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STAGE 5 FINISHED ARTWORK Boats of Italy, watercolor, 21½ x 29½\" (55 x 75 cm) I always come to my focal point at the end. Your focal point is the area with the highest value contrast. I have given more depth by adding shadows, which adds the volume in the painting. ABOUT THE ARTIST Amit Kapoor is a leading master of watercolor paper. In addition, he is the curator and organizer in India. He has been recognized with top of the International Watercolor Society India international honors and awards for his paintings, Biennale, among numerous other accolades. and his art is on the walls of many private and Kapoor has received a Silver Star Award from the corporate collectors. His art captures the very soul National Watercolor Society, USA, and was invited of his subjects with passion, with the play of light, to conduct a live demonstration by the United shadow and perspective as defining elements in Kingdom’s leading art hub, SAA. his work. Contact at Kapoor is the founder of the Watercolour Society of India, vice president of International www.amitkapoorwatercolor.com Watercolor Society Global and president of International Watercolor Society India. He is Find me on also a brand ambassador of Mijello Mission Gold Water Colors, Escoda brushes and LanaAquarelle /amit.kapoor.904750 @amitkapoor_watercolors Watercolor Demonstration 99

WATER- AUSTRALIA COLOR WORKSHOP John Lovett A Change of Pace Instead of using paper and glass as a painting support, John Lovett outlines how to construct a rigid primed board Pellestrina, mixed media on rigid board Achange of painting support can often inspire fresh new ways of painting in watercolor (or other mediums). I decided to use a rigid plywood panel, rather than paper or glass, for a large mixed media work. A rigid panel means there is no size restriction, glass is not required, and the work can be left unframed or framed with a simple box molding. This article outlines the process of constructing such a panel. STEP 1 The first step is to purchase materials. I chose a thin plywood sheet with a smooth hoop pine surface on one side. I had the timber merchant cut the large sheet into two smaller sheets. I also purchased enough 18-by-40 mm dressed and primed pine to go around the panels. Other materials required: » Wood glue (Polyurethane or PVA both work well) » Bullet head nails 30 x 1.6 mm » Drill bit, the same or slightly smaller than the nails » Gesso 100 www.InternationalArtist.com

STEP 2 The ply sheet was carefully measured and the pine surround was miter cut 2 mm shorter each side to allow a slight overhang of the ply sheet. If you don’t have access to a drop saw, a miter box and small tenon saw will do the same job with care and patience. STEP 3 The long sides of the perimeter were drilled with holes the same diameter as the long thin nails used for assembly. My painting will be hung horizontally, so the nail holes will be in the top and bottom (not that they should be visible). If you will be hanging your painting vertically, drill the short sides. STEP 4 Glue was applied to the miter cuts, which were brought together, checked for square then clamped and carefully nailed. STEP 5 After the glue dried the nail heads were punched just below the surface. Watercolor Workshop 101

STEP 6 The assembled perimeter was checked against the ply sheet, then glue was applied all around the perimeter. Make sure you glue the perimeter to the back side of the ply sheet, not the face side. Buying ply with just one face side is more economical than two face sides. STEP 7 The perimeter was carefully positioned on the ply sheet to allow for a small overhang along each side. Clamps were then used to secure everything as the glue dried. If you don’t have clamps, the studio floor and a few bricks will do a similar job. 102 www.InternationalArtist.com

STEP 8 After the glue has thoroughly dried the clamps can be removed and the overhang sanded back. The punched nail holes can be filled and sanded smooth. STEP 9 The final job is to apply several coats of gesso to the ply surface and outer perimeter. If you want a smooth surface to paint on, thin the gesso slightly with water and sand lightly between coats. For this painting I wanted a rough textured surface, so I scrubbed the gesso on roughly and unevenly, working the brushstrokes in all directions. If you want to use watercolor, apply a few coats of watercolor grounds (or watercolor gesso). Allow each coat to dry for a day before applying the next coat, then leave the panel for a few days before you start your painting. STEP 10 Once your painting is finished, several coats of clear varnish will protect it without the need for glass. You can use a gloss or matt spray varnish (available in a pressure pack) or an acrylic varnish, which can be sprayed or brushed on. If you are unsure about the process, try making a small panel first. Making a change from your regular painting surface is a great way to break old habits and discover new techniques. These rigid panels also allow you to work on a much larger scale. Contact at www.johnlovett.com Watercolor Workshop 103

PASTEL GERMANY DEMONSTRATION Dolores Saul More than Blue From turquoise to green to brilliant blue, Dolores Saul demonstrates how to accurately paint the color and movement of the ocean Painting a realistic seascape isn’t easy. Tumble and roll, pastel, 15½ x 19½\" (40 x 50 cm) There are many aspects to think of before it will turn into a spectacular and Many of my recent finished works are from our favorite beaches on the north shore of Maui, Hawaii. They fresh painting. Of course, I’ve observed show the fantastic turquoise colors of the Pacific in this area, which are unbelievable when it’s your first many waves and have spent a lot of time time on these beaches. I remember on my first day of summer 2014, I stood there looking at the water on my favorite beaches in Denmark speechless, and my husband said, “I see a lot of new, beautiful paintings in your eyes.” or in the United States to get a feeling for the right look. Mostly, I paint movement of the wave, I must add paper and fell in love with the UART seascapes by reference photo because many thin layers in different colors. In sanded pastel paper. The sharp-edged the circumstances like the current, the the following article, I will show you grain is consistently applied on the wind direction or the light change every how to do it, and why it is necessary. paper or board, and it is available in second during a live painting, so that I Using a high-quality pastel paper is seven different grades and two colors. would never get it right on paper. The very important to achieve the best It’s acid free, ph-neutral, allows wet photo will remind me exactly of that results. I’ve tested many kinds of pastel underpainting, and you don’t need a specific, fascinating moment with gray sky and rough sea, or a bright hot day on the beach. I’ve searched through the photo folders on my computer looking for a special wave and an interesting foreground. For this demonstration, I found this picture taken on vacation on Maui, Hawaii, in 2018. The spectacular turquoise colors and the rough ground where the water flows over the sharp edges of the lava in a horizontal slope was an interesting composition. The breeze came from the side and the current let the waves roll laterally. It was late morning and a wonderful day with only a few people on the beach. What’s more beautiful than sitting on the beach, letting the waves take our thoughts away, tumble and roll them, wash them, and bring them back to us, all washed and fresh? As I would like to recreate the 104 www.InternationalArtist.com

Refreshing, pastel, 12 x 15½\" (30 x 40 cm) This February I won the Best of Show 2022 award in the Left Coast Pastel Painters Society show Pastels in Paradise. Refreshing is a real eye catcher, and the judge couldn’t take his eyes off this pastel. I’m very honored and happy! fixative, which would otherwise darken your colors. This surface allows me to apply up to 25 different thin layers, and thus create the necessary depth of the painting. If you use a different kind of pastel paper, be sure it’s suitable for applying a wet underpainting. I usually use gloves while painting to protect my skin when I’m blending the pastel strokes, but that’s not necessary in this painting. Now that all preparation has been done, let’s start painting! Again and again, pastel, 9 x 12\" (22 x 30 cm) I’ve painted in plein air “again and again” during our holidays on Denmark’s Baltic Sea coast. The waves are not spectacular there, but the nice green colors fascinated me. And when I was looking at the reference, I saw some shiny violet parts there too. These parts of the waves make them glassy. So, many thin layers are necessary for me, for volume, transparency and movement. Pastel Demonstration 105

My Art in the Making Hawaiían Memories Reference Photo STAGE 1 SKETCH WITH LIGHT GRAY PASTEL First, I cut the paper into a sheet at 40 by 50 centimeters (which is a standard size in Europe) with scissors, and use the rest of the paper for color tests. I tape the sheet to my painting board with artist tape and start sketching with a light gray pastel pencil afterwards. The composition was set by nature! WHAT THE ARTIST USED Faber Castell Polychromos » Sky blue Additional Supplies » Small (Hard Pastels) » Olive green plate » Small crumbs of self-made » Helio turquoise Terry Ludwig (Soft Pastels) soft pastels from an artist » Old toothbrush » Permanent green » Turquoise set: T060, T300, T180, friend » Gloves » Light gray » Cobalt blue T330 » UART sanded pastel paper » Violet » Best Loved Basics: neutrals grade 400, beige, 30 x » Indigo blue 40 cm » Blue violet Unison (Soft Pastels) » 0B12, 0B6; BG3, BG11, DG6; » Board (to tape pastel paper Conté (Hard Pastels) on) green 34; A1, light 13, BV 1 » White » Isopropyl alcohol, 70% » Light green Sennelier (Soft Pastels) » Flat, synthetic brush, 2 cm wide » Prussian blue » 740, 501, 466, 188, 724, 734, 965 » Foam brush » Emerald green » Artist’s tape Gordan Becin (Soft Pastels) » Paper towels » Neutral warm green/brown 106 www.InternationalArtist.com

STAGE 2 UNDERPAINTING WITH HARD PASTELS I choose no more than six colors of the hard pastels at once, and I always pull the sticks over the paper with their long sides in a horizontal movement, using light pressure. My reference picture shows that only the main wave has got a curvy direction. Next, I dip a simple synthetic brush into a glass filled with a small amount of isopropyl alcohol and stroke over the colors with quick movements. STAGE 3 WET UNDERPAINTING WITH ALCOHOL Continued As soon as the underpainting has dried, I renew the taping that holds my paper to the board because the alcohol has dissolved the glue and the paper will come off if I just continue painting. Sometimes, I use clamps to keep the paper in place as well. Pastel Demonstration 107

STAGE 4 BACKGROUND LAYERS I start with the background of the painting where the water is deeper, more of a warm green and dark blue color, making horizontal strokes with the hard pastels. The throes of the waves I paint with strokes in lighter blue and blue violet. The back of the waves is darker than the front where the morning light is falling on. Always keep the daytime, the weather, the light and the wind in mind while painting! Then, I add some sparkles and a foam mist to create the direction of the moving wave, using midtones in blue and blue gray. Some tones of white show the sunlight being reflected in the water drops. STAGE 5 BUILDING THE MIDDLEGROUND For the main wave, I use different turquoise soft pastels and midtone blues to create the beautiful color of the Pacific Ocean surrounding the Hawaiian Islands. Don’t forget the dark shadow under the wave where it’s curling! The backside of the wave is darker than the curling water because there the light is falling on it and shining through. 108 www.InternationalArtist.com

STAGE 6 DETAILING THE FOAM Whenever there is too much pastel dust on my painting, I lift the board up, knock on its back and let the loose pastel dust fall on a slightly wet paper towel, which I then throw in the trash. To protect your lungs, be sure never to blow the dust away. Next, I create the foam of the wave with soft strokes of light blue, light violet and warm white strokes. The different colors make the foam look three-dimensional, so you should never use white only. STAGE 7 NEUTRALS AND VIOLETS Using neutrals and some violets, I create the wet sand in the foreground. Dark blue and black perfectly show the areas where the lava is covered in water. Pastel Demonstration 109

STAGE 8 FOREGROUND I add some warm greens, too, showing the algae underwater, as well as the very slippery ones on the lava. Some horizontal slopes show the moving foam on the water surface. STAGE 9 SPLASH AND FOAM WITH TOOTHBRUSH When I’m happy with the overall painting, it’s time to add splashes and fine drops in the air. There is a simple trick to create them. I just use an old toothbrush, a warm white, a light violet and a light blue soft pastel. Then, I fill one teaspoon of isopropyl alcohol onto a flat small plate and wet the toothbrush in it. Then, I stroke the wet brush over the pastel stick. As soon as there’s a little paste on the brush it’s time to splash it on the painting with the forefinger. Be careful when striking the toothbrush, maybe even try out on another paper first how strong your strokes have to be, in what direction you have to do them and how far the splashes should go to achieve the effect you want. Be aware that if the paste is too thin, the splashing will produce big unreal drops on your painting! 110 www.InternationalArtist.com

STAGE 10 FINISHED ARTWORK Hawaiían Memories, pastel, 15½ x 19½\" (40 x 50 cm) When you’re satisfied with the result, let the painting dry. Now, Hawaiían Memories is finished and can be framed under glass. ABOUT THE ARTIST Dolores Saul is a contemporary German award- bark piece in Wiesbaden, Germany. winning pastel artist. She was born in Frankfurt, Saul sometimes works as a freelance illustrator Germany, in 1959. She has a daughter and lives in a small village in the Taunus region near Frankfurt for children’s books and poetry volumes. She also with her husband. In 2003, Saul began studying teaches beginners in pastel art. She gives pastel and experimenting as an artist, and during a painting demonstrations in Germany and abroad workshop with a well known German pastel during art fairs and at art supply stores. Saul is on artist in Northern Germany, she first properly the board of the Arthouse Hochtaunus e.V. She is understood how to use balanced tonal values. also a member of the Pastel Society of America After that, she began painting exclusively in and a member of the Pastel Guild of Europe PGE, pastel, gaining knowledge and insights from other where she became a Signature Member in August master pastellists. Then, in 2009, she exhibited 2017. This February, she was awarded Best of her pastels for the first time. Since then, Saul has Show in the Pastels in Paradise exhibition hosted participated in numerous group exhibitions and by the Left Coast Pastel Painters Society for her has had several solo shows. Her paintings have piece Refreshing. sold in Europe and in the United States, and in 2012, she won a Creative Award for a pastel on Contact at www.dolores-saul.de Pastel Demonstration 111

PASTEL UNITED STATES MASTER PAINTERS OF THE WORLD Mike Wurman Noticing the beauty In the beginning, my love of black and white photography motivated my use of graphite pencils. I’ve always wanted to introduce color to my work but never encountered the catalyst that would propel me to learn a new medium. That all changed when I hiked the Appalachian Trail from Georgia to Maine. Some aspects of the trail are difficult to convey, such as the early morning rays of sunlight streaming through the trees, without the vivid colors of nature’s canvas. It was time to make a change as I picked up my first soft pastel. I quickly fell in love with the looseness and spontaneity of this new medium. My pencil work is very rigid and exacting, almost photorealistic. Pastels were freeing and allowed me to bring movement, life and texture to each piece. If finer detail is needed, I’ll break out the pastel pencils. Charcoal is also incredibly versatile for strengthening edges, darkening values or even as an underpainting. Without formal training, I place no restrictions on my methods. I’m all about trial and error. If something’s not working, I’ll start over or try something completely different by introducing a new medium to the mix, such as acrylic paint, ink, alcohol or whatever is available. There are no rules. My goal is to transport the viewer to the trail or out in the field, so they might experience the joy it brings. 112 www.InternationalArtist.com

Desert Rays, pastel, 16 x 30\" (40 x 76 cm) Continued Many a time, a sunset goes unseen. We’re either too busy driving or just too busy to notice God’s attempt to reward us for the passing day and to give us hope for the next. In this scene, the sky has erupted into a magnificent symphony of colors. I wanted to capture that magic in this piece. Master Painters of the World 113

The Mountain’s Good Tidings, pastel, 16 x 24\" (40 x 60 cm) What do fall leaves, green pastures as far as the eye can see, blue skies with white-capped clouds and purple mountains provide, besides happy cows? They provide the setting for the perfect painting. Throw in the setting sun peeking around the corner, and one has the making of a masterpiece. Mountains have long been a favorite painting subject because of their dramatic appearance. Given a particular time of day, night, or even season, the mountains come off as a living, breathing entity with clouds that surround and engulf them, enticing us to reveal more. Needle Falls On The French Broad, pastel, 16 x 20\" (40 x 50 cm) The adrenaline rush, the thrill, the fear of capsizing, all neatly packaged and presented in a five-second run over this class 4 waterfall. From the safety of a calm cove just feet away and against the thunderous roar of water, I had the opportunity to survey what we had just negotiated. The setting was a multitude of contrasting elements that included life and death, sun and shadow, turbulence and calm. Every aspect of this euphoric experience made an argument for a painting that showcased movement, color, texture and emotions. 114

Morning Rush Hour, pastel, 11 x 14\" (27 x 35 cm) Five to six months out of the year, a through-hikers job on the Appalachian Trail is to commute from point A to point B. Phone service is limited, so there are no distractions. No traffic is present to impede progress. There are no car horns, only the birds singing or the leaves rustling in the trees as a breeze passes. Often, the rising sun and the warmth that follows welcome you and persuade you to continue. As the saying goes, “Even a bad day on the AT is better than a good day at the office.” ABOUT THE ARTIST Soon after moving to Asheville, North Carolina, to two sketchbooks and an assortment of pencils, Find me on pursue a career as a pencil artist, Mike Wurman he left from Springer Mountain, Georgia, and developed an overwhelming uncertainty in his headed north. @asketchandaprayer abilities as an artist and individual. His passion for creating had vanished, so he packed up his pencils His journey on the trail not only strengthened and resigned from drawing. his belief in himself but also gifted him with an undying love for nature that he’s eager to share In 2014, a hike across the summit of a bald with others. Wurman continues to work in pencil, mountain called Max Patch reignited the flame to but he quickly learned it was time to branch out create as he encountered the iconic Appalachian of the black-and white-world of graphite and Trail. Immediately he was overcome with the truly convey the vivid imagery he experienced desire to draw once again. However, it wasn’t on the trail each day, so he taught himself the going to be as easy as picking up a pencil. The trail colorful medium of pastel. itself was also calling him to make the 2,200-mile pilgrimage from Georgia to Maine. Two months Contact at later, with no backpacking experience, carrying [email protected] www.asketchandaprayer.com Master Painters of the World 115

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WHERE DO YOU LIVE? WHICH READER ARE YOU? OR PRINT AND DIGITAL DIGITAL ONLY Subscribe Now and Get A Whole World of Art in your Mailbox or in your Inbox 6 times a year FOR OUR BEST DEAL ON 6 ISSUES SUBSCRIBE ONLINE AND SAVE (ALL PRICES ARE IN US DOLLARS) 1. Register your subscription. Click on the You can get 6 issues a year of the Digital subscription area and enter your details Magazine with all the same amazing content 2. Your account. as the printed version delivered to your inbox Once you have subscribed you’ll be able to revisit our wherever you live in the world. site and look up the status of your subscription. MONEY BACK GUARANTEE If during the period of your subscription you change you mind about subscribing for any reason whatsoever, simply notify us and we’ll give you an instant refund on all unmailed copies – no questions asked. For FASTER SERVICE subscribe online at www.internationalartist.com OR use the Order Form below. Simply check the box for the version/region you want. SNAIL MAIL ORDER FORM FOR ALL COUNTRIES Insert completed Order Form and Payment into an Envelope and mail to the address provided below. International Artist Magazine PO Box 2320 Scottsdale, AZ 85252 USA

ON Location Explore the studios or plein air setups of some of the world’s best artists. 4 1 23 5 AIMEE 1. A reproduction of one of Degas’ dancer 4. My vintage blue ombre pitcher made by Le ERICKSON statues. I’ve spent hours in The Met drawing Creuset. Things I love about it: the color, the these, and I love their gestures. proportions, the gradient and the usefulness. See more from the artist: www.aimeeerickson.com 2. One of a dozen white marble eggs I found 5. My unbreakable blue cup with a mid- at a garage sale. They look just like eggs. century aesthetic, probably because it was Good for still life and excellent to hold in manufactured sometime during the 1960s. your hand. 6. Backlighting. Not an object, but the lighting 3. A note from a friend. It’s barely visible, but in the photo. It simplifies things and makes a there is a piece of paper between the footed little mystery. bowl and the blue pitcher, dated “2-7-99.” 119

OIL NEW ZEALAND WORKSHOP Richard Robinson In every issue of International Artist we feature a Painting Workshop from Richard Robinson, one of New Zealand’s best artists. Turn an Average Photo Into a Great Painting I know what it’s like to flick through is a little extra thinking and planning. your photos looking for inspiration The main ingredient is the light. I’ve but never finding something that sparks begun to use an iPad to digitally design you. It’s a frustrating waste of time! You my paintings in a painting app called can spend hours online looking for the Procreate. Once you get the hang of perfect shot too, but the reality is, with it, it’s a hugely efficient way to create a little knowledge of light and form, the plan for a studio painting, getting you can actually turn a pretty average most of the problems solved before you photo into a great painting. All it takes uncap your paints. Reference Photo: Smugglers Bay, New Zealand. Smugglers Bay iPad sketch. Richard Robinson Smugglers Bay, oil on canvas, 12 x 12\" (30 x 30 cm) 120 www.InternationalArtist.com

12 34 STUDENT CRITIQUES 1 Elena Sokolova 3 Barbara Magor Smugglers Bay Rock at the sea, oil on canvas, 12 x 12\" (30 x 30 cm) Nice one, Barabara. You really cut loose with that palette knife, eh!? Great to see all that interesting texture. I do feel that it spoils the smooth Good work Elena–nothing to improve upon there. reflective surface of the wet sand and that if you made that smooth there would be a beautiful contrast between the rough and the smooth. 2 Anne-Dore Leisering Smugglers Bay 4 Evelyn Tuhi-Herewini Smugglers Bay, acrylic Thanks Anne-Dore, nice work. Great color and good variety of hard and soft edges. Just two suggestions for you. The first is possibly a problem Good job Evelyn. Good color and drawing. It’s tricky getting those soft of the camera angle that you took the photo of your painting on. The edges with acrylic. Knowing that going in, it pays to plan those blends lines of white foam in front of the rock need to be sloped very slightly ahead of time, particularly in the wet reflective sand. It means pre- down to the right. Currently they are horizontal, giving the impression mixing larger piles of paint so that you can paint it all really quickly, that the whole ocean is tilting a little to the left. Secondly the seagull, avoiding hard edges. although nicely done, is about three times too small for its position in the foreground. Easy to get that wrong. Oil Workshop 121

56 78 STUDENT CRITIQUES 5 Claudia Morgan Smugglers Bay, acrylic 7 Karen Woodhouse Ooh that’s some beautiful crisp brushwork there in the rocks! Nice. Smugglers Bay, acrylic on canvas, 10 x 10\" (25 x 25 cm) Great color variations there too–it’s all too easy to keep it all the same color in the darks or the lights, but you’ve conquered that particular Really nicely done, Karen. Love the way you’ve rounded some of the pitfall well. A little softer blending in the rock’s reflection would stop rocks going from light to dark, contrasted with other edges that that from jumping out at us and a touch more continuation of the blue you’ve made sharp. The waves and the beach look great too. Just hill and and green sky background haven’t quite achieved the hazy light effect from the top left, simply because you didn’t add enough white and orange into those mixtures behind the tree trunk would help make more sense of that top left there so they turned out a little too dark to convey light. You could corner. Otherwise, all good. glaze that in now that it’s dry if you wanted to. Check out my video on glazing with acrylics: www.mypaintingclub.com/blog/post/109- 6 Jim Neilson Smuggler’s Bay glazing-with-acrylics. Great color and bold brushwork on a large canvas Jim. Nicely done! 8 Jose Felix Smugglers Bay In your next painting I challenge you to avoid blending out your brushwork so much. It’s mostly noticeable here in the rocks because Some really nice work in here, Jose. Particularly nice colors with a warm they have an obvious blocky structure that needs to be painted as such. feel to the whole thing. The main rock and the waves look great. The Looks great on the wall! section that the tree grows upon could be a little darker. Beautiful sky with billowing clouds. Great stuff! 122 www.InternationalArtist.com

STUDENT CRITIQUES 9 Eric Hillmer 9 11 10 Smugglers Bay, acrylic Great to see the big improvement from the initial digital sketch to this painting, Eric. I’m seeing strong rocky forms, bold brushwork and attention to detail here. I’d like to see some more variety in the color families in the darks, not in value, but in hue. For instance in the darks in the rocks you could have introduced some cooler grays the same value (darkness) as the other darks. Then you could have added darker accents in the cracks and fissures. Also, the reflection of the sky in the wet sand should be lighter the closer it gets to the rock. 10 Nancy Newton Smugglers Bay Hi Nancy, nice work. Good color, drawing and brushwork. Tree looks a little odd stuck onto a rock of lighter value; the rock there should be the same value as the trunk. Also be mindful of those little white spots of canvas showing through. Looks like it might be the result of a canvas that’s a little too absorbent. A coat of gesso should fix that for the next painting, or simply be more aware of it and use more paint. 11 Scott Dyer painting in oil, 12 x 12\" (30 x 30 cm) Hi Scott, strong painting! For some reason this strongly reminds me of Goya’s “The Third of May 1808”. I guess it’s a combination of your brushwork, the spotlight effect and the colors and the powerful angles. Very nice. I’d just like to see a few dark accents in the rocks on the left and a few bits of flotsam on the beach for more interest. “Thanks to everyone who was part ABOUT YOUR TUTOR of the monthly workshop!” Richard Robinson is one of New Zealand’s premier outdoor painters. You can view his extensive online lessons at www.mypaintingclub.com. Get the full video lesson here: www.mypaintingclub.com/lessons/224-smugglers-bay Oil Workshop 123

IMPORTANT PRINCIPLES OF ART Harley Brown’s fascinating things no one else will tell you PURE NEED With each of us, it’s not that we want to be an artist, it’s that we need to be an artist. Putting it this way, we don’t want to breathe—we need to breathe. In the same way, “hope” is not a strategy, “getting into a studio and making art happen” is a strategy. I look back and know it wasn’t that I made the “right” choice; it was the only choice. I’ve been very much me, Harley Brown, all my life. At first, I was somewhat insecure because I was entering a very complex world. But with the help of wonderful family and friends, mentors and a number of fortunate happenings, I got what my heart and soul were after. Even near broke, I was giddy with joy that each and every day, I was an artist. That’s what life is about. Whose Opinion Matters? A DAY IN THE LIFE How is it possible that many people allow tastemakers to tell them what Visual gifts are handed to artists throughout the day. A woman’s face, to me, is the ultimate visual. This is worthy and what is not? This has lady with her headscarf has given me spirited moments. Her eyes, mysteriously hidden in shadow but very gone on for eons in different forms. I expressive. Is she curious about something over to the side? And with those folding shapes surrounding remember when I was a lad, how the her head, there’s an overall combination of realism and abstraction. A portrayal is not just a face but also critics had a way of convincing me. the drama that accompanies it. Sometimes stern, they would also laugh with derision: “Really?! You like that tawdry tripe?” The pundits would often have a ready sneer as a warning for those having the gall to contradict and say they “don’t get it.” After years of experiencing ego art debates, they’re way in my past. Most importantly, we think for ourselves. Thank You We don’t look for a style or approach in our art. It really comes naturally as we 124 www.InternationalArtist.com

build our skills and confidence. Much like our personalities. I was insecure in my very early days and tried to be like others who were more popular. That sure didn’t work out. But it wasn’t long before my confidence in my art and myself took a strong and personal turn. Thank you art world! Who Knows What’s “Perfect” in Art? A drawing or painting will never be perfect at the end. That’s because, in art, unlike mathematics, there is no real “perfect.” Well, I’ve never met a perfect person. With that in mind, let your experience, inner passion and skills decide when a piece of artwork has come to a conclusion, and then sign it. The Fuss Factor A. The angled shapes within the headdress with D. The braid here is a reflection to the sweeping In my later years, I’ve felt that too that one fold swooping up towards the top fold above in the headdress. much fussing with a piece of art is like right—a feeling of movement. erasing myself, fuss by fuss. It would E. The right side of this pastel is darkest. In this be like considering and reconsidering B. The bold dark vertical of the braid holds a finished piece, this is an overall warm artwork every word spoken. stability in contrast with the angles. with a complimentary blue in the upper right with cool touches in the left headdress folds. In art, “overcooking” takes character C. The large open area next to the busy headdress away from the entrée. Too much and facial features. even if packed away in storage. And tooling with a pencil or brush can take when it is discovered in that store the spirit away from a piece. Where And Thus We Live On room a hundred years from now, just I’ve worked a whole area to death, I Art means so much to me—helps imagine, part of our minds will be fully will erase or wipe out that area and keep me alive. I’m connected with observed by future humans. redo. Fresh and filled with me knowing the world and not isolated. You and where I went wrong and where I need I create all day with our art, and also In the arts, artists are quite eternal. to take it. with things we observe as potential We can look and imagine those subjects, our visual imaginations actual strokes while Monet is laying Over and Over constantly working. them on. We feel the words Ernest There’s that strange definition of Hemingway labored over until they insanity: doing the same thing over An “extra” is that our art will be and over and expecting different around so much longer than ourselves, results. Well, I’ve done the same things over and over again with my art and I got “better results.” So call me insane. I can mention a good number of people in the arts, sports, etc. who would amicably make that same call. Remember one thing, “human same” is quite different from “mechanical same.” Important Principles of Art 125

were just right. We will always be able students to draw a tree from in saloons, restaurants, fairgrounds, to appreciate the famous first four imagination, then go out and draw door to door sales and major notes Beethoven brilliantly “laid out” a tree from life. The difference is commissions. This continued for in his Symphony No. 5. We see Paul motivating. Memory of objects relies years. Eventually I started to work Newman in a scene that was worked on formula, with the result being both from life and photographs, on several times. He made it fresh as forced and lifeless. Would it be called “reference material.” if he was living it. A Broadway dance easier to paint a rock from memory? ensemble. Aboriginal carvings. What Time wasted. Go to an actual rock. I would not be able to do the is created will in some way remain and It’s waiting to show the difference portraits of today, using photos, be appreciated well into the future. between fuzzy memory and natural without many years working from Remember, we in the arts live on. outpouring of reality. life. Those years gave me a true Monet, you and me. understanding of what and who I Real Plus Reference was uniquely interpreting. Still lifes, Real vs Memory In my early years, when I started humans and animals—mixing reality Relying on memory when drawing drawing and painting portraits, they with reference material. (Remember can be a false guide. I often ask were all done from life. I did them one of my edicts: do at least a half hour of life drawing each day.) The Editing Many things are edited: editing a grand epic adventure film into two hours of screen time. Editing novels, poetry, songs and grand dinners. I edit my art to have just what is important to me within those borders. Dear Mona If I’m allowed into Heaven, I’m going to ask if it’s possible that Mona Lisa herself pose for me. No pressure, and perhaps within the first century I’m there. Oh, what a glorious experience. I wouldn’t mind if Leonardo were to sit in the studio with me; perhaps throw a few thoughts and suggestions my way. Somehow, I’ll let you know. QUEEN VICTORIA This is a charcoal sketch I did some years ago. It’s of a remarkable statue of Queen Victoria, which is in front of Buckingham Palace in London, England. (She became Queen in 1837.) I stood there literally overwhelmed and cheered for this statue of her. The sketching did take some time, as I especially wanted it to be unmistakably Victoria. Incidentally, I’ve celebrated her birthday every year since my childhood. 126 www.InternationalArtist.com

WALKING BUFFALO Inspiring Us Artists us artists to give him a listen. Our I remember when I was young, five senses feed our souls. Spend This is a portrait of Chief Walking Buffalo. He was of the hearing Brahms’ Lullaby. Brahms’ some time with his symphonies Stoney-Nakoda Nation. I met him many times and did his name came with that short piece and his piano concertos. His works portrait about 20 times, starting when I lived in Calgary, of music, and I thought that was are deeply inspiring. Something Alberta, and just out of art college. He was an absolutely all he composed. A few years later, powerful will happen within you. great individual. Inspiringly memorable. I happened to hear his Symphony This I promise. My forever praise No 1., and I was literally stunned and gratitude to the great composers. with its powerful magnificence. All so close to me since childhood. I remembered his “lullaby” and couldn’t believe he also composed It All Counts this extremely complex, wondrous In art, when you get even the symphony. slightest bit of good instruction, advice, a few written words, That symphony took Brahms a helpful critique or a quick nearly 20 years to write. This is observation, then that short bit of understood when one listens to the time was well worth it. I have a past individuality and passion laid into full of such profoundly memorable it. Many at the time said it had moments: a particular page in some of Beethoven’s influence, but I a book, hearing a few sentences recognized it as pure Brahms. And from a brilliant artist, walking by a certainly quite a departure from his masterpiece in a museum. They all “lullaby.” I mention Brahms here for remain within me. BALINOFSKI THE PASSAGEWAY This drawing is very personal, every stroke guided by my subconscious mind. If it wanted me to take a sharp pencil turn in an area, I immediately responded. Every bit of it is from deep within, with moments that both amaze me and cause total wonderment. As if I’m looking at a “hidden me.” And that’s how I wanted it; the faces and features happening intuitively. I do have my inner mind help me through artistic moments, but here, the whole work is entirely subliminal. The subconscious is purely delivered onto paper. I realize each of you will have different, very interesting responses. Some will analyze it and others will pass it by. Incidentally, that enigmatic profile in the lower right dazed me and has stayed in my mind…alive. Now, back to my subconscious and conscious. Important Principles of Art 127

Index Aug/Sept 2022 MISSING AN ISSUE? ARTISTS IN THIS ISSUE VISIT INTERNATIONALARTIST.COM/ISSUES/PAST-ISSUES Alvarez-Roure, Luis 38 Kapoor, Amit 94 Balding, Aldo 52 Lim, TaiMeng 9 Barron, Becca 86 Lovett, John 100 Bell, Frances 39 Murphy-Robinson, Annie 12 Bhosle, Suchitra 23 Pugh, Mark 38 Bobkoski, Catherine 60 Pursley, Craig 44 Brammeld, David 78 Robinson, Richard 120 Brown, Harley 124 Rothe, Vanessa 53 Burdick, Scott 40 Sauer, Mary 40 Chambers, Kevin 39 Saul, Dolores 104 Childs, Casey 39 Sin, Oliver 15 Christensen, Cheri 68 Slonim, David Michael 25 Coreth, Jamie 39 Snyder, Julie 53 Dahlstedt, Barbara 14 Stein, Adrienne 42 Debije, Ans 54 Watling, Isabella 40 Frein, Tracy 11 Werntz, Amy 41 Gant, Tanja 7 Wessmark, Johannes 8 Gurney, James 29 Wu, Zhaoming 10 Haseloff, Frank Soenke 74 Wurman, Mike 112 Hernes, Cornelia 23 ADVERTISERS IN THIS ISSUE Cheap Joe’s 21 Raymar Cover 4 Create a library of art instruction in your home by purchasing past issues of International Artist magazine. Colored Pencil Society Rosemary & Co. 16 of America Enjoy timeless demonstrations, refine your 21 Scottsdale Artists’ School 27 skills and explore new techniques. Artists of all levels rely on International Artist magazine Creative Art Workshops 16 The Academy for to stay informed and up to date on the latest Virtual Teaching Heilman Designs 16 27 techniques from the world’s top artists. Liliedahl Video Travelrite Cover 3 Stay informed on the latest techniques Production subscribe today online at Cover 2, 3 Workshops In France 2 WWW.INTERNATIONALARTIST.COM Oliver Sin 13 Philadelphia Water 16 Color Society 128 www.InternationalArtist.com

Watercolour Workshop Greg Allen has developed a considerable reputation as Greg Allen one of Australia’s finest water colourists, as well as one of PARIS AND HONFLEUR the country’s finest teachers. FRANCE He is deeply committed to stimulating the student Tuesday 23 May – Sunday 4 June 2023 to achieve proficient and One of the best teachers in the world leads worthwhile outcomes with a stimulating and satisfying tour of the best places in France, Paris and Honfleur. Paris key lectures on subject will be a delight to paint with its spectacular identification and the landmarks including the Eiffel Tower, the Arc de Triomphe and Notre-Dame Cathedral. Honfleur importance of planning and has long been a favourite with painters such as design. He is an outstanding Monet and is Normandy’s most charming port town. An appealing mix of instruction, personal teacher, who is in much painting with sightseeing in Paris and Honfleur demand, so please register with plenty of time to paint. early to avoid disappointment. TOUR PRICES: Workshop price per person twin-share $ 5,195 Single supplement $ 1,795 Tour inclusions: Not included in the price: • 6 nights’ accommodation in Paris in a 4-star hotel. • Travel arrangements not specified in the itinerary, such as air • 6 nights’ accommodation in Honfleur in a 3-star hotel. travel from your home to and from the workshop. For pre or post tour accommodation please speak to your Travelrite consultant. • Travel insurance. We strongly recommend travel insurance to • 15 meals including 12 breakfasts, 3 dinners. cover yourself for cancellation, medical and hospital expenses, • Welcome drinks and farewell drinks. and other unforeseen expenses. • Arrival and departure transfers. • Painting in Paris, Honfleur and the countryside, villages and towns of the • Gratuities to the coach drivers and local guides. • Sightseeing unless specified in the workshop itinerary. Normandy region, France. • Drinks and meals other than those specified in the itinerary. • Visits to the Musee D’Orsay and Monet’s Garden. • Items of a personal nature. • Sightseeing tours with local guides in Paris and Honfleur. • Airport and overseas arrival/departure taxes. • First class teaching by renowned artist and teacher, Greg Allen. • Excess baggage charges. • Intensive painting sessions including demonstrations, painting instruction and • Passport and visa fees. critique sessions. • The services of a professional workshop manager. • A certificate confirming the successful completion of the workshop.