Professional Documents
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MultiplePoint
Perspective
Winners
of the 2012 Annual
Art Competition
Misty and
Mysterious
December 2012
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contents
DECEMBER 2012
36
VOLUME 29 NUMBER 10
features
35 The Winners of The Artists
36 Landscape/Interior
Edited by Holly Davis
42 Animal/Wildlife
Edited by Cherie Haas
56 Portrait/Figure
Edited by Maureen Bloomeld
62 Still Life/Floral
Edited by Christine McHugh
68 Abstract/Experimental
Edited by Betsy Dillard Stroud
42
56
62
68
columns
8 Letters
12 The Artists Life
A panel in Toronto decides
whether grafti is vandalism or
art; we invite you to the World of
Art Showcase, and more.
Edited by Cherie Haas
18 Exhibitions
22 Holiday Gift Guide
Great gifts for artists on your list.
24 Brushing Up
Tonal landscapes depend on
atmospheric effects.
By M. Katherine Hurley
30 Holiday Sweepstakes
Someone wins art materials
every day of the season!
32 The Artists Magazines
12
on the cover
Direct vs Indirect 74
Multiple-Point Perspective 84
Competition Winners 35
Tonal Landscapes 24
COVER: Crazy Quilt (oil, 28x18)
by Grace Kim
Learn More
ONLINE
online at
www.artistsmagazine.com
DECEMBER
Artist Mark Mehaffey explains the fundamentals that will strengthen your abstract
compositions in an online article from our January/February 2011 issue.
Daily Extras
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new!
Hardbound
Art Journals
400 Series Recycled Drawing
Jamie Markle
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letters
Trying To Excel
I had the good fortune to
attend American Artists Weekend with the
Masters in San Diego, where artists of the caliber of Daniel E. Greene, David Leffel, Sherrie
McGraw, Juliette Aristides, Quang Ho, Rob
Liberace and David Jon Kassan, to name just a
handful, maintained that, as artists, we have to
pay attentionto look until we see. Looking
until you see sounds easy unless youve spent
a lifetime at it. In fact, David Leffel called
painting a problem-solving discipline; Daniel
E. Greene spoke of the challenge of realism
and of the extremely worthy goal of spending ones life trying to excel. Trying to excel
is continual, an inner and outer process, a
dilemma and a joy.
If youre a new reader of The Artists Magazine, we welcome you. In every
issue, we feature artists who are generous enough to share secrets of craft
and wise enough to impart lessons as relevant today as they were centuries
ago. In this issue, Michael Chesley Johnson demonstrates two approaches
to painting in oil ( By Direct or Indirect Means, page 74); M. Katherine
Hurley walks you through a tonal landscape (Brushing Up, page 24); Grant
Fuller offers a refresher course in perspective (Drawing Board, page 84), and
Leonard D. Duboff explains more of the complexities of copyright law (Ask
the Experts, page 82).
Finally, we celebrate the winners of The Artists Magazines 29th Annual
Art Competition (coverage starts on page 35); we congratulate the finalists,
as well, and indeed everyone who submitted work for our review. Keep at it!
Perhaps the only point on which all the artists at Weekend With the Masters
agreed was this: The more you put into it, the more you get out of it. Keep
painting.
THIS SEPTEMBER
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EDITED BY CHERIE HA AS
Is It Art or Is It
Vandalism?
The city of Toronto enlists a panel to decide the fate
of street art.
BY L ARRY HUMBER
a
bunch of stuffed shirts who condemned Whistler, Manet and other
notables to the Salon des Refuss
and actually kick-started the artists
careers. Toronto is about to launch
the digital-age equivalent, a Graffiti
Panel whose mission is to separate
art from what it labels vandalism.
This has the local press in a tizzy,
with one headline reading, What
is Art? Panel to Decide. But Elyse
Parker, director of Torontos Public
Realm office said that was never the
citys intention.
Questioning what is art is what
we wanted to get away from, said
Parker. What were trying to determine is if the examples are graffiti
vandalism and should be removed.
Were not looking at whether things
12
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December 2012
13
w i th Ba rry J o h n R a y b o u l d M.A.
visit www.VirtualArtAcademy.com
This program is something I wish I had started 5 years ago.
The lessons are so informative that I feel rushing through
the course would be a disservice.
Thanks for the opportunity to learn online in such an organized,
complete way. The fact that I can do this at my own speed and
in my own time is perfect.
The World of Art Showcase, a multifaceted celebration of the senses invites renowned and up-and-coming
painters from around the world to share their work with
serious collectors. The groundbreaking vision of David
Goldstein, COO of Jerrys Artarama, World of Art
Showcase is set to make its debut at the Wynn Las Vegas,
December 2022.
F+W Media is very excited to be involved with the
first World of Art Showcase, says Jamie Markle, group
publisher of The Artists Magazine and Southwest Art magazine, both of which are sponsors of the event. I know
that the working artists who read The Artists Magazine
and the collectors who read Southwest Art will find this
one-of-a-kind event to be the perfect match for those
looking to sell or buy artwork.
The World of Art Showcase is an exclusive event for
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exhibitions
EDITED BY CHERIE HA AS
John B. How Fund (and Directors Contingency Fund); Photograph Museum of Fine Arts, Boston
www.artistsmagazine.com
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December 2012
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73.5 x 108 in., Terra Foundation for American Art, Chicago, Daniel J.
Terra Collection, 1992.51
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For more information, visit www.drawingtheportrait.com
brushing up
BY M. K ATHERINE HURLEY
Learn how to achieve the atmospheric subtleties of hue, value and temperature
that are characteristic of tonal landscapes.
24
www.artistsmagazine.com
brushing up
air on the day of my walk, the sunlight had shone with a warm hue,
and I decided to push that warmth.
The third variable was the arrangement of the big shapes. The fourth
variable was the placement of the
jewel, the place where I want the
viewers eye to go. The jewel for
this piece appears at this stage as a
bright orange area in the lower right
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25
brushing up
4
quadrant. At this stage Im referring
more to my pastel and value studies
than to my photos (all three types
of references are on the wall to the
right of the painting).
5. Layer Sky and Fog
I was ready for my second day of
paintingand the fun was about to
begin. I started to layer in the sky
and fog with a mixture of titanium
white, cadmium orange and radiant
violet. Working on the sky helped
me sculpt out the fog-covered trees.
Subtle shifts like thesein value,
hue and temperatureare what
make tonalism so beautiful and
mysterious.
Throughout my painting process,
I generally apply my paint with soft
bristle flat brushes of various sizes.
Then I use a 4-inch soft bristle brush
to soften edges and abstract shapes.
The resulting fusion of color aids in
the overall tonal effect.
6. Tree Layer and Local Color
Using the sky mixture as my base
and adding a small amount of
maroon, I built up another layer of
trees, which added weight to the
26
www.artistsmagazine.com
6
5
transparent monotone underpainting.
I then applied the local colors of the
brush and grasses until Id established all the building blocks and felt
that the composition was solid.
7. Work Shapes and Edges
With a clean round brush, I broke
up large, flat shapes to infuse energy.
These marks would provide doorways of opportunity as I continued.
Adding transparent orange to my fog
mixture, I pushed the luminosity of
brushing up
ART COURSES
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brushing up
10
Learn More
The magazine issues, DVDs and books
mentioned below are available at
www.northlightshop.com. The DVDs
are also available as downloadable
videos at artistsnetwork.tv. For more
information and free DVD/video previews, go to www.artistsnetwork.com/
tamonlinetoc.
DVDs
Dramatic Values: M. Katherine Hurley
Works in Black and White (North Light
Books
Vivid Color Landscapes: M. Katherine
Hurley Paints Pastels (North Light
Media); Hurley
demonstrates
pastel landscape
painting.
Articles
Nature as the
Souls Mirror by
Daniel Brown (The
28
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ArtistsNetwork
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Winners will be featured and nalists names published in the December 2013 issue
of The Artists Magazine.
PLUS all Award Winners and Honorable Mentions receive a 1-year membership to
NorthLight VIP Program, which includes a one-year subscription to The Artists Magazine.
MATERIALS: The Artists Magazine will not be responsible for the loss,
damage or return of any CDs submitted to the competition.
JUDGING
NOTIFICATIONS
All winners will be notied by August 1, 2013. The results will not otherwise be made public until they are published in The Artists Magazine.
CATEGORIES:
Im entering my artwork in the following categories:
(Important: Indicate number of images in each category.)
Name ______________________________________________________________
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After April 1: $30 per image, $20 per image for students
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29th Annual
Art Competition
December 2012
35
LANDSCAPE
INTERIOR
First Place
Brett Allen
Johnson
Lehi, Utah www.ballenj.com
THE GREAT SALT LAKE in Utah has provided endless inspiration for my paintings and
drawings. I spent quite a bit of time walking
through and sitting in the reeds that form a
perimeter around much of the lake. Few of
my paintings are entirely literal, but Ive found
that if they arent rooted in reality, no amount
of reworking can make them seem so.
Music is an important part of my emotional
response to the act of painting. In Reeds, you
can see this in the way the leaves, stems and,
especially, the dark seed heads present an asymmetrical rhythm thats akin to the way written
music is often as pleasant to the eye as to the ear.
Succession of Marks Over the years, my art has
36
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December 2012
37
Second Place
Pauline Roche
Del Mar, California www.paulinerocheneart.com
BELOW: Luncheon
at the Muse
dOrsay (oil, 40x30)
38
www.artistsmagazine.com
LANDSCAPE | INTERIOR
Third Place
ABOVE: Beyond
All Boundaries
(colored pencil,
14x31)
December 2012
39
Honorable Mention
Jason Sacran
Lavaca, Arkansas
www.jasonsacran.com
BELOW: Night
Lights (acrylic,
24x30)
Honorable Mention
Charlotte Knox
London, England
www.charlotteknox.com
(watercolor, 40x16)
40
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LANDSCAPE | INTERIOR
Honorable Mention
Alexandra Tyng
Narberth, Pennsylvania www.alexandratyng.com
BELOW: Back to
Finalists
Jacob Aguiar
Forestville, CA
Christine E. Alfery
Lac du Flambeau,
WI
Joe Anna Arnett
Santa Fe. NM
Del-Bourree Bach
Mystic, CT
Al Barnes
Johnson City, TX
J.B. Basham
Longs, SC
Linda Besse
Mead, WA
Ron Bigony
Longview, TX
Penny Billings
Lincoln, MA
Sandy Byers
Oak Harbor, WA
Regina Calton
Burchett
Kannapolis, NC
Nathan Campbell
Boothbay Harbor,
ME
Peter Fiore
Matamoras, PA
Terri Ford
San Jose, CA
Vincent Giarrano
Washington Depot,
CT
Carol Gobin
Whately, MA
Eric Hall
Philadelphia, PA
Tripp Harrison
St. Augustine, FL
Robert Highsmith
Las Cruces, NM
Pattee Hipschen
Arlington, VA
John Medley
Owensboro, KY
Kurt Schwarz
Lovettsville, VA
Natalie Hirschman
Cape Town, South
Africa
Dean Mitchell
Tampa, FL
George Shipperley
Aurora, IL
Teresa Onoda
Moraga, CA
Jerry Smith
Crawfordsville,
IN
Paula B. Holtzclaw
Waxhaw, NC
Mark Ingraham
Stafford, VA
Aline Ordman
White River
Junction, VT
Bill James
Ocala, FL
Dmitriy Permiakov
Perm, Russia
Jose Jimenez
Arlington, VA
Pauline Roche
Del Mar, CA
Mike Kelly
Warsaw, IN
Michael Sass
Tauranga, New
Zealand
Brooke WalkerKnoblich
Sacramento, CA
Lorraine Watry
Colorado Springs,
CO
Kathryn Weisberg
Sandpoint, ID
Kurt A. Weiser
Waxhaw, NC
Keith Wilkie
McLean, VA
Don Tiller
Port Townsend, WA
Jeff Wilson
Catonsville, MD
Hsin-Yao Tseng
San Francisco, CA
Dennis Joseph
Yanoski
Morristown, NJ
Ricky Schembri
Killarney, Australia
Cecy Turner
Dallas, TX
Aaron Schuerr
Livingston, MT
Alexandra Tyng
Narberth, PA
December 2012
41
42
www.artistsmagazine.com
ANIMAL
WILDLIFE
First Place
Michael Dumas
Peterborough, Ontario
www.natureartists.com/dumasm.htm
BELLAMYS MILL is a working 19th-century
flour mill located in Morrisburg, Ontario.
During one visit, I noticed an array of discarded white flour sacks piled on large wooden
platforms set inside a three-sided storage shed
behind the mill. The pale cloth, aglow where
the sun struck it, with reflected light receding
into deep shadow, was intricate in its folds.
The nesting house sparrows added a sense of
community quite separate from the visitors
and staff, who were paying no attention to the
storage shed. The noticeable quiet gave me the
sense of being removed to a more private and
intimate space, and I imagined the sparrows
feeling the same way.
Preliminary Drawings I spent a number of
hours sketching aspects of the setting and the
birds. Once in the studio, I worked out a few
compositional options in graphite. I begin all
my paintings with an underlying drawing, usually directly on the working surface, which is
a Russian birch panel prepared with gesso. In
the case of Mill ClothHouse Sparrows, all but
the birds themselves were drawn in directly. I
drew the sparrows separately on drafting paper
so that I could assess both their relationship to
one another as well as their relative positions
within the setting.
Tip: Have a Dream I
December 2012
43
Second Place
Vincent Giarrano
Washington Depot, Connecticut www.giarrano.com
44
www.artistsmagazine.com
Returning to Art I
could be the
single most important aspect of your progress.
Use a blank hardcover sketchbook to record all
the art-related things you deal with, and dont
forget to write your short- and long-term goals.
ANIMAL | WILDLIFE
Third Place
Grace Kim
Upper Marlboro, Maryland www.gracekimart.com
ABOVE: Ostrich
can
change or move anything you want to!
December 2012
45
Honorable Mention
Holly Bird
Palm Harbor, Florida www.studioibis.com
Honorable Mention
Marina Dieul
Montreal, Quebec
www.marinadieul.com
I usually begin with a clear idea of the composition, the pose and the lighting, and then
I organize photo sessions. With animals, as
well as with children, patience and strategy are
needed. I combine different references using
Photoshop.
I fell in love with trompe-loeil a long time
ago. Id recently created several cat paintings and several mice paintings and enjoyed
showing them side by sidethe cats looking
at the mice. When different patrons bought
the paintings, however, the effect was lost, so I
decided to create compositions that showed the
two species together.
I feel that creativity is like a muscle. The
more you use it, the stronger it gets.
ABOVE: Le Djeuner (oil, 8x8)
46
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ANIMAL | WILDLIFE
Honorable Mention
Tiffany Miller
Russell
Broomeld, Colorado
www.deadraccoon.com
Finalists
Carole Doerr Allen
Flemington, NJ
Ray-Mel Cornelius
Dallas, TX
Susan T. Fisher
Denver, CO
Kevin Kohlman
La Crosse, WI
Susan Nall
Lubbock, TX
Eileen F. Sorg
Kingston, WA
Morgane Antoine
Chtenay-Malabry,
France
Emmanuel R. de
Guzman
Kissimmee, FL
David Flatt
Vancouver, BC
V. Yvonne Korotky
Rio Rancho, NM
Rita Pacheco
Carlsbad, CA
Ronelda Ashlie
Nanaimo, BC
Marina Dieul
Montreal, QC
Jeanette Fournier
Bethlehem, NH
Catherine Lidden
Bungonia, Australia
Matt Patterson
New Ipswich, NH
Nancy K. Bass
Charlottesville, VA
Kim Diment
Grayling, MI
Jerry L. Gadd
Manchester, MD
Patsy Lindamood
Huntsville, TX
Jenine Pontillo
Pomona, NY
Judi Betts
Baton Rouge, LA
Sam Dolman
Chestereld, UK
Sue Gombus
Merrillville, IN
Pete Marshall
Whittlesea, Australia
Amy Roy
Cincinnati, OH
Cara Bevan
Trinity, NC
Terry Donahue
Omaha, NE
Lindsay Handyside
El Reno, OK
Viviane MartinRoman
Boucherville, QC
Nadia Rymanowski
Loudonville, NY
Craig Blietz
Sister Bay, WI
Kort Duce
Idaho Falls, ID
Robert Bootier
Ballston Spa, NY
Michael Dumas
Peterborough, ON
Jane Bowden
Fresno, CA
J.G. Fajardo
Rio de Janeiro, Brazil
Linda Israel
Grand Lake, CO
Karen Kaapcke
New York, NY
Rita Kirkman
New Braunfels, TX
Jeanette Martone
Deer Park, NY
Tiffany Miller
Broomeld, CO
Vandy Moore
Sevier, UT
Suzie Seerey-Lester
Osprey, FL
Marek Slavik
Prague, Czech
Republic
Francis Edward
Sweet
Bowie, MD
James E. Taylor
Salisbury, NC
Robin Edward
Thorne Murray
Sault Sainte Marie,
MI
Keith Wilkie
McLean, VA
Valarie Wolf
Tustin, CA
Marsha Harris
Solomon
Houston, TX
December 2012
47
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PORTRAIT
FIGURE
First Place
Candice Bohannon
Auburn, California www.candicebohannon.com
I WORKED ON
Working Large With Grace the biggest surprise was how difficult it was to complete the
piece! I always forget how challenging it is to
finish a bigin this case, 68x35-inchpainting. The first few days on a project are thrilling, as I move fast and cover a lot of ground. I
go through piles of paint in mere hours, and
it feels as if the painting will be complete in
a week or two. Then somewhere around the
third layer, I realize what a huge undertaking it is, how overwhelming the project seems,
how endless the work will be in order to complete the piece. I would have finished Grace
more quickly if Id solved the riddle of a few
compositional elements before diving in; I
must have reworked the background and face a
dozen times!
My favorite parts of the painting ended
up being the dog (which I managed to paint
quickly and with ease), Jessicas face (reworked
at least a dozen times till the right mood and
expression emerged, but worth every effort for
the result), and her beautiful knees. Some of
my best painting ever was done on those knees.
I often begin
a painting like Grace with small, loose concept
drawings that help me figure out the direction
I should go when the subject and I meet again
in person. These drawings are often expressive; they are useful references throughout the
process to ensure that I stay true to the original
concept and not get lost in reproducing details.
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December 2012
57
Second Place
Katie OHagan
Beacon, New York www.katieohagan.com
ABOVE: Pity Party
(oil, 27x38)
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PORTRAIT | FIGURE
Third Place
Erin Anderson
Mountain Top, Pennsylvania www.erinandersonstudio.com
Fleshtone Palette
BELOW: Conver-
sations With
Shannon (oil,
16x20)
December 2012
59
Honorable Mention
Stephanie
Deshpande
Glen Ridge, New Jersey
www.stephaniedeshpande.com
I was walking home from my work as a production manager, thinking about life, when
the metaphor of assembling a puzzle came
to mind. Id planned to go into more detail
painting the design on the dress and puzzle
pieces. At some point, however, I decided to
leave it the way it was. In hindsight, Im happy
I left those details more painterly. I enjoy
using high-value transparent color because its
easy to create cool tints as well as transparent
shadows. Glazing helps me create the correct
tonal balance and build up to richer color.
Ive realized that I love both atmosphere and
direct light.
ABOVE: Assembling the Pieces (oil, 24x30)
Honorable Mention
Scott Burdick
King, North Carolina
www.scottburdick.com
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PORTRAIT | FIGURE
Honorable Mention
David Gluck
Duncan, British Columbia
www.davidgluckart.com
Finalists
Ali A. Aryan
Burnaby, BC
Diana De Santis
Whitestone, NY
Angela Hardy
Quebec City, QC
Cheng Lian
The Woodlands, TX
D. Wynne Nixon
Gig Harbor, WA
Ardith Starostka
Columbus, NE
Del-Bourree Bach
Mystic, CT
Marina Dieul
Montreal, QC
Justin Hess
San Francisco, CA
Daniel Maidman
Brooklyn, NY
Katie OHagan
Beacon, NY
Terry Strickland
Pelham, AL
David Beal
Overland Park, KS
Alan Dingman
Wappingers Falls,
NY
Marshall Jones
Guttenberg, NJ
Douglas Malone
Royal Oak, MI
Devdatta Padekar
Mumbai, India
Hsin-Yao Tseng
San Francisco, CA
Matt Ellrod
Lutz, FL
Alexy Kalinin
St. Petersburg,
Russia
Carol E. Maltby
Hamburg, NY
Julie Petro
Longmont, CO
Alexandra Tyng
Narberth, PA
Taeil Kim
Pleasanton, CA
Santiago Michalek
Provo, UT
Gail Postal
New York, NY
John Walker
Downers Grove, IL
McGarren Flack
Holladay, UT
Rita Kirkman
New Braunfels, TX
Dean Mitchell
Tampa, FL
Thomas Reis
Atlanta, GA
Xiaoen Wang
Covina, CA
Zoey Frank
Boulder, CO
Loretta Krol
Asbury, NJ
Catherine Moffat
Victoria, BC
Alejandro
Rosemberg
Cordoba, Argentina
William Whitaker
Provo, UT
Melissa Gann
Chamblee, GA
Clavin Lai
San Francisco, CA
Tanja Gant
Hurst, TX
Jonathan Laidacker
Philadelphia, PA
Hanneke Naterop
Alphen a/d Rijn,
Netherlands
Vincent Giarrano
Washington Depot,
CT
Bruce Lawes
Oakville, ON
Brad Lethaby
Erie, PA
Candice Bohannon
Auburn, CA
Jack Brown
New York, NY
Joanne Burney
Centennial, CO
Rexanne Chadwick
Ankeny, IA
Paul Chapman
Hudson Falls, NY
Terra Chapman
Herndon, VA
May Louise Clair
Vienna, VA
Erin Cone
Santa Fe, NM
Derek Gollaher
Farmington, MO
Ingrid Ross
Scarsdale, NY
Pamela duLong
Williams
South Berwick, ME
John Salminen
Duluth, MN
F. Michael Wood
Florence, OR
Cuong Nguyen
San Jose, CA
Peter Seltzer
Woodbury, CT
Ben Young
Vista, CA
Scott Nickerson
Tinton Falls, NJ
Susan Singer
Richmond, VA
Harold Munoz
Paris, France
December 2012
61
STILL LIFE
FLORAL
First Place
Jeffrey T. Larson
Maple, Wisconsin
www.jeffreytlarson.com
Learn More
ONLINE
Working from
life, I begin with many compositional
studies and then paint directly and
carefully on the canvas. I often pick
and choose techniques I believe will
work best to capture whatever effect Im after,
so my paintings may blend several approaches.
I may start alla prima and, within that, underpaint a particular passage, do some scumbling
and a series of glazes, and then finish with a
few notes of broken color floating in the glaze.
It took me about seven months to complete
In the Light of Life.
Eclectic Techniques
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ABOVE: In the
Light of Life (oil,
36x40)
December 2012
63
Second Place
David Cheifetz
Palo Alto, California www.davidcheifetz.com
Learn More
ONLINE
Find a link for purchasing The War
of Art by Stephen
Presseld from our
North Light Shop at
www.artistsnetwork.
com/learnmore2013.
Also view Cheifetzs
step-by-step demo
for Spool.
64
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Serendipity
Third Place
Grace Kim
Upper Marlboro, Maryland www.gracekimart.com
Over the
years my drawing skills have
improved with life drawing sessions, and my eye for color has
become keener with working on
still life paintings from life.
Tip: Work From Life
December 2012
65
Honorable Mention
Abel Marquez
Miami, Florida www.abelmarquez.com.ar
Honorable Mention
Jacob A. Pfeiffer
Madison, Wisconsin
www.jacobapfeiffer.com
www.artistsmagazine.com
Honorable Mention
Todd M. Casey
Cortlandt Manor, New York www.toddmcasey.com
BELOW: Bottles
with Book and
Letters (oil, 9x17)
I wanted to convey the loneliness of the particular objects in Bottles with Book and Letters,
but I didnt want to be too descriptive, so I left
it to the viewer to interpret the narrative. Its
always tough to paint a bottle that has light
passing through it. You have to differentiate
the bottle from the planes that are facing the
light. Succeeding in that challenge was the
turning point for me.
Finalists
Lee Alban
Havre de Grace, MD
Almajohn
Denver, NC
Cecile Baird
Hillsboro, OH
Colin Berry
Hampton, NH
Sarah Blumenschein
Albuquerque, NM
Candice Bohannon
Auburn, CA
Pamela Carroll
Carmel, CA
Daniel Mark Cassity
Shreveport, LA
Deborah Chabrian
South Kent, CT
Tatyana Chernikh
West Springeld,
MA
Daryl Gortner
Fullerton, CA
Olga Krimon
Hermosa Beach, CA
Brian Port
Columbus, OH
Muriel J. Timmins
Tucson, AZ
Judith T. Greenberg
Needham, MA
Elaine Kurie
Sparta, NJ
Sandra Power
Seattle, WA
Kari Tirrell
Gig Harbor, WA
Barbara S. Groff
Vernon, CT
Jeffrey T. Larson
Maple, WI
Chris Saper
Phoenix, AZ
Loren Dibenedetto
Huntersville, NC
Richard William
Haynes
Faireld, NJ
Noah Layne
Victoria, BC
Steve Scheuring
Douglassville, PA
Mark Van
Crombrugge
Herzele, Belgium
Eileen Eder
Guilford, CT
Carol Huddleston
Seatac, WA
Taeil Lebediker
Ballston Spa, NY
Krista Schoening
Rockford, IL
Zoey Frank
Boulder, CO
David Jamieson
Oak Park, IL
Susan Lange
Marshall
Corrales, NM
Laurie Schwartz
Baltimore, MD
Berry Fritz
McAllen, TX
Mimi Jensen
San Francisco, CA
Anne McGrory
Nashua, NH
Vincent Giarrano
Washington Depot,
CT
Tricia Kaman
Chagrin Falls, OH
Jacob A. Pfeiffer
Madison, WI
Barbara L. Clark
Vero Beach, FL
Richard Denisiewicz
New York City
Kurt Schwarz
Lovettsville, VA
George Shipperley
Aurora, IL
Keri Stack
Seattle, WA
Maureen Vezina
Green Harbor, MA
Ann Kraft Walker
The Woodlands, TX
Jeremiah J. White
Littleton, CO
David Williams
The Plains, VA
Paul F. Wilson
Frederick, MD
December 2012
67
ABSTRACT
EXPERIMENTAL
First Place:
Glen Kessler
Rockville, Maryland
www.glenkessler.com
and the
rest of my Modern World series, I wanted to
create an environment that was familiar yet
foreign, believable and unbelievable, inviting and guarded. With this series, were never
permitted to simply walk into the spaces, but
rather find blurred ambiguity awaiting us at
the nearest entry point. Clarity is an elusive
element in these worlds. As quickly as we may
find our footing, the moment we go a step
deeper into these images, were once again
brought back into uncertainty. These worlds
are populated with bizarrely familiar yet
unknowable forms. The light, the color, the
mood are oddly recognizable, but they provide no clues as to where or what the image is
actually a painting of.
At what I call the idea stage, I think, write
and sketch about what is most pressing in my
mind. From that session, I formulate a visual
language to convey that idea. In Modern World
#9, I imagined taking apart old computers,
cameras, remote controlsanything with
a circuit board inside. Those circuit boards
became the models for most of the imagery.
For the first layer, I dont use medium, but
as the layers and the painting progress, I use
a 50/50 ratio of refined linseed oil and Liquin.
Starting with high chroma colors like cadmiums and cerulean, I gradually shift to more
subtle colors: grays mixed from blue and red or
from orange and purple. In addition, I love to
mix black with various pigments.
IN THE PAINTING Modern World #9
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December 2012
69
Second Place
Anthony Suminski
New Berlin, Wisconsin www.anthony.artspan.com
ABOVE: Lifes
Journey (egg
tempera, 22x24)
Lifes Journey expresses the fact that our journeys are usually chosen, but sometimes theyre
forced upon us. The monkey bars represent
situations in life. These structures are designed
for play but could also be dangerous if not
suited for us. The free-running horses represent our freedom to choose the direction in
our lives. The ragged clothing blowing in the
wind guides the viewers eye and, by extension,
implies our next adventure. The faraway structures suggest the future experiences well have.
Handmade Paints Working in egg tempera
exclusively, I grind my own pigments, which
come from all over the world. Sometimes I
pick up rocks from my travels and grind them
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vision of the
artist is important, not the labor.
ABSTRACT | EXPERIMENTAL
Third Place
John Salminen
Duluth, Minnesota www.johnsalminen.com
Ultimately, the painting develops into a multilayered piece in which each layer Ive painted
peeks through. Multiple layers give the work
depth. Surprises arise to direct the course of
the painting.
A Multitude of Pigments Although it looks as if
Id used a very limited palette, I actually used
many pigments. I began with myriad watercolor layers, and as the painting neared completion, I used acrylic
as an accent. In contrast
to my unlimited palette
of watercolor, I used
a more limited acrylic
palette for this last
step. There are lots of
earth tones, black and
white, and sometimes
quinacridone violet or
another strong pigment
to contrast with the
more muted watercolor
layers. Juxtapositions of
transparent watercolor
and opaque acrylic
enhance each other.
Although Im recognized as a realist, I
have an absolute love
of paint on the surface
as well as the liberating aspect of painting
abstractly. I came to
abstraction through
the American Abstract
Expressionists and
the works of Richard
Diebenkorn.
Tip: Begin With Gestural
Strokes When working
December 2012
71
Honorable Mention
Diane Schmidt
Sarasota, Florida www.dianedschmidt.com
Honorable Mention
72
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ABSTRACT | EXPERIMENTAL
Honorable Mention
Cliff Spohn
Shelton, Connecticut
www.neartamerica.com/proles/cliff-spohn.
html
My realistic beginnings and my experience, as an illustrator, with montage, led me to the joy of fearlessness in
painting abstractly. At the basis of every good abstract
painting lies the structure of a good drawing. Realism
and abstraction have a symbiotic relationship. As an
illustrator, I was eclecticthat made me adept at trying
abstraction.
I begin my abstract paintings with what I call sludge,
the painting debris left in my water bucket after a pour.
Sludges graininess, texture and nuances of pigment give
me a multitude of different colorations to play around
with. My advice to fellow artists is simple: challenge
yourself to ask, while youre painting, What if?
Finalists
Therese Arp
Huenfeld,Germany
John Scarborough
Granite City, IL
Judy Bales
Land O Lakes, FL
Carol Schinkel
Fort Collins, CO
Betsy Blodgett
Rancho Sante Fe, CA
Diane Schmidt
Sarasota, FL
Chris Breier
Williamsville, NY
Gloria Carter
Midland City, AL
Carol Staub
Port Saint Lucie, FL
Sally Cooper
Parkland, FL
Richard A. Stimmler
Fountain Hills, AZ
Elaine Daily-Birnbaum
Madison, WI
Sidne Teske
Tuscarora, NV
Lynn C. Davis
Santa Rosa, CA
Jane Tracy
Branford, CT
Theresa Girard
Narragansett, RI
Michael Valley
Buford, GA
Jerome C. Harste
Bloomington, IN
Rosemary VanderBreggen
Milton, ON
Stephanie Hilvitz
Longmont, CO
Cesar Veloso
Lisbon, Portugal
Geoffrey McCormack
Eugene, OR
Rosa Vera
San Antonio, TX
Suzanne McCourt
Aptos, CA
Windsop
Au Sable Forks, NY
Pat Moseuk
Concord, CA
Carol Nelson
Aurora, CO
McCrystle Wood
Cincinnati,OH
Marianne Patty
Dunwoody, GA
Ellen Yetvin-Haver
Sunnyvale, CA
Mary Pichette
Carson, CA
Brenda York
San Diego, CA
Prafull B. Sawant
Nasik, India
December 2012
73
by DIRECT or
INDIRECT means
BY MICHAEL CHESLEY JOHNSON
Direct Painting
Of the two oil-painting
approaches, newcomers are generally more familiar with the direct
method, a process particularly
suited to painters who like loose,
impressionistic brushstrokes and
a painterly look.
Although there are many
ways to paint directly, the process usually involves an initial
sketch on the painting surface
followed by an underpainting
or block-in. The artist then
moves on to the overpainting, at which stage he or she
refines and completes the
work. The entire process can
be done wet into wet and
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If you work over several sessions, youll find that some colors become
matte and dull as they start to dry. Retouch
varnish will make these colors look saturated
and glossy again so that you can correctly
match the fresh paint to the old. If I return to
a painting the day after my last session, I skip
the retouch varnish or use it only if I detect
that some parts of the painting are starting to
look dull in color.
Retouch Varnish
Direct Route
3
1. Using a 6B pencil, I lightly sketch the outlines of my major
shapes on a 6x12-inch sheet of hardboard. I had previously sized
this surface with Gamblin PVA sizing and then applied two coats
of Golden acrylic gesso. I can easily erase my pencil marks from
this surface but, because Im going for a painterly look, I keep
things loose. If Im painting on a larger surface, such as 12x16
inches, Ill usually tone the surface with a wash of oil color, which
is an efcient way of covering the white of the board.
2. Using a No. 6 natural bristle at, I begin blocking in each of
my major shapes. I start with the dark shapes and work up to
the light shapes, sticking with cool colors. Each color mixture
is my best guess at the average value and color for the area
Im painting, and I apply the paint thinly. Although I want the
4
paint thin, I minimize my use of thinner, trying to keep the paint
workable but not drippy.
3. Here you see the block-in after Ive lled in all the darker
cool shapes.
4. I continue the block-in, moving to the lighter cool shapes.
Demonstration continued on the next page
December 2012
75
7
5. Now I paint the warmer shapes, starting with the lightest
ones. Normally, I create a block-in by going methodically from
dark to light, regardless of color temperature, but for this painting
the relationship of cool and warm colors is critical; I want to get
the exact value and warmth of my lightest spot right. Other light
areas will be keyed to this one.
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Indirect Painting
Indirect painting takes more time than direct
painting because the picture is built up in layers and each layer is allowed to dry between
sessions. Classically trained academic painters
who create complex, highly realistic pieces may
paint this way. The process usually begins with
the making of a detailed initial drawing on the
painting surface. The artist then establishes
values with a fully rendered monochromatic
painting and then follows up with a series
of thin, colored glazes and opaque scumbles.
Again, lets look at this process more closely:
Drawing Usually you begin with a detailed
drawing made in light pencil. Th is drawing
should separate shadow from light and show
all the important shapes.
Monochromatic Painting Next, using a single
color thinned with odorless mineral spirits
(OMS), you turn your sketch into a fully rendered but monochromatic painting with all
the detail the final painting will have. Typical
colors that you might use during this stage are
black, brown or green. You can make dark passages darker by adding black and light passages
lighter either by adding white or by rubbing
out the paint with a clean rag or paper towel to
expose the white support.
Generally, you must give this
initial layer several days to dry before
going on to the glazing. One way to
speed the drying time is to use alkyd
oil paints rather than traditional oils; a
thin layer of alkyd paint
will dry in about
a day. Once the
underpainting is dry,
youre ready to apply
the first glazes.
During the
early stages of glazing,
I treat the painting like
a big paint-by-numbers
piece to which I apply
different-colored glazes to
discrete areas. You mix these
glazes by adding enough
glazing medium to the paint
to make its application fluid.
You can make or purchase a
traditional three-part glazing
medium composed of turpentine,
Glazes
77
Indirect Route
www.artistsmagazine.com
9
December 2012
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Articles
Oil Painting Primer, The Artists Magazine,
September 2012guide to paints, thinners,
mediums and other supplies and equipment
used by an oil painter
Grounded for Life, The Artists Magazine,
March 2012guide to preparing surfaces for
oil painting
Paint for the Impatient, The Artists Magazine,
December 2011introduction to alkyd oils
Plein Air Painting With Alkyds: A Painting Stepby-Stepfree online article
Downloadable Video
Oil Painting on Location with Michael
Chesley Johnsonfree preview available at
artistsnetwork.tv
eBooks.ArtistsNetwork.com
eBooks.ArtistsNetwork.com
a division of F+W Media, Inc.
ArtistsNetwork
15
Splash
Call for Entries
Creative Solutions
AN I M PRI NT O F F + W M ED IA , I N C .
@ArtistsNetwork
BY LEONARD D. DUBOFF
Does Dimensionality
Affect Copyright?
Q. I understand that there can
be problems with depicting a
copyrighted painting within
my own painting (see Learn
More, page 83). Is depicting a
three-dimensional artwork in a
two-dimensional painting also a
problem? I would like to create a
painting that includes a sculpture
in a public park and then enter
the painting in a competition. Do
I need permission to include the
sculpture in my painting?
Barbara Kejr, Silver City, NM
A. Depicting a sculpture in a
What Is a
Substantial
Copy?
Theres no precise denition of
substantial copy. In fact, the test for
applying the term is subjective but,
generally speaking, a substantial copy
is one thats very similar (not necessarily identical) to the copied work.
82
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Learn More
For more information by Leonard D.
DuBoff about topics in this column,
check out these Q&As from previously published Ask the Experts columns. These Q&As are available for
free online at www.artistsnetwork.
com/learnmore2013.
Why Register Copyright? (July/
August, 2012)
December 2012
83
drawing board
BY GRANT FULLER
Simple Perspective
These easy lessons make one-point and multiple-point perspective
drawings quick and painless.
UNLIKE ARCHITECTS and engineers, we artists simply want to
make the structures we draw look
good. Although we dont need to
build the real thing from our drawings, its important to create convincing perspective in order to get a
realistic end result.
84
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Two-Point Perspective, Two Vanishing Points Note the relationship between the
angles of the roof and walls with the horizon. The sides are vertical, but the tops and
bottoms of the walls are angled toward a point on the horizon. The top and bottom
of the right-side wall (and roof) can be extended to the right vanishing point. The top
and bottom of the left wall (minus the gable) are projected to the left vanishing point.
drawing board
MATERIALS
Surface: cartridge paper or acid-free cover stock
Graphite: 2H, HB, 2B wooden pencils
Other: kneaded eraser, reference photo (optional)
December 2012
85
drawing board
MATERIALS
Surface: cartridge paper or acidfree cover stock
Graphite: 2H, HB, 2B wooden
pencils; Pentel HB mechanical
pencils
Other: kneaded eraser,
straightedge
86
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drawing board
December 2012
87
artists marketplace
Inspiring painting holidays in rural Tuscany
www.watermill.net
Powercolor
Painting
Workshops
oils, acrylics, water-soluble oils
info@carolinejasper.com
www.carolinejasper.com
Workshop schedule, books,
instructional DVDs, color chart
info@tripledgamefarm.com
Email: info@watermill.net
Call Bill or Lois: +39 366 488 2587
Webpictureframes.com
SUSAN SARBACK
WATERCOLOR WORKSHOPS
(678) 513-6676
Author of
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Capturing Radiant Light and Color in Oils and Pastels
(Instructional DVDs Available)
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800-248-6449
tonyvanhasselt.com
GUARANTEED!
Works with all oil
and acrylic paints
WHITE LIGHT
CREATIONS
350 Mountain Meadow
Kalispell, MT 59901, USA
www.paintsavers.org
406-257-1552
88
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ArtGalleryFrames.com
Marathon, FL - Jan/Feb
Atlanta, GA - March
Fairfield, NJ - April
M. Vineyard, MA - Sept
Fairfield, NJ - Sept
Montgomery, NY - June
Montgomery, NY - Oct
W. Jefferson, NC - June
Allendale, NJ - Oct
www.melstabin.com
melstabin@optonline.net 201-746-0376
Jan Sitts
Art Workshops
in Acrylic and
Mixed Media
See Website
for all U.S.
Workshops
jan@jansitts.com www.jansitts.com
Our classes
last a
lifetime.
France - May 4-14, 2013
Kay@globalj.org
www.RobbieLairdArtStudio.com
artworkshops.com
37th Transparent
Watercolor Society of
America Exhibition
$25,000
IN CASH AWARDS
Digital entries received by
January 15, 2013
For prospectus, send #10 SASE to
TWSA, 249 East Route 6, Box 209
Morris, IL 60450
or download pdf at
www.TWSAwatercolors.org or
www.watercolors.org
FREE
SHIPPING
on all orders
over $75
www.trekell.com
December 2012
89
artists marketplace
Workshops
ARIZONA
Scottsdale Artists School
Flying Colors
Art Workshops
Classes
April-Oct.
ITALY
USA
www.dambruosostudios.com
203-758-9660
Coastal Maine
Art Workshops
2013 Workshops
April
May
July
August
September
October
Demers/Bermuda
Frost/France
Zbukvic; Webb; Castagnet
Zagotta; Demers; van Hasselt; Gill
Page; Andrews; Carr; Curtis
Wiegardt; van Hasselt/France
Loosen Up
Workshops
Sign up for your
www.artistsmagazine.com
Jan Sitts
5/2-5/5/13, Sedona. Sedona Arts Center
Contact: www.SedonaArtsCenter.com
10/23-10/25/13, Tucson.
Contemporary Artists of Southern Arizona
Contact: www.jansitts.com
11/5-11/8/13, Sedona. Sedona Arts Center.
Contact: www.SedonaArtsCenter.com
CALIFORNIA
Art In The Mountains
9/23-9/27/13, Santa Cruz. Spontaneity and
Light, David Taylor. Watercolor. $695
10/28-11/1/13, Santa Barbara. Drawing and
Painting with Charles Reid, Charles Reid.
Watercolor .
11/4-11/8/13, Santa Barbara. Drawing and
Painting with Charles Reid, Charles Reid.
Watercolor .
Contact: Tracy Culbertson, 503/930-4572
info@artinthemountains.com
www.artinthemountains.com
www.CoastalMaineArtWorkshops.com
info@coastalmaineartworkshops.com
POB 845, Camden, ME 04843
207-594-4813
Robert
Burridge
Robert Burridge
Discover schools
and artists near you
who provide the
instruction youre
looking for.
visit
www.artistsnetwork.com/
art_workshop_directory
Tony Couch
3/4-3/8/13, Cambria.
Contact: 678/513-6676
toncouch@mindspring.com or
www.tonycouch.com
Caroline Jasper
Lori Putnam
4/26-4/28/13, Apalachicola.
Contact: info@HistoricApalachicola.com
www.loriputnam.com
Jan Sitts
Dates TBA, Mendocino.
Mendocino Art Center.
Contact: www.MendocinoArtCenter.org
Jan Sitts
2/4-2/7/13, Fort Lauderdale.
Plantation Art Guild.
Contact: www.PlantationArtGuild.org
Mel Stabin
1/30-2/2/13, Marathon. Pushing The Envelope
In Watercolor: Express Yourself. Sponsored by
Florida Keys Watercolor Society. All levels.
Contact: Karen Beauprie, 305/517-6806
karen@beausartstudio.com or
www.fkwcs.com
GEORGIA
The Bo Bartlett Center
3/15-3/17/13, Columbus. Holistic Painting
Master Class with Bo Bartlett.
Contact: Columbus State University
www.TheBoBartlettCenter.com
Tony Couch
5/6-5/10/13, St. Simons Island.
Contact: 678/513-6676
toncouch@mindspring.com or
www.tonycouch.com
Mel Stabin
3/11-3/15/13, Atlanta. Pushing The Envelope
In Watercolor: Express Yourself. Sponsored by
Spruill Center for the Arts. All levels.
Contact: Anne Winn, 770/394-3447
awinn@spruillarts.org or www.spruillarts.org
HAWAII
Art In The Mountains
Tony Couch
2/4-2/8/13, Yankeetown.
Contact: 678/513-6676
toncouch@mindspring.com or
www.tonycouch.com
Tony Couch
12/3-12/7/12, Gloucester.
Contact: 678/513-6676
toncouch@mindspring.com or
www.tonycouch.com
Mel Stabin
9/16-9/20/13, Marthas Vineyard. Pushing
The Envelope In Watercolor: Express
Yourself. Sponsored by Mel Stabin Watercolor
Workshops. All levels.
Contact: Nesa, 201/746-0376
melstabin@optonline.net or
www.melstabin.com
MICHIGAN
Susan Ogilvie
5/18-5/25/13, Kauai.
The Beautiful South Pacic.
Contact: 203/758-9660
SamDAmbruoso@comcast.net
www.DAmbruosoStudios.com
MAINE
MASSACHUSETTS
Sam DAmbruoso
Robert Burridge
Tony Couch
Sam DAmbruoso
FLORIDA
Mel Stabin
CONNECTICUT
7/15-7/16/13, Old Lyme.
On the Trail of the Impressionists.
Contact: 203/758-9660
SamDAmbruoso@comcast.net
www.DAmbruosoStudios.com
4/15-4/19/13, Frankfort.
Contact: 678/513-6676
toncouch@mindspring.com or
www.tonycouch.com
MONTANA
Triple D Game Farm
Visit the Triple D as we travel away from
our Montana base to a scenic location near
Mariposa California for the month of April
2013. The opportunities are endless when
our majestic wildlife play in the beautiful
wildowers, creeks and hills near the Gateway
of Yosemite National Park. Since this is the
site of a working cattle ranch, we will also
offer a Day on the Ranch which will include
photographing horses and western wranglers,
cattle events and will nish up with cowboy
silhouettes around a campre. There are
numerous photography events every month
of the year at the Triple D!! Please visit our
website for all the events and trips at
www.tripledgamefarm.com
December 2012
91
artists marketplace
2/1-2/5/13, John & Suzie Seerey-Lesters
Wilderness Workshop. Includes wildlife
photography, sketching and painting
instruction.
8/10-8/14/13, John & Suzie Seerey-Lesters
Wilderness Workshop. Includes wildlife
photography, sketching and painting
instruction.
8/23-8/26/13, Gemma Gyllings The
Total Wildlife Workshop. Includes wildlife
photography, sketching and colored pencil
instruction. NEW!!
8/30-9/2/13, Cindy Billingsleys The Animal
Spirit Captured in Clay. Includes photography,
sketching and sculpting instruction. NEW!!
Hope to see you soon!!
Contact: 406/755-9653
info@tripledgamefarm.com
Susan Ogilvie
NEW JERSEY
NORTH CAROLINA
Mel Stabin
4/21/13 and 9/28/13, Faireld. Pushing The
Envelope In Watercolor: Express Yourself.
Sponsored by Art@1275 Studio & Gallery.
All levels.
Contact: Marian Jones, 201/747-5969
artat1275@aol.com or www.artat1275.com
5/6-5/9/13, Cape May. Pushing The Envelope
In Watercolor: Express Yourself. Sponsored by
Marie Natale. All levels.
Contact: Marie Natale, 609/214-9905
mariedezines@comcast.net or
www.marienatale.com
9/9-9/11/13, Island Heights. Pushing The
Envelope In Watercolor: Express Yourself.
Sponsored by Ocean County Artists Guild.
All levels.
Contact: Leona Lavone, 732/914-9941
busby67@comcast.net or
www.ocartistsguild.org
10/8-10/10/13, Allendale. Pushing The
Envelope In Watercolor: Express Yourself.
Sponsored by Community Arts Association.
All levels.
Contact: Rose Scaglione, 845/323-4234
rose.scaglione@yahoo.com or
www.caanearts.org
NEW YORK
Hudson River Valley Art Workshops
Mel Stabin
6/8/13 and 10/5/13, Montgomery. Pushing
The Envelope In Watercolor: Express Yourself.
Sponsored by Wallkill River School. All levels.
Contact: Shawn Dell Joyce, 845/457-2787
wallkillriverschool@hvc.rr.com or
www.wallkillriverschool.com
Caroline Jasper
11/8-11/11/12, Raleigh. Art of the Carolinas,
sponsored by Jerrys Artarama.
Contact: info@jerrysartevents.com or
www.artofthecarolinas.com
3/20-3/24/13, Boone. Powercolor Painting,
sponsored by Cheap Joes Art Stuff.
Contact: 800/227-2788
edwina@cheapjoes.com or
www.cheapjoes.com
Robbie Laird
6/10-6/13/13
Contact: Scott@menucha.org
PENNSYLVANIA
Mel Stabin
6/3-6/6/13, Chadds Ford. Pushing The
Envelope In Watercolor: Express Yourself.
Sponsored by Mel Stabin Watercolor
Workshops. All levels.
Contact: Nesa, 201/746-0376
melstabin@optonline.net or
www.melstabin.com
RHODE ISLAND
Sam DAmbruoso
9/9-9/13/13, Block Island.
The Bermuda of the North.
Contact: 203/758-9660
SamDAmbruoso@comcast.net
www.DAmbruosoStudios.com
SOUTH CAROLINA
Robert Burridge
3/3-3/9/13, Abstract Acrylic Painting and
Collage Workshop. 5-day Workshop
(Monday-Friday). First Session, Sunday
afternoon - Saturday morning. Springmaid
Watermedia Workshop, Myrtle Beach, SC
Contact: Regina Wynn, Program Manager
866/890-5647
workshop@springmaidwatermedia.com or
www.springmaidwatermedia.com
OREGON
Jan Sitts
10/2-10/5/13, Lubbock.
West Texas Watercolor Association.
Contact: www.jansitts.com
92
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Mel Stabin
6/27-6/29/13, West Jefferson. Pushing The
Envelope In Watercolor: Express Yourself.
Sponsored by Florence Thomas Art School.
All levels.
Contact: Meghan Minton, 336/846-3827
info@orenceartschool.org or
www.orenceartschool.org
OHIO
Mel Stabin
TEXAS
Art In The Mountains
4/8-4/12/13, San Antonio. The Passionate
Painter, Alvaro Castagnet. Watercolor. $795.
Contact: Tracy Culbertson, 503/930-4572
info@artinthemountains.com
www.artinthemountains.com
William A Herring
UTAH
Scottsdale Artists School
10/15-10/18/12, Dixon County.
G. Russell Case, On Location in Dixon Country.
$475/ 4 Days.
Contact: www.scottsdaleartschool.org
WASHINGTON
Susan Ogilvie
ENGLAND
Mel Stabin
7/18-7/28/13, Cornwall. Pushing The Envelope
In Watercolor: Express Yourself. Sponsored by
Flying Colors Art Workshops. All levels.
Contact: Johanna Morrell, 858/518-0949
yingcolorsart@me.com or
www.yingcolorsart.com
Jan Sitts
FRANCE
8/12-8/16/13, La Point.
Madeline Island School of the Arts.
Contact: www.MadelineArtSchool.com
8/19-8/22/13, Lac du Flambeau.
Dillmans Bay Resort.
Contact: www.Dillmans.com
WISCONSIN
Tony Couch
5/4-5/14/13
Contact: Kay@globalj.org
Caroline Jasper
9/16-9/20/13, Lac Du Flambeau.
Powercolor Painting, sponsored by Dillmans
Creative Arts Foundation.
Contact: 715/588-3143, art@dillmans.com or
www.dillmans.com
Robbie Laird
GUATEMALA
Flying Colors Art Workshops
3/18-3/28/13, Judy Morris - W/C.
Contact: Johanna Morrell, 858/518-0949
FlyingColorsArt@me.com or
www.FlyingColorsArt.com
ITALY
Art In The Mountains
THE BAHAMAS
Robert Burridge
Sam DAmbruoso
3/22-3/28/13, Florence.
Portraiture and Land of the Medicis.
6/22-6/29/13, Amal.
The Drama of the Amal Coast.
10/5-10/12/13, Sardinia. Landscape Painting
the Untamed Natural Beauty of Italy.
INTERNATIONAL
S USAN O GILVIE
May 20-24
June 24-28
June 24-28
July 8-12
July 15-19
July 22-26
July 29- Aug 2
Aug 12-16
Aug 19-23
Sept 9-13
Sept 30-Oct 4
Sept 30- Oct 4
Studio
Studio
Studio
Plein Air
Plein Air
Plein Air
Studio
Studio
Plein Air
Plein Air
Studio
Plein Air
SPRING 2013
WATERMEDIA WORKSHOPS
Hendersonville, North Carolina
REGISTRATION INFORMATION AT
www.MADELINESCHOOL.com
715.747.2054 La Pointe, WI
www.susanogilvie.com
December 2012
93
artists marketplace
10/12-10/19/13, Tuscany.
Painting Workshop (16th Year).
Contact: 203/758-9660
SamDAmbruoso@comcast.net
www.DAmbruosoStudios.com
MEXICO
Flying Colors Art Workshops
2/23-3/1/13, Puerto Vallarta.
Frank Francese - W/C.
3/17-3/23/13, San Miguel de Allende.
Bob Burridge - Acrylic.
Contact: Johanna Morrell, 858/518-0949
FlyingColorsArt@me.com or
www.FlyingColorsArt.com
Materials Due
Newsstand
October 5, 2012
December 4, 2012
PUERTO RICO
January/February 13
Caroline Jasper
March
April
January 2, 2013
May
February 5, 2013
April 2, 2013
June
March 7, 2013
July/August
April 2, 2013
April 9, 2013
June 4, 2013
September
June 4, 2013
August 6, 2013
July 2, 2013
July 9, 2013
September 3, 2013
SPAIN
Flying Colors Art Workshops
6/12-6/22/13, Don Andrews - W/C.
Contact: Johanna Morrell, 858/518-0949
FlyingColorsArt@me.com or
www.FlyingColorsArt.com
UNITED KINGDOM
Flying Colors Art Workshops
7/18-7/28/13, Cornwall. Mel Stabin - W/C.
Contact: Johanna Morrell, 858/518-0949
FlyingColorsArt@me.com or
www.FlyingColorsArt.com
94
www.artistsmagazine.com
October
November
August 6, 2013
October 1, 2013
December
September 5, 2013
November 5, 2013
October 4, 2013
December 3, 2013
January/February 14
Advertiser Index
Academy Of Art University . . . . . 7
Alchemist Mediums . . . . . . . . . . . 8
Art Gallery Frames . . . . . . . . . . . 88
Art In The Mountains . . . . . . . . . 88
Artspan.com . . . . . . . . . . . . . . . . 25
Atelier St. Luc . . . . . . . . . . . . . . . 90
BJ Spoke Gallery . . . . . . . . . . . . . 94
Blick Art Materials . . . . . . . . . IFC, 1
Bo Bartlett Studio . . . . . . . . . . . . 20
Caroline Jasper Studio . . . . . . . . 88
Cinema Dell Arte . . . . . . . . . . . . 23
Coastal Maine Art Workshops . . 90
DAmbruoso Studios LLC . . . . . . 90
Daniel Gerhartz. . . . . . . . . . . . . . . 6
Delaplaine Visual Arts . . . . . . . . 94
Drawing Tutorials Online . . . . . . 22
Emerald Art Center . . . . . . . . . . 94
F+W Media, Inc . . . . . . 8, 10, 20, 27
32, 33, 48-55, 81, 90, IBC
Flying Colors Art Workshop . . . . 90
General Pencil. . . . . . . . . . . . . . . . 9
Georgia Watercolor Society . . . . 94
Grax Arts. . . . . . . . . . . . . . . . . . 22
Greenhouse Gallery Of Fine Art. 94
HK Holbein Inc . . . . . . . . . . . .19, 25
Hudson River Valley . . . . . . . . . . 89
Icarus Art, Inc . . . . . . . . . . . . . . . . 6
This and many more North Light products are available at your favorite art & craft
retailer or bookstore. They can also be found online at northlightshop.com, or call
1-800-258-0929 to order.
ArtistsNetwork
@artistsnetwork
December 2012
95
competition spotlight
BY MAUREEN BLOOMFIELD
Competition
Spotlight
For the last page of The
Artists Magazine, we
choose a picture from
the pool of nalists and
ask the artist to tell
the pictures story. Our
October 2012 issues
Competition Spotlight
features Jennifer R.
Weltys The Artists
Daughters (oil, 20x24).
2013
Calendar
On the cover is
Queen Annes
Lace (oil, 10x10)
by Brooke
Walker-Knoblich;
on the February
page is David
Beals Meet Up
at Belmont (oil,
36x60).
96
www.artistsmagazine.com
Artist of
the Month
Top
p Resources for Artists
Live!
2011 ANNUAL CD
CDss
from YOUR
FAVORITE ART
MAGAZINES!
The Artists Magazine
Item #V0772
Watercolor Artist
Item #V0770
The Pastel Journal
Item #V0771
Southwest Art
Item #V6838
YOULL LIKE THIS ALSO!
Land, Sea & Sky
40 painters share
their secrets in this CD
Item #W8841
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