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Kunst & Architectuur
Artists Magazine

Artists Magazine December 2017

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
Taal:
English
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Peak Media Properties, LLC
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10 Edities

in deze editie

2 min.
expect the unexpected

WE EXPECT A LOT FROM ARTISTS. We want them to present us with relatable work, but we also want them to take us someplace new. This month’s artists all exhibit that crucial ability to launch from familiar territory into exciting creative heights. Laara Cassells paints visual time warps by inserting contemporary models and technology into the compositions of historical painters (“Then and Now,” page 34). We’ve all heard that every composition is at heart abstract—Ken Kewley provides riveting evidence (“Life Composed,” page 50). Colored pencil is a time-intensive medium, touted for its vivid colors, but commonly restricted to smaller works; Diane Edison flouts common practice with her large-scale, black-and-white portraits (“Person to Person,” page 44). Kathleen McDonnell takes another color-rich medium, pastel, and quiets the mood of her landscapes with…

1 min.
the drawing center

FOUNDED IN 1977, The Drawing Center, nestled in Manhattan’s SoHo district, explores the diverse renderings of works in drawing. Through exhibitions, education, public art programs and more, the museum’s many offerings exemplify how drawing is more than simply a preliminary practice. LEARN MORE AT DRAWINGCENTER.ORG . ALL PHOTOS BY PAUL WARCHOL, COURTESY OF WXY ARCHITECTURE…

1 min.
remembering the past

ALLUVIUS, A WORD DERIVED FROM THE LATIN ALLUVIUM, means “to wash against.” Given the context of Raha Raissnia’s moody mixed-media work, the term here is both literal and figurative. Using charcoal to recreate moments from life, Raissnia transfers personal photographs between celluloid and paper until the original images are unrecognizable, symbolizing how our recollections evolve over time—life “washes against” our memories, rendering them less focused, yet more meaningful. Raissnia’s work is the subject of The Drawing Center’s exhibition “Alluvius,” where the artist will present a series of drawings and 35 mm film loops constructed in a flickering, hybrid sequence; the exhibition will also showcase many of her works on paper. This combination of paper and multimedia work is almost in direct response to Raissnia’s every artistic interest. The artist has a…

1 min.
brian skol

Mental is the next series of works I'm starting that address mental health in general and my personal experiences in living with and having mental health disorders. I hope my experiences and the work I create from that are able to help others who might not have anything or anyone to relate to. Shedding light on mental health with art can hopefully encourage a much needed dialogue, not only about the issues themselves, but also being open enough to talk about them in the first place. Life Drawing using two sticks of Nitram Charcoal at the same time. To see this fantastic video go to: www.youtube.com/NitramCharcoal or scan the QR code It was after seeing what kind of artistic communities were in Chicago, I decided to move there, but not before commuting…

6 min.
lost in space?

AS A LANDSCAPE PAINTER, I aim to make my pictures look real. This means conjuring up an illusion of depth that gives viewers the feeling they could stroll right into the scene. Without this bit of magic, the picture looks flat and uninviting. Two Types of Perspective When we go for a walk, we have the benefit of seeing the world with stereoscopic vision. Our two eyes allow us to see what’s closer and what’s farther away, which helps us to navigate without bumping our shins. On the other hand, the viewer of a painting is, in a sense, visually handicapped. Because the surface of a painting is flat, looking at it is like seeing the scene with only one eye. In order to help the viewer, I like to “push” the…

2 min.
give the viewer some space!

1. BLOCK IN: It’s very easy to block in a painting with just a few simple colors and then use aerial perspective to create the illusion of depth. In this first stage, I’ve blocked in with a dark, warm green for the trees; a lighter, warm green for the grassy area; and a mid-value blue for sky and water. This block-in has a flat appearance, almost like a poster. The only clues to distance come from linear perspective elements: the path for the eye created by the stream and the diminishing apparent size of trees in the distance. 2. SET VALUE RANGE: My values were generally correct, but the sky and water were too flat. I lightened the lower sky with a creamy, light yellow tint. This value dictated how light…