Innehållsförteckning för Issue 27 från Creative Artist

It’s sometimes hard to know the exact moment one becomes interested in something in particular. For photography and me there were no great ‘ah ha!’ moments, no kind grandfatherly figure gifting a leather bound box-brownie at an impressionable age or some such epiphany that I can point back to. There was an old camera though, a couple in fact. Early on I am sure one of the things that drew me to photography was the actual camera itself; that silver and black contraption with its levers and dials, and the tell-tale resistance to the winding mechanism as it pulled film from the roll. I liked the way you could remove a lens, hold it up to the light, and turning the aperture ring watch the delicate interwoven metal leaves slide…

In presenting Martin van Meytens the Younger (1695 - 1770), the Belvedere highlights one of the most important European painters of the Baroque age. Meytens, who documented influential personalities of his time in a highly impressive manner, numbers among the portraitists most preferred by the Austrian Imperial Family under Maria Theresa. Of Dutch origin and born in Sweden, the artist sojourned in France, England, and Italy to study the art of these countries. Under the impact of various European models he developed his own specific style, which he later successfully passed on to his numerous pupils. Originally trained as a miniaturist, Meytens brought monumental painting to perfection over the years, but except for a few forays into figure painting, always remained true to portraiture. The exhibition introduced Martin van Meytens…

MATERIALS • Faber Castell Polychromos pencils • 1 x Caran D’Ache luminance white pencil • Pencil sharpener • Canson Mi -Teintes black paper • White Gouache paint, • Fine paint brush • Soft brush to sweep paper of pencil crumbs • Eraser • Workable spray fixative For this demonstration, I have chosen a beautiful photo of a gorgeous nineteen year old cat called Mochko. I took the photo when he was enjoying the last rays of sunshine for the day. He is old and has health issues, and so this portrait is now treasured by his human, and will remain in his collection as a memory of his best friend. This is one of the most beautiful things that we can offer as artists - to immortalise our fur family,…

• I always stretch my paper as then it doesn’t matter how wet I get it, this allows me to really manipulate the paint and use it as heavily as I like to really create depth of colour, whilst ensuring that my paper remains flat. • I find using the natural white of the paper for the light areas keeps my painting bright and fresh, although you must be careful to keep these areas very clean. Use masking fluid if needed. • Always change your water regularly and keep your brushes clean; this stops the colours getting muddy.…

Business partners Luca Carucci and Joseph Peraino collaborated with curators Alexandria Chapman and Jessica Erichsen to form a new bar and art space in Lower East Side, New York. 174 Rivington specialises in no frills cocktails and contemporary art with a focus on emerging local, national and international artists working in all media. The LES has always been a centre of progressive thought and the heart of the neighbourhood will be felt through collaboration with local artists, businesses, and residents. Hell Hath No Fury...an inaugural exhibition of works by contemporary artist Jon Zeh was recently on display. Zeh’s drawings and paintings kickstart the space with abstractions and melting figures that are both surreal and startling. The undersider artist works with found materials to paint highly textural images that reflect his…

• Use the most professional materials that you can afford - you’ll be thankful in a few years’ time. Look for lightfastness and archival quality. • Reference photos - the higher the resolution, the better your drawing. Persist to get a good photo - and try to take your own whenever possible. • Take frequent breaks, step back and assess, take your time, don’t rush your work. • Use a mirror to check your work in reverse, it’s amazing how much you can see to improve. • Turn your work upside down and sideways all the time - it stops your imagination from hijacking reality - you have to draw what you see, not what you remember seeing. • Keep pencils you are using in little containers right beside you,…

Reflectors are mostly used for studio work and on big sets in film production indoors and out. In the studio you are setting up for a soft modelling light on your subject, which is often portraits and modelling. This is generally done by creating artificial lighting which needs to be controlled when using flashguns that give a direct, harsh light that needs to be subdued by bouncing flashlights off to the side of the subject; this requires a collection of reflectors. White or silver umbrellas and reflectors of all shapes and sizes are made of numerous materials, mostly made of shiny surfaces. Soft boxes project a large source of light which can also be redirected by setting up reflectors that send diffused light around your subject for a creative look.…

• Always – and I mean always - rest your hand on a piece of paper when you are working. Never touch the paper with your fingers because the grease from your hands will mark the paper and cause blotches. • Constantly take measurements at the start of a drawing. To achieve a photorealistic style you nee to be accurate in your draftsmanship. • Observation is the key. The same attention must be given to the subject as it is to the drawing. • Remember: There are no rules. Do what works for you if it gets the desired results. Experimentation is the only way to improve.…

Today I’m meeting with artist Shane Mode, to hear about and see his imaginative artistic interpretation of the endless rolling hills and valleys that encircle Beverley, the little Avon Valley town here in Western Australia, and also visit his quiet backyard studio. Shane and wife Valerie live in a timber framed and verandered cottage close to the town, and are literally surrounded by the soft rolling hills and shady dales of the Avon Valley that are Shane’s main artistic inspiration. Shane interprets this ancient unspoilt landscape with his paints both from photos and working plein air; an endless corrugated landscape dotted with hills and solitary farms that almost swallows up the little town and his cottage, backyard and studio. Shane does not have far to go for inspiration. Lush green…