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WELCOME from the editor

For many artists a new year means new year resolutions and to-do lists of aims and things to be achieved throughout the next 12 months. For many this also includes decisions about which open competitions to target and prepare entries for. With this in mind we are pleased to include our annual six-page open competitions guide (see pages 72 to 77) in which we highlight our round-up of all the open competitions we think deserve consideration, with all the relevant details and entry deadlines.

Open competitions are important for the opportunities they offer to help raise your profile, see your work exhibited alongside your peers, win valuable prizes, network with other artists at the private views and be seen by galleries looking for new artists to represent. As our In Conversation artist this month, Rob Adams (pages 14 to 17) acknowledges, although social media can be a good sales tool and makes it relatively easy to ‘get your work out there’, it can also, as he says, make it ‘very hard to rise above the crowd’. Which is why acceptance by, and success in open competitions can be such a positive experience.

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The Artist
Jan-18
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PLUS
THE ART WORLD
NEWS, VIEWS, INFORMATION AND SPECIAL EVENTS IN THE ART WORLD
YOUR VIEWS
This month’s star letter writer will receive a Landscape Selection of 48 Van Gogh soft pastels worth £49.99, courtesy of Royal Talens. For more information about these, and other Royal Talens products, seewww.royaltalens.com
OVER £17,500WORTH OF PRIZES
We are looking for the best work from amateur painters in the Leisure Painter category and from experienced and professional artists in The Artist category.
EXHIBITIONS
GALLERY OPENING TIMES AND EXHIBITION DATES CAN VARY; IF IN DOUBT, PHONE TO AVOID DISAPPOINTMENT
FEATURES
Memorable painting
Caroline Saunders talks to Rob Adams who paints serene watercolour landscapes with limited highlights and achieves an effect similar to that of an engraving in his pen and ink works
The easy gift to give WORTH £57.20
£37.99 by annual Direct Debit or £39.99 by all other
Abstract arrangements
Dennis Spicer shares his thoughts about his intuitive approach to colour and form and the sense of ‘stillness’ in his still-life oil paintings
Impressionists in London
Susie Hodge reviews this must-see exhibition at Tate Britain
Why use a gallery to promote and sell my work?
This subject arose during Mark David Hatwood’s live Facebook podcast for our website Painters Online in April 2017. It’s a valid question in this digitally interconnected, social-media age. He attempts to shed some light on that quandary
The artist OPEN COmPETiTiONS & ExhibiTiONS 2018
These listings are in chronological order according
Charles Williams’ musings Illustration
Last year one of my main activities as programme director
PRACTICALS
The dark and the light
Jake Winkle shows you how to capture light in watercolour by the use of extreme shadows in both daytime and night-time subjects
Table-top landscapes
Richard Pikesley, president of the New English Art Club, reveals the benefits of painting indoor landscapes in oils – still lifes that ‘connect with the landscape outside’
How to draw the horse
In the first of two articles equestrian artist Ruth Buchanan shares her 10 key techniques for making a successful drawing of the horse
Watercolour techniques for misty days
Peter Cronin demonstrates pure watercolour painting techniques for atmospheric landscapes, including fog, mist and haze
Painting the ground
In his final instalment in this series, Graham Webber advises what you need to consider, and how to make it all come together, when painting land in a landscape
Still life with flowers
Judi Whitton looks at what to consider when painting still life in watercolour – what to leave in, what to take out, and how to bring all the separate elements together for a balanced painting
A new class of oil paint
Sennelier has recently launched Rive Gauche, a range of oil paints for which, says Max Hale, they have made some interesting claims. Read to on to find out what’s different about them and why his first impression was one of pleasure
The head and neck
In the second part of her series, Adele Wagstaff identifies the superficial structures and anatomy of the head and neck so you know what to look out for when drawing the figure
Painting by instinct
Painting by instinct is a great way to achieve freedom of expression, says Barry Freeman, who urges you to be bold and paint in a looser style using acrylics