Joseph Mallord William Turner is revered as the master of light and atmosphere. His sublime, luminous skies, swirling seas and dramatic storm clouds can suck the viewer in and transport them through a vortex of paint to some otherworldly experience.
For me, a Turner painting can project far more than the sum of its material parts. More than any other artist of his time, he managed to communicate something ‘sensory’. Personally, this is the reason that I paint. It’s a way of expressing something emotional that I can’t adequately describe with mere words. Turner’s vast repertoire of techniques was in itself a visual vocabulary; an emotive language full of hope and fear, light and shade, complexity and subtlety.
Like Turner, I tend to make loose preliminary sketches outdoors, taking in not just the sights, but all the sensations of the experience and committing them to memory. Back in the studio I can transfer these experiences onto canvas in a more controlled environment.
As you’ll soon discover, Turner’s method of layering glazes with areas of thicker paint requires a great deal of patience. Each layer must be dry before adding the next. This is why I’m always working on several paintings simultaneously. All around my studio there are paintings at various stages, propped or hanging up to dry, waiting for the next layer. Fortunately, thanks to the properties of modern materials, we don’t have to wait quite as long as Turner did!
MATERIALS
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Denne historien er fra November 2020-utgaven av ImagineFX.
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Denne historien er fra November 2020-utgaven av ImagineFX.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
Allerede abonnent? Logg på
Jan Wessbecher
Dominic Carter talks to the visual artist about creating his own comic and why sketchbooks are great for creative experiments
Kyounghwan Kim
The Korean character concept artist speaks to Dominic Carter about staying open to ideas and the value of drawing regularly
Slawek Fedorczuk
Dominic Carter talks to the concept artist about what keeps him motivated and the advantages of using physical sketchbooks.
Raquel M. Varela
Raquel is inspired by magic, fantasy and fairy tales. She loves designing female characters from distant worlds. \"My greatest reference is Loish's art, thanks to her I learned to draw the movement and fluidity I like to convey.\"
Estrela Lourenço
Estrela is a children's book author and illustrator. Her work is influenced by her background in character animation and storyboards for clients such as Cartoon Network, and she channels comic strips like Calvin and Hobbes.
Daria Widermanska
Daria, also known as Anako, has been drawing for as long as she can remember. Inspired by Disney and classic anime, she loves creating new characters and often finds that a single sketch can spark a unique story.
Allen Douglas
Allen has been painting professionally since 1994 for the publishing and gaming industries. Inspired by folklore, he distorts the size, relationships and environments of animals, and calls his paintings 'unusual wildlife'.
Thaddeus Robeck
Thaddeus has been drawing from the moment he could hold a pencil, but it was the 2020 lockdowns that gave him the time to focus on honing his skills.
DRAW FASCINATING SYMBOLIC ARTWORK
Learn how JULIÁN DE LA MOTA creates a composition from his imagination with a focus on crafting figures, volumetric modelling, and light and shadow
First Impressions
The artist talks about his journey into the mythological world