Visual Language Magazine Contemporary Fine Art Vol 2 no 10 October 2013
Visual Language Magazine is a contemporary fine art magazine filled with dynamic international fine art, brilliant colors and stimulating composition. This month features the Miller Gallery Fall Show in Cincinnati, and studio visits with Nocona Burgess, Artspan artist Joe Belt, Sarah Beth Banning, Dave Sime, Connie Morse, and Texas artist Kristine Byars. Enjoy an up close and person interview with Texas Artspan artist Sharon Hodges and the gallery show of Texas Artspan artist Melissa Doron. The issue would not be complete without the fascinating photography of Artspan Photographer Rudolph De Ram. On the Cover is the artwork of Artspan Artist Joe Belt. Visual Language is the common connection around the world for art expressed through every media and process. The artists connect through their creativity to the viewers by both their process as well as their final piece. No interpreters are necessary because Visual Language Magazine crosses all boundaries.
Visual Language Magazine is a contemporary fine art magazine filled with dynamic international fine art, brilliant colors and stimulating composition. This month features the Miller Gallery Fall Show in Cincinnati, and studio visits with Nocona Burgess, Artspan artist Joe Belt, Sarah Beth Banning, Dave Sime, Connie Morse, and Texas artist Kristine Byars. Enjoy an up close and person interview with Texas Artspan artist Sharon Hodges and the gallery show of Texas Artspan artist Melissa Doron. The issue would not be complete without the fascinating photography of Artspan Photographer Rudolph De Ram. On the Cover is the artwork of Artspan Artist Joe Belt. Visual Language is the common connection around the world for art expressed through every media and process. The artists connect through their creativity to the viewers by both their process as well as their final piece. No interpreters are necessary because Visual Language Magazine crosses all boundaries.
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CFAI.co Colors On My Palette<br />
Judy Batterson<br />
http://www.judybetterson.com<br />
http://www.cfai.co/colors-on-my-palette/judy-batterson<br />
When did you realize you loved art and wanted to be ‘an artist’<br />
I don’t remember a time, EVER, when I wasn’t an artist! Some<br />
of my first memories were of drawing and coloring. When I was<br />
in elementary school in Peoria, Illi<strong>no</strong>is, we had art class only once<br />
a week. I would get SO overwrought with anticipation before art<br />
class my hands would shake. Once I got so excited waiting for<br />
the time to arrive, I couldn’t stay in my desk and was apparently<br />
jumping around and being disruptive. (me!) My punishment was,<br />
oh <strong>no</strong>!, that I had to skip art class that week. Now, I get to paint<br />
whenever I want (well, almost). My studio is full of wonderful<br />
paints and brushes and canvases and light and color and all of the<br />
things that make my art sing.<br />
Who has been the greatest influence from your past to mentor you to this career<br />
My other “vice,” besides painting, is reading. My father was an avid reader as well, and filled my childhood<br />
home with all kinds of books. My earliest influence was the illustrations I pored over in those books.<br />
We had a fabulous copy of The Rubáiyát of Omar Khayyám, packed with vibrant, rich vellum color plates.<br />
I loved the combination of pure primary color and realistic subject matter elaborated with eastern decorative<br />
themes. We had a copy of a turn-of-the-century period <strong>no</strong>vel titled “A Mouse Is Born,” illustrated<br />
by Aubrey Beardsley. His <strong>Art</strong> Nouveau blackline illustrations were inspirational. I loved the detail, the<br />
contrast, and the fact that he never broke up a mass! We also had several huge old leather and gilt books<br />
illustrated by Gustav Doré, Don Quixote, Paradise Lost, The Bible Gallery, Fontaine’s Fables, and more.<br />
Doré’s ability to render realistic detail and use of line were a HUGE influence!! And the mood he could<br />
set!!!... I could go on and on about how those book illustrations rang bells and blew whistles for me!<br />
Who is your mentor today, or a<strong>no</strong>ther artist you admire and why<br />
About 12 years ago, after a long career of illustrating, I took a pastel painting class at our local art center.<br />
My teacher was Bev Lee, an incredible portrait artist (and <strong>no</strong>w my dear friend). Bev helped me to get out<br />
of my illustrator’s headset and begin to think more like a painter. (I still have lots of work to do there.)<br />
Most of my illustrations were blackline; very graphic and tight, with <strong>no</strong> color information. I had to start at<br />
square one with color and color theory. Bev helped me to begin the process of loosening up and lightening<br />
up. I was inspired to begin painting because I live in one of the most beautiful spots in the world: western<br />
Colorado. I wanted to paint that beauty; as much of it as possible. Because of that, I have been inspired by<br />
painters of the American West: from Charles Russell to Jill Soukup, with a myriad of others in between.<br />
Bill Anton, Clyde Aspevig, G Russell Case, Ralph Oberg, Daniel Smith, Jim Wilcox... and the many other<br />
painters of the American West who successfully strive to communicate the beauty of this incredible place<br />
we are privileged to live in.<br />
Who would you love to interview<br />
I would like to visit with one of the great illustrators, like Maxfield Parrish or <strong>Art</strong>hur Rackham or Kaye<br />
Neilson. I deeply admire their ability to render the landscapes of their imaginations with such a brilliantly<br />
realistic approach.<br />
Read more at http://www.cfai.co/colors-on-my-palette/judy-batterson<br />
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