international_artist (1)

146 August / The magazine for artists by artists from around the world • Le magazine pour les artistes par des artistes du monde entier September 2022 • Das Magazin für Künstler von Künstlern aus der ganzen Welt • La revista para los artistas por artistas de todo el mundo • La rivista per gli artisti di artisti da tutto il mondo • • • ໞઢੜ૑࿝໏࿵༜ਜ਼ച࿵༜ਜ਼ၼხ CRAIG PLUS PURSLEY Mastering 100 Paintings of Color & Light One Model with Cheri Christensen DISPLAY UNTIL 9/28/22

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.com LETTER FROM THE PUBLISHERS Issue 146 August/September 2022 Brand Ambassadors and Influencers Adolfo Castillo Publisher: Editorial/Creative Welcome to the August/September issue of International Artist magazine. As we [email protected] continue to motivate and connect with you, we have added a new level of engagement in our demonstrations. You will see materials mentioned by name and brand now Wendie Martin within our demonstrations. We believe when you are looking for just the right color, Publisher: Advertising/Art Community Development brush, canvas, medium or any other art-related purchase, it is good to know the specifics all the way to the brand. [email protected] Alyssa Tidwell, editor of International Artist, discusses the turning points of Vincent Miller Founder inspiration for an artist on page 3. Of course, we believe that International Artist is EDITORIAL full of inspiration in every issue! We have seven fantastic demos, featuring as always, Alyssa M. Tidwell Editor a variety of mediums. However, this issue we are spotlighting oil—there are three demonstrations and one Master Painter article focusing on the medium of oil. And [email protected] our cover artist, Craig Pursley, works in oils as well. Please spend time comparing techniques in our pages. It really is the only place you can do this in the comfort of your ADVERTISING studio or couch. Heather K. Raskin Senior Account Executive As we focus on providing more detailed material information for you, so too are [email protected] we looking at brand ambassadors and artists who influence our journey. If you or an artist you know is a brand ambassador for materials please reach out to us. We have an Michael Bright Senior Account Executive amazing package for you to help our readers gain knowledge to continue their artistic [email protected] paths. Enjoy this issue! Skye Fallon / Sponsorships & Major Accounts [email protected] Sincerely, The TRAFFIC Jennifer Nave Traffic Manager Wendie Martin & Adolfo Castillo Amer can Publishers Art [email protected] Collective MARKETING Podcast Robin Castillo Social Media Engagement Manager YOUR [email protected] ALL-ACCESS PRODUCTION PASS! Tony Nolan Art Director Dana Long Production Artist Scan this Lizy Brautigam Production Artist QR code to start SUBSCRIPTIONS Emily Yee Office Manager listening to The American [email protected] Art Collective April Stewart Accounts Receivable podcast! [email protected] MAIN COVER ARTIST Bianca Martos Administrative Assistant CRAIG PURSLEY & Marketing Coordinator The Aviatrix, oil, 30 x 20\" (76 x 50 cm) [email protected] Address all correspondence to our office, see Contents page. For subscription prices for your country or region see pages 117-118. INTERNATIONAL ARTIST (ISSN 1440-1320) Published 6 times a year by International Artist Publishing Inc. 3260 N. Hayden Rd. Suites 201-203 Scottsdale, AZ 85251 Telephone (480) 425-0841 Website: www.internationalartist.com Copyright ©2022. All material appearing in International Artist is copyright. Reproduction in whole or part is not permitted without permission in writing from the editor. Editorial contributions are welcome and should be accompanied by a stamped, self-addressed envelope. All care will be taken with material supplied, but no responsibility will be accepted for loss or damage. The views expressed are not necessarily those of the editor or the publisher. The publisher bears no responsibility and accepts no liability for the claims made, or for information provided by advertisers. Printed in the USA. International Artist ® is a registered trademark. ATTENTION RETAILERS You can sell International Artist in your store. Contact us in: USA and Canada Telephone (480) 425-0841, Fax (480) 425-0724 or write to International Artist, PO Box 2320, Scottsdale, AZ 85252, USA CANADA International Artist PUBLICATIONS MAIL AGREEMENT NO. 40064408 RETURN UNDELIVERABLE CANADIAN ADDRESSES TO EXPRESS MESSENGER INTERNATIONAL PO BOX 25058 LONDON BRC, ONTARIO, CANADA N6C 6A8 UNITED STATES OF AMERICA International Artist (ISSN 1440-1320) 3260 N. Hayden Rd. Suites 201-203, Scottsdale, AZ 85251, USA. Single copies in USA $9.95. Online subscription rate for one year in USA $38. To place an order, change of address or a customer service question, please send to PO Box 2320, Scottsdale AZ 85252 Periodicals Postage rates paid at Scottsdale, AZ and at additional mailing offices. POSTMASTER Send all address changes to International Artist, PO Box 2320, Scottsdale, AZ 85252 Letter from the Publishers 1



LETTER FROM THE EDITOR Exciting Stoking the Fire NEW Releases Lately, I’ve been thinking about what inspires artists to create. Golden hour casting the perfect light across the walls of a crimson canyon, the first snow of winter to sharpen your skills! on a quiet morning, a model who captures just the right expression. Throughout history, many of the greats had their muses, from Auguste Rodin and Camille Kevin Claudel to Alfred Stieglitz and Georgia O’Keeffe. MACPHERSON Or maybe it’s something not so specific. Maybe it’s simply a feeling that comes over you, an amalgamation of thoughts and experiences that pulls you, like a The Ultimate Master Class, gravitational force, toward that need to make art. Whatever it is that inspires you, Volume I: Landscapes™ I encourage you to pause and ponder it, even for just a moment. Often, that simple question of why can lead us toward thrilling ideas and revelations. It may lead you NEW! toward trying new subject matter, or perhaps a deeper understanding of why you paint what you paint. Lyn In this August/September issue, we have several features that delve into the BOYER idea of inspiration. One of these is a recap of columnist and artist Vanessa Rothe’s experience traveling for a workshop in the South of France to soak in the energy of Wheels & Steel™ the many phenomenal artists who painted there in the past. In the other feature, figurative oil painter Craig Pursley talks about his own muse, an art and theater NEW! major named Hannah, who was able to shapeshift into a beautiful plethora of characters and personalities during their six-plus years working together. When Howard things click, they just click. FRIEDLAND So as you enjoy perusing this latest issue, let your mind open up to all of the possibilities for painting, and see what lights a fire in you. Painting Waterfalls in Oil™ Warmly, Alyssa M. Tidwell Editor [email protected] @internationalartistmagazine International Artist Magazine NEW! PaintTube.TV 1-561-655-8778 Letter from the Editor 3

August / 146 CONTENTSSeptember2022 Bon mots appearing throughout this magazine are from the varied, exciting and weird life of artist Harley Brown Art Prize Challenges 6 International Prize Winners All the Prize Winners in International Artist magazine Challenge No. 130, People & Figures. 17 Call for Entries Entry form for International Artist magazine’s Challenge No. 132, Landscapes. Or you can enter using digital printouts and online! Page 54 Ans Debije, Metallic shine, oil painted with blade, 8 x 11\" (20 x 28 cm) Columns & Features The Art of the Portrait 24 Beyond the Palette with 44 The Muse 32 Chair’s Letter Scottsdale Artists’ School Figurative artist Craig Pursley discusses 34 Discovering the Why Abstract artist David Michael Slonim his experience working with the talks imagination, intuition and finding same model for six years, in which he By Janelle Hatherly your own voice produced over 100 paintings 38 24th annual International 28 Station Points 50 Where Van Gogh Painted Portrait Competition Tips & Insights from James Gurney Five accomplished artists and a handful Winners The Artist as Archivist of students traveled overseas for a 10-day workshop in Southern France 42 Violet Bohemian By Adrienne Stein Departments 120 Painting Workshop In every issue of International SUBSCRIPTION REQUESTS 22 Art Industry Insider with Artist we feature a Painting Workshop Vanessa Rothe from Richard Robinson, one of New INTERNATIONAL ARTIST Art School Today Zealand’s best artists PO Box 2320, Scottsdale, AZ 85252, USA Tel 1 (877) 947-0792 119 On Location 124 Important Principles Email: [email protected] Take a glimpse into some of Aimee of Art www.InternationalArtist.com Erickson’s favorite treasures Harley Brown’s fascinating things no one else will tell you EDITORIAL INQUIRIES ALYSSA M. TIDWELL, EDITOR [email protected] Tel (480) 425-0841 Fax (480) 425-0724 INTERNATIONAL ARTIST PO Box 2320, Scottsdale, AZ, 85252, USA 4 www.InternationalArtist.com

Artists from Around the World in this Issue Demonstrations, Workshops & Master Painters of the World OIL ACRYLIC 100 Australia 54 Netherlands 78 UK A Change of Pace Bold as Brass Treescapes Instead of using paper and glass as a painting support, John Lovett outlines how to construct Ans Debije uses blades to carve impactful, Working with loose washes, palette knives and a rigid primed board painterly still lifes in oil sponges, David Brammeld creates expressive nature scenes PASTEL 60 USA COLORED PENCIL 104 Germany The Shape of Petals 86 UK More than Blue A thorough understanding of simplified shapes and values allows Catherine Bobkoski to Up Close and Personal From turquoise to green to brilliant blue, Dolores capture the intricacy of her subjects Saul demonstrates how to accurately paint the Wildlife artist Becca Barron achieves realistic color and movement of the ocean 68 USA portraits through a delicate drawing style and precise layers 112 USA In the Best Light WATERCOLOR Mike Wurman Cheri Christensen concentrates on value, temperature and color relationships in her animal 94 India Noticing the beauty art Hustle and Bustle 74 USA Watercolorist Amit Kapoor captures movement Frank Soenke Haseloff and action in his city scenes using purposeful, sweeping brushstrokes A life of their own Contents 5

Challenge All the Prize Winners in our International Artist Magazine Challenge No. 130 PEOPLE & FIGURES Tanja Gant Texas, USA, Jade, colored pencil, 28 x 16\" (71 x 40 cm) Grand Prize is a four-page editorial feature in American Art Collector magazine Personal Connection and awe they inspire in the viewers. When My Design Strategy people connect to an artist’s work, which is People provide the main inspiration for sometimes deeply personal, it is one of the Since I’m mostly portraying individuals, I try Texas-based artist Tanja Gant, although the most satisfying feelings in the whole creative to keep the composition and “background artist says she finds little gems and potential process.” noise” to a minimum. I believe that in a lot subjects in everything she sees. “I take of cases less is more. I choose to include the photographs of everything and anything, Gant’s most recent colored pencil drawing elements that enhance the composition, say keeping in mind that those little gems Good Shepherd can be seen in the Colored something about the model and add to the might make it into a drawing eventually. Pencil Society of America’s 30th annual mystery. I purposefully get rid of everything Sometimes it’s a word or a lyric or a sentence traveling International Exhibition. that distracts, even the background when from a book that helps me get an idea and necessary. In Jade the beautiful model and solidify a composition. Other times it’s My Inspiration stunning fabric that’s framing her face was my personal experiences or experiences all the drawing needed so I made them of my models, who are mostly my family People have been and continue to be an the focus. The delicate hand and the busy and friends. Even though I’ve drawn some inspiration for me. When I first started pattern of the fabric both lead the eye to models multiple times, the underlying drawing portraits, near the end of elementary the flawless, enigmatic face, while the dark theme of my work is the human experience.” school, I was mainly focusing on getting background brings them forward. the likeness of the subjects all the while Working in colored pencil, Gant’s artwork being intrigued by highly contrasted values My Working Process lives in the realm of contemporary realism. and simple compositions. After moving to “Colored pencil as a medium lends itself America in 1999, and having access to colored Once I choose the reference photo to draw to very detailed work but for the sake of pencils, I decided to add a new element to from I use a grid system to transfer the image composition, time and sanity, in all honesty, my graphite drawings by introducing color. onto the paper. I then select the colors I I try to keep the whole process as simple as As a self-taught artist I went through a lot will be using from several different brands possible. It’s a very tedious, unforgiving and of trial and error trying to master that new of colored pencils. Each brand has a unique time consuming medium that requires an medium, but I was determined to take every consistency, and I find that that’s what makes incredible amount of patience,” she says. new drawing, whether graphite, charcoal or them work so well together. I draw the initial colored pencil, a step further. Jade is a more outline very lightly with a mechanical pencil. I Gant strives to capture the person she’s recent result of all those trials (and errors). apply colors in light layers working from light drawing in a way that honors who they are For me it’s not enough to just “get it right” to dark, increasing the pressure on the pencil and tells their story. Often, she’ll tell her anymore. Now I see people as infinitely in the darker areas. I try to keep the number own personal stories through the models complex and fascinating, regardless of age, of colors I use to a minimum, because less is because they can “say” it better than her size or shape. After I took reference photos more. It’s very easy to get carried away and through their poses and acting ability. for Jade I knew immediately that I had lose the tooth of the paper, which is what something special. The one I chose to draw makes colored pencil pigments brighter. “It’s all about the attitude/personality had all the elements that inspire me to create, but only after you master the drawing part. from dramatic contrast to vibrant colors and Contact Info A good work of art is more than technical different textures. proficiency…One of the most rewarding » Email: [email protected] things about successfully completing a » Website: www.tanjagant.com drawing is the emotions, interpretations 6 www.InternationalArtist.com

I’m more serious about my art than I am of myself. – Harley Brown 7

ART CHALLENGE #130 Johannes Wessmark Värmland, Sweden, Weightless, acrylic, 33 x 33\" (83 x 83 cm) Second Prize is a two-page editorial feature in American Art Collector magazine My Inspiration cannot say much about the design strategy. full size. I make the sketch on a light table I can add though that it is quite difficult to make sure everything is in its correct I normally take all my reference photos to take photos like this. I have a small position. The background and other bigger myself. This is one of the very few paintings watertight camera and have tried it. Since areas are airbrushed with acrylic paint, I have made from someone else’s photo. I you can hardly communicate with the model which dries immediately. Smaller details are wanted to make an underwater scene, which underwater, you have to take lots of photos, painted with tiny brushes and oil, which is quite difficult if you don’t have the right and then see what you came up with and if dries slowly. This gives me more time to equipment and knowledge, so I was looking any are usable. work with the most delicate details before for underwater photographers and came they dry. across a fantastic photo of Dmitry Laudin. My Working Process It was stunning and different, so that was Contact Info enough inspiration to make a painting. My working process is in short like this: I decide how big I want the final painting and » Email: [email protected] My Design Strategy print the reference photos in small pieces » Website: www.johanneswessmark.se that together make up the whole image in As this isn’t painted from my own photo, I 8 www.InternationalArtist.com

TaiMeng Lim Selangor, Malaysia, Sunny Conversation, pastel on sanded paper, 15½ x 21½\" (39 x 54 cm) Third Prize is a one-page editorial feature in American Art Collector magazine My Inspiration this image allows me to travel back in time, monotone underpainting by using burnt A painting needs both “busy” areas and “serene” areas. – Harley Brown one memory at a time. umber acrylic paint to establish the value Staying at home became the new normal relationship early on. With the combination during the pandemic, and I have had to My Design Strategy of hard and soft pastels, I applied the rediscover aspects of the home that have first layer of color working thinly, then otherwise been ignored. Rooms have been Painting from photographs, I always make adding layers of color working more and cleaned, documents organized and old sure the photograph comes with a good more opaquely, and finally the details and photographs revisited with the newfound variety of values (shading and depth). highlights. I constantly adjust the form time. Revisiting old photographs always For this piece, I wanted to capture the and shape until I am satisfied. This process gives me a new reward as it rekindles details of this scene with a great mood and allows me to take time to appreciate the memories that may have gone dormant atmosphere. I worked around with my beauty of each element in my piece, and over time. I literally stumbled on some photographs until I found exactly what I I hope it can draw the viewers in to elicit photographs that I only had a vague wanted, then I proceeded to the painting an emotional response and rekindle some recollection of capturing, especially the process, which included the pleasing happy memories of their life. one I captured during the first day of our composition, natural expressions, focal point Chinese New Year back in 2014. It was and color temperature. Contact Info such a precious moment, seeing both of my nieces have a wonderful time, and enjoy chit My Working Process » Email: [email protected] chatting and laughing in the bedroom. So, » Website: www.taimenglim.com I decided to paint it in the hope that seeing First, I started with a detailed drawing on sanded pastel paper. Then I did a complete Art Challenge 9

ART CHALLENGE #130 FINALISTS Each receives an Award Certificate and a one-year subscription to International Artist magazine PLUS having their work seen worldwide by international galleries looking for new talent. Zhaoming Wu California, USA, Pale Age, oil, 48 x 48\" (121 x 121 cm) Finalist My Inspiration preparation before the canvas. A few years ago, I had the opportunity to ask a young female model My Working Process to pose for me to take the reference photos for my painting. I set the model in front of a white wall in natural light and wrapped her with On the canvas, I first use the raw umber color to outline the shape large pieces of light gray fabric. There is a serene tension created by of the character in the predetermined composition. Since I wanted her bent movement, and the entire tonal setting is reminiscent of a to create a marble-like vision in the painting, I decided to use only marble sculpture. three colors: raw umber, cadmium yellow and ultramarine blue to complete this work. My Design Strategy Contact Info I was planning to create a larger piece using the inspiration from this reference photo, so I ordered a stretched 48-by-48-inch canvas » Email: [email protected] at the art supplies store. I also used photoshop to crop the reference » Website: www.zhaomingwu.com photos for composition and toning adjustment to complete the 10 www.InternationalArtist.com

Tracy Frein Illinois, USA, Corralling a Lightning Bolt, colored pencil, 40 x 30\" (101 x 76 cm) Finalist My Inspiration a trademarked black-and-white colored tonal values—eventually adding detail pencil process, where I strip away colored while expanding and readjusting my value My inspiration is drawn solely from my pencil pigment from the surface of Grafix® structure. subjects and their hidden emotional truths. Drafting film. Working in the Old Masters’ technique, Chiaroscuro, I create a sense of Contact Info Each subject is a compelling opposition and tension between different visual portrayal of the human spirit, elements as I create a complete range of » Email: [email protected] determination and courage. I strive to » Website: www.tfrein.artspan.com show the viewer that while at first glance my subjects show a sense of inner fragility, they also have strength and their own visual voice. Capturing this inner fragility is what has moved me forward documenting my subjects and their dealing with mental illness, addictions and social stigmas. My Design Strategy Corralling a Lightning Bolt is the celebration of resisting the polarizing tides of fear that sweep us off our feet and keep us from seeing the truth. There is no controlling life. Instead of letting it all in, the only way to overcome it is to rise, let go and shoot for a higher ground. In the choice to let go of your known way of being, the whole world is revealed to your new eyes. My Working Process My process Drawing by Subtraction® is Art Challenge 11

ART CHALLENGE #130 Annie Murphy-Robinson California, USA, Casey and the Coyote “Animus”, charcoal, 42 x 35\" (106 x 88 cm) Finalist My Inspiration the larger sense community and hierarchies printmaking paper. The sandpaper is a tool within that construct, is also alluded to. that allows both an additive and reductive This piece is a drawing of my daughter process to occur. Using this process, I am that is actually a self-portrait. As a child My Design Strategy able to achieve a more complex value scale. we lived on 80 acres in Montana and I was obsessed with animals, especially wolves My design strategy always starts with curating Contact Info and coyotes. The title “Animus” is meant the photo session. I take a lot of photos to get to imbue her with masculinity, offering the perfect “look” which includes everything » Email: [email protected] her more protection in a world that is wild from composition to clarity. » Website: www.anniemurphyrobinson.com and unforgiving. This artwork also implies pack mentality. The idea of family, and in My Working Process I sand charcoal into heavy (300 gsm) 12 www.InternationalArtist.com

“The Legend”vine charcoal on drawing paper, 17”x14” Oliver Sin www.instagram.com/oliversin [email protected]

ART CHALLENGE #000 Barbara Dahlstedt Arizona, USA, Lifting Spirits, colored pencil, 26 x 18\" (66 x 45 cm) Finalist My Inspiration eliminating nonessential elements. I placement. Then, I used the grisaille omitted the crowd behind my model and technique of developing the values before Lifting Spirits was inspired by a woman focused on capturing the light illuminating adding the local color. I used archival dressed up for the “Old Souls Parade” in one side of her face. I chose maize colored colored pencils and ArtStix with the Tucson, Arizona. She stepped out into Pastelmat because the bright peach color highest lightfast ratings to create each the light of the setting sun and caught was perfect for showing through the section of the drawing. Solvent and heat my attention with her stunning costume white makeup on her face. I decided were used to blend colors. Fine detail was and graceful stature. The Hispanic culture on a gradation of gold and rust for the achieved by viewing my reference photo on traditionally honors the dead with a holiday background to contrast the turquoise a large computer screen. called Día de Los Muertos. It is a joyful colored costume and symbolize the colors of celebration where deceased family members the Southwest. Contact Info are remembered and colorful skulls are painted on faces. My Working Process » Email: [email protected] » Website: www.dahlstedtart.com My Design Strategy I began this drawing by tracing the major shapes onto the paper for general My composition was developed by 14 www.InternationalArtist.com

Oliver Sin California, USA, John Carrasco, charcoal, 17 x 14\" (43 x 35 cm) Finalist My Inspiration unique perspective of the artist, no matter there is interaction, the artist and subject the style or subject. This is the element of a develop some level of connection and share This is a vine charcoal portrait drawing of good drawing that only comes from within a humanistic moment, and the quality of John Carrasco, the model who has been the artist. the portrait benefits from this. It is easy to my greatest muse for over 10 years. My become absorbed in the technical aspects of inspiration comes from a desire to create a My Working Process drawing and miss the purpose. Technique soulful portrait drawing that looks effortless without spirit is meaningless, but the feeling to the viewers. I never just copy what I I start with the structure of the human head cannot be conveyed without technique—the see but interpret it with my emotions by eliminating details and breaking them two must be united. instead. My subject and I are merged into down into a few basic shapes and planes. one and are presented in a deeply personal Working from live models is important, Contact Info expression. My subject provides visual not only to develop drawing skills but information, but my mind and body capture also to gain a better understanding of the » Email: [email protected] it on paper, seasoned by all those years of subject’s character and personality. When drawing. Drawing portraits brings me joy and satisfaction, plus one extra bonus: the elevation of my soul. My Design Strategy I have always considered drawing to be one of the greatest vessels to study paintings. I used drawing to help me develop my aesthetic for paintings, leading my drawings to look a great deal like paintings with countless layers of vine charcoal. The point of a drawing is to capture a feeling of some kind. For me, I love capturing some sense of someone being there, in some way emotive. My goal is to capture a person’s spirit, expression, likeness, personality, mood and soul. Each artwork reflects the Art Challenge 15

Watercolor Workshop Videos on DVDs Start to Finish Paintings Bev Jozwiak, AWS, NWS, Nita Engle, AWS Alexis Lavine, NWS, Chris Unwin, NWS See Video Clips at www.ChrisUnwin.Net &RQ¿GHQW%UXVKVWURNHV Painting Life With Life Bev’s new 164 page 9x12 inch Bev’s164 page 9x12 inch hardcover book includes: hardcover book includes: Painting People, Design, The Basics, Painting People Color Mixing, Photography Painting Children and Painting Animals Painting Birds & Animals For Non-US buyers: You can avoid excessive shipping charges if we send our videos digitally through WeTransfer.com. And also, we can send our books to you in PDF form. We ship our books and videos Worldwide - www.ChrisUnwin.Net

CALL FOR ENTRIES HOW TO ENTER OUR ART COMPETITIONS FULL COLOR DIGITAL PRINT-OUTS CHALLENGE ENTRY FORM SCHEDULE AND CLOSING DATES Use the Official Entry Form over the page # Theme Issue Closing ONLINE 132 Landscapes IA146 Sep. 8, 2022 Visit our website to upload digital files you are in the Official Online Entry 133 Florals & Gardens IA147 Nov. 12, 2022 of the images you want to enter and page simply select which challenge 134 Abstract / IA148 Jan. 11, 2023 pay for them using our secure server. www.internationalartist.com Experimental Art IA149 Mar. 8, 2023 IA150 May 10, 2023 To upload your entries you need to you wish to enter then follow the NEW 135 CITYSCAPES prepare your image files to be at least IA151 July 12, 2023 400 pixels at the shortest edge. Once prompts and finally pay the entry fee 136 Seascapes, IA152 Sep. 13, 2023 Rivers & Lakes via our secure server. There you can 137 Favorite Subjects also see other entries received along 138 Still Life with past winners of our competitions. HINTS FOR PHOTOGRAPHING YOUR ARTWORK • Set your camera to the highest quality available. • Turn the date off!! • Then print out your entries on photographic quality paper no smaller than 8 x 5\" (20 x 13 cm) • Shoot your paintings dead square on and fill the • Rather than look through the display screen size. (Some papers have a yellow tint, which frame as much as possible. We can crop out when shooting your digital pictures, use the impacts on the finished result. If you are unsure, everything else. viewfinder because there is less likelihood of it might be best to take your photo files to your the camera moving and creating a fuzzy picture. local digital photolab.) • Take your paintings outside and photograph them in the shade. Indoor lighting can create • Make sure no clips or easel clamps intrude • The full-color prints must be crisp and sharp, unpleasant orange or blue color casts. into the painting, and that frames don’t cast not jagged or bitmapped, and you must be shadows that fall onto the painting. happy with the color. • To ensure crisp pictures, use a tripod. 7SLHZLUV[L[OH[\\UKLYUVJPYJ\\TZ[HUJLZ^PSSHU`PTHNLZ\\WWSPLKHZHKPNP[HSÄSLVU*+ILHJJLW[LK+PNP[HSÄSLZPTHNLZT\\Z[ILLU[LYLKVUSPUL

CALL FOR ENTRIES ART PRIZE CHALLENGE SERIES A continuing series of art competitions designed to encourage the best talent working in the world today open to any painting or drawing medium. ENTER OUR NEW ART COMPETITION CHALLENGE No. 132 Landscapes See your work published in International Artist magazine and also receive a 4-page Editorial Feature in American Art Collector, the prestigious magazine read by collectors and galleries looking for new art work in the world’s biggest art market. Winners and Finalists in our competitions don’t just win awards to hang on their walls. The real value of entering and being one of the winners is that your work will not only be seen by hundreds of thousands of readers worldwide but also by leading galleries and collectors in America, the biggest art market of all. Our Grand Prize Winners receive a 2-page spread in International Artist magazine and a 4-page Editorial Feature in American Art Collector. Publicity at this level is priceless and could be a career changing opportunity for any artist, working in any two-dimensional medium. CHALLENGE No. 132 the magazine for artists by artists is proud to award the magazine for artists by artists is proud to award Landscapes ADRIENNE STEIN CEJAY HELT Medium Any painting or drawing media GRAND SECOND Entries Close PRIZE PRIZE Entry Fee Last mail received on September 8, 2022 WINNER WINNER 6HQG(QWULHV7R Winners Featured US $9 / £5 / €8 / AUS $10 (See overleaf) in International Artist magazine’s in International Artist magazine’s Art Prize Challenge No. 88 Art Prize Challenge No. 88 6HHSDJHRI2IåFLDO(QWU\\)RUP FAVORITE SUBJECTS FAVORITE SUBJECTS for a work entitled for a work entitled Issue No. 148 December/January 2023 Pink Bride Ambrosia The winners and a selection of highly commended as published in as published in works will be published in our International Artist Issue 104 • August/September 2015 Issue 104 • August/September 2015 magazine Art Prize report. the magazine for artists by artists is proud to award the magazine for artists by artists is proud to award DAGGI WALLACE ANN KRAFT WALKER THIRD FINALIST PRIZE WINNER in International Artist magazine’s Art Prize Challenge No. 88 in International Artist magazine’s FAVORITE SUBJECTS Art Prize Challenge No. 88 for a work entitled FAVORITE SUBJECTS Jesse’s Pears for a work entitled as published in Trust Issue 104 • August/September 2015 as published in NOTE:7KHZLQQHUVDQGåQDOLVWVLQ&KDOOHQJH1RÓ:LOGOLIHZLOOEHIHDWXUHGLQ Issue 104 • August/September 2015 International Artist issue No. 147, which comes out in October/November 2022 Every winner and finalist will receive an Award Certificate authenticating their prize. 18 www.InternationalArtist.com

“I was contacted by a large gallery in Massachusetts after they saw my INTERNATIONAL ARTIST CHIEF JUDGE work in American Art Collector magazine. We have enjoyed a great relationship for several years now.” — Jim Seitz, Artist GRAND PRIZE WINNER 2ND PRIZE WINNER Portrait of Vincent Our Grand Prize Winner receives; 2XU6HFRQG3UL]H:LQQHUUHFHLYHV by Everett Raymond Kinstler Ý$ Q$ZDUG&HUWLåFDWHWRDXWKHQWLFDWHWKHSUL]H ÝSDJHVSUHDGLQInternational ArtistPDJD]LQH Ý SDJHVSUHDGLQInternational Artist PDJD]LQH Ý SDJH(GLWRULDO)HDWXUHLQAmerican Art Vincent Miller, founder of International Artist magazine, is UHDGZRUOGZLGHE\\PRUHWKDQUHDGHUV CollectorPDJD]LQH our Chief Judge for our challenges. ÝSDJH(GLWRULDO)HDWXUHLQAmerican Art He has judged art for more than Ý$ZDUG&HUWLåFDWH 40 years worldwide, including Collector PDJD]LQH in the USA, Singapore, Australia, American Art Collector is the most prestigious ;OLW\\ISPJP[``V\\YLJLP]L[OYV\\NO[OPZ Canada and the U.K., to name just magazine in America focusing on traditional WHNLHY[PJSLPUAmerican Art Collector a few countries. In addition, he ÄULHY[·[OLHY[TVZ[WLVWSL^HU[0[PZYLHK JV\\SKSLHK[VT\\S[PWSLZHSLZPU[OL^VYSK»Z is an artist and sculptor himself. I`HMÅ\\LU[HY[JVSSLJ[VYZHUKNHSSLYPLZJVHZ[[V IPNNLZ[HY[THYRL[ Mr. Miller works with many of JVHZ[HSSVU[OLSVVRV\\[MVYUL^HY[^VYRHUKUL^ the greatest living artists and art HY[PZ[Z/H]PUNHWHNL,KP[VYPHS-LH[\\YLPU[OPZ 3RD PRIZE WINNER schools. He supports great art by art market bible is the kind of publicity that could 2XU7KLUG3UL]H:LQQHUUHFHLYHV judging our challenge program. 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OFFICIAL ENTRY FORM THREE INTERNATIONAL ENTRY POINTS For your convenience there are three International Entry Points. You can pay your Entry Fee by Visa or MasterCard. 1USA / CANADA 2UNITED KINGDOM / EUROPE 3 AUSTRALIA / NEW ZEALAND THE AMERICAS AFRICA ALL OTHER COUNTRIES Send your entry and payment of Send your entry and payment of Send your entry and payment of US $9 per entry/picture to: £5 (or €8) per entry/picture to: AUS $10 per entry/picture to: International Artist magazine International Artist magazine Challenge No. 132: Challenge No. 132: International Artist magazine Landscapes Landscapes Challenge No. 132: 3260 N. Hayden Rd. Suites 201-203 3260 N. Hayden Rd. Suites 201-203 Landscapes Scottsdale, AZ 85251, USA Scottsdale, AZ 85251, USA 3260 N. Hayden Rd. Suites 201-203 Scottsdale, AZ 85251, USA Enter your Credit Card details on the Enter your Credit Card details on the Entry Form below or include a Check/Money Entry Form or include a Cheque/Money Enter your Credit Card details on the Order made payable to International Artist. Order made payable to International Artist. Entry Form or include a Cheque/Money (Checks must be in US Dollars and drawn (Cheques must be in Pounds Sterling, Order made payable to International Artist. on a US bank) and drawn on a United Kingdom bank) (Cheques must be in Australian Dollars and drawn on an Australian bank) DEADLINE LAST MAIL RECEIVED ON SEPTEMBER 8, 2022 Please send your entry to the Art Prize coordinator responsible for your zone to the address shown above. LANDSCAPES I understand these pictures will not be returned and that they may be published, properly credited, in a future issue of International Artist I am submitting images listed below for this Art Prize Challenge and magazine. I warrant that the entries submitted are entirely my own work enclose my Entry Fee for each entry as described. and that I own the copyright on each, as well as copyright on all source material from which these works were created. I hereby grant permission When posting your entries, please don’t use to the publishers for reproduction of this work for the purposes of this staples or paperclips on your printouts! competition and agree to the terms and conditions as set out overleaf. YOUR DETAILS Please print clearly Your name____________________________________________________________________________________________________ Address ________________________________________________________________________________________________________________________________________________________ City/State _________________________________________________________ Zip/Postcode ________________________ Country ____________________________ Telephone __________________________________________________________________ Email ____________________________________________________________________________ (So we can contact you if you win) YOUR ENTRIES ENTRY 2: ENTRY 3: Title of work ___________________________________ Title of work ___________________________________ ENTRY 1: Medium ________________________________________ Medium ________________________________________ Dimensions (H x W) ____________________________ Dimensions (H x W) ____________________________ Title of work ___________________________________ Signature _______________________________________ Signature _______________________________________ Medium ________________________________________ Dimensions (H x W) ____________________________ Signature _______________________________________ Don’t write on the back of your digital prints, instead, write on a label and stick that on the back. Please do not use bubble wrap, tissue, excessive tape or other elaborate forms of wrapping. Simply fold cardboard around the entry form as protection. YOUR PAYMENT Please find attached my check/money order for the amount of ______________________ made payable to International Artist OR Charge the total amount to my Visa MasterCard Signature ______________________________________________________________ Expiry Date ______________________ CVV __________ 20 www.InternationalArtist.com

Colored Pencil—PLUS Rhapsody (5\" x 5\") Explore This! is the juried online Colored pencil, gold leaf, marbling spray paint exhibition from the Colored Pencil Society of America that Deborah Maklowski, CPSA, CPX (Maryland) encourages fine artists who work Entry to CPSA 2022 Explore This! 18 Online Exhibition primarily in colored pencil to experiment with adding other media. The exhibition offers more than $5,000 in awards. Plan now to enter the 2023 Explore This! 19 exhibition. The 2023 prospectus will be available by September 1 on the CPSA website. Learn more and see the 2022 Explore This! 18 online exhibition at: www.cpsa.org/ETA Enter: September 15 to November 15, 2022 Since 1990 Join CPSA Become a positive voice for colored pencil fine art www.cpsa.org

ART Bonjour and welcome to Art Industry Insider. I’m Vanessa Rothe and in this column, I’ll be INDUSTRY sharing my knowledge acquired by working in the art world as a curator, art dealer, editor INSIDER and fine artist. From the creation of the work to the business of selling your art, my hope is with Vanessa Rothe to give you some useful behind the scenes information. In this issue, I’ll be diving into the many different learning opportunities out there for artists, in person and online. Various artists learning together in person, atelier style, at the Grande Chaumière Art School T O D AY Art is a method of communication. It is as graphic and entertainment art is Laguna A master copy of a Sargent portrait by Vanessa part of every culture, part of who we College of Art and Design. (Yes, my alma Rothe. This was a work in progress created during are as humans. Among those creative minds mater.) This hands-on college of the arts her time at Laguna College of Art and Design. throughout the world, the truly lucky ones, accomplishes both in-person and online and the ones who strive to improve their learning and has the advantage of the Old skills, get to go to art school. However, in Masters teaching you as well. A full liberal today’s technologically advanced society, art arts degree with a well-rounded education and art school exist also in the digital world, can be achieved here amidst the classic and students have a choice whether they wooden easel studios, top-of-the-line advice pursue in person learning or online venues. from the pros, a career center that helps place you after you graduate and more. In For many, nothing beats the in person addition to the excellent hands-on training, experience of being at an easel with friends they organize guest speakers, and even bring and colleagues around as you create and groups to Europe in May each year to enjoy learn together. Traditional in-person fine art the museums. I can personally tell you this school can be very rewarding and often enlist is a truly amazing experience. the top artists and teachers in the fields they offer. From art history to tools and materials, The world of online learning has expanded from figure drawing to color mixing and as well, offering multiple opportunities for perspective, these schools excel at teaching those who do not possess the funds for a full time tested traditions that give results. art school. Here are just a few of the many venues out there, and this is just the tip of the A very good example of a thriving fine iceberg. These types of art class offerings are art school with realist studio courses as well 22 www.InternationalArtist.com

Far Left: Cornelia Hernes, Varvara, oil on linen, 12 x 12\" (30 x 30 cm). Hernes is a teacher on Patreon. Left: Suchitra Bhosle, Diaphanous Response, oil on linen, 14 x 18\" (35 x 45 cm). Bhosle is a teacher at Sentient Academy. wonderful for those who work during the day Bhosle. It also focuses on useful business and want to learn when they have time. These advice from professional gallery owners and modern day art schools online also encourage artists making their living in the art world. students of any age to pick up a brush. Online Owner Keith Huang notes, learning takes lots of “Sentient discipline; there is no “My main advice to Academy partners official course teacher those who wish to be with professional directing you and no artists: learn to draw.” artists to provide particular deadlines. a career-focused I recommend you set online art education up a calendar of your option. Our own making and map out time for class as students develop solid skills and become well as homework to do in between sessions better artists as they follow structured to progress. learning paths...Sentient offers live I highly recommend Patreon (www. mentorship programs that will prepare them patreon.com), an online platform where you for real business know-how, on top of skill can find many of today’s masters such as development, with personalized guidance.” A head study by Rothe, utilizing resources from www.proko.com. Stephen Bauman and Cornelia Hernes. With Important drawing skills and human an amazing hands-on travel and art class pre-filmed pay per use videos or subscriptions, anatomy can be learned at www.proko. experience. Not only will you meet other artists, but you’ll spend a week or more you can watch and download instructional com. Stan Prokopenko graduated from learning their tips and tricks. videos from professional artists in the comfort Watts Atelier in San Diego and started his Once you find a few master artists that you admire (Instagram is a great place to of your home or studio. These professors now famous online learning system, which discover new artists) follow their work and go to their website. You will be amazed to have taught live classes at Florence Academy incorporates some of the leading illustrators learn that most of them also teach. They have workshops in their studios, or they are in Italy and New York and have translated and artists of our time. From traditional asked to conduct workshops in France or another of the schools mentioned above. this knowledge to recorded classes. Mixing realism, figures, sketching and proportions to This list is a general starting point to techniques, drawing and more are included. the dynamic poses of game art, Prokopenko finding great solutions for art school today. If you are not sure which direction to take, try a More wonderful options include online is world-renowned for his specialty. variety of these solutions until you find where you fit best. Try a semester at a live art school and in-person atelier style schools, including A very exciting way to learn and travel with a few classes, or take an online class on weekends. Opportunities abound! And above schools like Sentient Academy, which boasts is attending a workshop abroad with your all—practice, practice, practice. esteemed teachers like plein air artist Bryan favorite artist. Workshops in France, a Mark Taylor and portrait master Suchitra company led by artist Julie Snyder, is such ABOUT VANESSA ROTHE In addition to her curatorial, editorial and lecturing, Vanessa Rothe is a fine artist exhibiting the last 20 years alongside the nation’s top artists in galleries, art clubs, as well as museums. After majoring in business at USD and French literature at UCI, Rothe received classical fine art training at Laguna College of Art + Design and received honors throughout. Rothe has been working as an editor, graphic designer and artist in the publishing industry for 35 years. Art Industry Insider 23

SBceoyottnsddathleeAPratilsettste’ Swcithhool Unlocking Discoveries Abstract artist David Michael Slonim talks imagination, intuition and finding your own voice SCOTTSDALE ARTISTS’ SCHOOL: others. I will always be grateful for what SAS: What is one of the most important How did you become a painter? Velázquez did for me. lessons you have learned as an artist? DAVID MICHAEL SLONIM: It was the DMS: Steer into the fear. Your growth, ’90s, I was in my mid 20s, visiting The SAS: When did abstract art become maybe even a creative breakthrough, Met. I turn a corner, and I’m suddenly your vision? is most likely to be hiding behind that dumbstruck by Velázquez’s portrait DMS: I painted plein air for about 20 thing you are afraid to try. For many of Juan de Pareja—the lights dimmed years, always trying to understand what years, I was afraid of abstraction. But on everything else but that painting. made an image move a viewer. I began in late winter, 2010, seven artist friends At that time, I was an illustrator, to realize that it is the abstract design rented a snow coach in Yellowstone for creating whimsical images for corporate or structure of the image, far more than a week of plein air painting. Even as I clients. Being a “real” painter seemed the subject matter or technique, that painted my little oil studies, that vast, like a dream. Looking back, I realize counts. What moves an audience is the volcanic snowscape forced the issue. that experience was essential. Before relationships of marks, colors, spaces, There was no other way to convey becoming a painter, I first needed to lines and textures. Over time, this freed my feelings about it, so back home I be transported by the paintings of me to gradually let go of recognizable painted an abstract interpretation. From subject matter. there I could see a way forward into Artist David Michael Slonim teaching a class. abstract painting. SAS: How do you work through obstacles? DMS: All artists’ experience obstacles. Chronic health issues have severely limited my ability to paint at times. Sometimes I’ve only been able to doodle on sketch paper, other times all I could do was place one color next to another. Do what you can and trust God with the outcome—I’m still learning this. If you can’t paint or you must put it aside, allow your creative mind to remain active. Painting is a matter of imagination and vision. SAS: What advice would you give your younger self? DMS: You have a faithful Shepherd. Trust him and paint with freedom. Paint as if you have nothing to fear, nothing to prove and nothing to lose. Aim for a childlike state of play. Ask the magic question. “What if?” is 24 www.InternationalArtist.com

the key to unlocking discovery. Curiosity David Michael is your best friend. Let yourself become Slonim, Woman genuinely curious and invite your And Dog, oil on 9-year-old inner self out to play. paper, 22 x 30” SAS: When someone looks at your art (55 x 76 cm) what do you want them to see? The best compliment I have received DMS: Don’t worry about “style.” To have given you wisdom that will enrich is when people tell me they look at my find your voice, don’t think about your your art. Life has knocked you around work and see joy. I paint images I would voice. Focus instead on what you want enough that you now have something want to live with. I want my work to to express. Get excited about visual to express. All of that will show in your invite calm contemplation, to provide a ideas. Set up interesting visual problems paintings. So now is the perfect time to quiet space where beauty and harmony to solve. Become obsessed with it. Form start painting! Someone needs the art refresh the viewer. follows function, so focus on what you you are going to create. SAS: Tell us about teaching. want to express, and style takes care DMS: I love teaching at SAS. For a full of itself. Your painting voice, like your SAS: Is drawing important? week students can gather with like- speaking voice, will reveal itself as you DMS: Drawing is the beautiful division of minded artists and focus on their art. express what you have to say. space to convey human feeling. Copying The joy of teaching for me is sharing nature in a representational way is just information and encouragement, SAS: Where do your ideas come from? one way to draw. Nobody should feel knowing it will make a difference. DMS: Over time I learned that instead bad if that isn’t their bent or skill set. Watching growth happen in real time of painting things, mature artists Drawing is a wide-open playground right in front of my eyes never gets old. paint ideas. A visual idea is an idea with more than one type of ride. My goal is always to help each artist about how the image is organized—its become the best version of themselves. structure. It’s not about the subject SAS: What is the most important insight matter represented but about what you can share about color? David Michael Slonim, Pirate Moon, oil on is happening on the surface of the DMS: Over time, through much study canvas, 48 x 60” (121 x 152 cm) canvas—how the marks, colors, shapes, and frustration, I came to see that lines, values and colors relate to each master artists don’t simply paint what SAS: What is one take-away you want other. It’s the music of the image that they see, they build color harmonies students to get from your instruction? moves us. intentionally. The key to beautiful color DMS: Trust your talent. Learn to listen is relationships—how colors relate to to that inner prompting that whispers, SAS: What do you say to students who each other in the context of the painting. “Paint that,” or “try this.” That intuitive are afraid that they may be too late in Even the greatest representational sensitivity is part of your gift. Be bold starting? painters like Vermeer, Cassatt and in following where it may lead. DMS: First, we all have to face fear and Rembrandt were not merely describing SAS: How can an artist find their self-doubt, no exceptions. You are in facts, but evoking emotion through the own voice? good company. I also tell them that skillful use of intentional color structure. good art comes out of life as we live it. It’s like chords in music. Understanding Nothing is wasted. All the years spent this changed me as an artist. raising a family or building a career Visit www.scottsdaleartschool.org for more information on the school and its upcoming workshops. Beyond the Palette with Scottsdale Artists’ School 25



VIRTUAL TEACHING 101 ŖĆěàÁʼnŖʼnőÁĆĢÁÙěä͡łŅĩƇőÁÙěä͡ÙŖʼnĆĢäʼnʼn͡àĩĆĢúūĂÁőűĩŖěĩŪä͠ • Workshop organization for online • Equipment and space needs teaching • Create passive, ongoing, income • Free Workshop for Academy members - • Online course platforms and software comparisons two week free trial. The Academy for Virtual Teaching is a vibrant online community of independent artists, makers, and crafters, bringing our creative joy to a global audience through our online teaching skills. We teach, lift, and encourage each other as we build our proficiency in offering both live, and on-demand virtual courses. AcademyForVirtualTeaching.com CHECK OUT OUR OTHER ART PUBLICATIONS! A monthly magazine specially written for collectors, galleries and painters of traditional fine art. www.AmericanArtCollector.com/subscribe Subscriptions: (877) 947-0792 Specially designed to preview contemporary and historic western art coming up for sale. www.WesternArtCollector.com/subscribe Subscriptions: (877) 947-0792 Designed to provide collectors of historic American paintings, sculpture and drawings with all the necessary information they need to aquire new works of art. www.AmericanFineArtMagazine.com/subscribe Subscriptions: (877) 947-0792

James Gurney with archivist Venus Van Ness at the Norman Rockwell Museum. THE ARTIST None of us knows the future fate of our paintings and AS ARCHIVIST sketchbooks. They may end up as valued family relics, they may find their way to a museum collection or they might James Gurney shares his be sold in a yard sale. tips for preserving and interpreting your artwork Whatever happens, people in the future will thank you for taking a few key steps to prepare and preserve your work for posterity. I realize that most of us are so preoccupied by the challenge of creating new artwork that it’s easy to overlook the fact that each of us is the first and most important archivist for our own artistic legacy. HOW TO BE A BETTER CONSERVATOR To learn from an expert, I met with Venus Van Ness, the archivist of the Norman Rockwell Museum. We put on cotton gloves, and she showed me the acid-free folders in which each of Norman Rockwell’s tearsheets, letters and drawings are 28 www.InternationalArtist.com

carefully preserved. The air was perfectly zone of gummy tape, dog-eared pages, I wondered. Most artists will never take climate controlled to an ideal humidity blazing sun, coffee spills, marauding such care with their own work, but and temperature. pets and slumping portfolios. The maybe there are some basic, reasonable other was the world of the archivist, a things we can do to save a lot of grief “My studio doesn’t look like this,” I temperate realm of safety, where a piece for future conservators (assuming admitted to her, a little sheepishly. This of paper has a chance at immortality. hopefully that our work might end up was a meeting of two different worlds. in such a place). One was the world of the artist, a fear- Can these two worlds meet halfway? TAKING CARE OF YOUR ART Study for Peruvian Prisoner, 1988, charcoal and white chalk on gray paper, 19 x 25\" (48 x 63 cm). I’m no role model for getting this stuff right. This drawing lived for years sticking out of a portfolio, which was » GET ART AND BOOKS OUT OF THE standing up at the edge of my studio. BASEMENT AND ATTIC Basements are dark and damp, often leading to mildew. Dehumidifiers can help. Attics can get very hot and very cold, which accelerates decay. » KEEP THE ART OUT OF DIRECT SUN The sun has a large amount of ultraviolet radiation, which fades pigments and makes paper yellow and brittle. The goal is to reduce chemical degradation. Ideally the temperature should be below 72 degrees Fahrenheit (22 degrees Celsius), with low humidity, and protection from the UV rays of the sun. » STORE PAPER ART FLAT AND UNFOLDED Sketches, drawings, watercolors or other works on paper should be supported horizontally in acid free folders, ideally protected in a flat archival cardboard box, and placed in a flat file or in boxes Irving at IMC, Amherst, acrylic gouache, 5 x 8\" (12 x 20 cm). I painted this friendly monster as a demo on shelves. Paintings can be framed or for a workshop in Amherst, Massachusetts. I wanted to try out the idea of combining observation with matted in acid-free materials, wrapped imagination in an observational painting. As I did the demo, I made up a backstory for the kaiju. By naming in glassine and bubble pack, and stored him Irving, the story evolved in my mind of a particular shy, artistic creature who dreams of being an artist. vertically on a big set of shelves. » USE GLOVES AND KEEP LIQUIDS AWAY Have a set of white cotton gloves for handling paper. Hand oils are remarkably destructive. » DON’T USE TAPE If you must use commercial, pressure sensitive tape, use tape that’s made for museum conservators and remove it as soon as you can. If you need to hold the corners of paper or board onto a backing, you can make little paper corners to hold your object. » PROTECT FROM DUST AND MOLD Paper is composed of a large organic molecule that can quickly degrade. Station Points 29

Protect important works with » PHOTOCOPY THERMAL FAXES » BACK UP YOUR COMPUTER WORK preservation framing with UV-protected If your documents date back before Print out whatever key digital files you glass or acrylic. Rotate the works that you 2000, they may include faxes. Thermal can, upload them to the cloud, burn display so no single piece suffers too much faxes fade fairly quickly. Photocopies are them on a disk or load them on a thumb from the light. Books fare better when relatively more stable. drive. You don’t want to lose them if they are kept in glass-fronted cases. your computer dies. Have an action plan » SHOOT YOUR ART AND STORE THE for preserving correspondence, lists, » USE A PENCIL RATHER THAN A PEN FILES ELSEWHERE sketches, image files, spreadsheets, OR MARKER Modern cameras are higher resolution videos, audio files, Photoshop files and Many kinds of pens and markers can than professional cameras were 20 years social media posts. continually bleed through the paper. ago, so you can shoot them yourself. Pencil is more stable, and you can erase Consider what you’d be able to retrieve, it. Conservators prefer materials and if your house were to burn or be washed methods that are reversible. away in a flood. TIE YOUR ART TO A STORY » SIGN EACH STANDALONE PIECE date range on the spine of the book. You Adding a signature can dramatically increase can paint a fancy title on the cover of the Preserving your artwork is just the the value of a piece and help greatly in its book, too. beginning to helping future generations identification. appreciate your artwork. The second » WHO, WHAT, WHERE AND WHY? key is to associate your art with a story. » ADD A DATE SOMEWHERE If a particular person is portrayed in a portrait, Exhibitions are built out of stories, The date is a valuable biographical clue to write their name somewhere on the piece. paintings are sold with stories and social place the work in the context of what was (Otherwise it might become just“Portrait media posts go viral with stories. So it’s going on in your life and in the world around of a Lady.”) Indicate where you painted the important to connect each artwork with you. picture. If it’s a street scene, note down the the people and events surrounding its nearest street sign. All that information will creation. » PUT A TITLE ON THE SPINE OF help someone in the future who may have no THE SKETCHBOOK idea what they’re looking at. Write the title of the sketchbook and the Outer Space Men, acrylic gouache, colored pencil and white gel pen, 5 x 8\" (12 x 20 cm). I painted this color study in the home of toy inventor/ collector Mel Birnkrant, who created the first bendy action figures called Outer Space Men in 1969. He told me they were a huge hit until the moon landing the following year killed enthusiasm for space toys. The romance for space aliens disappeared when people realized the moon was actually just a lifeless rock. Birnkrant explains, “Space toys fell down to earth with a thud, and ‘one giant step for mankind’ turned out to be one foot in the grave for the Outer Space Men!” 30 www.InternationalArtist.com

» WHERE TO WRITE RANDOM NOTES » EDIT IT LATER » WHEN YOU HEAR A STORY, If the art is in a sketchbook, you can If you execute your paintings later in the WRITE IT DOWN write those notes on the page itself next studio, having the raw captures will help you Write down the stories people tell you to the image. Don’t write it on a facing reconstruct the full impression of the place about what you’re sketching. If it’s an old page, because unfortunately sketchbooks for social media posts, and it will give you building in a town you’re visiting, ask an old are sometimes cut up. You can put this material for making a video. timer about their memories of the place. information on a label on the back of the Do it while you’re still on the spot and the piece, or write it in a blank studio journal. » CONSIDER NON-VISUAL SENSES memory is fresh. Don’t overlook the sounds that you hear as » CAPTURE INFO WITH YOUR PHONE you sketch, what you ate at a restaurant, or » THINK LIKE A CURATOR A voice recording app can record your notes the colors, textures or smells of the animal or Curators put art in context and connect one or interview clips. You can shoot video at the plant you’re sketching. piece of art to another. Give them something location where you are painting or gathering to work with. Provide them with raw your reference. material. They’ll thank you for it. ABOUT THE ARTIST Contact at www.jamesgurney.com James Gurney dropped out of art school to ride the freight Find me on trains across America, leading to his first book The Artist’s Guide to Sketching (1982), which he co-authored with Thomas @jamesgurneyart Kinkade. He is the author of Color and Light: A Guide for the Realist Painter and the Dinotopia series, and there’s a dinosaur @gurneyjourney named after him: Torvosaurus gurneyi. James Gurney Facebook groups: “Sketch Easel Builders” and “Color in Practice” Gumroad tutorials: James Gurney Station Points 31

THE ART OF THE PORTRAIT The Portrait Society of America Chairman’s Letter A Thrilling Return At a recent portrait unveiling I attended in New York City, Robert Battle, artistic director of Alvin Ailey American Dance Theater, shared his admiration for legendary dancer Judith Jamison by concluding, “Because you are, I am,” echoing the ancient African philosophy of Ubuntu. Having been a part of the Portrait Society of America for more than 20 years, I can easily say the same about this amazing organization: “Because you are, I am!” Being a part of the annual conferences and the Society has changed my life. Without these experiences, I would not enjoy the career I do today. The generous and talented artists who are a part of the faculty each year are tremendous forces of creative energy, and their willingness to share what they have learned from years of working in their studios is so encouraging and Celebrating was on everyone’s mind at the banquet awards gala on Saturday evening. From left to right, top row: Mattie Ree Neal, Adele Flamand-Browne, Louis Carr, Kristen Yann, bottom row: Emily Olson, Anna Rose Bain, Sowmya Gade, Stephanie Paige Thomson. Dawn Whitelaw, along with many other artists, provided valuable portfolio critiques to conference attendees throughout the weekend. After the event was over, an attendee shared her thoughts concerning critiques: “The portfolio reviews are one of the most valuable parts of the event for me. The information I have received has always been so educational, personalized and graciously given. I am too shy to just walk up to some artist and start picking their brain, but with this format I can ask them what I really want to know. That spirit of generosity that surrounds this whole event is especially concentrated in that room. I wonder if everyone else realizes that this wonderful fountain of information tailored just for them is available?” - Coleen Barnhart 32

transformative to us all. One participant PORTRAIT SOCIETY OF AMERICA came up to me in tears following a live demonstration. She’d had a light bulb UPCOMING EVENTS moment during the session. “I understand so & PROGRAMS much more now. I understand! I understand!” she said with a combination of relief and The Portrait Society of America has several upcoming events and competitions. We invite excitement. That moment alone made the you to participate either by attending an event or sharing your work. conference and the hard work behind the scenes worth all the effort for me!  Monthly Wednesday Webinars Each year artists from all over the world have Online monthly educational gathered with a single mission in mind—to content offered live with learn and grow. Through live demonstrations, question-and-answer lectures, portfolio critiques, engaging experts session with faculty at from our many vendors of artists materials, the end of the evening. the exquisite paintings donated to the 6x9 sale, and viewing the finalists from the Members Only Competition - Signature Status – Entry Deadline International Portrait Competition on exhibition, Entry Deadline November 3, 2022 September 1, 2022 the weekend is full to overflowing with Recognizing Portrait Society members’ information and inspiration. Of course, that’s artwork in five categories: Commissioned Signature Status recognizes those not all! The connections made are often life Portrait, Non-Commissioned practicing and accomplished artists who changing. Meeting fellow artists, gallery owners Portrait, Outside the Box, Still-life are dedicated to the educational mission and agents, relationships are formed and and Animals as the Subject. strengthened, often resulting in friendships and and high aesthetic standards of the collaborations that last for years into the future.  Portrait Society of America. After having to change the annual conference to virtual due to Covid-19 the last two years, it was thrilling to return to an in-person event. The mood was enthusiastic, and there was a palpable feeling in the air of optimism about the future. Of particular note was the large number of young people who filled the classes and lectures each day. It’s so wonderful to see yet another generation of artists driven to create art of and about people. We have already begun planning our 25th Portrait Society conference to be held in Washington, D.C.! Please join us in 2023 for our most exciting conference yet! Sincerely, Michael Shane Neal International Portrait 25th annual The Art of the Chairman Competition - Entry Deadline Portrait Conference February 20, 2023 Showcasing the very best in fine art The annual portrait and figurative portraiture and figurative work. artists’ celebration in Washington, DC from May 11-14, 2023. For more information, please visit www.portraitsociety.org or call toll-free 1-877-772-4321. The Portrait Society of America 33

THE ART OF THE PORTRAIT Discovering the Why A personal account of the 2022 The Art of the Portrait conference By Janelle Hatherly Opening night featured 19 artists demonstrating together in the Grand Ballroom, in a variety of mediums. Timothy Crisman joined the Portrait Society that promised to be both exhausting and However, it felt good to be “real” again, several years ago, but this year he made exhilarating. I’m an Australian member of embracing the unknown and anticipating the decision to attend the 24th annual The Art of Portrait Society and like Crisman, this was my new experiences and friendships. In full pre- the Portrait conference. Afterwards he wrote, first time attending the conference. pandemic fashion, the Grand Hyatt’s ballroom “This was my first conference. I have studied was abuzz on opening night with the Face-Off and painted on my own for 25 years. I am so Since taking up portraiture, I have found event where highly accomplished artists paint, sorry I haven’t come to the conference before; the Portrait Society and Instagram my favorite draw and sculpt from life. Next door, equally I gained such a sense of community during the virtual platforms for seeing the best of the best knowledgeable art suppliers were set up with conference. The experience was one of the best and for connecting with like-minded artists. I an excellent array of painting and drawing in my life, I will treasure it always.” look for excellence in technique, and for styles materials, books, DVDs and frames ready to and instruction I relate to, in order to advance provide intimate knowledge of their products I couldn’t agree more! After a two-year my own competence. In isolation, many people and instant sales. Just talking to other hiatus, the Portrait Society conference was turned to creative pursuits and career artists attendees resulted in poignant insights and back in person in Atlanta, Georgia. Along with mastered and benefitted from adapting to interesting purchases. about 600 other artists, I made the decision online teaching, exhibitions and sales. The to brave travel again and eagerly made Portrait Society also rose to the challenge with Each day of the conference started with my way to this unforgettable experience virtual conferences and Wednesday Webinars. a large group presentation followed by a 34 www.InternationalArtist.com

Attendees were treated to a museum worthy exhibition that showcased the magnificent work from 20 artists juried into the premiere International Portrait Competition. A perfect end to the Gala Awards and Banquet presentation was the 20 finalists gathering together for a group photograph. choice of break-out sessions where faculty to show, in the demonstrations and pre- large-scale watercolor portraits. Filled with artists demonstrated and discussed their conference workshops. lessons for life as well as artmaking, this tour artistic approaches and marketing practices. de force received a standing ovation. I marveled at how all presenters could No virtual experience could have matched simultaneously convey pearls of wisdom and Mary Whyte’s powerfully stirring presentation In between events, attendees were able to deftly demonstrate techniques. Insights into on the first day as she recounted her meet artists from all over the world and share art history were mixed with storytelling and passionate and patient journey to create experiences and knowledge. Since artists are tips on design, drawing, values, color and We The People, a touring exhibition and generally private people working in isolation edges. And just as painters select what to put magnificent art book. Accompanied by a live and to deadlines, this is a rare opportunity in and leave out of a composition, attendees musical trio and huge colorful images, we to meet and chat and learn from each other. were able to focus on what mattered most to were moved to learn the stories of 50 American An attendee who had been several times them, rather than only what cameras chose veterans from all walks, who Whyte got to before commented that this gathering was know over seven years as she painted their even more meaningful as learning of others’ The Portrait Society of America 35

THE ART OF THE PORTRAIT 1 23 45 6 78 1. Louis Carr offered instruction on capturing the identity of a person that transcended the facial features during one of four pre-conference workshops offered on Thursday. 2. Attendees were offered valuable information from the panel discussion on presenting your work in the digital age. 3. Seth Haverkamp discussed the fundamental principles of a strong portrait during his lively demonstration. 4. Mary Whyte captivated attendees with an illustrative look at her 50 large-scale watercolors and her seven-year journey to capture and depict our country’s veterans. 5. Victoria Wyeth shared an intimate glimpse into the private life of her grandfather, Andrew Wyeth. 6. Michael Shane Neal and Michelle Dunaway offered concurrent demonstrations while emphasizing the importance of edges in a successful portrait. 7. Mary Qian and Jeff Hein focused on the importance of color harmony in their dual demonstration. 8. Ron Hicks, along with Greg Mortenson and Elizabeth Zanzinger, offered one-on-one instruction during the popular Friday afternoon drawing workshop. struggles during the pandemic made her and willing to share? Many of “the greats” time and artworks to benefit the society. own journey easier. One young first-timer spoke fondly of their mentors and are so Comradery and shared passion transcend couldn’t get over the contrast between appreciative of what they had been given, they all abilities, achievements and ages—and this welcoming, encouraging, uplifting, feel compelled to pass it on. Gratitude turns excellence is aspired to in everything unpretentious environment and the ferocious into generosity of spirit and the greater the produced. The nature of this organization is internet world of social media celebrities and openness, the greater the gift of expression. something very special. keyboard warriors. Generosity knew no bounds as members, faculty and live models gave freely of their In addition to demonstrations and So why is everyone so openly supportive programs, being able to see the collection 36 www.InternationalArtist.com

of original work in the International Portrait There was standing competition was truly exhilarating. The room only in the Grand excitement built throughout the weekend as we all gathered on Saturday evening to hear Ballroom for Robert the announcement of the Draper Grand Prize Liberace and Adrienne and other placements. Stein’s demonstration on Attendees could also actively participate Saturday afternoon. in drawing breakout sessions and have their own work critiqued. I was fortunate to have An emotional tribute to the Luana Winner and Mark Pugh give me honest late Edward Jonas ended constructive feedback on a painting I wish with a standing ovation to improve. When it came to bidding in the acknowledging the many 6x9 Mystery Art Sale, I chose a painting that artists whose life had been demonstrated some of the techniques I now impacted by him. want to include in my work. Well, I won the painting, and to my surprise it was painted by All photos by Robin Winner! Harry’s Eyes has traveled home with Damore, Thomas Caleb me to Australia, a meaningful memento. Goggans and Peggy Kinstler. I came to The Art of the Portrait conference expecting to learn “how to” and “with what” but instead experienced a paradigm shift in my thinking and left with an understanding of “why.” I now understand why I paint portraits, why edges and light are so important and why simplification is essential. I want to convey ideas and emotions rather than simply copy reality. I plan to paint what I can’t put into words, and I won’t let fear or frustration stop me. As a passionate lifelong learner, I have been given permission to stay young at heart forever. This conference has the potential to change lives, foster mentorships and build friendships and insights. Many thanks to the Portrait Society board and staff, faculty and volunteers who make this possible! Janelle Hatherly took up painting two decades ago after a professional life in science education and interpretation in museums and botanic gardens. She is the Portrait Society’s Ambassador for Australia/New Zealand and a committee member of the Cecilia Beaux Literature Committee. Her achievements include painting the 12 principals of a university residential college and being selected as a finalist in ten Australia-wide exhibitions. The Portrait Society of America 37

THE ART OF THE PORTRAIT 24th annual International Portrait Competition William F. Draper Grand Prize Winner and First Place Painting People’s Choice Winner Sponsored by: American Art Collector, APF Munn Master Frame Makers, Sponsored by: American Art Collector, Golden Artist Colors’ Artwork Archive, Golden Artist Colors’ Williamsburg Handmade Oils and Williamsburg Handmade Oils, Portrait Society of America and Silver Portrait Society of America. Brush Limited. Mark Pugh Eagle Mountain, UT, USA Luis Alvarez-Roure Hasbrouck Heights, NJ, USA Girl in a Red Coat in Early Spring, oil, ink, graphite, 20 x 16\" (50 x 40 cm) Masquerade, oil on linen, 46 x 40\" (116 x 101 cm) 38 www.InternationalArtist.com

First Place Drawing First Place Sculpture Sponsored by: Golden Artist Colors’ Williamsburg Handmade Sponsored by: Airfloat Systems, APF Munn Master Frame Makers, Oils, International Artist Magazine, Portrait Society of America and Artefex, Artwork Archive, Golden Artist Colors’ Williamsburg Handmade Silver Brush Limited. Oils, Natural Pigments, PanPastel Colors, Portrait Society of America, Savoir-Faire and Silver Brush Limited. Kevin Chambers, Atlanta, GA, USA Casey Childs Salem, UT, USA Spiritus Invictus, bronze, 31 x 30 x 20\" (78 x 76 x 50 cm) Hannah, charcoal, 16 x 12\" (40 x 30 cm) Third Place Sponsored by: Gamblin Artists Color, Golden Artist Colors’ Second Place Williamsburg Handmade Oils, New Wave Fine Art Products, Portrait Society of America, Rosemary & Co. and Scottsdale Artists’ School. Sponsored by: APF Munn Master Frame Makers, Golden Frances Bell Wooler, Northumberland, UK Artist Colors’ Williamsburg Handmade Oils, New Wave Flora, oil on canvas, 31½ x 27½\" (80 x 69 cm) Fine Art Products, Portrait Society of America and Revelite. Jamie Coreth London, UK Self Portrait with an Expression of a Sculpture of me by my Father, oil on linen, 48 x 24\" (121 x 60 cm) The Portrait Society of America 39

THE ART OF THE PORTRAIT Fourth Place Fifth Place Sponsored by: Artefex, Ampersand Art Supply, Golden Artist Colors’ Sponsored by: Ampersand Art Supply, Chelsea Classical Fine Art Williamsburg Handmade Oils, Natural Pigments, New Wave Fine Art Materials, Golden Artist Colors’ Williamsburg Handmade Oils, Natural Products, Portrait Society of America, Rosemary & Co., Savoir-Faire and Pigments, New Wave Fine Art Products, Portrait Society of America and Winsor & Newton. Silver Brush Limited. Scott Burdick King, NC, USA Isabella Watling London, UK From the Blood of My Ancestors, oil, 30 x 24\" (76 x 60 cm) Arianna, oil on canvas, 25.59 x 21.65\" (64 x 54 cm) 1st Honor Award Sponsored by: Artefex, Golden Artist Colors’ Williamsburg Handmade Oils, Portrait Society of America, Raymar Art, Inc. and SourceTek. Mary Sauer American Fork, UT, USA Girl in a White Doorway, oil on linen, 20 x 16\" (50 x 40 cm) 40 www.InternationalArtist.com

2nd Honor Award Awards of Exeptional Merit Sponsored by: Golden Artist Colors’ Williamsburg Handmade Oils, Daud Akhriev, Rossville, GA, USA HK Holbein Artist Materials, New Wave Fine Art Products, Portrait Society of America, Rosemary & Co. and Silver Brush Limited. Portrait of Melissa at Work, oil on linen, 39 x 39\" (99 x 99 cm) Sponsored by: Gamblin Artists Colors, Golden Artist Colors’ Williamsburg Handmade Oils, Amy Werntz Dallas, TX, USA Portrait Society of America and Royal Talens. Cafe, oil, 16 x 12\" (40 x 30 cm) Jing An, Beijing, China A Man of Great Erudition, oil on linen, 47 x 36\" (119 x 91 cm) Sponsored by: Golden Artist Colors’ Williamsburg Handmade Oils, M. Graham & Co., Masterworks Frames, Portrait Society of America and Silver Brush Limited. Barbara Hack, Flower Mound, TX, USA Brandon, charcoal, 11 x 15\" (27 x 38 cm) Sponsored by: Golden Artist Colors’ Williamsburg Handmade Oils, Masterworks Frames, Portrait Society of America, RGH Artists’ Oil Paints, Inc. and Silver Brush Limited. Fengshi Jin, Flushing, NY, USA Friends series~6, oil, 20 x 16\" (50 x 40 cm) Sponsored by: Blue Ridge Oil Colors, EdgeProGear, Golden Artist Colors’ Williamsburg Handmade Oils and Portrait Society of America. Bing Lv, Shandong, China Her, watercolor, 19.68 x 13.38\" (49 x 33 cm) Sponsored by: Blick Art Materials, Golden Artist Colors’ Williamsburg Handmade Oils, Masterworks Frames, Portrait Society of America and Silver Brush Limited. Libing Mu, Jersey City, NJ, USA Time Goes By, oil, 19.68 x 19.68\" (49 x 49 cm) Sponsored by: Golden Artist Colors’ Williamsburg Handmade Oils, Portrait Society of America and Silver Brush Limited Karen Offutt, Austin, TX, USA Connection, oil on board, 30 x 20\" (76 x 50 cm) Sponsored by: Golden Artist Colors’ Williamsburg Handmade Oils, Masterworks Frames, Portrait Society of America, Savoir-Faire and Silver Brush Limited Stephen Perkins, Rochester, FL, USA Louisa, plaster, life size Sponsored by: East Oaks Studio, Golden Artist Colors’ Williamsburg Handmade Oils, Michael Harding Handmade Artists Oil Colours and Portrait Society of America Timothy Rees, Maquoketa, IA, USA Unfiltered, oil on linen panel, 48 x 24\" (121 x 60 cm) Sponsored by: Golden Artist Colors’ Williamsburg Handmade Oils, Michael Harding Handmade Artists Oil Colours, Portrait Society of America and Savoir-Faire Elizabeth Zanzinger, Oakland, CA, USA Portrait of Titania, oil on ACM panel, 24 x 24\" (60 x 60 cm) Sponsored by: Blick Art Materials, East Oaks Studio, Golden Artist Colors’ Williamsburg Handmade Oils and Portrait Society of America SPONSORS Platinum East Oaks Studio Silver Bronze American Art Collector Gamblin Artists Colors Ampersand Art Supply Airfloat Systems The 24th annual International APF Munn Master Golden Artist Colors’ Blue Ridge Oil Colors Chelsea Classical Studio Portrait Competition was EdgeProGear made possible by the generous Frame Makers Williamsburg Handmade Oils Masterworks Frames Fine Art Materials contributions of a variety International Artist Magazine Michael Harding Handmade PanPastel Colors HK Holbein Artist Materials of organizations that join Silver Brush Limited Revelite M. Graham & Co. us in supporting the arts Artists Oil Colours SourceTek New Wave Fine Art Products through our educational Gold Natural Pigments Scottsdale Artists’ School Raymar Art, Inc. mission. Our sincerest thanks Artefex Portraits, Inc. RGH Artists’ Oil Paints, Inc. to the following sponsors. Artwork Archive Rosemary & Co. Winsor & Newton Blick Art Materials Royal Talens Savoir-Faire The Portrait Society of America 41

THE ART OF THE PORTRAIT Violet Bohemian ByAdrienneStein Recently, I’ve enjoyed creating a series of paintings using black-and-white vintage photos as reference and inventing the color from imagination. I was going through a chapter of feeling stuck and “blocked” as an artist. Working with these images freed me up, giving me a more carefree attitude without a personal attachment to the subject like I do when painting someone close to me like a family member, friend or portrait client. These former eras of film, ballet and theater have a classic aesthetic that I love. I use the initial emotional impact I get from the photo, and I use that to guide the palette. I love working from vintage photographs for that reason—it exercises the interpretive muscle! REFERENCE PHOTO My reference here was a black-and-white photo of the dancer Margaret Morris, circa 1910. My intuition guided me to this Easter egg-inspired palette. I use a very extensive chromatic palette, but some key colors in this painting are: lead tin yellow light by Michael Harding, and Sennelier paints in Chinese orange, baryte green, permanent green, cobalt violet and king’s blue. Reference photo STAGE 1: I work from general to specific, creating a rough block-in using titanium white and Michael Harding’s transparent red oxide. I don’t spend much time on a detailed or accurate drawing. I just mass in the general shadow shapes and light shapes, correcting drawing and proportions as I go. I mix Windsor & Newton’s Liquin into my paint for this stage to speed the dry time so I can start adding color on top without a long wait. STAGE 2: Using a palette knife, I aggressively apply bold colors to build up texture and establish the palette and overall color harmony of the painting. This helps to start the painting confidently and establish its direction. I am not jumping to my lightest lights or darkest darks yet but mostly establishing the mid-tone. STAGE 3: I begin building the lights on top of the mid- tone and glazing the darks on. By glazing, I mean using 1 2 a small amount of linseed oil with my paint to create a 42 www.InternationalArtist.com

3 4 56 Margaret Morris, Violet Bohemian, oil on mounted linen, 20 x 16\" (50 x 40 cm) transparent paint layer. I do all of this after the STAGE 5: Adding lights and darks to petals, I lighten. When I feel the spirit of the subject previous layer is dry. begin to call forth the flowers, adding depth shining through, the painting is finished. and dimension by gradually building shadow STAGE 4: Like a tile mosaic, I gradually add and light. Adrienne Stein is an award-winning American more and more “tiles” of specific tones and artist living and working in Pennsylvania colors to turn the form and build volume. This STAGE 6: The final touches involve softening and Colorado. She holds an MFA from Boston takes away the harshness of the stark value some edges and leaving other edges hard. I University and a BFA Magna Cum Laude from contrast and begins to soften the portrait and also check to see that the colors harmonize and Laguna College of Art and Design. Stein studied give it a more human look. if there are any areas that need to blend glazed under many gifted and influential instructors “down” to darken or scumbled with light to throughout the United States, France and Italy. The Portrait Society of America 43

Rainy Daydream, oil, 12 x 24\" (30 x 60 cm) ThMe use F or centuries artists have been inspired by models, and the Figurative artist Craig Pursley discusses same person can appear in his experience working with the same model many of their artworks. Andrew for six years, in which he produced Wyeth had Helga. Diego Rivera had over 100 paintings Frida Kahlo, to name just a few. It isn’t always beauty that inspires an artist but an indefinable “something” that draws an artist to want to paint the same person repeatedly. I found a combination of that “something” as well as beauty in 2016. And in the six years since then, I have done more than 100 paintings of her. When my wife, Julie, and I attended a play that year, we met a lovely young lady working at a playhouse theater. I was immediately struck by her big smile and upbeat attitude. I thought she would be perfect for a series I had just started working on called Retro Cowgirls. I gave her a card and told her I hoped she would consider modeling for me. Before we got home, I had an email 44 www.InternationalArtist.com

Blue Kimono, oil, 18 x 14\" (45 x 35 cm) The Aviatrix, oil, 30 x 20\" (76 x 50 cm) from Hannah Collman stating that The majority of my models cannot one of only two models to ever do this. she would be happy to give it a try, correctly assume this pose when asked, And so, she became an excellent and though she had no experience. At that even if they do it naturally beforehand. welcome collaborator. first photo session, I learned that she had been an art and a theater major The greatest realization for me came Generally I worked from photos at Dartmouth College. This, I came a few sessions later when she was in I would take, but at one point, I hosted to believe, led to her being such an a seated pose. I asked her to put her a group to paint from a live model. excellent model. As an art major, she hand on the back of the chair, and as it Hannah agreed to be the model and understood what I was looking for and went there, she held it in a delicate and impressed us all by not only locking no doubt had taken figure drawing graceful manner that I had been trying into and holding a pose easily, but also classes to become aware of poses. As to get models to assume for a long perfectly resuming that pose after each a theater major she likely had lost the time. It hadn’t seemed that difficult, but break. She needed no coaching to move shyness of “performing” and so could none were able to do it correctly. And slightly this way or that. Modeling live relax and feel comfortable. Most of my if I tried to gently place their fingers is much more difficult than the constant models were new to the work and often in this pose, it felt like manipulating shifting for a camera, but it was no were tense—and their poses showed it. a hand in rigor mortis. Hannah did it challenge for her. without even being asked and as she I asked Hannah to pose with most of did, I was so happy that the hair on my Each time I had an idea for a her weight on one leg, and she not only arms stood up. Finally, someone got painting, Hannah was the first to come got it immediately, but also knew the it! It wasn’t long before Hannah felt to mind as I knew she could do it better pose was called “contrapposto” an Italian comfortable enough to offer suggestions than anyone else with whom I was term meaning counterpoise where one for poses, and often they were better acquainted. Whatever persona I asked hip and often the shoulders are off axis. than what I had considered. She was her to assume for these paintings, she was able to fully get into it, whether 45

The Girl from the Theater, oil, 10 x 8\" (25 x 20 cm) 46 www.InternationalArtist.com

The Secret Life of Swans, oil, 15 x 24\" (38 x 60 cm) it was retro cowgirl, circus ring leader, her at the theater. her, as she was so good at getting just the aviatrix, girl next door, pinup girl, siren, She was also the perfect choice when right turn of the head or the slight lifting Goddess of Time, Hollywood glamour of an eyebrow. Sometimes a shy look, girl or femme fatale. At one point, I I needed a model to paint for a project other times proud, sometimes innocent found a gold floor-length dress that I had in mind for the nose of a B-17 or dangerous, but always interesting. looked straight out of a film noir movie bomber being restored in California. from the ’40s. When she stepped out When I mentioned it to her, she was all In total, we had 14 photo sessions of the dressing room, she was every in and even practiced doing hairstyles before she and her husband moved to bit as glamorous as Ava Gardner or a couple nights before the photoshoot Oregon, but thankfully, those shoots Veronica Lake. She was a star! I don’t so she could get it right. No one else netted perhaps as many as 14,000 know if this, like other outfits, made her had ever shown such dedication when photos from which I could continue automatically “assume” the role. But she modeling before. And, like every other to paint for years. Many other artists always had a knack for having the right idea I presented to her, she nailed it! have found a muse that inspires them pose, the right attitude and exactly the for years and so often, it is known or right look. And she’d been practicing I had had an early aviator’s helmet assumed that the artist and model had those hair and makeup styles again. for years and found a great jacket for an affair. Our relationship, however, her to wear with it. The shoulder patch was always strictly a professional one, When I mentioned that I had an idea was attained and glued down. I wanted and this leads me to another point. I to paint her as a circus ringmaster in to have her hold a model plane so I am very grateful to have a loving and front of an old poster, I was surprised at searched eBay for a suitable one. Once understanding wife who “gets it”—that her excitement. It had been one of her I got it, I assembled it, painted it and I can be inspired by someone without goals to lead a children’s circus. With handed it to her. This, in her opinion, falling in love with them. this in mind, I decided to make the best represented the person she wants to poster an H. Collman Production as a be—an adventurous, strong woman—and Recently, I put together a book of all tribute to her and the date, April 26, I suspect it may be her favorite of all the of these paintings and made just two was a nod to the night we had first met paintings I have done of her. And along copies, one for Hannah and one for the way, I did a lot of head studies of myself. Since then, I have found that The Muse 47

HANNAH’S Stripes, oil, 30 x 20\" (76 x 50 cm) most of the paintings that have garnered PERSPECTIVE some kind of national attention) are there is enough interest that I have made paintings of her. I asked Hannah to give her perspective on Painting Hannah available through our efforts together for the book. This is Blurb, the company who printed it. Hannah was easily the best model some of what she wrote: I have ever used and together with her From the first photo session, I have constantly cheerful attitude and knack Craig Pursley and I met at a fortuitous always been grateful to Hannah and for collaboration, it is unlikely that crossroads. all her contributions. As I told her, I will ever find another like her. Almost artists thrive on inspiration. It is like certainly I will never paint one person I was working at a small theater high-octane fuel. I know that what she 100 times again. And the paintings in Vermont. While I spent my days brought to these sessions made my ideas done of Hannah will not stop there. welcoming patrons to wonderful shows, and paintings better. Of the paintings I was missing a certain element of I consider my best since 2016 (and creativity and drama in my own life. Craig and his wife, Julie, came early to see an art exhibit before a show. When I looked up from behind my desk, Julie had the biggest smile and Craig looked like a cowboy pulled straight from a wild west film! I was immediately intrigued. After some chatting, Craig gave me his card, asking me to check out his work online and let him know if I was interested in collaborating as a model for his paintings. He even provided references I could contact for an honest review of prior models’ experiences. I mulled over the idea. Should I stay comfortably behind a desk behind the scenes or try out being the actress in my own story through the world of modeling? I’m so glad I picked up that card! Every time I crossed over the covered bridge near his home and studio in New Hampshire it was like going back in time and stepping into other worlds. The costumes, props, settings, music and stories that Craig provided for each shoot were always filled with a rich context that enabled me to slip completely into character. Over the years working with Craig, I’ve always felt safe and in control. Though I’ve branched out in modeling since then, I’ve never had a collaboration so firmly rooted in mutual consent and creative partnership. It’s rare to find an artist so talented who still puts the person before the art. It makes the experience of creation just as meaningful as the final piece. 48 www.InternationalArtist.com