide, including in the USA, Singapore, Australia, Canada and the U.K., to name just a few countries. In addition, he is an artist and sculptor himself. Mr. Miller works with many of the greatest living artists and art schools. He supports great art by judging our challenge program. If your art is selected you are among the elite in the world to be selected by Vincent Miller. We welcome you to submit your entries for the next challenge judging.…

SCOTTSDALE ARTISTS’ SCHOOL: You are the Signature Artist for Scottsdale Artists’ School’s Beaux Arts this year. Tell us about that. DOUGLAS FRYER: It is a wonderful honor. I have been associated with the school for many years and have a great respect for SAS. It was a pleasure to donate my painting titled July, a 24-by-24-inch oil on panel. It is a landscape of several horses grazing in a warm, yellow field of grass. I wanted the painting to be more of a symbolic environment, using bright colors and abstract passages of paint. Th e overlapping shapes of the horses express a passage of time, suggesting that they have moved and are moving slowly through the grass. SAS: Tell us about teaching at SAS? DG: I have been teaching at…

This past July, someone in Illinois beat the odds and won $1.33 billion in the Mega Millions jackpot lottery, a life changing amount of money. The odds of winning the jackpot were 1 in 303 million. So many people were entering for a chance to win the big prize that 33,360 tickets were being sold per minute. The Portrait Society’s annual premiere competition doesn’t feature a billion dollar prize, but it has, over the last 24 years, grown to be one of the most prestigious awards in the world. The International—a competition for portrait and figurative art—receives over 2,500 entries each year, which are juried by a panel of three artists over a period of several days. The selected 20 finalists bring their original artwork to the annual conference where…

As a landscape painter, I rely heavily on sky imagery to convey an emotion within my paintings. The ever-changing quality of the sky can suggest a mood through shifting light or weather conditions as easily as it can alter the attendant landscape. It is more important to me to convey a feeling faithfully than to provide an accurate representation of a specific place. The technique I use to capture skies requires that I work wet-on-wet, building up the surfaces of my paintings. As I begin layering paint on my substrate, I allow for a loss of control, which rewards me with an element of surprise. This act of letting go informs the direction of my work and enables the surface to become part of my decision making process. I regain…

There lies a history and a story on every page of a vintage book that can be felt and seen in the often evident marks and wear. These pages are the substrate and the inspiration for the avian subjects I paint. There is always a relationship between the page and the bird, inviting questions and investigation. The page used in this demonstration references the British Museum, and the bird in question, the eastern rosella, is represented in the museum’s specimen collections. While pieces using pages from field guides show a direct relationship between the bird and the page, with the description of the bird evident, these works are additionally an homage to the creators of field guides—both the artists and scientists. Due to the variable nature of the paper in…

I still remember vividly the wonderful smells wafting through my mother’s kitchen during the summer holidays. The perfume of ripe blackberries, which my father had picked during his walks, the bright red, tart redcurrant juice in the big juicer, the pink blush on the soft orange apricots or the sweetness of the giant strawberries we bought from a classmate’s father. All the smells and tastes of summer were collected in jam jars and put into storage for the winter months to come. When I painted my first jam still life in 2014, I just wanted to capture these childhood memories of simple sweet pleasures and bright colors. I had no idea that this painting would become the first in a series that would grow to more than 20 and would…

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This work was completed without moments of hesitation or pondering, and virtually flowed from me. Observing it, there are little bits that I could have worked over, but I didn’t and won’t. It is a visual reflection of this man’s expression that remained quite fixed; as if he was thinking of a particular time in his life that he didn’t want to lose. Actually, his manner helped me keep the work fairly loose. Most importantly, I wanted to retain that look on his face. In an expressive way, it had meaning for both of us. To me, in part, this portrayal reveals a person whose mind has entered a private world of remembrance. That was the main reason I didn’t want to work on it even slightly after he left—I…

I think of several things when it comes to the content of International Artist: content that inspires you, intrigues you, and connects you with other artists in the art world, perhaps even across the globe. I look for new angles from which you can approach your art practice, or stories that have personal, emotional, human elements woven into them. But most of all, the cornerstone of this magazine is education. With each issue, you hold in your hands 128 pages filled with demonstrations, workshops, tips, how-to’s and viewpoints from some of the top artists throughout the world working today. That will always be the primary focus of this publication—to provide readers with concrete information they can use. This includes a robust list of the specific tools and materials artists utilize…

Third Prize Third Prize is a one-page editorial feature in American Art Collector magazine My Inspiration All my life I have had a huge passion for animals and everything that has to do with nature. I strive to convert my passion for animals into realistic portraits where I try to approach the character of the animal as much as possible. I often draw endangered species and want to include a message. A message of awareness of the threats that hang over many of these species. I work photorealistic to be able to portray the character of the animal as well as possible. Images say so much more than words. The viewer has to want to touch the animal, to feel it. My Design Strategy As reference I use either my…

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 possible.…

A heavy downpour is fatal to an unprotected watercolor. The combination of wind and rain will eventually shut down an oil painting, too, even when you’re under a good umbrella. But despite the challenges, rain is a time-honored subject for plein air painters, with its moody light and glistening reflections. Here are a few stories of how I tried to paint from life on rainy days. DROPLETS ON THE WINDSHIELD Painting in gouache is usually impossible if it’s raining. Why not paint from inside the car? There’s an interesting effect that I want to capture: raindrops on the windshield. That means painting the out-of-focus landscape view first, so that the attention stays on the plane of the window. The droplets form an arc along the outer path of the wiper.…

John Darley Vivian, oil, 13 x 13" (33 x 33 cm) INSPIRATION When I met Vivian, I was struck by the degree of wisdom and strength she possessed at such a young age; a sort of young but knowing queen. I aimed to make use of the angle (upward) and posture (frontal and assured) to present her regally. I love her expression in this piece: calm, focused and ready. For the background, I used the mountains of Vivian’s family’s home. While she is looking directly into the future, she is centered by the elements of her origins. PROCESS Once I landed on a composition and palette that represented my subject, I started with a line drawing to provide structure to the portrait. I generally like drawing on paper more than…

When an idea for a painting forms in my mind, my imagination creates a full-color image. Based on these mental visuals, I start to look for materials around me in the real world that will help me recreate the image in my mind. Then I begin working by creating props from the available materials. I will usually set up a photo session to capture exactly what I am imagining. During these sessions, shots are taken against a neutral background, which allows me to play around with different backdrops later on. The unity of all elements in the set-up is very important. Often, I’ll also create an electronic sketch to help me work out the composition. I decide on the positioning of black, white and gray elements on the canvas as…

The evolution of an artist’s style and technique is always the story of an interesting journey. Often, there is an early commonality among artists; a childhood love of drawing and reinforcement by a parent or teacher. Later, a network of experiences and opportunities forge a unique path. Art always makes sense in retrospect, a culmination of many unique proclivities and influences. Upon first viewing my work, people often ask, “Why this approach to watercolor? Why architecture?” Simply put, my mother took genuine pride in my childhood drawings, and my father had a love for architecture. He knew the anecdotal stories behind the buildings we saw in our New York City neighborhood, and his stories engendered a sense of mystery, of hidden secrets behind the facades. This romantic sense of wonder…

In the world of abstract painting it can be daunting to know where to start, or how to start. The rules aren’t as clear as they are with representational art. With abstract painting we cannot judge it purely on technique or else it becomes too aesthetic, too decor. Nor can we use narrative or subject matter to inform it. In order for abstract art to work, it must be real, it must be authentic. Regardless of aesthetic, the work must feel convincing. We the viewer must be convinced the artist really believed in what they were doing. For me, I count on process and intuition to guide my work. My specific process was developed by combining my knowledge of academic painting with my understanding of conceptual and abstract art, and…

Not sure how to really loosen up your work? Here’s a great lesson for you. Along the way you’ll discover the joy of painting in a colorful impressionistic style using large brushes and loads of paint. Follow me step by step as I show you the techniques I use to paint this light filled scene. Designing an inviting scene, painting with freedom and a variety of fun techniques are all demonstrated in the video lesson. Suitable for oils or acrylics. Enjoy! Richard Robinson The Red Boat, oil on canvas, 15 x 15" (38 x 38 cm) Starting with Gusto If you want to paint more loosely, try starting more loosely. In my experience, once I start to tighten up on the detail in a painting my mind switches gears into…

Grand Prize Grand Prize is a four-page editorial feature in American Art Collector magazine Colorful and Inquisitive Full of curiosity and bright shocks of color, Emma Swift’s artwork seems to leap off the page. Her wildlife art has a sense of solid structure and form, grounded in realism, and yet delightfully painterly. “I love exploring brushstrokes, textures and color. I enjoy researching my subject and being accurate with details, however, my work is not traditionally photorealistic. Color just seems to work its way into unexpected places,” says Swift, who resides in England. The artist finds endless inspiration in the natural world, and over the past several years has become involved with a number of conservation charities through her artwork. “This is incredibly rewarding, and I am very happy that my…

Finalist My Inspiration I’ve always been intrigued by birds, especially those not considered beautiful, including vultures and condors. It’s fun to speculate that they are the modern dinosaurs that live among us. This bird, the king vulture, is found in Mexico and Central America. They were revered by the Maya as messengers between this world and the underworld. When selecting the title, The Ferryman, I saw a connection between Virgil’s Charon (the ferryman) and the Mayas’ messenger. My Design Strategy My design strategy begins with seeing the actual animal, their appearance and demeanor. I do take photos for reference, but don’t rely on them completely, since it can create problems with the final painting. I challenged myself by painting a “full face portrait.” I turned his neck slightly to give…

Finalist My Inspiration Animals have always been a sort of muse to me. They embody aspects within ourselves that have been worn away due to modern life. I see them as having a divine quality like sacred beings that reflect back to us our own nature. The way humans are affecting the planet is very concerning to me, and when I am not working on commissions for pet portraits and illustrations I try to incorporate endangered species into my fine art pieces whenever possible. My Design Strategy When I paint wildlife, my go-to for images is a handful of photographers I follow on instagram that sell licensing for artistic use of their images. I found this particular image of a mother African leopard and her cub to be very eye-catching.…

ENTER OUR NEW ART COMPETITION CHALLENGE No. 133 Florals & Gardens 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 this…

Each year, the Portrait Society encourages artists to hone their skills and produce new work to submit to the most respected portrait and figure competition in the world, The International. Artists from every corner of the globe will submit paintings, sculptures, drawings, watercolors and other works on paper to be reviewed for possible selection for awards. Among the many honorable mentions and other prizes, approximately 20 pieces will ultimately be chosen as “in the room” finalists for our annual conference exhibition. In 2023 the work selected by our judges will be on display at our 25th annual conference celebration in Washington, D.C. One of those works will receive the coveted Grand Prize award. To celebrate the Portrait Society’s milestone birthday, next year’s Grand Prize award will include a cash prize…

As a professional artist since the age of 13, my favorite subject has always been people. As an educator since 1986, the one question I get from students repeatedly is how to draw and paint a likeness. People are difficult only in that we are extremely objective about likeness, proportions, emotional connection, etc. Empathy is one of our greatest assets as artists and as teachers. So, in these exercises and demonstrations, I chose a subject that I am very familiar with—my face. I set up some light sources in my studio, one being natural north light, as this is a traditional approach to creating cool highlights and contrasting warm shadows. The other portrait was set up using a warm incandescent light with a soft diffuser. In both cases I wanted…

Floral painting has such a rich and varied past, it’s something that’s been present throughout art history from the Renaissance painters to the impressionists. I often get asked what it is that draws me to paint flowers, and my answer is always the same: I don’t know exactly, but I do know it’s a lot of things all together. What is it about this subject that attracts me and so many others to paint it? Is it the beautiful color, the texture, the subtleties in values? Maybe it’s the challenge, of which there are many when it comes to painting this difficult subject. Having explored many subjects in my time as a professional oil painter, the joy of setting up a still life or painting a selection of garden roses…

I am a plein air colorist in the representational tradition of Monet. I studied with Henry Hensche, master American impressionist and assistant to Charles Hawthorne at the Cape School of Art. Unlike a lot of other contemporary plein air artists, I focus on capturing the light key of nature. By light key, I mean the specific quality of light on a subject. Essentially, what we are painting, then, is not the object or subject in front of us, but the effect of light falling on that subject. When we refer to light key, we are referring to not only the light, but the collection of variables that modify the light falling on the subject, such as the time and type of day, the prevailing atmospheric conditions, nearby reflecting surfaces, etc.—whether…

There is nothing like sitting down in an interesting location with a sheet of paper and a handful of painting materials and getting lost in the atmosphere of the subject. I was reminded of this simple pleasure during a recent painting workshop to outback Australia. A group of students and I traveled to many fabulous locations and immersed ourselves in what was before us. It is amazing how the process of painting on location forces you to examine, analyze and interact with the subject before you. A palette with half a dozen colors, a few brushes, some ink, gesso, a collapsible water container and some watercolor paper are all that is needed. The colors I use are quinacridone gold, permanent alizarin crimson, French ultramarine blue, phthalo blue, phthalo green and…

I explore and express my love of the natural world through creating accurate and realistic, highly detailed portraits. I enjoy learning about each subject before capturing them on watercolor paper or canvas. I work with colored pencils predominantly, as their sharp points and ability to layer allows for intricate detail and texture, with each piece taking hours to gradually build to a realistic finish. Another one of my preferred mediums is acrylic. Although not as highly regarded as oils, high quality acrylic can be more archival than oil due to their lightfast properties, and as they dry much faster, they allow for precision and detail to develop quickly. I use incredibly small brushes to paint the hairs individually, with each section of hair or fur requiring multiple layers to build…

I often talk about the joy art brings us day after day, but then there are times we’re away from the easel much longer than usual. A while ago, I was on a two week “break” from my art, yet there were a number of projects keeping me totally occupied. Finally, late on the last day, I wandered into my studio and started a pastel portrait. Right from the start, it was labored with none of my personal flourish. I pecked away, one stroke at a time with little continuity or flow. Each stroke was pondered, then once laid, had me worried…tense. Sure, I was back at the easel after that two week intermission, but my art was stilted, lifeless and definitely not Harley Brown. I felt I was retraining…