english artists magazine

PALETTE: From my experiments, I chose a foundation of two violets: quinacridone violet warm/ more red and ultramarine violet cool/more blue.. I mixed Hansa yellow light and ultramarine

The Next Generation

Student Winners of our

Annual Art Competition

From AHA!

+

You have the vision Blick has the supplies.

With the largest selection of art materials at the lowest prices, you can count on Blick for everything

you need to make your masterpiece

IN THIS ISSUE DECEMBER 2016 VOLUME 33 NUMBER 10

FEATURES

36 Radical Attention

Catherine Kehoe stares until she sees in pulsing shapes and

electric colors BY TIM KENNEDY

46 Celebrating a Modern Master

A show at the Museum of Fine Arts, Boston marks the 100th

anniversary of William Merritt Chase’s death BY JERRY N WEISS

54 Inside a Workshop with Katherine Chang Liu

Cape Ann is the serene setting as students wend their own way

through experimentation and analysis BY JUDITH FAIRLY

64 Ever Upward

The student winners of our Annual Art Competition make

their debut BY MCKENZIE GRAHAM AND MICHAEL WOODSON

COLUMNS

4 Letters

6 Perspective

8 The Artist’s Life

12 Ask the Experts

ON THE COVER

36 Painting With Blocks of Color

12 Preserving Papers for Collage

28 Acrylic: inks, markers, sprays!

64 The Next Generation

COVER: Morning Walk, West

(reversed; detail; acrylic on panel, 12x12) by Mark Mehaffey

36

ABOVE LEFT: Peonies (oil on linen, 8x8)

by Catherine Kehoe

EDITOR Maureen Bloomfi eldSENIOR ART DIRECTOR Brian RoethMANAGING EDITOR Brian RileySENIOR EDITOR Holly DavisASSOCIATE EDITORS McKenzie Graham Michael Woodson

SENIOR ONLINE EDITOR Cherie Haas

ADVERTISING Vice President/General Manager Jamie Marklejamie.markle@fwcommunity.comAdvertising Sales Team Leader, Fine Art Division Mary McLane970/290-6065; mary.mclane@fwcommunity.comAdvertising Specialist Carol Lake

385/414-1439; carol.lake@fwcommunity.comMedia Sales Coordinator Barb Prill

800/283-0963 ext 13435barb.prill@fwcommunity.com F+W, A CONTENT + ECOMMERCE COMPANY Chief Executive Offi cer Thomas F.X Beusse Chief Financial Offi cer James L Ogle Chief Operating Offi cer Joe Seibert Chief Technology Offi cer Joe Romello Chief Content Strategist Steve Madden

VP, Manufacturing & Logistics Phil Graham Newsstand Sales, contact:

Scott T Hill, scott.hill@procirc.comTHE ARTIST’S MAGAZINE EDITORIAL OFFICES

10151 Carver Road, Suite 200, Cincinnati OH 45242Tel: 513/531-2222 E-mail: tamedit@fwmedia.comSUBSCRIPTION SERVICES

P.O Box 421751, Palm Coast FL 32142-1751Tel: 800/333-0444 (U.S and Canada)Tel: 386/246-3370 (international)Website: artistsmagazine.comINTERNATIONAL NEWSSTAND DISTRIBUTIONCurtis Circulation Co

730 River Road, New Milford NJ 07646Tel: 201/634-7400 Fax: 201/634-7499ATTENTION RETAILERS

To carry The Artist’s Magazine in your store,

contact Shawn Metts at 513/531-2690, ext 11257; shawn.metts@fwcommunity.comPRIVACY PROMISE

Occasionally we make portions of our customer list available to other companies so they may contact you about products and services that may be of interest to you If you prefer we withhold your name, simply send a note with the magazine name to List Manager, F+W, 10151 Carver Road, Suite 200, Cincinnati OH 45242

Printed in the USACopyright © 2016 by F+W Media, Inc

All rights reserved

The Artist’s Magazine is a registered trademark of F+W.

The Artist’s Magazine (ISSN 0741-3351) is published 10 times per

year (January, March, April, May, June, July, September, October, November and December) by F+W Media Inc., 10151 Carver Road, Suite 200, Cincinnati OH 45242; tel: 386/246-3370 Subscription rates: one year $25 Canadian subscriptions add $15 per year postal surcharge and remit in U.S funds Foreign subscriptions add $20 per

year postal surcharge and remit in U.S funds The Artist’s Magazine

will not be responsible for unsolicited manuscripts, photographs or artwork Only submissions with a self-addressed, stamped envelope will be returned Volume 33, No 10 Periodicals postage paid at Cincinnati OH and additional mailing offi ces Postmaster: Send all

address changes to The Artist’s Magazine, P.O Box 421751, Palm

Coast FL 32142-1751 F+W Media Inc Back issues are available For pricing information or to order, call 855/842-5267, visit our online shop at www.northlightshop.com/category/artists-magazine, or send a

check or money order to The Artist’s Magazine/F+W Media Products,

700 E State St., Iola WI 54990 Please specify The Artist’s Magazine

and the issue month and year Canada Publications Mail Agreement

No 40025316 Canadian return address: 2835 Kew Drive, Windsor,

ON N8T 3B7.

LOOKING THROUGH the entries in the student division

of The Artist’s Magazine’s

Annual Art Competition is one way to assess the psyche

of the next generation No surprise that many of the student works evinced anxiety about the state of the world;

it was gratifying, however, to see also signs of a fi rst-class

art education (“Ever Upward,” page 64)

One picture, replete with empathy as well as skill, took our breath away The subject is the artist’s grandfather as he lay dying; the art- ist, Jason Chi-Han

Cheng painted The Crossing

(Competition Spotlight, page

88) while pursuing an MFA at the Academy of Art Institute

LETTER FROM THE EDITOR

Spring & Fall

Welcoming new artists is

an honor; a pleasure, too, is studying the past Jerry N

Weiss takes a cally brilliant look at the lav- ishly talented William Merrit

characteristi-Chase (“Celebrating a Modern Master,” page 46 and above)

Breaking the barriers

of classical representation, Catherine Kehoe paints with bold shapes and electric col-

ors (“Radical Attention,” page

36) Katherine Chang Liu breaks from another tradition, that of the workshop demo

(“Inside a Workshop with Katherine Chang Liu,”page

54) Learn, too, how to keep collage papers archival

(Ask the Experts, page 12);

to master the color violet

(Brushing Up, page 20), and,

of course, much more.

Maureen Bloomfi eld

EDITOR

perspective BRUSHING UP 20

ROAD TEST 28

NOTABLE COLLECTION: The Biltmore Estate has many of its famous artworks on display throughout the mansion You

can see Renoir’s Child with an

Orange in the breakfast room

and Sargent’s Frederick Law

Olmsted in the second fl oor

living hall.

ASHEVILLE, N.C HAS ART in

the traditional sense—tons

of galleries, art museums,

a long history of art

mak-ing in the region—but it

also embodies artfulness

in the everyday Bodies are

decorated, sidewalks are

painted, and empty spaces

become celebrations with

music and live performances

Visit the River Arts District,

a converted industrial zone

with 22 buildings of galleries

and open studios

DON’T MISS the Studio Stroll, twice a year, when the trolley provides free rides between buildings in the River Arts District Find more information

at exploreasheville.com.

FUN FACT: THE BLACK MOUNTAIN COLLEGE MUSEUM AND ARTS CENTER DETAILS THE HISTORY OF THAT FORMER LODESTAR

OF THE ARTS JOSEF ALBERS WAS THE FIRST TO TEACH THERE, FLEEING NAZI GERMANY TO DO SO.

The Folk Art Center highlights

some of the best American

craft making and native art

practices in the country.

Why would anyone do this? This is a real,

full-length art instruction video No credit

card required No strings attached.

So why would I give you a video we

sell for $107 absolutely free?

It’s simple, really I want your e-mail address so

I can keep in touch with you and let you know

about some of the cool, new videos we’re

releas-ing

Yes, it’s bribery I get that At least I’m being

honest about it and not trying to trick you!

I’m hoping that maybe you will eventually

become a customer when you see how

exceptional our art instruction videos are.

I promise:

• I won’t sell your name.

• I won’t even rent your name.

• I won’t share your name with others, ever

I’ll only use your e-mail address to let you know

about what we’re up to and the new videos we

are offering.

How Can You Possibly Trust Us?

Well, we invented the art video business 27

years ago We have released hundreds of videos

and we have tens of thousands of customers who

know us and trust us But it’s a small world, and

we don’t dare sell your name or spam you We

want to be in business for decades to come If

we violate your trust, word will get out.

If We Spam You, We Know You’ll Leave Us

If you don’t like what we send you

by e-mail, you can easily opt out at any time No questions asked But we’re hoping you’ll enjoy access

to one of our best-selling videos and you’ll let us keep sending you updates about new releases, along with some art tips Remember, you have the power to shut us out at any moment and you still get a video.

Pick Your Favorite Subject

You can pick a video on your favorite subject — portrait painting, landscapes, plein air, still life, or oil, pastel, or watercolor

We’ll give you an actual full-length digital video from one of our top artists that you can watch on your phone, tablet, laptop, or desktop.

2 Days … 7 hours … 22 Minutes?

We’re going to try running this offer just one time to see how it goes If it’s too successful, we may have to stop giving videos away So this offer will expire when the next issue of the magazine comes out

Maybe that’s just 2 days, 7 hours, and 22 minutes away It’s hard to put a timer in a print ad , but you’ll see the actual time left when you sign up.

We think it’s a fair trade: Your e-mail for an tual full-length video absolutely free, especially since you can opt out any time.

ac-We hope you’ll think so, too.

Johnnie

Visit this Link Now:

ArtVideoOffer.com

PS: If you sign up right now, I’ll place you on

my VIP list so you learn about new videos fore they are released to the public and you can receive special VIP pre-release discounts.

be-Johnnie, founder of Liliedahl Video

“Give Me Your E-Mail

Address and I’ll Give You

a Top-Selling, Full-Length

$107 Art Instruction

Video, Absolutely

FREE.”

Seen in the Stacks

If it’s art you’re seeking, read about it and see it at your public library.

Edited by McKenzie Graham

TAM: How can public libraries help patrons of the arts?

NYPL: Public libraries are about access to materials and information The Art and Architecture Collection in the Miriam and Ira D Wallach Division of Art, Prints and Photographs includes more than 600,000 books, period- icals and auction catalogues.

TAM: What else does the NYPL have in its collection?

NYPL: The holdings include rare and unique collections

of the Astor and Lenox libraries, other generous gifts with a signifi cant strength in 18th- and 19th-century art movements, and an exten- sive collection of antiquarian plate books We also have

We spoke with Vincenzo

Rutigliano, Miguel Rosales

and Lori Salmon, librarians

at the Art & Architecture

Collection of the New York

Public Library, about how

to best utilize the library’s

of Columbus’s

1493 letter announcing his discovery of the New World is

in the library’s possession.

JONATHAN BLANC/THE NEW YORK PUBLIC LIBRARY

DECEMBER 2016 9

ephemera fi les that are

orga-nized by artists’ names and

exhibition spaces.

The Print Collection

encompasses over 200,000

prints, along with a

special-ized reference collection

on the history of prints and

printmakers; the Photography

Collection includes examples

of almost every photographic

process from the earliest

daguerreotypes to

contempo-rary digital images.

TAM: What about special

exhibitions?

NYPL: “A Curious Hand:

The Prints of Henri Charles

Guerard (1846-1897),”

orga-nized by Curator of Prints

Madeleine Viljoen, will be on

view through February 26th.

Previously, “Embracing

Chaos: Dada, 100 Years Later”

was on display with materials

from the Spencer Collection

and Photography Collection

It showcased the Library’s

collections of Dada expressed

in visual and literary form,

including works by Tristan

Tzara, Marcel Duchamp, Man

Ray, Hugo Ball, Tomoyoshi

Murayama and Serge

Charchoune, among others

TAM: Are there any other

must-see library systems with

exceptional art collections?

NYPL: The Boston Public

Library (BPL) has a John

Singer Sargent mural cycle

titled Triumph of Religion

throughout the entire

hall in the Library

build-ing, depicting stories of

Christianity and Judaism

BPL also has an impressive

Fine Arts Department with

noncirculating resources.

ONE MAN’S TRASH

IS ANOTHER’S PUBLIC ART PIECE

Jean Shin used recycled rebar in Seattle to create a sculpture inside one of the city’s dumpsites

When Seattle’s North Transfer Station was being renovated, 10,000 feet of rebar was care- fully set aside for sculptor Jean Shin—an artist familiar with reusing unwanted materials

With it, she bent and molded the bars into shapes that represent the topography of the site before the dumpsite was built The work not only pays homage to the natural landscape but also does it some good by reusing materials that may have other- wise been simply transferred

to another heap The public art will help enliven the space as it’s still being transformed into a playground for adults and chil- dren alike, including the instal- lation of a play area, sports court, walkways and more art!

SPOTTED ONLINE The Museum of Modern Art published a blog

post by Thomas J Lax titled, “How Do Black Lives Matter in MoMA’s

Collection?” Read the full post and see some of MoMA’s famous

artworks on this subject at bit.ly/momablm.

DECEMBER 2016 11

NOT STARVING

Here are four of our favorite artists selling their work on Etsy this month.

The Artist’s Life

Becca Stadtlander at

beccastadtlander says

of her online tion shop: “My creative business has helped

illustra-me develop as both an artist and professional, most notably in my pur- suit of growth and new ideas.” Lisbel Gavara

of lanomadaillustra tion says that for her,

making art for a living allows her to enjoy the simple things in life:

“drawing, knitting, ing care of my plants, traveling with just a backpack and observ- ing people when I visit new cities.” Oksana

tak-of TukoniTribe agrees

and says, “When you postpone what you like because of money, you risk never coming back to it, or worse, you might think, ‘Oh, one day!’” We love how these artists are living out their pas- sions Check out their products at etsy.com.■

1 beccastadtlander 2 lanomadaillustration 3 TukoniTribe 4 lovelysweetwilliam

1

2

Collages Built to Last For well-constructed collages that will weather the years, know your options for choosing papers and for securing strings or yarns.

Q I want to use repurposed papers in my collages Is there some way I can treat them to keep them from deteriorating?

A Among the things the artist should consider when using repurposed papers are the eff ects that light and adhesives may have on those papers Specifi c con- cerns include whether the papers will be likely to disinte- grate or discolor when exposed to light and whether the inks will be likely to fade If any of these developments

is likely, what can be done to preserve at-risk papers?

A brief look at the history of papermaking creates a context for assessing the possibility of

disintegration or discoloration due

to light exposure Almost all papers made prior to 1850 were made of cotton and are essentially acid free

Th ey are, therefore, likely to be resistant to the damaging eff ects of light Since 1850, most papers have been made of wood pulp and, being acidic, will discolor and become brittle with time Since the 1960s, alkaline buff ering agents have been added to some modern wood-pulp papers to counteract any acids

By Jonathan Talbot

ABOVE: The papers I

used in A Family Man

(paper, thread, acrylic

and copper pigment on

museum board

mount-ed on watercolor paper,

7x9) include a fragment

from the 1830 edition

of Thomas Malthus’s

Essay on the Principle of

Population Most papers

manufactured before

1850 are acid free;

most inks created

be-fore 1900 are colorfast.

DECEMBER 2016 13

present in the fi bers of the paper or

in the water used in the

papermak-ing process Th e acidity of papers

can be measured with a pH testing

pen, which can be purchased online

for less than $10.

A similarly brief look at the

history of inks is helpful

regard-ing the question of fadregard-ing Prior to

1900, most inks, including colored

inks, contained pigments

resis-tant to fading Around the time of

World War I, aniline dye-based inks

became common Th ese inks fade at

various rates—reds and yellows far

more rapidly than blues and blacks

Th is means that materials printed

before 1900 are more likely to be

lightfast (resistant to fading) than

printed materials from the 20th and

21st centuries

Simply coating or covering a

piece of acidic paper with acrylic

medium or any other sealant won’t

stop the paper from deteriorating

because the acid in the paper will

continue to destroy it Th e following

practices, however, can help preserve

“modern” paper fragments used in

collage or mixed media works, or

reduce the fading of inks:

Collage or Assemblage?

Traditional defi nitions say that

col-lages are fl at and assembcol-lages are

three dimensional, but some collage

artists include three-dimensional

elements in their works, blurring the

line that divides the two art forms

Painting, collage, assemblage,

sculpture, performance, minimalist,

avant garde, conceptual, traditional,

modern, post-modern, revolutionary—

the works of Robert Rauschenberg,

Marisol, Banksy, Niki de Saint Phalle,

Alexander Calder, Louise Bourgeois,

Kurt Schwitters, Eva Hesse, Marcel

Duchamp and so many others do not

fi t comfortably into these categories

Why should ours? Rather than

cat-egorize our creations, we should use

those materials that speak to us in

ways that celebrate our innate

cre-ative impulses and lead us to results

that surpass our original intentions

and expectations.

1 Avoid acidic adhesives. Rubber cement and transparent tape are notorious for damaging and staining papers Better choices include clear acrylic medium and neutral pH PVA (polyvinyl acetate) adhesives, such as Jade 403 or Lineco Neutral

pH Adhesive Th e diff erence is that acrylic mediums, once dry, are waterproof, while PVA adhesives can always be reactivated with water But while these adhesives won’t damage the paper the way rubber cement will, they won’t preserve the paper either

2 Add buffering agents to found papers to reduce their acidity One

way to do this is to use deacidifi tion solutions like Wei-T’o or Lineco Bookkeeper Deacidifi cation Spray

ca-Note that these commercial tions can slow down additional dete- rioration but won’t undo any damage that has already been done.

solu-3 To counteract the fading of ink, apply varnish containing ultraviolet- light fi ltering agents to the fi nished collage Such varnishes are available

from Golden, Krylon and Winsor &

Newton Golden Polymer Varnish With UVLS (ultraviolet light sta- bilizers) has the advantage of being water-based and, therefore, easy to remove for future conservation treat- ments (its solvent is ammonia rather than alcohol, which is the solvent used in the medium many collage artists use as an adhesive) Be sure to apply an isolation layer of medium before applying the varnish Another measure to prevent fading is to frame the collage with ultraviolet

fi ltering glass or Plexiglas.

COLLAGES WITH STRINGS ATTACHED

Q I want to include lengths of string

or yarn or other such materials in

my collages and mixed media works

How would you recommend I do this?

A When applying string or yarn

in straight lines, stretch the cord slightly, including a little extra length on each end, and secure the cord in place with pushpins Th en brush the adhesive of your choice

under the cord and along its sides, leaving the ends unglued After the adhesive has dried, you can cut the ends off with an X-Acto knife or a single-edged razor blade A second coat of adhesive may then be applied

to ensure that the cord remains attached Th is is the method I used

to attach most of the strings in

A Family Man (page 12)

For curved lines, immerse and saturate the cord in a container of glue or acrylic medium (a clean deli container works well for this) Th en remove the cord from the adhesive, pulling it between your thumb and

fi rst fi nger so any excess adhesive falls back onto the container, and drape or press the cord into position Draping produces graceful curves; pressing the cord into position can produce any desired linear form.

Retaining the original soft acter of a piece of yarn requires a dif- ferent approach In that case, when you are working on canvas, paper or mat board substrate, proceed as fol- lows: Drill or punch (with a needle

char-or an awl) a suffi cient number of small holes to secure the yarn in the desired form Use a needle threader

to pull a loop of thread that is the same color as the yarn through each

of the holes in the substrate (see Securing Yarn, image 1, page 16)

Leave the ends of the thread behind the substrate and secure them tem- porarily with masking tape so they won’t pull through Feed the yarn though the loops, as shown in image

2 Th en pull each loop tight from the back (image 3) Retape the threads temporarily, glue the threads to the

“Almost all papers made prior to 1850 were made of cotton and are essentially acid free materials printed before 1900 are more likely to be lightfast.”

Sell more art directly from your website

& the Artspan Online Gallery

Kim Kimbro, Artspan Member since 2006

MADE IN THE USA

REMOVES WET & DRY OIL PAINT

“The Masters”® Brush Cleaner and Preserver removes wet and dry oil paint, acrylics, alkyds, watercolor, gouache, stains and more! Water makes it work - no solvents!

TAKES THE EFFORT OUT

OF CLEANING UP!

“The Masters”®

Hand Soap does for your hands what the Brush Cleaner does for your brushes!

General Pencil Company, Inc

PO Box 5311 · Redwood City, CA 94063info@GeneralPencil.com

GeneralPencil.com

www.fi refl ybooks.com

Includes 20 recognized artists’

tips on watercolor techniques.

Known for her

problems are valuable,

but this is a huge book

packed with help for

the painter.

by David Webb

256 pages in color large hardcover,

back of the substrate and cut off the excess Th is will hold the yarn to the surface of the collage without mak- ing the yarn look as if it is covered with hair spray ■

JONATHAN TALBOT ’s works have been exhibited internationally and are included

in public and private collections worldwide

The book The Collages of Jonathan Talbot,

by Deborah K Snider, associate professor of art at Southern Utah University, is available from local and online booksellers, as well as

on Talbot’s website, talbot1.com.

i Follow Us on Instagraminstagram.com/artistsmagazine

SUBSTRATE

3

LOOPS OF THREAD YARN

Improve your painting at your own

pace At ArtistsNetwork.tv you’ll fi nd:

that will help you take your art to

the next level

t
(SFBU
WBMVF Monthly or

yearly access—choose what’s

right for you

15 Days of FREE Easels

BEST Easels are made in the

BEST tradition of quality.

Each BEST Easel is made

from American Red Oak,

sanded to a smooth fi nish,

and hand-rubbed with oil to

reveal the inherent beauty of

the wood grain The craft smen

at BEST nail, glue, and wood

screw every joint, ensuring

strength and precision.

In an era when most art

ma-terials are being produced in

China, BEST Easels by Jack

Richeson & Co are made in

a family-run factory in

Wis-consin and represent American

Quality and American Jobs.

Enter every day!

The

Holiday Easel Extravaganza

Manhattan Easel Shown

CONTEST BEGINS

CONTEST BEGINS

Deluxe Table Top

Deluxe Lobo

Medium Collapsible Chimayo

A-Best Easel

University Easel

Portable Collapsible

Easel

Crank Easel

Classic Santa

By Michael Chesley Johnson

Vivid Violets Explore the rich possibilities that violets can add to your palette.

electromagnetic spectrum, which means you’ll never see it in a rainbow Instead, purple is a perceived com- posite color consisting of the spectral colors blue and red And what about magenta? It, too, is extra-spectral, consisting of the spectral colors violet and blue In this article, I’ll treat all these colors as part of the violet family.

WHAT ARE VIOLETS GOOD FOR?

Violets are often overlooked in the oil painter’s palette If we need a violet, we

“ROSES ARE RED, VIOLETS ARE BLUE …” Well, we all know the color violet isn’t blue On the color wheel, it lies somewhere between blue and red But would you say the fl ower called violet is violet in color—or is it more of a purple?

MEET THE VIOLET FAMILY

Th e words “violet” and “purple” are often used changeably Artists, however, usually consider violet to

inter-be closer to blue on the color wheel, with purple closer

to red For scientists, violet is a spectral color with a wavelength between 380 to 420 nanometers on the electromagnetic spectrum Purple, on the other hand,

is an extra-spectral color; that is, it doesn’t exist on the

ABOVE: I used a lot

Mixed with yellows,

the purple makes

stunning greens.

TEXT CONTINUED ON PAGE 24

NOTE ON COLORS

All paints used

in this article are

Gamblin Artist’s

Oil Colors.

ORDER TODAY! Sale Ends Saturday, December 3, 2016!

1-800-832-2412

NOW ENJOY BRILLIANT COLLEGE COURSES IN YOUR HOME OR CAR!

In Museum Masterpieces: The

Louvre, expert art critic and

historian Professor Richard

Brettell takes you on an

unfor-gettable journey through one of

the world’s greatest museums

This 12-lecture series explores

some of the most beautiful and

renowned examples from the

museum’s remarkable collection

to many benefits that go beyond improved physical health

Course No 755

8 Lectures(45 Minutes/Lecture)

Course No 9263

12 Lectures(30 Minutes/Lecture)

SPECIAL INTRODUCTORY OFFER!

+$5 Shipping and Handling All orders subject to approval.

Limit of one order per household.

Cannot be combined with any other special off ers or promotions.

Off er valid for new customers only.

In How Colors Affect You:

What Science Reveals, you’ll

learn that there’s an actual ence behind how colors work

sci-on your eyes and your brain

Learn how to tap into the power

of color to create and achieve a range of visual goals, as taught

by design expert and professor William Lidwell of the Univer- sity of Houston

Great Masters: Beethoven—

His Life and Music places

the composer’s life within its social, political, and cultural framework You’ll learn about Beethoven’s dysfunctional family life, musical training, compositional successes, and the core features of his great- est works Enjoy excerpts from more than a dozen of

his masterpieces.

LANDSCAPE IN GREEN, ORANGE AND VIOLET

demo

1 GREEN MIXTURES: First

I experimented with color mixtures Mixing violet and yellow can produce beautiful greens, so I took six violets and mixed each with two different yellows I came up with greens ranging from a cool blue-green to a warm, orangey green As always, I suggest you experiment with your own swatches

2 PALETTE: From my

experiments, I chose a foundation of two violets:

quinacridone violet (warm/

more red) and ultramarine violet (cool/more blue) I also selected two yellows:

Hansa yellow light (cool/

more blue) and Hansa yellow deep (warm/more red) I mixed Hansa yellow light and ultramarine violet

to create a warm green I mixed Hansa yel- low deep and quinacridone violet to get a warm red- orange This resulted in four of my six colors con- taining violet, ensuring a harmonious palette.

olive-3 UNDERPAINTING: I toned the canvas with burnt sienna

to eliminate the white of the surface and provide a warm backdrop for the painting.

5 BLOCKING IN LAND FORMS: Continuing the

block-in, I massed in the dark values of rocks and distant hills with ultramarine violet.

6 BEGIN SKY AND LIGHTER VALUES: Still working on

the block-in, I painted the sky with ultramarine violet and white For my sunnier green passages, I used warm orange with warm green For the lightest values of the rocks, I used warm orange and white I added touches

of warm violet to the rock shadows.

cobalt violet

manganese violet

quinacridone violet

quinacridone magenta

I decided to paint a landscape with a limited

palette based on a triad of secondary colors:

green, orange and violet The landscape is often

composed of these hues.

ultramarine violet

quinacridone violet

ultramarine violet +

Hansa yellow light

Hansa yellow deep

Hansa yellow light

quinacridone violet + Hansa yellow deep

1

2

7 MAKE FINAL ADJUSTMENTS:

To fi nish the painting, I used

a variety of my mixtures

to adjust for atmospheric perspective, correct shadow colors and so on I wanted

to maintain a sense of tery, so I kept the light key low To evoke the sense of a sunny day, I heightened the chroma of the sky with clean mixtures of ultramarine violet and white I worked more pure ultramarine violet and quinacridone violet into the shadows to deepen, darken and enrich them, thus fi nish-

mys-ing Enchanted Circle (oil on

tend to mix one from red and blue, but

a tubed violet made from a single ment, rich and clean, can be an asset

pig-Before I get into that, however, let’s look at what we can do with violets.

One of my favorite color schemes

is based on a triad of secondary colors: green, orange and violet Th ese are colors often found in the landscape

Th ey appear in vegetation, from warm oranges in sunny spots to cooler greens in half-tones to coolest violets

in shadows I can also make warm, earthy greens with violets by add- ing yellow (See Landscape in Green, Orange and Violet, pages 22–23.)

I can make violets warmer or cooler depending on what colors I mix into them I may mix in a little alizarin crimson to warm up a violet or mix in cobalt blue to cool it down I’ve learned I can make an incredibly dark, transparent neutral that approaches black with dioxazine purple and phthalocyanine green I use this for my darkest dark in rocks and vegetation.

Beautiful grays are another sibility with violets Many tubed violets are so dark you can’t tell their true color without adding white, which also cools and “grays” them By adding tiny amounts of other colors, you can shift these muted violets to a whole spectrum of grays.

pos-MIXED OR TUBED VIOLETS?

Chances are you mix your violets from red and blue—but which red and which blue? In my split-primary palette, for example, I have a warm and a cool version of red and blue (and yellow) With cadmium red light (a warm red) and ultramarine blue, I can mix a violet that’s warm and somewhat dull If, however, I substitute alizarin crimson (a cool red) for the cadmium red light, I get a violet that’s cooler and more intense Why? Because the richest violets are made from reds that lie closer to blue, like alizarin crim- son, and from blues that lie closer to red, like ultramarine blue For better understanding, try some color experi- ments while referring to a color wheel (See Mixed Violets, above.)

ABOVE: Mixtures of different reds and blues yield different violets Here you see a grid

of six different violets mixed from three different blues In the top row I added

cad-mium red medium and white to each blue; in the bottom row, I added alizarin crimson

and white to each blue The intensity and temperature of a violet will vary, of course,

with the proportion of its components To see how this works, make your own swatches.

MIXED VIOLETS

ABOVE: The top row of swatches shows color drawdowns of six violets by Gamblin

Art-ist’s Oil Colors (although quinacridone magenta is listed on the Gamblin website as

a red, to my eye it’s close enough to violet to be included here) The thicker paint at

the bottom of the drawdown swatches is the mass tone of the color The undertone

became evident as I drew the paint out thinly toward the top of the swatch A visible

pencil line a third of the way from the top indicates the transparency of the paint

Note that dioxazine purple is such a powerful, staining color that, although

transpar-ent, it nearly obscures the pencil line The bottom row of swatches shows a tint of

each color, made with titanium-zinc white Violets are often so dark, white needs to

be added to make the color easier to see.

TEXT CONTINUED FROM PAGE 20

ultramarine blue +

cadmium red medium +

white

cobalt blue + cadmium red medium + white

phthalo blue + cadmium red medium + white

ultramarine blue +

alizarin crimson +

white

cobalt blue + alizarin crimson + white

phthalo blue + alizarin crimson + white

TUBED VIOLETS

ultramarine

violet

dioxazine purple

cobalt violet

manganese violet

quinacridone violet

quinacridone magenta

Kansas City, Missouri 64108 • www.globalartmaterials.com

hand • book drawing pads

Introducing 10 new pads that use the same paper found in our best selling travelogue series journals Artists love this paper which has proven to be the right shade and texture for all dry media, charcoal, colored pencils, pen and ink, as well as light washes.

INTRODUCTORY VALUE PACK

Available with the complete range of pad sizes at your favorite art supply store or online retailer.

INTRO

Availab your fa

p se ha for pen

Buying violet paints is the native to mixing them (see Tubed Violets, page 24) Some violets, such

alter-as ultramarine violet, are made from minerals or metals Others, such as quinacridone violet, are made from a modern, organic pigment Tubed vio- lets made from a single pigment are inherently richer, more intense and more transparent than any mixture you could make Th ey also tend to have a higher tinting strength and to stay cleaner in color mixtures.

Next time you see a patch of den or wild violets, ask yourself, “Are they violet or purple?” What colors

gar-on your palette would you use to paint them? ■

MICHAEL CHESLEY JOHNSON is a

contrib-uting editor for The Artist’s Magazine and author of Outdoor Study to Studio: Take Your

Plein Air Paintings to the Next Level His fi ve

art instruction videos are available through northlightshop.com He also teaches plein air workshops throughout the United States and Canada Vist his website at michaelchesleyjohnson.com.

A Short History of Violet

For artists, a good, rich purple or violet didn’t arrive on the scene until 1859, when cobalt violet was created Before that, purple/violet pigments were either dull, nonlightfast or very expensive One

of the earliest was caput mortuum (Latin for “dead head”), a purplish brown iron oxide that was used in paintings of religious fi gures and patrons Although dull, it was, at least, lightfast Tyrian purple, used to dye the robes of Roman emperors, was another early pigment

This pigment was rich but not lightfast

It was also expensive—to make one gram took more than 10,000 whelks (you can still buy it today at $4,280 per gram) Cobalt violet, the fi rst truly violet pigment, was rich, lightfast and expensive The fi rst recipes of this violet were poisonous because the pigment was made from arsenic-tainted ore

Manganese violet, developed in 1868, replaced cobalt violet because it was less expensive and nontoxic Today, this list of historic pigments has been supplemented by a variety of modern ones for a full range of violets.

Barbara Dahlstedt, CPSA (AZ)

Award for Excellence

2016 CPSA International Exhibition

I keep renewing my membership because I owe my career to CPSA.

—CPSA charter member Linda Wesner

If you create art in colored pencil and you aren’t a member of the Colored Pencil Society of America yet, it’s time to cross that fine line With two full-color news magazines annually, pencil lightfastness test results, online shows to enter, an international exhibition and convention held

in a different city each year, and

a network of local chapters, CPSA

is where fine artists who work

in colored pencil can network,

learn—and make their mark

Since 1990

Colored

Acrylic Four Ways

An artist takes a spin with Liquitex Professional Acrylic INK!, Professional Paint Markers, Professional Heavy Body Acrylic Paint and Professional Spray Paint.

Liquitex sent me Professional Acrylic INK!, Professional Paint Markers, Professional Heavy Body Acrylic Paint, and if that weren’t enough—the Liquitex Professional Spray Paint I have used, in the past, the Liquitex Professional Heavy Body Acrylic Paint for special purposes (sometimes as an addition to my normal split-primary palette), so I’m familiar with light blue permanent, medium magenta and light blue vio- let I’ve found the consistency (heavy butter), the pigment load (high), and the handling characterisitics to be

fi rst class A stroke made with the Professional Heavy Body Acrylic Paint retains its integrity as it dries, but it’s not so heavy that it comes off the brush in clumps

MAKING A MARK WITH INK AND MARKERS

Th e ink Liquitex sent me was intense and transparent Ink, even pigmented ink, is not a medium I use Without knowing the retail cost, it would seem to me that a fl uid acrylic would

be a more economical choice in terms

of the actual amount of product you’d use If you, however, were creat- ing small works, then I think the Liquitex Professional Acrylic INK!

would serve very well For my test I used the pigmented ink on top of the dark red on a current painting (see page 30) As you can see, the green pigmented ink retained its intensity very well.

I had a super time using the Professional Paint Markers After loading the nibs, I used both the wide and small ones to apply lines to

my work in what was for me a more direct way of drawing than using

ALTHOUGH I WORKED FOR MANY YEARS in ent watercolor, about half the work I now do involves acrylic paint in some form I love the versatility of the application (from a thin wash to heavy impasto), and I use some of the many additives that are available that change the paint’s consistency and handling character- isitics After all, as artists, we use what we like and like what works I compared the acrylics that the Liquitex company sent me with the Holbein, Golden and M.Graham acrylics that I usually use.

the brush Th e acrylic paint covered

well (over light and dark paint) and

fl owed easily from the markers (see

image above, left) If there was one

drawback, it was how easily the nib

distorted the mark when I was

work-ing on a textured surface I admit I’m

an aggressive painter, and my

paint-ing included lots of previously applied

pigment—with the result that the

ground was rough I think the

mark-ers would work best on a relatively

smooth surface

SPRAYING UP A STORM

I had the most fun experimenting

with Liquitex Professional Spray

Paint It’s highly pigmented acrylic

paint in a spray can Th is is not your hardware-variety, low-cost, low-qual- ity spray paint When I received the materials from Liquitex I was working

on a large, nonobjective painting, so I decided to incorporate the spray paint into my work (see image above, right).

I found the spray width and tern to be very controllable (I’m well versed in spraying), and it was easy

pat-to achieve a smooth blending of ferent colors One or two passes left

dif-a trdif-anspdif-arent pdif-assdif-age; further codif-ats provided an opaque passage: all very controllable.

Liquitex can supply three ferent caps that will provide a small, medium (standard), and large spray

dif-swath I found the medium (standard) cap to be perfect for what I was doing

Th ere is a “however” however: Th is

is acrylic paint, and just as with an airbrush, you have to keep the nozzle (cap) clean I’d advise you to purchase the spray Cap Cleaner and follow the directions If you do that, you should have no problems with a clogged cap.

WORKS ALWAYS IN PROGRESS

As often happens, what I do in one compartment of painting runs over into another While I was experi- menting with incorporating the acrylic spray into a current nonobjec- tive work, my Wednesday Morning Plein Air day was approaching I took

LEFT: INK! spots in green

BOTTOM LEFT: Paint Markers in yellow and blackBOTTOM RIGHT: The artist using the Liquitex Spray Paint outdoors

Closeouts & Overstocks make this Artrageous

offer possible Please note: we have a limited supply

of Brush Bonanzas available Don’t be disappointed, order today! 100% money back guarantee.

*FREE! with your order

a $9.95 Palette Knife Set

To order your Brush Bonanza visit:

Faux Kolinsky Round Size 7 – A socially responsible

alternative to animal hair blended to recreate all the

attributes of Siberian sable especially the generous

reservoir and natural tip.

Black Gold Quill Size 4 – A Quill made in the old

tradition, carefully crafted and cupped by skilled

brushmakers and tied with fi ne brass wire to hand

dipped birch handles.

Dynasty Watercolor Flat – A Dynasty Staple, fi ne

white synthetic on clear beveled handle for burnishing

and scraping.

Limited Edition Dynasty

Watercolor Brush Collection

Experience the fi ne art of brushmaking through

the Dynasty Watercolor Brush set from The Brush Guys,

a sampling of 3 of the premier brush series created

by artists for artists Now available for a limited

time at a special price of $19.95 @ www.thebrushguys.com Retail Value $42.20

Holiday special $19.95 + S&H

As a bonus with the purchase of this set you will receive the Faux Squirrel Aux

reservoir brush at no extra charge to you A retail value of $8.45

Manufactured by FM Brush Company

my 9x12 plein air panel and sprayed the background with a gradation from blue to yellow to orange (cool

to warm), to replicate a clear mer sky (see image at bottom), then

sum-I painted right on top of that ground

(see Summer Beginning, page 28)

I use what works for me and I’m always willing to try new products

If you’re interested in any of the eff ects I’ve outlined or if you’d like

to experiment, I think these Liquitex products will serve you well ■

MARK MEHAFFEY is the author of Creative

Watercolor and Acrylic Workshop; he also

has fi lmed 12 instructional videos—both

books and videos are available at

northlightshop.com.

TOP: Pentimento Transitions (acrylic on

board, 60x48)ABOVE: Liquitex Spray Paint blending (12x9)

Th e Best in Watercolor Instruction at

NORTH LIGHT SHOP

Save 10%!

Use code ARTPUB10 during

checkout in the North Light Shop.

These and many other North Light products are available at your favorite art & craft

retailer or bookstore You can also order online at NorthLightShop.com or by phone

at 1-800-258-0929 Online prices may differ on listed titles; prices are as marked on

store pages in the North Light Shop

CHECK OUT

THESE GREAT

TITLES ALSO!

Paul Jackson’s Watercolor Workshop:

The Color of Sunset

By Paul Jackson

Follow along with renowned watercolorist Paul Jackson

as he demonstrates how to paint a serene sunset and its

surrounding landscape in watercolor from photos After

reviewing the magic hour of light and the techniques to

embellish this time of day, you’ll learn how to briefl y block

in a composition before unleashing a mother wash of

colors Then create additional layers of masking fl uid, paint,

and texture to develop the underpainting To build up to

the fi nal painting, add in natural elements from shadows

and refl ections to enchanting skies and vivacious foliage

With Paul’s surefi re watercolor techniques, you can

easily paint radiant skies and rippling water to create your

very own peaceful sunset, no matter the time of day!

4
t


Exploring Color Workshop, 30th Anniversary Edition With New Exercises, Lessons and Demonstrations

#Z
/JUB
-FMBOE

4
t


Jean Haines’

Watercolor Mindfulness

By Jean Haines 3
t


Drawing Atelier:

The Figure

By Jon deMartin 5
t


At New Wave® our goal is simple;

produce innovative products that help you paint more effectively Experience it all with the New Wave® Artist Palette Set

$170 retail value www.NewWaveArt.com

Saturday, Nov 26 Strathmore Paper

Create your art on beautiful, high quality surfaces this holiday season with

an array of goodies from Strathmore!

Drawing, watercolor, toned, mixed media and more! $220 retail value.

www.strathmoreartist.com

Tuesday, Nov 29

Stove Prairie Press

We are delighted to give away

Snow Maples, an exquisite 18 ×24

autographed limited edition lithograph

by Richard Schmid—a $175 value

www.richardschmid.com

Wednesday, Nov 30 RayMar

Win an 11 ×14 RayMar Wet Painting Carrier

to safely transport your paintings and fi ve of RayMar’s NEW Arches® Oil Paper Panels, a revolutionary paper with the ability to accept oil paint! A $107.85 value www.raymarart.com

Sunday, Dec 4 ArtistsNetwork

Get unlimited access to more than 600 ArtistsNetwork.tv video workshops for a full year! New art workshops are added weekly Retail value: $199.99 www.artistsnetwork.tv

Saturday, Dec 3 ARTristic Easel

A “revolution” in how to hold your artwork, the ARTristic Easel lets you rotate, tilt, raise and lower your creation at will Sit or stand, the easel is happy either way A $279 value www.artristic.com

Sunday, Dec 11 Ironlak

Win an assortment of Ironlak Pump Action Paint Markers The Pump Action valve system has been created to offer artists a superior quality, adjustable output paint marker across

a range of surfaces and application Valued at

$185 www.ironlak.com

Monday, Dec 12 Caran d’Ache

Luminance 6901 smooth, permanent colour pencils are offered in a wide range of colours Winner will receive

76 colours valued at $389.50.

http://creativeartmaterials.com

Wednesday, Dec 7

Richeson

Professionally and expertly formulated,

Richeson Oils offer rich color intensity,

brilliance of hue and chemical purity

Wisconsin made Labels painted by

hand for color accuracy $1,000 retail

value www.richesonart.com

Friday, Dec 16 Richeson

American-Made BEST Oak Manzano adjusts for seated work, tilts horizontally for fl at work, or raises vertically into a higher position for standing work $505 retail value

www.richesonart.com

Thursday, Dec 15 Liquitex

Introducing the Liquitex Special Release Muted Collection: 5 NEW colors matched across acrylic Ink, Soft Body & Heavy Body Win all 3 sets! $178.35 retail value

www.liquitex.com

Thursday, Dec 8 EdgePro

As part of the Holiday Giveaway,

we are giving away an EdgePro PaintBook Easel with a set of Side Tables, valued at $434

www.edgeprogear.com

to win one of our Fabulous Holiday Gifts for

artists One lucky winner will receive a $1,000

Grand Prize Gift Certifi cate to Blick Art Materials!

Go to www.artistsnetwork.com/holiday to enter!

NEW PRIZES

Daily!

Friday, Dec 9

Winsor & Newton

This combination set brings together

the unrivaled performance of Winsor

& Newton watercolors with the world’s

fi nest watercolor brush, the Series 7 Kolinsky

Sable Value: $320.98 www.winsornewton.com

Monday, Nov 28 Royal Talens

Solvent-free oil painting! All the gear you need to start painting today, whether in studio, or en plein air Proudly crafted in Holland from Royal Talens A $262.50 value

www.royaltalens.com

Sunday, Nov 27

Richeson Art

Perfect for plein air or studio, Grey

Matters™ creates a neutral color

space between you and your art

Grey matte handles and ferrules

reduce glare $500 retail value

www.richesonart.com

Thursday, Dec 1

Liquitex

Win a sturdy and stylish storage

tin of Liquitex Professional Paint

Markers Contains 11 Fine Paint

Markers and 3 Wide Paint Markers!

A $95 value! www.liquitex.com

Friday, Dec 2 Pébéo

Win a 4 ARTIST MARKER assortment, Pébéo’s NEW versatile Oil Paint Marker! Includes 26 markers, featuring 18 different colors and 4 different tip sizes

A $120 value! www.pebeo.com

Monday, Dec 5 Dynasty Brush

FM Brush will give one lucky winner an assortment of Black Gold and Dynasty brushes perfect for oil, acrylic and watercolor Valued at $500

www.dynastybrush.com

Tuesday, Dec 6 Rebelle

Rebelle is a one-of-a-kind real watercolor, acrylic, wet and dry media painting program Its watercolor simulation is based

on real-world color mixing, blending, diffusion and drying $59.99 retail value

wet-www.rebelle.escapemotions.com

Saturday, Dec 10 Liliedahl

Enter to win a $500 Shopping Spree and choose from more than 160 art instruction videos and books Also claim your FREE “97 Painting Secrets” DVD at www.FreeArtVideo.com

Tuesday, Dec 13

Creative Juices

Creative Juices Paint by Shape kits!

Included are step-by-step instructions

and materials to complete 6 beautiful

paintings—no drawing required

It’s new, fun and easy! Prize value:

$89.85 www.CreativeJuicesFUN.com

Wednesday, Dec 14 North Light Books

Learn the latest art techniques from the most popular teachers with 6 books and a one-year subscription

to The Artist’s Magazine Value:

$175 www.artistsnetwork.com/

the-artists-magazine

Saturday, Dec 17

Holbein

Start your year right with this generous

watermedia prize from Holbein Package

includes Holbein watercolor, gouache,

Acryla gouache, brushes and more!

Valued more than $950

www.holbeinartistmaterials.com

Sunday, Dec 18

a $1,000 Gift Certifi cate to GRAND PRIZE

RADICAL ATTENTION

Catherine Kehoe composes still lifes and self-portraits that

36 artistsmagazine.com

LEFT: Kehoe’s analysis of a vase of

fl owers in Peonies

(oil on panel, 12x10) stresses the structure or

“architecture” of her subject

OPPOSITE: In SP

with red ribbon

(oil on panel,6x6) Kehoe’s approach

to self-portraiture embraces sharp ob- servation with a bit

of playacting A red ribbon introduces a touch of color with

a wry hint of humor.

“Radical Attention” was the appropriately

titled exhibition of Catherine Kehoe’s paintings held in 2013 at

Boston’s Howard Yezerski Gallery (now Miller Yezerski Gallery)

Th e name lives up to what she refers to as a body of work that

manifests the discipline of “fi erce looking” she considers integral

to her method as a painter Fierce indeed In her 27-year career

as a painter studying, living and working in the Boston area, she

has earned a national reputation Her work consists primarily of

mysterious and witty still lifes that exist at the edge of

abstrac-tion and a series of sharply observed self-portraits notable for

their clarity and truth Th e still lifes are transformative: Th ings

as disparate as a bright yellow rubber dish glove, plastic grapes and a pinecone cohabit with the otherworldly grace of objects that could have existed in a box construction by Joseph Cornell

Th e self-portraits are notable for their variety and invention as well as their sharp self-scrutiny

LEARNING TO SEE Catherine Kehoe’s path to becoming an artist was not direct Her father, a sign painter with a talent for drawing cartoons, encouraged her, but not to the extent

THE ACT OF LOOKING LOOKS LIKE.” CATHERINE KEHOE