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Seated Muse by James Langley , a Foundation Studies professor at SCAD. The Savannah College of Art and Design (SCAD) believes certain artistic skills and techniques are fundamental for all students, whether these students happen to be filmmakers, architects, fashion designers, animators, or fine artists...
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cjordan
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29 Aug 2010
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Filed under: draw, Drawing, how to draw, figure drawing, drawings, Courtney Jordan, art history, Art lessons, anatomy, composition, life drawing, drawing anatomy, drawing figures, figure drawings, Drawing magazine, Artist Daily, SCAD
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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 , or Drawing magazine. Following your creative...
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Attitude by Patricia Hannaway, 2006, pastel on toned paper, 21 x 12. Human figure drawing, especially life drawing from a model, is one of the most rewarding ways of practicing art because it can enhance your abilities in ways that are both practical and inspirational. It's practical in that creating...
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cjordan
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22 Aug 2010
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Filed under: draw, Drawing, how to draw, Art Instruction, figure drawing, drawings, Art lessons, how to draw a person, how to draw realistic people, how to draw portraits, figurative realism, linear perspective, gesture drawing, human figure drawing, life drawing, Patricia Hannaway, figure drawing tutorial, drawing anatomy, drawing figures, how to draw hands, figure drawings
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Living Room, Wide Angle and Kitchen 22 x 28, oil on paper. All works by Mitchell Long. 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...
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cjordan
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15 Aug 2010
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Filed under: oil, American Artist, Drawing, plein air, oil painting techniques, focal point, perspective, perspective drawing, panoramaic painting, old masters, Van Gogh, photographic effects
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Whiskey Creek (Spring) By Kate Ha rding, 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...
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On the Cover: Carmela Bertagna (detail) by John Singer Sargent, ca. 1880, oil, 23 1⁄2 x 19 1⁄2. Collection Columbus Museum of Art, Columbus, Ohio. The History & Development of Acrylic FEATURES Naked All Night: An Experiment in Drawing Until You Drop by Michael Gormley For 21 years, Pratt...
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Distlefink Girl by Christina Hess , digital. 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...
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Rossina's Apple by William Rose, 2007, charcoal on museum board, 28 x 20. 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...
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Half Dome, Yosemite 1920, 15 1/4 x 13 1/4, watercolor and pencil on paper. All works by William Zorach. Images courtesy Michael Rosenfeld Gallery. William Zorach is a well-known 20th-century sculptor who participated in the Armory Show of 1913 and whose work is held in numerous public collections. But...
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cjordan
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11 Jul 2010
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Filed under: Drawing, Watercolor, watermedia, landscape paintings, Learn How To Paint, Courtney Jordan, art history, Art lessons, brushstroke, drybrush, watercolorists
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First Bite , 17 x 16, 2009. All works by Michael de Brito. Courtesy Eleanor Ettinger Gallery. Painting the people and places one sees every day can be either a mind-numbing trial or an impetus for creativity that just happens to be homeward bound. For New Jersey-based artist Michael de Brito—who...
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cjordan
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20 Jun 2010
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Filed under: oil, Drawing, sketch, How To Paint, Art Instruction, sketchbook, Art Materials, Painting Instruction, painting technique, oil painting techniques, painting techniques, Portrait Painting, figure painting, fixative, painted portraits, portraits paintings, portraits painting
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Seeing a painting or drawing progress from beginning to end allows the finished artwork to be understood as a series of discrete steps leading to a virtuosic whole. During a recent tour of the Grand Central Academy (GCA), in New York City, I observed instructor Joshua LaRock developing a drawing of Michelangelo's...
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cjordan
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17 Jun 2010
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Filed under: draw, Drawing, how to draw, sculpting, drawings, Michelangelo, sculpture, Art lessons, learn how to draw people, how to draw a person, how to draw realistic people, learning how to draw people
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Lana , 2004, charcoal, 24 x 18. Collection John and Penelope Adams. All works by Casey Baugh. Pivotal moments in my life have often—to take a line from Ernest Hemingway—come "gradually, then suddenly." Nothing appears to be on the horizon, but then a few things fall into place,...
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cjordan
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10 Jun 2010
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Filed under: contest, American Artist, draw, Drawing, workshop, Watercolor, how to draw, Art Instruction, cover competition, drawings, Courtney Jordan, figure painting, tips on how to draw, how to draw a person, how to draw realistic people, how to draw portraits, Casey Baugh
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Girl in Limited Palette by Ignat Ignatov, oil, 121/2 x 12. In last Friday's post featuring artist-instructor Kerry Dunn, we explored some of the opportunities and challenges that an extensive color palette offers. On the flipside, Bulgarian-born painter Ignat Ignatov understands how an artist can...
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On the Cover: Camie Davis (below) teaching at the Grand Central Academy of Art, in New York City. Photo by Nathan Kraxberger Cedric Egeli: Knowing How to Learn FEATURES Workshops as Shared Learning Experiences by M. Stephen Doherty A number of valuable and lasting benefits can accrue when artists work...
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Old Timer by Aaron Westerberg, 12 x 9, oil on canvas. Painting instructors often ask students to consider two important relationships between the colors squeezed out on their palettes: value and temperature. By that they are asking them to consider whether one color mixture is lighter or darker than...