Dear readers,

Happy autumn! Lots to talk about this month, so grab a cuppa and a comfy chair.

Newsbytes

  • DALLAS, TX - November 11: If you're in warm and sunny Texas on Friday 11/11/11 (!), be sure to stop by Collectors Covey for their annual Miniatures Show & Sale; I have several new pieces in the show. FMI: 800.521.2403 or www.collectorscovey.com.

  • MARK YOUR CALENDARS NOW and plan to visit the C.M. Russell events in Great Falls, MT - March 14-17, 2012.
    For the first time, I will be participating in the Western Masters Art Show and will have a room at the Best Western Heritage Inn for the week.
    I'll be giving more details as we get closer, and sharing some of the new work I'll have for the show. I hope to see many of you there!

 

In this issue

  • In the news (and your comments invited!)

  • The allure of monochrome


"Shadow Stripes", 8x8
scratchboard

commission

Tidbits - on Tone

The most beautiful colors laid on at random, give less pleasure than a black-and-white drawing. (Aristotle)

If you have used colour throughout most of your artistic life, try just black and white... it will take your painting to another dimension where tone and form in all their permutations reign supreme. (David Louis)

Tonal hierarchy prevents visual anarchy. (Walter J. Phillips)

In the real world there are many tones, from white at one extreme, through a large number of medium tones to black at the other extreme. To achieve a three-dimensional effect on paper you need just three – white, black and medium gray. (Stan Smith)

In the News

  • TEASER ALERT: Watch for the December issue of Southwest Art magazine!
    Can't say more at the moment.

  • Wildlife Art Journal debuts a new feature, "Artists of the Horse", with its Autumn issue, and yours truly leads off. Todd Wilkinson, the editor of WAJ, wants to tear down the artificial barrier that currently exists between wildlife art and equine art, and this series is his way of doing that.
    I wholeheartedly support Todd's effort; I've been horse-crazy since I was knee-high to a bug, and drew horses obsessively as a kid, but I enjoy a wide variety of animal subject matter and feel it inaccurate to be pigeonholed as an "equine artist" or a "wildlife artist", since neither category begins to encompass everything that inspires me.

  • ...and time for YOU to weigh in: my friend and fellow artist Andrew Denman has just posted a provocative essay to Wildlife Art Journal, "Wildlife Art on the Couch: A Struggle for Identity in the 21st Century". Andrew posits that "the overarching expectation of the market is this: a detailed animal painted in a detailed environment engaged in a natural behavior", and artists like Andrew, me, and others whose work is not purely objective "stand out as oddballs". What do you think? do you agree?
    He closes with a challenge to wildlife artists. Read the article and post your comments to it; feel free to share your thoughts with me as well.

The Allure of Monochrome

"Etching will suggest subtle variations of tone, the most delicate shadings, all with black lines, which, as far as lines go, are unsurpassed for sheer beauty." (Walter J. Phillips)

Substitute "white" for "black" above, and "scratchboard" for "etching", and this quote reflects perfectly how I feel about scratchboard. More generally, though, one might ask why a colorist like me is so enamored of monochrome?

The short answer: I love to draw.

The longer answer: creating a recognizable form on a bit of paper with merely a stub of pencil remains wonderful and a bit magical to me.

Monochrome work with dry media is also very pure: mistakes in value or composition can't be glossed over with flashy brushwork or eye-catching color. There is only the simplicity of line and value; an artist's most fundamental skills are laid bare.

This is even more true for scratchboard. In this unforgiving medium, I can't create a mid-tone simply by lessening the pressure of my pencil. Instead, it is the true reverse of etching or pen-and-ink; white lines are the only elements available to create a range of values. Add in the mood implied by the velvety black surface of the board, and...well...I'm enthralled. Luckily for me, collectors are enjoying these as well!


"Scarface", 14 x 11
carbon pencil on etching paper
private collection

Black-and-white work, whether drawing or scratchboard, also serves as an exciting counterpoint to my oil paintings. I keep them small, so they take just a few days, and this allows me to explore images that lend themselves to strong value contrasts (like M. Zebra, above).

What do you think? Do you enjoy or collect monochrome work?


"Brindle Rodeo Bull", 8 x 10
scratchboard
Available at Pitzer's Fine Art - 512.722.6032

FOOTNOTE from the October Artzine and the "antlers vs horns" question: I'm pleased to report that I received MANY correct answers - y'all are an educated lot when it comes to natural history! It was such fun that I mailed out a number of artistic goodies, not just one.

And to be sure everyone does know the difference, indulge me in lecture mode for a moment:

  • Antlers are made of bone (the fastest-growing in the animal kingdom), are shed and regrown annually, and generally have multiple points (or tines). Antlers are exclusive to males, with the exception of caribou (in which females grow small antlers as well).
  • Horns are made of a keratin sheath, are not shed annually, and grow throughout the animal's life. In many species, both males and females have horns (mountain goats, bighorn, cattle, bison, etc.), but this is not a blanket rule (some African antelopes lack horns in females). In addition, there is one truly oddball horned species: the pronghorn not only has forked horns, it sheds the outer sheath annually.
    (BTW, rhino horns are not true horns; they're formed of compressed hair.)

That's it for November! I hope you have enjoyed this newsletter (and thank you to the many readers who respond after each Artzine) - if so, I encourage you to share it with anyone and everyone. I appreciate your help in building a bigger audience for my work!

Warmest regards,
Julie T. Chapman

Painting Today’s Wild West (and Africa!) with Contemporary Flair
STUDIO (406) 626-4586
20900 Whitetail Ridge Road * Huson, MT 59846
Artsite: www.JulieTChapman.com

** All images and text in this newsletter are copyright (c) 2011 Julie T. Chapman. I encourage you to forward this email as long as it includes this copyright notice - thank you!**