ARTIST CHRISTIAN MARSH REVEALS HOW HE CREATES ARTWORKS THAT LOOK REAL YET KEEP A SENSE OF STORY
How do I start a hyper real painting?
First, decide on the subject matter. In my case, it is usually a city scene. I work through a number of photographic images to discover what I want to achieve with the painting. I blow up the image with the aid of a projector to get a better understanding of the scale of the canvas. Then, I start by blocking in the sky and determining the horizon line. Next, I mark the buildings before starting to introduce colour and gradually adding detail.
What is the difference between photo realism and hyper realism? Are there different technical approaches?
Photorealism is an extremely realistic style based entirely on reproducing a photographic image. Hyperrealism is an advancement of the photo realism technique using modern cameras and computers, but there is more of a relationship between the artist and work. I try not to replicate an image, but tell a story using aspects of the painting, such as people and their body language, as well as lighting.
How do I use reference images to create such detailed works?
Esta historia es de la edición July 2017 de Artists & Illustrators.
Comience su prueba gratuita de Magzter GOLD de 7 días para acceder a miles de historias premium seleccionadas y a más de 8500 revistas y periódicos.
Ya eres suscriptor ? Conectar
Esta historia es de la edición July 2017 de Artists & Illustrators.
Comience su prueba gratuita de Magzter GOLD de 7 días para acceder a miles de historias premium seleccionadas y a más de 8500 revistas y periódicos.
Ya eres suscriptor? Conectar
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
