Three painting friends exchanged photographs and then produced paintings of the same 15 subjects in an experiment designed to teach them about different approaches, challenge them to push beyond their comfort zone, and allow them to work on a common painting project.by Bob BahrLine up three painters in front of a landscape vista and the result will almost assuredly be three very different paintings, with each zooming in on a different aspect of the view.
Like many artists accustomed to working with opaque paints, Jamie Wyeth prefers to use combinations of water-soluble materials rather than just transparent watercolor. He finds that layers of gouache, ink, graphite, acrylic, and watercolor allow him to develop images in much the same way he does with oil on canvas.
We’ve been posting many obits lately, and it seems to me things might be getting a bit morbid. So, one last (belated) obit—for a time.Artist’s Sketchbook magazine was full of creativity and had a zest for life, yet met with its untimely demise in June 2006. Sketchbook was the beloved step-child of Magazine and she leaves behind several editors (and art directors) who worked on her pages and who still inhabit these halls.
In the September 2006 issue of American Artist, oil painter Kate Lehman discussed how she utilizes a traditional technique for her paintings. We present an excerpt from the article.by John A. ParksLehman’s interest in reflective grounds, as she used in the painting Portrait of an Artist, has led her to experiment with copper as a painting surface.
We are excited to introduce The Pastel Journal blog. And all the little tidbits we have to cut from artist interviews in order to turn a two-hour conversation into a 6-page print article–now we can pick them up off the cutting room floor! We’ll also be bringing you news about products, materials, conferences and shows, and perhaps some rantings about the blessings and bloopers of life on a magazine.
In the March 2007 issue of American Artist, Utah artist Brad Teare used a number of techniques to give his woodcut prints a fluid, organic quality that brings them closer in appearance to his plein air oil paintings. Visit Teares website for more information.Afternoon Walk2002, nine-block woodcut, 9 x 10.
Sondra Freckelton is widely recognized for her well-planned, thoughtful, and expertly crafted watercolors she develops using principles that expand artistic expression; and she is appreciated for helping others learn those principles while gaining a concrete understanding of watercolor painting.by M.
In the fall 2006 issue of Drawing, we explored how the best lessons in value, light, and form are clearly visible in John Singer Sargents drawings. We present a excerpt from the article that discusses how he taught drawing classes.by Mark G. MitchellThe truth is that Sargent worked harder to draw than you might guess to make things look easy and dashed off.
This helpful drawing exercise for drawing faces appeared in the fall 2006 issue of Drawing. If you have trouble seeing and drawing the nose close to the eye when you are drawing a head, be sure to try this exercise.by Dan GhenoSkull From Aboveby Dan Gheno, 2006, graphite, 4 x 5. Collectionthe artist.
Mississippi artist Philip R. Jackson’s unconventional still lifes ask viewers to see the beauty in everyday objects. by James A. MetcalfeThe Mighty Goldfish Cracker2004, oil, 8 x 10.Private collection.By casting ordinary items—a bunch of grapes, a broken egg with its ragged shell, a rustic teapot—in a bit of theatrical mayhem and bathing them in enticing light, Philip R.
In the January 2007 issue of American Artist, Ohio artist Linda Wesner depicted American scenes that were quickly disappearing because she felt it was important that the viewer recognized the universal theme of change. We offer 16 more of her colored pencil landscapes in this online exclusive gallery.
If you know the anatomy of arms, you can use them to express much.by Ephraim RubensteinStudy of Arms2006, red chalk, 26 x 19.All artwork this article collectionthe artist unless otherwiseindicated.This study shows the majormasses of the arm in differentpositions and from different angles.Remember that your knowledgeof the structure of the armis always tempered by theidiosyncrasies of foreshorteningand lighting.
In the fall 2006 issue of Workshop magazine, verteran artist Betty Carr taught the fundamentals of light and color in the cool spring of Frances Loire Valley and in a Scottsdale, Arizona studio. We offer an excerpt from the article explaining her basic painting principles.by John A. ParksFormat.
With adequate preparation and the right materials, its possible to create large acrylic landscapes en plein air.by Andrew PaquetteIn early 2003, I left the high-stress feature-animation industry in Hollywood, California, and moved to Arizona, where I could devote myself to painting Southwest subjects.
New York painter Travis Schlaht looks for—and finds—compelling beauty in many corners of life. Then, using a restrained but powerful palette, he mirrors it on canvas.by James A. MetcalfeBar II 2005, oil on linen, 26 x 36.All artwork this article privatecollection unless otherwise indicated.Travis Schlaht has a simple but definite philosophy about painting: “An artist should inspire,” the native Californian declares.
Layering and underpainting are two of California artist Shawn Gould’s secrets to getting the most out of acrylic.by Linda S. PriceWooded Path2005, acrylic, 12 x 16.All artwork this articlecollection the artistunless otherwise indicated.In this study for a larger painting,the artist was interestedin the variety of greensand playing with both three-dimensional space (the path), andthe abstract (the tree trunks).
After a Trip to Italy, Fred Wessel learned more about egg tempera painting and adding gold leaf to his panels. He now teaches those procedures for emulating the dazzling beauty and inner glow of 14th- and 15th-century pictures. by M. Stephen DohertyThe process that Massachusetts artist Fred Wessel uses to create his magnificent egg tempera portraits and still lifes is complicated and time-consuming; but the reason he is so enthusiastic about using paints that predate oils and adding gold adornments to his paintings is that, in his opinion, there are no other materials that yield quite the same results.
In the November 2006 issue of American Artist, still-life artist Benjamin Shamback explained how an energetic underpainting gave life to his carefully refined oil works on metallic surfaces. In this online exclusive gallery, we offer more still-life images as well as three charcoal drawings.Apricots2006, oil on aluminum,13 x 7.
In the fall 2006 issue of Workshop magazine, landscape painter Timothy R. Here, we present an excerpt from the article that discusses color temperature.by Edith ZimmermanOvercast Rosesby Timothy Thies, 2005, oil, 10 x 12.Private collection.Cool Light, Warm Shadows“Overcast Roses illustrates the principle of cool light and warm shadows,” said Thies.
A current exhibition in Stockton, California, shows how members of the Plein-Air Painters of America (PAPA) interpret their on-site studies to make larger studio paintings. Here’s what they had to say.by Bob BahrStudy for Canada’s Dome Glacierby Linda Tippetts, 2006, oil, 12 x 16.All artwork this articlecollection the artist unlessotherwise indicated.
This California-based artist uses a 19th-century palette to create a nostalgic atmosphere in his paintings.by John A. ParksEntrance2003, oil, 40 x 30.Courtesy Morseburg Galleries,West Hollywood, California.Warren Chang paints scenes from two very industrious worlds: the agricultural enterprises near his home in Monterey, California, and the art studios and classes in which he works and teaches.