Indholdsfortegnelse for February - March 2020/ No. 131 i International Artist

Let’s just say it right here. We are so envious of you. We love what you do. We love that you have decided to take it upon yourself to live your dream and become an artist. This is a decision that fascinates us. That makes us proud to be able to deliver this magazine to you every other month. Why? Well, simply, because we know that it is assisting you in your dream of becoming an artist. And that is what made us start publishing this magazine in the first place. That is why we reach out to the best artists around the world and ask them to share their secret processes and skills with all of you. So that you can, in turn, incorporate all of this into your…

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 Enter our Art Competitions from anywhere in the world HINTS FOR PHOTOGRAPHING YOUR ARTWORK Set your camera to the highest…

Because gouache isn’t quite as well known as Boils or watercolor, a lot of questions about it have come up on my YouTube channel and on Instagram (@jamesgurneyart). I’ve selected a few recent queries to answer here that I thought might interest readers of International Artist. SERENA ASKS: “IS THERE A BASIC SMALL PALETTE OF COLORS THAT I CAN USE FOR MOST SCENES?” I often bring just four tubes of gouache or watercolor: yellow ochre, a red oxide such as terra rosa, ultramarine blue and titanium white. Those four will cover most scenes from nature. But if the scene requires more saturated colors, I can spice up that basic set by activating colors from my compact pan watercolor kit. Those colors include: permanent alizarin, Payne’s grey, ultramarine blue, cerulean blue,…

My process for staging and painting a portrait M begins with something that excites me. With this portrait, I found immediate inspiration when I saw Jonah under the natural light in my north-lit studio. The work of Raphael, Bronzino and Pontormo came to mind as I observed his poetic expression, long graceful fingers and the tilt of his head. I loved the simple drama and limited palette of his favorite black leather jacket over a white shirt, which was both modern and classic. STAGE 1 I typically begin portraits on an overstretched fine linen canvas I have carefully prepared with four to five coats of gesso. Next, I tone the canvas with a semi-opaque turpentine slush of quick-drying foundation white paint tinted with a little bit of cobalt blue. An…

y approach to painting is very M direct. I am painting what I see with emphasis on the light and shadow. I mix my oil colors directly on my palette as I go. I “paint to finish”—meaning I am very decisive and economical with my brushstrokes making each one effective after careful observation. This approach helps to avoid reworking or overworking and keeps the painting fresh. Carefully observed values and colors make the painting read correctly. I only paint from life and do not use photographs because what I actually see is so much more fascinating and interesting to me than a photograph. Painting from life allows me to make constant decisions as I compare the last brushstroke to the next one and evaluate if it is darker/lighter or warmer/cooler.…

My art is all about capturing a Mplace—not the exact look but how it feels to be there. When I paint, I feel like the sights, smells and sounds of the place surround me. I want the viewer to feel that same sensation, a sense of awe at the natural world. It is the elusive emotion that I think most landscape painters strive to convey, and I’d like to share with you some ways that I have discovered for capturing this on canvas. A sense of depth is one of the main aspects in a painting that can truly inspire that awe, that feeling of gazing at a towering mountain even though it’s painted on a measly 11-by-14-inch panel. I use several techniques to try to capture depth in a…

believe that the key to success is not I the perfect tools, but the emotions and moods that are incorporated into the painting and can influence the observing audience. The idea and philosophy that I use to express myself in watercolour is “I know the rules, but the rules don’t know me.” This allows me to combine the laws of academic painting and my own voice. My vision is based on three principles: Atmosphere = the history of the painting Magic = to stimulate curiosity Risk = to force the gesture In watercolor I like to use graphic signs that contrast with shades and glazes, paying attention to the dilution and use of the right brush. I use colors that I personally prepare using powdered pigments to obtain personalized shades,…

Though interesting scenes can be T found everywhere, I feel fortunate to have grown up in the country where there is no shortage of subject matter for drawing. Here in Michigan, we have four wonderful seasons to inspire us; from the contrast of a sunny winter day, the bright new greens of spring, deep serene colors of summer and the warm browns, oranges and reds of fall. Early in life I developed a deep appreciation of nature. As I’ve grown older, I’ve realized that many wildlife habitats and small farms are slowly disappearing, so some of my more recent drawings are a record of the beauty and serenity that can be found in these settings. Drawing is a form of relaxation and enjoyment for me. It’s also a challenge to…

STAGE 1 THE DRAWING Although I regularly do drawings from life, in this case I transfer by grid using a light touch so that lines are easy to remove. However, I don’t transfer every little detail; it may just be a line or reference mark that can be erased later. These marks are never used as a line drawing to simply colour within but as basic reference marks, perhaps defining limits of shadows, the flow and rhythm of hair or the position of an eyeball. I keep in mind that line is an artistic invention and doesn’t really exist, often just representing an edge. Modelling light on form is my main focus. I use Derwent Studio - Burnt Carmine to build the basic drawing where one may normally use a…

t’s easy to fall into the trap of always selecting subject I matter that appeals. Landscapes, portraits, flowers, boats and water—sure the results can be interesting and the subjects are satisfying to work on, but sometimes choosing an unusual, unappealing subject can produce exciting results. Most workshops I try to include at least one subject that falls outside of what is generally considered appealing. This subject often results in groans of complaint until students actually start painting. It is amazing how being somewhat detached from the subject lifts the burden to produce a masterpiece and allows for risk and experimentation to take over. Rarely have I found students grumbling at the end of one of these “less appealing subjects.” Consider moving away from the safety of comfortable subjects with your…

When a work of art doesn’t sell W at an art show, it’s not the patrons’ fault; there are no obligations for purchases. It’s also not the dealer’s fault. I’ll even go so far as to say, to a good extent, it’s not necessarily the artist’s fault. Here’s the qualification: I’ll assume the dealer and artist are doing their best. I’ve had shows where I sold very little; I thought I had done good paintings with a major dealer. Still it took a while for me to understand this part of the art world. It is a matter of continuing to put out the best possible works. Eventually positive things begin to happen. More up than down. Yes, I do understand there are certain subjects that sell better than others.…

Grand Prize Stephen Jesic Queensland, Australia, Morning Reflections, acrylic, 43½ x 38½ cm (17 x 15") Grand Prize is a four-page editorial feature in American Art Collector magazine Artistic Harmony In the late 1980s, artist Stephen Jesic found he was captivated by the colors and vibrancy of Australian birds and added them to his oeuvre of still lifes and landscapes. Working in a traditional realistic style, Jesic paints with a high degree of detail right down to the feathers and found a need to transition to acrylics so he could obtain faster drying times to rework intricate components. Within a few years wildlife became his primary subject and acrylic his go-to medium. “By the late ’80s I worked solely in acrylics developing my painting technique to a point now where…

ENTER OUR NEW ART COMPETITION CHALLENGE No. 117 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…

ever use black on your palette.” How “N often have we all heard this old art school axiom in beginning art classes or art schools? Of course, this is a rule for young art students trying to master color mixing and to keep them from reaching for the black pigment as the “go-to” color to darken a primary or secondary color. Black paint, being the deepest value on a palette, would seem to make sense to darken any other color, but it is the complementary color directly across from the hue you want to darken that will deepen the value or gray it by cutting down the high intensity of a tube color. However, once you have built some “good color mixing practices,” I think the rule should be thrown…

paint in a contemporary realistic I style, creating paintings that celebrate women who are strong, women who are sensual, women who are intelligent, and sometimes women who are vulnerable. I paint these women from a female perspective, and place them against a background appropriated from iconic art images, mostly pop art, that adds to their story; such as dollar signs, numbers or the American flag. The subtle narrative I can create pairing symbols and design with the look and mood of my model is what drives a painting, bringing cohesiveness to the piece. I am painting the uniquely American culture that I grew up with in the 1960s and 1970s. Pop art was at its peak, and it was the end of the pin-up era, and the beginning of the…

Paintings are what you sell. And your gallery is where you sell them. The “100-hour Rule” can start your gallery making consistent income. Here is what that means. Do100 hours of work focused on one outcome. Breakthat down to 10 hours a week for 10 weeks. Part-timesuccess is a first step to full-time gallery success. Butthe 100 hours is additional to time spent organising the gallery. Follow up with the “500-hour Rule.” 500hours of real work focused on one outcome will give you a gallery making a full-time income. For10 hours a week, that’s less than one year and you have your own gallery. It’s about how you move from “professional artist” to “artist with gallery.” Imaginethis time next year you’ve done it. Younow have your own gallery and it’s…

Every year, over 800 artists from all over Ethe country gather at our annual The Art of the Portrait conference for an unforgettable four-day experience of learning from renowned artists. This year, on April 16-19 in Orlando, Florida, a variety of demonstrations, panel discussions, drawing workshops and so much more will be presented by our 29 faculty artists. Even though we are celebrating our 22nd year hosting this inspiring event, we are committed to presenting fresh and new programs and faculty. I recently interviewed five new and returning faculty artists—Anna Rose Bain, Dean Mitchell, Paul Newton, Mary Qian and Dawn Whitelaw—and asked them to share their artistic background and experiences. We urge you to register early for our program as we expect another sold-out event this year. When and how did…

The still life setup I am presenting for the demonstration of my technique consists of the main Tang Lady figurine and other oriental bowls, vases and bottles I collected during my many trips to China in the last decade. Every piece in the painting has a wonderful, fun story behind it. The trips there were so fascinating, and I got to see firsthand the real China, not the tourist China, while training young designers and artists. I have always had an appreciation for the art of China because of my art history study at Cornell University where the art history department is known for its scholarly courses in Chinese art. The Herbert F. Johnson Museum of Art at Cornell has a permanent collection consisting largely of Chinese art and artifacts.…

Roses are truly the queen of all flowers, Rwith their innate qualities and attributes. They have symbolically placed themselves in our culture from the outset of civilization. With their voluptuous pose, coquettish, flirting demeanor and mysterious spirit, they have been the most luxurious offering to all our greetings, ceremonials and rituals. Roses are the protagonists in my painterly plays and they are the main derive of my subjectivism. For me painting roses is the best way to express what I might call my own peculiar, deep feelings about life. The impact of my paintings is determined by the tension between the figure’s physical presence and the spatial flatness of the setting, between realism and abstraction, between impression and expression. The figures are forcefully defined and positioned comely and three dimensionally…

My “California Vibe Watercolor Portraiture” style is all about the natural human face captured with expressive, vivid colors and robust, assertive brush marks. My creative process starts with a reference photo shot with an iPhone. The subject is always in a strong, outdoors lighting environment, or if inside, illuminated within a single, stage-like light source. Emotive facial expressions and/or eye-engaging shooting angles are always necessary. I print my chosen reference photograph in black and white so as not to be influenced by the original colors. I then render a gestural outline drawing from the photo. This is my “master drawing” that I can always enlarge or reduce to different painting sizes that can be traced onto watercolor paper. This process provides me with a quick and easy way to create…

It is often suggested that we should Ipaint or draw subjects that interest us. My focus for many years has been portraiture in oils or pencil and more recently seascapes; the human face and the sea both fascinate me, perhaps because human skin and the sea both have no inherent colour. With oil portraits I initially test my ideas with sketches and pencil studies, to get a feel for what might work; these drawings often become finished pieces in their own right. My working week is split between design and art studios, so I find drawing offers more flexibility than oils, requiring less preparation. I generally stand up while drawing and painting; this encourages me to step back and check the integrity of the drawing and also helps keep my…