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master Lesson: Stephen Cefalo on Drawing the Figure

the
gold leaf today
p.10

magazine Night

Living
Scenes
Plein Air in
the Dark
p.22

now
Queer
in the British
Art
1861-1967
at the Tate
Britain

Joseph Raffael p.7

in the South One


Artists
of France Journey
From
Representation
to Abstraction
p.38

Margaret Bowlands
Uncomfortable Pictures Plus
Social Star:
Vincent Giarrano
Around the World From Biochemistry
to Art
City Scenes in Watercolor, Pen & Ink
Radiant Heart by Joseph Raffael
is part of his series focusing on

Fathers the beauty of single blossoms.

& Sons September 2017


artistsmagazine.com

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Margaret
Bowland small, single-ower paintings Perhaps this issue will Occasionally we make portions of our customer list
available to other companies so they may contact
began when a blossom within direct you down a new path. you about products and services that may be of
a large work called out to Stephen Cefalos explanation interest to you. If you prefer we withhold your name,
simply send a note with the magazine name to
be painted by itself (In the of contrapposto (Drawing
List Manager, F+W, 10151 Carver Road, Suite 200,
Now, page 30). As a young Board, page 16) may be the Cincinnati OH 45242.
student, Roger De Muth took ticket that takes your gure
Printed in the USA
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a bus, get off anywhere and Lovelaces oil and gold-leaf All rights reserved.
The Artists Magazine is a registered trademark of F+W.
do a painting. Hes been cre- paintings (Brushing Up, page
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the Soul, page 46, Margaret My hope is that The Artist will not be responsible for unsolicited manuscripts, photographs or
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PERSPECTIVE
THE ARTISTS LIFE 8
BRUSHING UP 10
DRAWING BOARD 16
ASK THE EXPERTS 22

NEWS, INSTRUCTION, INSPIRATION

CURRENT EXHIBITION
QUEER BRITISH ART 1861-1967

ABOVE LEFT: The


Critics (1927; oil on
board, 16x20) by
Henry Scott Tuke
WARWICK DISTRICT COUNCIL
(LEAMINGTON SPA, UK)

ABOVE RIGHT: Self-


Portrait (1913;
oil on canvas,
60x501 4) by Laura
Knight
NATIONAL PORTRAIT
GALLERY (LONDON, UK)

BOTTOM FAR LEFT:


Sappho and Erinna
in a Garden at
Mytilene (1864;
watercolor on paper,
13x15) by Simeon
Solomon
COURTESY OF TATE

TATE BRITAIN, in London, pres- from 1861 to 1967, Queer personal and intimate works BOTTOM LEFT: Head
ents Queer British Art to com- British Art explores the ways in alongside pieces aimed at a wider of a Greek Sailor
memorate the partial decrimi- which LGBTQ artists expressed audience in an effort to bring (1940; oil on board,
nalization of same-sex relations themselves when society and communities together at a time 13x12) by John
in England with the Sexual government wanted them when the LGBTQ community was Craxton
ESTATE OF JOHN CRAXTON;
Offences Act of 1967. Ranging silenced. On display are deeply marginalized and persecuted. ALL RIGHTS RESERVED,
DACS 2016; PHOTO CREDIT:
LONDON BOROUGH OF
QUEER BRITISH ART IS ON DISPLAY AT TATE BRITAIN UNTIL OCTOBER 1. LEARN MORE AT TATE.ORG.UK. CAMDEN

September 2017 7
SEPTEMBER 2017 7
THE ARTISTS LIFE
Edited by Michael Woodson

A Family Affair
Animator Thomas Romains greatest inspiration for drawing is his sons imaginations.

6,000 MILES didnt stop French animation producer, ABOVE: Romain channels a
Parisian artist Thomas his dream evolved and put steampunk style to recreate
Romain from immersing him- him on a career path one his sons sketches of a war
self in Japanese culture. I might call fateful. I had machine (top, middle) and a
doctor (top, right).
grew up watching Japanese the incredible opportunity to
animation on television, and move to Tokyo and collabo-
playing Japanese video games rate with a Japanese studio.
as a teenager, says the artist. I was co-director, character The idea to collaborate
Ive always been inuenced designer and art director of with his children came from
by Japanese culture and an animated TV series called a birthday present a friend of
-
French comic books. His rst Oban Star-Racers. I fell in his gave to his younger son,
artistic goal was to become love with Japan and decided Itsuki. It was a watercolor
a comic book artist, but to continue pursuing my set, and as I showed him
after crossing paths with a career here. how to use it, says the artist.

8 artistsmagazine.com
8 artistsmagazine.com
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I realized how fun it was. You can follow Romain and see more
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surprisingly interesting doo- collaborations. It would also
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September 2017 9
SEPTEMBER 2017 9
BRUSHING UP
By Kent Lovelace

Go for the Gold


Create effects ranging from dazzling backgrounds to touches of shimmer
with the application of gold leaf.

BREATHE EASY Gold


akes and dust can be
messy, but gold isnt a
health hazard in small
doses. Dentists ll teeth
with gold, and bakers use
it to decorate cakes. As for
the mess, stray akes and
dust are easily vacuumed.

a fairly simple craft, and


with practice and creativ-
ity, it can add a striking
element to your artwork.

Choose Your
Desired Effect
Over the past few years,
Ive experimented with
various approaches to
applying gold or silver leaf
to my paintings. In the
manner of medieval icon
artists, I may use the leaf
to surround and contrast
with the subject (see Bird
and Leaf, page 14). For a
more subtle eect, I might
lay gold leaf beneath a
painted part of a land-
scape, such as the sky, to
create a glowing eect.
This technique has proven
particularly rewarding in
paintings of deep dusk
when the land is dark but
the sky still brilliant (see
ABOVE: Annunciatory GOLD LEAF is perhaps best known historically for its Cameret, page 12). Another approach
Angel (145055; use in Christian icons and paintings. The early Italian is to combine leaf beneath the imag-
gold leaf and Renaissance tempera paintings of Fra Angelico are mag- ery with leaf over or around the
tempera on wood
panel, 13x1023) by
nicent examples. For the use of gold leaf closer to our surface of the painting. Gustav Klimt
Fra Angelico time, look at the work of Gustav Klimt, who integrated used this approach in his painting The
DETROIT INSTITUTE OF ARTS, gold leaf with oil paint. Contemporary artists are making Kiss as well as other works. Keep these
the use of gold, silver and copper leaf in painting more dierent approaches in mind as you
USA / BEQUEST OF ELEANOR
CLAY FORD / BRIDGEMAN
IMAGES
common again. With products now available, leang is plan your own experiments.
10 artistsmagazine.com
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BRUSHING UP
WHY PAINT ON COPPER?
In Europe during the
1600s, artists tried various
substrates for oil paintsa
newly developing medium.
Wood, canvas, linen and
copper were all common.
Rembrandt and many others
painted on copper for some
of their work. These works
have endured with little
aging compared to those
painted on wood or canvas.
The smooth rigidity
of copper plates allows
extremely controlled brush-
work, and oils wont sink
into the ground on copper,
so colors stay intensely satu-
rated, even in thin layers.
Copper also proves luminous
under transparent oils. See
my step-by-step demonstra-
tion at bit.ly/paint-on-copper.

LEFT: For Cameret (oil and gold


on copper, 12x14), I applied
gold leaf in the sky area near
the horizon before painting the
sky. This gives the sunset an
especially luminous effect.

Prepare the Surface Paint As You Usually Do to nish the painting. Of course, you
If youre painting in oil on hardboard Paint an image as you normally may use your usual manner of paint-
panel, plywood, canvas or linen, pre- would, but consider where you ing to create an image, perhaps block-
pare the surface with gesso as usual. intend to place the leaf. Although ing in your darks and layering lighter
A red oxide hue is the classic under- its not necessary to leave an open pigments above.
color for gold leaf, so consider adding area for the leaf, I recommend
iron oxide acrylic to your gesso to doing so for your rst eorts, and Let the Paint Dry
create a red tint. Use a large, soft this is the method I describe here. Be patient and allow your painting,
brush and apply multiple coats, sand- Alternatively, you may choose to whether fully or partially developed,
ing between layers. A smooth surface paint an image partially, apply gold to dry thoroughly before adding
is generally considered ideal; however, leaf and then nish the painting leaf. With my method of working
the surface texture of gesso on coarse afterwards. the paint thinly with added Liquin,
canvas or rough wood can prove visu- Working quickly, I create an I usually allow a minimum of one
ally interesting. In this case, the leaf underpainted key image with Old week in a warm studio. If youre not
may lie unevenly or not cover the sur- Holland neutral tint oil paint and using an alkyd medium or a drier
face entirely but still prove attractive. Winsor & Newton Liquin. Once in your oils, practice even more
For most of my work, I paint in dry (usually in 24 hours or less), this patience. Leaf must be applied to a
oil on copper plate (see Why Paint drawing will dene the image. I completely dry surface.
on Copper?, above right). To prepare choose to paint with transparent and
copper, sand the surface and clean it translucent oils, which allow my cop- Apply Size
with denatured alcohol. If you apply per surface to permeate the image, Youll need to apply a small amount
gesso to the copper, youll lose cop- adding both a unifying hue and lumi- of size on the areas where you intend
pers characteristic luminosity. nosity to the painting. I may leave to place the leaf. Traditionally, art-
Whatever surface you choose, the much of the underdrawing exposed ists used rabbit-skin glue, but we now
leang process is the same. or choose to glaze in multiple hues have synthetic sizes made specically
12 artistsmagazine.com
12 artistsmagazine.com
for metal leang. Water-based
size works well over acrylic gesso
but not over oil, lacquer, metal
or other oil-based materials. Oil-
based size works over everything.
Oil-based size comes in
quick- and slow-drying formulas.
The quick-drying variety usually
begins to set in about 20 to 30
minutes and remains workable
for an hour or two. Slow-drying
size will begin to set after an hour
or longer, and it will then remain
open for another eight to 10 hours.
Working slowly and care-
fully, use a medium-soft brush
to apply a thin, even layer of size
on the areas where you want the
leaf. Repeatedly work the size into
open areas. Size is transparent and
can be dicult to see. Make every
eort not to miss areas, but dont
leave puddles. Remember, you
want a thin, even layer.

Apply Leaf
When the sized areas are no longer
wet but slightly tacky, theyre ready
for leaf. Size is tacky by nature,
so even fast-drying size will stay
open for an hour or more.
I suggest using patent gold
leaf, which has a paper backing,
for your rst eorts (see Types
of Leaf, below). Take one sheet

TYPES OF LEAF Leaf comes in


patent (also called transfer) and
loose forms. Patent leaf is lightly
adhered with wax to paper and wont
oat away with the slightest breath, as
loose leaf will. Loose leaf is very fragile

SUBSCRIBE
and is also thinner than patent leaf.
Gold leaf, whether loose or pat-
ent, comes in many colors, ranging
from a true deep gold to red- or
green-tinted golds to lighter yellows
to The Artists Magazine, the denitive
and white golds, depending on source of inspiration, instruction and
what other elements are added. The advice for artists working in all media, at
higher the karat, the purer is the
artistsnetwork.com/artists-magazine-2.
gold, with the purest being 24 karat.
Imitation gold leaf is usually a Visit our website artistsmagazine.com
to get more information and to sign the
combination of copper and tin. These
up for our e-newsletter or to access
leaves are larger, less fragile and much subscriptions, renewals and our magazine
less expensive than true gold. Leaf customer service page.
also comes in copper and aluminum.

September 2017 13
SEPTEMBER 2017 13
BRUSHING UP

DEMO
BIRD AND LEAF

2 3

1. UNDERPAINTING: For the white gold leaf. I needed 3. LEAFING COMPLETED: LEAFING
most part, when you intend several full and partial sheets Having fully worked the leaf MATERIALS
to add gold leaf to your oil of leaf to surround the bird into the size (and brushed
painting, you can prepare and the branch. You can off the unwanted leaf), I con- SIZE: Oil-based
your surface and paint your see the seams on the left sidered Vermilion Flycatcher LEAF: Giusto Manetti
subject in your usual man- where I havent completely (Leucistic) nished. Had I Battiloro transfer (patent)
ner. I began with a light worked the leaf into the wished to do so, I could leaf
underpainting of a vermilion size with a brush. In the have painted over the leaf or BRUSH: Princeton Artist
ycatcher on a prepared lower left corner, you can added leaf over portions of Brush Co. Imperial syn-
copper plate. also see a bubble in the leaf the bird. thetic mongoose lbert for
over an area of the painted applying leaf and removing
2. ADDING LEAF: I completed branch, indicating the leaf ABOVE: Vermilion Flycatcher excess leaf
my painting and let the had not adhered to this area. (Leucistic) (oil and white gold
oils thoroughly dry before Because the paint was dry on copper, 8x10)
applying size around the and hadnt been sized, I was
bird and branch. When the able to brush the gold leaf off
size became tacky, I applied the branch and bird.

and, with the gold side facing the Allow the leaf and size to dry paint and leaf are fully dry, you may
image, gently place the leaf onto the completely. At this point, your paint- varnish the surface as usual.
sized area. Carefully rub the paper ing may be nished, or you may wish
to attach the leaf. Remove the paper. to continue painting. You may paint KENT LOVELACEs work was featured in
Add another sheet and repeat until over the leaf, letting the light of the the September 2011 issue of The Artists
Magazine. His oil paintings on copper
all sized areas have a loosely attached gold beneath show through, or you are part of private, public and corporate
covering of leaf. Then, with a soft may just paint up to the gold edges. collections throughout the world. Lovelace
brush, gently work the leaf into the You may also glaze with transparent passed away in May 2017, shortly after
size. If your painting is dry, the leaf oils over the gold to soften and age completing this article. Visit his website at
kentlovelace.com.
will adhere only to the sized areas. the appearance of the leaf. When
(See step two of Bird and Leaf, above.) youve nished the painting, and the
14 artistsmagazine.com
14 artistsmagazine.com
DRAWING BOARD
By Stephen Cefalo

A Uniquely Human Stance


Give your gure drawings a relaxed and natural look with contrapposto.

Donatellos David, Michelangelos


David, Botticellis Birth of Venus and
the Venus de Milo. One could wonder,
however, why it took so long to dis-
cover contrapposto in art. Throughout
ancient Egyptian art, gures look
sti. The contrapposto is so wonder-
fully human and immediately appears
to us as a sign of sentience. In the
Renaissance, the Christ child is repre-
sented standing in this manner, giving
the appearance of higher intelligence
or nobility. Were not the only bipeds
on the Earths surface, but were
almost certainly the only creatures
that can stand in contrapposto, unless
depicted in a caricature.

Weight Distribution
One of my professors said that the
hardest thing in drawing people is to
make them stand. This can be an end-
less source of frustration for a beginner
or even a relatively skilled artist. The
basic concept behind contrapposto is
the idea that when the pelvis is tilted
in one direction, the ribcage will
normally tilt in the opposite direc-
tion. This is sometimes called the rule
of contradiction (see Contrapposto,
front and back; at left).
Essentially, a gure in true
ABOVE: CONTRAPPOSTO, CONTRAPPOSTO (LITERALLY COUNTER-POSTURE, IN contrapposto is standing on one leg.
FRONT AND BACK: ITALIAN) is, in the most basic sense, a standing pose When we walk, were constantly in
These two pastel in which the weight is shifted to one leg while the and out of contrapposto as we shift
sketches show how the
load-bearing leg estab-
position of the upper body is adjusted to balance our weight from one leg to the next.
lishes a center of bal- the weight. The Greeks were the rst in our cultural Although both feet may be touching
ance, causing the femur memory to depict contrapposto. This mode of express- the ground, the free leg is serving as
(thigh bone) to push ing the human form dovetailed beautifully with the an auxiliary leg, providing a bit of sup-
upward. This, in turn, Aristotelian ideal of a mean between extremes or plementary balance. If I were to build
causes the pelvis to
drop over the free leg.
balance of opposites. Contrapposto contains a num- a one-legged table, Id want to place
The ribcage, following ber of opposites, such as bent versus straight, exion that single leg directly in the center. If
the rule of contradic- versus extension, active versus passive, tension versus I want to stand on one leg, then where
tion, counterbalances relaxation and tight versus loose. can that leg go but in the center? This
the pelvis by tilting in Many of the most celebrated and commonly known leg is known as the load-bearing
the opposite direction.
works of art in history were contrappostos, including or supporting leg. The free leg can
16 artistsmagazine.com
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DRAWING BOARD

SHOULDERS AND ARMS


ARM RAISED ON
SIDE OF FREE LEG
ARM RESTING ON
ARMS RAISED ON SIDE OF HIP OF FREE LEG
LOAD-BEARING LEGS

A B

Generally, the shoulders and the soft body parts of the upper In this case, the angle of the shoulders and nipples may tilt
torso follow the tilt of the ribcage, but the position of an arm opposite to the angle of the ribcage. On the other hand, an
can change things. A raised arm on the side of the load-bearing arm raised or resting on the hip on the side of the free leg
leg raises the shoulder and the breast nipple on that side (A). accentuates the contrappostal effect (B).

essentially go where it likes and can nice S curve laterally, at the same the left shoulder may actually appear
even change positions without altering time serving as a complement to the higher on the left. Furthermore, the
the contrapposto. pelvis and hips. lifting of that arm may pull the skin
The leg and thigh holding up the upward, moving eshy landmarks,
pelvis will push the pelvis up on the Confusing Factors such as the breasts nipple, upward,
side of that supporting leg. Naturally, Its commonly taught that in con- and making the gure seem quite out
the pelvis will drop on the side of the trapposto, the shoulders tilt in the of contrapposto. The shoulders are
free leg. Everything belonging to the opposite direction of the pelvis. Th is also aected when the model places
pelvis, such as the trochanters of the is generally true, but it doesnt take one hand on the hip of the support-
femurs (hips) and the patellae (knees), into account that the shoulder girdle, ing leg. Th is pushes the shoulder up
will usually tilt with the pelvis. The composed of the scapulae (shoulder on that side. Even though the ribcage
upper torso, carrying a vast amount of blades) and clavicles (collarbones), has not moved, the slight shifting of
weight, will tilt in the opposite direc- acts in conjunction with the arms and the shoulder can be enough to throw
tion from that of the pelvis. The upper moves independently of the ribcage. o the look of contrapposto. A hand
torso does this in order to center its If the arms are at rest, everything that resting on the hip of the free leg,
weight above the supporting leg, as belongs to the ribcage will share its however, can enhance the contrap-
in the weight distribution of the tilt. The angle across the shoulders, posto eect. Most accurately, how-
one-legged table. The contrapposto the nipple line, the angle across the ever, its the relationship between the
is born. elbows and the costal cartilage at ribcage and pelvis that makes a con-
Although the head can do what- the bottom of the ribcage will all be trapposto. (See Shoulders and Arms.)
ever it likes, many artists choose to tilting in the same direction. On the The other factor that can confuse
tilt the head in the opposite direction other hand, if the ribcage is lowered is perspective. Extreme perspective
of the shoulders. Th is completes a on the left, yet the left arm is raised, can make the dropped shoulder look
18 artistsmagazine.com
18 artistsmagazine.com
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DRAWING BOARD
higher than the raised one. In this Working With Models
case, the only advice I can oer is Ive encountered the occasional
keen observation of angle relation- model who cannot stand in contrap-
ships. If you get the perspective right posto. I found out later that one
and the proportions right, the pose such model had injured her spine
will make sense. while serving in the military. Others
just stien up on the model stand
Side View and cant quite grasp the concept.
Although its not commonly men- As soon as you tell them to break,
tioned, theres a rule of contradiction theyll simply relax into a lovely con-
in play when viewing the gure trapposto. Because of this, at times
from the side. In most natural stand- Ive asked a model to freeze just after
ing poses, the pelvis tilts forward I call for a break. Another way I can
to support the weight of the upper trick a model into contrapposto is
torso. The ribcage then tilts back- by asking him or her to slowly walk
ward in order to center the weight around the model stand while I say
of the body. The contrast between freeze as each step is taken. One
these tilts is often more exaggerated more way is to ask the model to
ART WORKSHOPS in the female form. The head and stand on one leg and then to rest.
ON DEMAND neck thrust forward to complete an The downside of contrapposto
S curve. This is the reason for the is that the model often tires quickly.
graceful curve in the spinal column, Holding your weight on one leg can
Improve your painting at your own
oering not only a pleasing look but be quite a strain, especially when
pace. At ArtistsNetwork.tv youll nd:
also a means of balance and spring- one knee is locked. Th is contrib-
t 0WFSJOTUSVDUJPOBMWJEFPT like shock absorption. (See Side utes to my greatest fear: the model
from professional artists View, below.) passing out on the stand. When
depicting any standing pose, I ask
t 5IFXJEFTUWBSJFUZPG the model to shift weight from
NFEJVNT TVCKFDUTTLJMMMFWFMT BELOW: SIDE VIEW: Nearly all standing side to side or to the center as he
poses viewed from the side exhibit a coun-
available online or she wishes. I pick one of those
terbalancing of the pelvis, ribcage, and
t *EFBT JOTQJSBUJPOJOTUSVDUJPO neck and head, creating an S-shaped curve. postures and then have the model
tell me when the shift is coming.
that will help you take your art to
This avoids confusion on the part
the next level
of those drawing the pose. When
t (SFBUWBMVF Monthly or the pose is shifted to the opposite
yearly accesschoose whats leg, I can work on areas like the
right for you face, feet or hands. If I can establish
the structure of the gesture in the
t IPVSBDDFTTUPBSUJOTUSVDUJPO rst sitting, however, the model can
from any internet connection shift legs a little more freely while I
spend my time modeling the more
stable aspects of the form within
that framework.
One exercise Ive had success
with is to have the model stand in
contrapposto for only the rst 20
minutes and to spend most of the
rest of the class standing with the
weight on both legs. At the end of
the session, Ill ask the model to
stand in contrapposto for one more
two-minute session.
7JTJU"SUJTUT/FUXPSLUW It pays to practice sketch-
SAVE 10% with coupon ing contrappostos from memory,
code "57."( reviewing the rules of contradiction
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20 artistsmagazine.com
Gender and Leg Position
In observing the handling of
contrappostos through history,
Ive noticed that most artists have
chosen a dierent free-leg position
for males than for females. By
Greek tradition, men were com-
monly portrayed standing in a
more relaxed position with their
feet apart at about pelvis width.
Women were almost always
shown with the thighs completely
together and little or no space
between the feet.
This may have been due to
notions of modesty. Women were
originally forbidden to be por-
trayed nude in ancient Greece,
while nude depictions of men were
considered normal. Over time,
these rules were relaxed; cloth-
ing covered less of the body and
became more sheer until women,
too, were shown nude. Still, a
hand was often placed in front of
the pelvis as a gesture of modesty.
The knees-together
contrapposto enhances the hour-
glass look of broader hips and gives
the gesture a amelike or serpen-
tine appearance. These ideals were
imitated during the Renaissance
and remained much the same for
centuries. Ive chosen to break this
stereotype in many of my drawings,
as seen in the pastel sketches on
page 16. Its interesting to me how
this stance can instantly imbue a
sense of power in the gure.

Observe, Practice, Repeat


To better understand contrapposto,
observe it in daily life. Become
aware of the way you and people
around you stand. Watch them
shift and balance their weight as
they walk. Notice dierent ways
artists before you have used and
interpreted contrapposto. Best of
all, draw contrapposto stances
from life, from imagination and
from the masters.

STEPHEN CEFALO is a frequent contribu-


tor to The Artists Magazine. Visit his
website at stephencefalo.com.

September 2017 21
ASK THE EXPERTS
By Michael Chesley Johnson

When the Lights Are Low


No Daylight? No problem with these nocturne-al tips!

LEFT: The Houses of


Parliament, Sunset
(1903; oil on canvas,
32x36716) is one
of Claude Monets
paintings in a series
showing the same view
of Londons Houses of
Parliament at different
times of day and under
different atmospheric
conditions. His
vantage point for all
of the paintings was a
terrace of St. Thomas
Hospital, across the
Thames.
CHESTER DALE COLLECTION;
COURTESY NATIONAL GALLERY
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light where you


want it. One lamp
can be aimed at
the palette and
the other at your
painting surface
in a way to mini-
mize glare. (Glare
is a big problem
when painting in
oil at night.) Also,
the cool light is
perfect for mixing
colors.
If you want to
investigate other
options, make
I want to paint nocturnes en plein air. sure you consider color tempera-
How would you recommend I light my ture, light output, weight, method of
attaching the lights and battery life.
surface and palette? Cool light is better than warm in
that it will keep you from exaggerat-
Lighting is all-important when it comes to painting a plein air nocturne (night ing the cool character of nighttime
scene). Basically, you want enough light to paint by, but not so much that it colors. The lamp should be bright
aects your vision. Shine too much light on your surface and palette, and your enough to see color but not so bright
eyes will take too long to adjust when looking back at your subject; shine too that it blinds you when looking back
little light, and you wont be able to see and mix color accurately. at your subject. You can clip a feath-
Getting a single portable lamp to illuminate both surface and palette is erweight lamp to your gear without
dicult. Two lamps are better. Conveniently, the Mighty Bright Duet2 LED risk of causing stretching, sagging
Music Light has two lamps, each on a exible gooseneck that lets you put the or bending of the item you attach
22 artistsmagazine.com
22 artistsmagazine.com
How to Draw
Taught by Professor David Brody
UNIVERSITY OF WASHINGTON

E D TIME OF LECTURE TITLES


IT

FE
LIM
1. An Introduction to Drawing

70%

R
2. Drawing Materials for Line
3. Drawing Fundamentals and First Exercises
4. Line and Shape: Line and Aggregate Shape
off

31
5. Line and Shape: Volume and Figure-Ground

OR
6. Line and Shape: Positive and Negative Shape
D

ST
ER U 7. Composition: The Format and Its Armature
BY AU G 8. Composition: How Artists Compose
9. Line and Shape: Line Attributes and Gesture
10. Composition: Shape and Advanced Strategies
11. Proportion: Albertis Velo
12. Proportion: Accurate Proportion and Measure
13. Creating Volume and Illusionistic Space
14. Six Complex Drawing Projects
15. Linear Perspective: Introduction
16. Linear Perspective: The Quad
17. Linear Perspective: The Gridded Room
18. Linear Perspective: Ellipses and Pattern
19. Linear Perspective: Advanced Topics
20. Value: How Artists Use Value
21. Value: Drawing Materials for Value
22. Value: Black and White and a Value Scale
23. Value: Eight Complex Drawing Projects
24. Value: Side Light and Cast Shadow
25. Value: Oblique Light and Cast Shadow
26. Texture: Mark Making and Optical Value
27. Texture: How Artists Use Texture
28. Color: Color Theory and Color and Light
29. Color: How Artists Use Color
30. Color: Color Drawing Projects

Uncover Your Hidden


31. The Figure: A Canon of Proportions
32. The Figure: The Head, Hands, and Feet
33. The Figure: Artistic Anatomy

Talent for Drawing


34. The Figure: Drawing Projects
35. Advanced Concepts: Pictorial Space
36. Advanced Drawing Projects

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ASK THE EXPERTS
DEMO
PAINTING AT NIGHT
the lamp to. Batteries should last at
least a couple of hours. Rechargeable IN THE WILDERNESS
lithium batteries can be heavy but
can also give you more time. 1. I set up my gear during
daylight in anticipation of
A Boruit dual light source zoom-
a sunset plein air painting
able and rechargeable headlamp is
session at a mesa top in
another useful light. I nd this lamp
central Arizona. Attached to
too bright to paint byit kills ones the easel is a Mighty Bright
night visionbut its great when Duet2 LED Music Light with
I want to step back to evaluate my one lamp aimed toward my
painting and for setting up my gear. palette and the other at my
If youre painting in an urban painting surface. The Boruit
area, you might not need a lamp at RJ-5000 headlamp (dual
all, especially if you paint under a 1 light source, zoomable and
streetlight or near a lit shop window. rechargeable), resting on
Beware of colored lights, though; the shelf to the left of my
mercury streetlights cast a greenish palette, will be helpful for an
light, and sodium streetlights have occasional overall look at my
a yellow cast. Either cast will wreak progress while painting and
after the painting session
havoc with your color-mixing skills.
when I pack up my gear and
head back to my car.
NATURAL NIGHT-LIGHTS
What about the lighting of my
2. Using my Boruit headlamp
subject? How does natural light
to illuminate the setup, I
change during the course of took an in-process shot of
the night? 2
my painting as it neared
completion. A full moon was
To paint a nocturne en plein air, you just rising. As you can see, I
need something to light your sub- could never paint a plein air
ject. If youre painting in an urban nocturne by my headlamp, as
environment, youve got it made. it would overwhelm the scene.
Streetlights and lit shop windows
work well and sometimes can even 3. My nished plein air paint-
serve as the subject. Also, the qual- ing Mesa Top Nocturne (oil
ity of articial light doesnt change on hardboard, 9x12), pho-
throughout the night. Painting a tographed later under more
nocturne in a natural landscape away controlled lighting conditions,
from city lights, however, can be shows the dusky twilight
3
challenging. If stars are your only colors I viewed on location.
illumination, its almost impossible to
see your subject. A bright moon, on
the other hand, can give you enough their cooler relatives. For example, of course. A just-rising full moon
light to read by. You can also paint what you painted with cadmium red shines with a yellow-orange light,
nocturnes at twilightwhen theres might, after a few moments, need to little of which illuminates the earth.
still enough light left to see color be repainted with alizarin crimson. Once risen, however, it makes the
but only for a little while. Blues and greens begin to dominate. world visible again. From its post
During civil twilight (a period The length of civil twilight overhead on a clear night, it will
of about 30 minutes from sunset to changes with time of year, latitude shine yellow-green. Th is color inu-
when the sun is no more than six and the amount of light pollution, but ences everything it touches because
degrees below the horizon) theres given reasonably clear atmospheric even the moon doesnt provide
enough light to distinguish ter- conditions, you can count on about enough illumination to fully wake
restrial objects, and you can paint a 30 minutes. At the end of this twi- up the retinas cones (photoreceptive
nocturne without needing to illu- light period, the illumination has cells that perceive color). Lesser
minate the subject or palette. You waned enough that there is no useful moons have even less inuence.
can see color, too. Warm colors in light left for the painter. Clouds, of course, present as
the landscape gradually give way to The full moon alters everything, much of a challenge as they do in the
24 artistsmagazine.com
24 artistsmagazine.com
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2017 Golden Artist Colors, Inc., 188 Bell Rd., New Berlin, NY 13411 #goldenpaints
ASK THE EXPERTS
daybut not just because they block the light of the
Your Artwork moon. They can also add light to the landscape. A low

Deserves the Best cloud ceiling over a city can reect the citys ambient
light onto the landscape, aecting the color cast of

Foundation! your subject.

We supply A grade primed and unprimed cotton ADDITIONAL ADVICE


canvas and Belgian linen shipped to your door What other tips can you give me to make my
at importers prices. nocturnal plein air excursions successful?
Cotton canvas rolls are
Plan: Scope out your location in the daylight. Look for
available in 30, 50, and
100 yard rolls, plus things that might be hazards, such as tree roots. Figure
12 yard soft folded out exactly what you plan to paint, and think about
blankets. how your subject will look at night. (If possible, make
a night visit, too.) Make sure you know how to set up
and break down your equipment. Avoid the frustration
of using untested gear in the dark.
Put safety rst: Make sure you wear proper foot-
We carry a wide range of widths from 36 to 144 wear, dress warmly and carry a rst aid kit and an
and weights from 7oz to 18oz (#8) in cotton and extra ashlight with fresh batteries. Try to paint with
weights (6oz to 11.5oz) and widths (53 to 126) in
the unprimed linen and 54 and 82 in the Claessens a buddy, especially if youre painting in an urban or
Primed Linen, both oil and universal (acrylic) remote area. Make sure you let someone know where
youre going. Take a fully charged cell phone.
Samples may be ordered online. Visit us @ Adjust your palette: Colors tend to get cooler as
www.canvasonrolls.com night deepens, so consider adjusting your palette to
guess what we sell include more cool colors than warm ones. Also, the
value range you see will be more extreme; values will be
clustered at the dark end of the scale with nothing in

Journey to the the middle and only a few values far over at the light
end. Memorize where the colors are on your palette.

center of our
Its not always easy to distinguish colors that are close
in value and temperature in less-than-optimal light.

earths.
Tone your surface with a neutral, mid-value gray to help
make value and color decisions easier.
Leave the camera behind (maybe): Honestly, I think
We would be lost without our Umbers, Ochres and a camera is more trouble than its worth. Given the
Siennas, but take a step to the right or left of the low lighting conditions in the natural landscape, tak-
familiar favorites to the paths less takenEarth ing reference photos requires special knowledge of
colors that look as if theyre from another world. From exposure times, apertures and ISO settings. If you do
Italian Red Earth to French Green Earth and dozens go this route, use a tripod, turn o the cameras ash,
of earthtones that hold a color space as unique as the use its self-timer and make sure to bracket your shots
places from which they were extracted, no one has a (take the same picture at three or more exposures). For
bigger selection of Earth colors than Williamsburg. Isnt painting nocturnes, memory is a better camera.
it time you explored our palette of 178 colors? Visit your Develop your visual memory: If you learn to memo-
nearest art supply store or williamsburgoils.com. rize a scene, what you dont paint in the eld, you can
paint in the studio. Focus on observing large shapes,
value and color temperature relationships. Hey, it worked
for James McNeill Whistler!

MICHAEL CHESLEY JOHNSON is a frequent writer for The Artists


Magazine and the author of Outdoor Study to Studio: Take Your
Plein Air Paintings to the Next Level. His ve art instruction
videos are available through North Light Shop, and his books
are available on Amazon. Michael also teaches workshops
throughout the United States. For more information, visit
607-847-6154 mchesleyjohnson.com.
2017 Golden Artist Colors, Inc., 188 Bell Rd., New Berlin, NY 13411

26 artistsmagazine.com
26 artistsmagazine.com
S P ECI A L A D V E R T ISIN G SEC T I O N

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30 artistsmagazine.com
30 artistsmagazine.com
JOSEPH
RAFFAEL
IN THE NOW
Three years ago two friends began a conversation
that continues today across continents and seas.
INTERVIEW BY BETSY DILLARD STROUD

LEFT: Promise (watercolor on paper, 18x17) Luminous white


sparkles against a blue background containing muted circles of color,
and transparent grays emphasize form and shadow.

ABOVE: The Promise of a New Day (watercolor on paper 18x17)


The sensuality of the ower in full regalia is expressed in the soft
nuance of voluptuous shapes and variegated colors.

September 2017 31
SEPTEMBER 2017 31
MY JOURNEY WITH JOSEPH RAFFAEL BEGAN 25 OR SO YEARS AGO when I rst saw, in a book, his painting of a pink rose
outside the Matisse Museum. I experienced a sharp intake of breath at its beauty and experienced a strange but intuitive
feeling about its signicance. Then, about three years ago, Maureen Bloomeld gave me the opportunity to write my
rst article about Raael, Moving Toward the Light. As a result of that article, he asked me to be one of three writers
(David Pagel, Lanie Goodman and me) for his book, whose title is the same as that of the article. My part of the book
is a conversation with Raael about his art. An easy long-distance friendship (Raael in France and me in Arizona)
developed between us. With clarity and breadth, he opened up about his art and life, inspiring me in ways Id never
imagined. Life is a circle of miracles. My wish to know more about Joseph Raael, which began with that pink rose, has
manifested in manifold waysand the miracles continue to unfold. BETSY DILLARD STROUD
32 artistsmagazine.com
32 artistsmagazine.com
I
n his light- lled studio overlooking the Mediterranean sea in Cap dAntibes,
France, Joseph Raael is hard at work on his new series of small paintings. These
watercolors, coined jewels by his cherished friend, Nancy Ho man, are usually
square in shape (about 19x19 inches.) They possess an almost indescribable lumi-
nous, diaphanous quality. Theyre palpable, they breathe and their transparency,
accentuated in the smallness of the work, perhaps could get lost in a bigger piece.
As you, the reader, view these paintings, observe the magnetic pull that draws
you deep into their essence.
Betsy Dillard Stroud (BDS): Joseph, these small paintings are a dramatic shift from your
large-scale watercolors.
Jospeh Raffael (JR): With these new, smaller works, I focus on a limited point in front
of me. Theres a physical relationship to the work being brought to life, which is the oppo-
site of working in a large format. To bring a large piece to fruition, I work on one area at a
timewithin a great expanse, and when that one area is completed, I then move to another area.
With the smaller pieces,the section to be painted is always within the eyes viewing span.
BDS: As you began painting on a larger, already drawn piece, you spied a section that cried out to
you, Paint me as a larger piece! With that, your scissors came out. You cut out that section, painted
it, and voilyour new series was born. These pieces are like the small korai Greek gures in the

ABOVE LEFT: Dawn Rose (watercolor on paper, 17x19) A yellow rose in its prime
with its bright orange background promises the dawn of a new day.

ABOVE RIGHT: Radiant Heart (watercolor on paper, 17x18) Like a mandala, the
circular ower within the square is a meditation upon the purity of white, while a Zen
orange drop is a witness to the other resplendent colors worshiping the rose.

September 2017 33
SEPTEMBER 2017 33
Acropolis Museum. In a book they appear monumental and huge, yet in person, they are
astonishingly small, about a foot tall. Like the korai, the power of your paintings origi-
nates from your superb craftsmanship, their exquisite beauty and your creative energy.
Amazingly, this new series coincides with the severe illness of your wife, Lannis.
In the yet-to-be published book, Talking Beauty, David Pagel and you wrote:
Making art is founded in the heart, where love unlimited and abundance abide. Each is
a heartbeat. And Joseph, that heartbeat is visible in each of these small works, so alive,
throbbing with life and color, each telling its own story about what was going on with you
in your life. How did Talking Beauty begin?
JR: Nancy Ho man suggested that David and I write a few pages on
the subject of beauty for an upcoming exhibition of mine at Nancys gallery.
During the following year, those pages evolved into a book. David and I have
never met, and were very dierent from each other. Hes young and cheery.
He expresses through words and is an art critic for the Los Angeles Times. Our
two voices and dierences created a lively, unexpected and inevitable tapestry,
a jubilant oratorio.
It reminds me of Rumis quotation: Out beyond ideas of wrongdoing and
right doing there is a eld. Ill meet you there. When the soul lies down in that
grass, the world is too full to talk about.
In our back-and-forth, where memory and conscience merged,where
those previously untouched parts of our lives and minds (i.e., hearts) surfaced,
we tapped intolife, death, love, loss, creativity as inevitable portals tobeauty.
Thus, these small paintings, in part, are borne from the Talking Beauty explo-
ration. It seems that David and I met in Rumis eld. Its as if the path to now

ABOVE: Golden Heart (watercolor on paper, 15x17) Here is the heart of


hearts. Beams of light permeate the petals, translucent and laden with dew, and
we are drawn into the depths, the very heart of this rose.

RIGHT: Light
in Spring (watercolor on paper, 19x19) The brilliance of white and the
nuance of grays dening form are surrounded by muted circles of color, their neutrality
enhancing the contrast between the white cherry blossoms and their background.

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September 2017 35
SEPTEMBER 2017 35
JOSEPH RAFFAEL attended Cooper Union and earned a bachelor of ne arts degree from Yale University, where
he studied with Josef Albers. During 1958 and 1959, he traveled in Florence and Rome on a Fulbright scholar-
ship. While in California, he taught at the University of California, Davis; the University of California, Berkeley;
and California State University in Sacramento. After the death of his son, he and his wife, Lannis, moved to Cap
dAntibes, France. In a 1973 article in Time magazine, Robert Hughes wrote that Raffaels work presents a
tender virtuosity without parallel in other American gurative painting today. A book on Raffael, Moving Toward
the Light, is available through Amazon.com and Nancy Hoffman Gallery (nancyhoffmangallery.com), which repre-
sents his work. Visit Raffaels website at josephraffael.com.

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had been swept clean during our search. Now also brought with it Lanniss health scare.
She and I went to the edge of life, to the essential, to what matters most. The unnecessary
evaporated like the mist into mysterium, while the little paintings pulsated with new breath.
BDS: Your painting Golden Heart (page 34) mesmerized me. To summarize: Here is the heart of
hearts. Beams of golden light permeate the petals, translucent and laden with dew, and we are drawn
into the depths, the very heart of this rose.
The roses symbolism can reect both le jardin secret (the secret garden), as well as your feelings
about Lannis. The owers are bold, their voluptuous color is emotional and aliveyet paradoxically, they
have an ephemerality, as they are here now, yet they will be gone in a second.
These jewels exemplify the vibrant color of your larger works, the loose, ambiguous backgrounds,
and each seems to depict perhaps a stage you experienced during Lanniss illness. Beginning (at left)
displays such an exquisite diaphanous quality, such a poignant fragility, as if the petals would fall off in
my hand. I recall the words you wrote underneath a photograph of a gorgeous sunrise you sent me: Art
helps. Art heals. We are all here to help each other.
JR: The idea of a new day beginning interests me more and more. Each moment
counts.There is limited time left to paint and live and love and communicate.
These new small paintings address themselves tothat. They are like new days. They
burst forth with an energy and a startling presence which stuns menew and never before
seen documents of one persons being, ones soul. The expressions of the artists soul can aid
others to remember their truest selves. Artists, composers and writers all speak to ones heart.
BDS: In these small paintings, we witness the genius and mystery of your color, the luminous light
that opens our hearts, and your uncanny ability to captivate us visually, emotionally and spiritually. Art,
like the dawn, calls out to usreminding us who we are and who we are meant to be. Your jubilant
visual oratorio is a bridge to bring us into the now.

BETSY DILLARD STROUD is an artist and author. Her most recent book, Watercolor Masters and Legends
(North Light Press), is available in book and art stores and at northlightshop.com.

LEFT: Beginning (watercolor on paper, 17x1858) A voluptuary composed of light pinks and
oranges, deep crimson, luminous whites and grays lls the picture plane with its lovely gradations,
while its deep red secrets and its brilliant light pull the viewer into the painting.

TOP LEFT: ARose for Vincent (watercolor on paper, 19x19) The yellow rose in its prime is a complex
conguration of petals accentuated by the contrast with the lovely, wet amorphous shapes on its
cobalt blue borders and anchored by a rich, deep-green petal.

TOP RIGHT: Lannis


Rose (watercolor on paper, 18x19) A vertical orange-yellow rose, before full
bloom, stands stalwart in a neutral abstract background of gray, light greens and white.

September 2017 37
SEPTEMBER 2017 37
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CONSCIOUSLY
EXPANDING HIS VISION,
EMIL ROBINSON
LAUNCHED FORTH FROM
THE FAMILIAR WATERS
OF REPRESENTATION TO
EXPLORE THE DEPTHS
OF ABSTRACTION.

By John A. Parks

GOING ABSTRACT
GROWING AS AN ARTIST IS NEVER EASY. MAKING RADICAL CHANGES ABOVE: Ecstatic
Space 4, from the
in ones work not only involves venturing into the unknown and risk- Abstractions series
ing failure, but it can also alienate followers and collectors who have (2017; oil on wood
become fans of earlier work. For many a creative spirit, however, the panel, 40x30)

need to change is paramount. In fact, theres no real choice, and the joy OPPOSITE: Yellow
and excitement of exploring new territory far outweigh the risks. So Striped Interior,
from the Spaces
it is with Emil Robinson, an artist who relinquished early success as series (2016; oil on
a realist painter for an adventure that has brought him through more linen, 72x50)
intuitive representational painting to reach his current abstract work.
September 2017 39
SEPTEMBER 2017 39
MATERIALS
SURFACES: wood
panels made by
Robinson or a local
artisan; Claessens
oil-primed, medium-
tooth linen, which
Robinson stretches
after the painting is
complete
OILS: Williamsburg,
Old Holland,
Gamblin, Winsor &
Newton
MEDIUM: Winsor &
Newton Liquin
BRUSHES: multiple
manufactures: I
buy brushes to meet
a particular need,
and I always feel
the bristles. ER

LEFT: View 2, from


the Doorways series
(2016; oil on wood
panel, 30x22)

RIGHT TOP: View 1,


from the Doorways
series (2016; oil on
wood panel, 30x22)

RIGHT BOTTOM:
View 3, from the
Doorways series
(2016; oil on wood
panel, 30x22)

THE CHANGE
IN MY WORK
HAS BEEN
CONSTANT AND
His Doorway series presents compositions My work has always been about the interior, TUMULTUOUS
of bare rectangles in brilliant at color, a rigor- he says, whether it is literally depicting FOR FIVE
ous enterprise that is about as far from realism the interior or simply operating within a YEARS OR SO.
as it is possible to be (see images above and contemplative space. With this as a guiding
opposite). Ive sacriced a lot of easy pleasure, principle, my ambitions slowly transitioned
MY CURRENT
says the artist, but Ive built something rich away from a literal depiction of things as we PAINTINGS
and engaged. My career as a realist painter already know them to be. HAVE ARRIVED
was going well when I decided to change my Robinson stresses that he doesnt think AT A PLACE
work. The need came from a frank look at the realist painting is nished or outmoded. I WHERE I FEEL
trajectory of painting and the goal of inventing just couldnt nd a way to make it relevant
AS IF I HAVE
a visual language from the ground up. for me the longer I continued making art,
he says. The change in my work has been BUILT MY
Exploring Interior Spaces constant and tumultuous for ve years or OWN WAY OF
In looking hard at his own work, Robinson so. My current paintings have arrived at a WORKING.
realized the importance of a recurring theme. place where I feel as if I have built my own Emil Robinson
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way of working. Its something that I have
thought very carefully about. I hope that if
viewers look thoughtfully at the work, they
will nd that it will open for them.

Frames Within Frames


The genesis of Robinsons recent paintings
follows an almost dictionary denition of the
process of abstraction, the freeing of ideas
from their representational support or, to put
it more exactly, the distancing of ideas from
their objective referents. His Doorway series,
for instance, began with paintings of door-
ways done from observation back in 2011. In
these paintings I realized that the light and
air within the doorway were more physically
present as a painted experience than the door-
way itself, he says. The paintings became
very simple thenthe frame of the door reas-
serting the frame of the paintings rectangle.
This was also the rst time I realized that the
rectangle of the painting itself is a powerful
rst move in a composition.
As he worked, Robinson also made a
connection between this idea of a drama
contained within a frame and a broader atti-
tude toward life that he has retained from
childhood. It is similar to how I was reared
in a midwestern Catholic household, he
explains. Powerful emotions were suspect,
so they were always constricted by struc-
ture. This is healthy in some ways, and it
is now part of the metaphor and meaning
in my workpsychological dynamics held
within a structure. As part of this newfound
interest in the frame of the canvas as a con-
tainer, Robinson experimented with shal-
low wooden additions to the edges, further
boxing in the experience for the viewer.

Experiments in Color
Having abstracted his doorway to a
geometric motif, Robinson could now con-
centrate on the color and paint-handling
choices. His palette has greatly expanded
with his journey to abstraction, and he now
deploys saturated hues juxtaposed with high-
keyed tints and, occasionally, pure white.
He points out that the genesis of
this development began with his early
experience as a realist artist. I have always
been informed by painting light from
observation, he says. As I learned more
about color and grew more condent, I began
to see more color surprises in nature. In the
Doorway paintings, because of the incredible
September 2017 41
SEPTEMBER 2017 41
ABOVE: Water in concentration and trust it took to nd excit- Rigorous Choice-Making
the Temple from ing color within something that was generally Making multiple changes to color choices
the Spaces series undynamic, I became much more comfortable on the painting means that Robinson has
(2016; oil on wood
panel, 30x40)
with the idea that color is always invented. to address the technical problem of layering
Then I set out to nd color that matched the and how that aects the creation of edges.
intensity of my joy and fear when confronting Although the paint is brushed in a lively
AS I LEARNED the events and scenes of my life. fashion, he has opted for carefully, but not
In practice, Robinson nds that organiz- clinically, painted edges. The eect is to
MORE ABOUT ing the color for these paintings requires some assert the unassumingly handmade nature
COLOR AND trial and error. I work many dierent ways, of the work.
GREW MORE he says, but I have been doing sketches in Robinsons formal experiments in his
CONFIDENT, I gouache to nd the most powerful color recent work have also extended to scale, with
BEGAN TO SEE solutions. I try not to make color combina- the artist choosing to paint in dierent sizes
tions that are too easily digested. I am not with each new series. I have tried to become
MORE COLOR
trying to make bland, pleasant paintings. In rigorous about every aspect of my paintings,
SURPRISES IN the current Doorway paintings, the colors he says. This rigor takes the form of choices
NATURE. are meant to be beautiful, but also arresting. about materials, scale and process. The scale
Emil Robinson This visual eect doesnt come from science; is determined by the needs of my current
it comes from faith in surprise and a desire to projects. I will have an idea for a painting,
experiment. This means that the nished oil decide on a scale by drawing rectangles and
paintings are painted and repainted multiple then build multiple supports at that scale so
times until I can feel the color gain person- that it becomes part of my language. Then
ality. By personality, the artist means a other paintings will feel inevitable, given the
strong identity or feeling, a sense that will be constant of scale.
generated by the work for the viewer.
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ABSRACTING INTERIORS
By Emil Robinson

TOP LEFT:Doorway
Number Nine
(2011; oil on wood
panel, 20x17)

MIDDLE LEFT:
Winter Morning
Four (2014;
acrylic on paper,
14x11)

BOTTOM LEFT:
Bright Space,
from the Spaces
series (2016; oil
on wood panel,
40x30)

LEFT: Ecstatic
Space, from the
Abstractions series
(2017; oil on wood
panel, 40x30)

I painted these four works weeks painting in 2011. returning from a summer
over a six-year period. All I used naturalistic color, and trip to Italy. The space refer-
of them show a shallow the title refers to a specic ences the chapels of Italian
interior space, and the place, an open doorway duomos (cathedrals), and the
frame of a doorway is con- as seen from my studio, effects on the walls indicate
sistent throughout. The where I created the painting. psychological and emotional
paintings, however, became I painted Winter Morning (spiritual) forces contained in
more abstracted as the Four (middle left) in 2014. those spaces. The title refers
years passed, the interiors Its the work of a couple of to something coming from
depicted becoming more hours in my apartment. The within. This year I painted
those of the psyche as color is interpretive, and Ecstatic Space (above
opposed to interiors in the title refers to a season right), giving full rein to the
physical space. that held a particular feeling dynamic power of abstrac-
First came Doorway and light. In 2016 I painted tion. The title refers to an
Number Nine (top left), Bright Space (bottom left) energy thats powerful and
which I spent a couple of from my imagination after tumultuous.

Robinsons Advice for Beginning Artists Spend at least three hours a week researching other artists, visiting
galleries and shows, and reading critical writing about contemporary art. Build a network, reach out to artists who are further
along and visit their studios. Interview gallerists to learn how they operate. Become successful by outworking everyone else!
Treat art-making like a job so that even when you feel less than excited, you have things you can do. Believe that there is nothing
that can stop you.

September 2017 43
SEPTEMBER 2017 43
Semi-Abstract Spaces BELOW: Ecstatic views, doors and a hint of human presence in
While working on his Doorway series, Space 3, from the the form of pictures on the walls. These last
Robinson has been concurrently painting a Abstractions series are painted hazily and exist as more or less
(2017; oil on wood
series entitled Spaces, consisting of abstracted panel, 40x30)
ghostly presences in a semi-abstract space.
interiors in which he often establishes surfaces Images in these paintings are treated less like
with sets of parallel colored lines that create OPPOSITE: Ecstatic an illusion and more like a document, says
shallow perspectival spaces (see Yellow Striped Space 2, from the the artist. Most of them are painted from
Abstractions series
Interior, page 38, and Water in the Temple, page (2017; oil on wood
photographs so I want to try and make sure
42). The idea of the parallel lines came from panel, 40x30) they appear as they arereminders of some-
Italian churches, says the artist. My wife and thing or small pieces of history.
I take a student group to Italy during summers The overall eect is curious and myste-
to paint with the University of Cincinnati ... OF ARTISTS rious, as though the process of abstraction
Artist Immersion Program, and I became LIVING IN had failed to quite absorb all evidence of the
interested in the many churches where stripes THE LAST 100 rich patina of life. It seems that the artist
of dierent colors of stone are used. Robinson YEARS, MATISSE felt some need to hang on to some of lifes
notes that the work shares some features warmth, the comfort of bric-a-brac and
with Op Art, when the work seems to create
STANDS OUT mementos against the unrelenting geometry
palpable spaces close to the canvas surface. AS MOST of his new pictorial space.
More literal than his Doorway series, INFLUENTIAL
the Spaces paintings incorporate recogniz- FOR ME ... . Energized Shapes
able features of interiors such as windows, Emil Robinson In his most recent series, entitled Abstractions,
Robinson has solved this problem in a spectac-
ular way. The doorway motif has been reduced
to a contained rectangle set atop a smaller
colored rectangle (see images on page 39, left
and opposite). In the larger space the artist
paints a highly active formation of amorphous
shapes in brilliant color, a kind of wild biology
that seems to have its beginnings in a sense of
landscape but sometimes seems to be gyrat-
ing in space. These compositions fully realize
the artists stated ambition to make paintings
about the containment of forces and energies.
Given the abstracted natural forms, freely
owing line and brilliant color in Robinsons
Abstractions series, its hardly a surprise to
learn that Robinson is a fan of Matisse. I
think that of artists living in the last 100 years,
Matisse stands out as most inuential for me
as a painter, he says. The intellectual rigor
and harmony he brought to his paintings are a
clear continuation of a long tradition of excel-
lence in painting stretching back in time.
Robinsons other painting heroes
include the early Renaissance masters Giotto,
Masaccio, Piero Della Francesca and Fra
Angelico, to whom Robinson perhaps owes
his sense of clarity and his use of the classical
interval. I like artists who are sincere, ambi-
tious and poetic, says Robinson who also
names contemporary artists Dana Schutz and
Kerry James Marshall as inuences.

Growth and Enrichment for All


Given the immense ground that Robinson
has covered in the last few years, it seems
44 artistsmagazine.com
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EMIL ROBINSON
grew up in a family
so full of artists that,
initially, he didnt
want to become
one because art-
making seemed so
ordinary. I received
training from a very
early age in how
to see the world
as full of mystery
and wonder, he
says. Encouraged
to draw constantly,
Robinson eventually
went to art school
at Centre College,
in Danville, Ky.,
where he studied
under Sheldon
Tapley, whose work
has been featured
in The Artists
Magazine. In 2009,
Robinson became
one of the top
award-winners in
the Smithsonian
National Portrait
Gallery Outwin
Boochever Portrait
Competition. He
teaches art at
the University of
Cincinnati, and
his work has
been shown most
likely that his work will continue to develop. have never met but want to. I want them recently at Anna
Of his near-term ambitions he says, I want to feel excited by the color and energy, and Zorina Gallery, in
to nd a way to add the gure back into the I want them to wonder about what the New York City, and
Waterhouse & Dodd,
world of these paintings. For now he has work might mean. I hope that the meaning
in London.
succeeded in rening his focus and dening changes and grows more rich the longer they
the nature of his interests in painting. look or live with the work. Visit Robinsons
As for his works eect on viewers, he website at
JOHN A. PARKS is an artist as well as a writer. His emilrobinson.com.
oers this: I hope they approach my paint- latest book is Universal Principles of Art: 100 Key
ings with the kind of open mind and intel- Concepts for Understanding, Analyzing and Practicing
ligence they might approach a person they Art. Visit his website at johnaparks.com.

September 2017 45
SEPTEMBER 2017 45
GIVING
VOICE TO
THE SOUL
Margaret Bowlands stirring work fuses
past with present and confronts lifes
unpleasant truths. BY LOUISE B. HAFESH

I have been criticized for making uncomfortable


paintings, says Margaret Bowland, whose narrative
portraits are riveting dramas played out on canvas.
In my opinion, if a work of art does not stop you in your tracks, make you question,
make you feel, then it is mere decoration, not art, continues the reluctant but self-
confessed contrarian. I have sought all of my life to be in a community, to feel like
others feel, think like they think, she says, but as a line in Saul Bellows Augie
March states, The soul wants what the soul wants.
Having learned to trust and tap into what her soul demands, Bowland infuses
her work with uncompromisingly honest and perspicacious imagery that cuts to the
core. I am drawn to the tangle that is lifethe grace found when we struggle and yet
triumph, she says. I place my beloved characters in a world I create that reveals the
particular conditions of his or her life and then watch while the very truth of each of
those characters rises to meet me or anyone else who cares to look.

RIGHT:In Power, 2014 (oil on linen, 82x74), an African-American girl wears an 18th-century
dress and white make-up, as did all high society women of the time. Through this and various
more subtle details, the piece examines what power has meant to individuals through history.

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Learning the Hard Way I would nd the answers to so many artists of my age have the same story,
The artist and ne arts professor at of my questions and be taught to paint she says. Many thrived. I ed.
New York Academy of Art left college like the great artists I had seen in Fleeing meant moving in with
during her junior year, disillusioned by books. But of course, I was walking friends, waitressing, and teaching
dogma from instructors she describes into college in the early 70s, and none herself to paint from books and end-
as all Abstract-Expressionist men of what I wished to learn was oered less museum visits. Before 9/11, no
from Chicago; nevertheless, she has in art departments of that time. one checked your backpack upon
painted all her lifeas a child in Expressly instructed against entering a museum, says Bowland.
school and on her own for solace. A painting the gure, Bowland vividly I would paint some horrible image
wunderkind, her rst paid job, at age remembers attending her rst life and then take out my painting in the
13, was creating scenes on cloth to be drawing class, viewing a nude model museum and try to understand how I
installed in the lids of funeral caskets. posed on a stand and being told by the was failing (and I was always failing).
My bestseller was a landscape depict- teacher to draw the fourth dimension. My husband saved me; he married and
ing the River Jordan, she recalls with I wanted to draw the model, supported me while I learned to paint.
some amusement. she declares with passion, but notes Eventually the couple moved to
From there she would go on to it soon became clear that skills were Brooklyn, N.Y., where Bowland took
be chosen for the Governors School not being taught. Realize that at the on portrait commissions.Most were
of North Carolina (an honorary high time, Frank Stella was king, says pretty horrible; she says, however, I
school summer program) and then, at Bowland, and the largest conversation was learning, and rather than paying
age 17, turn up at the University of was whether to let the lines you made models, they were paying me. But
North Carolina (in Chapel Hilla on the canvas bleed or not; whether to that was not what my soul wanted,
mere 30 miles from her hometown) leave the masking tape you were using and by then my soul was screaming!
like, as she puts it, a kid today arriv- to create those lines breathe a bit at
ing in New York City from Iowa. their edges or x them hard and fast Unexpected Breakthrough
Everything was dazzling, sophisticated with acrylic medium. Bowland was Heeding that visceral call, Bowland
and terrifying. Here, I believed, disenchanted, to say the least. Most began painting to please herself. I
knew, even as I made the paintings,
that they would not be desired by any
New York gallery, she says. Many
dealers had already rejected my work
as being too academic. That soon
changed, however, when Bowland
placed a small ad in an art magazine.
I did it with the same expectations
one has when hurling a bottle hold-
ing a note into the sea, she says, but
then I received a phone call from Tom
Styron, director of the Greenville
County Museum of Art, S.C. Styron
not only gave her a solo show in the
museum, but he brought the owner
of Driscoll Babcock Galleries to her
studio, and before days end, she

LEFT: In Babes in the Woods, 2013 (oil on


linen, 84x76), two 4-year-old girls look
trustingly toward the viewer, unaware of
what comes next as trees of falling paint
encroach upon them.

OPPOSITE: Young girls often embrace the


Disney promise that a prince will someday
appear and remove all unpleasant realities
from their lives, but in Someday My Prince
Will Come, 2010 (oil on linen, 78x64)
two girls stand below a painting by Kehinde
Wiley of two felled men.

September 2017 49
SEPTEMBER 2017 49
had a gallery to boot. It was the posted to the right of the piece in ABOVE: Tangled Up in Blue, 2015 (oil on
happiest day of my life, says Bowland, order to have any reaction to the art, linen, 70x98) is a tribute to Bowlands
who has come a long way from that the piece has failed. Period. Visual friend who, though divorced, was motivated
by memories of his fatherless childhood to
serendipitous happening. With more language is not Latin. be a good father to his son. The title comes
than 11 solo exhibitions to her credit No such explanations needed for from a Bob Dylan song about time travel.
and major recognition, today the self- Bowlands work. The artist who works
taught artist teaches gure painting to with a cadre of carefully chosen mod-
masters students at one of the countrys els, whom she says all possess a sense Optical Colors in Oils
most prestigious art academies. of grace, self-containment and peace, To convey such intense and intricate
I love teaching, she points out. admits, Ive never made a piece that themes that often allude to uncom-
I have fought long and hard to acquire was as beautiful as the subject before fortable truths about money, power,
the skills I have learned, and it is heal- me. Intrigued, however, with the gender, race and beauty, Bowland
ing to be able to give this information concept of damaged beauty, she also works in large scale, for the most part
to my students, knowing they will says, I make paintings in which in oils, but sometimes in pastels over
not have to endure what I did. I have something is going wrong. Something an acrylic or watercolor toning layer
thrown paintings through screen doors beautiful is threatened, and the viewer, (see Twelve, 2013, page 52).
in frustration. I tell my students that it is hoped, wishes to come to the res- For oils she uses only the
visual language is a complete one, like cue. My actors are placed in strange, nest linen as a surface, staples
French or English. One must simply intolerant worlds, and yet they survive. it to stretcher bars and sizes it
be capable of its knowledge. If the They look back at you with a steady with rabbit-skin glue. The canvas
viewer must approach the written type gaze, intact, in a state of grace. must lie at to dry overnight.
50 artistsmagazine.com
50 artistsmagazine.com
demo
VISUAL LANGUAGE IN OILS
By Margaret Bowland

OIL MATERIALS
SURFACE: linen sized
with rabbit-skin glue
and primed with Robert
Doak primer
OILS: Williamsburg

SOLVENT: Weber
Turpenoid
MEDIUM: equal parts
stand oil, copal varnish
and Brazilian turpentine.
BRUSHES: Richardson
synthetic

1 2

carries the image of Andrew and jewels: I placed various


Jackson. In my opinion, he sizes of photocopies of the
was a barbaric President; bills on the painting to make
I have Cherokee ancestry, scale decisions, and then
and he was responsible for laboriously copied the bills
the deaths of thousands of with carbon paper. I painted
Native Americans. the bills lighter in areas that
I anticipated would appear
2. THEMATIC DEVELOPMENT: to be lit by the re. I also
The block-in is complete. created a pipe-cleaner and
The left side of the wreath paper-towel model of a hand
is lled with $20 bills, but and taped the earrings at
as the crown arches over angles on a mannequin so I
the head, the paper roses could see how reections on
on the right become $100 the jewelry changed with the
bills (Benjamin Franklin), lighting.
$5 bills (Abraham Lincoln)
and a single $1 bill (George 3. SCUMBLES, GLAZES AND
Washington). These ADJUSTMENTS: I realized that
denominations are on re. the structure of the head
As I painted, I realized wasnt as it should be so I
that I could add earrings and corrected it. Then I went over
a necklace to complete the the entire painting with many
arc of the wreath. I decided scumbles and glazes to soften
3 the jewelry should be over- the transitions between forms
the-top diamonds so the and emphasize the spatial
painting would read in both relationships. Finally, to com-
1. LAYING THE NARRATIVE side of the painting will be directions: A beautiful young plete the picture of how I felt
GROUND WORK: Two days cooler and darker to under- woman, covered in makeup, about the nation at the time,
into creation, Ive begun a score ames I intend to add is clutching her wealth while I added three ghter jets
block-in over the streaky to the right side. the ideals of her country go ying through the ames of
gray ground that I often The subject will wear up in smoke, simultaneously burning money.
use. I choose pale versions a wreath made of paper threatening her life.
of what I want for the nal money. On her left Ive begun I devised ways to address ABOVE LEFT: 2020 (oil on linen,
colors. I know the entire left painting a $20 bill, which the depiction of the money 78x60)

September 2017 51
SEPTEMBER 2017 51
She then lightly sands it and applies on a dime, the white lead or lightest Think Like a Martian
Robert Doak oil primer. light should be thickest where the As for achieving an exact hue,
After toning her surface with form appears closest in space to the Bowland suggests thinking in terms
a thin, streaky layer of transparent viewer, then pulled out to its thinnest of hot or cold color temperatures. If
sepia diluted with Weber Turpenoid, as the paint approaches the ground. a model is before you in natural north
Bowland uses thin raw umber to Bowland explains that through this light, the lights are going to appear
draw directly on the surface, block- preparation, one can achieve optical cool and the shadows warm. The
ing in shadow areas rst. Its colors(various shades of a color that viewer can trust that when he feels
important that these areas be thin occur as the paint reacts to the thick- an area moving toward warmth, hes
and feel dierent from the opaci- ness of the white or lights in layers heading into a shadow. In articial
ties, she says. For the lighter areas, below). With one swipe of a single light, the opposite occurs. Th is sub-
I encourage students to lay in with color, she says, you can achieve liminal trust allows you to take the
either yellow ochre or Naples yel- 20 perceived colors, a mystery not viewer where you wish to go.
low, or white lead, depending on the achieved with directly applied color. Bowland goes on to explain how
models complexion. Like the relief she helps students understand that
52 artistsmagazine.com
52 artistsmagazine.com
PHOTO BY LISA BARLOW
An early achiever,
MARGARET BOWLAND,
began selling her art
while in junior high
and is an alumna of
the Governors School
of North Carolina, a
summer residential
program for intel-
lectually gifted high
school students. She
began ne art studies
at the University of
North Carolina (Chapel
Hill), but is mostly
self-taught. In 2010,
Bowland was a nalist
and Peoples Choice
Award winner in the
Smithsonian National
Portrait Gallery Outwin
Boochevar Portrait
Competition. Her work
appears regularly in
solo and group exhibi-
tions across the United
States, and has also
been exhibited in
Germany and Denmark.
In addition to her
studio work, Bowland
teaches painting at
New York Academy of
Art (New York City).

Visit Bowlands
website at
margaretbowland.com.

theres no such thing as esh color by the way I open my soul to the outside ABOVE: Nakedness Has No Color and
placing a dark-complexioned person in world and nd where the chips fall, Knows No Border, 2015 (oil on linen,
full light while a lighter-complexioned she says. I wish that it made people 82x70) derives its name in part from a
quote in James Baldwins book No Name
person stands in shadow, and then think I was just a lovely human in the Street. The model, an albino African-
asking students to identify the light- beingmeasured, wise, untroubled American, has expressed difculty nding
est moments. You must think like but my soul doesnt care about how a place in either the white world or the
a Martian, she says. You must see Im perceived in society. It only black world.
anew without preconceived notions of knows what it is and demands that it OPPOSITE: White make-up has been used for
what color a person is to you. be given a life, a voice. centuries by cultures ranging from Queen
Of a mind that theres also Elizabeth Is 16th-century England to the
no empirical reality outside of the LOUISE B. HAFESH is an award-winning Japan of geisha girls. Twelve, 2013 (acrylic
artist and writer, and a frequent contributor and pastel on paper, 56x46) examines
magic created within ones painting,
to The Artists Magazine. See examples womens efforts to present or remake them-
Bowland describes herself, as driven of her work at louisebhafesh.com and selves according to cultural expectations.
from within to make images she paintersportal.blogspot.com.
needs to see made real. My work is
September 201753
SEPTEMBER 2017 53
IN HIS STUDENT DAYS, ROGER DE MUTH TOLD ILLUSTRATOR AND FINE ARTIST BOB CONGE, WITH
WHOM DE MUTH HELD AN INTERNSHIP, THAT HE WOULD WORK FOR FREE JUST TO MAKE ART.
In hindsight, says De Muth, Im Hes the person who keeps a store Hand-bound sketchbooks may bring
not sure telling anyone youll work for of sketchbooks so theres always one his leather and metal embossing skills
free makes good business sense. In fact, ready to grab, who shoots reference into play. His antique Albion press,
De Muth did receive payment for his photos daily, who built most of his imported from England, allows him
internship. Hes also savvy about mar- studio furniture and cabinetry, who to create prints from the woodblocks
keting his creationswhich is a good crafts his own travel paint kits. He hes carved. Then there are his gardens,
thing because, with De Muth, its hard creates whimsical ceramic sculp- which he seldom sits still to enjoy
to tell where play ends and work begins. tures, mixing trays and brushholders. because the joy is in the gardening
54 artistsmagazine.com
54 artistsmagazine.com
Theres never an uncreative moment for
Roger De Muth, whose ink and watercolor
paintings capture architectural treasures
near and far. BY HOLLY DAVIS

itselfor perhaps in sketching the I have a room upstairs that my ABOVE LEFT: Buci News, Paris (ink and
gardenor photographing it. He wife and I call the archive room watercolor on paper, 11x15) depicts a
keeps separate websites for several of thats packed to the gills with paint- small newspaper shop on the Left Bank
in Paris. I wish more stores still looked
these interestswatercolors, ceramics, ings, prints, sketchbooks and ceramic like this, says De Muth.
gardening. Then there are the self- sculptures, says De Muth. Its fright-
published books showcasing his vari- ening to me that one person could ABOVE RIGHT: The house in At the Top

ous creative interests. Now retired (but possibly produce so much artwork. I of the Hill, Oporto, Portugal (ink and
watercolor on paper, 14x18) is one of
not idle), he enjoyed a 46-year career always put a new blank sheet of paper several venerable domiciles at the top of
in commercial illustrating and, for 36 on the drawing table as soon as I n- a steep hill overlooking the Duoro River.
of those years, taught illustration at ish a piece so I dont waste any time
Syracuse University (N.Y.). getting to work on the new painting.

September 2017 55
SEPTEMBER 2017 55
ABOVE: Well-Traveled Paint Box: De Muths favorite paint box has accompanied him on several vacations, as
the list on the inside cover shows. A hole in the cover ts over the bottle of ink in the upper right corner, so
he can ink pictures clipped to the closed top. The silver box, which ts into the right side of the paint box,
originally held Gillette razors but now holds his pans of watercolor.

Have Watercolor, Will Travel says De Muth. It actually changed lled during vacations; hence, the
Lets focus on one area of De Muths my life. I went to an old section of travel themes.
creative outputhis ink and water- Rochester, N.Y., and came back with He owns several traveling paint-
color paintings, whether created en a couple of nice paintings. Other boxes, but his favorite has a hole in
plein air or in the studio. A motto inuences include Winslow Homer the upper right corner of the lid that
displayed in his studio and often used for his watercolors of faraway places allows the neck of his ink bottle to
as a tag line says Have Watercolors, (e.g. England, Cuba, the Bahamas), poke through when the box is closed
Will Travel, and his travel sketch- Fabrice Moireau for his architectural (see Well-Traveled Paint Box, above).
books and studio paintings often watercolors, and James Gurney for his He can work on the at top of the
depict landmark buildings or eye- plein air works. box, painting or even drawing in ink,
catching storefronts, rendered in As an illustrator working against since the ink bottle is held secure
watercolor (or, recently, water-soluble tight deadlines, De Muth had found within the box with only the top of
oils) and ink. I discovered my love speed of the essence, a principle that the bottle exposed. He inks with a
of architecture when Jim Thomas at meshes with sketchbook workbut dip pen (which can use waterproof
Rochester Institute of Technology nding time to sketch can be a ink without clogging), and maintains
gave an assignment to hop on a bus, problem in itself. For this reason, a casual attitude toward his eldwork:
get o anywhere and do a painting, De Muths sketchbooks are often If the ink blobs or something, its ne,
says De Muth. Its just a sketch.
When sketching on location, De
Muth usually works in pencil and ink,
then adds watercolors in his studio or
hotel room. You need a little wider
space to work on with watercolors,
says De Muth, so, if Im on vacation,
I usually get a room that has a desk.
Although he takes color notes on site,
he doesnt worry about exact hues when
painting and often works from memory.
De Muth is perfectly comfortable
setting up on a sidewalk or pulling out

LEFT:De Muth has visited Key West several


timesalways with sketchbooks. Key
West has a great collection of seedy old
homes, touristy areas and biker bars, says
De Muth. Great inspiration for artists.

56 artistsmagazine.com
56 artistsmagazine.com
his paint box on a pier. He sketches
in airports during layovers or while
en route on planes or trainseither
drawing the scene or people around
him or working from photos. The
worst thing for me would be to be
somewhere without a pen and paper,
says De Muth. Id be bored, and I
wouldnt know what to do with myself.

Marketing en Plein Air


Love of art-making and distaste for
idlenessthese are De Muths pri-
mary motivators. That said, hes not
one to let a good marketing moment
slip bynor, it seems, has he ever
met a stranger. He describes a plein
air painting session in the industrial
section of Utica, N.Y.: People would
stop their cars because I was on the
side of the road. Id turn the canvas
around so they could see it. Everybody
who stopped, I gave a business card
to, and wed chat for a minute or two,
and then theyd take o.
After vacationing in Key West,
De Muth spent several hours in an
airport, waiting to board. There was
a plein air festival in the city at that When youre sketching on an airplane TOP: The man in Rurys Food Store
time, and a fellow passenger thought or something, and people want to see Cherry Valley NY (ink and watercolor
De Muth was paid by the city to what youre doing, its kind of fun for on paper, 9x20) is Frank Rury, son of
the original proprietor of one of the few
paint in the airport. Not so, but the them to see one of the nished pieces remaining mom-and-pop grocery stores.
two got a laugh out of it and De next to the preliminary sketch that
Muth was happy to show a bit of his Im working on. They always get a ABOVE: The China Town store depicted
in Mott Street General Store NYC (ink
work and pose for a picture. business card, but they enjoy seeing and watercolor on paper,18x19) closed,
I usually put a nished painting the original art and the process, too. after 102 years of family-run business,
in my paint box, says De Muth. TEXT CONTINUED ON PAGE 60 due to the cataclysm of 9/11.

September 2017 57
SEPTEMBER 2017 57
demo
LAYERING WATERCOLOR OVER INK
By Roger De Muth

1 2

3 4

1. PENCIL DRAWING AND leave out. Note also the light


INKING: I drew the line work stippling of ink, which gives
Alwyn Court is a 12-story apartment build-
in pencil, then began ink- an illusion of texture on the
ing in Midtown Manhattan, built between ing over the pencil lines. To surfaces of the buildings and
1907 and 1909 in the French Renaissance keep my hand from resting sidewalk.
style. Since 1984, it has also housed on the surface as I work, I
the Petrossian, a restaurant whose name use a mahl stick or a piece 3. FIRST WASH: After the ink-
of paper. ing, I began the rst wash in
appears over the front door and on the
watercolor, starting with the
awnings. After sorting through numerous 2. FINISHED INKING WITH lightest values. This wash is
photos Id taken of the building, I decided STIPPLING: I continued ink- just a thin toning layer.
to paint the ornate faade of the rst two ing until all the line work was
oors as viewed from a position to the right completed. Notice that the 4. ADDITIONAL TONING: The
inking has more detail than second wash is also subtle.
of the front door. From this angle, only the
the pencil sketch. Even so, Perhaps most visible is the
protruding edge of the arch over the door is the ornamentation isnt fully extra toning in areas around
visible on the left side of the building. rendered. I had to decide the windows and ornamen-
what to include and what to tation panels on the right

58 artistsmagazine.com
58 artistsmagazine.com
side on the building. I also
MATERIALS added some watercolor
spattering.
SURFACE: Arches 300-lb.
hot-pressed watercolor
5. SHADOWS: With the third
paper
wash I completed the win-
DRAWING MATERIALS: dows and background, add-
graphite pencil, Higgins
ing the strong shadows.
Black Magic ink and dip
pen with Esterbrook 757
School Medium Oval nib 6. GLAZING AND
SPATTERING: With the addi-
WATERCOLOR: primarily
tion of very thin blue and
Winsor & Newton with a few
Holbein colors white glazing and spat-
tering, I completed Alwyn
BRUSHES: Winsor &
Court Building.
Newton Series 7 kolinsky
sable rounds and a few
Grumbacher sable rounds
5

ABOVE:Alwyn Court Building (Ink and


watercolor on paper, 16x18)

September 2017 59
SEPTEMBER 2017 59
TEXT CONTINUED FROM PAGE 57 a drawing before adding watercolor. I stretch things, cut them apart, paste
Studio work generally begins with them and then remove things, says
Ink and Watercolor in photographs because De Muth con- De Muth. If theres a car I dont like, I
the Studio siders sketchbook or plein air pieces take it out. Sometimes I stitch pictures
Since his college days, De Muths nal works rather than references for together. Photoshops Photomerge
media of choice have been ink and a studio painting. command does that without seams.
watercolorthe ink providing the lin- Theres no lack of photos to Stitching photos allows De Muth to
ear structure and detail, and the water- choose from, for what De Muth create a panoramic reference.
color adding not just color, but the doesnt have time to sketch, he pho- Once the photo is the way he
lights and darks that convey form and tographs with either a Sony NEX-7 wants it, he runs o a print, which
depth. He points out that many illus- or his iPhone. He estimates that he he then transfers as a pencil sketch
trators also appreciate the quick-drying has more than 50,000 photos stored onto Arches 300-lb., hot-pressed
quality of this media combination. on iCloud and several 100,000s on watercolor paper. Th is sketch, how-
This isnt to say that every ink- various hard drives. Daily photo ever, is only a guideline, and hes been
and-watercolor piece is a dash-to-the- excursions lead to daily sessions with known to restart a drawing two or
nish creation. De Muth always has Photoshop, during which hell select a three times before he feels its right.
several projects going at once, and few pictures from the latest 100 or so. After completing the pencil
although most works progress quickly, Then the manipulation begins. He drawing, he inks in the lines.
De Muth is also willing to spend may change the perspective or lighten Whether working on sketches or
months perfecting the composition of areas so he can see details better. studio pieces, De Muth uses a mahl
stick or scrap of paper to keep his
LEFT: Mini hand from staining the surface, and
Creations: he always inks with a dip pen t-
(left to right) ted with an Esterbrook 757 School
Two 138 x178 Medium Oval nib. This particular
watercolors,
118 x1x58
nib, no longer in production but
book (papers sometimes available on eBay, was
hand bound popular in the early 1900s. It has a
in embossed tiny ball on the end that keeps the tip
leather from catching on the papers bers
cover, then
painted),
(De Muth suspects the nibs were used
paint kit in by children learning cursive writing).
1x2 Bristol- When the inking is complete, he
Myers tin. applies several layers of watercolor
60 artistsmagazine.com
60 artistsmagazine.com
Working in a
FAR LEFT:
Moleskine sketchbook,
De Muth drew the Victorian
house with a fountain pen,
then toned the picture with a
wet paper towel shaped into
a point. He drew the sepia-
ink portraits while watching
the people he depicted on TV.

LEFT: De Muth thinks of the


building in Cartoleria, Naples,
Italy (ink and watercolor on
paper, 10x21) as Napless
funky equivalent of New
York Citys Flatiron Building.

BELOW LEFT: Theaerial view


in Steam Whales from the
Eleanor Ettinger Gallery (ink
and watercolor on paper,
14x20) shows steam clouds
over New Yorks 57th street.

PHOTO BY KERRY PERLICH


ROGER DE MUTH earned a
bachelor of ne arts degree
in illustration from Rochester
Institute of Technology
(New York). Hes an award-
winning designer and illus-
trator whose clients include
Cartoon Network, Kodak,
Xerox, Masterpiece Puzzles,
Disney and Warner Brothers.
In 2015 he was awarded
a Gold Medal in the single
image category from the
Society of Illustrators Comic
& Cartoon Art Competition.
washes with some spattering and spot bookbinding and gardening, to name De Muth also taught illustra-
color, starting with the lightest values a fewnot to mention his latest tion at Syracuse University
from 1979 to 2014. His
and adding strong shadows in the medium, water-soluble oilsand hes hobbies include ceramics
nal layers. (See Layering Watercolor met with gratifying success in these (rogerdemuthceramics.com),
Over Ink, pages 5859). creative ventures. One cant help but gardening
think, though, that his early declara- (rogerdemuthgardens.com)
Enjoying the Moment tion holds true: Hed be willing to and photography. His book
Have Watercolors, Will Travel
Although De Muth has created ink work for free just to make art. is available at blurb.com.
and watercolor paintings since his
Learn more about De Muths
college days, hes also been open to HOLLY DAVIS is senior editor of The Artists
sketchbooks and studio work
Magazine.
trying new art forms and mediathe at demuthdesign.com and
aforementioned ceramics, printing, rogerdemuthwatercolors.com.

September 2017 61
SEPTEMBER 2017 61
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ROAD TEST
By Birgit OConnor

A New Paper for Watercolor


Winsor & Newton revamps its line of paper for watermedia; an artist
puts its new Professional paper to the test and nds a surprise.

ABOVE: CONVEY- IN 1832, SCIENTIST WILLIAM WINSOR AND ARTIST HENRY is absorbed and how consistently color
ING EFFECTS OF NEWTON established a partnership; together they founded ows on the surface. The paper has
WIND: I found the company in London known as Winsor & Newton. no smell, and its surface is softer than
Winsor & Newton
Since its inception the company has been well known other popular papers with a harder
Professional paper
easy to work with for its dedication to artists by providing some of the n- sizing. When wet, the heavier 300-lb.
and amenable to est art materials on the market; however, no matter how paper continues to lie at.
different water- trustworthy a brush, paint and paper manufacturer may
color techniques. I be, it must continually move forwardmaking improve- Both Sides Now
painted this piece
ments, developing products and changing formulations. Most interestingly, this mould-made
on a sheet from the
Winsor & Newton Currently Winsor & Newton has revamped its line paper has a noticeably dierent
cold-pressed block. of watermedia papers by way of partnership with a new surface texture: the top side, with the
mill. The former student-grade paper (Cotman) will Winsor & Newton logo watermark,
now be known as Classic, and the higher-grade paper is much smoother than the back side.
(Artists) will be known as Professional. Of course, either side can be used for
Winsor & Newton sent me several samples of painting, but the dierence in tex-
their Professional paper: a 300-lb. cold-pressed sheet, ture allows an artist to maximize the
a block of 140-lb. hot-pressed paper, and a block of benet of dierent techniques.
140-lb. cold-pressed paper. Professional paper is sized The heavier 300-lb. cold-pressed
both internally and externally, which aects how water paper is surprisingly easy to tear
64 artistsmagazine.com
64 artistsmagazine.com
without any special treatments or No Unwanted Granulation! separation. I could create smooth
tools. The surface accepts water and The big surprise came when I applied washes, even with colors that usually
color well, and it remains workable a blue/gray blend consisting of French separate. When I applied color to the
for a long time without drying out. ultramarine blue with burnt sienna. top, smoother side of the paper, the
When testing the paper, I was This combination is notorious for results were awless washes of color
most pleased to see the consistency of separating and settling into the papers such as Id never seen before.
the sizing throughout the entire sheet, tooth, leaving granulated eects. When mingling color directly on
especially along the edge, which With Winsor & Newtons new cold- the paper, I was pleased to see that
allowed for even washes. pressed paper, there was no unwanted the color moved easily and the surface
remained consistently damp. Color
intensity did take just a bit longer
to build, but that was a minor issue.
When a wash of color was drying, it
remained even without blossoming
and did not need to be watched over.
With each additional layer, the color

LEFT: ADAPTABLE TO STYLES: Winsor &


Newton Professional hot-pressed paper
works well for both traditional botanical
illustrations and very loose painting styles.

BELOW: MOVING COLOR: Winsor & Newton


Professional cold-pressed paper is a work-
able surface for moving wet single colors
and layering color.

BOTTOM: WASH AND LIFT: After applying a


wash, I found I could easily lift areas to
suggest the contours of buildings.

September 2017 65
SEPTEMBER 2017 65
ROAD TEST
LEFT: ATMOSPHERIC TECHNIQUES: When
additional layers of color are added to Winsor
& Newton Professional cold-pressed paper,
the color continues to move easily.

more recent oerings in watermedia


are watercolor sticks and watercolor
markers. The company also makes
gouache and inks, as well as charcoal,
canvas, varnishes and mediums.
Overall, I found Winsor &
Newton Professional watermedia to be
paper easy to work with for all tech-
niques. This surface would be receptive
to many dierent painting styles.
I was very happy with the results of
my experiments and would denitely
use this brand of paper again.

BIRGIT OCONNOR is a sought-after


instructor based in California. She is the
author of several books on watercolor, avail-
able at northlightshop.com, and stars in
owed as freely as it did with the rst intactno tearing or other damage. numerous videos. See her work and nd her
layer, and when I used lifting tech- Winsor & Newton, of course, teaching schedule at birgitoconnor.com.
niques or even tape, the surface stayed makes more than paper. Among its

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66 artistsmagazine.com
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than delineate.
Adventure. 2-day workshop teaches the secrets of
creating high performance art with Prismacolor ne art Contact: 928/282-3809 or 888/954-4442
ALABAMA SedonaArtsCenter.org
pencils. Award winning artist and illustrator Richard
Huntsville Museum of Art Drayton will guide students through step-by-step
8/24-8/26/17, Huntsville. Michael Story, Understanding techniques that will result in rich blended colors and CALIFORNIA
Skies & Reections: Landscape Painting in Oil or Pastel. powerful composition. Art In The Mountains
9/15-9/16/17, Huntsville. Gary Chapman CHARCOAL: 10/1-10/5/17, Jeanne Bessette, The Soul of the Artist. 9/11-9/15/17, Monterey. David Taylor, Staying Aoat in
Expressive Mark Making, A Painters Approach to Jeanne shows artists how to tap into their own unique Watercolor.
Drawing. message. Her intuitive approach to painting and her Contact: Tracy Culbertson, 503/930-4572
10/2-10/6/17, Huntsville. Brian Bomeisler, Drawing on ability to see the strengths artists bring to their own info@artinthemountains.com or
the Right Side of the Brain. artmaking helps workshop participants strengthen their www.artinthemountains.com
10/9-10/12/17, Huntsville. Tony Couch, Watercolor own personal voice.
Painting. 10/11-10/13/17, J. Brad Holt, Sedona Landscape Robert Burridge
11/8-11/11/17, Huntsville. Liz Haywood-Sullivan, Painting. An intensive three day plein air oil painting 8/31-9/3/17, Arroyo Grande. Robert Burridge Studio
Pastels Inside/Outside: The Best of Both. workshop. The objective is to enable students to see real Mentor Workshop. Come paint with Bob in his Studio
Contact: Laura E. Smith, Director of Education/Museum progress in their eld painting technique. My goal is to (includes individual mentor time, demonstrations and
Academy, 256/535-4350 x222 ensure that each student will be able to bring at least personal theme development). 3.5 days Workshop/
lsmith@hsvmuseum.org or hsvmuseum.org one painting in from the eld that they can actually be Mentor Program, limited to 7 enrollees.
proud of. Contact: Kate@RobertBurridge.com for fees and details.
Michael Story
10/22-10/23/17, Qiang Haung, Plein Air Painting. Qiangs 11/2-11/5/17, Arroyo Grande. Robert Burridge Studio
8/24-8/26/17, Huntsville. Huntsville Museum of Art Mentor Workshop. Come paint with Bob in his Studio
approach to plein air painting will be demonstrated with
Master Artist Workshop in Oil or Pastel. Join us as we use
particular focus on selecting a dramatic composition, (includes individual mentor time, demonstrations and
the sky and water as a dramatic design element in your
simplifying it, observing the light distribution and using personal theme development). 3.5 days Workshop/
paintings composition.
bold and loose strokes to create a powerful and accurate Mentor Program, limited to 7 enrollees.
Contact: Laura Smith, 256/535-4350
representation on canvas. Contact: Kate@RobertBurridge.com for fees and details.
lsmith@hsvmuseum.org
10/23-10/27/17, Betty Carr, Sedona Fall Colors. Learn to Flying Colors Art Workshops
www.hsvmuseum.org/museumacademy or
capture the beauty of light! Betty Carr teaches students
www.michaelstory.com April 2018, Santa Barbara. Brenda Swenson, W/C
to accurately portray the effect of light on any subject
Sketchbook. All levels of instruction. Class size 12.
ARIZONA in watercolor or oil. Students can work in either medium
Contact: Cris Weatherby, 858/518-0949
and will explore a variety of locations in beautiful
Larisa Aukon Sedona. FlyingColorsArt@me.com or www.FlyingColorsArt.com
12/4-12/8/17, Power of Landscape. 10/23-10/27/17, Robert Burridge, Polyptych Figurative Robbie Laird
1/29-2/1/18, Discover the Joy of Creativity. Retreat. Learn to work with the nude, draped and 9/17-9/21/17, Calistoga. Creative Rhythms Retreat.
Scottsdale Artists School. partially draped model, lots of paint sketching, and See Robbies website for details of this exciting New
Contact: 480/990-1422, scottsdaleartschool.org create multi-panel compositions. Be prepared to paint Workshop!
Robert Burridge looser, bolder, freer, lighter and more intuitively. Plenty Contact: Carla Heise, carlaheise@gmail.com
10/23-10/27/17, Sedona. Artist Retreat: Playing with of time for action-lled painting exercises, demos and
personalized attention. Birgit OConnor
Polyptychs. 5-day Workshop (Monday-Friday).
10/28-10/29/17, Elaine Hultgren, The Nature Journal. 7/30-8/4/17, Mendocino. Mendocino Art Center.
Sedona Arts Center.
An award winning botanical and story board artist Elaine Contact: 707/937-5818, www.mendocinoartcenter.org
Contact: 888/954-4442 or 928/282-3809
www.sedonaartscenter.org teaches many techniques for drawing and annotation. Camille Przewodek
Step-by-step from beginning to end. The nature journal is
Caroline Jasper January-December, 2017, Petaluma. In addition to
perfect for travel and personal artistic journaling.
7/31-8/8/17, Phoenix. 6 hr workshops. Art Unraveled, my workshops, I teach regular weekly classes at my
11/1-11/4/17, Jan Sitts, Texture, Color, Feeling. Jans
acrylics. Sponsored by Phoenix Rising Productions. Petaluma studio in Northern California. Mondays with
experience and enthusiasm create an atmosphere of fun
Contact: info@artunraveled.com or Camille is an ongoing landscape and still life class. View
and spontaneity inspiring new directions and discovery
www.artunraveled.com an up-to-date schedule on the Classes & Workshops page
through innovative combinations of design and materials.
at my website: www.przewodek.com
Birgit OConnor By combining aggressive textures and unusual mediums
8/7-8/11/17, Petaluma. 5-Day Plein-Air Workshop/Color
11/14-11/17/17, Tucson. Nov. 13 Demonstration. with various raw materials surprising compositions
emerge. Boot Camp. Discover and develop a new way of seeing
Contact: Robbie Summers, 520/818-0817 and painting color. All levels, oils preferred. Plein-air still
robsumart@aol.com or wsum1@aol.com 11/11-11/13/17, Elizabeth St. Hilaire, Paper Painting
Birds and Blooms. An intense workshop in which life, landscape, head & gure.
www.southernazwatercolorguild.com Contact: Camille, 707/762-4125
students are taught to make a beautiful palette of colors
Susan Ogilvie, PSA with various papers and create an under-painting and neart@sonic.net or www.przewodek.com
11/28-12/2/17, Scottsdale. Landscapes in Pastel. collage with paper for a nal nish. a unique gurative COLORADO
This studio class will focus on design and composition, collage technique.
simplication, and emphasizing the freedom of color 12/1-12/3/17, Joan Fullerton, Contemporary Tom Lynch
choices. Mixed Media. Inspiring demonstrations, lectures, 9/11-9/14/17, Beaver Creek.
Contact: Scottsdale Artists School, 800/333-5707 encouragement and practice. Youll learn how to coax Contact: 630/851-2652
www.scottsdaleartschool.org hints of reality from an abstract background, how to Tomlynch@msn.com or www.TomLynch.com
68 artistsmagazine.com
68 artistsmagazine.com
Carol Lake carol.lake@fwmedia.com 385/414-1439
Mary McLane mary.mclane@fwmedia.com 970/290-6065

CONNECTICUT Over 100 art workshops each year with nationally known artists.
Alain J. Picard, PSA
9/23/17, Hill-Stead Museum, Farmington.
The Painterly Landscape, Plein-Air Workshop,
Saturday 9:00am-4:00pm.
Contact: picardstudio.com/workshops
10/26-10/28/17, UART, Newtown.
The Painterly Portrait, Three-Day Workshop,

Painting from the Rim


Thursday-Saturday 9:30am-4:30pm.
Contact: uartpastelpaper.com
4/6-4/7/18, Newtown. The Painterly Landscape,
Weekend Workshop, Friday 7:00-9:00pm,
Saturday 9:30am-4:30pm. of the Grand Canyon
with Bill Cramer
Contact: picardstudio.com/workshops
DELAWARE
Tom Lynch
10/10-10/13/17, Rehoboth Beach. June 810, 2018
Contact: 630/851-2652
Tomlynch@msn.com or www.TomLynch.com
FLORIDA
Cultural Center at Ponte Vedra Beach
The Cultural Center, a non-prot arts center, is located
across from one of the most prestigious beaches and
in the most desired travel destinations in Florida.
Located just one mile from the world famous PGA Tour
at Sawgrass and 45 minutes from the oldest city in the
nation, the Cultural Center is the perfect place for art
and culture. Local and nationally recognized artists teach
one to seven day workshops in our fully equipped studios.
For more information on classes and workshops go to
www.ccpvb.org or contact Sara Bass at
Sbass@ccpvb.org or 904/280-0614 ext 204.
9/14-9/16/17, Larry Moore, Abstraction Workshop All
Painting Media.
10/4-10/8/17, Sally Strand, The Color of Light Workshop
All painting media.
10/20-10/22/17, Peter Rubino, Reclining Female
Workshop - Clay.
Fort Myers Beach Art Association
www.fortmyersbeachart.com
11/6/17, 1/8/18, 3/5/18, Cheryl Fausel weekly watercolor
classes. Beginner 9-12 and Intermediate/Advanced 1-4.
Six Mondays $150/$180; 4 Mondays $100/$120.
Contact: cherartist@aol.com after September 1. See
www.fortmyersbeachart.com for complete schedule.
11/13-11/15/17, Vladislav Yelisleyev, Achieving the
Freedom of Brushstroke. Watercolor (3 days) all levels.
Fees: Member cost: $315. Non-member cost: $355.
Demo Sunday, Nov. 12, 2017 4-6pm.
Contact: Kay Cowan, fmbaaworkshops@gmail.com
Supply list see www.fortmyersbeachart.com
1/11/18, Cheryl Fausel. A One-Day Introduction for True
Beginner-Beginners to Watercolor. A $10 Palette Fee
paid in class will include all supplies needed. 9:00am -
4:00pm. $90/$95.
Contact: cherartist@aol.com after September 1, 2017.
1/15-1/18/18, Kathleen Conover, Chaos to Order. Mixed
media (4 days) Beginner to advanced. Fees: Members
$415. Non-members $455. Demo Sunday, Jan. 14
4-6pm.
Contact: Michele Buelow, fmbaaworkshops@gmail.com
Supply list see www.fortmyersbeachart.com
1/25/18, Sue Pink, Watercolor Batik. 9:00am - 3:00pm.
Cost: $60/$65. Cost includes oriental paper and non-
toxic wax. Bring watercolor supplies prepay/register:
check to Sue Pink at PO Box 366733, Bonita Springs,
FL 34136. Check out: suepink.com
1/26/18, Lynne Wesolowski, Mono Print Scarf w/Acrylic
and Gelli Plate. 9:00am - 3:00pm. Cost of class:
$50/$55. Acrylics/Printing. All supplies provided for $10
including 8x 72 Silk Scarf paid in class.
Contact: lynneweso@aol.com
2/1-2/2/18, Sue Pink, (2 days) Collage. 9:00am -
3:00pm. Cost: $110/$120. Improve composition skills
creating textured papers. Bring structure/strength to
artwork. Prepay/Register check Sue Pink at PO Box
366733, Bonita Springs, FL 34136.
2/8-2/10/18, Neil Walling, (3 days) Painting Trees, Seas,
and Skies in Oil. 9:00am - 4:00pm.
$185/$200 each class.
Contact: kneil239@gmail.com
2/19-2/22/18, Marie Natale, Watercolor Loose,
Luminous & Colorful. (4 days) Intermediate/Advanced.
Fees: Member cost: $395. Non-member cost: $435.
Demo Feb. 18 4-6pm.
Contact: Nancy Randall, fmbaaworshops@gmail.com
Supply list see www.fortmyersbeachart.com
3/8-3/10/18, Neil Walling, (3 days) Painting Trees, Seas,
and Skies in Watercolor. 9:00am - 4:00pm.
$185/$200 each class.
Contact: kneil239@gmail.com SedonaArtsCenter.org
3/15/18, Cheryl Fausel, How to Use Your Photo Shop
Elements to Manipulate Your Paintings. 9:00am -
4:00pm. (Hour for lunch) $90/$95.
Contact: cherartist@aol.com after September 1.
September 2017 69
SEPTEMBER 2017 69
WORKSHOPS 2017 & 2018

Ralph Garafola Michael Story 3/22-3/24/18, Tom Nielsen. Location: Artists Annex
Artist: Garafolas style is contemporary realism; he works 8/24-8/26/17, Winter Park. Crealde School of Art Gallery, St. Simons Island. Water in the Studio. 3-day.
in oil and watercolor. All my paintings are portraits. Mastering Skies & Reections in Oil or Acrylic. Join us as This will be a course for artists already experienced in
Whether my subject is a person, landscape, seascape, we use the sky and water as a dramatic design element their medium who have a desire to learn the how and
still life or pet, my approach is to realistically portray in your paintings composition. whys of painting water. All mediums are welcome.
my subject in its natural environment. It puts the viewer Contact: Barbara Tiffany, 407/699-0148 Demonstrations will be in oil. Fee: $525
inside the painting Garafola says. btiffany2000@yahoo.com, www.crealde.org or 4/9-4/12/18, John P. Lasater. Location: Artists Annex
Author: Frank J. Reilly - The Elements of Painting by www.michaelstory.com Gallery, St. Simons Island. 3-Day Plein Air Workshop
Ralph Garafola is a must read for both the aspiring 9 a.m. - 4 p.m. Expect to be encouraged and challenged
painter and accomplished artist and everyone in GEORGIA by demonstrations and hands-on help. Learn to think
between. PURE ReillyIt was written from Garafolas Anderson Fine Art Gallery more artistically, while attempting one of the toughest
class notes; word-for-word as Reilly taught it to Garafola. 9/5-9/11/17, Chris Groves. Artist-in-Residence Week. artistic exercises - painting landscapes outdoors.
Inside this 232 page book - learn how to draw the head/ In The Studio - Daily 10 a.m. - 12 p.m., Sept. 5-9, Fee: Fee: $625.
gure; drapery; how to apply light and shade; color: hue, $40 or Private Lessons - Sept. 6-9, 1 p.m. - 6 p.m. Contact: 912/634-8414
value and chroma; the controlled palette, skills in brush Fee: $150- 1 hour, $225- 2-hour. Artist Talk - Sunday, www.workshopsonstsimonsisland.com
handling; hard and soft edges; picture making and the September 10, 12 p.m. - 2 p.m. Fee: $40. Cerulean Blue Trips
elements to tell a storyand so much more. 9/21-9/23/17, Linda Ellen Price, Studio Spontaneity. 4/6-4/11/18, Savannah. Spring in Savannah! The
Educator: Art Center Sarasota- Painting: landscape, still Learn not to rely on reference material and use quick charming squares and gracious homes of this historic
life & more with Ralph Garafola. gestures. Color Theory, mixing color and adding punch to city are a riot of colorful blooms! Join instructor Stacy
January through April 2018, 6 weeks courses. All Levels; your paintings. Colorful street scenes to gures in semis Barter (best in show winner of the Blossom-Art of Flower
Oil, Water Soluble Oil, Acrylic, all painting mediums. working in oil. Fee: $450. International Exhibition) for a 5 day workshop focusing
http://artsarasota.org/garafola 10/5-10/7/17, Margaret Dyer, The Figure Using on Savannah in bloom. Oil & acrylic.
Garafola is available for private lessons. Traditional Techniques. Working with live models Contact: Nan Dawkins, 954/663-7250
Contact: 561/509-0522, http://www.ralphgarafola.com students explore drawing, composition proportion, value, www.ceruleanbluetrips.com
http://frankreillytheelementsofpainting.com or light and shadow. Open to all Mediums. Fee: $495.
http://thepriceoibertyfreedom.com 10/12-10/14/17, Mark Horton. Location: Artists Annex INDIANA
Gallery, St. Simons Island. Landscape in the Studio Tom Lynch
Caroline Jasper This course is designed for all mediums, oil, watercolor
3/7/18, 3/14/18, 3/21/18, 3/27/18, Venice/North Port. or pastel painters of all levels who want to take their 8/15-8/18/17, Carmel.
4 Wednesdays, different locations. Plein Air Painting work to the next level. The focus will be on composition, Contact: 630/851-2652
With A Pro. Sponsored by Peace River Painters. design, value and color. All levels & all mediums. Tomlynch@msn.com or www.TomLynch.com
Contact: peaceriverpainters@gmail.com or Fee: $495. Camille Przewodek
www.peaceriverpainters.com 11/2-11/4/17, Marc Hanson. Location: Artists Annex 9/25-9/28/17, New Harmony. 4-Day Plein-Air Color
Tom Lynch Gallery, St. Simons Island. Three Day Plein Air Workshop Workshop. Discover and develop a new way of seeing
11/14-11/17/17, Quincy. Wait List Only. This is a 3 day outdoor painting workshop and painting color. Intermediate to advanced levels, oil
12/11-12/14/17, Palm Beach. for intermediate to advanced painters working in oils, preferred. Color that expresses the light key of nature can
1/5-1/7/18, Sanibel Island. pastels or acrylics. Fee: $625. make any subject strikingly beautiful. Plein-air still life,
1/18-1/21/18, Daytona Beach. 1/25-1/27/18, Chris Groves. Location: Artists Annex landscape, head & gure. More info at
2/14-2/17/18, Punta Gorda. Gallery, St. Simons Island. Realism/Abstraction. www.przewodek.com
3/13-3/15/18, Tequesta. Three Day Thursday - Saturday, 9:00 a.m. - 4:00 p.m. Contact: Maggie Rapp, 812/459-9851
Contact: 630/851-2652 Oil. Fee: $525. hoosiersalon@sbcglobal.net
Tomlynch@msn.com or www.TomLynch.com 2/22-2/24/18, Jason Sacran. Location: Artists Annex
Gallery, St. Simons Island. 3 Day Plein Air Workshop William A. Schneider, AISM, IAPS-MC,
Aline Ordman 9:00 a.m. - 4:00 p.m. PSA-MP, OPA
3/10-3/11/18, Northport. Northport Art Center. Oil and 3/7-3/10/18, Larry Moore. Location: Artists Annex 10/17-10/20/17, Carmel. Painterly Portraits.
Pastel. Finding the Abstract to Create the Reality. Gallery, St. Simons Island. 4-day. Advanced Abstraction Contact: Inspire Studios, 317/517-1213
Contact: venicebarb@gmail.com 2018. 9:00 a.m. - 4:00 p.m. All Mediums. Fee: 525. www.SchneiderArt.com

70 artistsmagazine.com
70 artistsmagazine.com
Carol Lake carol.lake@fwmedia.com 385/414-1439
Mary McLane mary.mclane@fwmedia.com 970/290-6065

MAINE Contact: info@carolinejasper.com or Birgit OConnor


www.carolinejasper.com/learn 9/11-9/17/17, Gloucester. Northeast Art Workshops.
Coastal Maine Art Workshops
All classes in our big Rockland studio unless noted William A. Schneider, AISM, IAPS-MC, Contact: Kat Masella, 978/729-4970
otherwise! PSA-MP, OPA info@northeastartworkshops.com
2017 Workshops: We still have some room! 8/4-8/7/17, Stevensville. Revealing the Soul - Sensitive Susan Ogilvie, PSA
8/8-8/11/17, Portland. Alvaro Castagnet AWS, Painting Portraits & Figures.
with Passion! WC. Int/Adv. $675. 9/19-9/21/17, Falmouth. Landscapes: Color, Value and
Contact: Chesapeake Fine Art Studio, 410/200-8019
8/14-8/18/17, Ken Dewaard, Essence and Design! Oils/or www.SchneiderArt.com Design. This studio and plein air class will focus on
medium of choice. All Levels. $650. design and composition, while emphasizing the freedom
8/21-8/25/17, Mike Bailey AWS NWS, Plein Air MASSACHUSETTS in color choices. Field studies and studio painting on
Landscape! WC. All levels. $650. Cape Cod.
8/28-9/1/17, David P. Curtis, Plein Air Landscape! Oils.
Casa de los Artistas, Inc.
Masla Fine Art ArtWorkshopVacations.com Contact: Falmouth Artists Guild, Suzy, 508/540-3304
All levels. $650.
Robert Masla Studios North www.falmouthart.org
8/28-9/1/17, Chris Cart, Speaking with Your Brush!
Int/Adv. WC. $650. Contact: 413/625-8382, www.MaslaFineArt.com or
www.ArtWorkshopVacations.com
MICHIGAN
9/4-9/8/17, John Wilson, The Plein Air Landscape #1.
Week One. Oils. Int/Adv. $695. Join Masla this summer and fall for drawing and plein Robert Burridge
9/11-9/15/17, John Wilson, The Plein Air Landscape #1. air painting workshops at the edge of the Berkshire 8/7-8/9/17, Traverse City. Start Abstract Painting Today!
Week Two. Oils. Int/Adv. $695. Mountains, at Masla Studios North, in picturesque rural 3-day Workshop (Monday-Wednesday).
9/11-9/15/17, Andy Evansen, The Impressionistic Asheld, MA. Weekend includes fabulous picnic lunch Crooked Tree Arts Center.
Landscape! WC. Int/Adv. $695. and some materials. Workshops are for beginners to
9/18-9/22/17, Colin Page, Oils. Closed! Contact: Kaleigh James, 231/941-9488
advanced painters. Experience Maslas award winning
9/18-9/22/17, Kevin Beers, The Seen Scene! Oils. teaching style while you enjoy a beautiful relaxing kaleigh@crookedtree.org or www.crookedtree.org
Int/Adv. $650. weekend in the country. Small groups with lots of 8/11-8/13/17, Petoskey. Start Abstract Painting Today!
9/25-9/29/17, Colley Whisson, The Modern individual attention. 3-day Workshop (Friday-Sunday).
Impressionistic Landscape! Oils. All levels. $725. 8/5-8/6/17, Drawing and Painting the Landscape Contact: Megan DeWindt, 231/347-1236
2018 Workshops Saturday & Sunday, (10am - 5pm) Painting the New megan@crookedtree.org or www.crookedtree.org
All classes in Rockland unless noted otherwise! England Landscape in the Fall, Plein Air and the Studio
7/16-7/20/18, Mel Stabin AWS, WC. Camille Przewodek
with Watercolor, Acrylic or Oil, demos in all, (date to be
7/23-7/27/18, Sterling Edwards, WC. announced on website). 8/21-8/25/17, Ann Arbor. 5-Day Plein-Air Workshop/
7/30-8/3/18, Belfast. Tony van Hasselt AWS, WC. Color Boot Camp. Discover and develop a new way of
8/13-8/17/18, Frank Eber, WC. Northeast Art Workshops seeing and painting color. All levels, oil preferred. Color
8/20-8/24/18, Herman Pekel, WC. 9/6-9/8/17, Lorraine Glessner, Mixed Media Encaustic. that expresses the light key of nature can make any
8/27-8/31/18, Marc Hanson, Oils. 9/11-9/15/17, Birgit OConnor, Watercolor: Big & Bold. subject strikingly beautiful. Plein-air still life, landscape,
8/27-8/31/18, Kathy Conover AWS NWS, WC. 9/18-9/22/17, Katherine Chang Liu, Mixed Media.
head & gure.
9/10-9/14/18, Lori Putman, Oils. 9/25-9/29/17, Patti Mollica, Acrylic & Oil.
9/10-9/17/18, Charles Reid, WC. 10/2-10/6/17, Lisa Pressman, Cold Wax Medium. Contact: Debra Zamperla, 734/662-8734
9/17-9/21/18, Colin Page, Oils. Registration by Lottery 10/9-10/13/17, Jeannie McGuire, Watercolor: artensityworkshops@gmail.com or
Only!! Uniquely Contemporary. www.artensity.org/camille-przewodek
Check our website for more details and more classes!! 10/16-10/20/17, Eric Wiegardt, Watercolor: Michael Story
Contact: Lyn Donovan, 207/594-4813 Fast & Loose.
info@cmaworkshops.com or www.cmaworkshops.com 7/12-7/14/18, Lowell. Franciscan Life Process Center
10/25-10/27/17, Kat Masella, Watermedia and Wax.
4/10-4/12/18, Kat Masella, Encaustic. Mastering Skies & Reections in Oil or Acrylic. Join us as
MARYLAND 5/1-5/4/18, Jane Davies, Acrylic. we use the sky and water as a dramatic design element
Caroline Jasper 5/28-6/1/18, Charles Reid, Watercolor. in your paintings composition.
4/9-4/13/18, Havre de Grace. 5 Day Workshop: 6/18-6/22/18, Frank Eber, Watercolor. Contact: Kathleen Bechtel, 616/897-7842 (352)
Powercolor Painting Retreat, acrylics, oils, water-soluble Contact: 978/729-4970 kbechtel@lifeprocesscenter.org
oils. Sponsored by Caroline Jasper Studios. www.NortheastArtWorkshops.com www.lifeprocesscenter.org or www.michaelstory.com

September 2017
SEPTEMBER 2017 71
71
WORKSHOPS 2017 & 2018

Workshop DVDs
Chris Unwin
The Secret to Creating Watercolor Workshop Weekly Tuesdays & Wednesdays.
Prize-Winning Paintings West Bloomeld, MI 48322

William A. Schneider
Contact: Chris Unwin, 248/624-4902
ChrisUnwin@att.net or www.ChrisUnwin.net
AISM, IAPS-MC, PSA-MP, OPA MISSISSIPPI
Robert Burridge
11/15-11/19/17, Ocean Springs. Abstract Acrylic Painting
& Collage. 5-day Workshop (Wednesday-Sunday).
Ocean Springs Art Association.
Contact: Carole Marie Stuart, carole1947@bellsouth.net
or www.oceanspringsartassociation.org
MONTANA
Robbie Laird
9/28-10/1/17, Kalispell. (MTWS). Layered Watermedia.
Contact: Margo Voermans, mtwoman23@gmail.com
NEBRASKA
Sacked Out - Bev Jozwiak, AWS, NWS Michael Story
9/15-9/19/18, Aurora. Autumn Art Workshop
Mastering The Light in Oil or Acrylic. Join us as we
Queen of Hearts Pastel 20x16 use underpainting and layering of color to simulate a
luminous glow in our landscape paintings.
Workshops Contact: Karen Thurlow, 402/628-2635
kthurlow@neb.rr.com, www.autumnartworkshop.com or
Revealing the Soul - www.michaelstory.com
Sensitive Portraits & Figures NEVADA
Location: Chesapeake Fine Art Studio,
Stevensville, MD Birgit OConnor
8/4/17 - 8/7/17 8/15-8/18/17, Reno. Fearless Florals.
(410) 200-8019 Contact: Tricia Leonard, triciastudio@att.net
Portraits and Figures in Oil and Pastel NEW JERSEY
Location: Fredericksburg Artists School, Ralph Garafola
Island Home Nita Engle, AWS Fredericksburg, TX Artist: Garafolas style is contemporary realism; he works
See Video Clips
9/18/17 - 9/21/17 in oil and watercolor. All my paintings are portraits.
(830) 997-0515 Whether my subject is a person, landscape, seascape,
of the above artists and Video Clips of Painterly Portraits still life or pet, my approach is to realistically portray
my subject in its natural environment. It puts the viewer
Chris Unwin, NWS & Location: Inspire Studios, Carmel, IN
10/17/17 - 10/20/17 inside the painting Garafola says.
Author: Frank J. Reilly - The Elements of Painting by
Alexis Lavine, NWS (317) 517-1213
Ralph Garafola is a must read for both the aspiring

ChrisUnwin.NET
painter and accomplished artist and everyone in
www.SchneiderArt.com between. PURE ReillyIt was written from Garafolas
WWW. 815-455-4972 class notes; word-for-word as Reilly taught it to Garafola.
Inside this 232 page book - learn how to draw the head/
gure; drapery; how to apply light and shade; color: hue,
value and chroma; the controlled palette, skills in brush
handling; hard and soft edges; picture making and the

MADELINE ISLAND elements to tell a storyand so much more.


Educator: Art Center Sarasota- Painting: landscape, still
life & more with Ralph Garafola.
SCHOOL of the ARTS January through April 2018, 6 weeks courses. All Levels;
Oil, Water Soluble Oil, Acrylic, all painting mediums.

Unique Island Setting,Exceptional Workshops 3UHPLHU'HVWLQDWLRQ:RUNVKRSV http://artsarasota.org/garafola


Garafola is available for private lessons.
&58,6(:25.6+23 Contact: 561/509-0522, http://www.ralphgarafola.com
2017 PAINTING WORKSHOPS http://frankreillytheelementsofpainting.com or

MADELINE ISLAND
'$9,'7$</25 http://thepriceoibertyfreedom.com
Tom Lynch
8/25-8/27/17, Red Bank.
Joe Paquet ....................................July 10-14 5/15-5/18/18, Manahawkin.
1HZ=HDODQG $XVWUDOLD Contact: 630/851-2652
Jane Davies...................................July 24-28 -DQ)HE
Tomlynch@msn.com or www.TomLynch.com
Alain J. Picard, PSA
Herman Pekel............................July 31-Aug 4 6WUHQJWKDQG)ORZRI:DWHUFRORU 11/16/17, Goshen. The Goshen School of Art.
Sterling Edwards .............................. Aug 7-11 'DYLGZLOOQRWEHLQWKH86$ The Painterly Portrait, Demonstration,
Thursday 6:00pm-9:00pm.
Frank Eber .................................... Aug 14-18 3RUWVRI&DOODOODW\RXUOHLVXUH Contact: stansperlak@comcast.net
11/17-11/19/17, Goshen. The Goshen School of Art.
Ted Nuttall .................................... Aug 21-25 3DLQWLQJ'D\VRQWKH6KLS The Painterly Portrait, Three-Day Workshop,
Friday-Sunday 9:00am-4:30pm.
David Taylor .............................Aug 28-Sept 1 ZKLOHDWVHD 3DLQWLQJ'D\VLQ Contact: stansperlak@comcast.net
Margaret Dyer .............................. Sept 11-15 6\GQH\SOHLQDLUFLW\VFDSHV NEW MEXICO
Fabio Cembranelli ......................... Sept 18-22 Caroline Jasper
Plein Air Painters of America 3DLQWHUV 7UDYHO(QWKXVLDVWV 6/4-6/8/18, Cloudcroft. Brilliant Color & Light - oils/
acrylics. Sponsored by Cloudcroft Art Workshops.
$//:(/&20( Contact: lindas@cloudcroftart.com or
Master Workshops ......................... Sept 25-29 www.cloudcroftart.com

MISA West at TANQUE VERDE RANCH, AZ 7ZR6SHFLDO3HUNVSHU&DELQ NEW YORK


Larisa Aukon
Eric Wiegardt .................................Nov 13-17 3ULFHVDUH3HU3HUVRQ %DVHGRQ 5/30-6/1/18, Power Of Landscape.
Karlyn Holman ...........................Nov 27-Dec 1 'RXEOH2FFXSDQF\ Hudson Valley Art Workshops.
Contact: 518/966-5219, info@artworkshops.com
,16,'(&$%,1 Hudson River Valley Art Workshops
8/6-8/12/17, Kim English.
2&($19,(::,1'2: 9/3-9/9/17, Self-Directed Retreat.
%$/&21<&$%,1 9/10-9/16/17, Ann Lindsay.
9/17-9/23/17, David Taylor.
ZZZDUWLQWKHPRXQWDLQVFRP 9/24-9/30/17, Leah Lopez.


www.MADELINESCHOOL.com 10/1-10/7/17, Skip Lawrence.
10/8-10/14/17, John MacDonald.
x{x{U>*i]7 10/15-10/21/17, Fran Skiles.
3/18-3/24/18, Margaret Evans.

72 artistsmagazine.com
72 artistsmagazine.com
Carol Lake carol.lake@fwmedia.com 385/414-1439
Mary McLane mary.mclane@fwmedia.com 970/290-6065

4/22-4/28/18, Margaret Dyer.


4/29-5/5/18, Christine Camilleri.
5/6-5/12/18, Peter Fiore.
5/16-5/20/18, Christine Ivers.
5/20-5/26/18, Robert Burridge.
5/30-6/3/18, Larisa Aukon.
6/3-6/9/18, Laurie Goldstein-Warren.
6/10-6/16/18, Richard McKinley.
6/17-6/23/18, Joel Popadics.
6/24-6/30/18, Elizabeth St Hilaire.
7/1-7/7/18, Brenda Swenson.
7/8-7/14/18, Kathyanne White.
Contact: 888/665-0044
info@artworkshops.com or www.artworkshops.com
Aline Ordman
8/13-8/14/17, Saranak Lake. Adirondacks Plein Air
Festival. Aline is the juror of awards for this plein air
show and will teach a two day workshop in oils or pastels
WORKSHOPS
August 13 to 14. This plein air workshop will explore
painting in pastels and/or oils in terms of the properties
ON ST. SIMONS ISLAND
of color (value, intensity, temperature), technique and
design. Weather permitting we will be outside. Otherwise,
AndersonFineArtGallery
students will work from their own photo materials. There ARTISTS ANNEX GALLERY
will be a demo in both mediums each day along with lots
of personal attention and critique. ROBERT BURRIDGE 2017 Schedule
Contact: saranaclakeartworks.com/pleinair CHRIS GROVES September 5-11
5/18-5/20/18, New York City. Pastel Society of America.
Painting on Location in NYC.
Burridge Studio App LINDA ELLEN PRICESeptember 21-23
MARGARET DYER October 5-7
Contact: susanmstory@gmail.com
Pastel Society of America Free Online Newsletter MARK HORTON October 12-14
MARC HANSON Wait List
PSA School for Pastels
National Arts Club, 15 Gramercy Park South,
New York, NY 10003
Free Weekly BobBlast 2018 Schedule
Contact: 212/533-6931
psaofce@pastelsocietyofamerica.org or
Current Workshop Schedule CHRIS GROVES
JASON SACRAN
January 25-27
February 22 - 24
www.pastelsocietyofamerica.org
Enrich your paintings and study with these
masterful artists.
Workshops in Bob's Studio LARRY MOORE
TOM NIELSEN
March 7-10
March 22-24
9/18-9/20/17, Infusing Landscapes with Emotion with JOHN P. LASATER April 9-12
Richard McKinley PSA-MP, Hall of Fame Honoree 2010.
10/14-10/15/17, Four Seasons of Trees with 3309 Frederica Rd
Susan Story PSA. St. Simons Island, GA 31522
1/12-1/14/18, Painting Rocks in the Pastel Landscape
with Liz Haywood-Sullivan PSA-MP. Call 912-634-8414
2/18-2/23/18, PSA Destination Workshop in Dunedin, FL
with Richard McKinley PSA-MP, Hall of Honoree 2010. For Information
3/17-3/18/18, Exploring the Application of Broken Color RobertBurridge.com
in the Landscape with Maria Marino PSA. WorkshopsOnStSimonsIsland.com
4/14/18, Dancing Pastels, Inspired by Gesture and
Movement with Janet A. Cook PSA.
5/11-5/12/18, Day at the Museum Animal Drawing with
Patricia Wynne, professional illustrator and naturalist.
5/18-5/20/18, People in Places in NYC with
Aline Ordman PSA-MP.
6/1-6/3/18, Hands-on Albers Color Workshop with
Cynthia Dantzic, LIU professor of art, author, student of
Josef Albers.
8/17-8/19/18, Soften the Edges of the City with Pastel
with Nancie King-Mertz PSA-MP.
9/24-9/26/18, The Prosaic Landscape made Poetic with
Richard McKinley PSA-MP, Hall of Honoree 2010.
10/13-10/14/18, On Color! Unity & Form with
Casey Klahn PSA.
10/20/18, Emerging from the Dust of Failed Paintings
with Anna Wainright PSA-MP.
10/27-10/28/18, Pastel Portraits from Life in the
Classical Realist Tradition with Carol Peebles PSA.
Classes ongoing year round:
Tuesdays, 5:30 pm to 8:30 pm, Introduction to Pastel
Still Life and Landscape with Janet A. Cook PSA.
Wednesdays, 9 am to 12 pm, Portraiture, Landscape and
Still Life with Diana DeSantis PSA-MP.
Thursdays, 1 pm to 4 pm, Color & Composition
with Maceo Mitchell PSA-MP.
NORTH CAROLINA
Award Winning Artist Workshops
Charlotte/Matthews
8/11-8/13/17, Bill Farnsworth.
10/19-10/22/17, Ned Mueller.
11/7-11/9/17, TBD.
6/22-6/24/18, Julee Hutchison.
9/20-9/23/18, John P. Lasater IV.
10/11-10/13/18, David Boyd Jr.
12/7-12/9/18, Nancy Tankersley.
Contact: 704/607-6046, 4shirleyart@gmail.com or
www.awardwinningartistworkshops.com
Robert Burridge
8/21-8/25/17, Boone. Abstract Acrylic Painting &
Collage. 5-day Workshop (Monday-Friday).
Cheap Joes Art Stuff.
Contact: Edwina May, Workshop Coordinator
800/227-2788, www.cheapjoes.com
11/9-11/12/17, Raleigh. Art of the Carolinas - Workshops
& Art Materials Exhibition Sponsored by Jerrys
Artarama.
Contact: Sharon DiGiulio, 800/827-8478 ext 156
sharon@jerrysartarama.com or
www.ArtoftheCarolinas.com

September 2017
SEPTEMBER 2017 73
73
WORKSHOPS 2017 & 2018

Caroline Jasper 1/26-1/28/18, Cindy Agan, Portraits of Children and OHIO


11/9-11/12/17, Raleigh. 4 Day Workshops & Materials Animals.
2/9-2/11/18, Ed Macomber, Edges Lost and Found, Aline Ordman
Expo. Art of the Carolinas. Various 3-hr workshops in
Discussion of Art Materials. 9/22-9/24/17, Cincinnati. Cincinnati Art Club. Pastel
oils, acrylics, water-soluble oils.
3/1-3/4/18, Kim Johnson, Getting Loose with and Oil Painting. This workshop will explore painting in
Sponsored by Jerrys Artarama.
Contact: 919/878-6782 ext. 156 Watercolors. pastels and/or oils in terms of the properties of color
Sharon@jerrysartarama.com 4/19-4/22/18, Iain Stewart, Amazing Architectural, (value, intensity, temperature), technique and design.
Kyandle@jerrysartarma.com or Landscapes and Other Beautifully Painted Subjects. Students will work from their own photo materials. There
www.artofthecarolinas.com 6/15-6/17/18, Ryan Fox, Combining Pouring with will be a demo in both mediums each day along with
Traditional Watercolor Techniques. lots of personal attention and critique geared to each
John C. Campbell Folk School 7/12-7/13/18, Janet Rogers, Impressionist Flowers. students level.
8/18-8/20/17, Kathy Chastain, Beginning Journaling & 7/14-7/15/18, Janet Rogers, Impressionist Landscapes. Contact: www.cincinnatiartclub.com/cac-workshops.html
Watercolor. $354. 7/16-7/17/18, Janet Rogers, Impressionist Portrait and
8/20-8/26/17, John Mac Kah, Critters & Creatures Figures. OREGON
Painting Animal Folk in Oils & Acrylics. $630. Contact: 704/541-6944, artistsgallery@bellsouth.net or Art In The Mountains
8/20-8/26/17, Annie Cicale & Redenta Soprano, www.nancycouick.com 8/7-8/11/17 and 8/14-8/18/17, Bend. Herman Pekel,
Botanical Books: Traditions Old and New. $630. Be Brave and Have Fun, watercolor - plein air and
8/27-9/2/17, Billie Shelburn, Dynamic Highland Michael Story
11/9/17, Raleigh. Art of the Carolinas / Sponsored by studio. Unearth fresh and honest art inside yourself and
Landscapes. $630. learn to capture it with paint. Herman will teach you to
9/3-9/8/17, Annie Cicale, Artist BookVessel for Word Jerrys Artarama. Mastering Color in Oil or Acrylic.
Improve your paintings with key fundamentals to nd originality in your own work. Get started with new
& Image. $564. ideas in a way that is fun and fast. You will learn about
9/8-9/10/17, Virginia Urani, Get Your Feet Wet with mastering color in easy to follow, step-by-step
exercises that Michael demonstrates in class. color mixing, glazes, composition, drying time, thickness
Watercolor. $354. and edges to create an impressionist painting you never
9/10-9/16/17, Teri Jones, Alcohol InksMastering the Contact: Sharon DiGiulio, 800/827-8478 (156)
sharon@jerrysartarama.com, www.artofthecarolinas.com thought possible with watercolor. Expect to be challenged
Medium. $630. to be brave, and to have fun!
9/17-9/23/17, Annie Pais, Painting with Natural Oils. or www.michaelstory.com
11/10/17, Raleigh. Art of the Carolinas / Sponsored by 8/21-8/25/17, Bend. Fabio Cembranelli, Intuitive
$630.
Jerrys Artarama. Mastering Skies & Reections. Improve Painting, Transcending the Subject!, watercolor, studio.
9/24-9/30/17, Pebbie Mott, Painting in Acrylics. $630.
your paintings and join Michael as we use the sky as a Learn to take advantage of transparent watercolor to
Contact: John C. Campbell Folk School, Brasstown, NC,
dramatic design element in your paintings composition. create loose, intuitive, free and spontaneous effects
800-FOLK-SCH or www.folkschool.org
Contact: Sharon DiGiulio, 800/827-8478 (156) in your paintings. Join Fabio Cembranelli and explore
Kanuga sharon@jerrysartarama.com, www.artofthecarolinas.com wet-on-wet techniques, practicing how to paint with no
4/7-4/13/18, Hendersonville. M.E. Mike Bailey, David R. or www.michaelstory.com preliminary drawing. You will learn how to take advantage
Becker, Carrie Burns Brown, Kathleen Connover, Robbie 11/11/17, Raleigh. Art of the Carolinas / Sponsored by of your own mistakes and capture the essentials of each
Laird, Dale Laitinen, Dean Nimmer, Jean Pederson, Jerrys Artarama. Mastering the Light by Underpainting subject.
Richard Stephens, Debora Stewart, Jo Toye and Soon in Oil or Acrylic. Improve your paintings and join Michael 8/28-9/1/17, Bend. Jane Davies, 100 Drawings,
Warren. as we use underpainting and layering of color to simulate Paintings, and Explorations, acrylic, studio. How do
Contact: Chris & Barbara Hutchison, 530/259-2100 a luminous glow in our landscapes. you make good art? How do you make art that is truly
www.KanugaWatermediaWorkshops.com Contact: Sharon DiGiulio, 800/827-8478 (156) yours? My view is that there are no tricks, gimmicks, or
Tom Lynch sharon@jerrysartarama.com, www.artofthecarolinas.com shortcuts to this elusive goal: it just takes a lot of art
or www.michaelstory.com making to cultivate your inner awareness of who you are
11/10-11/12/17, Raleigh.
10/15-10/19/18, Boone. Cheap Joes In House as an artist. Fortunately, making a lot of art is fun, if you
Contact: 630/851-2652
Workshops. Mastering Skies & Reections in Oil or can let go of the expectations and negative voices (that
Tomlynch@msn.com or www.TomLynch.com
Acrylic. Join us as we use the sky and water as a inner critic!) that get in your way. In this workshop we will
Nancy Couick Studios & Gallery dramatic design element in your paintings composition. focus on quantity making a lot of pieces from a given
Charlotte Contact: Edwina May, 800-227-2788 (1123) starting point.
8/11-8/13/17, Alexis Lavine, Design For Success. edwina@cheapjoes.com Contact: Tracy Culbertson, 503/930-4572
9/15-9/17/17, Soon Warren, Painting Vibrant Watercolors. www.cheapjoes.com/art-workshops.html or info@artinthemountains.com or
11/13-11/15/17, Rose Edin, Watercolors Filled with Light. www.michaelstory.com www.artinthemountains.com

Contact us for details!

MID-COAST MAINE
AND BEYOND!

2018 WATERMEDIA
WORKSHOPS
Hendersonville, North Carolina
Instruction - Sun.-Thu. cmaworkshops.com
(April 7-13, 2018) AUGUST 2017
Rockland
AUGUST 2018
13-17 Frank Eber WC
14-18 Ken Dewaard Oils 20-24 Herman Pekel WC
M.E. MIKE BAILEY 21-25 Mike Bailey AWS NWS WC 27-31 Marc Hanson Oils
28-9/1 David P. Curtis Oils 27-31 Kathy Conover AWS NWS WC
DAVID R. BECKER 28-9/1 Chris Cart WC SEPTEMBER 2018
SEPTEMBER 2017 10-14 Lori Putman Oils
CARRIE BURNS BROWN Rockland 10-17 Charles Reid WC
4-8 John Wilson #1 Oils 17-21 Colin Page-by Lottery
KATHLEEN CONNOVER 11-15 Andy Evansen WC Paint Away Classes!
11-15 John Wilson #2 Oils Oct 3-13, 2017 Venice
ROBBIE LAIRD 18-22 Kevin Beers Oils Colley Whisson Oils
25-29 Colley Whisson Oils Oct 13-23, 2017 Provence
DALE LAITINEN JULY 2018
Tony van Hasselt WC
Apr 26 - May 4, 2018
DEAN NIMMER 16-20 Mel Stabin AWS WC Strasbourg, France
23-27 Sterling Edwards WC Barge Trip
JEAN PEDERSON Belfast Larry Moore
30-8/3 Tony van Hasselt AWS WC Book by Oct 17
RICHARD STEPHENS 207-594-4813 info@cmaworkshops.com
DEBORA STEWART
JO TOYE
SOON WARREN WORKSHOPS!
www.KanugaWatermediaWorkshops.com NANCY COUICK STUDIOS
WWW.NANCYCOUICK.COM
Chris & Barbara Hutchison, Directors
Kanugaww@gmail.com 704.541.6944 CHARLOTTE, NC

74 artistsmagazine.com
74 artistsmagazine.com
Carol Lake carol.lake@fwmedia.com 385/414-1439
Mary McLane mary.mclane@fwmedia.com 970/290-6065

Tom Lynch TENNESSEE The workshop format is all inclusive (luxury lodging,
9/25-9/28/17, Springeld. meals, wine) in Texas beautiful Hill Country.
Camille Przewodek 2/19-2/22/18, Cody DeLong, The Arizona based artist
Contact: 630/851-2652
10/26-10/29/17, Nashville. Outdoor Figure Intensive. teaches mastery of the vivid colors of the US Southwest
Tomlynch@msn.com or www.TomLynch.com
Head & clothed gure in outdoor light. We will focus in Oils. The workshop format is all inclusive (luxury
Susan Ogilvie, PSA on seeing and expressing the big masses, light key, lodging, meals, wine) in Texas beautiful Hill Country.
10/12-10/15/17, Oregon City. Landscapes: Color and and planes of the gure (and background!) with color 3/5-3/8/18, Jason Sacran, The emphasis will be on plein
Composition with Pastel. Studio and Plein Air with to establish a vibrant illusion of the gure in space. air oils with completion in the studio. The workshop
Oregons autumn colors! Design and Color with purpose. Contact: Camille, 707/762-4125, neart@sonic.net, format is all inclusive (luxury lodging, meals, wine) in
Contact: 503/866-5507 www.przewodek.com or Jeanie Smith, Warehouse 521, Texas beautiful Hill Country.
carriemoorestudios5@gmail.com or 615/337-2570, warehouse521@gmail.com or 3/26-3/29/18, Laurel Daniel, This Texas artist has taught
www.carriemoorestudios.com http://tinyurl.com/warehouse521-camille-2017 for years in workshops and in Austins art museum. The
workshop format is all inclusive (luxury lodging, meals,
RHODE ISLAND TEXAS wine) in Texas beautiful Hill Country.
Tom Lynch Robert Burridge 4/16-4/19/18, Lorenzo Chavez, With a focus on plein
6/5-6/8/18, Pawtucket. 10/9-10/12/17, Lubbock. Loosen Up with Aquamedia air in oils or pastel, Lorenzo paints Art of the American
Contact: 630/851-2652 Painting. West Texas Watercolor Society. West. The workshop format is all inclusive (luxury
Tomlynch@msn.com or www.TomLynch.com Demo: Sunday, October 8. lodging, meals, wine) in Texas beautiful Hill Country.
Contact: June Musick, jamart2011@gmail.com or 5/7-5/10/18, Skip Whitcomb, uses oils and pastel to
SOUTH CAROLINA www.wtws.org craft and teach exceptional plein air work. The workshop
Art In The Mountains Tom Lynch format is all inclusive (luxury lodging, meals, wine) in
10/16-10/20/17 and 10/23-10/27/17, Charleston. Texas beautiful Hill Country.
4/9-4/12/18, Dallas.
Charles Reid, Drawing and Painting with Charles Reid - 5/21-5/23/18, John Lasater, Considered one of the top
Contact: 630/851-2652
Studio. Intermediate to Advanced. A great drawing is the Tomlynch@msn.com or www.TomLynch.com instructors in the US, John focuses on plein air in oils.
foundation of a great painting. Charles Reid, the master The workshop format is all inclusive (luxury lodging,
William A. Schneider, AISM, IAPS-MC, meals, wine) in Texas beautiful Hill Country.
of contour drawing, will teach you how to concentrate
on interconnecting shapes rather than drawing separate
PSA-MP, OPA Contact: 512/847-9344, bill@creekhaveninn.com or
objects. Discover how to simplify and avoid overworking 9/18-9/21/17, Fredericksburg. Wimberleyartistworkshop.com
Portraits and Figures in Oil and Pastel.
by focusing on good paint consistency. Practice direct
Contact: Fredericksburg Artists School, 830/997-0515 VERMONT
painting, using as few over-washes as possible. Achieve
the correct color, edge variety, and tonal value on the www.SchneiderArt.com Vermont Institute of Natural Science
rst try. Wimberley Artists Workshops 9/30-10/14/17, Quechee. SAT, SEP 30: Opening
Contact: Tracy Culbertson, 503/930-4572 10/16-10/19/17, Edward Povey, The internationally Reception and VINS 45th Birthday Party. SUN-THU:
info@artinthemountains.com or renowned painter from Wales is teaching the Five Visiting Artists from Wild Apple Graphics. TUE:
www.artinthemountains.com secrets of Landscape painting. The workshop format Quick Paint Competition. WED: Nocturne Painting,
is all inclusive (luxury lodging, meals, wine) in Texas Documentary Film. THU: Submission of Competition
Tom Lynch Artwork, Wine Tasting at Scavenger in White River
2/26-2/28/18, N. Myrtle Beach. beautiful Hill Country.
11/13-11/16/17, Rita Kirkman, The national award Junction, VT. FRI: Final Reception, Awards Ceremony,
Contact: 630/851-2652 Art Exhibit and Sale Opening. OCT 6-14: Art Exhibit
Tomlynch@msn.com or www.TomLynch.com winning pastelist, teaches techniques for making small
and quick paintings and then scaling them up. The and Sale.
Michael Story workshop format is all inclusive (luxury lodging, meals, Contact: 802/359-5000, vinsweb.org
3/20-3/22/18, Bluffton. Colleton River Plantation wine) in Texas Hill Country.
Painting the Skies & Marshes of the Low Country. Join 1/15-1/18/18, Clive Tyler, One of the top pastelists in
VIRGINIA
us at the Colleton River Plantation as we use the sky and the US teaches plein air and in-studio completion. The Tom Lynch
water as a dramatic design element in painting the Low workshop format is all inclusive (luxury lodging, meals, 8/4-8/6/17, Richmond. (Plein Air WS)
Country marshes. wine) in Texas beautiful Hill Country. 4/30-5/4/18, Fredericksburg.
Contact: Michael Story, 803/356-4268 2/5-2/8/18, Michael Holter, One of Americas top Contact: 630/851-2652
michaelstory@mindspring.com or www.michaelstory.com watercolorists, Michael teaches both plein air and studio. Tomlynch@msn.com or www.TomLynch.com

HUDSON RIVER VALLEY Susan OGILVIE PSA


ART WORKSHOPS
Learning, Laughter,
and Friendships in an
Inspiring, & Inviting
Environment

Call Toll-Free 1-888-665-0044


Kim English Aug 6-12, 2017
Self-Directed Retreat Sep 3-9, 2017
Ann Lindsay Sep 10-16, 2017
David Taylor Sep 17-23, 2017
Leah Lopez Sep 24-30, 2017
Skip Lawrence Oct 1-7, 2017
John MacDonald Oct 8-14, 2017
Fran Skiles Oct 15-21, 2017
Margaret Evans Mar 18-24, 2018
Margaret Dyer Apr 22-28, 2018
Christine Camilleri Apr 29-May 5, 2018
Peter Fiore May 6-12, 2018
Christine Ivers May 16-20, 2018
Workshops Studio & Plein Air
Robert Burridge May 20-26, 2018
Larisa Aukon May 30-Jun 3, 2018 with an emphasis on
Laurie Goldstein-Warren Jun 3-9, 2018
Richard McKinley Jun 10-16, 2018
Composition and Color
Joel Popadics Jun 17-23, 2018
Elizabeth St Hilaire
Brenda Swenson
Jun 24-30, 2018
Jul 1-7, 2018
2017 AZ MA OR
Kathyanne White Jul 8 - 14, 2018

artworkshops.com susanogilvie.com

September 2017
SEPTEMBER 2017 75
75
WORKSHOPS 2017 & 2018

Alain J. Picard, PSA Contact: Charlene Shelfer, 503/705-5277 CANADA


5/18-5/20/18, Richmond. Mid Atlantic Pastel Society. charandbobs@comcast.net
Robert Burridge
The Painterly Portrait, Three-Day Workshop,
Friday-Sunday 9:30am-4:30pm.
WISCONSIN 9/25-9/29/17, Vancouver Island, British Columbia.
Contact: MidAtlanticPastelSociety.com Jack Richeson & Co Inc Loosen Up with Aquamedia Painting. 5-day Workshop
8/7-8/9/17, Kimberly. Stephen Wysocki, Plein Air (Monday-Friday). Vancouver Island Art Workshops.
Shenandoah Art Destination Contact: Mary, 250/714-8080
The Shenandoah Art Destination, a 10-acre property, is Painting Workshop. A great introductory class to the style
and methodology of Plein Air painting. Stephen will guide info@vancouverislandartworkshops.com
magnicently located near the historic town of Lexington,
nestled in the Shenandoah Valley between the Blue and instruct students about the supplies they will need Caroline Jasper
Ridge and the Allegheny Mountains. The owners, Jan- and how to determine a good composition. 6/18-6/22/18, Prince Edward Island. 5 Day Workshop:
Willem & Nancy Boer, offer an ideal creative vacation 9/25-9/27/17, Kimberly. Lee Mothes, Watercolor & Looser Paintings: Land and Water. acrylics, oils, water-
and inspiration for all art lovers of any ability the fee for Drawing Media. Join nationally renowned artist Lee soluble oils. Sponsored by Out of Our Minds Gallery.
your stay is all-inclusive accommodations (private room Mothes for this three day workshop focusing on making Contact: 902/962-3612, stsomk51@hotmail.com or
and bath), meals (home-cooked), and art instruction. your work come alive. www.outofourmindsgallery.com
Pick-up from airports and train station available for Contact: 920/560-3777, artschool@richesonart.com or
nominal fee. All artists are welcome from the beginner to richesonart.com CROATIA
the professional painter for painting (all media), drawing Caroline Jasper Aline Ordman
and printmaking. Daily course guidance/tutelage by 9/11-9/14/17, Lac du Flambeau. 4 Day Workshop. 10/4-10/13/17, Dubrovnik. Landscape Painting Pastel
your host, Jan-Willem Boer, an established artist and Head & Heart Plein Air Painting, oils, acrylics,
illustrator for over 25 years in the USA & Europe, earning and Oil. After arriving in Dubrovnik we will go to the
water-soluble oils. beautiful island of Korcula and paint the magnicent
his degree from the Rietveld Academie in Amsterdam, http://www.carolinejasper.com/wkshp_dmstrtns/
The Netherlands. Each day there is a focus on a different landscapes of sea and lovely old towns. Aline will
wksp.4.HeadHeartPleinAir.media.Dillmans.htm demonstrate in pastels and oils while teaching principles
skill with much one-on-one instruction. The facility is Sponsored by Dillmans Art Workshop Retreat.
set up with two great indoor studios and many wonderful of color, design and technique. Daily excursions to
Contact: 715/588-3143, art@dillmans.com or
outdoor locations for plein-air painting. It is the perfect different locations.
www.dillmans.com
setting to focus on art and at the same time have a Contact: www.slikamilina.ca/pricing-book
refreshing vacation. Courses run from early spring to Madeline Island School of the Arts
late autumn; for cost and more information please 7/31-8/4/17, Herman Pekel. ENGLAND
visit website. Non-participating spouse/partner is also 8/7-8/11/17, Sterling Edwards. Cerulean Blue Trips
welcome (see website for their cost). The testimonials 8/14-8/18/17, Frank Eber. 6/16-6/23/18, If you love owers, this trip is for you!
of previous participants acknowledge what a wonderful 8/21-8/25/17, Ted Nuttall. Cornwall is famous for many things: stunning seascapes,
experience you will have as well as the Google Reviews 8/28-9/1/17, David Taylor. Celtic ruins, Cornish Pasties (tasty meat pies), and the
posted directly on Google. Featured in the Washington 9/11-9/15/17, Margaret Dyer. TV series, Poldark. But nothing compares to Cornwalls
Post Travel Magazine 9/13/15 - http://t.co/bDaZdFZ9Cj 9/18-9/22/17, Fabio Cembranelli.
gardens! Paint in a different garden each day with oral
8/27-8/30/17, 4-Day session. 9/25-9/29/17, Plein Air Painters of America
art instructor Pat Fiorello and return at days end to a
9/1-9/4/17, 4-Day session. Master Workshops.
11/13-11/17/17, Eric Wiegardt. beautiful hotel by the sea. All mediums, all levels.
9/8-9/10/17, Weekend session.
10/12-10/15/17, 4-Day session. 11/27-12/1/17, Karlyn Holman. Contact: Nan Dawkins, 954/663-7250
10/19-10/24/17, 6-Day session. Contact: 715/747-2054, www.madelineschool.com www.ceruleanbluetrips.com
11/3-11/5/17, Weekend session. FRANCE
Register now to be part of the beautiful fall season
courses. INTERNATIONAL Cerulean Blue Trips
Contact: 612/221-1140 6/2-6/11/18, Looking for some magic in your life and/
nancy@shenandoahartdestination.com or BALI or art? You dont have to be an artist to join us on this
www.ShenandoahArtDestination.com Flying Colors Art Workshops tour of Black Madonnas, the cave of Mary Magdalene,
August 2018, Ubud and Candi Dasa. Ken Goldman, WC. Chartres Cathedral, prehistoric caves, shrines to Roman
WASHINGTON All levels of instruction. goddesses, and more! Join Linda Richichi for a unique
Birgit OConnor Contact: Cris Weatherby, 858/518-0949 opportunity to travel, reect, and create a unique and
10/2-10/6/17, Vancouver. Fearless Florals SWWS. FlyingColorsArt@me.com or www.yingcolorsart.com unforgettable travel journal!

Fort Myers
Beach Art Associaon
A working gallery of workshops,
classes, exhibits and art for sale.
3030 Shell Mound, FMB
239-463-3909
Fortmyersbeachart.com

Paint inb
ART WORKSHOPS 2018
MEXICO-San Miguel de Allende
Judy Morris, Betty Carr- March 2018
SWITZERLAND June 2018
Mel Stabin-WC
SANTA BARBARA April 2018
Brenda Swenson-WC
Italy. France. Spain.
BALI-Ken Goldman August 2018 England. Croatia....
FlyingColorsArt.com 858-518-0949

76 artistsmagazine.com
76 artistsmagazine.com
Carol Lake carol.lake@fwmedia.com 385/414-1439
Mary McLane mary.mclane@fwmedia.com 970/290-6065

7/15-7/24/18, Spend 9 magical nights in quiet,


unspoiled Brittany in a lovely chateau by the sea!
Youll learn techniques for painting skies, seas and
landscapes from acclaimed oil and pastel artist, Susan
Robbie Laird
Nicholas Gephart. Susan is on the faculty at the Plein Air
Convention and is well known for her dramatic skies. All
Watermedia Artist, Teacher, Juror
*NEW-FIRST TIME! September 17-21, 2017
Our
mediums and levels welcome!
Contact: Nan Dawkins, 954/663-7250
www.ceruleanbluetrips.com
Creative Rhythms Retreat
Painting, Mindfulness Practice, & Yoga
classes
Chteau de la Vote Fall Painting Holiday
9/23-9/30/17, Workshop with landscape artist Tom
Calistoga, California
Carla Heise, carlaheise@gmail.com last a
Hughes. Accommodations in picturesque Loire Valley
chateau. Participants will be coached at each persons
individual skill level, from experienced outdoor painter to
Details - www.Robbie Laird.com
September 28 - October 1, 2017 lifetime.
outright beginner.
MTWS, Kalispell, Montana
Contact: 415/922-5872, www.PleinAirFrance.com Margo Voermans What you learn at the
mtwoman23@gmail.com Folk School stays with you.
Paint Away: Art Classes Abroad!
A Coastal Maine Art Workshop Program. For more workshops
Non-painters welcome! Contact Robbie 530/259-2100 JOHN C. CAMPBELL FOLK SCHOOL
10/13-10/23/17, Provence. Tony van Hasselt AWS, folkschool.org 1-800-FOLK-SCH
Paint the Villages of Provence. WC. $3,995 painter dbl robbie@robbielaird.com
occ/$3,595 non-painting companion dbl occ. www.RobbieLaird.com BRASSTOWN NORTH CAROLINA
4/26-5/4/18, Strasbourg. Larry Moore Plein Air Oils/
Acrylics. Our own private Barge on the Marne Canal! Non
painters welcome! Dbl Occ $3,795/non Painter $3,595.
Contact: Lyn Donovan, 207/594-4813
info@cmaworkshops.com or
www.cmaworkshops.com Aline Ordman Northeast Art
Workshops in France
Art Retreats
Workshop Retreats
Chateau art retreat in Provence. Distraction-free paradise
for artists. Friendly, fabulous food, wine, accommodation gets rave reviews!
in the Chteau and transportation to beautiful painting
locations. All-inclusive retreat except airfare. Internationally Acclaimed
5/6-5/15/18, Provence. 10 days. Poppies to the Artist Instructors
Mediterranean. All media -paint and sketch side-by-side
with artists.
All levels & all media including:
9/16-9/25/18, Provencal villages, vineyards and watercolor, encaustic, acrylic,
Czanne. All media. Sketch side-by-side with artists. oil, collage, etc.
Instructed Workshops
Paint with exceptional master painters in France.
Perfectly-balanced painting workshops with instruction
2000 sq ft Dream Studio also
and total immersion in French life. All-inclusive: New York August 2017; Ohio September 2017
available for Shares and Rentals
instruction, food, wine, accommodation at the Chateau, Croatia October 2017
except air-fare. northeastartworkshops.com
Florida March 2018; New York May 2018
7/4-7/13/18, Carol Marine Instructor Painting Provence-
10 days painting experience in southern France with
Daily Painting pioneer.
www.alineordman.com 978.729.4970
Contact: Julie Snyder, 818-621-2523
GUATEMALA
Flying Colors Art Workshops
February 2018, Antigua and Panajachel. Kathleen
www.TOMLYNCH.com
Conover, WC. All levels of instruction. Aug 4 6 Richmond, VA
Contact: Cris Weatherby, 858/518-0949 (Plein Air WS)
FlyingColorsArt@me.com or www.yingcolorsart.com Aug 15 18 Carmel, IN
Aug 25 27 Red Bank, NJ
ITALY Sept 11 14 Beaver Creek, CO
Larisa Aukon Sept 25 28 Springeld, OR
8/18-9/1/18, Oil and Gouache - Plein Air in Umbria. Oct 10 13 Rehoboth Beach, DE
La Romita School of Art. Nov 10 12 Raleigh, NC
Contact: 855/476-6482, laromita.org Nov 14 17 Quincy, FL
Cerulean Blue Trips Dec 11 14 Palm Beach, FL
9/23-9/30/17, Amal Coast. Spend a week along the Jan 5 7 Sanibel Island, FL
stunning Amal Coast in Italy, painting magnicent Jan 18 21 Daytona Beach, FL
seascapes, seaside gardens, and street scenes with Feb 14 17 Punta Gorda, FL
realist instructor Inez Hudson. Includes a tour of Feb 26 28 N. Myrtle Beach, SC
Pompeii! Mar 13 15 Tequesta, FL
9/30-10/7/17, Ravello. Spend a week in Ravello perched Apr 9 12 Dallas, TX Available For Workshops
high above the Mediterranean sea, painting seaside Apr 30 May 4 Fredericksburg, VA In Your Area
gardens, villas and street scenes with award winning May 15 18 Manahawkin, NJ Call 630-851-2652
plein air instructor, Stacy Barter. June 5 8 Pawtucket, RI Tomlynch@msn.com
9/23-10/3/18, Get intense personal instruction from the
artist behind the wildly popular PBS show, The Grand
View. Join Stefan Baumann for 10 nights of intensive
painting instruction focusing on both the landscape of
Tuscany and the architecture of its capital city, Florence!
All mediums, all levels (beginners love Stefan so dont be
intimidated!)
Contact: Nan Dawkins, 954/663-7250
www.ceruleanbluetrips.com
Paint Away: Art Classes Abroad!
A Coastal Maine Art Workshop Program.
Non-painters welcome!
10/3-10/13/17, Venice. Colley Whisson, Impressionistic
Venice. Oils/Acrylics. $3,695 painter dbl occ/$3,495
non-painting companion dbl occ.
Contact: Lyn Donovan, 207/594-4813
info@cmaworkshops.com or
www.cmaworkshops.com
MEXICO
Casa de los Artistas, Inc.
Masla Fine Art
Robert Masla Studios South
Contact: 413/625-8382
www.ArtWorkshopVacations.com or
www.MaslaFineArt.com

September 2017
SEPTEMBER 2017 77
77
WORKSHOPS 2017 & 2018

CAROLINE JASPER
SEPTEMBER 30 to
OCTOBER 6 / 2017
Painting Workshops
oils, acrylics, water-solube oils
3RD ANNUAL
VINS Nature Center
Quechee, VT
en
Plein Air Free Newsletter
Sign up:
info@carolinejasper.com
PleinAirVINSVT.org Painting Festival www.carolinejasper.com

ADVERTISER INDEX
Workshops Alain Picard .........................................................78

2017-2018 & Aline Ordman .......................................................77


American Artists Professional League ....................79
Ongoing Classes Anderson Fine Art Gallery .....................................73
Art Gallery Frames................................................79
Pastel Society of America 15 Gramercy Park South NY, NY 10003
Art Gallery Of Fells Point, The ...............................79
www.pastelsocietyofamerica.org (212) 533-6931
Art In The Mountains ............................................72
Artspan.com ........................................................67
Audubon Artists Inc..............................................79
A Unique Tropical Paintcation with the Best Instruction Contact: Tracy Culbertson, 503/930-4572
in the Best Location. All inclusive artists retreats - Award-Winning Artist Workshops ...........................73
info@artinthemountains.com or
tropical oceanside paradise Robert Burridge, Andy www.artinthemountains.com Birgit OConnor ....................................................77
Evansen, Robert Masla, Jim McVicker, Mario Andres Blick Art Materials ..................................... IFC, 1, 29
Robinson, Sandra Wakeen, Randall Sexton, Lian Quan SCOTLAND Camille Przewodek ............................................... 74
Zhen. Serene charming shing village 10 miles south of Workshops in Scotland
Puerto Vallarta. Call for early registration discounts. Visit Canvasonrolls .......................................................26
Join Scotlands art retreat in the Highlands and Islands
our website for more details, schedule, slide show, free Cape Cod Art Association......................................79
of Scotlands west coast. Magnicent glens, countryside
instructional videos and Caroline Jasper Studio ..........................................78
and the best of Scotland. Loch-side accommodations, all
1/6-1/13/18 & 2/10-2/17/18, Robert Masla, Paint in Catharine Lorillard Wolfe Art Club ..........................79
paradise with Casa Director/Co-founder, Aqua media, Art meals, wine, and transportation included with exception
& Yoga, Draw Like Crazy Draw Like a Painter! Painting of airfare. Includes 3-day art and culture tour-Edinburgh Cerulean Blue Enterprises .....................................76
in Plein Air and the Studio. & Glasgow. Chicago Pastel Painters ........................................79
1/13-1/20/18, Lian Quan Zhen, Watercolor Painting 6/16-6/29/18, 2 full weeks. Art Retreat. Argyll Scotland.
Coastal Maine Art Workshops ................................ 74
Color Pouring and Blending, Studio and Plein Air. All media. Paint and sketch side-by-side with artists.
Contact: Julie Snyder, 818/621-2523 Colart America ............................... 3, 15, 27, 28, BC
1/20-1/27/18, Robert Burridge, Abstract Acrylic and
Collage Workshop. Colored Pencil Society Of America.........................25
1/27-2/3/18, Jim McVicker, Painting in Plein Air and the
SPAIN Creative Art Workshops .........................................72
Studio. Cerulean Blue Trips Drawing Art Academy ...........................................75
2/3-2/10/18, Mario Andres Robinson, Painting in 5/19-5/26/18, Travel with Dick Blick resident artist, F+W ...............................13, 20, 62, 66, 67, 79, IBC
Paradise the Portrait and Figure in Watercolor. Joe Gyurcsak to study the techniques of the Spanish
2/17-2/24/18, Andy Evansen, Loosening Up Your Flying Colors Art Workshop ...................................76
impressionist, Joaqun Sorolla. Beginning at the Sorolla
Watercolor Painting, Plein Air and Studio. museum in Madrid, you will paint in the gardens of the Fort Myers Beach Art Association ..........................76
2/24-3/3/18, Sandra Wakeen, Painting in the Tropics, artists home. Next, travel to Valencia to paint some General Pencil .....................................................25
Plein Air and Studio. of Sorollas most famous scenes along the Spanish Golden Artist Colors ...................................6, 25, 26
3/10-3/17/18, Randal Sexton, Expressive Brushwork En coastline. All mediums, all levels.
Plein Air, Plein Air and the Studio. Hudson River Valley ..............................................75
Contact: Nan Dawkins, 954/663-7250
Zola Delburn Huntsville Museum Of Art .....................................68
www.ceruleanbluetrips.com
10/30-11/4/17, San Miguel de Allende, GTO. Stephen Jack Richeson & Co Inc ....................................5, 29
Cefalo, Drawing and Painting the Figure. This 5 day SWITZERLAND Jerrys Artarama ............................................. 21, 28
workshop coincides with the wonderful esta celebrating Flying Colors Art Workshops John C. Campbell Folk School ...............................77
Dias De Los Muertos in magical San Miguel de Allende, June 2018, Lauterbrunnen. Mel Stabin, WC. All levels. Kanuga ................................................................ 74
the heart of Mxico. Stephen Cefalo is a contemporary Contact: Cris Weatherby, 858/518-0949
gurative painter, equally inuenced by the symbolists Larisa Aukon ........................................................76
FlyingColorsArt@me.com or www.FlyingColorsArt.com
and artists of the baroque. The workshop will be held in Liliedahl Fine Art....................................................9
the painting studio of Gerardo Ruiz which is located UNITED KINGDOM Macphersons ....................................... 6, 11, 27, 29
next to Fbrica la Aurora. Breakfast will be served at
9:30 a.m. in the garden before each class. A closing Jack Richeson & Co Inc Madeline Island School Of Art ...............................72
esta will be hosted by Zola Delburn in her painting 9/2-9/13/17, Newquay, Cornwall. Stephen Quiller, Masla Fine Art .....................................................77
studio in El Centro. Reserve your space now! This Watermedia Workshop. Waitlist Only. Michael Story .......................................................76
workshop is open to a maximum of 10 people. Contact: 920/738-0744 or 800/233-2404
Nancy Couick Studios & Gallery............................. 74
Contact: Zola Delburn, zola.delburn@icloud.com or colleen@richesonart.com or www.richesonart.com
www.zoladelburn.com National Society Of Artists ....................................79
Northeast Art Workshops ......................................77
12/4-12/8/17, San Miguel de Allende, GTO. Zola
Delburn, The Fundamentals of Painting in Oils. Year ONLINE Pastel Society Of America .....................................78
round classes in Color and Composition, as well as an DrawingAcademy.com Planes Of The Head..............................................79
Open Studio class for the artist that wants to take their Ongoing online classes - How to Draw Whatever You
painting to a new level. Plein Air France Holidays ......................................76
See or Imagine. Discover traditional drawing techniques
Contact: Zola Delburn, zola.delburn@icloud.com or Portrait Society Of America ................................... 17
and get an unlimited personal support from the Academy
www.zoladelburn.com Publicis Media ..................................................... 19
tutors. Watch Free How to Draw Video Lessons here:
12/4-12/8/17, San Miguel de Allende, GTO. Gerardo RG & L Garafola .............................................13, 29
http://DrawingAcademy.com/free
Ruiz, Printmaking and Encaustic Painting. Year round
classes in Printmaking and Encaustic Painting. Camille Przewodek Robbie Laird Art Studio ........................................77
Contact: Gerardo Ruiz, info@gerardoruizart.com or Mondays with Camille. LDL (Long Distance Learning) Robert Burridge Studio .........................................73
www.gerardoruizart.com is a continuation program for further developing a new Savoir-Faire ...................................................28, 63
Flying Colors Art Workshops way of seeing and painting color. Online instruction/ Sedona Arts Center ..............................................69
3/4-3/10/18, San Miguel De Allende. Judy Morris, WC. critiques are scheduled on Monday afternoons, from 2 Shenandoah Art Destination ..................................78
All Levels Welcome. to 5 pm (Pacic Time) for painters who have taken one
of my 5-day workshops, but are unable to come and Susan Ogilvie .......................................................75
3/11-3/17/18, San Miguel De Allende. Betty Carr, WC.
All Levels Welcome. continue their studies at my regular Monday morning The Art Engine .....................................................73
10/21-10/27/18, San Miguel De Allende. Don Andrews. classes in Petaluma CA. Plein-air still life, landscape, The Cultural Center At Ponte Vedra Beach ..............71
All Levels Welcome. head & gure. Please see website for updated schedule The Teaching Company .........................................23
Contact: Cris Weatherby, 858/518-0949 and details.
Tom Lynch ...........................................................77
FlyingColorsArt@me.com or www.FlyingColorsArt.com Contact: Camille Przewodek, 707/762-4125
neart@sonic.net or www.przewodek.com Vermont Institute Of Natural Sciences ...................78
NEW ZEALAND Visual Arts Center ................................................79
Art In The Mountains The next Workshop Section will appear in William Schneider ................................................72
1/31-2/10/18, New Zealand Cruise/workshop and The Artists Magazines December 2017 issue. Wimberley Artists Workshops ................................70
2/10-2/12/18 plein air in Sydney, Australia with David Space Reservation is by August 31, 2017
Zola Delburn ........................................................77
Taylor. Strength and Flow of Watercolor Newsstand Date for December is October 31, 2017

78 artistsmagazine.com
78 artistsmagazine.com
Carol Lake carol.lake@fwmedia.com 385/414-1439
Mary McLane mary.mclane@fwmedia.com 970/290-6065

digital images through https://client.smarterentry.com/


CALL FOR ENTRIES capecodart before September 8 deadline. Accepted work
received by October 16. Reception: 5-7pm Thursday,

SEE ALL 7 HEADS


planesofthehead.com
DEADLINE: AUGUST 31, 2017 October 19. Pickup: November 13. Over $3,000 cash
Audubon Artists Inc. 47 Fifth Avenue, New York, NY. awards. www.CapeCodArtAssoc.org
2017 Online Jury Exhibition, October 1 - December 31,
2017. Awards Announcement: Oct. 10th. Over $20,000
DEADLINE: SEPTEMBER 15, 2017

760.809.3614
in cash, medals & merchandise awards. Open to Audubon Art Gallery of Fells Point 34th North American
Artists. Elected and Associate Members Only residing in Miniature Exhibition, October 4 - November 5, 2017.
the USA. Online entry requirements: All exhibit entrants Prospectus - www.fellspointgallery.org. Artwork accepted
must register, pay $20 entry fee & submit jpeg image. August 16 - September 17, 2017. Cash prizes.
From June 1 - August 31, 2017. Elected & Honorary For more information, please contact Pat Baker,
Members Jury Free. Medium Categories, Aquamedia, fellspointartgallery@hotmail.com
Collage & Mixed Media, Graphics, Oils/Acrylics, Pastels,
Sculpture. Elected member dues $60. Associate member DEADLINE: OCTOBER 1, 2017
dues $40. Must be paid online by June 30, 2017. Dues American Artists Professional Leagues 89th Grand
beginning July 1, incur $15 late fee. Artists must pay National Exhibition Annual Open Juried Show On Line.
Current or Arrears dues to participate in the exhibit. Show dates October 9 - December 29, 2017.
New associates welcome for entry. Awards Jurors - to be Open to all artists. Media: Oil & Acrylic (Oil Technique),
announced. To obtain prospectus Water Media & Acrylic (Watercolor Technique),
www.audubonartists.org Pastel, Mixed Media & Graphics and Sculpture.
Over $15,000 in awards, medals and merchandise
DEADLINE: SEPTEMBER 4, 2017 will be given. Submit your entries online at
Sixth Biennial National Juried Open Exhibition Pastels
Chicago 2017 November 8 - December 3, 2017 at the www.americanartistsprofessionalleague.org. The
Mayslake Peabody Estate in Oak Brook, Illinois. $1,500 prospectus can be downloaded from the website, or
Best of Show with approximately $8,000 in cash and send a SASE to: AAPL, Salmagundi Club, 47 Fifth Ave,
merchandise. Juror of Selection: Jen Evenhus, Judge of New York, NY 10003. More Information: Email:
Awards: Ellen Eagle. Members $35/Non-members $45, ofce@aaplinc.org or Tel: 212/645-1345.
up to 3 entries. Soft pastels only. Online entry only. The Fine Art of Framing
Prospectus and link to ShowSubmit at DEADLINE: NOVEMBER 3, 2017
www.ChicagoPastelPainters.org Catharine Lorillard Wolfe Art Club, Inc. 121st Annual Hundreds of ready made frames
Open Juried Exhibition at the National Arts Club, NY.
DEADLINE: SEPTEMBER 7, 2017 in sizes from 4 x 6 to 48 x 72
January 9-25, 2018. Open to women artists. Media: Oil,
National Society of Artist 33rd Juried National Art Show, Acrylic, Watercolor, Pastel, Graphics, Mixed Media and
in Galveston, Texas, is accepting entries online. Open Sculpture. Over $10,000 in awards. Entry fee: $45/
to all artists of different mediums in 2D and 3D that are Members, $50/Associates, $55/Non-Members. Online
original. No older than 3 years. No nudes or violence.
entry. Submit your entries at www.showsubmit.com
Notication by email September 20, 2017. Entry fee $30
Download the prospectus at www.clwac.org
for rst, $10 for each additional. Shipped artwork due by
October 5, 2017. Hand delivered artwork due by October DEADLINE: DECEMBER 10, 2017
11, 2017. Total prize money $3,000. JPEG entries 11th Biennial National Art Exhibition, Visual Arts Center,
accepted at www.onlinejuriedshows.com. Prospectus at
Punta Gorda, FL. February 2 - March 23, 2018. CUSTOM SIZE FRAMES AVAILABLE IN MANY STYLES
www.nsartists.org
Juror: Steven J. Levin. Best of show $2,000.
DEADLINE: SEPTEMBER 8, 2017 Entry fees $35 1st, $15 2nd and 3rd. Order Online:
Cape Cod Art Association All New England Open Juried Online entries only www.juriedartservices.com ArtGalleryFrames.com
Exhibition & Sale. October 16 - November 12. Submit Prospectus www.visualartcenter.org

SHADES OF GRAY EARLY-BIRD DEADLINE:


SEPTEMBER 8, 2017
SHADES OF GRAY
SHADES OF GRAY
SHOW OFF YOUR VIBRANCY
IN BLACK & WHITE.
Shed your colors and enter your best
black, white and gray drawing in the
Shades of Gray competition, presented Stickley at Rest, by Janet Evander. Third-place winner, 2016 Shades of Gray Competition
by Drawing magazine. You could gain a
lot by working with the power of black, Accepted media include:
white and gray, including $1,000 in cash, Graphite Chalk Ballpoint Pen
an appearance in Drawing magazine and Charcoal Colored Pencil Mixed Media
national recognition. Pastel Pen-and-Ink And More!

For the full list of prizes and rules, visit artistsnetwork.com/shadesofgray

September 2017
SEPTEMBER 2017 79
79
Competition Spotlight artists are chosen from
The Artists Magazines annual art competition nalists.

The Artists Magazine Annual Art Competition 2016 Finalist

COMPETITION SPOTLIGHT

ABOVE: Happy-Go-Lucky
(watercolor and gouache

Jan-Niklas Tants on board, 16x20)

Garching, Germany

I STUDIED BIOCHEMISTRY IN required to get the nal colors. Be passionate was challenging to focus on
COLLEGE, but art was always I only use Schmincke water- about what you all of their small wrinkles. It
a leisure activity. During the colors; here I used a layer of do. Passion was important for the varying
four years while I was working gouache for a dusty effect, can guide tones and grays to exist har-
on my Ph.D., I began painting which also helped push the you through moniously and not clash, but
more and tried to improve by other elephants further back. the difcult also to differ enough to sug-
studying other wildlife artists. I used gouache to put sunny times you gest individual animals and
The predominent medium highlights on the elephants will no doubt specic body parts. I loved
in Happy-Go-Lucky is water- wet skin and for the reec- have during painting the little elephants
color. I generally follow the tions in the water. the painting face; you really build a close
classical approach of light- I knew it would be a process. relationship with the subject
to-dark; I typically dont use challenge to paint so many Passion keeps while painting it as you see it
any white. Several layers were elephants, and indeed, it you going. come to life.
80 artistsmagazine.com
80 artistsmagazine.com
Call for Entries

EARLY-BIRD
DEADLINE:
SEPTEMBER 5

Were looking for artists age 60+ 10 winners $250 each


working in two dimensions in all art media. 10 winners will be prominently featured
Submit your work and you could see it in the magazine and will receive $250
featured in The Artists Magazine! each in cash prizes.

For complete guidelines and to enter, visit


artistsnetwork.com/competitions/over-60-art-competition
Vase with Flowers V by Kristin Herzog (acrylic on canvas, 36x36); photo by Peter Toth
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IN THIS ISSUE
SEPTEMBER 2017 VOLUME 34 NUMBER 7

COLUMNS
7 Perspective
8 The Artists Life

10 Brushing Up
16 Drawing Board

22 Ask the Experts


64 Road Test
80 Competition Spotlight

54

FEATURES
30 Joseph Raffael in the Now ON THE COVER
In small paintings focused on solitary owers, Joseph Raffael 16 Stephen Cefalo on Drawing the Figure
celebrates single moments of beauty. BY BETSY DILLARD STROUD 10 Gold Leaf Today
30 Living in the Now: Joseph Raffael
46 Margaret Bowlands Uncomfortable
38 Going Abstract 54
Pictures
Around the World: City Scenes in
Emil Robinsons paintings of interiors have evolved from literal Watercolor, Pen & Ink
depictions to portrayals of contemplative space. BY JOHN A. PARKS 8 Fathers & Sons by Way of Japan
22 Night Scenes: Plein Air in the Dark
7 Queer British Art at the Tate
46 Giving Voice to the Soul 38 Journey From Representation to
Abstraction
Cast in a theater of unpleasant truths, Margaret Bowlands 9 Social Star: Vincent Giarrano
gures convey uninching grace. BY LOUISE B. HAFESH 80 From Biochemistry to Art

COVER: Radiant Heart (detail;


54 Artist on the Go watercolor on paper, 17x18)
In ink and watercolor paintings, Roger De Muth preserves by Joseph Raffael
architectural treasures ranging from landmark urban structures
to careworn dwellings. BY HOLLY DAVIS

ABOVE: AlfredBernards House (ink and


watercolor, 10x13) by Roger De Muth
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