Innholdsfortegnelse for December 2025-January 2026/No. 166 i International Artist

Welcome to the December/January issue of International Artist, and happy holidays to every artist around the world! As you know, the holidays and the new year are a prolific season for all artists—painters, sculptors, muralists and more. We see holiday art in museums, churches, public buildings, banks and hotels—the list goes on. Nothing captures the spirit of the holidays better than creativity. While color and creativity flourish through the new year, it is artists who keep that momentum going all year long. We celebrate you this season! What makes all this art possible? Having the tools to do it. Starting on page 31, you will find our Materials & Supplies Guide, packed full of necessities to continue your passion, not just for the holidays but throughout the year. International Artist…

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…

The recent Future Generation Competition, open to artists aged 18 to 25, offered an inspiring look into the creative energy, emotional intelligence and vision of a new generation of portrait artists. With entries submitted from around the world in a wide range of mediums, the competition served as more than just a showcase of technical skill. It became a powerful reminder that the next wave of artists is not only incredibly talented but also deeply committed to using their craft as a vehicle for truth, self-expression and connection. While four outstanding artists were named winners, each submission told its own story and revealed something profound that transcends brushwork, color theory or composition. It revealed courage; not just the courage to compete on a global stage, but the courage to be…

The following step-by-step offers a look into my painting process, from the earliest stages of composition through to the final details. While each work may unfold a little differently, these stages outline one of the approaches I often take in bringing a subject to life. STAGE 1 PLANNING THE COMPOSITION After selecting my image, I begin by laying out the painting in Photoshop to develop my composition. Because I typically build the panels I paint on, this stage is especially important—it allows me to adjust the composition freely rather than being limited to a standard size. I prefer working on a smooth surface, as I find the texture of canvas or linen distracting. With my panel built and the composition settled, I’m ready to start. I begin my paintings in…

Oyears my style and technique have become increasingly intuitive. Oftentimes I’m laying paint down very clumsily for 95 percent of the painting, but just because it is haphazard doesn’t mean it is without intent. The values, colors and composition are more or less placed in accurately (with room to alter them slightly while I find the drawing). This is to build an interesting base of marbleized color and texture, and I also use this approach to find the shapes and design that feel organic and believable to the viewer. This “clumsy” approach is an homage to great Russian impressionism (Nicolai Fechin, Isaac Levitan), where above everything else, the values and color temperatures are rock solid. When viewed from a distance, a recognizable, understandable scene comes to life, but up close…

STAGE 1 COLOR STUDY Once I’ve settled on a concept that I like, the painting process begins with a small color study in oil paint on a gesso-primed panel. The goal is to get a feel for the process overall and work out my color mixtures and composition for the final painting. Seeing the concept rendered in its intended medium helps me determine whether or not it will work at full scale. By the time I’m finished with the study, I’m also familiar enough with my colors and subject that I’m less likely to run into any unwanted surprises during the process. Color studies are becoming a more integral part of my process as time goes on: besides the practical benefits, they also invigorate me and keep me excited about…

Every painting holds a unique story. 1899 Special began with a decision: three years ago I moved from my home country of sunny Portugal to the rainy Netherlands, a place celebrated for its painters and its love of art. I arrived during a housing crisis; after searching across five towns, one door finally opened in Apeldoorn, just steps from the Royal Talens main office and factory. Whether coincidence or not, I introduced myself, and a creative collaboration took root. When Royal Talens marked its 125th anniversary, as a gift of gratitude I answered with this work: a realist tribute, in my own style on the border of realism and hyperrealism, to one of their canonical materials—a Rembrandt paint tube. Even though pastels are my usual medium, this time I reached…

STAGE 1 LOOSE SKETCH I’ve placed tic marks on the quarters of my surface and loosely sketched in the big shapes with a pastel pencil. COLOR SWATCHES STAGE 2 BEGINNING WITH AN INK NOTAN Working with a bamboo size 8 round brush and sumi ink, I quickly and gesturally create a notan directly on the surface. STAGE 3 MAPPING OUT LIGHTEST AND DARKEST VALUES Here I begin adding dry pastel, starting with the lightest and darkest values I anticipate will be in the piece. A few swipes of color also give me something to play and work with. STAGE 4 LAYING DOWN THE FIRST LAYERS Once I have the general shapes and value pattern established, I get to play with color. I don’t preselect a palette. Instead, I focus on…

I’ve created a small demonstration of a tiger’s eye to show you the indenting technique in action. STAGE 1 To create the fur strokes using the indenting technique, hold your indenting tool like any other pencil. STAGE 2 Pull it towards you and overlap your strokes to create fur texture. The gaps between the indentations will be the shadows between the fur. STAGE 3 Next go over those same strokes with your 2B and 4B pencils, creating the variations in the shadows. STAGE 4 This will be the final result by continuing to use this technique across a whole piece such as this. TIP If you are using a scribbling technique, instead of creating fur strokes, create small figure-eight patterns. I have made the size here bigger so you can…

As we head into a new year, this is the perfect time to start thinking about your goals as artists for 2026—ways to push yourself a little more, expand your horizons, and perhaps take on some new challenges. A great way to do this is through our International Art Competitions, where artists can submit their works for consideration in the magazine as one of our top eight finalists. All submissions are thoroughly reviewed and judged by International Artist founder Vincent Miller. These challenges take place throughout the year, with each issue focusing on a different subject: Cityscapes; Seascapes, Rivers & Lakes; Favorite Subjects; Still Life; People & Figures; Wildlife; Landscapes; and Florals & Gardens. The issue you’re holding in your hands right now contains the winners of our most recent…

ENTER OUR NEW ART COMPETITION CHALLENGE No. 152 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…

Supporting the next generation is crucial for the future of the arts. The Portrait Society of America recently announced the First Place winner of its sixth annual The Future Generation Competition, which was established to recognize the work of emerging artists between the ages of 18 and 25 years old. The Portrait Society’s late chair, Edward Jonas, believed that early recognition in art competitions could greatly influence a young artist’s career, much like it did for John Singer Sargent. At age 23, Sargent earned Honorable Mention at the Paris Salon for his portrait of his teacher, Carolus-Duran, thus launching his portrait career. From more than 300 submissions, Olivia Arts, a young portraitist whose work exemplifies both technical mastery and profound human insight, was awarded First Place. Her winning painting, a…

Raymar For almost three decades, Raymar has set the standard for premium painting panels trusted by professional artists worldwide. Every panel is made with the utmost care by our passionate staff in Phoenix, Arizona. Our L64C quadruple oil-primed linen and natural copper panels are the favorite of professional artists. In 2026, we will launch two new surfaces, a fine weave lead-primed linen and a fine weave acrylic-primed linen. Our lightweight and strong wet painting carriers will also safely transport your paintings while in the field or traveling. We hope once you paint on Raymar, you won’t want to try anything else. Contact hello@raymar.com, raymar.com, (888) 809-3314, raymarpanels Rosemary & Co. As we enjoy our 40th year in business here at Rosemary & Co., we are excited to continue introducing brush…

SCOTTSDALE ARTISTS’ SCHOOL: How did you first start teaching at Scottsdale Artists’ School? SCOTT GELLATLY: After more than 20 years in the art materials industry, I began teaching full-time in the spring of 2020. During this time, I developed a series of classes and workshops titled “Abstracting the Landscape,” which reflects my unique approach as a painter. Having previously visited and demonstrated at Scottsdale Artists’ School in another role, it was a true honor to return, this time as an instructor, to share my “Abstracting the Landscape” workshop with the SAS community. SAS: Was there a defining moment when you realized you wanted to become an artist? SG: I’ve felt driven to make things my entire life. I have always been interested in drawing, but music took over during my…

Pan artist a variety of benefits, it can be an inspiration to experiment and is a wonderful way to practice, especially if you don’t have a model available. I’m a professional portrait artist with a classical art education, and most of the portraits I draw or paint are commissioned works. In my commissions I usually use a very traditional style. My main goal is to realize the ideas and requests of my clients with limited options of creative expression or chances to experiment. That’s why painting a self-portrait is a perfect way for me to try out new things, without having the pressure to satisfy a client or the expectation of a gallery waiting for a piece that fits into a show. This practice provides a variety of creative possibilities…

Reference Photo I took this photo of a vase of peonies last spring. This was one of probably 25 that I took at different angles and perspectives. It is important to take many photos of a subject. Later on you can go through them and decide what is the ideal composition. It helps to be able to compare them all to each other. I liked this image because the light and shadow were very organized, and I liked how the values were grouped in the light and dark areas. You can also see the warm bounce light in the shadows coming from below and the cool reflected light from the sky on the top planes of the shadows. STAGE 1 ABSTRACT START I have been enjoying starting paintings over abstract…

My artistic style is a fusion of abstract and natural forms, full of hidden layers where fantasy meets reality. I strive to create dreamlike landscapes caught between imagination and reality, so that viewers can step in and continue the story themselves, letting my art be the start of their own fantasy worlds. To create a sense of movement and depth, I use a variety of techniques. Brushstrokes, palette knives, sponges and my hands all come into play. These motions help the painting feel tactile and alive. I work exclusively with acrylics and water, which dry quickly and allow me to build layers. The drying time is a big part of the process, helping to shape how the paint settles. In the final stages, I add smaller, intricate details placed with…

Creating realistic wildlife art has been a journey marked by a constant search for the right medium to bring my vision to life. Over the years, I’ve experimented with a variety of techniques and materials—from oils to colored pencils—each time refining my approach and pursuing ever greater detail. Although I initially veered away from realism in my early work, my drive to add more intricate details eventually led me to embrace it fully. It was when I discovered scratchboard that I found a medium that truly resonated with me. The permanence and precision required by scratchboard, where every mark is etched into the surface, mirrored my growing appreciation for the control and depth I sought in my art. Now, working with graphite, I find myself drawn to the same level…

Over the years, I have begun developing my own unique technique as my style remains realistic. I work with both acrylic and oil paint to create my wildlife paintings, however, my true focus is on manipulating light within each artwork. When I work with acrylic, I focus on clarity, detail and efficiency, resulting in realistic paintings that take shape within days. As my process with the medium has become more refined, I am able to produce highly detailed and stunning portraits quickly. My technique with oil paint is quickly becoming a more gestural form of realism as I craft my own method of working with the medium. Typically I will finish an oil painting with two applications of paint in an alla prima process. Although my subject remains focused on…

$48 FOR 6 ISSUES! 20% OFF NEWSSTANDS! Subscribe today to get the most comprehensive magazine filled with demonstrations, workshops and creative inspiration from the best international artists working today. International Artist is the only educational magazine by artists for artists devoted to sharing voices from across the world, along with special features, columns and more. In every issue, you’ll find: » 6 issues a year, each one featuring a diverse range of work from artists around the globe! » 8+ artist demonstrations and workshops, featuring mediums, styles and subject matter that will inspire you. » Special features that dive deeper into the world of art and the artists. » Regular columns from famous artists such as James Gurney and Harley Brown. » Enjoy features from esteemed organizations including the Portrait Society…

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. Happy painting/drawing/sketching! A SNEAK PEEK AT NEXT…

Paul Baldassini  Connecticut, USA Little Climbing Beauties No. 2, oil, 24 x 31½" (60 x 80 cm) Grand Prize is a four-page editorial feature in American Art Collector magazine Showstoppers These days, Connecticut-based artist Paul Baldassini finds himself most captivated by floral subjects, especially peonies and roses in the deep, golden light of late morning. While the artist also paints landscapes, his crisp, vivid florals—which he has been painting for more than a decade—are the true showstoppers. His particular style of realism, he says, is influenced by the 16th-century Flemish master painters, notably Peter Paul Rubens and his contemporaries. “Except for flowers and some exotic species of birds, amphibians and marine life, nature is pretty much devoid of saturated colors. It’s mostly a grayed down tableau. I’m not able to photograph…

Part I: Photography and Physical Contact I have dedicated 17 years of my life to serving the artistic communities as an atelier model. As it so happens, the majority of my resume consists of educational institutes centered around the world of fine arts, including California, New York, Arizona, New Mexico, Georgia and even Florence, Italy. As much as I spent a great deal of the earlier years guided and nurtured by the environmental and social awarenesses that involved hard-ironed etiquette that left no room for miscommunication and questionable misconduct, I’ve been noticing a gradual shift in that sense of decorum. I’m not sure if it’s the disruption from the pandemic or the fact that the population of new students has risen so high, but it has created a subtle shift,…

I’ve learned to start each painting by asking, “What do I want to say?” Over the years, I’ve found that my most compelling work isn’t just about observation, it’s about storytelling. The painting featured in this demonstration, Another Farewell, captures a winter sunset in Vermont’s Champlain Valley, glowing in the final light of day. But beneath the surface, it speaks to something deeper—change, nostalgia and the quiet disappearance of the familiar. Oil painting is often seen as an intuitive process, but structure plays a vital role in translating vision into reality. Rather than improvising, I work in deliberate stages, ensuring both technical precision and artistic expression. Ideally, the process begins with direct observation. A small plein air sketch captures the fleeting light and atmosphere, revealing nuances a photograph might miss.…

SET-UP » By using two mirrors it is possible to see yourself from a side view while painting. Working with two mirrors also solves the problem with the hands seen on the wrong side, like they’re shown in the mirror image, (if you want to portray yourself as a painter by depicting the brush and palette in your hands). » I started to plan this artwork by playing around with the position of the mirrors, my pose and with the light source to find a composition I like. It’s good to think about your clothing or the use of accessories, like the colored sunglasses in this set-up, to add a narrative to your painting. Drawing thumbnail sketches can be very helpful to discover interesting shapes of light and shadows, positive…

The painting Convergence is a continuation of a theme that I’ve been exploring since 2019: a combination of floral elements and the human body that aims to shine a light on our place in nature and the cycle of life and death. Mortality has long been a subject that artists highlight in their work, but rather than focusing on its bleak inevitability, I prefer to depict it as a precursor to beauty and a starting point for the life that will follow. Though some of my work has been a little more on the nose in its message, Convergence follows this theme with more subtlety, serving more as a portrait of the model that carries this theme with it, rather than a solely narrative piece. My approach is heavily inspired…

STAGE 1 INITIAL SKETCH & COMPOSITION I begin with a light sketch to map out the composition of my idea. Sometimes I sketch directly onto the canvas, and other times I do it on a separate sheet of paper beside me. This helps me mentally organize the layout before diving into the color work. STAGE 2 COLOR PALETTE PREPARATION Next, I mix a set color palette. I spend a lot of time here to get the right shades and create large amounts of each tone. I work across the whole canvas simultaneously, so I need to have my wooden palette ready with blended colors throughout the process. You can see some of my color swatches in this image. STAGE 3 PLACING PAINT DABS With colors prepared, I begin placing varioussized…

The piece The Guardians began as a tutorial for a group of artists I mentor. Like much of my work, it evolved into something quite different than what I originally planned. I’m quite a spontaneous painter, and I enjoy slashing pigment onto the surface and seeing what happens. Perhaps that’s why so many of my paintings morph into something completely different than my reference material. The reference is simply a starting point, the spark of an idea. It’s good to have technical skill and the ability to accurately paint a scene, but I strive to go beyond that. It’s more important to me to be authentic and original. I’m constantly finding ways to push boundaries and think outside the box. Over time I’ve learned to listen to a work in…

Bring your scene to life with backlighting and a powerful glowing light effect. The French call this effect “contre-jour” or “against the light,” which creates a striking and dramatic effect in landscape painting by positioning the primary light source behind the subject. This backlighting technique results in several distinct visual characteristics: Silhouettes and Strong Contrast The subject appears as a dark shape against a luminous background, often losing midtone details while retaining a crisp or softened edge, depending on atmospheric conditions. Glowing Highlights The brightest areas often occur along the edges of objects, where light wraps around or diffuses through translucent elements like foliage, mist or water. Atmospheric Depth Backlighting enhances a sense of depth as distant elements become hazy and warm-toned due to the scattering of light, while foreground…

Early on, I worked mainly with oils, and then a few years later, went right over to pastels. Whatever we work with, whether pastels, watercolor or oils, generally the same artistic basics are joyfully used. Getting there can be quite different, but having the same needs in terms of color, values, shapes, design and personal accuracy. Why I Love Pastels I have to say this because of what pastel does for me, as well as giving me a certain amount of “freedom.” The pastel sticks are laid on the tray, ready for action. All the colors I need are right there, and the strokes are clean and dry. I can apply soft and hard edges, blend together, make texture, and lay in rough and smooth areas on top of one…