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Kunst & Architectuur
Artists Magazine

Artists Magazine October 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.

Land:
United States
Taal:
English
Uitgever:
Peak Media Properties, LLC
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Monthly
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10 Edities

in deze editie

1 min.
changing hands

ONE UNCHANGEABLE FACT is the inevitability of change. After serving 11 years as editor of The Artist’s Magazine, Maureen Bloomfield no longer holds that leading role. Hers is not an easy act to follow. Her passion for art, superb writing and determination to turn out a feast for both mind and eye have made her a significant presence in the art community. As I make my debut with The Artist’s Magazine, I realize that in the world of magazines, where articles are assigned months in advance of publication, the demarcation of a changed leadership is not sharply delineated. This issue bears Bloomfield’s fingerprints throughout. For the features, she had handpicked artists who turn their considerable creative skills toward challenging the status quo and promoting change for the better. Julie Askew’s paintings…

1 min.
halcyon gallery

HALCYON GALLERY’S FOCUS on modern and contemporary art has represented both renouned international artists and newcomers who display great technical and imaginative skill. Based in Mayfair, London, and with two other London spaces, plus one in Shanghai, China, Halcyon Gallery selects diverse work, ranging from Impressionism to Pop Art, all while making certain the art delivers an emotional resonance and a perceptible timeliness. LEARN MORE AT HALCYONGALLERY.COM.…

1 min.
the hand that feeds you

TWO IMMENSE HANDS emerged on the Grand Canal, in Venice, Italy, on May 13. Their fingers press against the historic Ca’ Sagredo Hotel. Are they destroying it or saving it? Contemporary artist Lorenzo Quinn’s installation Support—the first art installation ever to be installed out of the Grand Canal—plays with the duality of the human experience, how we’re equally capable of creativity and destruction. “The hand holds so much power,” the artist says, “the power to love, to hate, to create, to destroy.” He views Support as both a love letter to Venice and a cry for help. “Venice is a floating art city that has inspired cultures for centuries,” he says, “but to continue to do so it needs the support of our generation and future ones, because it is threatened…

6 min.
cultivate your oranges

I ENJOYED EXPLORING ORANGES for this article—a novel experience for me because orange has never been an essential color on my palette. Why? As a plein air painter, I don’t see much of it where I live. Occasionally, I’ll find it in bare earth or in autumn foliage, but in an effort to keep my paintbox light, I mix orange from red and yellow, two tube colors (colors that come straight from a paint tube) that I do have on my palette. A mixed color, however, will generally be duller than its component colors. When I want a really brilliant orange, I use a tube orange made from a single organic pigment, such as monoacetolone (the pigment in Gamblin’s permanent orange.) In writing this article, however, I’ve increased my familiarity with…

2 min.
to orange—with complements

This autumn scene depicts a house in the historic section of Santa Fe, N.M. During that time of year, the massive cottonwood trees cast a lovely, golden light over the warm colors of the adobe walls. 1. TONE SURFACE AND DRAW SHAPES: I started by toning my surface with transparent orange. This gave the surface a beautiful warm tone that I knew would enhance the final painting. Next, I lightly drew in my major shapes with a No. 2 graphite pencil. 2. PAINT SHAPES AND SOFTEN EDGES: Using raw umber, I darkened the outlines of shapes and painted the shapes of the tree trunks. Although raw umber isn’t an orange, its deep, dense neutral color is perfect for establishing darks. Using a paper towel and light, arcing strokes, I “disturbed” the paint…

7 min.
linear progression

THE USE OF LINE seems to be the most basic and instinctive form of artistic expression. We start drawing with lines when we’re children, eventually applying our calligraphic sprawl to practical purposes when we learn the alphabet. In drawing, the function of a contour line is to differentiate one form from another; contours define the separation of objects. A distinguishing feature of an accomplished draftsman is the sophistication with which these contours are handled: the direction, weight, relative thickness and placement of lines are all significant characteristics in a drawing. When any or all of these elements are well executed, a drawing may suggest weight, depth and volume without introducing a lick of light and shadow contrast. The following are a few thoughts regarding linear drafting, especially as it relates…