cathARTsis

cathARTsis

Cover Story: The meditative and Satisfying Featured: art of P a ZENTA NGLE u l C t h r a A p a i d e M All m a n a n d h n i s o i t i t e p C om Acrylic s r e n n i Painting W

& s o m e D : s e u q i n Tech e i n a l e M s l e i n Da e v i t a e r C s s e c o r P

Table of Contents

4 1

5 1

Demos & Techniques: Art Eve nts: Art Signing Berlin A r t Techniques Week

10

12

19

cathARTsis

Table of Contents

Artwork Anim alistic by Indian A r t: Artists s The g n o i t s e rowin Art Qu g art :

d e r e w s An s t r e p x by E

1 2

22 24
f or m

: n o i t a r p i s e r In a s t s i t r A y h W s t s i t r A

2 8 26

Inspirati on: The Gift of Time

cathARTsis

So Making Cathartsis, was just one of those jobs that came my way as student of Journalism. It was, however tedious and time taking, a really good experience. Being a fan of Art and Paintings, and also, trying to do some myself, I chose the theme for this magazine, to be Art. The reason behind the name Cathartsis came to me, as Castharsis a generally practised notion or form of meditation, often remains unconscious or unnoticed by the practictioners, i.e the entire human race. Catharsis means, A form of Release- of Emotions. This is done, in any, i repeat ANY way possible. Shouting, Screaming, Playing, Dancing, watching Movies, and most importantly Art. Hence, tweaking the term, CATHARTSIS came into being. Also, Do not miss the cover story, Zentangle, a meditative form of Art. How it came into being, and its beauty and intricasy. Magazine Maker -Akshita Monga

Editors Note:

cathARTsis

cathARTsis

P7 ART: DEMOS AND TECHNIQUES

and teaching in Germany prior to World War I. His many paintings entitled Composition were attempts to attain what he called the spiritual in art: this was the title of a trteatise written in 1910. Although originally influenced by the post Impressionists, Kandinsky believed in going far beyond the representational elements of a landscape to express the energies that created their forms. His works were speculative, experimental and intuitive: also, not always easy on the eye. Similarly, Melanie Daniel can pull off a seasonal painting with strange antlers that look somewhat fabricated or branch-like and are well hidden among an explosion of summert i m e color. Its a joyful expression as the colors,

Ruth K. Meyer describes the similarities between Wassily Kandinskys and Melanie Daniels intuitive process, as exemplified in Daniels Antlers In Berry Season (oil, 3543). Melanie Daniels Exuberant Creative Process by Ruth K. Meyer

Abstract Painting | Melanie Daniels Creative Process

ntlers in Berry Season, 2010 vividly calls to mind the paintings of Wassily Kandinsky (18661944), the Russian artist who pioneered abstract expressionist painting while living

Whispers and Other Worlds

cathARTsis

P8

Other Works of Melanie Daniel:

Diamonds and Fire

cathARTsis

Other Works of Melanie Daniel:

P9

Featherd Fancy

cathARTsis

P10

ART: DEMOS AND TECHNIQUES

ing the point where we feel signature. This physical act signifies ownership. While the pur-

satisfied enough to place our pose of the signature is

Signature Style | Design Tips for Signing Paintings

warding moments of any painting is reachne of the most realready visually busy, the addiBut, if the right-hand corner is

painting, which represents a

placement and appearance in the overall design of a paintings composition.

basically that of authorship, its

can also play a significant role When

Three Considerations: There ity, and style. siderations: placement, tonalare three basic signature con-

otherwise a good design.

tracting and weaken what is

When not, it can become dis-

strengthen the composition.

thoughtfully executed, it can

Signature Placement: The sym-

a painting. This draws attention to sign paintings in the lower Western artists have tended to the signature. Traditionally,

when compared to the rest of

a signature appear artificial

bolic marks used to represent

I place my signature wherever it best serves the paintings composition. Its style has evolved over the years from a flamboyant scripted signature utilizing my full name, into a simple, elongated, printed surname.
tion of a signatention, ture will draw even more at-

commodate. When neither of these corners are an option, the upper left and right-hand do it. corners become possibilities. If

and is therefore easier to ac-

closer proximity to the viewer

it feels right to place it there, on a hue and value for the sigthe amount

A Signatures Tonality: Deciding eration nature again takes into considof

bring to their signature. The has to its surroundings, the more attention it will garner. ture to be visible but not too inMost painters want the signa-

attention an artist wishes to

more contrast the signature

that is analogous to the area where it will reside. -

hue and value combination

trusive and, therefore, select a

right-hand corner. This is the ends when reading a printed

place where the eye naturally

what may be an already

exasperating

Arthur

fragile composition. In this

become the most comfortable.

page and consequently has

will still be at the bottom of the

ner is the left. The signature

instance, the next best cor-

cathARTsis

P11

cathARTsis

P12

EVENTS

Painting, performance and plenty more at Berlin Art Week

The city showed off its diverse art scene with a slew of openings
Berlin Art Week (17-22 September) exhibition week with the cornerstone Painting kicked off last in 1976 and was largely overlooked in her lifetime, alongside contemporary three artists. female ents a snapshot of young ber, 61-65 fresh out of college, presand Surface, until 12 OctoLeipziger show of painters, some

ever!, a collaboration beties to the German capital. plays in the city. focuses on painters with

For-

tween four institutions that The show is a benchmark More than 100 painters are the Berlinische Galerie (until ber), Deutsche

ent approaches to this oldThomas Khler, the director of the Berlinische Galerie,

There are so many differ-

talent in Berlin today (Edge Strasse).

fashioned medium, says which is showing a site-specific painted installatiotn by Franz Ackermann. Painting today. is very much alive in Berlin This liveliness could be seen in the commercial galleries. scribed as storyboards, Sprth Magers is showing a series of new paintings, deBaldessari (until 2 November). At Galerie Barbara based Rebecca Morris celWeiss, the Los Angelesby the US veteran John

As might be expected of an other work on offer too.

for the myriad other dison show in four venues

Berlins, there is plenty of

art scene as diverse as

her first exhibition entirely (until 28 September). Made minimal tables and

Sarah Lucas is presenting

31 March 2014), Neue NationKunstHalle (formerly Bank the

algalerie (until 21 NovemDeutsch Guggenheim, until

Contemporary Fine Arts

dedicated to furniture at

10 November) and the KW Institute for Contemporary ranging from big names ing artists Daniela Trixl and Despina Stokou. Anselm Ryle to the emergsuch as Martin Eder and Art (until 10 November)

8,500 and 12,000.

catalogue

seats can be ordered by for between Performance and video are an installation of political Leighton

her

of MDF and breezeblocks,

prevalent in a number of

Deutsche Bank exhibition tred on the Berlin-born Mammen, a

The

has an all-female cast, cen-

Galerie Martin Mertens the

(until 5 October), while at showing his muted, minimal

with new abstract paintings

ebrates her 18th solo show

spaces. Sharon Hayes has Gallery

Berlin artist Pius Fox is compositions (until 26 October). Meanwhile, a pop-up

(until 26 October), while the evening last week.

Tanya

sound and video works at Vienna collective Gelatin

Weimar-era artist who died

Jeanne

held performances every

cathARTsis

P13

Paint-lJeonnn on by Zi k r a ing, Ju ma ni perfomance at

Berlin
Art Week
by k r o w Ar t r ds e N w Br e

ch er t a w t h g i N y Monga o j n u S y b

z en t a ngl e by K a lya ni

Congratulations to e Cathartsis Magazines 2013 All Media Art Competition winners! Nick Alm is the grand prize winner for Two Lovers Continue reading to view the first places and honorable mentions in the categories for Watercolor; Pastel; Acrylic; Graphite, Charcoal and Ink; Colored Pencil; Mixed Media and Collage; Oil and Oil Pastel.

2013 All Media Art Competition Winners

cathARTsis

P14

Gran d Prize Winn er

rs Two Lov e A lm - By Nick

Travel Bag By Lousiana Sen

r e t a W r o l o c e c a l 1st P

Luch ita By Ro ger

Watercolor honourab le

mentions

Oncoy

p er c u t t u B r. X By M
Wat

on lor h o c r e

ou

e me r a bl

s ntion

cathARTsis

ow that weve had a chance to define Zentangle for those new to the drawing style, I wanted to revisit the topic. Many of you kindly shared your own Zentangles on our Facebook page, and I thank you for doing sonot only did that give me a chance to see more of the talent thats out there, but you also opened others eyes to a beautiful form of art thats new on the scene, and you did well. Blue Heaven (white cardstock, Prismacolor pencils) by Genevive Cra While its is fun to view, its even more pleasurable to create, in my humble opinion. Painting can be intimidating to take on as a hobby (although that shouldnt stop you, but thats a different topic!), but drawing is accessible all you need is a - tool, lets say a basic pencil that you already have in any drawer of your house, and paper. You just sit down and start drawing, right? Well, not always; but when you have a book that offers prompts, it becomes easier. Zentangle Untangled by Kass Hall introduces the concept of this meditative form of drawing, and gives you guidance on how to draw the basic lines that come together to create intricate works that pass the time in a satisfying exploration of shapes. The results? Relieved stress, in my experience, and a sense of satisfactionthe instructions are easy to follow, and leave you feeling empowered by the ability to draw.

The Meditative Art of Zentangle

Cover Story

P15

cathARTsis

S-Bend (Distress stain, Sakura Souffle pens) by Kass Hall How Did Zentangle Become a Genre? In 2005, the Zentangle concept was born when calligrapher Maria Thomas described to her partner the sense of focus, well-being and relaxation she felt while creating background patterns on a manuscript, writes Kass. A former Buddhist monk, her partner, Rick Roberts, recognized this state as one of meditation. Together they worked toward creating a system that would teach and encourage others to experience the same sensations.

Cover Story ZENTANGle

P16

cathARTsis

There are now more than 300 certified Zentangle teachers worldwide, including Kass. To complement Zentangle Untangled, Kass created a workbook as well, which breaks down the various components of tangles and invites you to focus on each aspect for a week, exploring the possibilities of line as well as color in your drawings. Because staring at a blank page can be daunting, this workbook includes empty tiles that you can use to begin practicing your art. For a limited time and only at North Light Shop, you can begin learning Zentangle with this exclusive set. This mini-kit includes Zentangle Untangled, the Zentangle Untangled Workbook, and an 11-piece ink set. This has become one of my favorite styles to use in my own sketchbook, as it provides a parameter; similar to how poetry can be easier to write when youre following the rules of alliteration or rhythmic meters. Its like hiking with a path to follow, but with many safe paths branching in different directions, keeping you from just being lost in the woods. Zentangle Untangled, the Zentangle Untangled Workbook, and an 11-piece ink set. This has become one of my favorite styles to use in my own sketchbook, as it provides a parameter; similar to

how poetry can be easier to write when youre following the rules of alliteration or rhythmic meters. Its like hiking with a path to foll o w,

Cover Story ZEntANGle

P17

but with many safe paths branching in different directions, keeping you from just being lost in the woods.Zentangle Untangled, the Zentangle Untangled Workbook,

and an 11-piece ink set. This has become one of my favorite styles to use in my own sketchbook, as it provides a parameter; similar to how poetry can be easier to write when youre following the rules of alliteration or rhythmic meters. Its like hiking with a path to follow, but with many safe paths branching in different directions, keeping you from just being lost in the woods.Zentangle Untangled, the Zentangle Untangled Workbook, and an 11-piece ink set. This has become one of my favorite styles to use in my own sketchbook, as it provides a parameter; similar to how poetry can be easier to write when youre following the rules of alliteration or rhythmic meters. Its like hiking with a path to follow, but with many safe paths branching in different directions, keeping you from just being lost in the woods. Until next time. Cherie

cathARTsis

P18

cathARTsis

P19

May 2013 Artist of the Month Paul Chapman and his Acrylic Painting
9 Things to Know About Paul Chapman (by none other than Paul Chapman) 1. I remember that all the while I was growing up people told me I was good at drawing/art. I had nearly no experience with it in high school but in college, it was my majorArt Education. 2. For 35 years, I taught art, mostly at the high school level. Now that Im retired, I finally have time to devote to creating and improving my art. I try to paint every day. 3. I usually use acrylic paints. I love the fast drying time, even though it sometimes works against me. Thus far, the subjects that have become my paintings are: self portraits, industry, landscapes, still life, portraits and figurative work. The majority of my work, however, is in the realistic industrial landscape (interior and exterior) arena. 4. A Quick Brush-Up is something I thought about for a long time before it really took form. I see my image three times a day applying the brush to my mouth, noticing how the darker bristles make my teeth look as if I played hockey. I decided to take a break from the complex overlaps and perspectives of my industrial pieces and do something lighter. Even though this is usually a private moment I felt like sharing it because of the humor. Since I work from photographs, mostly, shooting this in a small bathroom and making it visually work was quite a challenge. I had to flip the image left to right, the distance to the door had to be altered and the lighting had to be changedother than that, its just like the photo.

5. Sometimes the idea Im working on allows me to work from life. That, too, is a pleasant change. The color palette I use for my underpainting is adjusted for tone, mostly, as I use up the colors left over from the previous painting. I feel that the tone of the colors is most important at this stage. I usually have three blacks (mars, ivory, Paynes grey) and white along with both warm and cool colors. I feel my underpainting is made richer if the first colors are not the final surface. This also makes it necessary to repaint often, creating a still richer surface. Since I work so thin, I feel this is important. I also try to vary the warmth and coolness of the grays. I like getting the colors close but I prefer to make the colors just a little off, making them mine. 6. I can spend up to two months on a complex industrial piece and other paintings can be finished within two weeks. This painting probably took three weeks, maybe a little more. Skin tones are hard to blend with acrylics, that slows the painting down, a bit. 7. This painting was pretty straightforward, kind of simple,

really. The hardest thing was maneuvering the photograph to achieve what I see when I look in the mirror. I even had to draw a full-size cartoon on paper before I felt I could move it to the canvas and believe it. My favorite part of this work is the slightly askew eyes that enhance the comedy, like the facial expressions of warriors in Japanese prints. 8. My future hope is to continue increasing the naturalness of my strokes. All of my realistic industrial paintings have serious, hard edges and theyre all made by hand, with no drawing aid. As I age I expect that the edges will get more human, and thats okay. I also want to try softening how the shapes are painted, giving them more humanity. 9. My inspiration usually comes from seeing something Ive seen a thousand times before but is unexpectedly in a different light. I usually have three blacks (mars, ivory, Paynes grey) and white along with both warm and cool colors. I feel my underpainting is made richer if the first colors are not the final surface. I usually have three blacks (mars, ivory, Paynes grey) and white along with both warm and cool colors. I feel my underpainting is made richer if the first colors are not the final surface. -Roberto Anglaise

cathARTsis

P20

Paul Chapman

And His Acrylic Painting

cathARTsis

P21

ASK THE EXPERTS TECHNICAL QUESTIONS ANSWERED FOR ARTISTS

HOW TO TRAVEL WITH A WET CANVAS? Q. What tips can you give me for packing wet canvases for travel? Name withheld A. If you paint in oil en plein air, you have a problem that painters in acrylic, watercolor and pastel dont have: after laboring all morning over a painting in the field, how do you get the picture home without smearing the wet paint? A variety of devices have been invented over the years, but if you paint on panels, the simplest way to transport them when the paint is still wet is to take two cheap frames the same size as your panels, sandwich them together front-to-front with screws, and then attach turn buttons to the backs so you can secure your panels in place between the frames. (Some frames already come with turn buttons.) This contrivance makes a neat package that can carry two wet panels easily. If you paint on stretched canvas, double-ended pushpins will do the trick; however, youll need two canvases to make this method work. On the wet side of your canvas, push a pin into each corner (make sure the pins go fully into the stretcher bar). Then place another canvas painted or notfacedown on the pins protruding from the first canvas and push down gently at each corner to secure the pins into the second canvas. You can also buy special clips called canvas carrier clips, which enable you to carry two facing canvases without piercing the edges. These options work well for one or two paintings, but if you have more, consider a wet canvas box. Guerilla PainterHandy Porter is one model that comes in several sizes. Made of cardboard, it contains foam inserts that allow you to carry two stretched canvases or four panels. Some manufacturers make wooden boxes that can carry many more panels or panels of several sizes at once. Artwork Essentials makes the ezPort, which has adjustable slots. For example, one configuration lets you carry four 1216-inch canvases and six 912-inch canvases at once. Another option is a pochade box, which comes with wet-panel storage space. When Im going on a long painting trip, Ill take wet-panel boxes to match the size of the paintings Ill be working onan 810inch box, a 912-inch box or a 1216-inch boxbut if its a short trip, Ill just fill up my 912-inch Guerrilla Painter box to its maximum, which is four 912inch panels.

-Michael Chesley Johnson

cathARTsis

P22 The god must be Tripping- Artwork by Akshita Monga

cathARTsis

P23

An eye for an eye - Artwork by Akshita Monga

Monga

cathARTsis

Harajuku-based creative agency Ultra Super New, Inc. launches their super new popup gallery and shop space with the exhibition Four Legs Good, Two Legs Bad in collaboration with photographic art specialists Subject Matter. As the exhibition title suggests, the works are based on animal themes, including the Zoo Portraits by Yago Partal (pictured).

c i t s i l a Anim

P24

cathARTsis

P25

s creating art, work? If you ask someone a passionate painter, the answer will be a definitive yes. Conversely, much of the world around us sees what we do as play. Recently I overheard a fellow artist sharing how frustrating it was when someone asked, When are you going to get a real job? This reminded me of the many times I have been in the same position. Frequently when being introduced to someone at a social event, the first question will be, What do you do? When I reply, I am a representational painter, an artist. Their response has been, No, what do you do for a living? Although their intensions may be innocent, they definitely reflect societal prejudices. An Artists Labor: This quandary between creating art and earning a living often has artists defending themselves against the biases of others. Since most creative individuals are insecure (it seems to go along with the artistic temperament) and art is a vocation from which we never graduate (there is no bar exam to

A Labor of Love| Making a Living as an Artist

Inspiration & Creativity
pass), it is easy to see why so many individuals who dont paint see the practice merely as a pastime, a hobby. While there is nothing wrong with the pursuit of painting as a pastime (Winston Churchill did, and even penned a book on the subject), most artists

cathARTsis

P26

understand that considerable dedication and hard work are required to master the craft of painting. This passionate pursuit to strive to better ones aptitude as a painter and ultimately communicate intent successfully, keeps artists working hard throughout their lives.

On Labor Day: Annually, on the first Monday in September, the United States celebrates Labor Day, a holiday which pays tribute to the contributions and achievements of the American worker. Let us also celebrate the contributions of working artists. Some may make a living from artistic efforts; others hope to someday; and many are happy painting as a pastime; but the artistic works of all enrich our lives. Next time you find yourself in the position of being asked, So, what do you do? Proudly proclaim, I am an Artist. Dont be ashamed, it is noble work. Your labors bring beauty and worth to everyday life. Remember, art is the cultural bedrock of a civilization and its worth is beyond measure. It would not exist without you, the Artist. - Alejnadro Deniro

cathARTsis

P27

cathARTsis

The Gift of Time l Remembering to Be Present When Painting

Inspiration & Creativity

P28

n this hurly-burly world, it can be hard to stop and take the time to truly be present that state of mind in which we shut off the busy chatter in our heads and become aware of our surroundings. This can be especially true for the plein air painter who is often consumed with finding something to paint and then frantic to capture the ever-changing light. The painting medium with which we work also plays a part. The immediacy of pastel, for example, can be an asset but it can also lead to a hurried application. Wet painters have to take the time to mix various pigments together before application. Even though it may only take a few seconds, it takes thought and contemplation. Pastelists, on the other hand, can glance down at the numerous possibilities within arms reach and instantly commit their choice to the surface. I was reminded of how easy it is to get into a hurried rush last year while working with a group in beautiful Grand Marais, Minnesota. Everywhere we looked was a stunning vista and I, like the others, was eager to capture it ALL in pastel. Having allowed for an extra day after the workshop for personal painting, I was out early to capture the morning light. After getting in a pretty good painting, I decided to rest a bit and have lunch. I selected a spot to eat that I thought wouldnt offer the distraction of a potential painting scene, one where I could quietly sit by the shores of Lake Superior and just relax.

cathARTsis

As I ate, however, I became intrigued with the decaying remnants of a long abandoned pier. The negative space of the water and the pier was fascinating. The longer I looked, the more beautiful the subtle iridescence of the water became. Before long, I was setting up the easel and calmly painting a small pastel study. If I hadnt spent the quiet time just being present along this section of the shoreline, I wouldnt have had what became one of the best painting experiences of the trip. Quiet the Hunt: Remind yourself when going out to paint not to look for the perfect subject. Allow yourself the luxury of just being with a location for a period of time. Look beyond the literal objects that make up a scene to the quality of the light or arrangement of color and texture. These form the aesthetic core of an interesting piece of artwork. A good exercise is to plop yourself down in the middle of a scene that doesnt initially interest you. Then allow at least 20 minutes to simply observe. You may be amazed at the inspiration you find. The Gift of Time: Once you start painting, work with the attitude that you have all the time in the world, even though you know you do not. Getting into the hurried rush to finish can be detrimental to a successful outcome. Quite often, I remind myself that it is better to have an incomplete painting that has merit than one that is finished but flawed.

Presesnce of Art
Inspiration & Creativity

P29

cathARTsis

P30

Cover Page & Back page Art -by Lisa Rene, USA Margaret Roche, USA Sandra Strait, USA Jella Verelst, Belgium Cindy Bernard, USA

cathARTsis

P31

C o