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SCRATCHING THE SURFACE

August/September 2023

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International Artist

A brief overview of some of the new surfaces being used today with a focus on painting

- Vanessa Rothe

SCRATCHING THE SURFACE

In the exciting world of art today, the traditional stretched canvas has taken a backseat to new, innovative surfaces that have hit the art supply market. From watercolor paper on board to wood to brilliant copper, there's a vast array of surfaces for artists to choose from. These unique new surfaces may, in fact, change or inspire something new within your own work.

Traditional Stretched Canvas

The old method of buying a full roll of canvas-cutting it to the right size, buying wood stretcher bars and adhering it to the wood is still used as a tried and true method, especially when painting larger sized works. The wooden frame with canvas can provide stability for very large sizes, but the downside is that these canvases, once stretched, can be easily ripped or torn.

Linen on Board

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Marshland Glow

Through glazing and scumbling, oil painter Karen Murphy manipulates her medium to create atmospheric landscapes

time to read

1 mins

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Quiet Rhythm

Using deep shadows and a desaturated palette, Daria Antonova creates townscapes imbued with emotion

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To the Point

Keita Tsuji uses pointillism to heighten the color expression in his pastel paintings

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1 mins

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Change Up

Primarily a watercolor artist, Heidi Willis breaks down her approach to working with a new medium

time to read

2 mins

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Form and Space

Alicia Ponzio's interest in human anatomy guides her sculptural works

time to read

2 mins

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The Texture of Time

Bennett Prize winner Amy Werntz create works of art that celebrate the beauty that only comes with age

time to read

5 mins

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Pattern making

My painting process is predominantly intuitive.

time to read

1 min

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The Big Picture

Tony Thielen paints bold, expressive scenes by starting with the biggest shapes, then working toward the finer details

time to read

1 mins

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Fluid Fusion

Pigments merge and create subtle gradients in Ian de Hoog's traditional wet-in-wet approach

time to read

2 mins

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MAKING MOVES

How to pitch your work to the press

time to read

4 mins

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