TAGS: Art

  • What’s the Best Way to Create Your Studio Space?

    I remember the first time an artist invited me into his studio. It was truly a reflection of his personality and experiences—full of memorabilia from his travels in and around his childhood hometown in the Deep South, and neat as a pin, just like him. Organizing your studio space so that it fosters creativity and enables you to make the most of your time can be a challenge. Although the solutions will vary for each of us, there are a few savvy tips and interesting approaches—similar to those you'll find from practicing artists who have gone through the same process and are featured in our latest special issue of Studiosthat I wanted to share with you.

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  • Cover Competition Deadline Fast Approaching

    Rossina's Apple by William Rose, 2007, charcoal on museum board, 28 x 20. It would be so exciting to have an Artist Daily member receive exceptional coverage from our print magazines by winning the cover competitions for American Artist , Watercolor...
  • Paint to Trick the Eye

    The best painters understand that they work to create an illusion. The sleight of hand that comes along with realist painting can be especially compelling when it hides in plain sight—when artists take on subjects that are almost diametrically opposed to the flat surface of their canvases and make paintings that resonate as powerfully as the subject itself.

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  • Defy Expectations—See In a New Way

    No matter the venue, the accepted rule of thumb is that a painting should always be hung just above eye level. As a result, many artists create paintings with this point of view. Louisiana artist Mitchell Long seeks to subvert this expectation by manipulating vantage points in his paintings of landscapes, cityscapes, and interiors. He often makes the horizon line loom low or stretch high, or manipulates the picture plane so that viewers feel small—or as though they are floating a few feet off the ground.

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  • Does Using Perspective Lead to Stronger Artwork?

    The Battle of San Romano by Paolo Uccello, c. 1435-55, tempera on wood. I'd have to answer with, "I'm not so sure." For me, studying Italian Renaissance and Baroque art meant spending a lot of time talking about how awesome linear perspective...
  • Paint for Peace

    La Danse (I) by Henri Matisse, 1909, oil on canvas,102.4 x 153.9 in. I've always believed that art speaks most profoundly when it actually has something to say. Communicating with a viewer is a powerful opportunity, and The Peace Project engages artists...
  • Why Does This Painting Move Me?

    Kitchen Scene in the House of Mary and Martha by Diego Velázquez, c.1618.

    Ask yourself that question when you see an artwork you respond to and it might reveal what you strive for in your own artistic practice. In Diego Velázquez's Kitchen Scene in the House of Mary and Martha, the answer (for me at least) is the psychological intensity of the foreground figures and the layered composition.

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  • Make Every Brushstroke Powerful

    Have you ever approached a painting as if each stroke would be your last? Practitioners of calligraphy approach their art something like this, and the results are fresh and spontaneous, not overworked. Calligraphy has a long and rich history in Asia, and it has made a powerful impact abroad, with its ability to create a feeling of movement on paper. For Katherine Chang Liu, former president of the National Watercolor Society, the most lasting impact of practicing calligraphy as a child in Taiwan was her relationship with the brush itself. "The brush becomes an extension of your finger," she says. "It becomes something you don't have to learn how to use; you just naturally work with it and write with it."

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  • Drawing with Thread, Paint, Paper & Pen

    Whiskey Creek (Spring)
    By Kate Harding, 2008,
    found leather garments, thread,
    grommets, and steel hooks, 54 x 35.
    One of the things I love about the artistic process is that we all share the need to put our creative energy into practice, we do it in so many different ways, and yet we usually have a lot of overlapping interests.

    The one that springs immediately to my mind is a focus on drawing. Across media—including oil painting, collage, watercolor, sculpture, pen-and-ink, charcoal, fabric, and mixed media—I've found that the artwork that really stands out and captures my attention has a solid foundation in drawing.

    Drawing and sketching are sometimes relegated to the equivalent of art in first gear, perhaps because drawing is what many of us learned first when we were growing up. But I see it a different way—drawing is an essential!

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  • Take Your Painting Skills Abroad

    Breakthroughs in our artistic practices often come with a change—of venue, of process, or even from within our own creative mindsets. Workshops offer the opportunity to step outside the studio, and suddenly we can see and evaluate from a completely different vantage point.

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  • How to Connect to the Landscape You Paint

    Spring Thunder by Mark Haworth, 2008, oil, 24 x 36.

    Sometimes it is difficult to put aside real-world stresses and tasks when it comes time to pursue our art. To-do lists, family matters, and social obligations crowd in, making it almost impossible to concentrate. One of the ways I clear my head is to really sink into my subject matter, spending time on close studies in which detail is key. Even if I don’t exactingly recreate everything that I see in front of me, I still tend to focus really hard, and that helps quiet all the clamoring in my head.

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  • Are You Using This Critical Painting Technique?

    The process of underpainting has such a buttoned-up reputation. If it were cast in a movie, it would be the uptight, by-the-book stickler that no one wants to hangout with. That’s because the process of underpainting is often associated with a belabored, rigid series of steps that delays us from getting to the “real” painting—which is why a lot of beginner painters tend to rush it or skip it altogether.

    But there’s another side to underpainting—one that’s freewheeling with an “anything goes” attitude. It allows artists to take a dry run at the canvas, working out compositional questions and value issues or mapping out a complex color scheme while keeping a lot of options open so that painting can evolve organically.

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  • Draw on Tradition to Create Lasting Art

    I'm always surprised-and, okay, a little peeved-when my mention of an arts background is often met with a puzzled look followed by the somewhat skeptical question, "What do you do with that?" The truth is there's a lot to do with that, especially now-at a time when images are all around us, where a website can so easily turn into an artist's own gallery and exhibition space, and because collectors, gallerists, publishers, and fans can easily find and follow artists whose work they respond to and respect.

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  • Drawing Magazine Cover Competition Winner’s Incredible Success Story

    Recently, I was forwarded a letter from William Rose, the winner of a previous Drawing magazine cover competition. The events that came out of his winning the competition and having his work on the cover of the magazine (and, therefore, on newsstands all over the country) speaks to how entering American Artist competitions and putting your work in a public venue can give your artwork incredible visibility, with exciting results.

    The American Artist, Watercolor, and Drawing cover competitions are currently underway, and entering them yourself could bring your work amazing exposure. The entry deadline is August 31, so enter here.

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  • Free eBook for Your Best Summer Outdoor Painting Experience

    With summer in full swing, I've been spending as much time as possible outdoors, going to concerts and plays, walking from place to place when I do my errands, and just finding every excuse for an outdoor excursion. Plein air painting is another perk of the season. There's something invigorating about stepping outside and sharing space with your subject matter-breathing the same air, seeing the same light, and having an in-the-moment experience with the landscape.

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