藝術 & 建築
Artists & Illustrators

Artists & Illustrators September 2019

Artists & Illustrators is the UK’s best-selling magazine for artists and art lovers, providing advice and inspiration every month. Published for almost 25 years, each issue of Artists & Illustrators contains a colourful palette of profiles and features, together with valuable practical ideas, expert technical advice and useful product tests. Whether you favour oils or watercolours, portraits or landscapes, abstract art or botanical illustration, Artists & Illustrators brings a refreshing blend of creativity and advice every four weeks throughout the year.

United Kingdom
Chelsea Magazine
13 期號


3 最少

JE SUIS DÉSOLÉ I found the article about specialist mediums [Essential Studio Craft, Issue 406] extremely interesting but the final part about spirit painting mediums made me pause. Edgar Degas’ favourite method of peinture à l’essence is cited and the writer suggests that this translates as “the essence of paint”, which sounds romantic but seems far too literal. I suggest that in fact it would translate as “petrol paint” (or a similar volatile solvent), essence being the French word for gasoline. This makes sense from a technical point of view and also more significantly would align it with the similar peinture à l’huile. Anyway keep up the good work. I look forward to the monthly issues of the magazine, which are always stimulating and educational. Pete MacKenzie, via email Yes, Pete, we think you’re right. We…

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1 SOROLLA: SPANISH MASTER OF LIGHT Until 3 November Bask in the last of the summer heat via this collection of sun-soaked scenes from the world-renowned oil painter, Joaquín Sorolla y Bastida, famed for capturing the vibrancy of everyday life in his native Spain. Though his dazzling, Sargent-esque oils appear stylish and relaxed, he was strategic in his approach to developing his career, sending arresting social commentaries on large canvases, such as 1896's Sewing the Sail [above] to major expositions across Europe, cementing his reputation as a modern master. National Gallery of Ireland, Dublin www.nationalgallery.ie 2 LIFE’S JOURNEY: THE ART OF KATHERINE MARY FRYER 1910 – 2017 2-21 September This eclectic collection traces the trajectory of Fryer’s extensive career – she died aged 106. This Leeds-born artist began her career selling wood engravings, while becoming friends…

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burnt sienna

THE COLOUR A deep, reddish brown that became popular during the Italian Renaissance and was named after the Tuscan city from which it originally came. THE PROPERTIES Sienna is a yellow-brown iron oxide pigment (PBr7) that turns to a deep reddish-brown when heated. Generally more translucent than other earth colours, Burnt Sienna nevertheless has a relatively high tinting strength. Note that some brands make Burnt Sienna with the synthetic pigment PR101 also found in Mars Violet and some Venetian and Indian Reds. THE USES A versatile colour, Burnt Sienna creates a great range of greys when mixed with darker blues – ideal for stormy skies or complex shadows. It is also a great red substitute in a limited watercolour travel palette alongside French Ultramarine and Raw Sienna.…

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fresh paint

Richard Adams The work of Richard Adams sits somewhere between reality and fantasy. When asked about the inspirations that led to Middlemoor, he mentions themes as diverse as May Day, the Gaelic festival of Beltane and even the 1960s film The Wicker Man. Indeed, with its traditionally dressed subjects and strangely mystical feel, it’s hard to gauge the scene temporally, but the spirit of place is unmistakeable. In the lead up to his forthcoming Hybrid Gallery show, Rhyme or Reason, Richard was compelled to create a scene that captured the feel of the countryside surrounding the Devonshire venue. “I tend to create pieces linked to a certain place when I know I’m going to be exhibiting there,” he says. “It’s great to go off on a massive tangent with your art sometimes…

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my first art class

“The first art class I attended was a life drawing session with the etcher John T Freeman. I had never been life drawing before, so I was nervous about the idea of working from an unclothed model but that worry dissipated as we began. “Any fears I had about not being good enough were also dispelled by my classmates’ willingness to share their own experiences, to give advice, and lend their materials. The class showed how much I had yet to learn about drawing and, through practise tempered with tuition, I improved more over those hours than I had in months of drawing on my own. It’s important to realise that everybody’s work is different and there is no need to compare yourself to the person next to you – they'll…

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studio etiquette

• DO… BE GENEROUS “Be interested in other artists’ work and give positive feedback to your fellow students. We can learn a great deal from investing in other artists’ creativity.” • DON’T… BE WASTEFUL “When using paint or spirits, be careful not to throw away too much. You can always pour a little bit more if you run out.” • DO… TRY NEW WAYS OF WORKING “Always be willing to experiment. We have a huge range of different and unique tools available to encourage experimental mark making.” • DON’T… WORRY ABOUT MESS “We have aprons for all – and we clear up after everyone too.” • DO… AVOID DISPOSABLE PLASTICS “Although it is more expensive, we try to use paper palettes made from recycled pulp for our students.” • DON’T… SAY YOU “CAN’T” DO SOMETHING “Everything is possible if artists bring…