Why draw? It’s the simplest of questions, yet it deserves some thought. Drawing is an activity that is easy to take for granted, given that many of us have been doing it for longer than we can remember. Chunky felt-tips and reams of old printer paper with perforated edges were a means with which to make our first marks, stick figures emerging before we could even form a sentence on the same page. In the arc of an artistic life, these were our cave paintings at Lascaux, the very first step in a chronology of drawing that would only develop, becoming both more refined and more expressive over time.
Drawing is a compulsion for children and something that tends to garner praise at an early age, the recognition being that an ability to create art is a more impressive and elusive signifier of a gifted child than SATs results or athletic trophies. Sadly, there also comes a point – usually in our teens – when the opposite is true, when continuing to “doodle” is dismissed as a phase out of which we should have grown. All too often I speak to brilliant artists who were thrown off their wide-eyed exploratory path by an adult influence – a teacher whose narrow concept of art doesn’t fit with one’s own; a well-meaning parent who suggests getting a “real” job. The pursuit of other careers gets in the way, only returning to their initial passions in their 30s, 40s or even retirement age.
Bu hikaye Artists & Illustrators dergisinin October 2021 sayısından alınmıştır.
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Bu hikaye Artists & Illustrators dergisinin October 2021 sayısından alınmıştır.
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Still life IN 3 HOURS
Former BP Portrait Award runner-up FELICIA FORTE guides you through a simple, structured approach to painting alla prima that tackles dark, average and light colours in turn
Movement in composition
Through an analysis of three masterworks, landscape painter and noted author MITCHELL ALBALA shows how you can animate landscape composition with movement
Shane Berkery
The Irish-Japanese artist talks to REBECCA BRADBURY about the innovative concepts and original colour combinations he brings to his figurative oil paintings from his Dublin garden studio
The Working Artist
Something old, something new... Our columnist LAURA BOSWELL has expert advice for balancing fresh ideas with completing half-finished work
Washes AND GLAZES
Art Academy’s ROB PEPPER introduces an in-depth guide to incorporating various techniques into your next masterpiece. Artwork by STAN MILLER, CHRIS ROBINSON and MICHELE ILLING
Hands
LAURA SMITH continues her new four-part series, which encourages you to draw elements of old master paintings, and this month’s focus is on capturing hands
Vincent van Gogh
To celebrate The Courtauld’s forthcoming landmark display of the troubled Dutch master’s self-portraits, STEVE PILL looks at the stories behind 10 of the most dramatic works on display
BRING THE drama
Join international watercolour maestro ALVARO CASTAGNET in London’s West End to paint a dramatic street scene
Serena Rowe
The Scottish painter tells STEVE PILL why time is precious, why emotional responses to colour are useful, and how she finds focus every day with the help of her studio wall
Bill Jacklin
Chatting over Zoom as he recovers from appendicitis, the Royal Academician tells STEVE PILL about classic scrapes in New York and his recent experiments with illustration
