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The Artist’s Magazine blog

Tip File: Natural Light

To achieve the “glowing” affect that’s characteristic of Lauren Tilden‘s work, she insists on a natural light source. She observes how the light is hitting the form, how the form is turning, and whether the light is reflected or coming from a single source. This tip is from the feature article on Lauren Tilden,...

The Quotable Artist: Milford Zornes

“Talent is like having muscles or good looks; it’s an asset if you can use it skillfully and thoughtfully and tastefully, but we all know that some of the ugliest actors are the most talented ones.” —Milford Zornes, from “Milford Zornes Reflects on 100 Years” in the January/February 2008 issue of The Artist’s Magazine....

The Artist’s Magazine blog

Tip File: Understanding Temperature Changes

Look at the temperature changes from shadow to light in the paintings of masters such as Sargent, Sorolla and Monet. Make a chart of temperature ranges for the primary colors, and hold it next to the paintings to see how a color can be warm or cool in different situations. In your studio, set...

The Quotable Artist: Jon R. Friedman

“I feel as if the camera gives back so much. The way it reconfigures the world has become an important resource for me.”—Jon R. Friedman, from “Intense Nature” in the May 2008 issue of The Artist’s Magazine. Inspiration and instruction are at your fingertips when you click here and order The Artist’s Magazine‘s 2008...

The Artist’s Magazine blog

Tip File: Pastel Organization

There are numerous ways to organize pastels–by value, color, temperature or brand–the important thing is that they’re all out together so that you can have access to your entire arsenal. The easier it is to get to your materials, the more you’ll paint. This tip by Terri Ford is an excerpt from an article...

The Quotable Artist: Andrew Ameral

“Studying anatomy plays a crucial role in helping artists to conceptualize those boney and muscular forms underneath the skin. Even more important, anatomy helps artists to see and define the edges of form and interpret and refine the silhouette. When artists don’t understand the skeleton and musculature, the figures they draw look generic and...

Tip File: How to Create a Phosphorescent Yellow

Thomas Bacher advises that since yellow cadmium crystals that glow pure yellow are no longer available, it’s possible to create a phosphorescent yellow by mixing phosphorescent green and phosphorescent orange pigments. “And if you want the mixture to look yellow in the light,” he explains, “then mix the pigment powder with a transparent daylight...

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Coming Together: Jane Freeman, in her own words

Recently we at The Artist’s Magazine received an inspiring letter from one of our readers, Jane Freeman. Hers is a story of isolation that blossomed into long friendships, thanks to art and technology. Let’s hear it from Jane, herself… Dear Artist’s Magazine, I wanted to tell you about a group of artists that I...

The Quotable Artist: Paul Murray

“I always force myself to paint, even when I don’t feel like it. It’s a lot like running. For the first quarter- or half-mile, you want to quit, but then you get into the zone, where you relax and focus.” —Paul Murray, from “Music of Light” in the October 2007 issue of The Artist’s...