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Artists Magazine

Artists Magazine

May/June 2021
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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.

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United States
Peak Media Properties, LLC
10 Issues

in this issue

2 min.
the journey of a lifetime

It’s always interesting to me when—as an issue of the magazine is taking shape—a theme emerges that wasn’t part of the planning. In this case, that unexpected motif is that of the artist’s journey. Michelle Wooderson who picks up the topic directly in “So You Wanna Be an Artist” (page 6), emphasizes that there’s no final destination at which an artist finally arrives; the path is open-ended. The point is in the journey itself, and—especially if you’re on the getting-started leg of the voyage—her article is an excellent guide to what to do next. For Amy Ringholz (page 68)—known for dynamic depictions of western wildlife—the path has been successful, due in part to the artist’s sense of adventure. She enjoys using various media—acrylic, ink, watercolor—to stay creatively nimble. Not knowing what’s…

2 min.
so you wanna be an artist

as an artist who shares her journey on social media, I’m asked the same questions over and over. Curious followers want to know how to begin an art journey, what supplies to use, where to look for guidance and how I make it look so easy. Unfortunately, there’s no magic list I can hand to folks that reads, “Here’s your complete guide to painting.” I do remember, though, what it was like to be a complete novice, and I recall the overwhelming feeling of not knowing where to begin—so I’ve compiled my best tips for starting an art journey. In hindsight, if someone had given me this getting-started list, I’d have jumped for joy. Before you read further, just know that you shouldn’t expect an easy path. You’ll experience lots of twists…

4 min.
starter kit

This kit includes everything needed to start oil painting—two kraft sketchbooks, a white-paper sketchbook for value sketches, Rosemary & Co paintbrushes, Copic gray markers, a Guerrilla Painter composition finder, pencils, a palette knife, small tubes of oil paint, a small retrofitted paint palette (madebymish.bigcartel.com), Gamblin solvent-free gel (to help the oil paint to flow), a jar of turpentine, paper towels, a date stamp and an ink pad. This gear easily fits in a small backpack. or both? What do I want to paint? What media do I want to use? Where will I paint? How will I dedicate time to paint? 4. Make detailed plans and set short-and long-term goals. 5. Be realistic and give yourself some grace. Your favorite artist didn’t paint that landscape in a day. It took a day…

1 min.
visiting the farnsworth house

when the cancellation of my nonstop transcontinental flight necessitated a stop in Chicago, I decided to make lemonade from lemons with a daylong visit to an iconic modernist structure designed in 1951 by architect Ludwig Mies van der Rohe (1886–1969): the Farnsworth House, in Plano, Ill. As an architect, I’d been wanting to see this house for some time. This dwelling was built as a weekend retreat for Edith Farnsworth, a Chicago doctor who lived on her own in the city, about an hour away. It’s no typical weekend cottage! At first glance…

3 min.
from sketch to painting

My quick sketches, like the one here done in soft graphite pencil, serve three purposes: 1) They “audition” the composition for a subsequent painting; 2) they help me work out the unforgiving proportions of the structure; 3) they provide a road map for the application of light and dark values in the final watercolor paintings. In this case, capturing the proportions of the rectangular window bays was critical. Lightly drawn diagonal construction lines helped me depict them accurately as they diminished in size along the lines of perspective. The essence of the Farnsworth house is the way it seems to hover above the ground—an effect conveyed in both my drawing and my studio painting through the use of light and dark values. Another key concept of the design, seen more clearly…

1 min.

The term “analytique” refers to a composite drawing showing the façade elevation (A) combined with the plan (B) and selected details (C and D). For this particular example, I sought to measure and understand the fundamentals driving the composition of the Farnsworth House: A grid of - - I-shaped steel columns define rectangular bays—two on a lower open platform and three on a raised enclosed platform. Two of the raised bays form the portion of the house enclosed by floor-to-ceiling plate glass. The plan follows a rigorous and consistent order originating with the module of the 24x32-inch travertine floor pavers (D). The interior space is one open rectangle; there are no enclosed rooms other than two bathrooms and a service space, and these three spaces form a rectangular solid, which stops…