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Paint Like the MastersPaint Like the Masters

Paint Like the Masters

Paint Like the Masters

What is it that elevates an artist to a master? Is it an innovative approach to art? Perhaps it’s a reputation as dramatic and unpredictable as their brush strokes? Or maybe it’s a combination of both talent and temper, as is the case for Britain’s most celebrated seascape artist, JMW Turner – unrivalled in his mastery of the skies and seas, Turner’s status as a master is all the more incredible, considering his controversial reputation and eccentric nature. In Paint Like The Masters, delve into the stories of some of the world’s most prodigious artists, from Rembrandt and Raphael, to Monet and Matisse. Find out the incredible tales of some of the world’s greatest masterpieces, including Vincent van Gogh’s The Starry Night and Sir John Everett Millais’ Ophelia. Most importantly, however, we will reveal the skills and techniques you need to re-create your own modern-day masterpieces inspired by the masters. So what are you waiting for? Find your palette, grab your paints, and get going!

Country:
United Kingdom
Language:
English
Publisher:
Future Publishing Ltd
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IN THIS ISSUE

access_time1 min.
paint like the masters

What is it that elevates an artist to a master? Is it an innovative approach to art? Perhaps it’s a reputation as dramatic and unpredictable as their brush strokes? Or maybe it’s a combination of both talent and temper, as is the case for Britain’s most celebrated seascape artist, JMW Turner – unrivalled in his mastery of the skies and seas, Turner’s status as a master is all the more incredible, considering his controversial reputation and eccentric nature. Over the following pages, delve into the stories of some of the world’s most prodigious artists, from Rembrandt and Raphael, to Monet and Matisse. Find out the incredible tales of some of the world’s greatest masterpieces, including Vincent van Gogh’s The Starry Night and Sir John Everett Millais’ Ophelia. Most importantly, however, we will…

access_time1 min.
paint like the masters

Future PLC Richmond House, 33 Richmond Hill, Bournemouth, Dorset, BH2 6EZ Editorial Editor Philippa Grafton Designer Thomas Parrett Editorial Director Jon White Senior Art Editor Andy Downes Cover images Rob Lunn, David Chandler, Howard Lyon, Getty Images Photography All copyrights and trademarks are recognised and respected Media packs are available on request Commercial Director Clare Dove clare.dove@futurenet.com International Head of Print Licensing Rachel Shaw licensing@futurenet.com Circulation Head of Newstrade Tim Mathers Production Head of Production Mark Constance Production Project Manager Clare Scott Advertising Production Manager Joanne Crosby Digital Editions Controller Jason Hudson Production Managers Keely Miller, Nola Cokely, Vivienne Calvert, Fran Twentyman Management Chief Content Officer Aaron Asadi Commercial Finance Director Dan Jotcham Head of Art & Design Greg Whitaker Printed by William Gibbons, 26 Planetary Road, Willenhall, West Midlands, WV13 3XT Distributed by Marketforce, 5 Churchill Place, Canary Wharf, London, E14 5HU www.marketforce.co.uk Tel: 0203 787 9001 Paint Like The Masters First Edition…

access_time3 min.
getting started with oils

There’s an undeserved mystique around oil painting that has put up some intimidating barriers for some artists wanting to use this wonderful medium. I hope to remove those concerns and provide a basic foundation of knowledge to help you get started. Oil paint is pigment bound in a drying (siccative) oil. The most common is linseed oil extracted from flax seeds, but you’ll also find paint bound in walnut, safflower or other oils. The pigments are generally the same as those found in watercolours, pastels and acrylics. Oil paints offer a richness of colour and its surface allows the creation of beautiful textures. You can paint thick or thin, directly or use glazes. Oils can be used on paper, wood, metal, plastic, canvas and many other surfaces. If you’re just getting started,…

access_time3 min.
arrange and mix your oils

Let’s get started by covering how to get paint out on to your palette. I personally like to arrange my colours from the most intense shades to the less intense, grouped into warm and cool colours. I’ve seen students squeeze out colour randomly and it becomes tricky to keep things organised as the painting progresses. Choose a layout, stick with it and you won’t have to think about where your colours are. I’ll mix up a pile (or nut) of paint and make adjustments to the pile by mixing colour into a portion of it. If you remix the whole pile it can get away from you and then the whole nut is wasted. For example, if I have a base skin tone that I need to make cooler or warmer, I’ll…

access_time4 min.
how to apply your oil paints

Oil paint is wonderfully versatile. It can be applied in thick, expressive impastos, or thinned down and used almost like watercolours. It can be brushed or scrubbed, knifed on or scratched out, applied in washes or painted in patches. There are what seems like an endless variety of mediums and additives you can work with to create different effects. However, you can use oils without adding a medium. Most of my work is done with paint direct from the tube. Some mediums are added to shorten or lengthen drying times; others change the characteristics of the paint. Paint out of the tube is often called stiff or short, and will retain your brush stroke – especially with coarser brushes. If you add fluid medium, such as linseed oil or turpentine, it…

access_time4 min.
canvas stretching and setting up

Cotton canvas, linen, wood panels, copper, paper, glass and stone are just some of the surfaces I’ve seen oil paintings on. Cotton is a cheap alternative to linen, but is less durable and not as strong. If you stretch your own canvas then you can save a lot of money. Learning to do so isn’t hard, but it takes a little practise to do it consistently. I recommend investing in a good pair of canvas pliers and an electric or pneumatic stapler to achieve consistent results. Canvas, linen and panels are the most commonly available primed and unprimed surfaces. Priming your own can give you a lot of control, is another chance to save money and you can create textures that add to your painting. Unless you’re painting completely from imagination or from…

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