Innholdsfortegnelse for June 2017 i Artists Magazine

After reading about David Hockney’s iPhone and iPad drawings, I became inspired to try the process myself, so my family gave me an iPad. I downloaded Brushes, an app for painting on the iPad, but now I use Procreate and Paper (by FiftyThree) which allow me to draw thinner lines that don’t get pixelated. I started with a Bamboo stylus but now use an Apple Pencil, which has to be charged. Hockney said that while you’re giving up the sense of texture, an iPad allows you to have so many more layers of color and is amazing in the way it shows how light is reflected on water. When I painted with acrylics, I didn’t know as much as I do now about drawing. The iPad makes it easy to…

THE MUSEUM OF BROKEN RELATIONSHIPS began as a creative art project by Olinka Vištica and Dražen Grubišic in 2006 and has since told stories of love and heartbreak from the world over. According to the director, “The Museum of Broken Relationships is a physical and virtual public space, made up of an ever-growing collection of items, each a memento of a relationship past, accompanied by a personal, yet anonymous story from its contributor.” TO LEARN MORE, VISIT BROKENSHIPS.COM .…

STONE PAPER is an interesting material. The product I’ve been using—primarily for sketches and small experiments—comes in the form of a notebook made by Ogami. Its tagline is, “The first notebook made from stone.” The notebook is waterproof, made with a stone paper called REPAP consisting of 80 percent calcium carbonate (you might recognize this material as chalk, limestone or even marble) and 20 percent nontoxic ecological resin (high-density polyethylene, or HDPE). Nontoxic ecological resin is photodegradable, and unlike nonbiodegradable plastic, that means that it will, indeed, decompose if left exposed to the sun and elements. I contacted a company that makes stone paper and was assured that although the paper is meant to degrade with exposure to sun, it will do so at a similar rate as that of…

MATERIALS DRAWING MATERIALS: Daler-Rowney gunmetal gray Canford card-stock, General’s charcoal, PanPastel black pastel PAINTING SURFACE: sanded and gessoed 3A Composites Dibond panel OILS: Sennelier, Vasari, Rembrandt and Michael Harding BRUSHES: Rosemary & Co and Raphael sables; Isabey kolinsky sables, sizes 2 and 6 OTHER: ParallelPALETTE palette by David Jon Kassan Shana Levenson brings to her paintings of children the kind of insight, attention and regard that we might expect in portraits of celebrated adult sitters. Combining acuity of observation with empathy for her subjects, the artist reveals the feelings, moods and dispositions that make up the world of childhood. Posed in ways that reveal strong inner forces, the children in her paintings are accorded full respect as individuals whose needs, desires and cares command our attention. WITH RESPECT TO HER…

GROWING UP IN NEW YORK CITY, Emily Thompson became familiar with the urban landscape as she rode the elevated train to school from Queens or walked to work in Manhattan or passed through New Jersey en route to the beach. She never grew tired of the streets and architecture, of the utility lines and signs and the scaffolding that held them up—the armatures and articulated spaces of industrialized civilization. Since childhood, Thompson has endeavored to recapture the visual experience those urban vistas aroused in her. “As a kid I liked to draw city scenes in pen and ink,” she says. “I would fill sketchbooks with these little scenes of buildings, TV antennas and garbage cans.” “I love anything that is distressed, broken down and rusty. I look for texture, shapes…

Learn about everything, not just art, and never stop. I WAS ASKED to participate in a still life show at Abend Gallery, in Denver, but I wanted to create something out of the ordinary for the genre. I came upon the idea of glowing animals, and that got me thinking about what this piece could convey. I chose to fill this painting with objects that are typical light sources, yet the one object not usually known as a light source illuminates the scene. As the title Bioluminescence indicates, it is the living organism that shines. I used thin washes in the shadow areas, particularly in the paper lanterns. I then contrasted these shadows by laying in thick strokes for the light areas. Since the painting is illuminated by one orange…

Mar Cerdà was initially interested in film. “I was studying cinema at the Cinema and Audiovisual School of Catalonia, in Spain, specializing in art direction, when I had an opportunity to illustrate a few children’s books,” she says. That humble beginning is what hooked her to the art world. “I started studying art at Escola de la Dona in Barcelona to ‘start the house from the roof down’ as goes the well-known Spanish saying.” Between her film studies and her endless interest in illustration, Cerdà works mostly in paper to recreate some of her favorite movie moments. “I love paper as a medium because the possibilities are endless,” she says. “And I love working with watercolor. Even though I’ve used it for several years, it’s still a difficult medium for…

I RECENTLY SPENT A COUPLE OF WEEKS in the Central Highlands of Scotland—leading a painting retreat. It was my first time there and, before I went, painter friends warned me to prepare for overwhelming greens. Rather than supplement my oil palette with a number of tubed greens, I took the same six colors that have served me well over the years in both coastal Maine and the desert Southwest (see Cove Grass, above). Although I saw more greens in Scotland than I’d seen in my life, I found with my limited palette I could match just about any of them—but I had to work hard, and the painting would have gone faster had I taken a carefully considered selection of tubed greens. Exploring the options in both mixed and tubed…

MATERIALS CAMERAS: Canon EOS Rebel T3 with Canon Speedlite 430EX II flash and Sony Cyber-Shot SURFACES: tie-dyed fabrics or canvases and commercially printed fabrics; after having been printed, these are stretched over pre-stretched gessoed canvas and sealed with diluted Golden matte medium. PRINT MATERIALS: computer for selecting images from photographs, digital printer for creating image on an acetate sheet, fine-mesh polyester screens, Speedball screen printing ink, various sizes of squeegees for pressing ink through the screen ACRYLICS: Golden High Flow, Liquitex, ShinHan, Lukas, Lefranc & Bourgeois Flashe (vinyl-based paint), Amsterdam, Daler-Rowney, Tulip fabric paint MEDIUM: water or Golden matte medium or Golden airbrush medium (to thin the paint to make it brush more evenly) BRUSHES: flats and rounds of various brands and sizes Mark Williams is an artist who is…

I’ve been wanting to paint this old five & dime store (it’s still in business) for a while but for some reason it wasn’t happening. I finally just worked with a straight-on photo. Aside from the lettering being so fun to do, I also love doing store windows, though it’s definitely a challenge because painting glass, reflections and the things that are in windows is really hard … for me anyway, and I don’t want it to look realistic. PLAN: ONE SECTION AT A TIME I treat each area as if it were a little abstract painting, so when all the pieces come together, the illusion is that there are lots of stuff in those windows without there actually being stuff! 1. THE PANEL I start with a 12x12 unprimed…

HOW OFTEN HAVE WE HEARD A VISITOR SAY “I love the smell of the studio.” In the past the the smell of the studio was associated with strong solvents such as turpentine and mineral spirits. Fortunately, these materials have been largely left in the past. Oil painting has become much safer. Nowadays, the fragrance in most oil painters’ studios is limited to the characteristic odors of drying vegetable oils – linseed, saffl ower, and poppy. The solvents most commonly-used in oil painting are mild and odorless. Furthermore, many painters have pursued painting without any solvents at all. Gamblin has recently developed a suite of Solvent-Free mediums, Solvent-Free Gel and Solvent-Free Fluid, products that are organic-based, user-friendly and intended for “direct painting” aka, wet into wet. The ingredients in the Solvent-Free…