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Artists MagazineArtists Magazine

Artists Magazine October 2019

Readers learn painting and drawing firsthand from other artists through written instruction and reproduction, guiding them step-by-step through the creative process. The magazine shows readers a wide variety of creative options, teaching the fundamentals of art making, presenting techniques in different painting and drawing media.

Land:
United States
Sprache:
English
Verlag:
F+W Media, Inc. - Magazines
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ABONNIEREN
CHF 18.83
10 Ausgaben

IN DIESER AUSGABE

access_time2 Min.
from the editor

When we think about the working life of an artist, we tend to emphasize the solitary nature of the practice—the lone painter at work at an easel. But the fact is—for most artists, anyway—there are many people involved in the adventure. Among them are friends and family who support and champion the effort; gallery owners and collectors who invest in an artist’s success; and mentors and teachers who counsel and steer, inspire and influence. Sure, the work requires times of solitude, but an artist doesn’t work in isolation. Everett Raymond (Ray) Kinstler was certainly an artist who embodied this congenial spirit. Kinstler, whose foray into art began as an inker’s apprentice for comic books, went on to become a celebrated portrait painter. His subjects included famous authors and athletes, Hollywood celebrities…

access_time3 Min.
beyond technology

the Sphinx of Delft. That was the nickname given to Johannes Vermeer (Dutch, 1632–1675) when his work was rediscovered in the 19th century, and it still applies today. We don’t know where he learned to paint, or whether he ever left Delft, the city in the Netherlands in which he was born and died. If he made any drawings, they haven’t been found, which only heightens the mystery around his seemingly perfect paintings. Conjecture fills the vacuum created by lack of hard evidence; the theory is that Vermeer used the camera obscura to aid his picture-making process. Vermeer’s paintings are perhaps the most nuanced objects in museums today. It’s a credible theory, since the alternating areas of sharp and blurred focus suggest effects created by a lens. Vermeer and his contemporaries were…

access_time7 Min.
currents of illustration

if you were an American artist during the turn of the 20th century, you were likely employed in the field of illustration. With a newly empowered and quickly expanding print media, creating illustrations for magazines, books and commercial companies was one of the most consistent and lucrative careers around. The Golden Age of Illustration continued in print until the proliferation of photography made glossy images and creative photo shoots the editorial norm. By the new millennium, digital imagery dominated both print and digital media, and traditional art illustration played only a marginal role in magazine and book design. Today, as an overabundance of digital imagery and information reaches a tipping point, traditional imagery is making a reappearance in print. Art directors are inviting portraits and paintings to live alongside the modern…

access_time3 Min.
it’s sunset somewhere

the representation of a nighttime scene, traditionally referred to as a nocturne, presents a fascinating and exciting challenge when the chosen medium is watercolor. This medium, which is all about light and transparency, would seem to be counter to the demands of representing a scene layered with dark tones and only glimmers of light, whether from the moon or the artificial illumination of lamps or candles. The term “nocturne” seems to have originated with the efforts of James Abbott McNeill Whistler (1834–1903) in painting fireworks and scenes at dusk along the River Thames in the 1870s (see Nocturne in Blue and Gold: Old Battersea Bridge, opposite). The results hardly met with universal acclaim, and the great art critic John Ruskin was so condemning that Whistler sued him in court—and won! Much…

access_time9 Min.
organize your way

everybody’s tolerance for clutter in the studio is different. You may be someone who embraces a bit of mess (“It’s not mess; it’s creativity!”), or you may be the type who finds comfort in a tidy, orderly space. Regardless of the mind-set, there are some challenges—such as storage—that are common complaints, and some simple strategies and ways of working that can be useful. We asked top art professionals: “What has worked best for you?” Read on to hear about space-saving tactics, as well as helpful habits and other best practices for making your studio a motivating space. THERE’S AN APP FOR THAT “Forty-five years ago, when I first began my professional art career,” says Ken Goldman, “if I needed a particular photo reference from which to make sketches, I’d trek to the public…

access_time3 Min.
keep the joy

Getting organized doesn’t mean that you have to rid your studio of everything impractical. As minimalism guru Marie Kondo, author of The Life-Changing Magic of Tidying Up and the Netflix original series, Tidying Up, explains: “Discarding is not the point; what matters is keeping those things that bring you joy.” The following are studio staples in the eyes of these artists, because they answer the question: What sparks joy in your studio? My brush holders. “I have a small collection of small cream pitchers and tumblers of very colorful Deruta pottery from Italy,” says Laurin McCracken. “I use them to hold brushes that I want near me when I’m painting. Their wonderful colors and shapes greet me every time I go to my painting board—a cheerful start to the painting process.” My…

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