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master Lesson: Stephen Cefalo on Drawing the Figure

the gold leaf today p.10

magazine

Living now in the

Joseph Raffael in the South of France

Night Scenes Plein Air in the Dark

p.22

Queer British Art

1861-1967 at the Tate Britain p.7

One Artist’s Journey

From Representation to Abstraction

p.38

Margaret Bowland’s

“Uncomfortable” Pictures

Around the World

City Scenes in Watercolor, Pen & Ink

Fathers & Sons

by Way of Japan

Plus

Social Star: Vincent Giarrano From Biochemistry to Art

Radiant Heart by Joseph Raffael is part of his series focusing on the beauty of single blossoms.

September 2017 artistsmagazine.com

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Pivotal Moments ABOVE:

Diva J, 2016 (oil on linen, 60x52) by Margaret Bowland

LIFE-CHANGING MOMENTS are rare, yet we all can identify points in our lives that altered our subsequent paths. Joseph Raffael’s series of small, single-flower paintings began when a blossom within a large work called out to be painted by itself (“In the Now,” page 30). As a young student, Roger De Muth took on an assignment to “hop on a bus, get off anywhere and do a painting.” He’s been creating ink and watercolor paintings of architectural treasures ever since (“Artist on the Go,” page 54). In “Giving Voice to the Soul,” page 46, Margaret Bowland tells how she fled art school, where instruction centered on abstract art, to teach herself representational painting. Emil Robinson reserved this order; having

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established himself as a successful representational artist, he heeded an inner call to pursue abstract art (“Going Abstract,” page 38). Perhaps this issue will direct you down a new path. Stephen Cefalo’s explanation of contrapposto (Drawing Board, page 16) may be the ticket that takes your figure drawing to a higher level. Kent Lovelace’s oil and gold-leaf paintings (Brushing Up, page 10) may send you exploring a new technique. Pivotal moments—what a difference they make! My hope is that The Artist Magazine will help bring you to some of the best and most rewarding of these moments in your pursuit of art-making. Holly Davis SENIOR EDITOR

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Occasionally we make portions of our customer list available to other companies so they may contact you about products and services that may be of interest to you. If you prefer we withhold your name, simply send a note with the magazine name to List Manager, F+W, 10151 Carver Road, Suite 200, Cincinnati OH 45242. Printed in the USA Copyright © 2017 by F+W Media, Inc. All rights reserved. The Artist’s Magazine is a registered trademark of F+W. The Artist’s Magazine (ISSN 0741-3351) is published 10 times per year (January, March, April, May, June, July, September, October, November and December) by F+W Media Inc., 10151 Carver Road, Suite 200, Cincinnati OH 45242; tel: 386/246-3370. Subscription rates: one year $25. Canadian subscriptions add $15 per year postal surcharge and remit in U.S. funds. Foreign subscriptions add $20 per year postal surcharge and remit in U.S. funds. The Artist’s Magazine will not be responsible for unsolicited manuscripts, photographs or artwork. Only submissions with a self-addressed, stamped envelope will be returned. Volume 34, No. 7. Periodicals postage paid at Cincinnati OH and additional mailing offices. Postmaster: Send all address changes to The Artist’s Magazine, P.O. Box 421751, Palm Coast FL 32142-1751. F+W Media Inc. Back issues are available. For pricing information or to order, call 855/842-5267, visit our online shop at www.northlightshop.com/category/artists-magazine, or send a check or money order to The Artist’s Magazine/F+W Media Products, 700 E. State St., Iola WI 54990. Please specify The Artist’s Magazine and the issue month and year. Canada Publications Mail Agreement No. 40025316. Canadian return address: 2835 Kew Drive, Windsor, ON N8T 3B7.

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PERSPECTIVE

THE ARTIST’S 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: SelfPortrait (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, presents “Queer British Art” to commemorate the partial decriminalization of same-sex relations in England with the Sexual Offences Act of 1967. Ranging

from 1861 to 1967, “Queer British Art” explores the ways in which LGBTQ artists expressed themselves when society and government wanted them silenced. On display are deeply

personal and intimate works alongside pieces aimed at a wider audience in an effort to bring communities together at a time when the LGBTQ community was marginalized and persecuted.

“QUEER BRITISH ART” IS ON DISPLAY AT TATE BRITAIN UNTIL OCTOBER 1. LEARN MORE AT TATE.ORG.UK.

BOTTOM LEFT: Head of a Greek Sailor (1940; oil on board, 13x12) by John Craxton © ESTATE OF JOHN CRAXTON; ALL RIGHTS RESERVED, DACS 2016; PHOTO CREDIT: LONDON BOROUGH OF CAMDEN

September 2017

SEPTEMBER 2017

7 7

THE ARTIST’S LIFE Edited by Michael Woodson

A Family Affair Animator Thomas Romain’s greatest inspiration for drawing is his sons’ imaginations. 6,000 MILES didn’t stop Parisian artist Thomas Romain from immersing himself in Japanese culture. “I grew up watching Japanese animation on television, and playing Japanese video games as a teenager,” says the artist. “I’ve always been influenced by Japanese culture and French comic books.” His first artistic goal was to become a comic book artist, but after crossing paths with a 8 artistsmagazine.com 8 artistsmagazine.com

French animation producer, his dream evolved and put him on a career path one might call fateful. “I had the incredible opportunity to move to Tokyo and collaborate with a Japanese studio. I was co-director, character designer and art director of an animated TV series called Oban Star-Racers. I fell in love with Japan and decided to continue pursuing my career here.”

Romain channels a steampunk style to recreate his sons’ sketches of a war machine (top, middle) and a doctor (top, right).

ABOVE:

The idea to collaborate with his children came from a birthday present a friend of his gave to his younger son, Itsuki. “It was a watercolor set, and as I showed him how to use it,” says the artist.

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Whether you’re interested in landscapes, cityscapes, wildlife art or the figure, Vincent Giarrano’s got you covered. His Instagram account is overflowing with beautiful finished pieces, sketches, photos and tips, making him our must-follow artist of September.

Jade with Graffiti (oil on panel, 11x14) by Vincent Giarrano ABOVE:

Find him at instagram.com/vgiarrano.

“I realized how fun it was.” He felt a pang of nostalgia for the days when he drew with watercolor and ink, and not digitally. This rediscovered interest made him want to incorporate drawing by hand back into his life, but in a way that didn’t feel like work. “At the time, my older son Ryunoske was drawing surprisingly interesting doodles,” he says. “I just felt an eagerness to draw them, too. I starting adapting one just for fun, and I did the same with one of Itsuki’s drawings. My sons loved my adaptations. I shared the illustrations with my followers on Twitter, and

You can follow Romain and see more work from him and his sons on Twitter and Instagram at @thomasintokyo.

the response was so overwhelming, I decided to add to the series once a week.” Romain and his sons hope to publish a book of their collaborations. “It would also be great if we could create a story and give life to some of the characters through animation or a comic book,” he says. “I intend to keep working in the animation industry, my dream being to direct a feature film.” ■

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SEPTEMBER 2017

9 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 flakes and dust can be messy, but gold isn’t a health hazard in small doses. Dentists fill teeth with gold, and bakers use it to decorate cakes. As for the mess, stray flakes and dust are easily vacuumed.

a fairly simple craft, and with practice and creativity, it can add a striking element to your artwork.

Choose Your Desired Effect

ABOVE: Annunciatory Angel (1450–55; gold leaf and tempera on wood panel, 13x102⁄3) by Fra Angelico DETROIT INSTITUTE OF ARTS, USA / BEQUEST OF ELEANOR CLAY FORD / BRIDGEMAN IMAGES

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GOLD LEAF is perhaps best known historically for its

use in Christian icons and paintings. The early Italian Renaissance tempera paintings of Fra Angelico are magnificent examples. For the use of gold leaf closer to our time, look at the work of Gustav Klimt, who integrated gold leaf with oil paint. Contemporary artists are making the use of gold, silver and copper leaf in painting more common again. With products now available, leafing is

Over the past few years, I’ve 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 effect, I might lay gold leaf beneath a painted part of a landscape, such as the sky, to create a glowing effect. This technique has proven particularly rewarding in paintings of deep dusk when the land is dark but the sky still brilliant (see Cameret, page 12). Another approach is to combine leaf beneath the imagery with leaf over or around the surface of the painting. Gustav Klimt used this approach in his painting The Kiss as well as other works. Keep these different approaches in mind as you plan your own experiments.

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BRUSHING UP WHY PAINT ON COPPER? In Europe during the 1600s, artists tried various substrates for oil paints—a 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 brushwork, and oils won’t sink into the ground on copper, so colors stay intensely saturated, even in thin layers. Copper also proves luminous under transparent oils. See my step-by-step demonstration at bit.ly/paint-on-copper.

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. LEFT:

Prepare the Surface

If you’re painting in oil on hardboard panel, plywood, canvas or linen, prepare the surface with gesso as usual. A red oxide hue is the classic undercolor for gold leaf, so consider adding iron oxide acrylic to your gesso to create a red tint. Use a large, soft brush and apply multiple coats, sanding between layers. A smooth surface is generally considered ideal; however, the surface texture of gesso on coarse canvas or rough wood can prove visually interesting. In this case, the leaf may lie unevenly or not cover the surface entirely but still prove attractive. For most of my work, I paint in oil on copper plate (see Why Paint on Copper?, above right). To prepare copper, sand the surface and clean it with denatured alcohol. If you apply gesso to the copper, you’ll lose copper’s characteristic luminosity. Whatever surface you choose, the leafing process is the same. 12 artistsmagazine.com 12 artistsmagazine.com

Paint As You Usually Do

Paint an image as you normally would, but consider where you intend to place the leaf. Although it’s not necessary to leave an open area for the leaf, I recommend doing so for your fi rst efforts, and this is the method I describe here. Alternatively, you may choose to paint an image partially, apply gold leaf and then fi nish the painting afterwards. Working quickly, I create an underpainted “key image” with Old Holland neutral tint oil paint and Winsor & Newton Liquin. Once dry (usually in 24 hours or less), this drawing will define the image. I choose to paint with transparent and translucent oils, which allow my copper surface to permeate the image, adding both a unifying hue and luminosity to the painting. I may leave much of the underdrawing exposed or choose to glaze in multiple hues

to finish the painting. Of course, you may use your usual manner of painting to create an image, perhaps blocking in your darks and layering lighter pigments above.

Let the Paint Dry

Be patient and allow your painting, whether fully or partially developed, to dry thoroughly before adding leaf. With my method of working the paint thinly with added Liquin, I usually allow a minimum of one week in a warm studio. If you’re not using an alkyd medium or a drier in your oils, practice even more patience. Leaf must be applied to a completely dry surface.

Apply Size

You’ll need to apply a small amount of size on the areas where you intend to place the leaf. Traditionally, artists used rabbit-skin glue, but we now have synthetic sizes made specifically

for metal leafing. Water-based size works well over acrylic gesso but not over oil, lacquer, metal or other oil-based materials. Oilbased 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 carefully, 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 difficult to see. Make every effort not to miss areas, but don’t leave puddles. Remember, you want a thin, even layer.

Apply Leaf

When the sized areas are no longer wet but slightly tacky, they’re 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 first efforts (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 won’t float away with the slightest breath, as loose leaf will. Loose leaf is very fragile and is also thinner than patent leaf. Gold leaf, whether loose or patent, comes in many colors, ranging from a true deep gold to red- or green-tinted golds to lighter yellows and “white” golds, depending on what other elements are added. The higher the karat, the purer is the gold, with the purest being 24 karat. Imitation gold leaf is usually a combination of copper and tin. These leaves are larger, less fragile and much less expensive than true gold. Leaf also comes in copper and aluminum.

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the magazine

September 2017

SEPTEMBER 2017

13 13

BRUSHING UP DEMO

BIRD AND LEAF

1

2 1. UNDERPAINTING: For the

most part, when you intend to add gold leaf to your oil painting, you can prepare your surface and paint your subject in your usual manner. I began with a light underpainting of a vermilion flycatcher on a prepared copper plate. 2. ADDING LEAF: I completed

my painting and let the oils thoroughly dry before applying size around the bird and branch. When the size became tacky, I applied

3 white gold leaf. I needed several full and partial sheets of leaf to surround the bird and the branch. You can see the seams on the left where I haven’t completely worked the leaf into the size with a brush. In the lower left corner, you can also see a bubble in the leaf over an area of the painted branch, indicating the leaf had not adhered to this area. Because the paint was dry and hadn’t been sized, I was able to brush the gold leaf off the branch and bird.

and, with the gold side facing the image, gently place the leaf onto the sized area. Carefully rub the paper to attach the leaf. Remove the paper. Add another sheet and repeat until all sized areas have a loosely attached covering of leaf. Then, with a soft brush, gently work the leaf into the size. If your painting is dry, the leaf will adhere only to the sized areas. (See step two of Bird and Leaf, above.) 14 artistsmagazine.com 14 artistsmagazine.com

3. LEAFING COMPLETED:

Having fully worked the leaf into the size (and brushed off the unwanted leaf), I considered Vermilion Flycatcher (Leucistic) finished. Had I wished to do so, I could have painted over the leaf or added leaf over portions of the bird. ABOVE: Vermilion Flycatcher (Leucistic) (oil and white gold on copper, 8x10)

Allow the leaf and size to dry completely. At this point, your painting may be finished, or you may wish to continue painting. You may paint over the leaf, letting the light of the gold beneath show through, or you may just paint up to the gold edges. You may also glaze with transparent oils over the gold to soften and age the appearance of the leaf. When you’ve finished the painting, and the

LEAFING MATERIALS SIZE: Oil-based LEAF: Giusto Manetti Battiloro transfer (patent) leaf BRUSH: Princeton Artist Brush Co. Imperial synthetic mongoose filbert for applying leaf and removing excess leaf

paint and leaf are fully dry, you may varnish the surface as usual. ■ KENT LOVELACE’s work was featured in the September 2011 issue of The Artist’s Magazine. His oil paintings on copper are part of private, public and corporate collections throughout the world. Lovelace passed away in May 2017, shortly after completing this article. Visit his website at kentlovelace.com.

DRAWING BOARD By Stephen Cefalo

A Uniquely Human Stance Give your figure drawings a relaxed and natural look with contrapposto.

Donatello’s David, Michelangelo’s David, Botticelli’s Birth of Venus and the Venus de Milo. One could wonder, however, why it took so long to discover contrapposto in art. Throughout ancient Egyptian art, figures look stiff. The contrapposto is so wonderfully human and immediately appears to us as a sign of sentience. In the Renaissance, the Christ child is represented standing in this manner, giving the appearance of higher intelligence or nobility. We’re not the only bipeds on the Earth’s surface, but we’re almost certainly the only creatures that can stand in contrapposto, unless depicted in a caricature.

Weight Distribution

CONTRAPPOSTO, FRONT AND BACK: These two pastel sketches show how the load-bearing leg establishes a center of balance, causing the femur (thigh bone) to push upward. This, in turn, causes the pelvis to drop over the free leg. The ribcage, following the rule of contradiction, counterbalances the pelvis by tilting in the opposite direction. ABOVE:

16

artistsmagazine.com

CONTRAPPOSTO (LITERALLY “COUNTER-POSTURE,” IN ITALIAN) is, in the most basic sense, a standing pose

in which the weight is shifted to one leg while the position of the upper body is adjusted to balance the weight. The Greeks were the fi rst in our cultural memory to depict contrapposto. This mode of expressing the human form dovetailed beautifully with the Aristotelian ideal of a mean between extremes or balance of opposites. Contrapposto contains a number of opposites, such as bent versus straight, flexion versus extension, active versus passive, tension versus relaxation and tight versus loose. Many of the most celebrated and commonly known works of art in history were contrappostos, including

One of my professors said that the hardest thing in drawing people is to make them stand. This can be an endless 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 direction. This is sometimes called the “rule of contradiction” (see Contrapposto, front and back; at left). Essentially, a figure in true contrapposto is standing on one leg. When we walk, we’re constantly in and out of contrapposto as we shift our weight from one leg to the next. Although both feet may be touching the ground, the “free” leg is serving as an auxiliary leg, providing a bit of supplementary balance. If I were to build a one-legged table, I’d want to place that single leg directly in the center. If I want to stand on one leg, then where can that leg go but in the center? This leg is known as the “load-bearing” or “supporting” leg. The free leg can

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DRAWING BOARD

SHOULDERS AND ARMS ARM RAISED ON SIDE OF FREE LEG ARMS RAISED ON SIDE OF LOAD-BEARING LEGS

A

B

Generally, the shoulders and the soft body parts of the upper torso follow the tilt of the ribcage, but the position of an arm can change things. A raised arm on the side of the load-bearing leg raises the shoulder and the breast nipple on that side (A).

essentially go where it likes and can even change positions without altering the contrapposto. The leg and thigh holding up the pelvis will push the pelvis up on the side of that supporting leg. Naturally, the pelvis will drop on the side of the free leg. Everything belonging to the pelvis, such as the trochanters of the femurs (hips) and the patellae (knees), will usually tilt with the pelvis. The upper torso, carrying a vast amount of weight, will tilt in the opposite direction from that of the pelvis. The upper torso does this in order to center its weight above the supporting leg, as in the weight distribution of the one-legged table. The contrapposto is born. Although the head can do whatever it likes, many artists choose to tilt the head in the opposite direction of the shoulders. Th is completes a 18 artistsmagazine.com 18 artistsmagazine.com

ARM RESTING ON HIP OF FREE LEG

In this case, the angle of the shoulders and nipples may tilt opposite to the angle of the ribcage. On the other hand, an arm raised or resting on the hip on the side of the free leg accentuates the contrappostal effect (B).

nice “S” curve laterally, at the same time serving as a complement to the pelvis and hips.

Confusing Factors

It’s commonly taught that in contrapposto, the shoulders tilt in the opposite direction of the pelvis. Th is is generally true, but it doesn’t take into account that the shoulder girdle, composed of the scapulae (shoulder blades) and clavicles (collarbones), acts in conjunction with the arms and moves independently of the ribcage. If the arms are at rest, everything that belongs to the ribcage will share its tilt. The angle across the shoulders, the nipple line, the angle across the elbows and the costal cartilage at the bottom of the ribcage will all be tilting in the same direction. On the other hand, if the ribcage is lowered on the left, yet the left arm is raised,

the left shoulder may actually appear higher on the left. Furthermore, the lifting of that arm may pull the skin upward, moving fleshy landmarks, such as the breast’s nipple, upward, and making the figure seem quite out of contrapposto. The shoulders are also affected when the model places one hand on the hip of the supporting leg. Th is pushes the shoulder up on that side. Even though the ribcage has not moved, the slight shifting of the shoulder can be enough to throw off the look of contrapposto. A hand resting on the hip of the free leg, however, can enhance the contrapposto effect. Most accurately, however, it’s the relationship between the ribcage and pelvis that makes a contrapposto. (See Shoulders and Arms.) The other factor that can confuse is perspective. Extreme perspective can make the dropped shoulder look

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DRAWING BOARD higher than the raised one. In this case, the only advice I can offer is keen observation of angle relationships. If you get the perspective right and the proportions right, the pose will make sense.

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Working With Models

I’ve encountered the occasional model who cannot stand in contrapposto. I found out later that one such model had injured her spine while serving in the military. Others just stiffen up on the model stand and can’t quite grasp the concept. Side View As soon as you tell them to break, Although it’s not commonly menthey’ll simply relax into a lovely contioned, there’s a rule of contradiction trapposto. Because of this, at times in play when viewing the figure from the side. In most natural stand- I’ve asked a model to freeze just after I call for a break. Another way I can ing poses, the pelvis tilts forward “trick” a model into contrapposto is to support the weight of the upper by asking him or her to slowly walk torso. The ribcage then tilts backaround the model stand while I say ward in order to center the weight “freeze” as each step is taken. One of the body. The contrast between more way is to ask the model to these tilts is often more exaggerated stand on one leg and then to rest. in the female form. The head and The downside of contrapposto neck thrust forward to complete an is that the model often tires quickly. “S” curve. This is the reason for the Holding your weight on one leg can graceful curve in the spinal column, be quite a strain, especially when offering not only a pleasing look but one knee is locked. Th is contribalso a means of balance and springutes to my greatest fear: the model like shock absorption. (See Side passing out on the stand. When View, below.) depicting any standing pose, I ask the model to shift weight from BELOW: SIDE VIEW: Nearly all standing side to side or to the center as he poses viewed from the side exhibit a counor she wishes. I pick one of those terbalancing of the pelvis, ribcage, and neck and head, creating an S-shaped curve. postures and then have the model tell me when the shift is coming. This avoids confusion on the part of those drawing the pose. When the pose is shifted to the opposite leg, I can work on areas like the face, feet or hands. If I can establish the structure of the gesture in the first sitting, however, the model can shift legs a little more freely while I spend my time modeling the more stable aspects of the form within that framework. One exercise I’ve had success with is to have the model stand in contrapposto for only the first 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, I’ll ask the model to stand in contrapposto for one more two-minute session. It pays to practice sketching contrappostos from memory, reviewing the rules of contradiction and balance in your mind.

Gender and Leg Position

In observing the handling of contrappostos through history, I’ve noticed that most artists have chosen a different free-leg position for males than for females. By Greek tradition, men were commonly 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 portrayed nude in ancient Greece, while nude depictions of men were considered normal. Over time, these rules were relaxed; clothing 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 hourglass look of broader hips and gives the gesture a flamelike or serpentine appearance. These ideals were imitated during the Renaissance and remained much the same for centuries. I’ve chosen to break this stereotype in many of my drawings, as seen in the pastel sketches on page 16. It’s interesting to me how this stance can instantly imbue a sense of power in the figure.

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 different 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 contributor to The Artist’s Magazine. Visit his website at stephencefalo.com. September 2017

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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, 32x367⁄16) is one of Claude Monet’s paintings in a series showing the same view of London’s 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 OF ART, WASHINGTON

I want to paint nocturnes en plein air. How would you recommend I light my surface and palette? Lighting is all-important when it comes to painting a plein air nocturne (night scene). Basically, you want enough light to paint by, but not so much that it affects your vision. Shine too much light on your surface and palette, and your eyes will take too long to adjust when looking back at your subject; shine too little light, and you won’t be able to see and mix color accurately. Getting a single portable lamp to illuminate both surface and palette is difficult. Two lamps are better. Conveniently, the Mighty Bright Duet2 LED Music Light has two lamps, each on a flexible gooseneck that lets you put the 22 artistsmagazine.com 22 artistsmagazine.com

light where you want it. One lamp can be aimed at the palette and the other at your painting surface in a way to minimize 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 sure you consider color temperature, light output, weight, method of attaching the lights and battery life. Cool light is better than warm in that it will keep you from exaggerating the cool character of nighttime colors. The lamp should be bright enough to see color but not so bright that it blinds you when looking back at your subject. You can clip a featherweight lamp to your gear without risk of causing stretching, sagging or bending of the item you attach

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ASK THE EXPERTS the lamp to. Batteries should last at least a couple of hours. Rechargeable lithium batteries can be heavy but can also give you more time. A Boruit dual light source zoomable and rechargeable headlamp is another useful light. I find this lamp too bright to paint by—it kills one’s night vision—but it’s great when I want to step back to evaluate my painting and for setting up my gear. If you’re painting in an urban area, you might not need a lamp at all, especially if you paint under a streetlight or near a lit shop window. Beware of colored lights, though; mercury streetlights cast a greenish light, and sodium streetlights have a yellow cast. Either cast will wreak havoc with your color-mixing skills.

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PAINTING AT NIGHT IN THE WILDERNESS 1. I set up my gear during

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NATURAL NIGHT-LIGHTS

What about the lighting of my subject? How does natural light change during the course of the night? To paint a nocturne en plein air, you need something to light your subject. If you’re painting in an urban environment, you’ve got it made. Streetlights and lit shop windows work well and sometimes can even serve as the subject. Also, the quality of artificial light doesn’t change throughout the night. Painting a nocturne in a natural landscape away from city lights, however, can be challenging. If stars are your only illumination, it’s almost impossible to see your subject. A bright moon, on the other hand, can give you enough light to read by. You can also paint nocturnes at twilight—when there’s still enough light left to see color— but only for a little while. During civil twilight (a period of about 30 minutes from sunset to when the sun is no more than six degrees below the horizon) there’s enough light to distinguish terrestrial objects, and you can paint a nocturne without needing to illuminate the subject or palette. You can see color, too. Warm colors in the landscape gradually give way to 24 artistsmagazine.com 24 artistsmagazine.com

daylight in anticipation of a sunset plein air painting session at a mesa top in central Arizona. Attached to the easel is a Mighty Bright Duet2 LED Music Light with one lamp aimed toward my palette and the other at my painting surface. The Boruit RJ-5000 headlamp (dual light source, zoomable and rechargeable), resting on the shelf to the left of my palette, will be helpful for an occasional overall look at my progress while painting and after the painting session when I pack up my gear and head back to my car. 2. Using my Boruit headlamp

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to illuminate the setup, I took an in-process shot of my painting as it neared completion. A full moon was just rising. As you can see, I could never paint a plein air nocturne by my headlamp, as it would overwhelm the scene. 3. My finished plein air paint-

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their cooler relatives. For example, what you painted with cadmium red might, after a few moments, need to be repainted with alizarin crimson. Blues and greens begin to dominate. The length of civil twilight changes with time of year, latitude and the amount of light pollution, but given reasonably clear atmospheric conditions, you can count on about 30 minutes. At the end of this twilight period, the illumination has waned enough that there is no useful light left for the painter. The full moon alters everything,

ing Mesa Top Nocturne (oil on hardboard, 9x12), photographed later under more controlled lighting conditions, shows the dusky twilight colors I viewed on location.

of course. A just-rising full moon shines with a yellow-orange light, little of which illuminates the earth. Once risen, however, it makes the world visible again. From its post overhead on a clear night, it will shine yellow-green. Th is color influences everything it touches because even the moon doesn’t provide enough illumination to fully wake up the retina’s cones (photoreceptive cells that perceive color). Lesser moons have even less influence. Clouds, of course, present as much of a challenge as they do in the

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day—but not just because they block the light of the moon. They can also add light to the landscape. A low cloud ceiling over a city can reflect the city’s ambient light onto the landscape, affecting the color cast of your subject.

ADDITIONAL ADVICE

What other tips can you give me to make my nocturnal plein air excursions successful? Plan: Scope out your location in the daylight. Look for

things that might be hazards, such as tree roots. Figure out exactly what you plan to paint, and think about 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 first: Make sure you wear proper footwear, dress warmly and carry a fi rst aid kit and an extra flashlight with fresh batteries. Try to paint with a buddy, especially if you’re painting in an urban or remote area. Make sure you let someone know where you’re going. Take a fully charged cell phone. Adjust your palette: Colors tend to get cooler as night deepens, so consider adjusting your palette to 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 the middle and only a few values far over at the light end. Memorize where the colors are on your palette. It’s not always easy to distinguish colors that are close in value and temperature in less-than-optimal light. 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 a camera is more trouble than it’s worth. Given the low lighting conditions in the natural landscape, taking reference photos requires special knowledge of exposure times, apertures and ISO settings. If you do go this route, use a tripod, turn off the camera’s flash, use its self-timer and make sure to bracket your shots (take the same picture at three or more exposures). For painting nocturnes, memory is a better camera. Develop your visual memory: If you learn to memorize a scene, what you don’t paint in the field, 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 Artist’s Magazine and the author of Outdoor Study to Studio: Take Your Plein Air Paintings to the Next Level. His five 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 mchesleyjohnson.com.

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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, 18½x17¼) 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 18½x17¼) The sensuality of the flower in full regalia is expressed in the soft nuance of voluptuous shapes and variegated colors.

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MY JOURNEY WITH JOSEPH RAFFAEL BEGAN 25 OR SO YEARS AGO when I fi 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 significance. Then, about three years ago, Maureen Bloomfield gave me the opportunity to write my first article about Raffael, “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 Raffael about his art. An easy long-distance friendship (Raffael 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 I’d never imagined. Life is a circle of miracles. My wish to know more about Joseph Raffael, which began with that pink rose, has manifested in manifold ways—and the miracles continue to unfold. BETSY DILLARD STROUD 32 artistsmagazine.com 32 artistsmagazine.com

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n his light-fi lled studio overlooking the Mediterranean sea in Cap d’Antibes, France, Joseph Raffael is hard at work on his new series of small paintings. These watercolors, coined “jewels” by his cherished friend, Nancy Hoff man, are usually square in shape (about 19x19 inches.) They possess an almost indescribable luminous, diaphanous quality. They’re 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. There’s a physical relationship to the work being brought to life, which is the opposite of working in a large format. To bring a large piece to fruition, I work on one area at a time within 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 eye’s 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 voilà—your new series was born. These pieces are like the small korai Greek figures in the

ABOVE LEFT: Dawn

Rose (watercolor on paper, 17½x19½) 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, 17½x18¼) Like a mandala, the circular flower 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

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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 originates 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 Hoff man suggested that David and I write a few pages on

the subject of beauty for an upcoming exhibition of mine at Nancy’s gallery. During the following year, those pages evolved into a book. David and I have never met, and we’re very different from each other. He’s young and cheery. He expresses through words and is an art critic for the Los Angeles Times. Our two voices and differences created a lively, unexpected and inevitable tapestry, a jubilant oratorio.  It reminds me of Rumi’s quotation: “Out beyond ideas of wrongdoing and right doing there is a field. I’ll 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 into life, death, love, loss, creativity as inevitable portals to beauty.   Thus, these small paintings, in part, are borne from the Talking Beauty exploration. It seems that David and I met in Rumi’s field. It’s as if the path to “now”

ABOVE: Golden

Heart (watercolor on paper, 15¼x17¾) 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 defining 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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JOSEPH RAFFAEL attended Cooper Union and earned a bachelor of fine arts degree from Yale University, where he studied with Josef Albers. During 1958 and 1959, he traveled in Florence and Rome on a Fulbright scholarship. 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 d’Antibes, France. In a 1973 article in Time magazine, Robert Hughes wrote that Raffael’s work presents “a tender virtuosity without parallel in other American figurative painting today.” A book on Raffael, Moving Toward the Light, is available through Amazon.com and Nancy Hoffman Gallery (nancyhoffmangallery.com), which represents his work. Visit Raffael’s website at josephraffael.com. 36 artistsmagazine.com 36 artistsmagazine.com

had been swept clean during our search. “Now” also brought with it Lannis’s 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 rose’s symbolism can reflect both le jardin secret (the secret garden), as well as your feelings about Lannis. The flowers are bold, their voluptuous color is emotional and alive—yet 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 Lannis’s 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 to that. They are like new days. They burst forth with an energy and a startling presence which stuns me—new and never before seen documents of one person’s being, one’s soul. The expressions of the artist’s soul can aid others to remember their truest selves. Artists, composers and writers all speak to one’s 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 us—reminding 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, 17½x185⁄8) A voluptuary composed of light pinks and oranges, deep crimson, luminous whites and grays fills the picture plane with its lovely gradations, while its deep red secrets and its brilliant light pull the viewer into the painting. TOP LEFT: A

Rose for Vincent (watercolor on paper, 19x19) The yellow rose in its prime is a complex configuration 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, 18¾x19) A vertical orange-yellow rose, before full bloom, stands stalwart in a neutral abstract background of gray, light greens and white.

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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

in one’s work not only involves venturing into the unknown and risking failure, but it can also alienate followers and collectors who have become fans of earlier work. For many a creative spirit, however, the need to change is paramount. In fact, there’s no real choice, and the joy and excitement of exploring new territory far outweigh the risks. So it is with Emil Robinson, an artist who relinquished early success as a realist painter for an adventure that has brought him through more intuitive representational painting to reach his current abstract work.

ABOVE: Ecstatic Space 4, from the Abstractions series (2017; oil on wood panel, 40x30) OPPOSITE: Yellow Striped Interior, from the Spaces series (2016; oil on linen, 72x50)

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MATERIALS SURFACES: wood

panels made by Robinson or a local artisan; Claessens oil-primed, mediumtooth 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)

His Doorway series presents compositions of bare rectangles in brilliant flat color, a rigorous enterprise that is about as far from realism as it is possible to be (see images above and opposite). “I’ve sacrificed a lot of easy pleasure,” says the artist, “but I’ve built something rich and engaged. My career as a realist painter was going well when I decided to change my work. The need came from a frank look at the trajectory of painting and the goal of inventing a visual language from the ground up.”

Exploring Interior Spaces

In looking hard at his own work, Robinson realized the importance of a recurring theme. 40 artistsmagazine.com 40 artistsmagazine.com

“My work has always been about the interior,” he says, “whether it is literally depicting the interior or simply operating within a contemplative space. With this as a guiding principle, my ambitions slowly transitioned away from a literal depiction of things as we already know them to be.” Robinson stresses that he doesn’t think realist painting is finished or outmoded. “I just couldn’t find a way to make it relevant for me the longer I continued making art,” he says. “The change in my work has been constant and tumultuous for five years or so. My current paintings have arrived at a place where I feel as if I have built my own

“THE CHANGE IN MY WORK HAS BEEN CONSTANT AND TUMULTUOUS FOR FIVE YEARS OR SO. MY CURRENT PAINTINGS HAVE ARRIVED AT A PLACE WHERE I FEEL AS IF I HAVE BUILT MY OWN WAY OF WORKING.” Emil Robinson

way of working. It’s something that I have thought very carefully about. I hope that if viewers look thoughtfully at the work, they will find that it will open for them.”

Frames Within Frames

The genesis of Robinson’s recent paintings follows an almost dictionary definition 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 doorways 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 doorway itself,” he says. “The paintings became very simple then—the frame of the door reasserting the frame of the painting’s rectangle. This was also the fi rst time I realized that the rectangle of the painting itself is a powerful first 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 attitude 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 structure. This is healthy in some ways, and it is now part of the metaphor and meaning in my work—psychological dynamics held within a structure.” As part of this newfound interest in the frame of the canvas as a container, Robinson experimented with shallow 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 concentrate 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 highkeyed 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 confident, I began to see more color surprises in nature. In the Doorway paintings, because of the incredible September 2017

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ABOVE: Water

in the Temple from the Spaces series (2016; oil on wood panel, 30x40)

“AS I LEARNED MORE ABOUT COLOR AND GREW MORE CONFIDENT, I BEGAN TO SEE MORE COLOR SURPRISES IN NATURE.” Emil Robinson

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concentration and trust it took to find exciting color within something that was generally undynamic, I became much more comfortable with the idea that color is always invented. Then I set out to find color that matched the intensity of my joy and fear when confronting the events and scenes of my life.” In practice, Robinson finds that organizing the color for these paintings requires some trial and error. “I work many different ways,” he says, “but I have been doing sketches in gouache to find the most powerful color solutions. I try not to make color combinations that are too easily digested. I am not trying to make bland, pleasant paintings. In the current Doorway paintings, the colors are meant to be beautiful, but also arresting. This visual effect doesn’t come from science; it comes from faith in surprise and a desire to experiment. This means that the finished oil paintings are painted and repainted multiple times until I can feel the color gain personality.” By “personality,” the artist means a strong identity or feeling, a sense that will be generated by the work for the viewer.

Rigorous Choice-Making

Making multiple changes to color choices on the painting means that Robinson has to address the technical problem of layering and how that affects the creation of edges. Although the paint is brushed in a lively fashion, he has opted for carefully, but not clinically, painted edges. The effect is to assert the unassumingly handmade nature of the work. Robinson’s formal experiments in his recent work have also extended to scale, with the artist choosing to paint in different sizes with each new series. “I have tried to become rigorous about every aspect of my paintings,” he says. “This rigor takes the form of choices about materials, scale and process. The scale is determined by the needs of my current projects. I will have an idea for a painting, decide on a scale by drawing rectangles and then build multiple supports at that scale so that it becomes part of my language. Then other paintings will feel inevitable, given the constant of scale.”

ABSRACTING INTERIORS By Emil Robinson Doorway Number Nine (2011; oil on wood panel, 20x17) TOP LEFT:

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 over a six-year period. All of them show a shallow interior space, and the frame of a doorway is consistent throughout. The paintings, however, became more abstracted as the years passed, the interiors depicted becoming more those of the psyche as opposed to interiors in physical space. First came Doorway Number Nine (top left), which I spent a couple of

weeks painting in 2011. I used naturalistic color, and the title refers to a specific place, an open doorway as seen from my studio, where I created the painting. I painted Winter Morning Four (middle left) in 2014. It’s the work of a couple of hours in my apartment. The color is interpretive, and the title refers to a season that held a particular feeling and light. In 2016 I painted Bright Space (bottom left) from my imagination after

returning from a summer trip to Italy. The space references the chapels of Italian duomos (cathedrals), and the effects on the walls indicate psychological and emotional (spiritual) forces contained in those spaces. The title refers to something coming from within. This year I painted Ecstatic Space (above right), giving full rein to the dynamic power of abstraction. The title refers to an energy that’s powerful and tumultuous.

Robinson’s 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

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Semi-Abstract Spaces

While working on his Doorway series, Robinson has been concurrently painting a series entitled Spaces, consisting of abstracted interiors in which he often establishes surfaces with sets of parallel colored lines that create shallow perspectival spaces (see Yellow Striped Interior, page 38, and Water in the Temple, page 42). “The idea of the parallel lines came from Italian churches,” says the artist. “My wife and I take a student group to Italy during summers to paint with the University of Cincinnati Artist Immersion Program, and I became interested in the many churches where stripes of different colors of stone are used.” Robinson notes that the work shares some features with Op Art, when the work seems to create palpable spaces close to the canvas surface. More literal than his Doorway series, the Spaces paintings incorporate recognizable features of interiors such as windows,

BELOW: Ecstatic Space 3, from the Abstractions series (2017; oil on wood panel, 40x30) OPPOSITE: Ecstatic

Space 2, from the Abstractions series (2017; oil on wood panel, 40x30)

“... OF ARTISTS LIVING IN THE LAST 100 YEARS, MATISSE STANDS OUT AS MOST INFLUENTIAL FOR ME ... .” Emil Robinson

views, doors and a hint of human presence in the form of pictures on the walls. These last are painted hazily and exist as more or less ghostly presences in a semi-abstract space. “Images in these paintings are treated less like an illusion and more like a document,” says the artist. “Most of them are painted from photographs so I want to try and make sure they appear as they are–reminders of something or small pieces of history.” The overall effect is curious and mysterious, as though the process of abstraction had failed to quite absorb all evidence of the rich patina of life. It seems that the artist felt some need to hang on to some of life’s warmth, the comfort of bric-a-brac and mementos against the unrelenting geometry of his new pictorial space.

Energized Shapes

In his most recent series, entitled Abstractions, Robinson has solved this problem in a spectacular 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 gyrating in space. These compositions fully realize the artist’s stated ambition to make paintings about the containment of forces and energies. Given the abstracted natural forms, freely flowing line and brilliant color in Robinson’s Abstractions series, it’s 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 influential 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 excellence in painting stretching back in time.” Robinson’s 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, ambitious and poetic,” says Robinson who also names contemporary artists Dana Schutz and Kerry James Marshall as influences.

Growth and Enrichment for All

Given the immense ground that Robinson has covered in the last few years, it seems 44 artistsmagazine.com 44 artistsmagazine.com

likely that his work will continue to develop. Of his near-term ambitions he says, “I want to find a way to add the figure back into the world of these paintings.” For now he has succeeded in refining his focus and defining the nature of his interests in painting. As for his work’s effect on viewers, he offers this: “I hope they approach my paintings with the kind of open mind and intelligence they might approach a person they

have never met but want to. I want them to feel excited by the color and energy, and I want them to wonder about what the work might mean. I hope that the meaning changes and grows more rich the longer they look or live with the work.” ■ JOHN A. PARKS is an artist as well as a writer. His latest book is Universal Principles of Art: 100 Key Concepts for Understanding, Analyzing and Practicing Art. Visit his website at johnaparks.com.

EMIL ROBINSON grew up in a family so full of artists that, initially, he didn’t want to become one because artmaking 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 Artist’s 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 recently at Anna Zorina Gallery, in New York City, and Waterhouse & Dodd, in London. 

Visit Robinson’s website at emilrobinson.com.

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GIVING VOICE TO THE SOUL Margaret Bowland’s stirring work fuses past with present and confronts life’s 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 selfconfessed 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 Bellow’s 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 life—the 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.”

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. RIGHT:

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Learning the Hard Way

The artist and fine arts professor at New York Academy of Art left college during her junior year, disillusioned by dogma from instructors she describes as “all Abstract-Expressionist men from Chicago”; nevertheless, she has painted all her life—as a child in school and on her own for solace. A wunderkind, her first paid job, at age 13, was creating scenes on cloth to be installed in the lids of funeral caskets. “My bestseller was a landscape depicting the River Jordan,” she recalls with some amusement. From there she would go on to be chosen for the Governor’s School of North Carolina (an honorary high school summer program) and then, at age 17, turn up at the University of North Carolina (in Chapel Hill—a mere 30 miles from her hometown) like, as she puts it, “a kid today arriving in New York City from Iowa. Everything was dazzling, sophisticated and terrifying. Here, I believed,

artists of my age have the same story,” I would find the answers to so many she says. “Many thrived. I fled.” of my questions and be taught to paint Fleeing meant moving in with like the great artists I had seen in friends, waitressing, and teaching books. But of course, I was walking herself to paint from books and endinto college in the early ‘70s, and none less museum visits. “Before 9/11, no of what I wished to learn was offered one checked your backpack upon in art departments of that time.” entering a museum,” says Bowland. Expressly instructed against “I would paint some horrible image painting the figure, Bowland vividly and then take out my painting in the remembers attending her first life museum and try to understand how I drawing class, viewing a nude model was failing (and I was always failing). posed on a stand and being told by the teacher to “draw the fourth dimension.” My husband saved me; he married and supported me while I learned to paint.” “I wanted to draw the model,” Eventually the couple moved to she declares with passion, but notes Brooklyn, N.Y., where Bowland took it soon became clear that skills were on portrait commissions. “Most were not being taught. “Realize that at the pretty horrible;” she says, “however, I time, Frank Stella was king,” says Bowland, “and the largest conversation was learning, and rather than paying models, they were paying me. But was whether to let the lines you made that was not what my soul wanted, on the canvas bleed or not; whether to and by then my soul was screaming!” leave the masking tape you were using to create those lines breathe a bit at their edges or fi x them hard and fast Unexpected Breakthrough with acrylic medium.” Bowland was Heeding that visceral call, Bowland 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 holding 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 day’s 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, 78x64¼) two girls stand below a painting by Kehinde Wiley of two felled men. September 2017

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had a gallery to boot. “It was the happiest day of my life,” says Bowland, who has come a long way from that serendipitous happening. With more than 11 solo exhibitions to her credit and major recognition, today the selftaught artist teaches figure painting to master’s students at one of the country’s most prestigious art academies. “I love teaching,” she points out. “I have fought long and hard to acquire the skills I have learned, and it is healing to be able to give this information to my students, knowing they will not have to endure what I did. I have thrown paintings through screen doors in frustration. I tell my students that visual language is a complete one, like French or English. One must simply be capable of its knowledge. If the viewer must approach the written type 50 artistsmagazine.com 50 artistsmagazine.com

posted to the right of the piece in order to have any reaction to the art, the piece has failed. Period. Visual language is not Latin.” No such explanations needed for Bowland’s work. The artist who works with a cadre of carefully chosen models, whom she says all possess a sense of grace, self-containment and peace, admits, “I’ve never made a piece that was as beautiful as the subject before me.” Intrigued, however, with the concept of damaged beauty, she also says, “I make paintings in which something is going wrong. Something beautiful is threatened, and the viewer, it is hoped, wishes to come to the rescue. My actors are placed in strange, intolerant worlds, and yet they survive. They look back at you with a steady gaze, intact, in a state of grace.”

Tangled Up in Blue, 2015 (oil on linen, 70x98) is a tribute to Bowland’s friend who, though divorced, was motivated by memories of his fatherless childhood to be a good father to his son. The title comes from a Bob Dylan song about time travel.

ABOVE:

Optical Colors in Oils

To convey such intense and intricate themes that often allude to uncomfortable truths about money, power, gender, race and beauty, Bowland works in large scale, for the most part in oils, but sometimes in pastels over an acrylic or watercolor toning layer (see Twelve, 2013, page 52). For oils she uses only the fi nest linen as a surface, staples it to stretcher bars and sizes it with rabbit-skin glue. The canvas must lie fl at to dry overnight.

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 Jackson. In my opinion, he was a barbaric President; I have Cherokee ancestry, and he was responsible for the deaths of thousands of Native Americans. 2. THEMATIC DEVELOPMENT:

3 1. LAYING THE NARRATIVE GROUND WORK: Two days

into creation, I’ve begun a block-in over the streaky gray ground that I often use. I choose pale versions of what I want for the final colors. I know the entire left

side of the painting will be cooler and darker to underscore flames I intend to add to the right side. The subject will wear a wreath made of paper money. On her left I’ve begun painting a $20 bill, which

The block-in is complete. The left side of the wreath is filled with $20 bills, but as the crown arches over the head, the paper roses on the right become $100 bills (Benjamin Franklin), $5 bills (Abraham Lincoln) and a single $1 bill (George Washington). These denominations are on fire. As I painted, I realized that I could add earrings and a necklace to complete the arc of the wreath. I decided the jewelry should be overthe-top diamonds so the painting would read in both directions: A beautiful young woman, covered in makeup, is clutching her wealth while the ideals of her country go up in smoke, simultaneously threatening her life. I devised ways to address the depiction of the money

and jewels: I placed various sizes of photocopies of the bills on the painting to make scale decisions, and then laboriously copied the bills with carbon paper. I painted the bills lighter in areas that I anticipated would appear to be lit by the fire. I also created a pipe-cleaner and paper-towel model of a hand and taped the earrings at angles on a mannequin so I could see how reflections on the jewelry changed with the lighting. 3. SCUMBLES, GLAZES AND ADJUSTMENTS: I realized that

the structure of the head wasn’t as it should be so I corrected it. Then I went over the entire painting with many scumbles and glazes to soften the transitions between forms and emphasize the spatial relationships. Finally, to complete the picture of how I felt about the nation at the time, I added three fighter jets flying through the flames of burning money. ABOVE LEFT: 2020

(oil on linen,

78x60) September 2017

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She then lightly sands it and applies Robert Doak oil primer. After toning her surface with a thin, streaky layer of transparent sepia diluted with Weber Turpenoid, Bowland uses thin raw umber to draw directly on the surface, blocking in shadow areas fi rst. “It’s important that these areas be thin and feel different from the opacities,” she says. “For the lighter areas, I encourage students to lay in with either yellow ochre or Naples yellow, or white lead, depending on the model’s complexion. Like the relief 52 artistsmagazine.com 52 artistsmagazine.com

on a dime, the white lead or lightest light should be thickest where the form appears closest in space to the viewer, then pulled out to its thinnest as the paint approaches the ground.” Bowland explains that through this preparation, one can achieve optical colors (various shades of a color that occur as the paint reacts to the thickness of the white or lights in layers below). “With one swipe of a single color,” she says, “you can achieve 20 perceived colors, a mystery not achieved with directly applied color.”

“Think Like a Martian”

As for achieving an exact hue, Bowland suggests thinking in terms of hot or cold color temperatures. “If a model is before you in natural north light, the lights are going to appear cool and the shadows warm. The viewer can trust that when he feels an area moving toward warmth, he’s heading into a shadow. In artificial light, the opposite occurs. Th is subliminal trust allows you to take the viewer where you wish to go.” Bowland goes on to explain how she helps students understand that

PHOTO BY LISA BARLOW

An early achiever, MARGARET BOWLAND, began selling her art while in junior high and is an alumna of the Governor’s School of North Carolina, a summer residential program for intellectually gifted high school students. She began fine art studies at the University of North Carolina (Chapel Hill), but is mostly self-taught. In 2010, Bowland was a finalist and People’s Choice Award winner in the Smithsonian National Portrait Gallery Outwin Boochevar Portrait Competition. Her work appears regularly in solo and group exhibitions 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 Bowland’s website at margaretbowland.com.

there’s no such thing as “flesh color” by placing a dark-complexioned person in full light while a lighter-complexioned person stands in shadow, and then asking students to identify the “lightest moments.” “You must think like a Martian,” she says. “You must see anew without preconceived notions of what color a person is to you.” Of a mind that there’s also no empirical reality outside of the magic created within one’s painting, Bowland describes herself, as driven from within to make images she needs to see made real. ”My work is

the way I open my soul to the outside world and find where the chips fall,” she says. “I wish that it made people think I was just a lovely human being—measured, wise, untroubled— but my soul doesn’t care about how I’m perceived in society. It only knows what it is and demands that it be given a life, a voice.” ■ LOUISE B. HAFESH is an award-winning artist and writer, and a frequent contributor to The Artist’s Magazine. See examples of her work at louisebhafesh.com and paintersportal.blogspot.com.

“Nakedness Has No Color” and Knows No Border, 2015 (oil on linen, 82x70) derives it’s name in part from a quote in James Baldwin’s book No Name in the Street. The model, an albino AfricanAmerican, has expressed difficulty finding a place in either the “white world” or the “black world.” ABOVE:

OPPOSITE: White make-up has been used for centuries by cultures ranging from Queen Elizabeth I’s 16th-century England to the Japan of geisha girls. Twelve, 2013 (acrylic and pastel on paper, 56x46) examines women’s efforts to present or remake themselves according to cultural expectations.

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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, “I’m not sure telling anyone you’ll work for free makes good business sense.” In fact, De Muth did receive payment for his internship. He’s also savvy about marketing his creations—which is a good thing because, with De Muth, it’s hard to tell where play ends and work begins. 54 artistsmagazine.com 54 artistsmagazine.com

He’s the person who keeps a store of sketchbooks so there’s always one ready to grab, who shoots reference photos daily, who built most of his studio furniture and cabinetry, who crafts his own travel paint kits. He creates whimsical ceramic sculptures, mixing trays and brushholders.

Hand-bound sketchbooks may bring his leather and metal embossing skills into play. His antique Albion press, imported from England, allows him to create prints from the woodblocks he’s carved. Then there are his gardens, which he seldom sits still to enjoy because the joy is in the gardening

There’s never an uncreative moment for Roger De Muth, whose ink and watercolor paintings capture architectural treasures near and far. BY HOLLY DAVIS

itself—or perhaps in sketching the garden—or photographing it. He keeps separate websites for several of these interests—watercolors, ceramics, gardening. Then there are the selfpublished books showcasing his various creative interests. Now retired (but not idle), he enjoyed a 46-year career in commercial illustrating and, for 36 of those years, taught illustration at Syracuse University (N.Y.).

“I have a room upstairs that my wife and I call the ‘archive room’ that’s packed to the gills with paintings, prints, sketchbooks and ceramic sculptures,” says De Muth. “It’s frightening to me that one person could possibly produce so much artwork. I always put a new blank sheet of paper on the drawing table as soon as I finish a piece so I don’t waste any time getting to work on the new painting.

ABOVE LEFT: Buci

News, Paris (ink and watercolor on paper, 11x15) depicts a small newspaper shop on the Left Bank in Paris. “I wish more stores still looked like this,” says De Muth.

ABOVE RIGHT: The house in At the Top of the Hill, Oporto, Portugal (ink and watercolor on paper, 14x18) is one of several venerable domiciles at the top of a steep hill overlooking the Duoro River.

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

ABOVE:

Have Watercolor, Will Travel

Let’s focus on one area of De Muth’s creative output—his ink and watercolor paintings, whether created en plein air or in the studio. A motto displayed in his studio and often used as a tag line says “Have Watercolors, Will Travel,” and his travel sketchbooks and studio paintings often depict landmark buildings or eyecatching storefronts, rendered in watercolor (or, recently, water-soluble oils) and ink. “I discovered my love of architecture when Jim Thomas at Rochester Institute of Technology gave an assignment to ‘hop on a bus, get off anywhere and do a painting,’”

says De Muth. “It actually changed my life. I went to an old section of Rochester, N.Y., and came back with a couple of nice paintings.” Other influences include Winslow Homer for his watercolors of faraway places (e.g. England, Cuba, the Bahamas), Fabrice Moireau for his architectural watercolors, and James Gurney for his plein air works. As an illustrator working against tight deadlines, De Muth had found speed of the essence, a principle that meshes with sketchbook work—but finding time to sketch can be a problem in itself. For this reason, De Muth’s sketchbooks are often

fi lled during vacations; hence, the travel themes. He owns several traveling paintboxes, but his favorite has a hole in the upper right corner of the lid that allows the neck of his ink bottle to poke through when the box is closed (see Well-Traveled Paint Box, above). He can work on the flat top of the box, painting or even drawing in ink, since the ink bottle is held secure within the box with only the top of the bottle exposed. He inks with a dip pen (which can use waterproof ink without clogging), and maintains a casual attitude toward his fieldwork: “If the ink blobs or something, it’s fine,” says De Muth. “It’s 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 I’m on vacation, I usually get a room that has a desk.” Although he takes color notes on site, he doesn’t worry about exact hues when painting and often works from memory. De Muth is perfectly comfortable setting up on a sidewalk or pulling out

De Muth has visited Key West several times—always with sketchbooks. “Key West has a great collection of seedy old homes, touristy areas and biker bars,” says De Muth. “Great inspiration for artists.” LEFT:

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his paint box on a pier. He sketches in airports during layovers or while en route on planes or trains—either 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. “I’d be bored, and I wouldn’t know what to do with myself.”

Marketing en Plein Air

Love of art-making and distaste for idleness—these are De Muth’s primary motivators. That said, he’s not one to let a good marketing moment slip by—nor, 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. I’d turn the canvas around so they could see it. Everybody who stopped, I gave a business card to, and we’d chat for a minute or two, and then they’d take off.” 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 time, and a fellow passenger thought De Muth was paid by the city to paint in the airport. Not so, but the two got a laugh out of it and De Muth was happy to show a bit of his work and pose for a picture. “I usually put a finished painting in my paint box,” says De Muth.

When you’re sketching on an airplane or something, and people want to see what you’re doing, it’s kind of fun for them to see one of the finished pieces next to the preliminary sketch that I’m working on. They always get a business card, but they enjoy seeing the original art and the process, too.”

TEXT CONTINUED ON PAGE 60

man in Rury’s Food Store Cherry Valley NY (ink and watercolor on paper, 9x20) is Frank Rury, son of the original proprietor of one of the few remaining mom-and-pop grocery stores. TOP: The

The China Town store depicted in Mott Street General Store NYC (ink and watercolor on paper,18x19) closed, after 102 years of family-run business, due to the cataclysm of 9/11.

ABOVE:

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demo

LAYERING WATERCOLOR OVER INK By Roger De Muth

1

2

3

4

Alwyn Court is a 12-story apartment building in Midtown Manhattan, built between 1907 and 1909 in the French Renaissance style. Since 1984, it has also housed the Petrossian, a restaurant whose name appears over the front door and on the awnings. After sorting through numerous photos I’d taken of the building, I decided to paint the ornate façade of the first two floors as viewed from a position to the right of the front door. From this angle, only the protruding edge of the arch over the door is visible on the left side of the building. 58 artistsmagazine.com 58 artistsmagazine.com

1. PENCIL DRAWING AND INKING: I drew the line work

in pencil, then began inking over the pencil lines. To keep my hand from resting on the surface as I work, I use a mahl stick or a piece of paper. 2. FINISHED INKING WITH STIPPLING: I continued ink-

ing until all the line work was completed. Notice that the inking has more detail than the pencil sketch. Even so, the ornamentation isn’t fully rendered. I had to decide what to include and what to

leave out. Note also the light stippling of ink, which gives an illusion of texture on the surfaces of the buildings and sidewalk. 3. FIRST WASH: After the ink-

ing, I began the first wash in watercolor, starting with the lightest values. This wash is just a thin toning layer. 4. ADDITIONAL TONING: The

second wash is also subtle. Perhaps most visible is the extra toning in areas around the windows and ornamentation panels on the right

side on the building. I also added some watercolor spattering.

MATERIALS SURFACE: Arches 300-lb.

hot-pressed watercolor paper

5. SHADOWS: With the third

wash I completed the windows and background, adding the strong shadows.

DRAWING MATERIALS:

graphite pencil, Higgins Black Magic ink and dip pen with Esterbrook 757 School Medium Oval nib

6. GLAZING AND SPATTERING: With the addi-

WATERCOLOR: primarily Winsor & Newton with a few Holbein colors BRUSHES: Winsor & Newton Series 7 kolinsky sable rounds and a few Grumbacher sable rounds

tion of very thin blue and white glazing and spattering, I completed Alwyn Court Building.

5

6 Alwyn Court Building (Ink and watercolor on paper, 16x18)

ABOVE:

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TEXT CONTINUED FROM PAGE 57

Ink and Watercolor in the Studio

Since his college days, De Muth’s media of choice have been ink and watercolor—the ink providing the linear structure and detail, and the watercolor adding not just color, but the lights and darks that convey form and depth. He points out that many illustrators also appreciate the quick-drying quality of this media combination. This isn’t to say that every inkand-watercolor piece is a dash-to-thefinish creation. De Muth always has several projects going at once, and although most works progress quickly, De Muth is also willing to spend months perfecting the composition of

60 artistsmagazine.com 60 artistsmagazine.com

a drawing before adding watercolor. “I stretch things, cut them apart, paste Studio work generally begins with them and then remove things,” says photographs because De Muth conDe Muth. “If there’s a car I don’t like, I siders sketchbook or plein air pieces take it out. Sometimes I stitch pictures final works rather than references for together. Photoshop’s Photomerge a studio painting. command does that without seams.” There’s no lack of photos to Stitching photos allows De Muth to choose from, for what De Muth create a panoramic reference. doesn’t have time to sketch, he phoOnce the photo is the way he tographs with either a Sony NEX-7 wants it, he runs off a print, which or his iPhone. He estimates that he he then transfers as a pencil sketch has more than 50,000 photos stored onto Arches 300-lb., hot-pressed on iCloud and several 100,000s on watercolor paper. Th is sketch, howvarious hard drives. Daily photo ever, is only a guideline, and he’s been excursions lead to daily sessions with known to restart a drawing two or Photoshop, during which he’ll select a three times before he feels it’s right. few pictures from the latest 100 or so. After completing the pencil Then the manipulation begins. He drawing, he inks in the lines. may change the perspective or lighten Whether working on sketches or areas so he can see details better. studio pieces, De Muth uses a mahl stick or scrap of paper to keep his hand from staining the surface, and LEFT: Mini he always inks with a dip pen fitCreations: (left to right) ted with an Esterbrook 757 School Two 13⁄8 x17⁄8 Medium Oval nib. This particular watercolors, nib, no longer in production but 11⁄8 x1x5⁄8 sometimes available on eBay, was book (papers popular in the early 1900s. It has a hand bound in embossed tiny ball on the end that keeps the tip leather from catching on the paper’s fibers cover, then (De Muth suspects the nibs were used painted), by children learning cursive writing). paint kit in When the inking is complete, he 1x2 BristolMyers tin. applies several layers of watercolor

Working in a 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 sepiaink portraits while watching the people he depicted on TV. FAR LEFT:

De Muth thinks of the building in Cartoleria, Naples, Italy (ink and watercolor on paper, 10x21) as Naples’s “funky” equivalent of New York City’s Flatiron Building. LEFT:

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

PHOTO BY KERRY PERLICH

BELOW LEFT: The

washes with some spattering and spot color, starting with the lightest values and adding strong shadows in the final layers. (See Layering Watercolor Over Ink, pages 58–59).

Enjoying the Moment

Although De Muth has created ink and watercolor paintings since his college days, he’s also been open to trying new art forms and media—the aforementioned ceramics, printing,

bookbinding and gardening, to name a few—not to mention his latest medium, water-soluble oils—and he’s met with gratifying success in these creative ventures. One can’t help but think, though, that his early declaration holds true: He’d be willing to work for free just to make art. ■ HOLLY DAVIS is senior editor of The Artist’s Magazine.

ROGER DE MUTH earned a bachelor of fine arts degree in illustration from Rochester Institute of Technology (New York). He’s an awardwinning designer and illustrator 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. De Muth also taught illustration at Syracuse University from 1979 to 2014. His hobbies include ceramics (rogerdemuthceramics.com), gardening (rogerdemuthgardens.com) and photography. His book Have Watercolors, Will Travel is available at blurb.com. Learn more about De Muth’s sketchbooks and studio work at demuthdesign.com and rogerdemuthwatercolors.com. September 2017

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ROAD TEST By Birgit O’Connor

A New Paper for Watercolor Winsor & Newton revamps its line of paper for watermedia; an artist puts it’s new Professional paper to the test and finds a surprise.

CONVEYING EFFECTS OF WIND: I found Winsor & Newton Professional paper easy to work with and amenable to different watercolor techniques. I painted this piece on a sheet from the Winsor & Newton cold-pressed block. ABOVE:

64 artistsmagazine.com 64 artistsmagazine.com

IN 1832, SCIENTIST WILLIAM WINSOR AND ARTIST HENRY NEWTON established a partnership; together they founded

the company in London known as Winsor & Newton. Since its inception the company has been well known for its dedication to artists by providing some of the finest art materials on the market; however, no matter how trustworthy a brush, paint and paper manufacturer may be, it must continually move forward—making improvements, developing products and changing formulations. Currently Winsor & Newton has revamped its line of watermedia papers by way of partnership with a new mill. The former student-grade paper (Cotman) will now be known as “Classic,” and the higher-grade paper (Artists’) will be known as “Professional.” Winsor & Newton sent me several samples of their Professional paper: a 300-lb. cold-pressed sheet, a block of 140-lb. hot-pressed paper, and a block of 140-lb. cold-pressed paper. Professional paper is sized both internally and externally, which affects how water

is absorbed and how consistently color flows on the surface. The paper has no smell, and its surface is softer than other popular papers with a harder sizing. When wet, the heavier 300-lb. paper continues to lie flat.

Both Sides Now

Most interestingly, this mould-made paper has a noticeably different surface texture: the top side, with the Winsor & Newton logo watermark, is much smoother than the back side. Of course, either side can be used for painting, but the difference in texture allows an artist to maximize the benefit of different techniques. The heavier 300-lb. cold-pressed paper is surprisingly easy to tear

without any special treatments or tools. The surface accepts water and color well, and it remains workable for a long time without drying out. When testing the paper, I was most pleased to see the consistency of the sizing throughout the entire sheet, especially along the edge, which allowed for even washes.

No Unwanted Granulation!

The big surprise came when I applied a blue/gray blend consisting of French ultramarine blue with burnt sienna. This combination is notorious for separating and settling into the paper’s tooth, leaving granulated effects. With Winsor & Newton’s new coldpressed paper, there was no unwanted

separation. I could create smooth washes, even with colors that usually separate. When I applied color to the top, smoother side of the paper, the results were flawless washes of color such as I’d never seen before. When mingling color directly on the paper, I was pleased to see that 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

ADAPTABLE TO STYLES: Winsor & Newton Professional hot-pressed paper works well for both traditional botanical illustrations and very loose painting styles. LEFT:

BELOW: MOVING COLOR: Winsor & Newton Professional cold-pressed paper is a workable surface for moving wet single colors and layering color.

WASH AND LIFT: After applying a wash, I found I could easily lift areas to suggest the contours of buildings.

BOTTOM:

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65 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 offerings 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 techniques. This surface would be receptive to many different painting styles. I was very happy with the results of my experiments and would definitely use this brand of paper again. ■

flowed as freely as it did with the first layer, and when I used lifting techniques or even tape, the surface stayed

intact—no tearing or other damage. Winsor & Newton, of course, makes more than paper. Among its

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YOUR COMPLETE GUIDE TO WORKSHOPS HERE & ABROAD

Workshops 2017 & 2018 At whatever stage you are in your career, there’s a class, a workshop, a tour, or a program that can inspire, edify and delight. From Alaska to Mexico, from Missouri to Japan; in person or online; for a week or a semester: there’s something for everyone here.

WORKSHOPS ALABAMA Huntsville Museum of Art 8/24-8/26/17, Huntsville. Michael Story, Understanding Skies & Reflections: Landscape Painting in Oil or Pastel. 9/15-9/16/17, Huntsville. Gary Chapman – CHARCOAL: Expressive Mark Making, A Painter’s Approach to Drawing. 10/2-10/6/17, Huntsville. Brian Bomeisler, Drawing on the Right Side of the Brain. 10/9-10/12/17, Huntsville. Tony Couch, Watercolor Painting. 11/8-11/11/17, Huntsville. Liz Haywood-Sullivan, Pastels – Inside/Outside: The Best of Both. Contact: Laura E. Smith, Director of Education/Museum Academy, 256/535-4350 x222 [email protected] or hsvmuseum.org

Michael Story 8/24-8/26/17, Huntsville. Huntsville Museum of Art Master Artist Workshop in Oil or Pastel. Join us as we use the sky and water as a dramatic design element in your painting’s composition. Contact: Laura Smith, 256/535-4350 [email protected] www.hsvmuseum.org/museumacademy or www.michaelstory.com

ARIZONA Larisa Aukon 12/4-12/8/17, Power of Landscape. 1/29-2/1/18, Discover the Joy of Creativity. Scottsdale Artist’s School. Contact: 480/990-1422, scottsdaleartschool.org

Robert Burridge 10/23-10/27/17, Sedona. Artist Retreat: Playing with Polyptychs. 5-day Workshop (Monday-Friday). Sedona Arts Center. Contact: 888/954-4442 or 928/282-3809 www.sedonaartscenter.org

Caroline Jasper 7/31-8/8/17, Phoenix. 6 hr workshops. Art Unraveled, acrylics. Sponsored by Phoenix Rising Productions. Contact: [email protected] or www.artunraveled.com

Birgit O’Connor 11/14-11/17/17, Tucson. Nov. 13 Demonstration. Contact: Robbie Summers, 520/818-0817 [email protected] or [email protected] www.southernazwatercolorguild.com

Susan Ogilvie, PSA 11/28-12/2/17, Scottsdale. Landscapes in Pastel. This studio class will focus on design and composition, simplification, and emphasizing the freedom of color choices. Contact: Scottsdale Artists’ School, 800/333-5707 www.scottsdaleartschool.org 68 artistsmagazine.com

68 artistsmagazine.com

Sedona Arts Center Multiple Dates, 2017, Richard Drayton, Colored Pencil Adventure. 2-day workshop teaches the secrets of creating high performance art with Prismacolor fine art pencils. Award winning artist and illustrator Richard Drayton will guide students through step-by-step techniques that will result in rich blended colors and powerful composition. 10/1-10/5/17, Jeanne Bessette, The Soul of the Artist. Jeanne shows artists how to tap into their own unique message. Her intuitive approach to painting and her ability to see the strengths artists bring to their own artmaking helps workshop participants strengthen their own personal voice. 10/11-10/13/17, J. Brad Holt, Sedona Landscape Painting. An intensive three day plein air oil painting workshop. The objective is to enable students to see real progress in their field painting technique. My goal is to ensure that each student will be able to bring at least one painting in from the field that they can actually be proud of. 10/22-10/23/17, Qiang Haung, Plein Air Painting. Qiang’s approach to plein air painting will be demonstrated with particular focus on selecting a dramatic composition, simplifying it, observing the light distribution and using bold and loose strokes to create a powerful and accurate representation on canvas. 10/23-10/27/17, Betty Carr, Sedona Fall Colors. Learn to capture the beauty of light! Betty Carr teaches students to accurately portray the effect of light on any subject in watercolor or oil. Students can work in either medium and will explore a variety of locations in beautiful Sedona. 10/23-10/27/17, Robert Burridge, Polyptych Figurative Retreat. Learn to work with the nude, draped and partially draped model, lots of paint sketching, and create multi-panel compositions. Be prepared to paint looser, bolder, freer, lighter and more intuitively. Plenty of time for action-filled painting exercises, demos and personalized attention. 10/28-10/29/17, Elaine Hultgren, The Nature Journal. An award winning botanical and story board artist Elaine teaches many techniques for drawing and annotation. Step-by-step from beginning to end. The nature journal is perfect for travel and personal artistic journaling. 11/1-11/4/17, Jan Sitts, Texture, Color, Feeling. Jan’s experience and enthusiasm create an atmosphere of fun and spontaneity inspiring new directions and discovery through innovative combinations of design and materials. By combining aggressive textures and unusual mediums with various “raw” materials surprising compositions emerge. 11/11-11/13/17, Elizabeth St. Hilaire, Paper Painting – Birds and Blooms. An intense workshop in which students are taught to make a beautiful palette of colors with various papers and create an under-painting and collage with paper for a final finish. a unique figurative collage technique. 12/1-12/3/17, Joan Fullerton, Contemporary Mixed Media. Inspiring demonstrations, lectures, encouragement and practice. You’ll learn how to coax hints of reality from an abstract background, how to

integrate collage imagery, how to control values and colors for emotional emphasis, and how to suggest rather than delineate. Contact: 928/282-3809 or 888/954-4442 SedonaArtsCenter.org

CALIFORNIA Art In The Mountains 9/11-9/15/17, Monterey. David Taylor, Staying Afloat in Watercolor. Contact: Tracy Culbertson, 503/930-4572 [email protected] or www.artinthemountains.com

Robert Burridge 8/31-9/3/17, Arroyo Grande. Robert Burridge Studio Mentor Workshop. Come paint with Bob in his Studio (includes individual mentor time, demonstrations and personal theme development). 3.5 days Workshop/ Mentor Program, limited to 7 enrollees. Contact: [email protected] for fees and details. 11/2-11/5/17, Arroyo Grande. Robert Burridge Studio Mentor Workshop. Come paint with Bob in his Studio (includes individual mentor time, demonstrations and personal theme development). 3.5 days Workshop/ Mentor Program, limited to 7 enrollees. Contact: [email protected] for fees and details.

Flying Colors Art Workshops April 2018, Santa Barbara. Brenda Swenson, W/C Sketchbook. All levels of instruction. Class size 12. Contact: Cris Weatherby, 858/518-0949 [email protected] or www.FlyingColorsArt.com

Robbie Laird 9/17-9/21/17, Calistoga. Creative Rhythms Retreat. See Robbie’s website for details of this exciting New Workshop! Contact: Carla Heise, [email protected]

Birgit O’Connor 7/30-8/4/17, Mendocino. Mendocino Art Center. Contact: 707/937-5818, www.mendocinoartcenter.org

Camille Przewodek January-December, 2017, Petaluma. In addition to my workshops, I teach regular weekly classes at my Petaluma studio in Northern California. Mondays with Camille is an ongoing landscape and still life class. View an up-to-date schedule on the Classes & Workshops page at my website: www.przewodek.com 8/7-8/11/17, Petaluma. 5-Day Plein-Air Workshop/Color Boot Camp. Discover and develop a new way of seeing and painting color. All levels, oils preferred. Plein-air still life, landscape, head & figure. Contact: Camille, 707/762-4125 fi[email protected] or www.przewodek.com

COLORADO Tom Lynch 9/11-9/14/17, Beaver Creek. Contact: 630/851-2652 [email protected] or www.TomLynch.com

Carol Lake • [email protected] • 385/414-1439 Mary McLane • [email protected] • 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, 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. Contact: picardstudio.com/workshops

DELAWARE Tom Lynch 10/10-10/13/17, Rehoboth Beach. Contact: 630/851-2652 [email protected] or www.TomLynch.com

Painting from the Rim of the Grand Canyon with Bill Cramer June 8–10, 2018

FLORIDA Cultural Center at Ponte Vedra Beach The Cultural Center, a non-profit 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 [email protected] 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: [email protected] 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, [email protected] 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: [email protected] 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, [email protected] 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 nontoxic 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 8”x 72” Silk Scarf paid in class. Contact: [email protected] 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: [email protected] 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, [email protected] 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: [email protected] 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: [email protected] after September 1.

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WORKSHOPS 2017 & 2018 Ralph Garafola

Michael Story

Artist: Garafola’s style is contemporary realism; he works in oil and watercolor. “All my paintings are portraits. Whether my subject is a person, landscape, seascape, still life or pet, my approach is to realistically portray my subject in its natural environment. It puts the viewer inside the painting” Garafola says. Author: Frank J. Reilly - The Elements of Painting” by Ralph Garafola is a must read for both the aspiring painter and accomplished artist – and everyone in between. PURE Reilly…It was written from Garafola’s class notes; word-for-word as Reilly taught it to Garafola. Inside this 232 page book - learn how to draw the head/ figure; 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 elements to tell a story…and so much more. Educator: Art Center Sarasota- Painting: landscape, still life & more with Ralph Garafola. January through April 2018, 6 weeks courses. All Levels; Oil, Water Soluble Oil, Acrylic, all painting mediums. http://artsarasota.org/garafola Garafola is available for private lessons. Contact: 561/509-0522, http://www.ralphgarafola.com http://frankreillytheelementsofpainting.com or http://thepriceoflibertyfreedom.com

8/24-8/26/17, Winter Park. Crealde School of Art Mastering Skies & Reflections in Oil or Acrylic. Join us as we use the sky and water as a dramatic design element in your painting’s composition. Contact: Barbara Tiffany, 407/699-0148 [email protected], www.crealde.org or www.michaelstory.com

Caroline Jasper 3/7/18, 3/14/18, 3/21/18, 3/27/18, Venice/North Port. 4 Wednesdays, different locations. Plein Air Painting With A Pro. Sponsored by Peace River Painters. Contact: [email protected] or www.peaceriverpainters.com

Tom Lynch 11/14-11/17/17, Quincy. 12/11-12/14/17, Palm Beach. 1/5-1/7/18, Sanibel Island. 1/18-1/21/18, Daytona Beach. 2/14-2/17/18, Punta Gorda. 3/13-3/15/18, Tequesta. Contact: 630/851-2652 [email protected] or www.TomLynch.com

Aline Ordman 3/10-3/11/18, Northport. Northport Art Center. Oil and Pastel. Finding the Abstract to Create the Reality. Contact: [email protected]

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GEORGIA Anderson Fine Art Gallery 9/5-9/11/17, Chris Groves. Artist-in-Residence Week. In The Studio - Daily 10 a.m. - 12 p.m., Sept. 5-9, Fee: $40 or Private Lessons - Sept. 6-9, 1 p.m. - 6 p.m. Fee: $150- 1 hour, $225- 2-hour. Artist Talk - Sunday, September 10, 12 p.m. - 2 p.m. Fee: $40. 9/21-9/23/17, Linda Ellen Price, Studio Spontaneity. Learn not to rely on reference material and use quick gestures. Color Theory, mixing color and adding punch to your paintings. Colorful street scenes to figures in semis working in oil. Fee: $450. 10/5-10/7/17, Margaret Dyer, The Figure Using Traditional Techniques. Working with live models students explore drawing, composition proportion, value, light and shadow. Open to all Mediums. Fee: $495. 10/12-10/14/17, Mark Horton. Location: Artist’s Annex Gallery, St. Simons Island. Landscape in the Studio This course is designed for all mediums, oil, watercolor or pastel painters of all levels who want to take their work to the next level. The focus will be on composition, design, value and color. All levels & all mediums. Fee: $495. 11/2-11/4/17, Marc Hanson. Location: Artist’s Annex Gallery, St. Simons Island. Three Day Plein Air Workshop Wait List Only. This is a 3 day outdoor painting workshop for intermediate to advanced painters working in oils, pastels or acrylics. Fee: $625. 1/25-1/27/18, Chris Groves. Location: Artist’s Annex Gallery, St. Simons Island. Realism/Abstraction. Three Day Thursday - Saturday, 9:00 a.m. - 4:00 p.m. Oil. Fee: $525. 2/22-2/24/18, Jason Sacran. Location: Artist’s Annex Gallery, St. Simons Island. 3 Day Plein Air Workshop 9:00 a.m. - 4:00 p.m. 3/7-3/10/18, Larry Moore. Location: Artist’s Annex Gallery, St. Simons Island. 4-day. Advanced Abstraction 2018. 9:00 a.m. - 4:00 p.m. All Mediums. Fee: 525.

3/22-3/24/18, Tom Nielsen. Location: Artist’s Annex Gallery, St. Simons Island. Water in the Studio. 3-day. This will be a course for artists already experienced in their medium who have a desire to learn the how and why’s of painting water. All mediums are welcome. Demonstrations will be in oil. Fee: $525 4/9-4/12/18, John P. Lasater. Location: Artist’s Annex Gallery, St. Simons Island. 3-Day Plein Air Workshop 9 a.m. - 4 p.m. Expect to be encouraged and challenged by demonstrations and hands-on help. Learn to think more artistically, while attempting one of the toughest artistic exercises - painting landscapes outdoors. Fee: $625. Contact: 912/634-8414 www.workshopsonstsimonsisland.com

Cerulean Blue Trips 4/6-4/11/18, Savannah. Spring in Savannah! The charming squares and gracious homes of this historic city are a riot of colorful blooms! Join instructor Stacy Barter (best in show winner of the Blossom-Art of Flower International Exhibition) for a 5 day workshop focusing on Savannah in bloom. Oil & acrylic. Contact: Nan Dawkins, 954/663-7250 www.ceruleanbluetrips.com

INDIANA Tom Lynch 8/15-8/18/17, Carmel. Contact: 630/851-2652 [email protected] or www.TomLynch.com

Camille Przewodek 9/25-9/28/17, New Harmony. 4-Day Plein-Air Color Workshop. Discover and develop a new way of seeing and painting color. Intermediate to advanced levels, oil preferred. Color that expresses the light key of nature can make any subject strikingly beautiful. Plein-air still life, landscape, head & figure. More info at www.przewodek.com Contact: Maggie Rapp, 812/459-9851 [email protected]

William A. Schneider, AISM, IAPS-MC, PSA-MP, OPA 10/17-10/20/17, Carmel. Painterly Portraits. Contact: Inspire Studios, 317/517-1213 www.SchneiderArt.com

Carol Lake • [email protected] • 385/414-1439 Mary McLane • [email protected] • 970/290-6065

MAINE Coastal Maine Art Workshops

All classes in our big Rockland studio unless noted otherwise! 2017 Workshops: We still have some room! 8/8-8/11/17, Portland. Alvaro Castagnet AWS, Painting with Passion! WC. Int/Adv. $675. 8/14-8/18/17, Ken Dewaard, Essence and Design! Oils/or medium of choice. All Levels. $650. 8/21-8/25/17, Mike Bailey AWS NWS, Plein Air Landscape! WC. All levels. $650. 8/28-9/1/17, David P. Curtis, Plein Air Landscape! Oils. All levels. $650. 8/28-9/1/17, Chris Cart, Speaking with Your Brush! Int/Adv. WC. $650. 9/4-9/8/17, John Wilson, The Plein Air Landscape #1. Week One. Oils. Int/Adv. $695. 9/11-9/15/17, John Wilson, The Plein Air Landscape #1. Week Two. Oils. Int/Adv. $695. 9/11-9/15/17, Andy Evansen, The Impressionistic Landscape! WC. Int/Adv. $695. 9/18-9/22/17, Colin Page, Oils. Closed! 9/18-9/22/17, Kevin Beers, The Seen Scene! Oils. Int/Adv. $650. 9/25-9/29/17, Colley Whisson, The Modern Impressionistic Landscape! Oils. All levels. $725. 2018 Workshops All classes in Rockland unless noted otherwise! 7/16-7/20/18, Mel Stabin AWS, WC. 7/23-7/27/18, Sterling Edwards, WC. 7/30-8/3/18, Belfast. Tony van Hasselt AWS, WC. 8/13-8/17/18, Frank Eber, WC. 8/20-8/24/18, Herman Pekel, WC. 8/27-8/31/18, Marc Hanson, Oils. 8/27-8/31/18, Kathy Conover AWS NWS, WC. 9/10-9/14/18, Lori Putman, Oils. 9/10-9/17/18, Charles Reid, WC. 9/17-9/21/18, Colin Page, Oils. Registration by Lottery Only!! Check our website for more details and more classes!! Contact: Lyn Donovan, 207/594-4813 [email protected] or www.cmaworkshops.com

MARYLAND Caroline Jasper 4/9-4/13/18, Havre de Grace. 5 Day Workshop: Powercolor Painting Retreat, acrylics, oils, water-soluble oils. Sponsored by Caroline Jasper Studios.

Contact: [email protected] or www.carolinejasper.com/learn

William A. Schneider, AISM, IAPS-MC, PSA-MP, OPA 8/4-8/7/17, Stevensville. Revealing the Soul - Sensitive Portraits & Figures. Contact: Chesapeake Fine Art Studio, 410/200-8019 www.SchneiderArt.com

MASSACHUSETTS Casa de los Artistas, Inc. – Masla Fine Art – ArtWorkshopVacations.com Robert Masla Studios North Contact: 413/625-8382, www.MaslaFineArt.com or www.ArtWorkshopVacations.com Join Masla this summer and fall for drawing and plein air painting workshops at the edge of the Berkshire Mountains, at Masla Studios North, in picturesque rural Ashfield, MA. Weekend includes fabulous picnic lunch and some materials. Workshops are for beginners to advanced painters. Experience Maslas’ award winning teaching style while you enjoy a beautiful relaxing weekend in the country. Small groups with lots of individual attention. 8/5-8/6/17, “Drawing and Painting the Landscape” Saturday & Sunday, (10am - 5pm) – Painting the New England Landscape in the Fall, Plein Air and the Studio with Watercolor, Acrylic or Oil, demos in all, (date to be announced on website).

Northeast Art Workshops 9/6-9/8/17, Lorraine Glessner, Mixed Media Encaustic. 9/11-9/15/17, Birgit O’Connor, Watercolor: Big & Bold. 9/18-9/22/17, Katherine Chang Liu, Mixed Media. 9/25-9/29/17, Patti Mollica, Acrylic & Oil. 10/2-10/6/17, Lisa Pressman, Cold Wax Medium. 10/9-10/13/17, Jeannie McGuire, Watercolor: Uniquely Contemporary. 10/16-10/20/17, Eric Wiegardt, Watercolor: Fast & Loose. 10/25-10/27/17, Kat Masella, Watermedia and Wax. 4/10-4/12/18, Kat Masella, Encaustic. 5/1-5/4/18, Jane Davies, Acrylic. 5/28-6/1/18, Charles Reid, Watercolor. 6/18-6/22/18, Frank Eber, Watercolor. Contact: 978/729-4970 www.NortheastArtWorkshops.com

Birgit O’Connor 9/11-9/17/17, Gloucester. Northeast Art Workshops. Contact: Kat Masella, 978/729-4970 [email protected]

Susan Ogilvie, PSA 9/19-9/21/17, Falmouth. Landscapes: Color, Value and Design. This studio and plein air class will focus on design and composition, while emphasizing the freedom in color choices. Field studies and studio painting on Cape Cod. Contact: Falmouth Artists Guild, Suzy, 508/540-3304 www.falmouthart.org

MICHIGAN Robert Burridge 8/7-8/9/17, Traverse City. Start Abstract Painting Today! 3-day Workshop (Monday-Wednesday). Crooked Tree Arts Center. Contact: Kaleigh James, 231/941-9488 [email protected] or www.crookedtree.org 8/11-8/13/17, Petoskey. Start Abstract Painting Today! 3-day Workshop (Friday-Sunday). Contact: Megan DeWindt, 231/347-1236 [email protected] or www.crookedtree.org

Camille Przewodek 8/21-8/25/17, Ann Arbor. 5-Day Plein-Air Workshop/ Color Boot Camp. Discover and develop a new way of seeing and painting color. All levels, oil preferred. Color that expresses the light key of nature can make any subject strikingly beautiful. Plein-air still life, landscape, head & figure. Contact: Debra Zamperla, 734/662-8734 [email protected] or www.artensity.org/camille-przewodek

Michael Story 7/12-7/14/18, Lowell. Franciscan Life Process Center Mastering Skies & Reflections in Oil or Acrylic. Join us as we use the sky and water as a dramatic design element in your painting’s composition. Contact: Kathleen Bechtel, 616/897-7842 (352) [email protected] www.lifeprocesscenter.org or www.michaelstory.com

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WORKSHOPS 2017 & 2018

Workshop DVDs

The Secret to Creating Prize-Winning Paintings

William A. Schneider AISM, IAPS-MC, PSA-MP, OPA

Chris Unwin Watercolor Workshop Weekly Tuesdays & Wednesdays. West Bloomfield, MI 48322 Contact: Chris Unwin, 248/624-4902 [email protected] or www.ChrisUnwin.net

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, [email protected] or www.oceanspringsartassociation.org

MONTANA Robbie Laird

9/28-10/1/17, Kalispell. (MTWS). Layered Watermedia. Contact: Margo Voermans, [email protected]

NEBRASKA

Sacked Out - Bev Jozwiak, AWS, NWS

Michael Story “Queen of Hearts” Pastel 20x16

Workshops

Island Home Nita Engle, AWS

See Video Clips

of the above artists and Video Clips of

Chris Unwin, NWS & Alexis Lavine, NWS

ChrisUnwin.NET

WWW.

MADELINE ISLAND SCHOOL of the ARTS Unique Island Setting,Exceptional Workshops 2017 PAINTING WORKSHOPS MADELINE ISLAND

Joe Paquet ....................................July 10-14 Jane Davies...................................July 24-28 Herman Pekel............................July 31-Aug 4 Sterling Edwards .............................. Aug 7-11 Frank Eber .................................... Aug 14-18 Ted Nuttall .................................... Aug 21-25 David Taylor .............................Aug 28-Sept 1 Margaret Dyer .............................. Sept 11-15 Fabio Cembranelli ......................... Sept 18-22 Plein Air Painters of America Master Workshops ......................... Sept 25-29 MISA West at TANQUE VERDE RANCH, AZ

Eric Wiegardt .................................Nov 13-17 Karlyn Holman ...........................Nov 27-Dec 1

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Revealing the Soul Sensitive Portraits & Figures Location: Chesapeake Fine Art Studio, Stevensville, MD 8/4/17 - 8/7/17 (410) 200-8019 Portraits and Figures in Oil and Pastel Location: Fredericksburg Artists’ School, Fredericksburg, TX 9/18/17 - 9/21/17 (830) 997-0515 Painterly Portraits Location: Inspire Studios, Carmel, IN 10/17/17 - 10/20/17 (317) 517-1213

www.SchneiderArt.com 815-455-4972

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