artists magazine june 2010

5/27/2018 Artists Magazine June 2010

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Display until June 7, 2010

June 2010www.artistsmagazine.com

Self Portrait(oil, 40x32) by Steven J. Levin

An Intuitive Approach to Abstraction in Acrylic

A New (Twisted)Take on Perspective

Best Frame

ForwardPreserve & PresentYour Work

Masters ofthe RealDaniel E. Greene& Steven J. Levin

Mixing

DryMedia
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features 24 Dramatic Shadow,

Expressive LightSteven J. Levin exploits the dramatic

possibilities of extreme contrasts.By Rosemary Barrett Seidner

32 The Fifth PerspectiveAdd a dynamic aspect to your work with

this twist on conventional perspective.

By Rudolf Stussi

40 The Design Is in the DetailsMaster realist Daniel E. Greene plans

every aspect of his complex compositions.

Interview by Maureen Bloomfield

48 Between Chaos & SerenityWorking in a square format in acrylic,

Cathy Woo solves visual puzzles.

By Ruth K. Meyer

54 The Fine Art of FramingPresent your work to its best advantage

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contents54

40

JUNE 2010 VOLUME 27 NUMBER 5


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6 Letters

10 The Artists LifeUlrike Arnold picks up handfuls

of dirt to paint vistas of earth

and sky; TheArtsMap.com offers

artists around the world a wayto connect with one another,

and more.

Edited by Grace Dobush

14 ExhibitionsTake to the road to see great art

this spring.

Edited by Holly Davis

18 Drawing BoardSketch quickly in pencil en plein

airto render the essence of a

scene. By Jerry N. Weiss

60 Brushing UpTo make a memorable portrait,

suggest the universal rather than

the particular. By Stan Miller

64 Ask the ExpertsHow to combine graphite and

charcoal to best effect and how

to transfer a drawing.

By Anthony Waichulis

66 Supply CabinetDont miss these new products

fresh to market.


68 Art Clinic

Can a still life based on his-tory be meaningful without an

explanation? By Greg Albert

74 Workshop GuideFind a workshop here or abroad

to suit your schedule.

80 Competition SpotlightBeijing artist Kathy Hirsh paints

landscapes on site in pastel.


columns

on the coverAbstraction in Acrylic 48

Masters of the Real 24, 40

Best Frame Forward 54

A New Take on Perspective 32

Mixing Dry Media 64

COVER:Self Portrait (oil, 40x32)

by Steven J. Levin

The Artists Magazine(ISSN 0741-3351) is published 10

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Look for the

online extras

icon through-

out this issue

to find out

whats wait-

ing for you

online.

webEXTRA

Art ClinicSubmit an image for a critical analysis at bit.ly/artclinic.

Pastels by Daniel E. GreeneGreene paints in several media; see a sampling of his paintings in pastel at

www.artistsnetwork.com/article/pj-greene.

More Art by Steven J. LevinView additional paintings at www.artistsnetwork.com/article/steven-j-levin.

Two Rapid Drawings En Plein Air

See more of Jerry N. Weisss landscape sketches at www.artistsnetwork.com/article/rapid-landscape-drawings.

More Fifth Perspective PaintingsFind more examples of Rudolf Stussis unconventional method for implying space at

www.artistsnetwork.com/article/rudolf-stussi.

Online Seminar: The Simple Secret to Better PaintingTake advantage of Greg Alberts hour-long seminar at www.northlightshop.com/

product/online-seminar-the-simple-secret-to-better-painting.

Download Free Wallpaperwww.artistsnetwork.com/wallpaper

JUNE

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letters

5June 2010

Publisher & Editorial Director Jamie Markle

Editor Maureen Bloomfield

Senior Art Director Daniel T. Pessell

Managing Editor Christine McHugh

Associate Editors Holly Davis, Grace Dobush

CONTRIBUTING EDITORS

Greg Albert, Daniel Brown, Sandra Carpenter, Paul

Dorrell, John Elliot, Daniel E. Greene, Louise B. Hafesh,

Albert Handell, Sheila Hollihan-Elliot, Everett Raymond

Kinstler, Kevin Macpherson, Ross Merrill, Phil Metzger,

Ruth K. Meyer, Dean Mitchell, Birgit OConnor, Jean

Pederson, Maggie Price, Stephen Quiller, Koo Schadler,

Burton Silverman, Jerry N. Weiss, Jimmy Wright

MEDIA SALES DIRECTOR

Kristin Roark513/531-2690 ext. [email protected]

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CALL FOR ARTISTS

Seeking Artists to Create United States Coin and Medal Designs

UNITED STATES MINT ARTISTIC INFUSION PROGRAM

Application Deadl ine: July 6, 2010 www.usmint.gov/art ists
mailto:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]://www.artistsmagazine.com/http://www.artistsmagazine.com/mailto:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]


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letters FROM THE EDITOR, OUR CONTRIBUTORS AND READERS

6 www.artistsmagazine.com

Fraudulent or Practical?Regarding Projection: An EthicalIssue? (Letters, April 2010), the old

masters used to assign apprenticesto scale up their drawings onto thecanvas. Was that cheating?

I would like to suggest a simpletest for the letters anonymous author,

who believes that another artistsprizewinning work was less genuinethan his or her own because the prize-

winner used a projector: ry using aprojector, and see what happens. Te

writer will probably be amazed, and

perhaps relieved, to learn that havinga projected image on an otherwiseblank canvas leaves one far, far awayfrom a prizewinning painting.

If he or she has an honest emo-tion to express, good mastery ofmaterials and process, good drawingskills and a strong compositionalsense, a good painting may resultbut it wont be due to the projector.Like an artists plumb line, like agridin fact, like a photograph thats

not projectedthe projector is anaid, one of many, and nothing more.Lacking any of the foregoing factors,using a projector will do an artist nogood. But if it works for you, why,knock yourself out! Its not cheating.

Deborah Weinstein, San Clemente, CA

An Artists SubjectCasey Baugh has a lush and masterlypainting style thats a pleasure to lookat (Practice Makes Perfect, April2010); however, I find his currentsubject matter a bit disappointing.

Te portraits look like oil versions ofa womens fashion magazine photoshoot. Baugh states, I like to paint

what fascinates me ... . Presumablythats a series of flawless, young, run-

way models. I hope that he starts toexpand his horizons and show workthat depicts more breadth to thehuman experience, as his skills are

truly wonderful.Cara Nilsen, via e-mail

I LAS INERVIEWED DANIEL E. GREENEfor the June 2005 issue of TePastel Journal. Tough he certainly hasnt abandoned pastel, Greene cur-rently enjoys working close to life-size in oil. Paintings like o North MooreStreet(page 44)or Dartman(below) are the painterly equivalent of theatricalsoliloquies. Greene places his actors against backdrops that mirror their iso-lationfor example, the subway station, which is emblematic of departure,or the carnival, where illusion and chance collide. Te recurrent image of thegame board brings these themeschoice, chance, illusion, fatetogether.His pictures are so full of feeling that you may be surprised to see how

cerebral Greenes process is (The Design is in the Details, page 40).A realist who takes another tack, Steven J. Levin depicts characterswho interact with art and with one another (Dramatic Shadow, ExpressiveLight, page 24). Rudolf Stussi skews a Renaissance convention (The FifthPerspective, page 32),while Cathy Woo poses whimsy against structurein her acrylic abstractions (Between Chaos & Serenity,page 48).Finally,

Jerry Weiss imparts a lesson for plein air (Drawing Board,page 18), as StanMiller does for portraits (Brushing Up, page 60). A top gallery director pres-ents a crash course on The Fine Art of Framing (page 54), and contributingeditor Greg Albert critiques a readers work (Art Clinic,page 68). Submit

your own work for review atbit.ly/artclinic,and keep in touch, betweenissues, by visiting our blog, artistsblog.artistsnetwork.com.

Time and Chance

Dartman(oil, 68x68) by Daniel E. Greene

Privatec

ollection
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letters

7June 2010

Stellar at 60+I hope youre still running the Over60 competition and publishing theresults (Simply the Best, March2010) when I reach that age. Itsexciting to think of where my art

will have taken me by then. After all,artlike lifeis a journey, and those

who have been on the road a whilealways have the most interestingstories to tell.

racy Brown, via e-mail

Sharpening Pastel PencilsI discovered something I want toshare with your readers. Ive pur-chased several pencil sharpeners

in a vain attempt to find one thatwould successfully sharpen my pastelpencils without breaking the softpastel tip. (Sharpening on the old-fashioned sandpaper slab takes too

much time when youre in the middleof drawing a model.) Te other day Ithought Id try sharpening my pastelpencils with a makeup pencil sharp-ener, which is designed to sharpen

wood yet still leave the soft tip in onepiece. It really works! I happened touse the Shaklee Minerelles sharpenerthat is designed for eye and lip pencilcrayons.

Donna J. Dubsky, Columbus, Ohio

Coming Up in

the July/August2010 IssuePlein air master Richard McKinley

inspires you to get outside, while

Michael Chesley Johnson tells you

what gear youll need for a satisfy-

ing painting adventure, regard-

less of your medium. Nava Grunfeld

explains her exotic approach to

color in watercolor and acrylic;

classical realist Nick Raynolds

demonstrates how to block in shapes;and mixed media artists Laura

Breitman, Joan Hall, Kitty Kilian and

Pat Street demonstrate four distinct

approaches to collage. Finally, we

showcase the grand prize and first

place winnersof our All-Media

Online Competitionand remember

the beloved California watercolorist

Henry Fukuhara. Look for the July/

August issue on sale on newsstands

June 8.

Keep In TouchSubscribeat subscribenow.artistsmagazine.com .

Share your comments on and suggestions for The Artists Magazine.Please

write us at The Artists Magazine, 4700 E. Galbraith Road, Cincinnati OH 45236, or at

[email protected] also count on your letters and questions for the followingsections of the magazine:

Letters:Send us your letters to the editor. All letters become the property of The

Artists Magazine, and those chosen for publication may be edited for clarity and length.

Art Clinic:To submit artwork for Art Clinic, go to bit.ly/artclinic.

Creative Workout: To submit artwork in response to a Creative Workout prompt, go

to bit.ly/workout-1.

Ask the Experts:Send your questions on painting techniques, technical matters,

business practices, legal issues and more. Not all letters will receive a reply; all letters

become the property of The Artists Magazine.

Please include your name, address, phone number and e-mail address with allcorrespondence.

Follow us on Twitter:www.twitter.com/artistsmagazine.

Become a fan on Facebook:www.facebook.com/artistsnetwork.

Afternoon Storm(pastel, 24x24)

by Richard McKinley
mailto:[email protected]://bit.ly/workout-1http://www.twitter.com/artistsmagazinehttp://www.facebook.com/artistsnetworkhttp://bit.ly/workout-1http://www.facebook.com/artistsnetworkhttp://www.twitter.com/artistsmagazinemailto:[email protected]


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12/84

the artists life EDITED BY GRACE DOBUSH


Heaven and EarthGerman artist Ulrike Arnold takes landscape painting to the extreme.

BY KAREN LELAND

HE LANDSCAPE OFCanyon Pointin southern Utah is a sweeping desertfilled with stratified rock formationsthat reach up to the sky and deepcanyons that reveal mossy brown riv-

ers. Aside from the sandstorms and110-degree heat, its the perfect placefor German artist Ulrike Arnold todo her work.

Painting outdoors isnt a newidea, but Arnold takes it a step fur-ther: She paints with the outdoors.Over the past 30 years, she has trav-eled to five continentssetting upshop in Algeria, Egypt, Madagascar,

asmania, Greece and India (amongother countries) and painting with

the elements she finds. I paint onthe spot, with only the colors that

are there, says Arnold, who hasshown her work in more than 90exhibitions. Some might say thatsa limitation. What if theres no bluearound? But I capture the essence of

a place through the authentic materi-als and the forms around me. Usingpigments from the earth containedin rock, sand, mud and clay, Arnoldcrushes them into a fine powder andmixes them with a transparent medi-um that acts as a binder. Te finishedproduct becomes part of her palette.

In June 2009 Arnold was invitedto create artwork to adorn the new

Amangiri Resort at Canyon Point.When I started exploring the land, I

found a cave near the resort, Arnoldsays. Te Anasazi people had livedin that cave and created petroglyphsthere 6,000 years ago. I knew that

was my place. So she set up shopand created an outdoor studio atthe mouth of the cave, putting upa wooden table that could hold the

6x14-foot canvases shed be workingon. Renting a house a mile away,she worked 10 hours a day for fivemonths, in extreme heat, rain andsandstorms. Te result: three large

abstract landscapes for the hotelspublic areas and 50 small paintingsfor each room in the resort.

I want to capture the essenceof a place, Arnold says. In Utahat Amangiri, it was the rock forma-tions and the color of the earth, therainstorms and very hot weather thatinfluenced me. I could feel the powerof nature there day and nightthat

was my inspiration. She says herabstract landscapes arent meant to

describe a river or a mountain, but toevoke the spirit of the place throughfree forms. I think of my work as a

view from an airplane, a bird lookingdown at earth, Arnold says.

Her fascination with using ma-terials of the earth began when, as a21-year-old art student, she traveled

ABOVE:A selection of earth samples from

every continent.

RIGHT:Ulrike Arnold paints in Bryce Canyon

National Park, Utah.


13/84

to southern France to see the famous

cave paintings at Lascaux. Severalyears later, Arnold encounteredthe red ochre pits at Roussillon inProvence. Tat was for me a majorenlightenment, she says, a big bang.

Tats when I decided to paint withthe earth.

If Arnold has spent much of herartistic life looking to the ground forher medium, a chance meeting withan American meteorite expert inFlagstaff, Arizona, recently left her

gazing up at the stars for inspiration.I met this meteorite expert

named Marvin Killgore, who col-lected meteorites from Argentina andGreenland, Arnold says. When Itold him I painted with the earth,he told me he had some leftovermeteorite dust I could use. WhenKillgore sliced meteorites to preparethem for study under a microscope,small pieces would fall off. Hedbeen saving the dust but didnt know

what to do with it. Killgore said itwas like a miracle meeting me, Ar-nold says. Now Im painting withmaterial from the cosmos as well.

Using the donated dust, Arnoldhas created a series of silvery andshiny meteorite paintings (see themon her website, www.ulrikearnold.com). With stones from the earthand stardust from the sky, Arnold ispainting a little bit of heaven right

here on Earth.

KAREN LELAND(www.karenleland.com) is a

writer and artist in Tiburon, California.

ABOVE:Bisbee, Arizona, fullmoonpaint-

ing(1991; earth on canvas, 59x118), by Ulrike

Arnold, is in the collection of actor Dennis

Hopper.

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the artists life

11June 2010
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14/84

the artists life


FROM THE SKETCHBOOK OF

Marina

Grechanikmarinagrech.carbonmade.comRaanana, Israel

Materials:black pen, gouache, colored pen-cils and found paper in a Moleskine CahierAbout the sketch:I drew this in a bar-bershop while waiting for my turn in thechair. I love watching barbers worktheirmoves are so coordinated. Tey change theirposes fast, but I had the chance to capture

positions they repeated. Drawing a barbersassistant washing a womans head was easierbecause he stayed in one place for a couple ofminutes.

These sketchbook pages come from the correspondents of URBAN SKETCHERS

(www.urbansketchers.com), a nonprofit organization devoted to fostering the art of

on-location drawing.

Arts MapCollage artists Robin Colodzin and Jonathan Talbot were coming

up empty while looking for new ways to connect with clients,

collectors, curators and other artists. They realized that they

werent the only artists seeking connections, so they created

The Arts Map(www.theartsmap.com).

The Arts Map is a worldwide, interactive map of artists

studios, galleries, arts organizations, museums and more. You

can search and filter your results by medium, type of organiza-

tion or type of instruction. Map markers on the Arts Map are

user-generated. It takes just a few minutes to input informa-tion about your artwork, studio or gallery, and the listings are

free. You can explore the map and add your own info at www.

theartsmap.com.G.D.

George

Jartos
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15/84


16/84

exhibitions EDITED BY HOLLY DAVIS


Why see it:His name a house-hold word around the world, Pablo

Picasso (Spanish, 18811973) mightwell be considered the greatest fineartist of the 20th century. His oeuvreincludes paintings, sculptures andprints. In a career spanning sevendecades, Picasso engaged in a varietyof styles and manners, absorbing theinfluences around him and, in turn,asserting his own influential genius.

Te Metropolitan Museum of Arthas long been collecting pieces fromthe full scope of Picassos oeuvre andis especially known for its cache ofthe artists drawings and its selec-tion of his early figure paintings.Despite the Mets significant hold-ings, the museum has never beforeput so many works from its Picassocollection on display.

What youll see:On view are250 works by Picasso from theMetropolitan Museum of Arts col-

lection, including 34 paintings, 58drawings, a dozen sculptures andceramics, and 150 prints.

Picasso in The MetropolitanMuseum of ArtThrough August 1, The Metropolitan Museum of Art

New York City, 212/535-7710, www.metmuseum.org

ABOVE:Seated Harlequin(1901; oil on

canvas, 34x241

8) by Pablo Picasso

TOP, LEFT:Head of a Woman(1922; chalk on

wove paper, 4238x2838) by Pablo Picasso

TheMetropolitanMuseumo

fArt,giftofMr.a

ndMrs.JohnL.Loeb,1960(60.87);2

010EstateofPabloPicasso/ArtistsRightsSociety(ARS),New

York

TheMetropolitanMuseumo

fArt,bequestofScofieldThayer,1982(1984.433.276);

2

010EstateofPabloPicasso/ArtistsRightsSociety(ARS),New

York
http://www.artistsmagazine.com/http://www.metmuseum.org/http://www.metmuseum.org/http://www.artistsmagazine.com/


17/84

exhibitions

15June 2010

Hendrick Avercamp:The Little Ice AgeThrough July 5

National Gallery of Art, Washington, D.C.

202/737-4215, www.nga.gov

Why see it:Ice and snow may begone for the season, but in the land-scapes of Dutch artist Hendrich

Avercamp (15851634), the hard-ships and pleasures of winter weathergo on forever. Between 1550 and1650, Northern Europe experiencedwhat is known as the Little Ice

Age, a period of particularly long,severe winters. During this time,Avercamp became the first painter tospecialize in depicting the joys of icy

weather skating on canals, snow-ball fights, sled rides and even a sportcalled colf, which combines elementsof golf and hockey. Tis exhibitionis organized by the National Gallery

of Art in Washington, D.C., and theRijksmuseum in Amsterdam.

What youll see:On display are15 paintings and 15 drawings by

Avercamp from museums and privatecollectors in Europe and the UnitedStates.

ABOVE:Colf Players on Ice(ca 1625; oil on

panel, 11x20316) by Hendrick Avercamp

Mrs.

EdwardSpeelman

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18/84

exhibitions


Shepard Fairey:Supply and DemandThrough August 22

Contemporary Arts Center

Cincinnati, Ohio, 513/345-8400

www.contemporaryartscenter.org

Why see it:Street artist, graphicdesigner, social and political activist,appropriation artisthowever onechooses to describe the controversialfigure Shepard Fairey, one cant denyhis influence on popular art and thegrowing recognition of his workamong the general populace. He isperhaps best known for his BarackObama "Hope" poster.

What youll see:On view are 250pieces spanning Faireys 20-yearcareer, from his work with Andr theGiant images to the Obama "Hope"poster. Fairey has also created a large-

format mural for the ContemporaryArts Center lobby and other outdoormurals at sites throughout GreaterCincinnati.

Tracing the Past, Drawing the

Future: Master Ink Painters in20th-Century ChinaThrough July 4

Cantor Arts Center at Stanford University

Standford, California, 650/723-4177

museum.stanford.edu

Why see it:From 20th-centuryChina emerged four artistsWuChangshuo, Qi Baishi, Huang

Binhong and Pan Tianshoucredited

in their homeland as being the FourGreat Masters of Ink Painting. Whilesorting through influences from the

West, these four artists with theircreative invention brought new life totraditional ink painting.

What youll see:Presented in tworotations are 110 works by the fourChinese masters.

RIGHT:Banyan Leaves

and Autumn Cicadas

(detail; 1923; ink and color

on paper, 35x1416) by Qi

Baishi (18641957)

FAR RIGHT:This Land So

Beautiful(1959; ink and

colors on paper, 2813x1145)

by Pan Tianshou (1897

1971)

ZhejiangProvincialMuseum

PanTianshouMemorialMuseum

CollectionofTom

myLove

LEFT:Mujer Fatal(2008;

mixed media stencil collage

on paper, 44x30) by Shepard

Fairey
http://www.artistsmagazine.com/http://www.contemporaryartscenter.org/http://museum.stanford.edu/http://museum.stanford.edu/http://www.artistsmagazine.com/http://www.contemporaryartscenter.org/


19/84

For additional guidelinesand to enter online, visit

artistsnetwork.com/watermediashowcase

DEADLINE TO ENTER: AUGUST 2, 2010

Best of Show: $500

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All Winners and Honorable Mentions will

receive a certificate suitable for framing.

Send in your best work fora chance to get published

and win great prizes!

The competition is open to artists anywherein the world. All works must be original. Mixedmedia entries are accepted, but the primarymedium must be watermedia. There is no limitto the number of images you may submit.


20/84

drawing board BY JERRY N. WEISS


ARISS DRAW LANDSCAPESfora number of reasons: as a meansof rapid notation in the study ofnature, in preparation for a subse-quent painting, or with the intentof completing an independent

work of art. Whatever a draftsmansmotivation when venturing outdoors,there are approaches that are help-ful in expressing a coherent visualinterpretation of the landscape.

Determine the Center of InterestOne of the initial diffi culties studentsexperience en plein airis in determin-ing a subject. Overwhelmed by themagnitude of a landscape, theyllbegin drawing a specific area in great

detail with little thought to its con-text. For this reason alone, I suggestusing small thumbnail sketches to try

out various ideas and to make deci-sions regarding composition.

o determine the dimensions ofa composition, I form a crude win-dow with my hands, through whichI view my subject; I can adjust the

window to accommodate horizontalor vertical formats. Once I choosea format, I outline the four outsideedges of the composition on paper, ineffect framing the area in which thedesign will be drawn.

Step-by-Step ProcessTe approach Ill demonstrate in thisarticle relies on the accurate use ofline and crisp handling of tones, andbuilds the image through a progres-

sion of values, from light to dark. Irendered the demo drawings, each3 x5 inches, with a ballpoint pen

and a black Sharpie felt tip markeron acid-free paper. I usually draw ina 14x11-inch Daler-Rowney sketch-book, using either a pen or variousgrades of graphite pencil.

1. Map the Largest ShapesI began my drawing with a simpli-fied linear structurethe essentialhalf dozen or so lines that denotethe most prominent planes and willrecord the overlapping shapes indi-cating the depth of field. Tis processof abstraction isnt haphazardallthe ensuing elaboration dependsupon the correct placement of theseinitial contours: a diagonal fore-ground plane, two horizontal lines

indicating the distant ground planeand the tree line, and two prominentasymmetrical tree shapes.

2. Note the Secondary ShapesNext I drew the contours of thesmaller, secondary shapes. Tepurpose of this step is to relate

Rapid Landscape DrawingFocus on shapes and tonal relationships as you follow this

logical approach to constructing a landscape.

Rembrandts Three PlanesIn Houses Under a Stormy Sky, (at right; ca 1641; pen and brown ink drawing,

716x9) by Rembrandt (16061669), a variety

of calligraphic lines and dramatic value con-

trasts create an image thats both graphically

powerful and spatially convincing. We see

essentially three planes: the shaded fore-

ground, the middle distance with alternating

patterns of light and shadow, and the lower-

ing sky. An impression of depth is achieved

through overlapping diagonals and masterly

use of contoursthe darkest and thickest

lines applied in the foreground; the lightest

and thinnest pen strokes in the distance. To

suggest the atmosphere of a cloudy sky, the

pen was set aside altogether in favor of a

sweeping series of tones applied with a brush.

GraphischeSammlungAlbertina

,Vienna

,Austria;photocredit:

ErichLessing/A

rtResource

,NY


21/84

drawing board

19June 2010

masses in proper scale to each other;its a little like assembling the piecesof a puzzle. Set between the highhorizon line and the relatively bareground plane, the complexity of treeshapes assures that this will be thefocal area of the design. Later Illneed to prioritize the most importantsecondary shapes; to overdefine theseat this point would be superfluous, assome areas will soon be unified by acommon value.

3. Unify the Shadow PlanesI began adding value, designing

flat shapes before describing form,intentionally polarizing the valuestructure. Te legibility of a flat andposterlike application of tone in a

1

2

Materials:Paper:Daler-

Rowneyacid-free

14x11 sketchbookpaper

Ballpoint pen

Marker:black

Sharpiefelt tip

PhotosofallWeissdrawings:AdrienBroom

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22/84

drawing board


particular shape depends upon itsrelation to adjacent shapes. Rapidlycrosshatching with a ballpoint pen, Iunified all the shadow planes with asimilar midtone. Te backlighting ofthe trees indicates that were lookingtoward the sun.

4. Darken the Shadows

Using a felt tip pen, I added deepershadows, further polarizing valuesand more dramatically emphasizingthe sunlight. I kept the direction ofhatched strokes mostly consistent.

Tis practice, as much as the attemptto maintain a simple tonal structure,helps to keep the composition uni-fied. Te sole area of vertical hatch-ing denotes the reflection of trees in

water.

5. Refine the DrawingTe final stage of a compositionaldrawing may require further elabo-ration of shapes and tones. I cre-ated some tonal variation with finelines in both the foreground planeand sky, still preserving them aslight-drenched areas. I darkened thefar hillside, but not so much as the

vegetation in the middle distance,owing to the effects of atmospheric

perspective on more distant shapes.o suggest the halo effect of back-lighting, I left the foliage contoursas a midtone, while also indicating

3 4

Drawing for ReferenceThe graphic silhouettes of bare trees, their growth

patterns and peculiarities, fascinate me. In my drawing

Hamburg Cove(below, left; ink, 6x10), as sometimes

happens, the composition

expanded beyond its original

borders as I became more

interested in the trees upperbranches. Soon afterward I

returned to the site to paint

Hamburg Cove(below; oil,

24x36), based on my drawing

of the composition.

Photo:AnneKubitsky


23/84

drawing board

21June 2010

specific tree shapes and creatingmultiple levels of spatial depth. Telightest area in the middle distancerepresents the glare of sunlightreflected on algae.

In retrospect, Im not thrilledwith the use of the felt tip pen; theheavy lines do bring the focus to themiddle distance, but theyre a bit un-

subtle. Te Rembrandt drawing (page18) convinces me that an ink washwould have been far preferable.

Te process Ive described hereisnt the only way to draw from thelandscape, but it does refer to basictouchstones of compositional con-struction: breadth of design, carefulstudy in the drawing of shapes, andclarity of tonal relationships. Youmay take your drawings to a greateror lesser degree of elaboration thanthose shown here. A drawing of greatspecificity will be desired as referencefor a painting, while one of extremebrevity can be suffi cient to capturea transient impression. Models suchas the demonstration in this articleare helpful but serve merely asguideposts for further exploration.

Contributing editorJERRY N. WEISSteaches

studio art at the Lyme Academy College of

Fine Arts. To see his paintings, visit www.jerrynweiss.com.

5

To see two other

rapid drawings by

Weiss, go to www.

artistsnetwork.com/article/rapid-

landscape-drawings.

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26/8424 www.artistsmagazine.com

LLIKE SINGLE FRAMESfrom a movie reel, fullof suggested movement, shadow and light,

Steven J. Levins figurative paintings freezemoments in time. His brush halts a rushingbusinessman in mid-stride, stills a bartendershand as he burnishes a glass and renders im-mortal the weak smile of a woman kept wait-ing. Toughtful tableaux of everyday humaninteractionor inactionare enhanced by therichness of the public settings of the artistschoosing, from the grandeur of the galleriesof the Metropolitan Museum of Art and themarbled halls of Grand Central Station, todimly lit city bars or smoky pool halls. Painted

light

shadow,expressiveABOVE:In the Museum(oil, 16x20) is the first painting

I did of a museum interior, says Levin, and it has since

been a theme that Ive returned to many times. I enjoy the

visual pun of doing paintings within a painting. This is a

view inside the Minneapolis Institute of Arts.

BY ROSEMARY

BARRETT SEIDNER

Working with sequences of

dark and light, Steven J. Levincreates compelling focal points.

dramatic


27/84

light

25June 2010

Private collection



in a classical style that he says borrows a bitfrom Impressionism, Levins work combinesstrong draftsmanship and understanding ofform with sensitivity to color and tone, marry-ing the rich darkness of a Rembrandt with the

penetrating light of a Degas.For his complex scenarios, Levin shuns

natural light, preferring the moodiness, subtle-ties, contrast and drama of artificial light,

whether from a splendid chandelier or a singlelight bulb. (Only his still life pieces are paintedin natural light, with the composition set updirectly under the studio skylight.) He alsochooses to paint night, dusk, dawn and othertimes of low light, which challenge him tocapture the volume of a space, confined or in-

finite, by the blending of darkness and light. Iconsider what the light is doingwhat it high-lights, what it masks, explains Levin. Lightsand darks, shadow and shading pare a scenedown to its essentials and direct the eye to thefocal point.

Learning His CraftLevins interest in art developed early, as hespent long hours drawing alongside his father,a commercial artist, who recognized his sonstalent and encouraged him. As a teenager,

Levin was particularly interested in the workof the great American illustrators, and whenhe enrolled at the Minneapolis College of Artand Design, he hoped that his courses wouldhone his skills for drawing and painting fromlife. He soon realized that the courses offered

would not prepare him for a career as a realist,and so he enrolled in the newly opened AtelierLeSueur (which closed its doors in 1996) inMinnesota, and his decision set him on histrue and distinctive course. (See Classical Art

Training, page 27.)Levin flourished in this ateliers stimulat-ing and demanding environment and studiedthere for five years. In the time-honoredtradition of the classically trained painter, hecompleted his studies with an extended stay

BELOW:A motif Ive

returned to many

times in my work,

says Levin, is that

of a figure viewed

from the back. I like

the mystery and

anonymity this view

lends to a piece.

The All-Nighter

(oil, 29x36) depicts

three friends return-ing home after an

all-night party. I relied

on the gestures of

the figures to tell the

story.

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ollection


29/84 27June 2010

Atelier LeSueur, like several other atelier schools, was a direct

offspring of the Boston School, recognized as originally com-

prising a group of highly influential painters, including William

M. Paxton, Frank Weston Benson and Edmund Charles Tarbell,

who worked in and around Boston at the end of the 19th cen-

tury. Trained in the ateliers of 19th-century Paris, these paint-

ers artistic visions and working methods were influenced by

the advent of French Impressionism. In the next century, these

artists and their students would open ateliers of their own,

thereby passing on their training methods and vision.

It was at the newly opened Atelier LeSueur (which closed

its doors in 1996) that Levin received the classical training he

craved. Taught by professional painters who believed that the

highest standards of craft were essential for the creation of

great art, students drew and painted directly from life-all day,

five days a week. Rigorous, disciplined and rich in tradition, the

ateliers program led its students through instruction in cast

drawing in charcoal to still life, portrait and figurative work.

Classical Art Training

LEFT:Waiting(oil, 14x11)

is a study in light, says

Levin. I love the kind of

low light effects one gets

in a bar, and especially

this kind of double-light

effect where you see both

the yellow lamplight and

the soft green glow on the

figures face.

CourtesyofTreesPlaceGallery,

CapeCod,

Massachusetts



in England, where he copied famous worksin Londons National Gal lery. He then joinedthe faculty of Atelier LeSueur as a valuedinstructor for seven years. Tough trained inthe Boston School tradition, Levin brings a

distinct perspective to his work, citing JanVermeer and Edward Hopper as among hisstrongest influences.

Conceptualizing and ComposingWith diverse interests, the artist varies hischoice of subject matter considerably, paint-ing portraits, still lifes, landscapes and figures.

Te best subject is generally one for which theidea comes quickly and completely and makesa definite impact, says Levin. It tends to be

the kind of composition that leads to a goodwork of art, something that both the artist andthe viewer can connect with on some level, viaa memory or emotion.

Te composition of each piece is para-mount (see A Considered Composition, below).

I work entirely from life when Im doing a stilllife, says Levin. As for the rest of my subjects,theyre painted only partially from life, witha fair amount of photo reference. Knowingexactly the composition of a proposed painting

from the outset, the artist uses photo refer-ences for the backgroundthe exterior of abuilding, the interior of a room. Like a stagedirector, he then poses and photographs mod-els in his studio as he wants them to appear inthe scene.

Using Pencil and White ChalkLevin works in oil except for preparatorydrawings, which are rendered in pencil orcharcoal. Oil paint is versatile, says Levin,

and the slower-drying aspect is best for myapproach because Ill often spend an entireday on one small section of a painting. Whenstarting a new work, Levin first creates smallthumbnail drawings in pencil on toned paper,highlighted with white chalk. He then does asmall (approximately 4x5 inches) oil sketch of

MATERIALS

PAINTS:Winsor &

NewtonArtists Oil

Colours, except for

WeberPermalbamixed white

BRUSHES:

Silver Brushhog

bristle brushes, both

rounds and filberts;

any brand of small

sables for only the

most detailed

aspects

CANVAS:

ClaessensNo. 13

linen and Fredrixdouble-primed Kent

linen

MEDIUM:

M. Grahamwalnut/

alkyd medium

SHELLAC:

shellac flakes dis-

solved in Everclear

grain alcohol

A Considered CompositionBY STEVEN J. LEVIN

Ive developed a general process over the years for working

up my figure painting concepts. Often Ill start out with the

merest of scribbles (on paper) and gradually work through

many alterations and refinements. Putting the idea down on

paper, however rough, helps me begin to get a sense of its

impact and mood. Sometimes an idea goes through numerous

changes, each one affecting the interaction of the figures and

feeling of the painting. Ive developed a habit of filling sheets

of paper with one compositional idea after another, many of

which Ill never paint, but I like the process as it keeps my mind

sharp.

1.As part of that searching out process, I do several thumbnails.

These small compositional drawings are only about one to four

inches wide. In this case, I was thinking first of doing three

figures at a bar and working out how they might relate to each

other, always keeping in mind that one of the three would bethe center of interest and the other two would take supporting

roles. I decided to make them all waiters with different gestures

and expressions.

1

RIGHT:When doing museum interiors, as in4 Oclock

at the Met Museum(oil, 29x38), I always work hard to

make the figures gestures believable and interesting, ex-

plains Levin, to give the work just enough action and flow

to keep the eye moving through the design. Also, I enjoy

the spatial depth you can create in a museum setting,which allows the eye to travel deep into the painting.


31/84 29June 2010

2.Satisfied with this basic idea, I started working

out the lighting, choosing a dramatic stage lighting

from below. For this step in the design work, I pho-

tographed myself in costume in the various poses

to begin to get an idea of how things would actually

look. Using myself as a model saves time so that when I bring

in the actual models, I have a clearer idea of what I want them

to do. These initial photos gave me enough reference material

to work up a small color sketch in oil. These sketches I do on

colored drawing or pastel paper that Ive sealed first with shel-

lac (I dissolve shellac flakes in Everclear grain alcohol) and then

toned with paint. The oil sketch helps me tremendously in visu-

alizing the entire design in paint and in color. Often if the first

oil sketch isnt successful, I can make changes at this stage orsimply do another sketch without wasting much time. Better to

work out problems in this early stage than wait until Im on the

final canvas, only to discover some great flaw in the concept.

Usually I block out the oil sketch in brown paint and let that dry

a bit; then I apply the color over the top. The whole oil sketch

usually takes an hour or two.

3.As you can see, I deviated only slightly from my oil study in

the final painting, Three Waiters(above; oil, 24x35), though this

isnt always the case. Sometimes, even after all the preliminary

stepsincluding the oil sketchseeing the work full-size in

progress on the canvas can make me aware of problems in thedesign that werent apparent before. When this happens, the

best thing is to be an honest critic and try to fix whatever the

problem is.

2

3

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ollection

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llection



the entire concept on pastel or drawing papersealed with shellac. Tese studies are his onlyalla primaworks as the finished paintings arealways completed in many stages.

Stretching the CanvasLevin stretches his own canvases. My paint-ings usually end up being odd sizes, heexplains, because Im so picky about theircomposition. A standard 20x24-inch canvas

wont work when the composition demands a20x25. He prefers to work on a smaller scale,with canvases approximately 16x20 and 20x24

his first choice. Tese sizes suit the way Ipaint and the brushes Im most comfortableusing, says Levin. Bigger canvases can be-come overwhelming and take lots and lots oftime to complete. Im very careful about what Ichoose to paint on a larger scale because of thetime factor. Ill usually devote 10 to 12 days toa 16x20 painting.

Blocking Ino begin his painting process, Levin drawsthe design directly on the canvas in charcoal.

Tis drawing is very basicjust a line drawing.Ten, using a small, pointed synthetic brush,he retraces all the charcoal lines with very thin,

very liquid brown oil paint. After this driesfor 10 minutes or so, he wipes off all the excesscharcoal.

Next, using large brushes and somewhatthinner paint, he broadly lays in the entire

painting. When this layer is dry, he repeatsthe previous step, but with much thicker paint,building up texture, refining the modeling andaccurately stating the lights and darks. Te

To see more of

Levins paintings, go

to www.artists

network.com/

article/steven-j-

levin.

webEXTRA

I consider what the light is doing

what it highlights, what it masks.

Lights and darks, shadow and shading

pare a scene down to itsessentials and direct the eye

to the focal point. Steven J. Levin

Private

collection
http://www.artistsmagazine.com/http://www.artistsnetwork.com/article/steven-j-levinhttp://www.artistsnetwork.com/article/steven-j-levinhttp://www.artistsnetwork.com/article/steven-j-levinhttp://www.artistsnetwork.com/article/steven-j-levinhttp://www.artistsnetwork.com/article/steven-j-levinhttp://www.artistsmagazine.com/


33/84 31June 2010

blocking-in portion is my favorite part of thepainting process, says Levin. You get to seethe idea take shape rather quickly over thecourse of the day. Its very rewarding to see

your concept materialize full-size, in paint.

Refining and Fine-TuningTo finish, he chooses a small section of thepainting to work on for the day and, usingthinner paint and more medium, repaints theentire area, refining the modeling to attainmore subtlety. He continues this refiningprocess over the whole painting. SomethingI think other painters might find interesting,the artist says, is that I tend to do almost noglazing for translucent effects, but finish en-tirely with relatively thick paint. For me, thefinishing of a painting is the most diffi cult.Realizing the form as fully as possibly in paintis something Im constantly trying to improve

and with which Im rarely satisfied.

ROSEMARY BARRETT SEIDNERis a director of Miller

Gallery in Cincinnati, Ohio, and a freelance writer.

Meet Steven J. Levin

Steven J. Levin has won numerous awards and prizes in nationwide competitions,

including those of the American Society of Portrait Painters, the Allied Artists

of America, the Portrait Institute and the Oil Painters of America. I believe one

of my strong points is that my spotting of values is good, he explains. Thats

an influence from my Boston School trainingan emphasis on the beautiful

placement of lights and darks over the canvas. The artist produces workfor a one-man show each year; John Pence Gallery hosts his next show this

November and December. Last November

Levin completed a large (54x46) painting

for the upcoming traveling show and book

conceived by film director George Lucas

and based on his Star Wars movies. Living

and working in Minneapolis, Minnesota,

Levin is represented by the John Pence

Gallery of San Francisco and Trees Place in

Orleans, Massachusetts. Learn more on his

website:stevenjlevin.com.

OPPOSITE:I painted The Times Bar(oil, 9x12)

solely because of that wonderful green underlight-

ing on the bar, says Levin. Im always searching for

interesting light effects to paint. Sadly, this bar no

longer exists.

LEFT:The city of Chicago is a treasure trove of

great architecture. The revolving door in Coming

and Going(oil, 21x17) caught my eye, Levin says,

and I incorporated it into this painting. This near

mirror-image effect is a slight foray into surrealism.

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ollection
http://stevenjlevin.com/http://stevenjlevin.com/


35/84 33June 2010

PPEOPLE OFEN ELL MEthat they wouldhave liked to have become artists, but theycant draw a straight line. I always smile.

Whats drawing a straight line got to do withit? With that ability, you can maybe aspire tobecoming a technical draftsman or assistantarchitect at best. Art eschews straight lines.My lines are almost never straight, which I canonly consider an advantage.

Okay, some people think Im stupid, blind,drunk, mad or in dire need of a qualified opti-cian. (My glasses are okay, but I cant vouch forthe rest.) I do believe, however, that I offer anew twist (or curve) on perspective.

Four Perspectives Plus OnePerspective is, simply put, an attempt todepict the three-dimensional world on a two-dimensional surface. Tats not as easy as it

seems. Its long been obvious that things some-how appear different with distance, but to the

ancient Egyptians and Persians, size indicatedimportance, not closeness. And for many cen-turies, artists of Europe, China and India werecontent to place distant elements higher in thepicture plane, the highest indicating the far-thest away. Tat worked. Teprinciple is still applied todayin what we call isometricperspective (see BuildingPerspective, A, page 35).

Everything changedabruptly in the ItalianRenaissance. Artists such asMasolino da Panicale andFilippo Brunelleschi discovered that, in theeyes of the observer, objects grew measurablysmaller as they approached points on a horizonline. With the scientific zeal of the new age,artists expanded upon this discovery. Paint-

ers from Giovanni Bellini to Canaletto wentwild with representations of the architectural

OPPOSITE:A diagonal y-axis runs

through the tower in Rathaus Basel(oil, 52x36), and flying elements fall

away as whimsical variations. The

building itself weaves as if it were

made of gelatin rather than stone.

Theres humor in this approach.

perspective

Throw a curveon regular perspective with this

dynamic new approach.

thefifthBY RUDOLF STUSSI



wonders of Italy. First one, then two vanish-ing points were set upon the horizon linetheanchor of this visionand one- and two-pointperspectives were born. Convincing illusionsof three-dimensionality revolutionized the

visual arts (see Building Perspective, Band C;opposite page).

Even that wasnt enough. Objects didntdiminish just from side to side horizontally;they also got smaller verticallyup into theclouds or down toward the valley floor. Tedesigners went back to their drawing boardsand came up with the vertical y-axis, upon

which a third vanishing point could be affi xedeither above the horizon line or below (but notboth, alas). Tat was the third perspective (see

Building Perspective,D

).Regrettably none of these could explainhow an object came to diminish both up anddown at the same time! Straight lines wouldntallow that; they bent unnaturally at thehorizon line.

But there was a solution! Curvilinearperspective, otherwise known as four-point orthe fourth perspective, was born (see BuildingPerspective, E). It saw the world as the wide-

angle lens on a camera does, and it tied innicely with the spheres of the eyeball and theglobewhich goes to show that nature herselfdoesnt approve of straight lines.

So that made four perspectives with

credible scientific, drafting and structuralfoundations. Animation artists favor simpleone-point perspective; classical painters arepartial to two-point perspective; set paintersand illustrators dabble in the third perspective;comic artists like the in-your-face fourth per-spective. Architects, bless their souls, embracethat false mistress, the isometric perspective(which totally denies the whole distance/sizeaxiom and, therefore, is not listed among thefour perspectives).

Perverse Alternative

Te problem for me and countless other artistsis that all four perspectives are too geomet-ric, too calculable, too sober, too boring! Teydont reflect the arbitrariness of life, the flux ofhistory and destiny, seasons and other cyclesand, of particular significance, they dont re-flect modern life. Tey also dont add anything

BELOW:The tree and

poles in Adelaide

(watercolor, 19x26)

represent the y-axis,

but the billboard and

the windows take

aberrant tracks. Text continued on page 37


37/84 35June 2010

Building PerspectiveBefore you can put the fifthor perverseperspective into practice, you must

understand the traditional perspectives, namely isometric perspective and one-,

two-, three- and four-point perspectives.

A Isometric perspective was the first one to be used in many cultures (India,

China, Japan and Arabia), but it isnt a true perspective because nothinggets smaller with distance. Elements can, however, be measured, which

makes this approach useful for architects.

B In one-point perspective the horizontal lines are all parallel to the horizon

(x). Vertical lines are parallel to each other. Lines indicating depth converge

toward a vanishing point (VP). Flash animation and simple childrens book

illustrations use this perspective.

C Two-point perspective has two vanishing points (VP) on the horizon line

(x), toward which lines indicating depth converge. The vertical lines remain

parallel.

DThree-point perspective has three vanishing points (VP), two on the horizon

line (x) and one on the vertical or y-axis (y). The y-axiss vanishing point can

be either above or below the horizon but not in both places. The verticallines of the tower can now converge toward the vanishing point.

E Four-point perspective (also called curvilinear, curved or fish-eye perspec-

tive) goes curvythe only reasonable response to the phenomenon of

things getting smaller both from side to side and above and below the

horizon line. This perspective, favored by comic and

graphic novel artists, corresponds well to the

curve of the earth and of our eyeballs.

F In the fifth (perverse) perspective both

the horizon line (x) and the y-axis (y)

are curved to create the illusion

of movement. Four vanishing

points (VP) still create dimi-

nution and believability,

but the effect is poetic,

not photographic or

geometric. Individual

lines may stray from

the general move-

ment, and objects

may expand away

from the horizon

line or the y-axis

or even have theirseparate sets of

vanishing points.

30

120

30

x xVP1 VP2

x

y

y

xVP2VP1

VP3

x

y

xVP1 VP2

VP3

VP4

x

y

y

x

VP1

VP2

VP3

VP4

xVP

SYMBOL SUMMARY

x:the horizon line; indicates width and is associated with the x-axis

y:a line indicating the vertical or height, associated with the y-axis

VP:vanishing point

A B C

D

E

F



1.First I take photographs in case I need to refer to them later. The above

photo collage allows me to confirm details for Wall Street.

2.I then create a good sketch on location, even at this point trying to

work out the distortion in my head. First I establish the basic movement

(the swaying vertical axis and the destabilized horizon line) so that there

are no parallels to the sides of the rectangular picture. This step vastly

increases the abstract dynamics of the subject, the goal being anything

but order and quietude. To emphasize the focus, I leave out unnecessary

detail. Other aberrations may be lines that cross through and change all

shapes in their pathmostly in one directionor the arbitrary reduction

or enlargement of a surface, or the continuation of an element far beyond

its natural borders. I take a long time with this drawing stage because I

dont want to have to concern myself too much with form later.

3.Next I fill in the large areas, working from the lightest to the darkest

and ignoring finer detail (although, if Im working in watercolor, I must

respect some light details because I wont be able to get them back later).

Its important to fill in all areas so I have a true sense of the whole picture.

I work fast, and I make the areas vary subtly in color and tone to give life

to the surfaces. At this stage I can adjust the shapes, color and movement

on a simple scale. I think more about abstract principles, such as tonal

balance and color harmony, rather than about what the areas represent

in the real world. The goal is to paint the whole work on a basic, visceral

level.

4.Now I bring in the larger details, such as the flowing building surface.Here again I respect the bent y-axis and horizon line, but I can also add

nonconforming elements, such as the windows of the Stock Exchange.

These are like the variations in a jazz riff. I check the light source

and make sure Ive applied the shadows

consistently.

5.At last the finer details get their moment as

I add the stars floating from the flag, people

and architectural detailing. But I dont overdo

or add them simply because they exist in the

original. Rather, I put them in because they

add to the entire painting or to the focal area.

The painting isnt about detail or accuracy

but about feelingabout impression and

expression.

6.In the final stage I check large movements

throughout the picture and make adjustments

where necessary in tonality, intensity and hue.

This is a good moment to create or expand on

fault lines (lines along which the image shifts).

I may

artists magazine june 2010

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