Kunst & Architectuur
Artists Magazine

Artists Magazine November 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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10 Edities

in deze editie

1 min.
lay of the land

QUICKLY—what do you picture when you hear the word “landscape”? I imagine either a rural or a woodland scene, but there are far more types of landscapes for an artist to explore. Glenn Moreton paints broad, realistic cityscapes (“Keeping Perspective,” page 54). In Ask the Experts (page 30), where Michael Skalka discusses wet-to-dry color shifts in acrylics, you’ll see Lynette Cook’s more closed-in urban views. Kurt Solmssen explores the land and water close to his home in Puget Sound, Wash. (“Homing In,” page 34). Albert Handell gravitates to water runs, rock formations and vegetation, including his all-important composition unifier—foliage (Brushing Up, page 14). Our celebration of the 150th anniversary of the American Watercolor Society (“Watermedia Wellspring, page 44) includes Antonio Masi’s watercolor depictions of New York City bridges and Pat…

1 min.
maude white

MAUDE WHITE’S PAPER CUT ART is a mediation in patience and precision. The New York-based artist is drawn to the duality of strength and sensitivity paper presents as a medium—as well as art’s overwhelming ability to restore. “I believe very strongly that art can heal, both emotionally and physically,” she says in an artist’s statement. “Art can be a gentle conduit, a precious, living thing that can enter both creator and viewer, and thereby extend them and connect them, making both feel larger and more beloved.” SEE MORE OF WHITE’S WORK AT BRAVEBIRDPAPERART.COM.…

2 min.
let your mind wander

DREW PRICE IS A BORN TRIER. “I won The Artist’s Magazine’s Annual Art Competition student award in the portrait category,” he says. “I wanted to try my hand at the regular competition once I wasn’t a student.” That tenacity led him to becoming a finalist in last year’s competition with his work Battle of the Bee and the Fly (above). Price was raised in New Mexico, and then spent 12 years living throughout the United States and in other countries, including Italy, Guam and Turkey. The one constant in his travels was his passion for art, which led to his enrolling at the Academy of Art University, in San Francisco, where he earned his bachelor of fine arts degree in painting and drawing in 2015. Price’s work in oil combines both skill…

3 min.
a flutter of foliage

MOST OF MY STUDENTS, once they begin a landscape, will modify the block-in, paint over it and then continue to noodle, on and on, in an attempt to take the painting to the finish. My way of working is simpler. The background portions of the block-in, painted boldly, transparently and without details, I leave alone. The foreground portions of the block-in, which are then painted opaquely, I strengthen a bit, but avoid overworking. Then I’ll bring the two areas together with a flutter of foliage, creating intriguing rhythms and details while resolving the painting. The following demonstration explains how I apply this method to a spring or summer scene. For autumn and winter landscapes, I treat twigs and thin branches in the same way as I do foliage. 1. Establish the Composition First…

7 min.
metals show their mettle

THE UBIQUITOUS PENCIL , a piece of graphite inside a hollow tube of wood, wasn’t an option for a 15th-century draftsman—it hadn’t yet been invented. Instead, for fine line drawings Renaissance artists drew with a nib of metal placed in a stylus. Both past and present artists tend to favor a silver nib, so the medium is commonly called silverpoint. In fact, almost any metal drawn across a slightly abrasive surface leaves a mark, so the technique is more broadly known as metalpoint. Support and Ground Ordinary paper won’t work with metalpoint. A support (drawing surface) must be coated with a ground that has a bit of tooth to imperceptibly abrade the nib and leave behind a deposit of metal that creates a line. A rigid support is best since most metalpoint grounds…

4 min.
a haunting beauty

ONE OF THE MOST BASIC WAYS artists exercise control of their legacy is by deciding what to save and what to toss. Michelangelo burned many of his drawings, presumably studies that would have offered insight into his creative process. We know of two bonfires: he instructed an assistant to burn works on paper in 1518, and he destroyed more drawings just before his death in 1564. In at least one notable instance, the decision was made for him when his life-size cartoon (the term used for preparatory drawings in the Renaissance) for the Battle of Cascina was torn apart, piece by piece, either by admiring students or a jealous rival. Those drawings that have survived Michelangelo’s judgment and the ravages of time—and there are, thankfully, dozens—raise as many questions as they…