This edition of Artist HQ spotlights Joshua LaRock, an internationally recognized figurative artist whose portraiture and figurative works offer an ode to the Old Masters but with a contemporary spin.Joshua LaRock, An Artist to KnowInspiration can be a difficult thing to articulate for Joshua LaRock.
Category Artist Profiles
Mary Whyte’s Portrait Art Tells Our Stories, PowerfullySome artists interpret the nature of beauty quite narrowly. It’s physical and defined in very specific terms. Not for me. I’m inspired by stories of real people — their character, personality and unique walks of life. That’s what makes the kind of beauty that lingers in my mind.
The following is a guest blog post by Cindy Salaski, author ofOil Painting with the Masters: Essential Techniques from Today’s Top Artists. Here, she profiles Kevin Macpherson, who teaches readers how to create a dynamic landscape painting by using bold brushstrokes in Oil Painting with the Masters.Kevin Macpherson majored in illustration at Northern Arizona University and feels he was very fortunate to have Chris Magadini as his instructor.
Esteemed watercolorist John Salminen, author of the newly released John Salminen—Master of the Urban Landscape: From Realism to Abstractions in Watercolor, shares the stories behind the travel paintings from a few of his most recent adventures in the December 2016 issue of Watercolor Artist. Below are some additional breathtaking pieces of his that didn’t make it into the printed edition.
Michael Klein: Weekend with the Masters art instructorKarinas Rose by Michael Klein, oil painting.Michael Klein is a young artist in the NovoRealist movement (new realism), creating melancholic oil painting art that has a distinct and haunting feeling. He began his academic art training at the age of 18 with Richard Whitney, and continued at Richard Lacks The Atelier, in Minneapolis.
This week we bring you a gorgeous colored pencil piece from North Light Books’ most recent art competition book, Strokes of Genius 4: Exploring Line: Linda Lucas Hardy’s Yesterday Morning When I Was Young.Yesterday Morning When I Was YoungLinda Lucas HardyPrismacolor on UArt 800 sanded pastel paper16″ x 25.
Today we are featuring Thomas W. Schaller’s piece Manhattan Beach Pier from the latest edition of our Splash Watercolor art competition, Splash 13: Alternative Approaches.Transparent watercolor on 300-lb. (640gsm) Saunders Waterford 22″ x 30″ (56cm x 76cm)Here’s what Thomas W. Schaller says about his artwork:This painting was begun on site and finished in the studio, and was an attempt to make the beautiful, atmospheric light—as it was reflected and refracted within the mist—the real star of this work.
Landscape Watercolor Painting Tutorials from Fealing LinPainting with bold brush strokes and drippy washes, Fealing Lin keeps her paintings fresh and lively. Her process involves layering big brushstrokes, transparent glazes and interesting shapes to capture her subjects. Enjoy these three watercolor painting tutorials from the artist so you can hone your own watercolor skills and paint just the way you want to!
Artists from around the world brought their best watercolor paintings to the party for the 8th Annual Watermedia Showcase competition. Freshen your drink and enjoy some of the finest work contemporary watercolor has to offer.“The language of art has no boundaries.”—Zhu LiangchuanPrize-Winning Watercolor Paintings“As I watched my daughter swim for the first time, I was struck by the riot of color—not only in the complicated waves of water in the swimming pool, but also by the rich colors reflected by her body.
Masterful Figure Paintings from One of Today’s Top ArtistsI can and have spent hours studying the work of Kadir Nelson. He makes it easy. His figure paintings combine history, expressionism, power and technical ability.Like many contemporary artists today, he has a background in illustration — blending commercial, cultural and personal interests in all the pieces that leave his studio.
Rendering water realistically (in any medium), with all of its many facets, is typically one of the frontier challenges of pastel painting. Self-taught pastelist Amy K. Sanders has relished this watery challenge. Because she lives along the Atlantic coast, she says the ocean fuels her artist’s soul.Here she shares observations gleaned from work on three of her pastel landscapes.
When it comes to the versatility of the pastel medium, New York artist Bill Creevy is the man who wrote the book. It also brought much needed affirmation to artists who were currently working and experimenting in the medium.In recognition of this important contribution to the field, and in celebration of an impressive body of work in the medium, the Pastel Society of America (PSA) honored Creevy as its 2011 Pastel Hall of Fame recipient with a formal presentation at its annual awards event last September.
There is excitement and energy in the pastel landscape paintings of British artist John Tookey. Paradoxically, the secret to that dynamism is understatement. It begins with the artist’s approach to color, which—though full of vibrancy—is achieved through the use of neutrals. I have a lot of grays, ochres and earth colors in my pastel collection, and don’t believe you can have too many.
Drawing magazine is thrilled to present The Illustration Issue, our first issue ever devoted to the many artistic practices and styles that fall under the broad label of illustration.Among the illustrators featured in the magazine are four contemporary artists who use different media to create imagined worlds, characters, and scenes.
California artist Adonna Khare is the star of our New and Notable column for the fall 2013 issue of Drawing. Here, we’re happy to present a few of her impressive works that we couldn’t fit in the magazine.And you can’t really blame us. There are actually a great many places that wouldn’t fit Khare’s drawings–because they’re huge, with some of her imaginative renditions of regal fauna reaching 8 feet tall.
Five years ago, British artist Sarah Bee moved from the hustle and bustle of England’s capital city to the much quieter surroundings of rural Devon. “Plus, I’m completely surrounded by all the things that interest me as an artist: rocky coasts, rolling hills, woods and rivers.”In the October 2014 issue of Pastel Journal, find out how the artist uses interpretative color and textural techniques to capture her new environs in rich, moody pastel paintings, like these:MORE RESOURCES FOR ARTISTS• NEW!
It took New Orleans artist Jim Seitz four months of trial and error to develop his method for successfully combining acrylic and metal leaf. His process begins with taping the outside of a gallery-wrapped canvas to create a crisp edge. He then applies Golden’s Light Molding Paste with a sheet-rock trowel, giving it just enough texture to cover the canvas.
Dean Mitchell wields his brush with soft, yet deft, strokes of controlled edges and subtle transitions to honor the spirit of oft-overlooked people and places. Paintings that at first glance appear to be straightforward, realistic renderings turn out, on closer inspection, to be highly organized compositions in which careful editing and orchestration of tone and color work to create a unique and telling vision.
Being an art teacher is more than just sharing drawing and painting techniques. It’s about guiding people and being a mentor and role model. Sometimes I lose sight of that because I’ve been doing it for so long. It just seems natural. I forget that my teaching, due to my instructional art books (find them at here), has a much farther reach than just my studio.
Daniel E. Greene, whose career as a painter spans seven decades, has been committedto the pastel medium since first cutting his teeth in portraiture as a street artist in 1950s Miami. And his pastels—large, formal, conceptually and technically dazzling—proved years ago that the medium is just as suitable as oils for creating accomplished, serious work.
Lyn Asselta lives in South Florida, a location that affords wonderful opportunities for the landscape painter, but Asselta proves there’s more to the surroundings for artists than the expected seascape. As feature writer Amy Leibrock puts it, “Asselta builds landscapes that make viewers pause and listen to what a place has to say.