TAM December 2012

Direct vs Indirect: Two Ways of Painting in Oil
MultiplePoint
Perspective
Winners
of the 2012 Annual
Art Competition
Misty and
Mysterious
December 2012
www.artistsmagazine.com
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Tonal Landscapes
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Display until December 3, 2012
Crazy Quilt (detail; oil, 28x18) by Grace Kim
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contents
DECEMBER 2012
36
VOLUME 29 NUMBER 10
features
35 The Winners of The Artists
Magazines 29th (2012)

Annual Art Competition
By Maureen Bloomeld
36 Landscape/Interior
Edited by Holly Davis
42 Animal/Wildlife
Edited by Cherie Haas
56 Portrait/Figure
Edited by Maureen Bloomeld
62 Still Life/Floral
Edited by Christine McHugh
68 Abstract/Experimental
Edited by Betsy Dillard Stroud
74 By Direct or Indirect Means

Should you start a landscape in oil by proceeding directly to shapes and colorsor by
washing in an undertone? Either approach
works; choose the one right for you.
By Michael Chesley Johnson
42
56
62
68
columns
8 Letters
12 The Artists Life
A panel in Toronto decides
whether grafti is vandalism or
art; we invite you to the World of
Art Showcase, and more.
Edited by Cherie Haas
18 Exhibitions
22 Holiday Gift Guide
Great gifts for artists on your list.
24 Brushing Up
Tonal landscapes depend on
atmospheric effects.
By M. Katherine Hurley
30 Holiday Sweepstakes
Someone wins art materials
every day of the season!
32 The Artists Magazines
30th (2013) Annual Art

Competition
Learn about next years contest!
82 Ask the Experts
An attorney examines the effect
of an artworks dimensionality
on copyright law and the nature
of contracts for commissioned
works. By Leonard D. DuBoff
84 Drawing Board
Knowing perspective is a prerequisite for organizing a landscape: one- and multiple-point
perspectives explained.
By Grant Fuller
90 Workshop Guide
Make plans for the new year
with our guide to painting
classes here and abroad.
96 Competition Spotlight
The benets of entering our
competition go on and on.
By Maureen Bloomeld
12
on the cover
Direct vs Indirect 74
Multiple-Point Perspective 84
Competition Winners 35
Tonal Landscapes 24
COVER: Crazy Quilt (oil, 28x18)
by Grace Kim
The Artists Magazine (ISSN 0741-3351) is published 10

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years winners from
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Step-by-Step Demonstrations in Oil

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Step-by-Step Demonstration in Watercolor

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letters
FROM THE EDITOR, OUR CONTRIBUTORS AND READERS
Trying To Excel
I had the good fortune to
attend American Artists Weekend with the
Masters in San Diego, where artists of the caliber of Daniel E. Greene, David Leffel, Sherrie
McGraw, Juliette Aristides, Quang Ho, Rob
Liberace and David Jon Kassan, to name just a
handful, maintained that, as artists, we have to
pay attentionto look until we see. Looking
until you see sounds easy unless youve spent
a lifetime at it. In fact, David Leffel called
painting a problem-solving discipline; Daniel
E. Greene spoke of the challenge of realism
and of the extremely worthy goal of spending ones life trying to excel. Trying to excel
is continual, an inner and outer process, a
dilemma and a joy.
If youre a new reader of The Artists Magazine, we welcome you. In every
issue, we feature artists who are generous enough to share secrets of craft
and wise enough to impart lessons as relevant today as they were centuries
ago. In this issue, Michael Chesley Johnson demonstrates two approaches
to painting in oil ( By Direct or Indirect Means, page 74); M. Katherine
Hurley walks you through a tonal landscape (Brushing Up, page 24); Grant
Fuller offers a refresher course in perspective (Drawing Board, page 84), and
Leonard D. Duboff explains more of the complexities of copyright law (Ask
the Experts, page 82).
Finally, we celebrate the winners of The Artists Magazines 29th Annual
Art Competition (coverage starts on page 35); we congratulate the finalists,
as well, and indeed everyone who submitted work for our review. Keep at it!
Perhaps the only point on which all the artists at Weekend With the Masters
agreed was this: The more you put into it, the more you get out of it. Keep
painting.
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8
Does Art Have to Be Beautiful?

In Letters in the September issue,
Diane Beling objected to Lucian
Freuds work (Naked Truth, July/
August) because its sad, ugly
and sometimes grotesque, and
Pat Kanzler contended that Carl
Samsons work (Blending Different
Strokes, July/August) is sexist.
Creativity and challenging the
norm are what artists are all about.
Whether artists creations are of the
beauty in the world or of the grotesque, we, as artists, need to create
those things that inspire us as individuals, not what is the acceptable

norm.
As an artist I dont decide to
paint or draw a subject based on
its beauty or the amount of clothing that the model may or may not
have on. As artists we need to look
into ourselves in order to find what
excites usnot what excites someone else. Its the artist that determines what makes his or her work
of art beautiful. It may be up to the
public to accept or reject it, but not
letters
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to determine how or why it should

be made.
As artists, our styles differ; so
does how we see and interpret the
world. As a professional artist and
teacher, I contend that my work
may be based on a sunset, a glass
of ice water sweating on a tabletop
or a tragic story. Whatever it is, its
something that has moved and
inspired me.
If artists of the past and present would have followed the criteria for Diane Belings choices of
subject and the narrow interpretations of Pat Kanzler, we may not
have had the great works produced
by Hieronymus Bosch, Vincent
van Gogh, Pablo Picasso, Robert
Motherwellor Lucian Freud. Just
as the creators of different art movements have had their followers, they
also had their critics. So lets not sell
any work of art short. It may inspire
you to create that masterpiece!
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tthe artists life
EDITED BY CHERIE HA AS
Is It Art or Is It
Vandalism?
The city of Toronto enlists a panel to decide the fate
of street art.
BY L ARRY HUMBER
a
bunch of stuffed shirts who condemned Whistler, Manet and other
notables to the Salon des Refuss
and actually kick-started the artists
careers. Toronto is about to launch
the digital-age equivalent, a Graffiti
Panel whose mission is to separate
art from what it labels vandalism.
This has the local press in a tizzy,
with one headline reading, What
is Art? Panel to Decide. But Elyse
Parker, director of Torontos Public
Realm office said that was never the
citys intention.
Questioning what is art is what
we wanted to get away from, said
Parker. What were trying to determine is if the examples are graffiti
vandalism and should be removed.
Were not looking at whether things
Image courtesy of Larry Humber
PARIS HAD ITS SALON JURY,
12
are art or not, but whether theyre

vandalism.
The SituationGrafti
Vandalism, That Is
To set the stage, lets go back to the
summer of 2011, when Toronto
decided to take steps to deal with
what it termed its graffiti vandalism
situation. Citing the ever-increasing
expensesaid to be upwards of a
million dollars annuallyof removing often unsightly graffiti, council
adopted a multifaceted Graffiti
Management Plan. Talk became
reality on the first day of 2012,
when a new graffiti bylaw went into
effect. The bylaw made provision for
a Graffiti Panel that would have the
final say as to what should stay and
what should go.
ABOVE: A familiar face with a spray can is at

work in Grafti Alley.
The panels makeup was still

undecided at this writing, but it
was confirmed that it will be either
a three- or five-person group consisting of city staff. And theres a
prerequisite: not just anybody at
City Hall can apply. Instead, its
mandated that the panel be made up
of staff with experience in the arts,
urban design, architecture and other
relevant disciplines.
Itll be a busy first few months
for the panel, as there are many
controversial works to be reviewed.
Theyll meet once a month until we
get on top of the backlog, Parker
said. Panel members will view photographs of the images, rather than
traveling from site to site.
You Say Tomato
Toronto is actually looking more
kindly on graffiti than it did in the
past, Parker said. Previously, all
graffiti was defined as vandalism.
Now, its more about eliminating
what street artists know as tags.
Tags are vandalism, she said,
LEFT: Some of the colorful graphics that
cover the north wall of Grafti Alley and a
look down the alley after a heavy rainfall
ABOVE: Cartoon imagery is popular in Grafti
Alley, as seen here and above.
unhesitatingly. The hard stuff is,

whats a tag? She then quoted from
the bylaw, which defines tagging as
a stylized signature or logo thats
intended to identify an individual or
group.
As an aside, Parker noted that
Toronto is a city thats much more
open-minded than many in the
United States. If someone here
wants to paint his house green, purple and orange, she said, perhaps
referencing Paul Gauguin, thats up
to him. Parker said that wouldnt
pass muster in many states due to
homeowner association laws.
Simon Cole of Torontos
Cooper-Cole Gallery (previously

the Show & Tell) has worked with a
number of artists from unconventional backgrounds, so he knows
the scene. While the Graffiti Panel
was news to him, he supported
it, with some reservations. I dont
think its a terrible idea, he said.
However, it could be problematic
if those choosing what is art arent
educated on the art form.
Thanks to City Councillor
Adam Vaughan, Toronto has already
given its blessing to what is known
as Graffiti Alley, which runs just
south of the artsy Queen Street
West and just west of Spadina
Avenue. Its a series of colorful alleyways that wind for a couple of blocks.
Other council members agreed
to protect the alley, with a vote of
2417 in favor. I cant speak for
[Cole], Parker said, but Ill assume
that he wanted to ensure that this
alley, which has become iconic, will
not be tampered with. As such, its
probably the best-known stretch of
graffiti art in the city. Theres some
great work there.
She closed by touching on
something thats familiar to readers
of The Artists Magazine (Artists Life,
May, 2010). Toronto has been stealing a page from Philadelphias books,
attempting to bring graffiti artists
the artists life
ABOVE: More graphics on the north wall,

with another look down the alley, which
stretches for several blocks.
over to the sunny side of the street to

involve them in the making of public
murals in an ongoing project called
StreetARToronto (StART).
Were trying to elevate the level
of street art, Parker explained. The
StART program is modeled after
the Philadelphia mural program.
Were really impressed by what has
happened in Philadelphia.
Maybe, in the midst of all this,
well see a kinder, gentler graffiti in
the future. Cartoonist Dan Piraro,
who has called both New York and
Los Angeles home, picked up on
this in a strip from 2011 that he
titled Graffiti Nerds. It shows two
innocuous young men spray-painting
a wall with decidedly restrained
messages like Your mother is not
attractive, I rarely floss and Your
manners are inadequate!
There are no tags, either.
LARRY HUMBER is a practicing artist who
previously proled pop legend Peter Blake
and late political cartoonist David Levine for
The Artists Magazine.
December 2012
13
Learn Plein Air & Studio Painting
the artists life
w i th Ba rry J o h n R a y b o u l d M.A.
Structured Four Year

Self-Study Program
Celebration of the Senses
visit www.VirtualArtAcademy.com
This program is something I wish I had started 5 years ago.
The lessons are so informative that I feel rushing through
the course would be a disservice.
Thanks for the opportunity to learn online in such an organized,
complete way. The fact that I can do this at my own speed and
in my own time is perfect.
The World of Art Showcase, a multifaceted celebration of the senses invites renowned and up-and-coming
painters from around the world to share their work with
serious collectors. The groundbreaking vision of David
Goldstein, COO of Jerrys Artarama, World of Art
Showcase is set to make its debut at the Wynn Las Vegas,
December 2022.
F+W Media is very excited to be involved with the
first World of Art Showcase, says Jamie Markle, group
publisher of The Artists Magazine and Southwest Art magazine, both of which are sponsors of the event. I know
that the working artists who read The Artists Magazine
and the collectors who read Southwest Art will find this
one-of-a-kind event to be the perfect match for those
looking to sell or buy artwork.
The World of Art Showcase is an exclusive event for
professional artists to connect with art buyers, collectors and galleries. This unique celebration of the senses
combines a presentation of prestigious paintings with
music, dance, high-end bourbons, fine wines, gourmet
food and culinary arts. To learn more about the World
of Art Showcase or for information on exhibiting, visit
www.worldofartshowcase.com.
Opportunities to win valuable awards and prizes

including over $100,000 in cash and merchandise
Educational seminars, workshops and critique sessions
Networking with your peers
OPAs 4-color National Exhibition catalog and
informative Brushstrokes newsletters
October 1 December 15, 2012

Associate On-line Showcase
$5,000 in cash awards
May 17 June 17, 2013

22nd National Juried Exhibition hosted by Insight Gallery
Fredericksburg, Texas
$100,000 in cash & merchandise awards including a top prize of $25,000
ABOVE: Matthew Grabelskys Alexandra and Mr. Guar II (oil, 46x39)
was shown last year at the World of Art Showcase.
Visit: www.oilpaintersofamerica.com
or call 1-815-356-5987
P.O. Box 2488 Crystal Lake, IL. 60039-2488
14
Follow us on
the artists life
Develop an Obsession for

Brilliant Color
Look for the Good

When we invited you to send us your
Glimmers of Gladness in support
of Anne Kubitskys Look for the
Good project (September 2012), we
had no idea how the letters, postcards, images and handwritten messages would inspire us to be grateful
for so many things. As promised,
were sharing one of the cards here.
Thank you all for taking the time

to create something to celebrate
your own lives and for sharing
them with us. To see more postcards, visit www.artistsnetwork.
com/learnmore2013C.H.
ABOVE: The Four Seasons: Renewal of
Hope Is Eternal by Lynn Candones
A Respectful Nod to Photography

While we dont normally include
photography in The Artists Magazine,
I couldnt resist sharing the work
of the women photographers who
contribute to Gulfography.com. As
we all know, art comes in many

forms; however, these photos take
us beyond a single, framed snapshot.
They embody bravery and artistry
and are worth celebrating.C.H.
Image courtesy of the artist
LEFT: Short Life by Roudha Al Shamsi. Al
Shamsi, a student in Dubai Womens College

in applied media, explores the world of our
dreams, our temporary existence and how
we shut our eyes from the truth: Our dreams
and our true identity are powerful, but we
hesitate in fullling them because we are
afraid of making mistakes and getting lost.
As a result, we shut our eyes from the truth.
This photo expresses the life and the dreams
we cant achieve because we are imperfect.
Simply, our short lives are like a broken tape.
Youve just completed a vibrant

watercolor painting, full of deep
color and strong contrasts. You
walk away for a while to let it dry
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JEN LEPORE is a senior editor for North
Light Books. To see all of Jens Picks, go

to www.artistsnetwork.com/northlight.
December 2012
15
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exhibitions
EDITED BY CHERIE HA AS
Kings, Queens and

Courtiers: Royalty on Paper
Maria Antoinette Evans Fund; Photograph Museum of Fine Arts, Boston
John B. How Fund (and Directors Contingency Fund); Photograph Museum of Fine Arts, Boston
Through June 16, 2013, Museum of Fine Arts, Boston

617/267-9300, www.mfa.org
ABOVE: Portrait of Marie Antoinette (aquatint, 28x22 mounted) by

Jean-Franois Janinet (French, 17521814)
LEFT: Triumphal Chariot of Maximilian I (detail; 1522; woodcut,
18x89) by Albrecht Drer (German, 14711528)
Why see it: To provide a broader

historical context for Mario
Testino: British Royal Portraits,
Mario Testinos exhibition of
photographs of the British royal
family in the Ritts Gallery, the
Museum of Fine Arts presents
a portrait show of prints, drawings and illustrated books of royals and individuals of noble birth
18
dating from the early 16th century

to about 1900.
What youll see: The works are
drawn primarily from the museums

collection; approximately 40 works
are highlighted, including Albrecht
Drers Triumphal Chariot of
Maximilian I, printed on eight large
sheets of paper. Also included are
highly finished drawings of 16thand 17th-century French courtiers,

as well as caricatures (King Louis
Philippe by Honor Daumier) and
images of lavish, royal festivities.
The majority of these images are
skillful propaganda intended to convey the splendor, power and virtues
of the various monarchs.
exhibitions
Elles: Women Artists from the

Centre Pompidou, Paris
Fast Forward: Modern

Moments 1913 >>2013
Through January 13, 2013

Seattle Art Museum, Washington
206/654-3210
www.seattleartmuseum.org
Through January 20, 2013

High Museum of Art, Atlanta, Georgia
404/733-4400, www.high.org
NOT YOUR AVERAGE
WATER SOLUBLE
OIL COLOR.
Centre Georges Pompidou, Muse national dart moderne, Paris
Why see it: Fast Forward

features 100 years (19132013)
of radical artistic development,
reflected by works of art drawn
from the collection of the Modern
Museum of Art, New York. The
exhibition highlights ideas and
approaches that emerged during
six key moments in the 20th century and the dynamic change that
resulted from these initiatives.
ABOVE: Untitled (Hand shell) (1934;
What youll see: On display are

more than 160 works: painting,
sculpture, graphic design, fi lm/
video and installation art by such
luminaries as Henri Matisse,
Salvador Dali, Georgia OKeeffe
and Jeff Koons.
The Museum of Modern Art, New York; Gift of Philip Johnson 2012 Estate of Roy Lichtenstein
gelatin silver print, 15x11) by Dora Maar,

French, 19071997)
Why see it: Elles, organized
by the Centre Pompidou in Paris,

home to the Muse National dArt
Moderne, is a landmark exhibition
of more than 130 works of art made
from 1907 to 2007 by 75 women
artists. This survey of daring painting, sculpture, drawing, photography, video and installation by
pioneering women artists offers a
fresh perspective on a history of
modern and contemporary art.
With humor, disdain, sensuality and
ambiguity, these women represent
the major movements in modern
artfrom Expressionism to abstraction to contemporary realism.
What youll see: Artists include
Sonia Delaunay, Frida Kahlo,
Dora Maar, Diane Arbus, Marina
Abramovi, Louise Bourgeois,
Cindy Sherman, Sophie Calle,
Hannah Wilke, Nan Goldin and
Tania Bruguera, among others.
ABOVE: Girl with Ball (1961; oil on canvas,

60x36) by Roy Lichtenstein (American,
1923-1997)
Only From
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December 2012
19
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brushing up
BY M. K ATHERINE HURLEY
Nature Gone Soft
Collection of Jay and Kate Wilford
Learn how to achieve the atmospheric subtleties of hue, value and temperature
that are characteristic of tonal landscapes.
an artistic style thats

been defined in terms of soft focus
and translucent layers of paint, as
seen in the works of 19th-century
artists George Inness, James
McNeill Whistler, Ralph Albert
Blakelock and John H. Twachtman.
Intensity of color isnt an issue;
neutral hues are more important.
Detail is minimal and edges are soft.
The effect is emotional, intimate
and ethereal. The challenge is to
translate natures grand forms, atmosphere and mystery with subtle shifts
of hue, value and temperature.
Because of all of the above
characteristics, tonal painting fasTONALISM IS
24
cinates me, and my work is often

described as tonalist, as seen in the
pastel Sienna Sunrise (above). Join me
as I guide you step by step through
the creation of another tonal work,
November Fog (page 28), done in oils.
1. Photo Reference
One November morning at sunrise,
I was out taking photos. The atmospheric conditions were perfect for
a tonal piece: fog, sunrise, frost and
just enough color. I shot a reference
photo out of focus for what would be
November Fog because thats the look
I wanted in my painting. I also shot
an in-focus photo for details.
ABOVE: Sienna Sunrise (pastel, 15x20)
2. Composition Study in Pastel

Creating a pastel study of my subject
helped me prepare for a larger oil
painting. I eliminated the branches
coming from the right because I
didnt want the detail to detract from
the big shapes and overall mystery. I
was far more interested in capturing
the feeling of the scene.
3. Value Study in Pastel
Theres no better way to capture the
energy and soul of a place than by
doing a value study. In this case, I
used black pastel on textured paper,
brushing up
and erasers of different types and

sizes to subtract (deconstruct) the
image. (For an online video demonstration of Hurleys work with erasers,
see the free preview of the first DVD
listed in Learn More, page 28.)
4. Hue, Temperature, Shapes
and Jewel
I determined four main variables
on my first day of painting: First

was the underlying hue I wanted to
see in the finished painting. I chose
cadmium orange and burnt sienna
for the lighter values and quinizarin
maroon for the darker ones. The
second variable was the temperature
of the light, which would affect
everything else in the painting. In
spite of the crisp autumn morning
air on the day of my walk, the sunlight had shone with a warm hue,
and I decided to push that warmth.
The third variable was the arrangement of the big shapes. The fourth
variable was the placement of the
jewel, the place where I want the
viewers eye to go. The jewel for
this piece appears at this stage as a
bright orange area in the lower right
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December 2012
25
brushing up
4
quadrant. At this stage Im referring
more to my pastel and value studies
than to my photos (all three types
of references are on the wall to the
right of the painting).
5. Layer Sky and Fog
I was ready for my second day of
paintingand the fun was about to
begin. I started to layer in the sky
and fog with a mixture of titanium
white, cadmium orange and radiant
violet. Working on the sky helped
me sculpt out the fog-covered trees.
Subtle shifts like thesein value,
hue and temperatureare what
make tonalism so beautiful and
mysterious.
Throughout my painting process,
I generally apply my paint with soft
bristle flat brushes of various sizes.
Then I use a 4-inch soft bristle brush
to soften edges and abstract shapes.
The resulting fusion of color aids in
the overall tonal effect.
6. Tree Layer and Local Color
Using the sky mixture as my base
and adding a small amount of
maroon, I built up another layer of
trees, which added weight to the
26
6
5
transparent monotone underpainting.
I then applied the local colors of the
brush and grasses until Id established all the building blocks and felt
that the composition was solid.
7. Work Shapes and Edges
With a clean round brush, I broke
up large, flat shapes to infuse energy.
These marks would provide doorways of opportunity as I continued.
Adding transparent orange to my fog
mixture, I pushed the luminosity of
the sunlit tree branches. Developing

the negative shape of the sky helped
me find the lost-and-found edges
of the trees. I saw that the diagonal
shape of the trees led the eye to the
streak of light on the grassthe
jewel.
Having finished my second day
of painting, I knew Id have to let
the paint dry for a few days before I
could add more layers.
8. Push Foreground Values
As I began my third day of painting,
I saw that the picture had a beautiful,
mysterious unity but that I needed
to start pushing the values. I started
with the darks in the foreground
brushing up
using burnt umber, sienna, Prussian

blue and a hint of Hansa yellow
deep. With that mixture I could
develop the contrasts of light and
temperature by adding cadmium
orange and yellow light.
9. Push Tree and Sky Values
The fogged-over trees needed to
be pushed, too. To do this, I used
burnt umber, burnt sienna, magenta,

cadmium orange and Caucasian
flesh. Then, with titanium white and
Caucasian flesh, I added layers to the
sky, causing the edges of branches to
softly reveal themselves. The value
shift was subtle and delicate.
The morning was not only foggy
but frosty as well. I added light
blues and purples to lend a frosty
Brush Back (detail, oil, 30x25)

by David Jon Kassan
from the April 2011 issue
blanketing to the grass and brush

that werent yet warmed by the rising
sun.
10. Scrutinize for Final Touches
Before I declared the work finished, I stepped away and looked
at the piece upside down as well as
backwards (with the aid of a mirror). Changing my perspective in
ART COURSES
AND WORK
SHOPS
DRAWING
PAINTING
SCULPTURE
PRINTMAKING
PHOTOGRAPHY
subscribe
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DAVID PLAKKE MEDIA
advice for artists working in all media,
December 2012
27
brushing up
this way allowed the painting to

speak to me. I decided I needed
to warm up the edges of the sunlit
branches and enhance the subtle
shifts of temperature, hue and value
throughout the painting.
As you can see, close tonal relationships fi ll the fi nished November
Fog (at left) with atmosphere,
intrigue and emotion.
Oil and pastel artist M. KATHERINE HURLEY
studied art in Italy and France, as well as in
Vermont with colorist Wolf Kahn. Shes featured in Art Journey American Landscapes:
89 Painters Perspectives (North LIght Books,
2012), available at www.northlightshop.com
and has produced three instructional DVDs
with ArtistsNetwork.TV. Visit her website at
www.mkatherinehurley.com.
LEFT: November Fog (oil, 30x30)
10
Learn More
The magazine issues, DVDs and books
mentioned below are available at
www.northlightshop.com. The DVDs
are also available as downloadable
videos at artistsnetwork.tv. For more
information and free DVD/video previews, go to www.artistsnetwork.com/
tamonlinetoc.
Media); Hurley demonstrates how to

create studies using the construction/
deconstruction technique with black
pastel and erasers.
Capturing the Essence of Landscapes
in Oils by M. Katherine Hurley (North
Light Media); Hurley demonstrates
oil landscape painting.
DVDs
Dramatic Values: M. Katherine Hurley
Works in Black and White (North Light
Artists Magazine, January/February

2008); feature article on M. Katherine
Hurley
Give and Take by M. Katherine Hurley
(The Artists Magazine, June 2008);
Brushing Up article on the construction/
deconstruction technique
Books
Vivid Color Landscapes: M. Katherine
Hurley Paints Pastels (North Light
Media); Hurley
demonstrates
pastel landscape
painting.
Conversations in Paint (Workman

Publishing Company, 1995) by Charles
Dunn
George Inness and the Visionary
Landscape (George Braziller, 2007) by
Adrienne Baxter Bell
Articles
Nature as the
Souls Mirror by
Daniel Brown (The
28
A History of American Tonalism:

18801920 (Hudson Hills, 2010) by David
Adams Cleveland
Did you know?

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Call
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For complete prizes, guidelines and to enter online, visit

artistsnetwork.com/the-artists-magazine-annual-competition.
Compete and Win in 5 Categories!

ABSTRACT/EXPERIMENTAL
ANIMAL/WILDLIFE
LANDSCAPE/INTERIOR
PORTRAIT/FIGURE
STILL LIFE/FLORAL
ELIGIBILITY
The competition is open to artists anywhere in the world. Only original
artwork, conceived and created by the entrant, will be considered.
Original means that if a painting is based on reference photos, the
photos were taken by the artist or were used with permission of the
photographer. Photography, with the exception of minor elements
incorporated in a collage, will not be considered. Neither digital art nor
sculpture will be considered. Employees of F+W Media, Inc. and their
immediate families are not eligible.
MATERIALS: The Artists Magazine will not be responsible for the loss,
damage or return of any CDs submitted to the competition.
SUBMITTING YOUR ENTRY

ONLINE ENTRIES: To enter online, visit www.artistsnetwork.com/
the-artists-magazine-annual-competition. Complete rules, guidelines and printable entry forms are also available on the website.
MAIL ENTRIES:
ATTN: Competitions Dept.
The Artists Magazine Annual Art Competition
8469 Blue Ash Road Suite 100
Cincinnati OH 45236
PREPARING YOUR ENTRY

You may enter work in any and all categories; there is no limit to the
number of entries you may submit.
Enter online or mail all your entries on one CD. If entering by mail,
please include a separate sheet that gives the title, medium (oil,
watercolor, etc.) and dimensions of each image. All digital les
submitted on a CD must be accompanied by an Entry Form. The le
names of the images on the CD must match the titles on the sheet.
DEADLINE: Early bird entries must be postmarked or entered

online no later than April 1, 2013. Entries for the regular deadline must be postmarked or entered online by May 1, 2013.
The le must be saved as a JPEG in RGB color mode (not CMYK).
Entries will be prejudged and then nalists will be chosen by the

magazine staff. Award winners and honorable mentions will be
selected by the jurors Amy Weiskopf (Still Life/Floral), Ron Monsma
(Portrait/Figure), Judith T. Greenberg (Abstract/Experimental), Douglas
Atwill (Landscape/Interior), and John Agnew (Animal/Wildlife).
JUDGING
Incomplete entry forms will be disqualied.

FEES AND PAYMENT: All entries in the Student/Beginner Division
(for artists age 16 or over who (1) have been enrolled in a post-high
school art program for no more than four years OR (2) have pursued
art on their own or in workshops/lessons for no more than four years)
are $15 per image. All other entries are $25 per image. You may send
one check to cover all entries in a package. Or you may enter online at
www.artistsnetwork.com/the-artists-magazine-annual-competition.
OFFICIAL ENTRY FORM
NOTIFICATIONS
All winners will be notied by August 1, 2013. The results will not otherwise be made public until they are published in The Artists Magazine.
EARLY BIRD DEADLINE: April 1, 2013
The Artists Magazines 30TH Annual Art Competition

Please accept my work for consideration in The Artist's Magazine
30th Annual Art Competition. I certify that my entry is original,
conceived and created entirely by me. Ive read and fully understand the rules of the competition, and agree to allow The Artists
Magazine to publish, republish, and repurpose my artwork in both
print and digital formats, including, but not limited to magazines,
promotion materials, websites, databases and as part of downloadable digital products.
To ensure your eligibility, you must ll out this form completely
and accurately.
Signature ___________________________________________________________
CATEGORIES:
Im entering my artwork in the following categories:
(Important: Indicate number of images in each category.)
_____ # images in the Abstract/Experimental Category

_____ # images in the Animal/Wildlife Category
_____ # images in the Landscape/Interior Category
_____ # images in the Portrait/Figure Category
_____ # images in the Still Life/Floral Category
Please enter the above images in the Student/Beginner division.
(Include Student after the category name on image.)
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Mail completed entry form, entries and jury fee to:
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Charge will appear as "F+W contests."
Congratulations to the Winners

of The Artists Magazines
29th Annual
Art Competition
ur 29th Annual Art Competition

(excluding the student division)
attracted more than 6,200 entries.
The most popular category was
Portrait/Figure with 1,743 entries;
Landscape/Interior was a close second with 1,679.
Animal/Wildlife and Abstract/Experimental had
close to 1,000 entries, but probably the most difficult category to judge was Still Life/Floral (1,018
entries) because there were so many artful variations
on tradition. Its an enviable privilege to look at such
beautiful work and to be able to commend deserving artists. We thank you if you entered our contest,
and we thank our judges who took their responsibilities so seriously and executed their task so well.
Jurors for the 29th Annual Art Competition
36 LANDSCAPE/INTERIOR M. Katherine Hurley

42 ANIMAL/WILDLIFE Koo Schadler
56 PORTRAIT/FIGURE David Jon Kassan
62 STILL LIFE/FLORAL Sadie J. Valeri
68 ABSTRACT/EXPERIMENTAL Donna Watson
Learn More ONLINE

For a link to our online article about this years jurors and their
comments about the competition, go to www.artistsnetwork.
com/learnmore2013.
December 2012
35
29TH ANNUAL ART COMPETITION
LANDSCAPE
INTERIOR
First Place
Brett Allen
Johnson
Lehi, Utah www.ballenj.com
THE GREAT SALT LAKE in Utah has provided endless inspiration for my paintings and
drawings. I spent quite a bit of time walking
through and sitting in the reeds that form a
perimeter around much of the lake. Few of
my paintings are entirely literal, but Ive found
that if they arent rooted in reality, no amount
of reworking can make them seem so.
Music is an important part of my emotional
response to the act of painting. In Reeds, you
can see this in the way the leaves, stems and,
especially, the dark seed heads present an asymmetrical rhythm thats akin to the way written
music is often as pleasant to the eye as to the ear.
Succession of Marks Over the years, my art has
definitely become simpler, more stripped down

and, consequently, more difficult. I almost
always use a limited palette, and I almost never
use the same colors. My favorite part of the
painting process is the moment I face a blank
canvas and my idea is vibrant and plastic. I
begin with a gestural massing in thin paint, but
after those first few marks, the rest of the painting is a series of compromises between what it
will likely become and what I wish it could be.
In the case of Reeds, I initially blocked
in the painting to show midday lighting, but
after spending a morning in the reeds at dawn,
I couldnt resist reworking the piece with the
more atmospheric lighting of early morning.
My process is mostly direct; I try to place
the appropriate hue, value and chroma until
36
the picture fulfi lls my intentions. I sometimes

use glazing or scumbling to modify a passage,
but not for any particular optical effect. I used
a glaze midway through Reeds to knock down
the overall value, and later I applied a veletura
(thin layer of nontransparent paint) to aid in
smoothing the transition within the sky; but
theres not much trickery in this painting, just
lots of marks next to each other.
I prefer working in the

studio from color studies or pencil drawings; I
find that these references often benefit from the
inevitable distillation that can only occur with
time. For five or six years, I wouldnt touch a
photo as a painting reference simply because
I wouldnt find it useful. For me, photos were
the surest way to cover up and destroy the
inexplicable thing you would most wish to find:
Tip: Never Say Never
ABOVE: Reeds (oil, 25x38)
the magic. Then someone told me that never

is a dirty wordeven for photographs. Now I
occasionally find an idea that survives a photo
reference.
December 2012
37
Second Place
Pauline Roche
Del Mar, California www.paulinerocheneart.com
BELOW: Luncheon
at the Muse
dOrsay (oil, 40x30)
The art-fi lled walls at the Muse dOrsay in

Paris are always a thrill to see, but it was the
museums restaurant that served up inspiration
for Luncheon at the Muse dOrsay. Viewing the
rooma feast for the eyesI was especially
taken with the golden glow bathing the

opulent hall with its patrons and servers.
While on location, I made gesture drawings and thumbnail sketches of the people and
setting and also snapped photos for reference.
I took plenty of time at this
stage, painting the piece in
my mind so I could return
to the studio with a clear
visiona feeling of the
mood and color scheme I
wanted to convey.
Bringing the Image Into
Focus I begin all my paint-
ings by squinting as I look

at my subject so as to reveal
the darks and lights. I use
thinned, neutral midvalue
paint to establish a simple
statement with soft-edged,
generalized masses for the
shadows and darker shapes.
I then start sculpting
the form on the canvas
building darks, firming
up shapes and wiping out
areas with a rag to establish
lighter passages. The result
is a soft, monochromatic
preview of the painting. Upon this rough map,
I apply color to develop
contrasts and edges as I
work over the entire canvas.
The painting emerges like
an out-of-focus view that
gradually becomes sharper
and more vivid.
In contrast to my energetic early
work on a piece, I find that
finishing involves a lot more
looking than painting, as I
make considered decisions.
I keep several pieces in
progress, each at a different
stage, so I can choose which
to work on, according to my
mood.
Tip: Finish Slowly
38
LANDSCAPE | INTERIOR
Third Place
Dianna Wallace Soisson

Saline, Michigan www.diannasartcorner.com
On sunny autumn days, I make my way

dressed in full wadersinto the most active
part of a stream and begin snapping photos.
My goal is to collect images of the reflections
of fall trees that I can use as painting references throughout the year. In fact, my favorite
part of painting Beyond All Boundaries was
toward the end when I added the small tree
branches apparent in the reflections. Painting
these fine patterns was like adding intricate
lace on a wedding cake.
Im inspired by the Impressionist Claude
Monet because of his techniques, use of color
and closeness to nature. As for contemporary
influences, I owe much to my friend and mentor Elizabeth Patterson, whose Rainscapes
series depicts the effects of rain on windshields.
Although the subject matter of our respective
work differs, were both interested in depicting
water and the abstract patterns it creates.
We colored pencil
artists tend to be detail-oriented, so once I
Lessons in Cutting Loose
actually start a piece, Ill sometimes turn my

reference upside down to help me concentrate
on capturing abstract qualities rather than on
depicting a leaf or a stone. My realistic mind
wants to kick in, but my artistic mind says, Just
get the shape.
Ive learned to let go in other ways, too.
I worked on Beyond All Boundaries for about
eight weeks, but within five hours of completing the piece, I realized that the lower half of
the painting was dragging the eye away from
the colorful focal point. I made the painful
decision to cut at least a foot from the bottom
of the picture.
ABOVE: Beyond
All Boundaries
(colored pencil,
14x31)
My work has become

more fluid over the years, and working with
my pastel-paper surface upon an Icarus Art
drawing board has helped. The heating element built into this board softens the marks
of my wax-based colored pencils, allowing for
smoother blending and giving my work the
painterly look of oils.
Tip: Try a Heated Surface
December 2012
39
Honorable Mention
Jason Sacran
Lavaca, Arkansas
www.jasonsacran.com
BELOW: Night
Lights (acrylic,
24x30)
For two years I thought about painting the

corner of rural America depicted in Night
Lights (below), but capturing the scene with
my preferred lighting and from the angle I
most liked would have required setting up in
the middle of the roadat night. Finally I
shot photographs. Night Lights is the first of
two larger studio paintings of this intersection.
Usually, I concentrate on larger masses first
and then work out details and smaller shapes
as each stage progresses. I try to lay in the correct color, value and temperature each time I
make a mark so, theoretically, the painting is
finished at each stage. This approach helps me
determine how far I should go with details.
Working from life whenever possible, I try
to view objects as simple shapes and patterns.
This practice helps me not to generalize or
stereotype objectsenabling me to see more
clearly what they really look like.
Honorable Mention
Charlotte Knox
London, England
www.charlotteknox.com
I always have my camera with me because

a promising subject can appear when I least
expect it. I took the photo on which I based
Chambers Street, Tribeca, New York (above)
a couple of years before I decided to use it.
Then I cropped and tweaked the image in
Photoshop until the composition was right.
I now paint mainly in watercolor, but
my earlier work in egg tempera taught me to
appreciate the differing characteristics of pigments, with their varying opacities, graininess and staining qualities. I own a huge
selection of colorsits like having a pile of
candy on my desk waiting to be enjoyed.
ABOVE: Chambers Street, Tribeca, New York
(watercolor, 40x16)
40
LANDSCAPE | INTERIOR
Honorable Mention
Alexandra Tyng
Narberth, Pennsylvania www.alexandratyng.com
BELOW: Back to
courtesy Fischbach Gallery
the Lakes (oil,

40x60)
Back to the Lakes is about returning home to

lakes, loons and woods after spending an
afternoon in civilization. I first saw the scene
while shooting photographs to use as reference
for aerial paintings. In a single engine plane, I
was passing over Mount Desert Island, Maine.

The sun was almost setting, the shadows of the
mountains were lengthening, and I could see
the lake where my camp (cabin) was located.
Later I painted oil sketches, just before sunset,
from the top of Cadillac
Mountain. I did the final
painting in the studio.
My plein air sketches
gave me accurate color
information. Photos
helped me plan the exact
composition and also
guided my decisions about
brushwork and the level of
detail I ought to pursue,
based on the scale of the
finished piece.
Because I use complementary colors to make
shadows, I arrange my palette so that complements
are on opposite sides.
Finalists
Jacob Aguiar
Forestville, CA
Christine E. Alfery
Lac du Flambeau,
WI
Joe Anna Arnett
Santa Fe. NM
Del-Bourree Bach
Mystic, CT
Al Barnes
Johnson City, TX
J.B. Basham
Longs, SC
Linda Besse
Mead, WA
Ron Bigony
Longview, TX
Penny Billings
Lincoln, MA
Sandy Byers
Oak Harbor, WA
Regina Calton
Burchett
Kannapolis, NC
Nathan Campbell
Boothbay Harbor,
ME
Peter Fiore
Matamoras, PA
Terri Ford
San Jose, CA
Vincent Giarrano
Washington Depot,
CT
Carol Gobin
Whately, MA
Eric Hall
Philadelphia, PA
Tripp Harrison
St. Augustine, FL
Robert Highsmith
Las Cruces, NM
Pattee Hipschen
Arlington, VA
John Medley
Owensboro, KY
Kurt Schwarz
Lovettsville, VA
Natalie Hirschman
Cape Town, South
Africa
Dean Mitchell
Tampa, FL
George Shipperley
Aurora, IL
Teresa Onoda
Moraga, CA
Jerry Smith
Crawfordsville,
IN
Paula B. Holtzclaw
Waxhaw, NC
Mark Ingraham
Stafford, VA
Aline Ordman
White River
Junction, VT
Bill James
Ocala, FL
Dmitriy Permiakov
Perm, Russia
Jose Jimenez
Arlington, VA
Pauline Roche
Del Mar, CA
Mike Kelly
Warsaw, IN
Michael Sass
Tauranga, New
Zealand
Gigi Horr Liverant

Colchester, CT
Kimberlee Maselli
Cary, NC
Mark McDermott
Anchorage, AK
Peggy Ann Solinsky

Denver, CO
Linda J. Stetina
Washington Boro,
PA
Brooke WalkerKnoblich
Sacramento, CA
Lorraine Watry
Colorado Springs,
CO
Kathryn Weisberg
Sandpoint, ID
Kurt A. Weiser
Waxhaw, NC
Keith Wilkie
McLean, VA
Don Tiller
Port Townsend, WA
Jeff Wilson
Catonsville, MD
Hsin-Yao Tseng
San Francisco, CA
Dennis Joseph
Yanoski
Morristown, NJ
Ricky Schembri
Killarney, Australia
Cecy Turner
Dallas, TX
Aaron Schuerr
Livingston, MT
Alexandra Tyng
Narberth, PA
December 2012
41
42
ANIMAL
WILDLIFE
First Place
Michael Dumas
Peterborough, Ontario
www.natureartists.com/dumasm.htm
BELLAMYS MILL is a working 19th-century
flour mill located in Morrisburg, Ontario.
During one visit, I noticed an array of discarded white flour sacks piled on large wooden
platforms set inside a three-sided storage shed
behind the mill. The pale cloth, aglow where
the sun struck it, with reflected light receding
into deep shadow, was intricate in its folds.
The nesting house sparrows added a sense of
community quite separate from the visitors
and staff, who were paying no attention to the
storage shed. The noticeable quiet gave me the
sense of being removed to a more private and
intimate space, and I imagined the sparrows
feeling the same way.
Preliminary Drawings I spent a number of
hours sketching aspects of the setting and the
birds. Once in the studio, I worked out a few
compositional options in graphite. I begin all
my paintings with an underlying drawing, usually directly on the working surface, which is
a Russian birch panel prepared with gesso. In
the case of Mill ClothHouse Sparrows, all but
the birds themselves were drawn in directly. I
drew the sparrows separately on drafting paper
so that I could assess both their relationship to
one another as well as their relative positions
within the setting.
Tip: Have a Dream I
ABOVE: Mill ClothHouse Sparrows (oil, 6x7)
find myself thinking that

the best part of the artistic dream is very much
having the dream in the first place. Who
knows where it might lead?
December 2012
43
Second Place
Vincent Giarrano
Washington Depot, Connecticut www.giarrano.com
I wanted to capture something about real life:

how evocative an unmade bed is, how beautiful a cat looks resting on it. The color harmony
of the scenethe pink shades of the sheet and
pillows, the more pronounced pink of the figure in the drawing on the gray wall, the gray
coverlet that is a shade lighter than the wall
definitely drew me in. The vertical line of the
doorway counters the horizontal lines of the
bed and repeats the lines of the framed works.
BELOW: Siamese
(oil, 11x14)
44
Returning to Art I
drew from an early age;

it was clearly my favorite thing to do. As
an undergraduate and graduate, I studied

sculpture, then took a break. About 12 years
ago, returning to art, I found that painting
was what I felt strongly about. Since I hadnt
painted much, I started teaching myself with
books and DVDs and short workshops, and
after that I painted with friends.
Tip: Write as Well as Paint Writing
could be the
single most important aspect of your progress.
Use a blank hardcover sketchbook to record all
the art-related things you deal with, and dont
forget to write your short- and long-term goals.
ANIMAL | WILDLIFE
Third Place
Grace Kim
Upper Marlboro, Maryland www.gracekimart.com
While on safari in Kenya, I photographed

these graceful birds doing what seemed to be
an almost choreographed ballet. I had difficulties with the composition because the birds
wouldnt pose for me! I had to move the postures of the birds around so that their shapes
would function as design elements.
The ostriches have as their background Mt.
Kilimanjaro. Since 1912, more than 80 percent of the snow on the peak has disappeared.
Experts say that Kilimanjaro will be free of ice
in 25 years. I wanted to make a painting about
which people would say, At the time Grace
was alive, Kilimanjaro still had snow!
Manipulating the Scenery The bushes in the

foreground are there for the sake of the composition. I created a winding road for the same
reason: to lead the viewers eye. The bush of the
foreground leads to the ostriches, to the road
of the middle ground and then to the distant
mountains of the misty background.
I took my first art class 16 years ago; James
Earl Jones was the first person to buy one of
my paintings! I will paint until I die.
ABOVE: Ostrich
Dance (oil, 20x28)
Tip: Remember You Are the Artist You
can
change or move anything you want to!
December 2012
45
Honorable Mention
Holly Bird
Palm Harbor, Florida www.studioibis.com
A friend and fellow sailor on the west coast

of Florida had shared with me a photo of his
Welsh terrier, Cooper, standing in the bow of
a beautiful canoe. The photo inspired me to
create a mulitblock print, which
requires that each color be printed
from a separate block and in
sequence. The project that resulted
in Permission to Come Ashore? was
my most ambitious to date, and I
learned a great deal about block registration and working with multiple
layers of oil-based inks. It can look
like a mess until you pull the last
key block print and see the results
of all the planning and carving.
The time-consuming mistake
is forgetting to reverse your final
image before transferring it to a
block or metal plate. You can make
it easy on yourself by doing all
of your drawing on tracing vellum, then fl ipping it over before
transferring it to the block.
LEFT: Permission to Come Ashore?
(linoleum print, 9x7)
Honorable Mention
Marina Dieul
Montreal, Quebec
www.marinadieul.com
I usually begin with a clear idea of the composition, the pose and the lighting, and then
I organize photo sessions. With animals, as
well as with children, patience and strategy are
needed. I combine different references using
Photoshop.
I fell in love with trompe-loeil a long time
ago. Id recently created several cat paintings and several mice paintings and enjoyed
showing them side by sidethe cats looking
at the mice. When different patrons bought
the paintings, however, the effect was lost, so I
decided to create compositions that showed the
two species together.
I feel that creativity is like a muscle. The
more you use it, the stronger it gets.
ABOVE: Le Djeuner (oil, 8x8)
46
ANIMAL | WILDLIFE
Honorable Mention
Tiffany Miller
Russell
Broomeld, Colorado
www.deadraccoon.com
When I saw the paper that inspired this piece

in the art store, it turned wheels in my head,
so I had to go back for it. I cut, folded and bent
the paper by hand to give shape to the fish.
Large works typically take me from 70 to 100
hours to complete; midsized works and miniatures like Stream of Consciousness take around
30 hours. Working so small was a challenge.
The koi told me their story as I was drawing them. Caught up in their own currents,
they bump and jostle one another, more mindful of their own business than that of their
neighbors, yet as they weave in and out, their
combined movements connect in beautiful
patterns.
Ive learned that one individual, in a similar way, can make ripples that reach around the
world. I hope to be a person like that.
RIGHT: Stream of Consciousness (cut paper, 4x3x)
Finalists
Carole Doerr Allen
Flemington, NJ
Ray-Mel Cornelius
Dallas, TX
Susan T. Fisher
Denver, CO
Kevin Kohlman
La Crosse, WI
Susan Nall
Lubbock, TX
Eileen F. Sorg
Kingston, WA
Morgane Antoine
Chtenay-Malabry,
France
Emmanuel R. de
Guzman
Kissimmee, FL
David Flatt
Vancouver, BC
V. Yvonne Korotky
Rio Rancho, NM
Rita Pacheco
Carlsbad, CA
Ronelda Ashlie
Nanaimo, BC
Marina Dieul
Montreal, QC
Jeanette Fournier
Bethlehem, NH
Catherine Lidden
Bungonia, Australia
Matt Patterson
New Ipswich, NH
Elizabeth St. HilaireNelson

Longwood, FL
Nancy K. Bass
Charlottesville, VA
Kim Diment
Grayling, MI
Jerry L. Gadd
Manchester, MD
Patsy Lindamood
Huntsville, TX
Jenine Pontillo
Pomona, NY
Judi Betts
Baton Rouge, LA
Sam Dolman
Chestereld, UK
Sue Gombus
Merrillville, IN
Pete Marshall
Whittlesea, Australia
Amy Roy
Cincinnati, OH
Cara Bevan
Trinity, NC
Terry Donahue
Omaha, NE
Lindsay Handyside
El Reno, OK
Viviane MartinRoman
Boucherville, QC
Nadia Rymanowski
Loudonville, NY
Craig Blietz
Sister Bay, WI
Kort Duce
Idaho Falls, ID
Robert Bootier
Ballston Spa, NY
Michael Dumas
Peterborough, ON
Jane Bowden
Fresno, CA
J.G. Fajardo
Rio de Janeiro, Brazil
Linda Israel
Grand Lake, CO
Karen Kaapcke
New York, NY
Rita Kirkman
New Braunfels, TX
Jeanette Martone
Deer Park, NY
Tiffany Miller
Broomeld, CO
Vandy Moore
Sevier, UT
Suzie Seerey-Lester
Osprey, FL
Marek Slavik
Prague, Czech
Republic
Francis Edward
Sweet
Bowie, MD
James E. Taylor
Salisbury, NC
Robin Edward
Thorne Murray
Sault Sainte Marie,
MI
Keith Wilkie
McLean, VA
Valarie Wolf
Tustin, CA
Marsha Harris
Solomon
Houston, TX
December 2012
47
Artist
BUYERS GUIDE
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O I L PA INTT I N G
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PA S T ELL
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D R AW I N G
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ARTIST BUYERS GUIDE
M I X E D MEE D IA
A
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Maureen McNaugton
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Drawing Secrets Realistic Pets

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ARTIST BUYERS GUIDE
PORTRAIT
FIGURE
First Place
Candice Bohannon
Auburn, California www.candicebohannon.com
I WORKED ON
Grace intermittently over the

course of a couple of years. It was a very difficult piece both technically and personally.
Id met Jessica by chance in my hometown in
northern California. Before I even had the
nerve to speak to her, I knew I had to paint
her; I became very nervous as to whether she
would say yes or no to my proposal. Diagnosed
with a rare and always fatal disease called
Batten, Jessica suffers from progressively
worsening loss of sight and motor skills.
Meeting her, I was stunned by her sweet disposition, her kindness and ready smile, her shy
and gentle demeanor. She was beautiful and
had no knowledge of it. She expressed great
joy in telling me about her favorite animals
and what they liked to do.
Her world is small and secluded, but her
soul is grand, and her life is meaningful. I
painted her as I saw her, a completely luminous
being in the dark and frightening land of the
unknown. Her feet are buried in the cool, soft
earth, as it will soon reclaim her. Her smile is
unbearably sad and yet inexplicably joyful.
Working Large With Grace the biggest surprise was how difficult it was to complete the
piece! I always forget how challenging it is to
finish a bigin this case, 68x35-inchpainting. The first few days on a project are thrilling, as I move fast and cover a lot of ground. I
go through piles of paint in mere hours, and
it feels as if the painting will be complete in
a week or two. Then somewhere around the
third layer, I realize what a huge undertaking it is, how overwhelming the project seems,
how endless the work will be in order to complete the piece. I would have finished Grace
more quickly if Id solved the riddle of a few
compositional elements before diving in; I
must have reworked the background and face a
dozen times!
My favorite parts of the painting ended
up being the dog (which I managed to paint
quickly and with ease), Jessicas face (reworked
at least a dozen times till the right mood and
expression emerged, but worth every effort for
the result), and her beautiful knees. Some of
my best painting ever was done on those knees.
I often begin
a painting like Grace with small, loose concept
drawings that help me figure out the direction
I should go when the subject and I meet again
in person. These drawings are often expressive; they are useful references throughout the
process to ensure that I stay true to the original
concept and not get lost in reproducing details.
Tip: Give Yourself Time
Starting with Concept Drawings
56
Allow yourself the time

you need to create the art you dream of. Push
past the fear that what youre making may
never be as great as you hoped it would be, and
give it your all; give it your everything. Great
art requires great bravery.
RIGHT: Grace (oil, 68x35)
December 2012
57
Second Place
Katie OHagan
Beacon, New York www.katieohagan.com
ABOVE: Pity Party
(oil, 27x38)
As an undergraduate, I hoped to learn how

to paint, but I felt out of my depth with the
conceptual work that seemed to predominate,
and I opted for silversmithing instead. When
my daughters were little, I picked up my first
set of oil paints. Then in 2006 I met Paul
McCormack, who lives nearby, and he was
helpful and encouraging and is still the one I
call when I get stuck on something. Having
such a talented friend on call has been amazing.
I painted Pity Party during a period of
sudden upheaval in my life. Id turned 40, feeling abandoned and sorry for myself. The next
day the Nobody likes me ... I think Ill go eat
worms song popped into my head and made
me laugh at myself. Within a few minutes, I
had the painting planned. I like my misery
with a touch of irony.
Learning As I Go Because Im self-taught, I
never learned to measure or plan out a painting in any logical way. I just start right in
58
painting, and it usually works out. I work from

life if possible, but Im currently in a very small
space, so theres no room for anyone but me
in there. For this painting I set up in my kids
den in the basement. My friend Emelia sat for
a couple of days to start me off, and then the
kids kicked me out, and I finished the painting
from photos on a monitor next to my easel. I
tend to use at least five or six photos and often
as many as a dozen. Ill use the hair from one
and the mouth from another and just piece
the image together on the canvas as I go. I did
the nonfigurative elements later in my studio.
I dug the worms out of a friends compost pile
and made several attempts to paint those from
life, but they kept trying to escape, and the
cake melted faster than Id anticipated. The
dress was quite difficult but fun. I picked that
outfit knowing it would be a challenge.
Tip: Trust Yourself I rely on my instinctsand I
wear disposable rubber gloves.
PORTRAIT | FIGURE
Third Place
Erin Anderson
Mountain Top, Pennsylvania www.erinandersonstudio.com
The subject of Conversations With Shannon was

my roommate at Miami University. I wanted
to portray her in a conversational pose, as if
she were caught in the middle of a sentence. I
set up a photo shoot and invited her to just talk
with me while I occasionally snapped a quick
photo. The resulting portrait depicts a moment
during one of our many good conversations.
Im always amused at the colors I mix for skin tones. If you havent painted
a great many portraits, you may instinctively
reach for titanium white, cadmium red and
Naples yellow to paint flesh; however, you find
Fleshtone Palette
very quickly how inaccurate that combination

is, as your subject starts to look like a ripe,
abstract piece of fruit. Instead, 99 percent of
your palette for flesh should be made of subtle
grays and muted, soft brownsnot the peachy
pinks and reds many associate with skin.
Tip: Work on Marketing Keep the same amount
of energy and time reserved for promoting
your public image as you do for creating your
art. No one will know what wonderful work
you create if you dont take the time to put
yourself out there.
BELOW: Conver-
sations With
Shannon (oil,
16x20)
December 2012
59
Honorable Mention
Stephanie
Deshpande
Glen Ridge, New Jersey
www.stephaniedeshpande.com
I was walking home from my work as a production manager, thinking about life, when
the metaphor of assembling a puzzle came
to mind. Id planned to go into more detail
painting the design on the dress and puzzle
pieces. At some point, however, I decided to
leave it the way it was. In hindsight, Im happy
I left those details more painterly. I enjoy
using high-value transparent color because its
easy to create cool tints as well as transparent
shadows. Glazing helps me create the correct
tonal balance and build up to richer color.
Ive realized that I love both atmosphere and
direct light.
ABOVE: Assembling the Pieces (oil, 24x30)
Honorable Mention
Scott Burdick
King, North Carolina
www.scottburdick.com
This painting was inspired by the daughter of

an illegal immigrant from Guatemala. Yanka
was born in the United States, though her
father has been deported and her mother, who
works as a housekeeper, lives in fear of being
deported. I wanted to capture both the hope
and the anxiety of Yankas circumstances.
Along with my wife, artist Susan Lyon, I
did a three-hour painting of Yanka from life.
Then I took photographs and finished the portrait in about five days. I struggled to get the
face and the alignment of the eyes right; I did
them over and over.
Whats most important to me is simply
being honest with my paintingswith what
they and my experiences around the world
have taught me.
60
ABOVE: Yanka (oil, 20x30)
PORTRAIT | FIGURE
Honorable Mention
David Gluck
Duncan, British Columbia
www.davidgluckart.com
The Trapper depicts a man I befriended when I

moved into an old factory district in Toronto.
When I knew him, he didnt have a job or
home, but he kept himself extremely busy collecting scrap metal and bottles for income.
I depicted him as one of the early settlertrappers, a grizzled breed of men that braved
harsh winters to seek a living from the woods.
To start, I usually do a series of thumbnails, followed by color studies and a fully
rendered drawing. I try not to leave anything
to chance, which is the nature of academic
painting. For this painting, I only used six
colors. Color harmony ensues naturally from
a limited palette.
RIGHT: The Trapper (oil, 30x24)
Finalists
Ali A. Aryan
Burnaby, BC
Diana De Santis
Whitestone, NY
Angela Hardy
Quebec City, QC
Cheng Lian
The Woodlands, TX
D. Wynne Nixon
Gig Harbor, WA
Ardith Starostka
Columbus, NE
Del-Bourree Bach
Mystic, CT
Marina Dieul
Montreal, QC
Justin Hess
San Francisco, CA
Daniel Maidman
Brooklyn, NY
Katie OHagan
Beacon, NY
Terry Strickland
Pelham, AL
David Beal
Overland Park, KS
Alan Dingman
Wappingers Falls,
NY
Marshall Jones
Guttenberg, NJ
Douglas Malone
Royal Oak, MI
Devdatta Padekar
Mumbai, India
Hsin-Yao Tseng
San Francisco, CA
Matt Ellrod
Lutz, FL
Alexy Kalinin
St. Petersburg,
Russia
Carol E. Maltby
Hamburg, NY
Julie Petro
Longmont, CO
Alexandra Tyng
Narberth, PA
Bryan Trent Fair

Los Angeles, CA
Taeil Kim
Pleasanton, CA
Santiago Michalek
Provo, UT
Gail Postal
New York, NY
John Walker
Downers Grove, IL
McGarren Flack
Holladay, UT
Rita Kirkman
New Braunfels, TX
Dean Mitchell
Tampa, FL
Thomas Reis
Atlanta, GA
Xiaoen Wang
Covina, CA
Zoey Frank
Boulder, CO
Loretta Krol
Asbury, NJ
Catherine Moffat
Victoria, BC
Alejandro
Rosemberg
Cordoba, Argentina
William Whitaker
Provo, UT
Melissa Gann
Chamblee, GA
Clavin Lai
San Francisco, CA
Tanja Gant
Hurst, TX
Jonathan Laidacker
Philadelphia, PA
Hanneke Naterop
Alphen a/d Rijn,
Netherlands
Vincent Giarrano
Washington Depot,
CT
Bruce Lawes
Oakville, ON
Brad Lethaby
Erie, PA
Candice Bohannon
Auburn, CA
Jack Brown
New York, NY
Joanne Burney
Centennial, CO
Rexanne Chadwick
Ankeny, IA
Paul Chapman
Hudson Falls, NY
Terra Chapman
Herndon, VA
May Louise Clair
Vienna, VA
Erin Cone
Santa Fe, NM
Derek Gollaher
Farmington, MO
Ingrid Ross
Scarsdale, NY
Pamela duLong
Williams
South Berwick, ME
John Salminen
Duluth, MN
F. Michael Wood
Florence, OR
Cuong Nguyen
San Jose, CA
Peter Seltzer
Woodbury, CT
Ben Young
Vista, CA
Scott Nickerson
Tinton Falls, NJ
Susan Singer
Richmond, VA
Harold Munoz
Paris, France
December 2012
61
STILL LIFE
FLORAL
First Place
Jeffrey T. Larson
Maple, Wisconsin
www.jeffreytlarson.com
Learn More
ONLINE
I WAS MOVED TO PAINT In the Light of Life for

two reasons: artistically, it presented the challenge of capturing the subtle flow of light over
the Styrofoam pieces Id carefully arranged atop
the table; thematically, it seemed to present a
visual analogy of my belief that whatever power
or effect we humans think we possess is nothing
compared to the power of life and creation. As
I looked at the setup for what it actually was
an arrangement of values and colors in certain
shapesmy eyes were opened to the amazing
sight of prismatic color flooding across
the entire subject. Every surface was
infused with all the colors of the rainbow, and I was able to see and capture
the reality with its subtle intensities
more truthfully.
For a link to a step-bystep demonstration that

explains Larsons process
further, go to www.
artistsnetwork.com/
learnmore2013.
Working from
life, I begin with many compositional
studies and then paint directly and
carefully on the canvas. I often pick
and choose techniques I believe will
work best to capture whatever effect Im after,
so my paintings may blend several approaches.
I may start alla prima and, within that, underpaint a particular passage, do some scumbling
and a series of glazes, and then finish with a
few notes of broken color floating in the glaze.
It took me about seven months to complete
In the Light of Life.
Eclectic Techniques
Atelier Background Im a full-time painter and

part-time instructor, trained in the methods
62
and materials of the old masters at the former

Atelier Lack in Minneapolis, an apprentice
environment that traced its lineage back
through the Boston School of painters.
Tip: Manipulate Edges Its important to study the
edges in your painting carefully. By accurately

depicting the relative hardness and softness
of the edges, you can create more depth and a
sense of atmosphere. By keeping the focus on

the center(s) of interest and keying all the other
edges in relation to those areas, youll help direct
the viewers eye to where you want it to go.
ABOVE: In the
Light of Life (oil,
36x40)
December 2012
63
Second Place
ABOVE: Spool (oil, 16x20)
David Cheifetz
Palo Alto, California www.davidcheifetz.com
Learn More
ONLINE
Find a link for purchasing The War
of Art by Stephen
Presseld from our
North Light Shop at
www.artistsnetwork.
com/learnmore2013.
Also view Cheifetzs
step-by-step demo
for Spool.
64
One day I got bored with my collection of still

life objects, so I grabbed a spool of picture wire
as something new to paint. Spool then became
a means to further validate my suspicion
that its not what I paint but how I paint
it thats important. I enjoy using lots of
color, but I also like to explore the concept
that you can make a painting appear colorful by restricting intense color to small
areasthat its the relationship with the
surrounding neutral tones that matters.
My biggest challenge in Spool was
controlling the value range for the pitcher
so it would recede and allow the spool to
come forward and dominate. To do this
took significant restraint, as my instinct
is to exaggerate contrast for dramatic
effect. The pitcher was simultaneously my
favorite part to paint, particularly at the end,

when I started obliterating the edges.
After working as an architect for
a few years, I decided to study at the Schuler
School of Fine Arts in Baltimore to improve
my figure drawing for comic books and graphic
novels. After studying still life oil painting for
two weeks as part of the program, however, I
was addicted to the genre. I now make my living by painting cityscapes, portraits, figures
and my favorite, still lifes.
Serendipity
Read The War of Art:

Break Through the Blocks and Win Your Inner
Creative Battles by Stephen Pressfield. In my
opinion, its the most important book written
about how to be an artist.
Tip: Just Do the Work
STILL LIFE | FLORAL
Third Place
Grace Kim
Upper Marlboro, Maryland www.gracekimart.com
For Crazy Quilt, I chose the unusual pairing

of a leafy, ripe persimmon and a multicolored
quilt to celebrate the contrasting beauty of a
man-made object and a natural one. I started
as I usually do my still life paintings, working from life and sketching the composition
on a canvas toned with a neutral gray. When
I began painting, I concentrated first on the

persimmon because the fruit and leaves change
colors very rapidly. When I started work on the
quilt, my favorite part, I could relax a bit for
the time-consuming job of capturing its many
colors, textures and patterns. It was so much
fun to put in the details! Still lifes can take me
from two to three months to
finishand sometimes one to
two yearsbecause flowers and
fruits are seasonal. I spent four
months on Crazy Quilt.
Copying the Masters For my
livelihood, I manage properties,
but art is my passion. At age 50,
after bringing up my family and
working as a career architect,
I enrolled in watercolor classes
at a local community college.
There, an art professor and
copyist at the National Gallery
in Washington, D.C., suggested
I join his life drawing classes,
where several local artists, also
copyists, urged me to look into
obtaining similar privileges. My
decision to seek copying privileges at the National Gallery of
Art was one of the best decisions of my life, as I was able to
paint and contemplate art by the
great mastersa truly divine
experience indeed.
Over the
years my drawing skills have
improved with life drawing sessions, and my eye for color has
become keener with working on
still life paintings from life.
Tip: Work From Life
LEFT: Crazy Quilt (oil, 28x18)
December 2012
65
Honorable Mention
Abel Marquez
Miami, Florida www.abelmarquez.com.ar
In still life we can research the important

themes of visual language through the relationships of objects, space and light. For
Rudolph I wanted to use pansies and the tin,
with its brilliant colors and unique image, to
build up a composition expressing my sense
of light, color harmony and beauty. The most
interesting results were that the tin became the
main element and the coloring of the pansies
and their edges faded into the background.
My usual practice is to capture my idea
in a fast draft on a small piece of paper to
work out the volumes in the composition.
Sometimes I begin with a particular layout in
mind; other times I choose the elements and
then plan the setup. I dont restrict myself to
a determined palette; I let the elements themselves and my own intuition determine the
colors.
Id advise young artists to work very hard,
with love for your art, and dont think about
money while youre working; think in terms of
quality, qualityand more quality. Money will
come later as a result of the quality and effort.
LEFT: Rudolph (pastel, 30x40)
Honorable Mention
Jacob A. Pfeiffer
Madison, Wisconsin
www.jacobapfeiffer.com
I primarily use classical techniques to paint

my still life arrangements, but I give them a
contemporary, quirky twist or theme. Lately,
for ideas, Ive been drawing from childhood
memories. Fish sticks were ubiquitous in the
lunchrooms of my youth, and I wanted to
paint a fun piece that pays homage to this food
product.
My process begins with several quick
sketches and studies of the setup. Then I draw
directly on a primed panel, working from life
and photos as necessary. After Im satisfied
with the drawing, I block in the values with
thin layers of burnt umber. I build up dozens
of thin glazes in order to achieve the degree
of realism and depth that Im after. Fish Sticks
took about three months to finish.
I urge any artist to find his or her particular niche. In the late 90s, John Pence
at the John Pence Gallery in San Francisco
66
encouraged me to do brighter, more uplifting

pieces. This advice was pivotal to my career. I
embraced metaphorical and whimsical subject
matter and found that it was right up my alley.
ABOVE: Fish Sticks

(oil, 20x24)
STILL LIFE | FLORAL
Honorable Mention
Todd M. Casey
Cortlandt Manor, New York www.toddmcasey.com
BELOW: Bottles
with Book and
Letters (oil, 9x17)
I wanted to convey the loneliness of the particular objects in Bottles with Book and Letters,
but I didnt want to be too descriptive, so I left
it to the viewer to interpret the narrative. Its
always tough to paint a bottle that has light
passing through it. You have to differentiate
the bottle from the planes that are facing the
light. Succeeding in that challenge was the
turning point for me.
When I begin painting from life, I first

do an accurate drawing, which I transfer to
canvas. Next, I build the painting either as a
grisaille (monochromatic underpainting) or as
an bauch (first pass of color). Then I begin the
final passes on individual elements, as I orient
the light to each plane. I paint in mixed strings
(I premix aseries of colors from dark to light)
based on the Munsell Color System and use the
color palette of
Travis Schlaht.
Always
remember: no
matter how
loosely you
work, the drawing is essential. Keeping
your original
drawing for
reference, even
if you need to
revise it on canvas, is a major
step toward
having a strong
painting.
Finalists
Lee Alban
Havre de Grace, MD
Almajohn
Denver, NC
Cecile Baird
Hillsboro, OH
Colin Berry
Hampton, NH
Sarah Blumenschein
Albuquerque, NM
Candice Bohannon
Auburn, CA
Pamela Carroll
Carmel, CA
Daniel Mark Cassity
Shreveport, LA
Deborah Chabrian
South Kent, CT
Tatyana Chernikh
West Springeld,
MA
Daryl Gortner
Fullerton, CA
Olga Krimon
Hermosa Beach, CA
Brian Port
Columbus, OH
Muriel J. Timmins
Tucson, AZ
Judith T. Greenberg
Needham, MA
Elaine Kurie
Sparta, NJ
Sandra Power
Seattle, WA
Kari Tirrell
Gig Harbor, WA
Barbara S. Groff
Vernon, CT
Jeffrey T. Larson
Maple, WI
Chris Saper
Phoenix, AZ
Loren Dibenedetto
Huntersville, NC
Richard William
Haynes
Faireld, NJ
Noah Layne
Victoria, BC
Steve Scheuring
Douglassville, PA
Mark Van
Crombrugge
Herzele, Belgium
Eileen Eder
Guilford, CT
Carol Huddleston
Seatac, WA
Taeil Lebediker
Ballston Spa, NY
Krista Schoening
Rockford, IL
Zoey Frank
Boulder, CO
David Jamieson
Oak Park, IL
Susan Lange
Marshall
Corrales, NM
Laurie Schwartz
Baltimore, MD
Berry Fritz
McAllen, TX
Mimi Jensen
San Francisco, CA
Anne McGrory
Nashua, NH
Vincent Giarrano
Washington Depot,
CT
Tricia Kaman
Chagrin Falls, OH
Jacob A. Pfeiffer
Madison, WI
Barbara L. Clark
Vero Beach, FL
Richard Denisiewicz
New York City
Kurt Schwarz
Lovettsville, VA
George Shipperley
Aurora, IL
Keri Stack
Seattle, WA
Maureen Vezina
Green Harbor, MA
Ann Kraft Walker
The Woodlands, TX
Jeremiah J. White
Littleton, CO
David Williams
The Plains, VA
Paul F. Wilson
Frederick, MD
December 2012
67
ABSTRACT
EXPERIMENTAL
First Place:
Glen Kessler
Rockville, Maryland
www.glenkessler.com
and the
rest of my Modern World series, I wanted to
create an environment that was familiar yet
foreign, believable and unbelievable, inviting and guarded. With this series, were never
permitted to simply walk into the spaces, but
rather find blurred ambiguity awaiting us at
the nearest entry point. Clarity is an elusive
element in these worlds. As quickly as we may
find our footing, the moment we go a step
deeper into these images, were once again
brought back into uncertainty. These worlds
are populated with bizarrely familiar yet
unknowable forms. The light, the color, the
mood are oddly recognizable, but they provide no clues as to where or what the image is
actually a painting of.
At what I call the idea stage, I think, write
and sketch about what is most pressing in my
mind. From that session, I formulate a visual
language to convey that idea. In Modern World
#9, I imagined taking apart old computers,
cameras, remote controlsanything with
a circuit board inside. Those circuit boards
became the models for most of the imagery.
For the first layer, I dont use medium, but
as the layers and the painting progress, I use
a 50/50 ratio of refined linseed oil and Liquin.
Starting with high chroma colors like cadmiums and cerulean, I gradually shift to more
subtle colors: grays mixed from blue and red or
from orange and purple. In addition, I love to
mix black with various pigments.
IN THE PAINTING Modern World #9
Ambiguity and Depth I
work primarily wet into

wet, beginning with hog hair brushes to apply
the color opaquely and concluding with sable
68
brushes to create the softer edges that give

ambiguity and depth. I try to complete a painting
in a single session, eight to 16 hours.
My high school art teacher, Walt Bartman,
started the fire that continues to burn today.
He made me feel as if he expected greatness
from me, even though I was a much weaker
painter then than most of my peers.
Art can open peoples eyes to a truth that
hides just beneath the surface. As barometers of

their age, gifted with the ability to peer keenly
through lifes little preoccupations to see the
larger issues, artists use visual language to present those findings in a way that unites us all.
ABOVE: Modern World #9 (oil, 24x36)
Tip: Use Black Modify it with other pigments.

For example, blacks and yellows make
wonderful greens.
December 2012
69
Second Place
Anthony Suminski
New Berlin, Wisconsin www.anthony.artspan.com
ABOVE: Lifes
Journey (egg
tempera, 22x24)
Lifes Journey expresses the fact that our journeys are usually chosen, but sometimes theyre
forced upon us. The monkey bars represent
situations in life. These structures are designed
for play but could also be dangerous if not
suited for us. The free-running horses represent our freedom to choose the direction in
our lives. The ragged clothing blowing in the
wind guides the viewers eye and, by extension,
implies our next adventure. The faraway structures suggest the future experiences well have.
Handmade Paints Working in egg tempera
exclusively, I grind my own pigments, which
come from all over the world. Sometimes I
pick up rocks from my travels and grind them
70
on a diamond plate to make a powder and then

mix the powder with egg yolk as a binder. I
also like to use gold, silver and platinum leaf.
Rarely do I work from a drawing. I see
the image in my mind. For portraits, I use
photos for accurate portrayal, and I paint
the flesh with a pigment called vagone green
earth. My son was the model for the figure in
the foreground. To show how deliberate and
time-consuming my process is: for the grass,
I worked in 4x4-inch sections, using a razor
blade to scratch out the individual blades. In
all, I spent at least 120 hours on Lifes Journey.
Tip: Hold Fast to the Vision The
vision of the
artist is important, not the labor.
ABSTRACT | EXPERIMENTAL
Third Place
John Salminen
Duluth, Minnesota www.johnsalminen.com
I started with no preconceived notion for

Abstract in Blue. I did a loose, gestural, abstract
painting in watercolor just to get the ball rolling. After that first layer dried, I began to layer
again, often adding some collage elements. My
abstract paintings evolve over a period of time,
and theyre all intuitive but based on strong
design. Frequently I stop, put the painting up
and wait for it to speak to me. The painting
and I always develop a give-and-take dialogue.
Ultimately, the painting develops into a multilayered piece in which each layer Ive painted
peeks through. Multiple layers give the work
depth. Surprises arise to direct the course of
the painting.
A Multitude of Pigments Although it looks as if
Id used a very limited palette, I actually used
many pigments. I began with myriad watercolor layers, and as the painting neared completion, I used acrylic
as an accent. In contrast
to my unlimited palette
of watercolor, I used
a more limited acrylic
palette for this last
step. There are lots of
earth tones, black and
white, and sometimes
quinacridone violet or
another strong pigment
to contrast with the
more muted watercolor
layers. Juxtapositions of
transparent watercolor
and opaque acrylic
enhance each other.
Although Im recognized as a realist, I
have an absolute love
of paint on the surface
as well as the liberating aspect of painting
abstractly. I came to
abstraction through
the American Abstract
Expressionists and
the works of Richard
Diebenkorn.
Tip: Begin With Gestural
Strokes When working
with multiple layers,

allow different dimensions of the earlier
layers to show.
LEFT: Abstract in Blue
(mixed watermedia, 25x19)
December 2012
71
Honorable Mention
Diane Schmidt
Sarasota, Florida www.dianedschmidt.com
A half-finished Soothsayer was propped up in my studio

for three months before I figured out how to finish it. I
began Soothsayer, part of a series that combines figures
and abstract designs, with an all-over textured underpainting on a single sheet of paper. On a wet, transparent watercolor background of rich reds and yellows, I
imprinted texture and designs with organic objects like
leaves or manufactured bric-a-brac. Next, I drew the
figure and other design elements with pencil. Although
I prefer working totally in transparent watercolor, I
used gouache here to depict the flesh.
ABOVE: Wind Me Up (oil, 36x24)
Honorable Mention
Terry Lynn Spry

Lehigh Acres, Florida
I do a drawing on tracing paper to work out the

composition, and I premix all my colors. My palette is
simple: alizarin crimson, cadmium red light, cadmium
yellow light, ultramarine and phthalo blue. I work alla
prima, trying for the right value each time I put down
a stroke. I always leave the favorite part of my painting
for last.
My continual theme is man versus nature. I like
my paintings to tell a story. I create a visual dialogue
with the viewer by combining unrelated things.
ABOVE: Soothsayer (watercolor and gouache, 40x25)
72
ABSTRACT | EXPERIMENTAL
Honorable Mention
Cliff Spohn
Shelton, Connecticut
www.neartamerica.com/proles/cliff-spohn.
html
My realistic beginnings and my experience, as an illustrator, with montage, led me to the joy of fearlessness in
painting abstractly. At the basis of every good abstract
painting lies the structure of a good drawing. Realism
and abstraction have a symbiotic relationship. As an
illustrator, I was eclecticthat made me adept at trying
abstraction.
I begin my abstract paintings with what I call sludge,
the painting debris left in my water bucket after a pour.
Sludges graininess, texture and nuances of pigment give
me a multitude of different colorations to play around
with. My advice to fellow artists is simple: challenge
yourself to ask, while youre painting, What if?
Finalists
Therese Arp
Huenfeld,Germany
John Scarborough
Granite City, IL
Judy Bales
Land O Lakes, FL
Carol Schinkel
Fort Collins, CO
Betsy Blodgett
Rancho Sante Fe, CA
Diane Schmidt
Sarasota, FL
Chris Breier
Williamsville, NY
Colette Odya Smith

Wauwatosa, WI
Gloria Carter
Midland City, AL
Carol Staub
Port Saint Lucie, FL
Sally Cooper
Parkland, FL
Richard A. Stimmler
Fountain Hills, AZ
Elaine Daily-Birnbaum
Madison, WI
Sidne Teske
Tuscarora, NV
Lynn C. Davis
Santa Rosa, CA
Jane Tracy
Branford, CT
Theresa Girard
Narragansett, RI
Michael Valley
Buford, GA
Jerome C. Harste
Bloomington, IN
Rosemary VanderBreggen
Milton, ON
Stephanie Hilvitz
Longmont, CO
Cesar Veloso
Lisbon, Portugal
Geoffrey McCormack
Eugene, OR
Rosa Vera
San Antonio, TX
Suzanne McCourt
Aptos, CA
Windsop
Au Sable Forks, NY
Pat Moseuk
Concord, CA
Jane Wright Wolf

Weston, CT
Carol Nelson
Aurora, CO
McCrystle Wood
Cincinnati,OH
Marianne Patty
Dunwoody, GA
Ellen Yetvin-Haver
Sunnyvale, CA
Mary Pichette
Carson, CA
Brenda York
San Diego, CA
Prafull B. Sawant
Nasik, India
Learn More ONLINE

For a link to an article that explains tried-and-true
designs and compositions for compelling abstract art,
go to www.artistsnetwork.com/learnmore2013.
ABOVE: Breast Bone (acrylic and mixed media,14x23)
December 2012
73
Take a few minutes to understand the two basic oil painting

processesand begin a lifetime journey discovering oils treasures.
by DIRECT or
INDIRECT means
BY MICHAEL CHESLEY JOHNSON
YOUVE DECIDED to take up oil painting.

Youve done your research and assembled a
starter set of paints, mediums, brushes and so
forth, but theres a problem. Just how, you wonder, do you go about creating a work in oil?
The good news is that all oil-painting
methods can be divided into two categories:
direct and indirect. There are, of course, hybrids
of these two approaches, and its not unusual for
a painter to combine the two methods.
The goal is to get er done, and as
long as you follow a few technical
rules (see Rules, Rules, Rules!, page
77), you can adapt your process to
the practices that work best for you.
Direct Painting
Of the two oil-painting
approaches, newcomers are generally more familiar with the direct
method, a process particularly
suited to painters who like loose,
impressionistic brushstrokes and
a painterly look.
Although there are many
ways to paint directly, the process usually involves an initial
sketch on the painting surface
followed by an underpainting
or block-in. The artist then
moves on to the overpainting, at which stage he or she
refines and completes the
work. The entire process can
be done wet into wet and
74
alla prima (all at once) or over several sessions.

Lets examine the direct method more closely:
You can create your initial sketch with
pencil or charcoal or with a brush and thin,
fluid paint. Usually, this sketch simply outlines
the major shapes.
Sketch
Underpainting If you create the sketch with

paint, you can proceed to the underpainting
while the sketch is still wet. The underpainting, made with either thinned paint or paint
scrubbed on thinly, fi lls in each of the major
shapes with an average value and color. You
can apply the paint either transparently
or opaquely; most painters paint
shadow areas transparently and
light areas opaquely. The goal is
to cover the white of the canvas
and to lay a foundation upon
which the overpainting can build.
Overpainting Again, you can move on
to the overpainting while the underpainting is still wet. Beginners often
have difficulty laying down strokes on
wet paint without stirring up earlier
layers and creating mud. To avoid this,
use thicker paint and hold the brush
more like a knifealmost as if you were
frosting a cake. You can also use a painting
knife. The goals of the overpainting are to
adjust the colors and values laid down earlier, to refine the treatment of edges and to
strengthen the center of interest.
If you work over several sessions, youll find that some colors become
matte and dull as they start to dry. Retouch
varnish will make these colors look saturated
and glossy again so that you can correctly
match the fresh paint to the old. If I return to
a painting the day after my last session, I skip
the retouch varnish or use it only if I detect
that some parts of the painting are starting to
look dull in color.
Retouch Varnish
Direct Advantages I like direct painting because

it goes fast; I can complete a small piece in a
couple of hours. You do need to plan when
painting directly, but changing things along the
way is relatively easy: if the painting is still wet,
unwanted passages can be scraped out; if the
painting is dry, passages can be sanded down,
and then fresh paint can be applied to bring the
piece up to snuff. (For a demonstration of direct
painting, see Direct Route, starting below.)
Direct Route
3
1. Using a 6B pencil, I lightly sketch the outlines of my major
shapes on a 6x12-inch sheet of hardboard. I had previously sized
this surface with Gamblin PVA sizing and then applied two coats
of Golden acrylic gesso. I can easily erase my pencil marks from
this surface but, because Im going for a painterly look, I keep
things loose. If Im painting on a larger surface, such as 12x16
inches, Ill usually tone the surface with a wash of oil color, which
is an efcient way of covering the white of the board.
2. Using a No. 6 natural bristle at, I begin blocking in each of
my major shapes. I start with the dark shapes and work up to
the light shapes, sticking with cool colors. Each color mixture
is my best guess at the average value and color for the area
Im painting, and I apply the paint thinly. Although I want the
4
paint thin, I minimize my use of thinner, trying to keep the paint
workable but not drippy.
3. Here you see the block-in after Ive lled in all the darker
cool shapes.
4. I continue the block-in, moving to the lighter cool shapes.
Demonstration continued on the next page
December 2012
75
Plein Air Energy Plein air painting is one

type of direct painting thats become somewhat of a fad. Although painters have always
worked from life and sketched outdoors to
collect reference material, it was the French
Impressionists who made painting outdoors an
end in itself.
Whats the difference between painting in
the studio and in the field? Painting outdoors
requires portable materials and equipment. A
folding field easel is more practical than a big
studio easel, and smaller panels enable you to

finish a painting in one session. Smaller paintings are also easier to carry. Speed is an issue
because shadow patterns can change quite a
bit over a couple of hours. The actual method
of plein air painting, however, is little different from that of working in the studio. If
youre primarily a studio painter, I recommend
venturing outdoors. Theres an energy found
in plein air work thats difficult to bring to a
studio piece.
7
5. Now I paint the warmer shapes, starting with the lightest
ones. Normally, I create a block-in by going methodically from
dark to light, regardless of color temperature, but for this painting
the relationship of cool and warm colors is critical; I want to get
the exact value and warmth of my lightest spot right. Other light
areas will be keyed to this one.
76
6. I continue with the light shapes, adding smaller ones to

indicate waves.
7. Here you see the nished painting, Coastal Light (oil, 6x12).
Because I painted directly, I was able to nish this piece in about
two hours.
Indirect Painting
Indirect painting takes more time than direct
painting because the picture is built up in layers and each layer is allowed to dry between
sessions. Classically trained academic painters
who create complex, highly realistic pieces may
paint this way. The process usually begins with
the making of a detailed initial drawing on the
painting surface. The artist then establishes
values with a fully rendered monochromatic
painting and then follows up with a series
of thin, colored glazes and opaque scumbles.
Again, lets look at this process more closely:
Drawing Usually you begin with a detailed
drawing made in light pencil. Th is drawing
should separate shadow from light and show
all the important shapes.
Monochromatic Painting Next, using a single
color thinned with odorless mineral spirits
(OMS), you turn your sketch into a fully rendered but monochromatic painting with all
the detail the final painting will have. Typical
colors that you might use during this stage are
black, brown or green. You can make dark passages darker by adding black and light passages
lighter either by adding white or by rubbing
out the paint with a clean rag or paper towel to
expose the white support.
Generally, you must give this
initial layer several days to dry before
going on to the glazing. One way to
speed the drying time is to use alkyd
oil paints rather than traditional oils; a
thin layer of alkyd paint
will dry in about
a day. Once the
underpainting is dry,
youre ready to apply
the first glazes.
During the
early stages of glazing,
I treat the painting like
a big paint-by-numbers
piece to which I apply
different-colored glazes to
discrete areas. You mix these
glazes by adding enough
glazing medium to the paint
to make its application fluid.
You can make or purchase a
traditional three-part glazing
medium composed of turpentine,
Glazes
Rules, Rules, Rules!

Whether you paint directly, indirectly or combine the two
methods, youll put yourself ahead of the game by following
these guidelines:
Use archival surfaces to help your paintings stand
the test of time. Use canvas, panels and boards that are
acid-free. If you happen to create a masterly painting on a
pepperoni-scented square of cardboard, youll nd it wont
last more than a few months.
Use a properly prepared support. The easy way
around this is to buy a prepared support that comes sized
and primed, such as an Ampersand Gessobord or Fredrix
Blue Label stretched canvas. (If you prefer to prepare your
own support, see my Brushing Up article Grounded for
Life in the March 2012 issue of The Artists Magazine for an
explanation of the process.)
Use artist-grade paints. Yes, purchasing student-grade
materials is less expensive, but youll nd yourself ghting
those materials rather than learning to become a better
painter. Typically, the ratio of pigment to ller is so low in
student-grade paints that youll end up using more paint
and spending more dollarsto get the same effect you
would with a smaller quantity of artist-grade paint.
Paint fat over lean. This is especially important when
youre painting indirectly. Lean paint (paint with a small
amount of oil in it) will dry more quickly than fat (more
oily) paint. If you put down fatter paint rst, especially
in a thick layer, subsequent layers of leaner paint may
crack. The simplest way to avoid this problem is to use
thinner, such as odorless mineral spirits, in the rst
layers and, in later layers, use undiluted paint or paint
mixed with an oil-painting medium.
damar gum and linseed oil, or you can

use alkyd mediums such as Gamblin
Galkyd diluted with Gamblin Gamsol
(the alkyd medium will help the glaze
dry faster).
Glazes in oil are like those in
watercolor in that they make use of
the values beneath them to create
their beauty; therefore, for a traditional glazing effect, you need to use
transparent paint. Opaque or semiopaque paints hide the underlying
values, but you can use those paints
if you want that effect.
You can lay down multiple
glazes, but each layer needs to be
Text continued on page 80
December 2012
77
Indirect Route
1. First, I draw in the design with a 6B pencil on a 12x16-inch

panel. My friend who made this panel used a sprayer to apply
many layers of acrylic gesso, thus creating a nearly nonabsorbent
surface, which is best for indirect painting. The paint adheres well
to the acrylic gesso, but I can lift it off, if I need to, with a rag or
paper towel.
Once my drawing is nished, I choose a No. 12 hog bristle at
brush and begin toning the panel with transparent earth red
thinned with enough Gamblin Gamsol (odorless mineral spirits or
OMS) to make a midvalue wash. I know that Ill be applying many
layers and glazes and that, with traditional oils, a single layer or
glaze may take several days to dry so, to speed the painting process, I decide to use Gamblin FastMatte alkyd oil paints, which
will allow each layer to dry in a day.
2. Before the initial wash dries, I use a paper towel to lift out
areas that should be light. This step initiates my creation of a fully
rendered monochromatic underpainting.
3. After establishing the light passages, I darken some of the
midvalue areas with transparent earth red that Ive thinned with
less OMS than Id used for the initial wash. I also use a small (No.
4) natural hog bristle at to rene the drawing. Here you see the
nished monochromatic underpainting.
78
4. After my underpainting has completely dried, I use a soft sable

at to apply thin glazes of different colors to different areas.
The size of the at depends on the size of the area Im glazing. Its
important not to scrub with the brush or spend too long on one
area, as the solvent in the glaze may cause earlier layers to soften
and lift, muddying the new glaze.
5. Here is the painting after the rst layer of glazes. I used purple and blue glazes in the sky and water; greens in the trees and
grass; yellow in the rocks and beach. My glazing medium was a
mixture of Gamblin Galkyd Lite and Gamsol, and between glazing
colors I rinsed my brush with Gamsol.
6. I continue adding glazesmaking sure the painting dries
completely between layers. To lighten some passages, I add a bit
of white to the glaze, which also makes the paint less transparent.
You can see the effect in the sky and in the cloud.
7. Occasionally, I need to make a correction. A cotton swab
moistened with solvent (turpentine or odorless mineral spirits) is
the perfect tool for lifting paint from small areas. A paper towel or
lint-free rag works for bigger areas.
8. As I approach the completion of the painting, I use

thicker, more opaque paint
with less glazing medium. This
works well for passages needing more texture and for what I
call stage presencedetails
that enhance the overall
design, such as the foreground
waves and rocks.
9. Heres the completed painting, Evening at the Cove
(oil, 12x16). Toward the end
I changed the shape of the
clouds and added a bit of water to the foreground. Ideally,
when painting indirectly, your
design in the monochromatic
underpainting stage should be
exactly as you want it, but if you
do decide to make a change
later, youll be able to wipe out
passages or add things.
9
December 2012
79
Text continued from page 77

absolutely dry before the next layer is applied.
Layering glazes in this way can create depth
thats impossible to achieve by painting
directly.
Glazes can darken passages, however. If
they become too dark, you can add a little
white to your paint mixture to re-establish
the lighter value, and then you can reglaze the
area. You can also scumble (brush on a thin
application of opaque or semiopaque paint)
to bring up the value of these passages.
Painters also use scumbling to soften edges.
(For a demonstration of indirect painting,
see Indirect Route, pages 7879.)
Importance of Planning Indirect painting
requires good planning skills. Although
you can make changes to the composition
as you go, youll find that having the design
completely figured out from the get-go is more
expeditious. Making changes later in the
process can be difficult, and sometimes earlier
configurations of your design may be evident
in the finished product, whether you want
them to be or not.
Protect Your Work

Whether you paint directly or indirectly, varnishing will protect your finished painting
from dust, smoke and grease. If the painting is
damaged by any of these, a professional conservator can clean it by removing the varnish
carefully and then applying a new coat.
A painting needs to dry for six months
or more before its varnished. Prior to this
time, the painting may feel dry to the touch,
but its not; oil paint cures by oxidation, and
thicker passages need the extra months. Once
the painting does dry, you can either brush
or spray on the varnish. You can use the traditional damar varnish (either mixed yourself
with turpentine, linseed oil and damar gum
or purchased ready-made) or one of the new
resin varnishes such as Krylon conservation
varnish. Some varnishes are available in gloss,
semigloss and matte finishes.
If a six-month wait seems like forever
and it does to meyou can simply apply a
coat of retouch varnish once the painting is
dry to the touch. Retouch varnish, which also
can be applied with a brush or a spray, is just
a diluted version of a finish varnish. It creates a permeable fi lm that allows the paint
to continue to breathe and cure while also
80
Learn More ONLINE

For more information about these resources by
Michael Chesley Johnson plus a free preview of
Johnsons video workshop, go to www.artists
network.com/learnmore2013.
Articles
Oil Painting Primer, The Artists Magazine,
September 2012guide to paints, thinners,
mediums and other supplies and equipment
used by an oil painter
Grounded for Life, The Artists Magazine,
March 2012guide to preparing surfaces for
oil painting
Paint for the Impatient, The Artists Magazine,
December 2011introduction to alkyd oils
Plein Air Painting With Alkyds: A Painting Stepby-Stepfree online article
Downloadable Video
Oil Painting on Location with Michael
Chesley Johnsonfree preview available at
artistsnetwork.tv
providing some protection to the paint. Be

aware, though, that some retouch varnishes
may sink in and create dull areas over time.
In such cases, a reapplication of the retouch
varnish or an application of final varnish will
be necessary.
Get a Rhythm Going
One of the most important things about learning any craft is practice. If you paint only during your once-a-year workshop, you wont get
any better. Set up your studio area or keep your
plein air gear handy, and paint regularly. You
also get better faster if you paint many small
studies rather than agonizing for weeks over
a large piece. I tell my students to paint lots
of 5x7-inch field studies on gessoed paper or
matboard. The payoff is big. Artist William
F. Reese once said, Paint three times a week
and youll stay the same, but paint four times a
week and youll improve.
MICHAEL CHESLEY JOHNSON is a contributing editor
to The Artists Magazine and the author of Backpacker
Painting: Outdoors with Oil & Pastel. He has two instructional videos available at artistsnetwork.tv. Visit his
website at www.michaelchesleyjohnson.com.
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@ArtistsNetwork
ask the experts
BY LEONARD D. DUBOFF
Does Dimensionality
Affect Copyright?
Q. I understand that there can
be problems with depicting a
copyrighted painting within
my own painting (see Learn
More, page 83). Is depicting a
three-dimensional artwork in a
two-dimensional painting also a
problem? I would like to create a
painting that includes a sculpture
in a public park and then enter
the painting in a competition. Do
I need permission to include the
sculpture in my painting?
Barbara Kejr, Silver City, NM
A. Depicting a sculpture in a
painting may be a problem if the

sculpture is the central figure, even
though the sculpture is threedimensional and the painting is
two-dimensional. In Geisel v. Poynter
Products, Inc., for instance, the court
held that the owner of the copyright
in Dr. Seusss two-dimensional cartoons had the right to authorize the
manufacture of three-dimensional
vinyl toys because a copyright upon
a work in one medium empowers
the copyright owner to transform
or copy the work into a different
medium. Similarly, in another case

it was held that a two-dimensional
layout is infringed by the creation
of a three-dimensional monument
embodying that layout.
The law states that copyright
protects the original and any substantial copy of the original, and
making a two-dimensional copy of
a three-dimensional work would be
the creation of a substantial copy,
just as making a three-dimensional
copy of a two-dimensional work
is creating a substantial copy (see
What Is a Substantial Copy?, at
bottom).
If the sculpture is merely an
incidental part of the work, such as
the background in a portrait painting, then the incidental copying
might be deemed a fair use (see
Learn More, page 83). There are
cases that have followed this rule.
Certainly the safest course
would be to obtain written permission to reproduce the sculpture in
your painting, whether the sculpture
is the focal point of your painting or
merely incidental.
First Publication Dened
What Is a
Substantial
Copy?
Theres no precise denition of
substantial copy. In fact, the test for
applying the term is subjective but,
generally speaking, a substantial copy
is one thats very similar (not necessarily identical) to the copied work.
82
Q. I understand that I may be

able to collect more money for
a copyright infringement if my
artwork is registered before
the infringement or within
three months of my works rst
publication (see Learn More, page
83). But what is meant by rst
publication? Does posting an
image of my painting on a website
or on a marketing postcard count?
What about displaying my work in
a gallery or at an exhibition? Does
it matter whether the artist or
someone infringing on the artists

copyright is the rst to publish
the artwork?
Peter Kostoulakos, Lowell, MA
A. The term publication is defined in
the copyright law as the distribution of copies to the public by sale

or other transfer of ownership, or by
rental, lease or lending, and copy
is defined as including the original.
The statute also makes it clear that a
public display of a work, such as in a
gallery or an exhibition, does not, of
itself, constitute publication.
If, however, a copy of the work
changes hands, as with marketing
postcards, there has been a publication. The statute also provides that
offering your work to a group of
persons for further distribution or
public display is considered a publication. Because there is a case that
held that a single school was considered a group for this purpose, its
safest to consider any offering of the
work to any retailer or wholesaler to
be a publication.
The law surrounding whether
posting a work on the Internet is a
publication is somewhat unsettled.
Courts, however, have held that the
For the purpose of

determining when
to register your
copyrights, its most
prudent for you to
consider Web posting
to be a publication.
ask the experts
Learn More
For more information by Leonard D.
DuBoff about topics in this column,
check out these Q&As from previously published Ask the Experts columns. These Q&As are available for
free online at www.artistsnetwork.
com/learnmore2013.
Why Register Copyright? (July/
August, 2012)
and hes generally ignored my

phone messages as well as one
written letter. Since he never
answered my letter, Im not sure
I have his correct address, so I
hesitate to mail him a check to
repay the $50. He has not yet
viewed the painting. At this
point, do I have a right to sell
the painting or to enter it into a
juried competition for a possible
monetary award?
Edward C. Van Wicklen, York, PA
A. When you were commissioned to

Art Within Art, (January/February
2012)
Fair Use Dened (July/August 2007)
posting of works on the Internet is

a publication because people viewing the item on the Web have the
ability to make copies of that image.
For this reason, for the purpose of
determining when to register your
copyrights, its most prudent for
you to consider Web posting to be a
publication.
Although the statute does not
explicitly require that the distribution of the artwork be made by or
with the consent of the copyright
owner, this is considered to be
implied. This means that if someone
were to distribute copies of your
artwork without your consent, such
distribution would not be considered
first publication.
What If a Buyer Doesnt Pay Up?
Q. About six months ago someone
commissioned me to create a
painting. Although I didnt ask for
a down payment, he insisted on
giving me $50, which I used to
buy materials. When I completed
the work, I drove 1 hours for
an agreed appointment, but my
client didnt show up. Over the
last six months, he set up and
missed one other appointment,
create the painting and you agreed

to do so, you entered into a contract.
Implied in every agreement is an
obligation of good faith and fair
dealing. Thus, when your client
didnt show for his appointment and
was generally unavailable to cooperate with you, the client breached the
agreement. You, therefore, would no
longer have an obligation to sell that
work to the client, and you should
certainly be free to resell the work or
display it in a gallery.
In fact, if you wind up reselling
the work for less than the price you
and the client agreed that you would
be paid for it, you may even be able
to fi le suit against the client for the
difference between the contract price
and the price you were able to obtain
from the buyer. If this amount is
below the limits for small claims
court, you can even handle the case
yourself. If the amount of the deficiency is equal to or less than the $50
you received, you can apply the down
payment to satisfy that claim.
LEONARD D. DUBOFF has testied in
Congress in support of laws for creative
people, including the Visual Artists Rights Act
of 1990. A practicing attorney and pioneer
in the eld of art law, he has also assisted in
drafting numerous states art laws and has
authored more than 20 books. For further
information, visit www.dubofaw.com.
STATEMENT OF OWNERSHIP, MANAGEMENT AND

CIRCULATION (required by Act of August 12, 1970: Section
3685, Title 39, United States Code). 1. The Artists Magazine 2.
(ISSN 0741-3351) 3. Filing date: 10/01/12. 4. Issue frequency:
10 Issues Annually. 5. Number of issues published annually:
10. 6. The annual subscription price is $22.96. 7. Complete
mailing address of known ofce of publication: 10151 Carver
Rd., Suite #200, Blue Ash, OH 45242. Contact person: Kolin
Rankin. Telephone: 305-441-7155 8. Complete mailing address
of headquarters or general business ofce of publisher: 10151
Carver Rd., Suite #200, Blue Ash, OH 45242. 9. Full names
and complete mailing addresses of publisher, editor, and
managing editor. Publisher, Jamie Markle, 10151 Carver Rd.,
Suite #200, Blue Ash, OH 45242. Editor, Maureen Bloomeld,
10151 Carver Rd., Suite #200, Blue Ash, OH 45242. Managing
Editor, Christine McHugh, 10151 Carver Rd., Suite #200, Blue
Ash, OH 45242. 10. Owner: F+W Media, Inc.: David Nussbaum,
Chairman and CEO. Address: 38 E. 29th Street 4th Floor New
York, NY 10016. 11. Known bondholders, mortgages, and
other security holders owning or holding 1 percent of more
of total amount of bonds, mortgages or other securities:
none. 12. Tax status: Has not changed during the preceding
12 months. 13. Publisher title: The Artists Magazine. 14.
Issue date for circulation data below: July/August 2012. 15.
The extent and nature of circulation: A. Total number of
copies printed (Net press run). Average number of copies
each issue during preceding 12 months: 92,265. Actual
number of copies of single issue published nearest to ling
date: 85,880. B. Paid circulation. 1. Mailed outside-county
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4. Paid distribution through other classes mailed through
the USPS. Average number of copies each issue during the
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paid distribution. Average number of copies each issue during
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or nominal rate distribution (by mail and outside mail). 1. Free
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or nominal rate in-county copies. Average number of copies
each issue during the preceding 12 months: 0. Number of
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Free or nominal rate copies mailed at other Classes through
the USPS. Average number of copies each issue during
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published nearest to ling date: 30. 4. Free or nominal rate
distribution outside the mail. Average number of copies each
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Total free distribution (sum of 15c and 15e). Average number
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of copies each issue during preceding 12 months: 14,633.
Actual number of copies of single issue published nearest
to ling date: 19,790. H. Total (sum of 15f and 15g). Average
number of copies each issue during preceding 12 months:
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nearest to ling: 85,880. I. Percent paid. Average percent
of copies paid for the preceding 12 months: 98.7% Actual
percent of copies paid for the preceding 12 months: 99.1%
16. Publication of statement of ownership will be printed in
the December 2012 issue of the publication. 17. Signature and
title of editor, publisher, business manager, or owner: Jamie
Markle, Publisher. I certify that all information furnished on
this form is true and complete. I understand that anyone who
furnishes false or misleading information on this form or who
omits material or information requested on the form may be
subject to criminal sanction and civil actions.
December 2012
83
drawing board
BY GRANT FULLER
Simple Perspective
These easy lessons make one-point and multiple-point perspective
drawings quick and painless.
UNLIKE ARCHITECTS and engineers, we artists simply want to
make the structures we draw look
good. Although we dont need to
build the real thing from our drawings, its important to create convincing perspective in order to get a
realistic end result.
Achieving the illusion of three

dimensions on a two-dimensional
surface requires an understanding
of how to use the horizon line and
vanishing points to establish guidelines that insure the angles are correct. Youll need to trust your own
judgment when it comes to things
such as how far apart to space the

vanishing points when working with
two-point perspective. With a bit of
practice, youll get a feel for it, and
eventually youll become quite comfortable with establishing perspective in your drawings.
One- and Two-Point Perspective
One-Point Perspective, Single Vanishing Point In this

view from the direct center of a railroad track, the track
appears progressively smaller until it nally disappears on the
horizon. The place where the track meets the horizon is called
the vanishing point. Because this composition is positioned
directly in the center, theres only one vanishing point.
This composition also shows one vanishing point. Although

you may begin to see minor distortions, its safe to draw the
building beside the road to the same vanishing point as the
road. You can assume that the building is parallel to the road.
Any other structures that are also parallel to the road would
use the same vanishing point.
TIP: FIND THE HORIZON

The horizon will always be at your
own eye level. If you cant see the
horizon from a particular place,
you can always establish it on
your drawing by looking straight
ahead and noticing how it relates
to your subject. Normally, the
vanishing points are on the horizon. The only exception would
be in the case of oating forms
or extreme viewpoints from far
below and far above a scene.
84
Two-Point Perspective, Two Vanishing Points Note the relationship between the
angles of the roof and walls with the horizon. The sides are vertical, but the tops and
bottoms of the walls are angled toward a point on the horizon. The top and bottom
of the right-side wall (and roof) can be extended to the right vanishing point. The top
and bottom of the left wall (minus the gable) are projected to the left vanishing point.
drawing board
Draw a Street Scene

This will be a one-point perspective
drawing from the street level with a
single vanishing point.
MATERIALS
Surface: cartridge paper or acid-free cover stock
Graphite: 2H, HB, 2B wooden pencils
Other: kneaded eraser, reference photo (optional)
1. Rough in a sketch. Use an HB pencil

to rough in the sketch. Its not necessary
to draw the horizon line because it will
be obscured by other elements of the
cityscape. The key lines are the top of
the wall on the right and the sidewalk.
2. Draw the storefronts. Compress

the storefronts because theyre being
viewed from an extreme angle. Dont
make many of the doorways and windows much wider than a pencil line, and
try to keep the pencil on the paper as
long as possible, using a uid motion for
shapes that arent rigid structures.
3. Draw the cars and apply tone.

Draw the cars and then begin adding
tone to the shadow side of the cars
with a 2B pencil. (Its easier to get a feel
for the nal product when the drawing
starts to take on a three-dimensional
look.) Have some reference photos of
objects you want to include because Its
too difcult to draw complicated objects
from memory. In this case, youll need
some photos of cars taken from the
same angle as the street.
4. Smooth the texture to nish. Go
over the tone with a 2H pencil in order
to smooth the texture in the shadow
areas.
TIP: WORK LIGHT TO DARK

Most drawings that you intend
to be nished pieces should
be rendered from light to dark.
Applying very dark values in the
early stages makes it almost
impossible to adjust overall values
throughout the course of a drawing. Making changes to a value
thats deeply embedded can be
extremely difcult.
December 2012
85
drawing board
Draw a Street Scene With Multiple Vanishing Points

The purpose of this exercise is to
capture a fairly complex subject in as
little time as possible. This drawing
will use one-point perspective with
the exception of the angled roof on

the tower, which will have its own two
vanishing points.
MATERIALS
Surface: cartridge paper or acidfree cover stock
Graphite: 2H, HB, 2B wooden
pencils; Pentel HB mechanical
pencils
Other: kneaded eraser,
straightedge
1. Rough in the sketch. Establish the

vanishing point. With an HB wooden or
mechanical pencil, start with the most
interesting structure and roughly position it in the composition. Next, decide
on the cropping. (Note the marks indicated by the arrows, the places where I
planned to crop my image.)
2. Create a series of guidelines. Use

a straightedge placed on the vanishing
point to create a series of guidelines.
(Some angles are so extreme, its hard
to get them correct without a straightedge.) Suggest a few windows and other
size-related elements. From this steep
angle, the windows shouldnt be much
more than a few pencil lines wide.
TIP: PREVENT UNWANTED

SMUDGING
Get into the habit of keeping a
piece of plain paper or a paper
towel under your drawing hand
while working. This will prevent
unwanted smudging and save you
from having to constantly clean
up with an eraser.
86
drawing board
PRACTICE MAKES PERFECT

The more you draw and establish perspective guidelines in
your drawings, the better youll
become at creating believable
landscapes and interiors.
3. Develop details. Develop some of

the more interesting details while letting other parts of the picture remain
unnished. Keep the small objects very
simple. Erasing the guidelines as you go
will help you avoid smudging later.
4. Add tone to nish. Use 2B and 2H

wooden pencils to apply the tone. You
can add as much or as little tone as you
like. I chose to keep a rough, unnished
look to this subject because it leaves
more to the viewers imagination.
GRANT FULLER paints and teaches watercolor workshops and courses throughout
the United States, Canada and the United
Kingdom. His subjects range from buildings and boats to gures and portraits. Visit
Fullers website at
www.grantfuller.ca.
This article is
adapted from his
book Start Sketching
and Drawing Now:
Simple Techniques for
Drawing Landscapes,
People and Objects
2011 by Grant Fuller, with permission of
North Light Media, an imprint of F+W Media
Inc. Order the book at www.northlightshop.
com or by calling 855/842-5267.
December 2012
87
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Capturing Radiant Light and Color in Oils and Pastels
(Instructional DVDs Available)
The School of Light & Color

916-966-7517 www.lightandcolor.com
European Beret $14

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www.johnhelmer.com
John Helmer Est. 1921 (503) 223-4976
969 S.W. Broadway, Dept. AM122 Portland, OR 97205
VAN HASSELT, AWS

WATERCOLOR WORKSHOPS
Mar 1/5: Amelia Island, Florida
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Jul 15/19: Blue Ridge Mnts, NC
800-248-6449
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MEL STABIN AWS, NWS

2013 Watercolor Workshops
Marathon, FL - Jan/Feb
Cape Porpoise, ME - Aug
Atlanta, GA - March
Cuyahoga Falls, OH - Aug
Fairfield, NJ - April
Island Heights, NJ - Sept
Cape May, NJ - May
M. Vineyard, MA - Sept
Chadds Ford, PA - June
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Montgomery, NY - Oct
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Jan Sitts
Art Workshops
in Acrylic and
Mixed Media
See Website
for all U.S.
Workshops
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Our classes
last a
lifetime.
France - May 4-14, 2013
Kay@globalj.org
Oregon - June 10-13, 2013

Scott@menucha.org
Robbie Laird Art Studio

712 West Mountain Ridge Road
Lake Almanor, California 96137-9585
(530) 259-2100 [voice and fax] | robbie@robbielaird.com
www.RobbieLairdArtStudio.com
HUDSON RIVER VALLEY

ART WORKSHOPS
Learning, Laughter,
and Friendships in a
Relaxing, Inspiring, and
Inviting Environment
Call Toll-Free 1-888-665-0044
Barbara Nechis
May 2-5, 2013
Mary Alice Braukman
May 5-11, 2013
Eric Wiegardt
May 16-19, 2013
Robert Burridge
May 19-25, 2013
Paul George
May 30-Jun. 2, 2013
Elizabeth Kenyon
Jun. 2-8, 2013
Leah Lopez
Jun. 9-15, 2013
Paul Leveille
Jun. 16-22, 2013
Tony van Hasselt
Jun. 23-29, 2013
Ellen Gavin
Jun. 29-Jul. 2, 2013
Karen Rosasco
Jul. 7-13, 2013
Henry Yan
Jul. 14-20, 2013
Frank Francese
Jul. 21-27, 2013
Gerald Brommer
Jul. 28-Aug. 3, 2013
Kim English
Aug. 4-10, 2013
Fran Skiles
Aug. 18-24, 2013
Koo Schadler
Sep. 8 - 14, 2013
David Taylor
Sep. 15-21, 2013
Susan Ogilvie
Sep. 22-28, 2013
Skip Lawrence
Sep. 29-Oct. 5, 2013
David Daniels
Oct. 6-12, 2013
Alvara Castagnet
Oct. 13-19, 2013
artworkshops.com
37th Transparent
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December 2012
89
artists marketplace
Workshops
ARIZONA
Scottsdale Artists School
150 three-to-five day workshops

Destination Workshops
Artist Demonstrations
Learn more at ScottsdaleArtSchool.org

Located in the heart of the arts district in Scottsdale, Arizona.
Flying Colors
Art by the Sacramento Rivers

Sponsored by Northern California Arts, Inc.
Art Workshops
Dick Cole Frank Webb Lian Zhen Lynn Forbes

Chris Van Winkle Steve Memering David Peterson
THE BEST INSTRUCTORS IN THE BEST PLACES

Puerto Vallarta, Mexico Frank Francese-W/C
................................................February 23 - March 1, 2013
Guatemala Judy Morris-W/C........... March 18-28, 2013
San Miguel de Allende, Mexico - Bob Burridge-Acrylic
................................................................. March 17-23, 2013
Spain Don Andrews-W/C .....................June 12-22, 2013
Cornwall, UK Mel Stabin-W/C.............. July 18-28, 2013
Amal Coast Frank Webb-W/C ... September 5-15, 2013
Acapulco Cookbook available $26 includes mailing.
Sacramento Fine Arts Center

5330B Gibbons Drive, Carmichael, CA
www.sacnearts.org/nca/workshops
sfaccoordinator@gmail.com
or call Pam Rhodes: 916-342-0401
320 South Gaylord St., Denver CO 80209

1.858.518.0949
FlyingColorsArt@me.com FlyingColorsArt.com
Classes
April-Oct.
Traveling Palette Art Workshops

SAM DAMBRUOSO
ITALY
USA
Portraits, Florence March 21-28, 2013 Hawaii

May 18-25, 2013
Amalfi
June 22-29, 2013 Old Lyme, CT July 15-16, 2013
Sardinia
October 5-12, 2013 Block Island, RI Sept 9-13, 2013
Tuscany
October 12-19, 2013
Weekly Art Classes in CT
www.dambruosostudios.com
203-758-9660
Coastal Maine
Art Workshops
ROCKLAND and Beyond!
2013 Workshops
April
May
July
August
September
October
Demers/Bermuda
Frost/France
Zbukvic; Webb; Castagnet
Zagotta; Demers; van Hasselt; Gill
Page; Andrews; Carr; Curtis
Wiegardt; van Hasselt/France
Loosen Up
Workshops
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90
Jan Sitts
5/2-5/5/13, Sedona. Sedona Arts Center
Contact: www.SedonaArtsCenter.com
10/23-10/25/13, Tucson.
Contemporary Artists of Southern Arizona
Contact: www.jansitts.com
11/5-11/8/13, Sedona. Sedona Arts Center.
Contact: www.SedonaArtsCenter.com
Tucson Art Academy

1/7-1/10/13, Aaron Schuerr, Pastel Painting
From Field To Studio.
1/16-1/19/13, Ken Auster, Intellect And
Passion.
1/21-1/24/13, Bryan Mark Taylor,
Fundamentals Of Cityscape Painting.
1/25-1/27/13, Ned Mueller, Making A Portrait
Painting Work.
1/30-2/2/13, Randall Sexton, Out About Town Painting Local Scenes.
Contact: 520/903-4588
www.tucsonartacademy.com
CALIFORNIA
Art In The Mountains
9/23-9/27/13, Santa Cruz. Spontaneity and
Light, David Taylor. Watercolor. $695
10/28-11/1/13, Santa Barbara. Drawing and
Painting with Charles Reid, Charles Reid.
Watercolor .
11/4-11/8/13, Santa Barbara. Drawing and
Painting with Charles Reid, Charles Reid.
Watercolor .
Contact: Tracy Culbertson, 503/930-4572
info@artinthemountains.com
www.artinthemountains.com
www.CoastalMaineArtWorkshops.com
info@coastalmaineartworkshops.com
POB 845, Camden, ME 04843
207-594-4813
Robert
Burridge
1/7-1/11/13, Scottsdale. Robert Moore,

Principles of Painting. This workshop is an
intense ve days of inspiration, hard work and
productive learning. $635.
1/14-1/18/13, Scottsdale. Larisa Aukon,
Painting Architecture with Condence. This
class will teach you how to paint a credible
and convincing architectural motif. $575.
3/18-3/21/13, Scottsdale. Joseph Lorusso,Oil
Painting: Portrait and Figure. This workshop
explores the principles of sound painting by
studying drawing, values, edges, color and
design. $460 + $35 model fee.
4/1-4/5/13, Scottsdale. William Hook, Acrylic
Landscapes. Understanding the demands of
the acrylic medium is the primary focus of this
workshop. $810.
4/1-4/5/13, Scottsdale. Donald Demers,
Painting Outdoors at Saguaro Lake Ranch
Resort, Arizona. This course is designed to
fully immerse the student in the experience of
landscape painting. $750.
Contact: 480/990-1422
Info@ScottsdaleArtSchool.org
www.ScottsdaleArtSchool.org
Robert Burridge
Discover schools
and artists near you
who provide the
instruction youre
looking for.
visit
www.artistsnetwork.com/
art_workshop_directory
1/7-1/11/13, Contemporary Abstract Figure &

Collage. 5-day Workshop (Monday-Friday)
Palm Springs Art Museum.
Contact: The Artists Council, 760/325-7186,
ext. 150, P.O. Box 2310, Palm Springs, CA
92263-2310 or www.psmuseum.org
2/4-2/8/13, Abstract Acrylic Painting &
Collage. 5-day Painting Workshop
(Monday-Friday). Demo: Sunday, February 3.
Venus Studios Art Supply, 74-280 Highway 111,
Palm Desert, CA
Contact: Debra Ann Mumm, 760/340-5085 or
VenusStudios11@aol.com
Tony Couch
3/4-3/8/13, Cambria.
Contact: 678/513-6676
toncouch@mindspring.com or
www.tonycouch.com
Mary McLane mmclane@artistdaily.com 970/290-6065
Caroline Jasper
Lori Putnam
1/21-1/25/13, Palm Desert.

Powercolor Painting, sponsored by Venus
Studios Art Center.
Contact: 760/340-5085
VenusStudios11@aol.com or
www.venusstudioartsupply.com
10/11-10/13/13, Pasadena.
Learning & Product Expo: Art.
Contact: 626/689-2690
info@shbackgruen.com or
www.learningproductexpo.com
4/26-4/28/13, Apalachicola.
Contact: info@HistoricApalachicola.com
www.loriputnam.com
Northern California Arts

Art by the Sacramento Rivers
Sponsored by Northern California Arts, Inc.
1/19-1/20/13, Dick Cole, Watercolors.
2/14-2/18/13, Frank Webb, Watercolor
Energies and Composition.
3/8-3/11/13, Lian Zhen,
Chinese Watercolor Painting.
4/5-4/7/13, Chris Van Winkle,
Oils and Plein Air.
6/15-6/16/13, Steve Memering,
Painting Koi with Modern Acrylics.
8/18-8/19/13, Lynn Forbes,
Live Figurative Sculpture.
10/14-10/15/13, David Peterson,
Watercolor Plein Air Painting Fast and Loose.
Contact: Sacramento Fine Arts Center,
5330B Gibbons Drive, Carmichael, CA 95608
Pam Rhodes, 916/342-0401
sfaccoordinator@gmail.com or
www.sacnearts.org/nca/workshops
School of Light & Color

1/19-1/23/13, Fair Oaks. Color Intensive.
Sponsored by The School of Light & Color.
$550. Instructor: Susan Sarback. All levels.
Includes tuition.
3/2-3/4/13, Fair Oaks. Advanced Techniques.
Includes tuition.
6/1-6/2/13, Fair Oaks. Plein Air Landscape.
Includes tuition.
9/16-9/19/13, Napa Valley. Plein Air
Landscape. Sponsored by The School of Light
& Color. $525. Instructor: Susan Sarback. All
levels. Includes tuition.
Contact: Susan Sarback, 916/966-7517
sarback@lightandcolor.com or
www.lightandcolor.com
Jan Sitts
Dates TBA, Mendocino.
Mendocino Art Center.
Contact: www.MendocinoArtCenter.org
Tony van Hasselt, A.W.S.

3/11-3/15/13, Palm Desert.
Contact: Sherry, 800/248-6449
www.tonyvanhasselt.com
Jan Sitts
2/4-2/7/13, Fort Lauderdale.
Plantation Art Guild.
Contact: www.PlantationArtGuild.org
Mel Stabin
1/30-2/2/13, Marathon. Pushing The Envelope
In Watercolor: Express Yourself. Sponsored by
Florida Keys Watercolor Society. All levels.
Contact: Karen Beauprie, 305/517-6806
karen@beausartstudio.com or
www.fkwcs.com

3/1-3/5/13, Amelia Islands Victorian Charm.
Escape to a sunny artists paradise for three
or ve days of painting fun on this plein air
watercolor workshop taught by Tony van
Hasselt, A.W.S. Enjoy daily demos, lots of
personal assistance and group critiques in a
delightful Victorian setting and Southern charm.
GEORGIA
The Bo Bartlett Center
3/15-3/17/13, Columbus. Holistic Painting
Master Class with Bo Bartlett.
Contact: Columbus State University
www.TheBoBartlettCenter.com
Tony Couch
5/6-5/10/13, St. Simons Island.
Contact: 678/513-6676
www.tonycouch.com
Mel Stabin
3/11-3/15/13, Atlanta. Pushing The Envelope
Spruill Center for the Arts. All levels.
Contact: Anne Winn, 770/394-3447
awinn@spruillarts.org or www.spruillarts.org
HAWAII
Tony Couch
2/4-2/8/13, Yankeetown.
Contact: 678/513-6676
www.tonycouch.com
Tony Couch
12/3-12/7/12, Gloucester.
Contact: 678/513-6676
www.tonycouch.com
Mel Stabin
9/16-9/20/13, Marthas Vineyard. Pushing
The Envelope In Watercolor: Express
Yourself. Sponsored by Mel Stabin Watercolor
Workshops. All levels.
Contact: Nesa, 201/746-0376
melstabin@optonline.net or
www.melstabin.com
MICHIGAN
Susan Ogilvie
5/18-5/25/13, Kauai.
The Beautiful South Pacic.
Contact: 203/758-9660
SamDAmbruoso@comcast.net
www.DAmbruosoStudios.com
7/22-7/26/13, Traverse City. Plein Air.

Contact: Art Center Traverse City
231/941-9488
www.artcentertraversecity.com
MAINE
8/12-8/15/13, Mackinac Island. Plein Air

Landscape. Sponsored by Mackinac Arts
Council. Instructor: Susan Sarback. All levels.
Includes tuition.
Contact: Lily Porter, 906/984-4124
director@mackinacartscouncil.org
4/22-4/26/13, Don Demers, Plein Air Oil

Painting in Bermuda! Adv Int/Adv; non painters
welcome! Contact us for details!
5/29-6/8/13, Jonathan Frost and Lyn Donovan,
Plein Air Oil Painting in France; Paris and the
Loire Valley! Beg-Adv; non-painters welcome;
Contact us for details!
7/8-7/12/13, Joseph Zbukvic, Watercolor
Solutions! Plein Air. $675. Wait List Only.
7/15-7/19/13, To be announced!
7/22-7/26/13, Frank Webb, Watercolor
Energies; Beg-Adv; Plein Air/Studio. $600.
7/29-8/2/13, Alvaro Castagnet, Painting With
Passion! WC/Plein Air. $675.
8/6-8/9/13, Cathe Gill, Mixed Media:
The Principle of Oooze! Pastels into wet
Watercolor. Int/Adv; Plein Air. $550.
8/12-8/16/13, Donna Zagotta, Adding the
You Factor! Any medium. All levels. Studio,
Plein Air. $550.
8/19-8/23/13, Don Demers, Painting the
Coastal Landscape. Plein Air Oils. Adv Int/Adv
only. $750.
2/18-2/22/13, Abstract Acrylic Painting &

Collage. 5-day Painting Workshop
(Monday-Friday). Art Center Sarasota
707 N. Tamiami Trail, Sarasota, FL 34236
Demo: Sunday, February 17
Contact: Elizabeth Hillman, Program
Coordinator, elizabeth@artsarasota.org,
941/365-2032 or www.artsarasota.org
MASSACHUSETTS
Sam DAmbruoso
Coastal Maine Art Workshops
Robert Burridge
8/5-8/9/13, Cape Porpoise. Pushing The

Envelope In Watercolor: Express Yourself.
Sponsored by Mel Stabin Watercolor
www.melstabin.com
Tony Couch
Sam DAmbruoso
FLORIDA
Mel Stabin
10/7-10/11/13, Maui. Plein Air Painting with

Bob in Hawaii, Bob Burridge. Open medium
CONNECTICUT
7/15-7/16/13, Old Lyme.
On the Trail of the Impressionists.
Contact: 203/758-9660
8/26-8/30/13, Tony van Hasselt, Watercolor

Workshop. All levels. Plein Air. $575. M-W:
$395.
9/2-9/6/13, Colin Page, The Maine Landscape:
Boot Camp! Plein Air Oils. Int/Adv. $595.
9/9-9/13/13, Colin Page, The Maine Landscape:
Master Class! Plein Air Oils. $650.
9/16-9/20/13, David Curtis, Alla Prima Plein Air
Landscapes in Oils. All levels. $550.
9/23-9/27/13, Don Andrews, Color Emphasis
Landscape; WC Studio/Plein Air. All levels.
$600.
9/30-10/4/13, Betty Carr, Expressive Luminous
Painting! WC Acr/Oils Plein Air. All levels. $595.
10/7-10/11/13, Eric Wiegardt, Secrets of
Painting Loose! WC Plein Air. All levels. $595.
10/10-10/23/13, Tony van Hasselt, Plein Air
Watercolor in Provence, France! All levels.
Non-painters welcome. Contact us for details!
Contact: Lyn Donovan, 207/594-4813
info@coastalmaineartworkshops.com or
www.coastalmaineartworkshops.com
4/15-4/19/13, Frankfort.
Contact: 678/513-6676
www.tonycouch.com
MONTANA
Triple D Game Farm
Visit the Triple D as we travel away from
our Montana base to a scenic location near
Mariposa California for the month of April
2013. The opportunities are endless when
our majestic wildlife play in the beautiful
wildowers, creeks and hills near the Gateway
of Yosemite National Park. Since this is the
site of a working cattle ranch, we will also
offer a Day on the Ranch which will include
photographing horses and western wranglers,
cattle events and will nish up with cowboy
silhouettes around a campre. There are
numerous photography events every month
of the year at the Triple D!! Please visit our
website for all the events and trips at
www.tripledgamefarm.com
December 2012
91
artists marketplace
2/1-2/5/13, John & Suzie Seerey-Lesters
Wilderness Workshop. Includes wildlife
photography, sketching and painting
instruction.
8/10-8/14/13, John & Suzie Seerey-Lesters
Wilderness Workshop. Includes wildlife
photography, sketching and painting
instruction.
8/23-8/26/13, Gemma Gyllings The
Total Wildlife Workshop. Includes wildlife
photography, sketching and colored pencil
instruction. NEW!!
8/30-9/2/13, Cindy Billingsleys The Animal
Spirit Captured in Clay. Includes photography,
sketching and sculpting instruction. NEW!!
Hope to see you soon!!
Contact: 406/755-9653
info@tripledgamefarm.com
Susan Ogilvie
NEW JERSEY
NORTH CAROLINA
Mel Stabin
4/21/13 and 9/28/13, Faireld. Pushing The
Sponsored by Art@1275 Studio & Gallery.
All levels.
Contact: Marian Jones, 201/747-5969
artat1275@aol.com or www.artat1275.com
5/6-5/9/13, Cape May. Pushing The Envelope
Marie Natale. All levels.
Contact: Marie Natale, 609/214-9905
mariedezines@comcast.net or
www.marienatale.com
9/9-9/11/13, Island Heights. Pushing The
Sponsored by Ocean County Artists Guild.
All levels.
Contact: Leona Lavone, 732/914-9941
busby67@comcast.net or
www.ocartistsguild.org
10/8-10/10/13, Allendale. Pushing The
Sponsored by Community Arts Association.
All levels.
Contact: Rose Scaglione, 845/323-4234
rose.scaglione@yahoo.com or
www.caanearts.org
NEW YORK
Hudson River Valley Art Workshops
Mel Stabin
6/8/13 and 10/5/13, Montgomery. Pushing
The Envelope In Watercolor: Express Yourself.
Sponsored by Wallkill River School. All levels.
Contact: Shawn Dell Joyce, 845/457-2787
wallkillriverschool@hvc.rr.com or
www.wallkillriverschool.com

6/24-6/28/13, Hudson River Valley.
Caroline Jasper
11/8-11/11/12, Raleigh. Art of the Carolinas,
sponsored by Jerrys Artarama.
Contact: info@jerrysartevents.com or
www.artofthecarolinas.com
3/20-3/24/13, Boone. Powercolor Painting,
sponsored by Cheap Joes Art Stuff.
Contact: 800/227-2788
edwina@cheapjoes.com or
www.cheapjoes.com
John C. Campbell Folk School

12/2-12/8/12, Brasstown. Redenta Soprano:
Festive Holiday Botanicals in Watercolor
Pencil. Experience recommended but not
required. Tuition: $568.
1/4-1/6/13, Brasstown. Carolyn Molder:
Trees and Rocks in the Mountain Landscape.
All levels welcome. Tuition: $334.
1/6-1/12/13, Brasstown. Annie Pais:
Advanced Watercolor Still Life and
Landscapes. Intermediate-Advanced,
Tuition: $648.
1/13-1/19/13, Brasstown. John Mac Kah:
The Painters Craft Masters Class.
Intermediate-Advanced. Tuition: $648.
1/20-1/25/13, Brasstown. Pam BeagleDaresta: Awaken/Reawaken Your Art Spirit.
Intermediate. Tuition: $594.
Contact: John C. Campbell Folk School
800-FOLK-SCH, www.folkschool.org
7/8-7/12/13, Bend. The Architecture of Light,

Thomas Schaller. Watercolor. $595.
7/15-7/19/13, Bend. Central Oregon Summer,
Richard McKinley, Pastel. $695.
7/22-7/26/13, Bend. The Still Life, Portrait and
Figure, Sherrie McGraw. Oil. $795.
7/29-8/2/13, Bend. Watercolor Fun and Free,
Karlyn Holman. Watercolor. $595.
8/5-8/9/13, Bend. Great Design Decisions,
Judy Morris. Watercolor. $595.
8/12-8/16/13, Bend. 10 to 5 or 6 or More
Nicholas Simmons. Watercolor and Acrylic.
8/19-8/23/13 Bend. Abstract Acrylic Painting
and Collage, Bob Burridge. Acrylic. $655.
8/26-8/30/13, Bend. Desert Flowers,
Birgit OConnor. Watercolor. $595
Robbie Laird
6/10-6/13/13
Contact: Scott@menucha.org
PENNSYLVANIA
Mel Stabin
6/3-6/6/13, Chadds Ford. Pushing The
Sponsored by Mel Stabin Watercolor
www.melstabin.com
RHODE ISLAND
Sam DAmbruoso
9/9-9/13/13, Block Island.
The Bermuda of the North.
Contact: 203/758-9660
SOUTH CAROLINA
Robert Burridge
3/3-3/9/13, Abstract Acrylic Painting and
Collage Workshop. 5-day Workshop
(Monday-Friday). First Session, Sunday
afternoon - Saturday morning. Springmaid
Watermedia Workshop, Myrtle Beach, SC
Contact: Regina Wynn, Program Manager
866/890-5647
workshop@springmaidwatermedia.com or
www.springmaidwatermedia.com
5/2-5/5/13, Barbara Nechis

5/5-5/11/13, Mary Alice Braukman
5/16-5/19/13, Eric Wiegardt
5/19-5/25/13, Robert Burridge
5/30-6/2/13, Paul George
6/2-6/8/13, Elizabeth Kenyon
6/9-6/15/13, Leah Lopez
6/16-6/22/13, Paul Leveille
6/23-6/29/13, Tony van Hasselt
6/29-7/2/13, Ellen Gavin
7/7-7/13/13, Karen Rosasco
7/14-7/20/13, Henry Yan
7/21-7/27/13, Frank Francese
7/28-8/3/13, Gerald Brommer
8/4-8/10/13, Kim English
8/18-8/24/13, Fran Skiles
9/8-9/14/13, Koo Schadler
9/15-9/21/13, David Taylor
9/22-9/28/13, Susan Ogilvie
9/29-10/5/13, Skip Lawrence
10/6-10/12/13, David Daniels
10/13-10/19/13, Alvara Castagnet
Contact: 888/665-0044
info@artworkshops.com or
www.artworkshops.com
Kanuga Watermedia Workshops
National Academy School
8/19-8/22/13, Cuyahoga Falls. Pushing The

Sponsored by Cuyahoga Valley Art Center.
All levels.
Contact: Linda Nye, 330/928/8092
cvartcenter@sbcglobal.net or
www.cvartcenter.org
4/3-4/5/13, Palo Duro Canyon. Deep in the

Canyon on the Way to the top of Our Rim. A
3-day informal color bound painting session
for those who are training for their own
mastery.
Contact: Marianne Fincher, 325/672-4504
nchme5@aol.com or
www.williamaherring.com
OREGON
Jan Sitts
10/2-10/5/13, Lubbock.
West Texas Watercolor Association.
Contact: www.jansitts.com
11/26-12/6/12, Tom Ferrara, Approaches

To Composition. Illuminating a variety of
approaches for developing composition in
painting, this course explores both traditional
and modern methods with an emphasis on
spontaneous, intuitive responses. The goal of
this course is to transcend the concept of previsualization and discover a uid evolutionary,
organic way of working. All levels. $390.
Contact: 212/996-1908
www.nationalacademy.org
92
9/23-9/27/13, Greenville. Plein Air.

Fall Foliage in Pastels.
Contact: Hudson River Valley Workshops
518/966-5219, www.artworkshops.com
4/7-4/12/13, Hendersonville. Sue Archer,

M.E. Mike Bailey, Linda Baker, Marilynn
Derwenskus, Don Getz, Ken Goldman, Lana
Grow, Kathleen Kuchar, Dale Laitinen, Jan
Ledbetter, Annie Morgan, and Janet Rogers.
Contact: Robbie Laird, 530/259-2100
www.kanugawatermediaworkshops.com
Mel Stabin
6/27-6/29/13, West Jefferson. Pushing The
Sponsored by Florence Thomas Art School.
All levels.
Contact: Meghan Minton, 336/846-3827
info@orenceartschool.org or
www.orenceartschool.org

7/15-7/19/13, Blue Ridge Mountains.
OHIO
Mel Stabin
7/1-7/5/13, Bend. Paint Instinctively,

Kim English. Oil. $755.

4/15-4/19/13, Charleston. Light & Color
Landscape. Sponsored by Charleston Art
League. Instructor: Susan Sarback. All levels.
Includes tuition.
Contact: Tina Mayland, 843/768-5696
tinamayland@mindspring.com
TEXAS
4/8-4/12/13, San Antonio. The Passionate
Painter, Alvaro Castagnet. Watercolor. $795.
William A Herring
Kristin Roark kristin.roark@fwmedia.com 513/531-2690 ext. 11381
UTAH
10/15-10/18/12, Dixon County.
G. Russell Case, On Location in Dixon Country.
$475/ 4 Days.
Contact: www.scottsdaleartschool.org
WASHINGTON
Susan Ogilvie
9/30-10/4/13, Lori Putnam, Plein Air.

Contact: Jenna Erickson, 715/747-2054
www.madelineschool.com
Richeson School of Art and Gallery

11/5-11/9/12, John & Suzie Seery-Lester,
Learn From the Master (all levels). $850.
Contact: Rachel, 920/738-0744
artschool@richesonart.com or
www.richesonart.com
ENGLAND
Mel Stabin
7/18-7/28/13, Cornwall. Pushing The Envelope
Flying Colors Art Workshops. All levels.
Contact: Johanna Morrell, 858/518-0949
yingcolorsart@me.com or
www.yingcolorsart.com
Jan Sitts
FRANCE
8/12-8/16/13, La Point.
Madeline Island School of the Arts.
Contact: www.MadelineArtSchool.com
8/19-8/22/13, Lac du Flambeau.
Dillmans Bay Resort.
Contact: www.Dillmans.com
Atelier St. Luc
WISCONSIN
Transparent Watercolor Society
Tony Couch
Chicagoland/Kenosha. TWSA will host four

5 day workshops in June, 2013 in conjunction
with the Transparent Watercolor Society of
Americas 37th National Exhibition and its
two jurors at the Kenosha Public Museum.
Instructors for these workshops are nationally
recognized watercolor artists Robin Berry,
TWSA and Paul Jackson, AWS, NWS. Robins
workshops; 6-10 to 6-14 and 6-17 to 6-21.
Pauls workshops; 6-10 to 6-14 and 6-17 to
6-21. For full details on these workshops,
please visit www.TWSAwatercolors.org or
www.watercolors.org
5/4-5/14/13
Contact: Kay@globalj.org
6/21-6/23/13, Bainbridge Island. Plein Air.

Contact: Winslow Art Center, 206/618-3112
www.winslowartcenter.com
8/23-8/26/13, Mt. Vernon. Plein Air.
Contact: 888/345-0063 x 5
www.dakotaartworkshops.com
6/3-6/7/13, Dillmans Lodge.

Contact: 678/513-6676
www.tonycouch.com
Caroline Jasper
9/16-9/20/13, Lac Du Flambeau.
Powercolor Painting, sponsored by Dillmans
Creative Arts Foundation.
Contact: 715/588-3143, art@dillmans.com or
www.dillmans.com
Madeline Island School of the Arts

5/20-5/24/13, Sterling Edwards, Studio.
6/24-6/28/13, Cheng-Khee Chee, Studio.
6/24-6/28/13, Birgit OConnor, Studio.
7/8-7/12/13, Kami Polzin, Plein Air.
7/15-7/19/13, Marc R. Hanson, Plein Air.
7/22-7/26/13, Alvaro Castagnet, Plein Air.
7/29-8/2/13, Kathie George, Studio.
8/12-8/16/13, Jan Sitts, Studio.
8/19-8/23/13, Kami Polzin, Plein Air.
9/9-9/13/13, Shelby Keefe, Plein Air.
9/30-10/4/13, Kathie George, Studio.
5/19-5/28/13, Provence. Plein Air Painting.

6/1-6/10/13, Provence. Plein Air Painting.
Contact: www.ianroberts.com
Robbie Laird
GUATEMALA
Flying Colors Art Workshops
3/18-3/28/13, Judy Morris - W/C.
FlyingColorsArt@me.com or
www.FlyingColorsArt.com
ITALY
THE BAHAMAS
5/4-5/11/13, 7 Unforgettable Days,

Mary Whyte. Watercolor.
Robert Burridge
Sam DAmbruoso
1/19-1/26/13, Paint with Bob in Abaco, The

Bahamas!
Contact: Dillmans Creative Arts Foundation
715/588-3143, vacations@dillmans.com or
www.dillmans.com and for more details
www.dillmans.com/dcaf/abacos-2013.html
3/22-3/28/13, Florence.
Portraiture and Land of the Medicis.
6/22-6/29/13, Amal.
The Drama of the Amal Coast.
10/5-10/12/13, Sardinia. Landscape Painting
the Untamed Natural Beauty of Italy.
INTERNATIONAL
S USAN O GILVIE
Unique Island Setting,

Exceptional Workshops
2013 Painting Workshops
Sterling Edwards
Cheng-Khee Chee
Birgit OConnor
Kami Polzin
Marc R. Hanson
Alvaro Castagnet
Kathie George
Jan Sitts
Kami Polzin
Shelby Keefe
Kathie George
Lori Putnam
May 20-24
June 24-28
June 24-28
July 8-12
July 15-19
July 22-26
July 29- Aug 2
Aug 12-16
Aug 19-23
Sept 9-13
Sept 30-Oct 4
Sept 30- Oct 4
Studio
Studio
Studio
Plein Air
Plein Air
Plein Air
Studio
Studio
Plein Air
Plein Air
Studio
Plein Air
SPRING 2013
WATERMEDIA WORKSHOPS
Hendersonville, North Carolina
April 7-12, 2013

SUE ARCHER
M.E. MIKE BAILEY
LINDA BAKER
MARILYNN DERWENSKUS
DON GETZ
KEN GOLDMAN
LANA GROW
KATHLEEN KUCHAR
DALE LAITINEN
JAN LEDBETTER
ANNIE MORGAN
JANET ROGERS
www.KanugaWatermediaWorkshops.com
REGISTRATION INFORMATION AT
www.MADELINESCHOOL.com
715.747.2054 La Pointe, WI
Registration now open!

Robbie Laird, Director
530/259-2100 (Pacic Time)
Workshops in Pastel for 2013

Michigan New York
Washington State
www.susanogilvie.com
December 2012
93
artists marketplace
10/12-10/19/13, Tuscany.
Painting Workshop (16th Year).
Contact: 203/758-9660

9/5-9/15/13, Amal Coast. Frank Webb - W/C.
The Watermill at Posara

Unique painting workshops with renowned
international tutors at a beautifully restored
17th Century watermill. Seven days, seven
nights full-board accommodation. Painting in
stunning locations, excursion to Lucca or the
Cinque Terre. The cost of the holiday workshop
includes tuition, accommodation (including
all linen and towels), pre-dinner aperitifs, all
meals (including dinners with wine at charming
local restaurants) and all local transportation
(including transfers to Pisa airport and an
excursion by train to Lucca or the Cinque
Terre). You get to Pisa, Italy; we do the rest!
The 2013 painting tutors at the mill are:
5/11-5/18/13, Painting: watercolours with John
Christian (from UK).
5/25-6/1/13, Painting: watercolours (oils,
pastels, acrylics) with Terry Jarvis (from
Australia).
6/1-6/8/13, Painting: watercolours with Tom
Schaller (from USA).
6/8-6/15/13, Painting: watercolours with
Joanne Boon Thomas (from UK).
6/15-6/22/13, Painting: watercolours (oils and
acrylics) with Fabio Cembranelli (from Brazil).
8/24-8/31/13, Painting: watercolours, pastels,
gouache and oils with Sue Ford (from UK).
8/31-9/7/13, Painting: watercolours, oils,
pastels & other media with Laraine Simpson
(from UK).
9/7-9/14/13, Painting: watercolour, acrylic, oil,
photography with g.a. Sheller (from USA).
9/14-9/21/13, Painting: watercolours with Bev
Wells (from UK).
Keith Hornblower and Simon Jones (from UK).
Charles Sluga (from Australia).
Contact: Bill or Lois at info@watermill.net or
phone: +39 366 488 2587. More details on
www.watermill.net/painting-holidays
MEXICO
2/23-3/1/13, Puerto Vallarta.
Frank Francese - W/C.
3/17-3/23/13, San Miguel de Allende.
Bob Burridge - Acrylic.
DEADLINE: NOVEMBER 26, 2012

Huntington, New York: BJ Spoke Gallery,
Huntington, NY EXPO 32 competition. Artist
Stan Brodsky, Professor Emeritus, C.W. Post,
will judge entries of USA artists. Submit six at
or three sculptural works, no craft. Prospectus
at www.bjspokegallery.com or call
631/549-5106. Winners show April 2013.
DEADLINE: DECEMBER 21, 2012

9th Annual Northeast National Pastel
Exhibition: Over $5,000 cash awarded. Juror
of Selection: Sally Strand PSA. Juror of Awards:
Diane Forsberg. Two entries, $40-$30. Enter
online or by CD. Exhibition May 4-June 29,
2013. Prospectus www.ViewArts.org or call
315/369-6411.
DEADLINE: JANUARY 12, 2013

Georgia Watercolor Society XXXIV National
Exhibition, April 5 - May 17, 2013. Juror:
Marilyn Hughey Phillis, AWS, NWS: Workshop
April 24-26. Anticipate $10,000 in awards.
Entry fee: $40 for 3 entries. For more
information and prospectus go to
www.georgiawatercolorsociety.com

37th Transparent Watercolor Society of
America National Exhibition May 4 August 4, 2013 Kenosha Public Museum.
Jurors: Robin Berry, TWSA and Paul Jackson,
AWS, NWS. New award level - $25,000 in cash
awards. Digital entries. Prospectus - send
#10 SASE to TWSA, 249 East Route 6, Box 209,
Morris, IL 60450 or download pdf at
www.TWSAwatercolors.org or
www.watercolors.org

Houston: WAS-H 36th International
Exhibition 2013. Watercolor Art SocietyHouston 36th International Exhibition 2013
call for entries. First Place - Jan Ledbetter
The Maya of Chichicastenango XXXIII; 35th
International Exhibition - Watercolor Art
Society - Houston. Show dates: March 12 April 2, 2013, WAS-H Gallery, 1601 W. Alabama,
Houston, Texas. Juror: Jan Fabian Wallake.
Open to all media 80% water media on
paper. First Place $2,000. More than $6,000
in cash awards presented in 2012. For more
information, contact 36th International
Exhibition, c/o Watercolor Art Society Houston, 1601 W Alabama, Houston, Texas
77006-9966. Printable prospectus is available
on the website at www.watercolorhouston.org
New Orleans, Louisiana: Louisiana

Watercolor Society 43rd International
Exhibition, May 4-25, 2013. Juror: Cindy Agan.
First Place $2,000. For prospectus go to
www.louisianawatercolorsociety.org or send
a #10 S.A.S.E. to V. Thomas, 29 Cycas, Kenner,
LA 70065.

Call For Entries: Salon International 2013.
Greenhouse Gallery of Fine Art. Open to
traditional/representational original oil or
acrylic paintings. Maximum size 30 either
dimension. Best of Show: $8,000. Download
prospectus at http://si.greenhousegallery.com

Easels in Frederick 3rd Annual Juried Plein
Air Competition June 18-23, 2013 sponsored
by the Delaplaine Arts Center, Frederick, MD.
Painting area includes charming, historic
downtown and surrounding countryside.
Awards = $15,500. Sales in two galleries;
Quick Draw. Prospectus/entry form visit
www.easelsinfrederick.org
DEADLINE: FEBRUARY 1, 2013

Northwest Watercolor Society invites artists
to enter the 73rd Annual International Open
Exhibition: April 15 - May 31, 2013. Anticipating
$10,000 in awards. Juror: Mark Mehaffey.
Online entries accepted beginning October 1,
2012 at www.NWWS.org
DEADLINE: MARCH 1, 2013

Texas Watercolor Society 64th Annual
Exhibition. San Antonio Art League Museum,
June 1-30, 2013. Expected total awards of
$7,000. Don Andrews, juror. Prospectus at
www.texaswatercolorsociety.org
DEADLINE: MARCH 4, 2013

Springeld, Oregon: National juried show.
Over $6,000 in prizes, paintings only. Show
dates May 1-31, 2013. Prospectus: SASE to:
Attn: Emerald Spring Exhibition 2013, Emerald
Art Center, 500 Main St., Springeld, OR 97477
Or download at www.emeraldartcenter.org
DEADLINE: APRIL 1, 2013

Fargo, North Dakota: RRWS 19th National
Juried Watermedia Exhibition, starting
June 16th. Juror/Workshop instructor Arne
Westerman. Top Awards: $1,250 - $1,000 $750 plus more. Prospectus: #10 SASE to
RRWS, PO Box 1656, Fargo, ND 58107-1656 or
at redriverws.org
The Artists Magazines 2013 Ad Deadlines

Space Reservation
Materials Due
Newsstand
October 5, 2012
October 12, 2012
December 4, 2012
November 27, 2012
January 29, 2013
PUERTO RICO
January/February 13
Caroline Jasper
March
November 20, 2012
April
December 26, 2012
January 2, 2013
February 26, 2013
May
January 29, 2013
February 5, 2013
April 2, 2013
June
February 28, 2013
March 7, 2013
April 30, 2013
July/August
April 2, 2013
April 9, 2013
June 4, 2013
September
June 4, 2013
June 11, 2013
August 6, 2013
July 2, 2013
July 9, 2013
September 3, 2013
3/4-3/8/13, Powercolor Painting,

sponsored by East End Art Guild.
Contact: Bev, 787/378-0804
silverlady50@yahoo.com
SPAIN
6/12-6/22/13, Don Andrews - W/C.
UNITED KINGDOM
7/18-7/28/13, Cornwall. Mel Stabin - W/C.
94
Call for Entries
October
November
July 30, 2013
August 6, 2013
October 1, 2013
December
September 5, 2013
September 12, 2013
November 5, 2013
October 4, 2013
October 11, 2013
December 3, 2013
January/February 14
Mary McLane mmclane@artistdaily.com 970/290-6065
Advertiser Index
Academy Of Art University . . . . . 7
Alchemist Mediums . . . . . . . . . . . 8
Art Gallery Frames . . . . . . . . . . . 88
Art In The Mountains . . . . . . . . . 88
Artspan.com . . . . . . . . . . . . . . . . 25
Atelier St. Luc . . . . . . . . . . . . . . . 90
BJ Spoke Gallery . . . . . . . . . . . . . 94
Blick Art Materials . . . . . . . . . IFC, 1
Bo Bartlett Studio . . . . . . . . . . . . 20
Caroline Jasper Studio . . . . . . . . 88
Cinema Dell Arte . . . . . . . . . . . . 23
Coastal Maine Art Workshops . . 90
DAmbruoso Studios LLC . . . . . . 90
Daniel Gerhartz. . . . . . . . . . . . . . . 6
Delaplaine Visual Arts . . . . . . . . 94
Drawing Tutorials Online . . . . . . 22
Emerald Art Center . . . . . . . . . . 94
F+W Media, Inc . . . . . . 8, 10, 20, 27
32, 33, 48-55, 81, 90, IBC
Flying Colors Art Workshop . . . . 90
General Pencil. . . . . . . . . . . . . . . . 9
Georgia Watercolor Society . . . . 94
Grax Arts. . . . . . . . . . . . . . . . . . 22
Greenhouse Gallery Of Fine Art. 94
HK Holbein Inc . . . . . . . . . . . .19, 25
Hudson River Valley . . . . . . . . . . 89
Icarus Art, Inc . . . . . . . . . . . . . . . . 6
Jack Knife Easel . . . . . . . . . . . . . 22

Jack Richeson & Co Inc . . . . . . . .11
Jan Sitts . . . . . . . . . . . . . . . . . . . . 89
Jerrys Artarama . . . . . . . . . . .16, 17
John C Campbell Folk School. . . 89
John Helmer Haberdasher Inc . . 88
Kalish Brushes . . . . . . . . . . . . . . 88
Kanuga . . . . . . . . . . . . . . . . . . . . 93
Kroll Roberts Studio . . . . . . . . . . 23
Louisiana Watercolor Society . . 94
Madeline Island School Of Art . . 93
Maui East Art Gallery . . . . . . . . . 89
Mel Stabin . . . . . . . . . . . . . . . . . . 89
National Academy School . . . . . 27
New Wave Art. . . . . . . . . . . . . . . 22
Northern California Arts Inc. 90, 91
Northwest Watercolor Society . 94
Oil Painters Of America . . . . . . . 14
Open Box M, Inc . . . . . . . . . . . . . 23
Paintix.com / Holistic Product . 90
Pennsylvania Academy Of The Fine
Arts . . . . . . . . . . . . . . . . . . . . . . 21
Planes Of The Head . . . . . . . . . . 88
Putnam Studio . . . . . . . . . . . . . . 91
R & F Handmade Paints . . . . . . . 23
Red River Watercolor Society . . 94
Robbie Laird Art Studio . . . . . . . 89
Robert Burridge Studio. . . . . 23, 90

Rochester Art Supply Inc . . . . . . 23
Royal Brush Mfg Inc . . . . . . . . . . BC
School Of Light & Color . . . . . . . 88
Scottsdale Artists School . . . . . 90
Sheldons Art Academy . . . . . . . 89
Stove Prairie Press, LLC . . . . . . . 34
Strathmore Division . . . . . . . . . . . 5
Stu-Art. . . . . . . . . . . . . . . . . . . . . . 9
Susan Ogilvie . . . . . . . . . . . . . . . 93
Texas Watercolor Society. . . . . . 94
Tony Couch . . . . . . . . . . . . . . . . . 88
Tony van Hasselt. . . . . . . . . . . . . 88
Transparent Watercolor Society
. . . . . . . . . . . . . . . . . . . . .89, 93, 94
Trekell & Company . . . . . . . . 22, 89
Triple D Game Farm . . . . . . . . . . 88
Tucson Art Academy . . . . . . . . . 20
View Arts . . . . . . . . . . . . . . . . . . 94
Virtual Art Academy. . . . . . . . . . 14
Vistra Framing . . . . . . . . . . . . . . 88
Watercolor Society Of Houston . 94
Watermill, The. . . . . . . . . . . . . . . 88
White Light Creations . . . . . . . . . 88
William A Herring . . . . . . . . . . . . 88
Draw and paint the world

around you.
Bestselling author Claudia Nice shows how to paint a variety of
favorite subjects in an easy, expressive style using watercolor
with pen & ink.
Learn how to turn watercolor, subtly mixed with penand-ink detailing, into dozens of paintings of natural and
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waterways, weather effects, animals and birds, owers, still
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from technical pens to paint brushes, and fun techniques such
as salt and spatter, to create colorful, realistic vignettes of
the world around you. Claudia teaches a new painting style
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This and many more North Light products are available at your favorite art & craft
retailer or bookstore. They can also be found online at northlightshop.com, or call
1-800-258-0929 to order.
ArtistsNetwork
@artistsnetwork
an imprint of F+W Media, Inc.
December 2012
95
competition spotlight
BY MAUREEN BLOOMFIELD
More Than One Prize

Entering a competition is a sure way to have your work noticed.
SEE TH
E RULE
S
TO OU
R ANN
UAL
CO M P
E
ON PA TITION
GES 32
-33.
THE CELEBRATION CONTINUES.
Often, when viewing the entries to

our annual competition, we fall in
love with the work of several artists
who consequently become feature
artists the next year. In addition,
we choose, from the rich bounty
of works by the finalists, 35 pictures that will grace 9 Competition
Spotlight articles in The Artists
Magazine; 12 Artists of the Month
website articles at www.artists
magazine.com, and 14 pages of The
Artists Magazines calendar (available
at www.zazzle.com/gifts for artists.
Congratulations to the winners and
the finalists and, indeed, to all who
entered our contest. Thank you for
letting us see your work. In our eyes,
youre all winners.
Competition
Spotlight
For the last page of The
Artists Magazine, we
choose a picture from
the pool of nalists and
ask the artist to tell
the pictures story. Our
October 2012 issues
Competition Spotlight
features Jennifer R.
Weltys The Artists
Daughters (oil, 20x24).
2013
Calendar
On the cover is
Queen Annes
Lace (oil, 10x10)
by Brooke
Walker-Knoblich;
on the February
page is David
Beals Meet Up
at Belmont (oil,
36x60).
96
Artist of
the Month
Every month a work of one of the

nalists is added to our website at
www.artistsmagazine.com.
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Direct vs Indirect: Two Ways of Painting in Oil

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Image courtesy of Larry Humber

PARIS HAD ITS SALON JURY,

are art or not, but whether theyre

ABOVE: A familiar face with a spray can is at

The panels makeup was still

Image courtesy of Larry Humber

ABOVE: Cartoon imagery is popular in Grafti

Alley, as seen here and above.