My creative process starts with a reference photo shot with an iPhone. The subject is always in a strong, outdoors lighting environment, or if inside, illuminated within a single, stage-like light source. Emotive facial expressions and/or eye-engaging shooting angles are always necessary. I print my chosen reference photograph in black and white so as not to be influenced by the original colors.
This story is from the February - March 2020 edition of International Artist.
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This story is from the February - March 2020 edition of International Artist.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 8,500+ magazines and newspapers.
Already a subscriber? Sign In
Intrigue in the ordinary
I've \"'ve never had any formal training always had a strong attraction to the arts and the practice of painting
Paper Textures
John Lovett guides us through the varying properties of different watercolor surfaces
Creating Ambiance
Mona Parker Weidner selects colors palettes and light sources that emphasize the mood of her interior scenes
Visual Depth
Blending and smoothing with solvents, Holly Siniscal creates painterly portraits in colored pencil
Sharp Precision
Working with craft blades and tattoo needles, Conor Smith etches realistic renderings of wildlife
The architecture of water
When Then I moved from Toronto to a tiny community in Nova Scotia, I became fascinated by the ocean, its reflections and endlessly shifting patterns of color and light
Saturated World
Emphasizing the beauty of nature, Joe A. Oakes paints landscapes with warm colors and imaginative compositions
Pure Bliss
Working alla prima, Andreas Liss takes on a loose, unbridled approach in his artwork
Sculpting the Paint
Using a palette knife allows oil painter Maria Iva to create clean colors and rich textures
Forwad MOMENTUM
Artist Lisa Gleim shares the evolution of her career and how she grew into her preferred medium of pastels
