Innholdsfortegnelse for April-May 2023/No. 150 i International Artist

Welcome to the April/May issue of International Artist! Spring is in the air and so is creativity. As we continue to expand our demonstrations to truly guide yout hrough the entire creative process, we have added an amazing ambassador demonstration from Royal Talens Rembrandt oil paints. Our own writer and artist Vanessa Rothe takes us through the entire process of building atmosphere in a painting and goes through the value scale of color swatches for grass, golden wheat and trees. Please see this demonstration starting on page 56. We would love your feedback on this demonstration as well. Of course, there are six more demos from all over the world to wade through and become inspired. Alyssa Tidwell, editor, is always looking for something new for our readers. This issue…

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. CHALLENGE ENTRY FORM SCHEDULE AND CLOSING DATES HINTS FOR PHOTOGRAPHING YOUR ARTWORK • Set your camera to the highest quality available. • Shoot your paintings dead square on…

PAINTING WITH FRIENDS Building up a practice of regular sketching excursions with friends is a great way to get motivated. There are Urban Sketchers groups and plein air meetups in almost every city, and you can paint together in a private garden if you’re nervous about people watching you. DEVELOP A COLOR-MIXING WORKFLOW Some kinds of flowers and foliage are composed of small bits of color to make an impressionistic effect of variegated hues. Capturing that effect with opaque paint requires a palette that’s set up for a lot of free mixing. With opaque pigments, I mix a bunch of batches of varied color and try to keep several different brushes in play at once. BRING HIGH-CHROMA COLORS I should follow my own advice, but sometimes I forget how intense…

Susan Wakeen Little One, Hydrocal, 7½ x 7½" (19 x 19 cm) INSPIRATION What could be more beautiful than the softness and innocence of a young child? With each new bas-relief project, my goal is to stretch the limits of how much depth I can achieve in a low relief portrait. I wanted to create the illusion that her soft curls were twirling in the wind, moving front to back, left to right, and forward on her sweet face. So yes, it was her hair that first got me excited, and the cherub-like profile of this 3-year-old child was also very endearing. PROCESS When sculpting a bas-relief, I cover a board with oil-based clay, about 1⁄8 inch thick. I then draw the profile on the clay. I carefully analyze the…

Japanese woodblocks, particularly the work of Hasui Kawase and J Hiroshi Yoshida—both considered masters of the Shin-hanga movement—have inspired and influenced my work. There was a great tradition of creativity and innovation in Japanese printmaking during the 18th and 19th centuries. I see the gift of knowledge from former masters not as a dictum of the process, but rather as a springboard for my own creativity. Moku (wood) hanga (print) is a Japanese printmaking technique distinguished by its simplicity of material: wood, carving tool, water, paper, pigment, rice paste and baren. The mechanics of the process are simple, yet labor intensive, as every step is completely manual. I am physically involved with the control of each step during printing: I can apply ink to a specific area or the entire…

International Artist has always been Ireserved as a space for artists to learn from one another. Readers get to experience first-hand stories and tips from the peers whom they admire. While a discussion of tools and materials can be important, there is another entity that will require consideration from every artist—our relationship with the inevitability of art created by artificial intelligence. What seems more akin to a work of science fiction is quickly becoming a common fabric of our reality. There are numerous computer programs written to quickly cross reference all recorded data points throughout history and generate mathematically accurate original images that rival or even supersede a human’s ability to do the same. And yes, artists are quick to point out the fact that AI-created imagery is bound to…

One of the most important elements of artistic progress is the development of a personal style that makes the artwork unique and distinguishable to art lovers. This is why we hear it so often as advice to emerging artists. Unfortunately, sometimes this leads many of them to rush towards this pursuit with the consequence that they skip the basics of painting and end up making gimmicky art. When it comes to painting, I embrace Paul Rand’s quote: “Don’t try to be original. Just try to be good.” With this in mind, when I start to conceive an idea for a painting I focus on a single goal, to bring out those elements that will make the work interesting and appealing to me and hopefully to the viewers. My main consideration…

Since I began painting, I have worked exclusively in watercolor photorealism. One of the reasons I am compelled to create art is because the process never fails to quiet my mind. I struggle with anxiety, but when I am painting those thoughts disappear, and I become lost in color and shadow and all those tiny little elements. I have tried painting in a more quick and loose style, but that just doesn’t provide me with the same kind of escapism that tight photorealism does. My choice of medium is a challenging one for this purpose. With watercolor, I have to do much more problem solving—figuring out how to save my whites and in what order I should approach the various components and layers of my subject—and I have less ability…

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I’d like to start this letter off by thanking each and every person who drew inspiration from our new section, Creative Spark, and shared their work with the world. It was truly wonderful going through every entry—I am continuously amazed by your creativity, and I loved seeing each of your interpretations. Head to page 126 to check out some of the highlights. I encourage everyone to participate in the next prompt as well! (And I hope it provides a fun creative exercise for you.) Lately, I’ve been thinking a great deal about what art can do for us—often on a deeper, subconscious level. Art can certainly be a means of self-expression, but it can also exist as a means of processing your emotions and experiences. Artist Gigi Chen’s feature article…

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. 136 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…

In our tech savvy art world of today, there are hundreds of websites where you can sell your own work online, and many fine art shows and fairs where you can buy a booth to meet your new clients. There are some artists who prefer to remain at the easel or don’t want to run their own business. But for those of us that do, a fruitful career is still possible these days—without a major gallery. The main thing will be balance between your time at the easel and time spent on the business aspects. Having interviewed many successful artists, and from my own professional knowledge, I’ve discovered that a mix of about 60 percent of time at the easel and 40 percent on the business side is a realistic…

When I was studying art in college, I often marveled at the ribbons, plaques and trophies my professor had won over his long career. He had made it a priority to regularly submit work to a variety of competitions, explaining to us that it was healthy for many reasons. It kept him motivated to produce new work that he hoped would be appreciated and accepted for display. His artwork could hang alongside other fine pieces, and an audience of potential collectors would see the exhibition. If he won a prize, he received recognition that could be helpful in many ways. He also could see how his work held up to others of a similar genre and, if it sometimes fell short, he would think about what might have been its…

STAGE 1 DRAWING Always start with a strong drawing. Your painting will never be as good as you want it to be unless you start with confident lines that show structure, gesture and shadow. Draw with your shoulder, not your wrist. This allows for broad strokes and prevents detail too early. Drawing with straight lines creates a solid foundation. Eventually those lines become more natural curves. Build the drawing like you’re building a structure. Strong supports come before wallpaper. Along with the contour, place your shadow shapes to show the entire likeness of your subject. STAGE 2 GRISAILLE Grisaille can be either open or closed. Open grisaille is a tonal layer of paint, applied with one color—no white. The lighter values are created by thinning the paint with medium, which…

Reference Photo I start with a watercolor study and sketches as a reference to work out the arrangement of values, color and shapes and their relationship to one another (pictured right top and bottom). I’ll then create a larger, detailed watercolor in the studio, as I did here with Water Pockets (pictured left). I then create a master drawing (center) to transfer the image, marking the placement of the kentos (registration tabs) for accurate registration. STAGE 1 REGISTRATION AND PREPARATION Value or color progressions are essential when using the reduction woodcut process. When using multiple blocks that are each reduced between printings, different value or color progressions can be assigned to each block. I use the 1,200-year-old Japanese kento system for registration, and as long as the drawing, block and…

One of the most important aspects for me to explore in my paintings is the interplay between the light and the dark. It is by focusing on that contrast that I find the atmosphere and dramatic feel that I strive for in my work. Whether I am going for subtlety, drama, or in any case atmosphere, the light plays such an important part. My intention is to capture elements of the coastal landscape, rather than recreating any particular scene, to represent and not replicate. Those glimpses of light from beneath a cloud, the reflections in the pools on the beach created by the sky above, the shadows cast over the sea and on the land by the dark clouds, the horizons, the depth of color or palest gleam of the…

A long time ago I was introduced to the hatching technique with graphite pencil and charcoal. When a certain situation arose, I used the same technique to draw with colored pencils. My biggest passion is to draw portraits, especially the elderly. I want to show personality in the subject. I try to take a picture so that the face is illuminated on one side and the other side is in shadow. Contact and intertwining of light and shadow enriches the drawing, bringing forth more emotion. Before starting a new drawing project, I think about which color paper to use. The color should help in the workflow to get the final result and helps speed up the drawing process. I usually use Canson Mi-Teintes toned paper. In the end, I don’t…

Balance in a painting can refer to a number of different attributes. We can have a balance between simplicity and detail. We can balance warm and cool color temperatures, we can balance areas of clarity with areas of empty relief, we can balance sharp focused marks with soft lost shapes, we can balance a large mass with a smaller mass, the list goes on and on. Balancing different elements is often done, almost subconsciously, in the planning stage of a painting, but things can also be adjusted as the work progresses. Details can be sharpened or softened, color temperature can be adjusted with transparent glazes and emphasis can be increased or decreased by adjusting tonal contrast. When it comes to painting, balance is not something that immediately comes to mind.…

The ocean is often a subject of fascination for painters because of its inherent beauty and its ability to evoke a range of emotions from awe to tranquility, fear to love. The ever-changing patterns and movements of the ocean and its waves provide endless opportunities for artistic expression, making it an appealing subject for every artist. STUDENT CRITIQUES 1 Darla Calhoon-Rice Sea foam Great work, Darla. Your color transitions are great. You can really see the thickness of the water in the wave due to your careful work along its edge. The small wave is working exceedingly well. I’d just like to see you take a longer look at the foam patterns on the flat water. The color is fine but the shapes need work. Tricky wee things! 2 Sharon Pearce Crashing…

For artists, inspiration can strike anywhere at any time. In this section, we’ll present a different photo prompt in each issue for artists to use as inspiration for their next piece. Rather than a reference, this photo is meant to be interpretive. It’s a jumping off point—a means to spark creativity and get the imagination going. Capture the image exactly as you see it, or take elements of it to create something entirely new. Submissions can be fully completed artwork or rough sketches. Every approach is the right approach. In the following issue of International Artist, we’ll highlight several Editor’s favorites (including your Instagram username), along with the next photo prompt. Chosen submissions also receive a free six-month digital subscription to International Artist and an exclusive sticker pack. Happy painting/drawing/sketching!…

Jef De Corte Wichelen, Belgium, Relics 03, acrylic, 8 x 8" (20 x 20 cm) Grand Prize is a four-page editorial feature in American Art Collector magazine Keeping Them Guessing Jef De Corte is a man of many talents, working in a variety of mediums and subject matter. From landscapes and seascapes in pastel, to portraits in charcoal, to abstract art in acrylic, the artist enjoys exploring the world around him. “A large portion of my work is realistic painting and drawing, mostly landscapes and commissioned portraits,” says De Corte. “In my abstract work I aim for a style that looks intricate and detailed, like the old manuscripts that inspired me. When you look at one page of the Book of Kells it takes a long time before you have discovered…

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. SUBMIT YOUR DIGITAL ENTRIES ONLINE; IT’S SO EASY!…

SCOTTSDALE ARTISTS’ SCHOOL: Did you always have the desire to become an artist or was this an unexpected path? KATHY ANDERSON: When I was young, art was the only thing that really piqued my curiosity in school. Drawing was my greatest strength so when it came time for college, I decided to major in advertising art. I discovered that this area was not the path for me. As for my art career, it has been established through self-discovery, random opportunities, random circumstances—some chosen and some lucky. No matter what, I was always willing to take risks. SAS: Can you describe the moment you sold your first painting? KA: The answer is that I was absolutely thrilled—a person liked my art enough to actually pay for it! My children were very little,…

This May 11 to 14, the Portrait Society is celebrating a monumental quarter century of passion for portraiture during our 25th annual The Art of the Portrait conference in Washington, D.C. To celebrate this historic occasion, we will be introducing a dynamic program format with new speakers, sharing their wisdom on a range of topics relevant to today’s figurative artists. Over the weekend the top 20 finalists of The International, the world’s premier portrait competition, will exhibit their works in hopes of winning the Draper Grand Prize and a cash award of $50,000. In preparation for this major event, I sat down to speak with a few of our new and returning faculty artists to discuss a range of subjects from education and technology to moving beyond technique. Last issue,…

My work is simply about Mcapturing a moment, the way I saw it or experienced it, and trying to bring a feeling to the viewer—whether it’s a golden wheat field where the wind blows and the tall reeds sway in the sunlight, an Italian Riviera port when the light brightens the side of multi-colored boats, or the light on a subject’s face sitting under the shade of trees as the sun flickers between long purple shadows at the end of the day. It’s about what I remember, saw or felt as part of that moment. My works are also focused on fashion and interiors, influenced by my father who was a clothing designer for Hollywood musicians and actors. Textures, fabric, interior design and color harmony have always been some of…

Floral gardens have been a significant source of joy throughout my life. They filled my childhood with memories of misty morning walks in my mother’s and grandmother’s gardens, still in my nightgown, feeling the cool earth under my feet and the fragrant dew in the air as bees buzzed from flower to flower. Gardens are a connection to important places, and women in my life who’ve since passed on, but whose memories and love are kept alive in my work. For what I refer to as my garden paintings, my goal as an artist is to capture the feeling of atmosphere. I find I am able to do this two ways. One way is primarily through the use of glazes. The other is through my choice of paint colors—notably the…

I have always been captivated by atmospheric conditions—sunlight, mist, rain and the ever changing weather are all of great fascination to me. The warm glow of a sunset, or the silver light of a sunrise, offer endless inspiration as a landscape painter. When walking through the Hertfordshire countryside near my home, I’m forever compelled to stop and reach for my pad and paints, to hurriedly grab a quick sketch for later reference. Often, it can be something as simple as a beam of light, touching the bough of a tree, or a rippling reflection of a narrowboat on the canal. A regular scenario is to be stopped in my tracks with a flash of inspiration; I’ll then spend the next few minutes frantically scribbling before my initial observation disappears. That’s…

WHERE DO YOU LIVE? WHICH READER ARE YOU? PRINT AND DIGITAL OR DIGITAL ONLY FOR OUR BEST DEAL ON 6 ISSUES SUBSCRIBE ONLINE AND SAVE (ALL PRICES ARE IN US DOLLARS) 1. Register your subscription. Click on the subscription area and enter your details 2. Your account. Once you have subscribed you’ll be able to revisit our site and look up the status of your subscription. MONEY BACK GUARANTEE If during the period of your subscription you change you mind about subscribing for any reason whatsoever, simply notify us and we’ll give you an instant refund on all unmailed copies – no questions asked. You can get 6 issues a year of the Digital Magazine with all the same amazing content as the printed version delivered to your inbox wherever…

The Eyes Have It I’ve mentioned how our minds retain much of what has been fed to them by our five senses over the years. Now, let me praise a particular sense and the greatest “camera” of all, the human eye. Think of how its tiny lens focuses in on shapes, values, colors, and on a grand scale, the minute details of expansive scenes. Consider also, the retinas on the back walls of the two 3D eyeballs, able to perfectly decipher those objects while they’re moving. Like seeing that young child bringing us flowers, or the horses running towards the finish line. Yes, after a long day, those dear eyes do get the reward of sleep, knowing their owner is piloting an airplane to Halifax in the morning. Today’s actual…