Elevate Your Art Magazine, February 2021

FEBRUARY 2021

E L E VA T E Y O U R A R T Bi-Monthly Magazine Featuring Photoshop Artists

featuring

M A R I E H E LYA R C AT H SM I T H

Reviewer

Mem bers of the review team are an integral part of the succe ss of hundre s of P hotoshop art i st s.

Highly trained, they provide over 15,000 video reviews a ye ar for me mbe rs of Beyond t he Br ushes. V ideo feedback is the key to success for many who are new to P hotoshop pai nt i ng!

Feat ured

A r t i s t : T i n a C a ro n , M. Ph otog ., C P P t i n a c a ro n p h oto g rap hy.com Tina’s fath e r p as s e d away in D e cemb er. T h ou g h h e d etes ted pi c t u res , h e li t u p a rou n d T i n a ’s ni e ce , a nd she fo un d a p ic ture f ro m o n e of t h ei r va ca t i on s . T h i s por t ra i t wa s d i s pla yed n ex t to t h e poli ce honor gu ard at h is m e m o r ial s e r v ice and n ow res i d es i n T i n a ’s h ome. Wh a t a pr i celes s t rea s u re.

W EL COME “But I can’t draw stick people!”

If I only had a nickel for every time I’ve heard this as an excuse... Our modern tools are truly amazing. Most people have no idea that working in Photoshop completely eliminates the need for drawing. This means that almost anyone can create custom art by utilizing “clone painting” methods.

But here’s the really interesting bit about learning to paint in Photoshop…

Once most people get into Beyond the Brushes and find a bit of success, they realize that art isn’t quite as intimidating as they thought it was. They become excited by the chal lenge, and that is when the real magic happens!

In this issue of Elevate Your Art Magazine, you’re going to meet just such an artist.

Hailing from the town of Wagga Wagga, New South Wales, Australia, I have lovingly dubbed our featured artist as Australia’s equal to the United States’ “Grandma Moses.”

As ::cough:: a lady of a certain age ::cough, wink:: with zero prior art experience and very little Photoshop experience, Marie has wowed us all with her amazing creations! Now that she’s diving into freehand work, there’s only one word that I can use…

STUNNING!

Ma g a z ine © M ich e l l e Pa r s l ey, M. Ph oto g . , M. A r t i s t , C r. , C PP St u d e nt im a g e s © re m a i n w i t h e a c h i n d i v i d ua l a s n ote d .

Screen captur ing a rt wo rk fro m t he m a g a z ine fo r yo ur ow n us e - w h et h e r p e r s o n a l o r co m m e rc i a l us e - i s a vi olat i on of t he a rt ist s’ co py rig ht which is p un i s h a b l e by Fe d e ra l f i n e s of up to $ 1 5 0 , 0 0 0 p e r i m a g e .

P l e a se b e re sp e ct f ul of t h e co py r i g ht of t h e a r t i s t s . T h a n k yo u.

CONTENTS 01 02 p5 p7 p16 p19

Featured Reviewer: Tina Caron Welcome from Michelle I could never paint like that!

Artist Feature: Marie Helyar Accepting Criticism Rufus is a LIAR!

Bra n d i took h er d au g hte r ’s pi ct u re a fte r a b r i g hten ed t h e por t ra i t to m a tch he r d a u g hte r t h e b r i g hte ni ng a nd a n ex te ns i on

M ASTH E A D & CO N TR IBU TO RS MICHELLE PARSLEY PUBLISHER HANNAH PARSLEY COPYWRITER CATH SMITH EDITOR

ARTICLES: CATH SMITH, ACCEPTING CRITIQUE

IMAGES: MICHELLE PARSLEY, TINA CARON, BRANDI ORLANDO, IRENE BOWERS, MARIE HELYAR, BEKKIE HARPER, EVIE SHOEMAN, SHEILA TENNES, TERRY SPEAR, CATH SMITH, OLEYSA GOLD, SHELLY ELLIS, AMANDA VOLLER, STEPHANIE SABOURIN, VICKIE BOLDUC, AND CLAUDIA NIX

Art ist : B ra nd i O r l a n d o , C PP www. b ra nd io rl a nd o p hoto g ra p hy. co m

a fami ly p h otoshoot . Incorpora tin g h e r daug hte r ’s favo r ite co lor s , Bra n d i r’s roo m. T he cr it iqu e provid ed s up p o r te d B ran di’s ef fo r ts to a ccompli s h n of t h e ski rt. Need less to sa y, h e r daug hte r was th r il le d w ith t h e res u lt s !

COVER IMAGE BY MICHELLE PARSLEY PARSLEYFINEART.COM

“I COULD N E V E R PA I N T L I K E T H AT ! ”

As you flip through this edition of Elevate Your Art Magazine, you may find yourself saying, “I could never paint like that!”

Chances are -- you’re right, but... not for the reason you believe!

Most people see artwork created at th e level of the artists included in this magazine and automatically assume they weren’t born with some level of talent that they simply werent graced with. Nothing could be farther from the truth! This is a lie that Rufus loves to tell.

(Not sure who Rufus is? Check out the article later in this edition.)

Every artist in this magazine began at the exa ct same place — painting simple fruit, fabric, and eggs. Over time, they have gradually adde d more and more advanced techniques to their skillset, which has allowed them to tackle more complex subjects. As they’ve advanced in skill, more and more unique artwork begins to emerge.

So why do I say you could never paint like them? Because no two artists can ever be alike!

Wh ile learning the basic skills needed to create a firm painting foundation, you will see a lot of similarities in the work budding artists are creating. But the more advanced in skills artists become, the more they begin to diverge in style. So much so that even

though I am teaching them the techniques and providing them with the exact brushes I use — I cannot recreate the work they are creating! find that completely fascinating.

I

The reality is you don’t want to create the kind of work you’re seeing in this magazine.

This is why learning tool mastery is so much more important than just “learning to paint like X artist.” When you master the tools, you can paint anything you want in any style you want. You want to create artwork that is uniquely yours. Tool mastery is what facilitates this ability.

So how does one learn tool mastery? By beginning at the beginning.

In this inaugural edition of Elevate Your Art Magazine, I’d like to invite you to try painting in Photoshop with some complimentary beginner painting exercises. Exercises like these are exactly where every artist in this magazine began. I have full confidence that if you can complete these exercises, you will be able to create the kind of amazing work you see here with your own personal flair. All it takes is deliberate practice, adding new, more complex skills as you progress, and a decision to never settle for the status quo.

CLICK HERE TO TRY A SAMPLE LESSON

A r t i s t : I re n e B owe r s , M. Ph oto g ., M .A r t i s t w w w. i re n e b owe r s .com I rene a d ores pa intin g c h ildre n b e caus e of th e i r i n n ocen ce. I n s pi red by t h e g i r l’s b ow a n d b lu e eyes , s h e c re a te d a complementa r y co lo r p alette of s of t p as te l s a n d u s ed Br u s hy G ood n es s for t h e s k i n . S h e k ept f rom pa i nt i ng t he tut u in d eta il to g ive an im p re s s io n is t un de r to ne, a n d t h e c li ent wa s t h r i lled .

ARTIST FE ATU R E

M AR IE HELYAR PHOTOGRAPHER TO FREEHAND-ARTIST

M A R I E ’ S A RT I S T I C J O U R N E Y S TA RT E D W I T H T H E I N S P I RAT I O N O F N O N E OT H E R T H A N B O B R O S S . LO O K I N G TO TA K E H E R P H OTO G RA P H Y I N A PA I N T E R LY D I R EC T I O N , S H E B EG A N H E R E X P LO RAT I O N I N TO T H E P O S S I B I L I T I ES .

Ar ti s t: Ma ri e Hely a r

Ar t is t : Ma r i e He ly a r

Coupled with the fact she has two granddaughters who love ballet, Marie found herself entranced by the body movement.

Ballet requires discipline yet shirks rigidity in exchange for gracefulness, much like a painter and her brush. Marie started off just seeing if she could capture the movement drawing. From there, inspiration from Pinterest joined hand-in-hand with several of her ideas. She let the paint guide her as she twirled and swayed her brush across the screen, metamorphosing the drawing into the paintings you see before you.

Originally, Marie experimented with texture and composition but found herself still searching for something more. Then, Beyond the Brushes came into the picture.

It was exactly what she wanted, but with no painting experience, she had reservations and doubts regarding her skillset. Obviously, she overcame her fears, and after 12 months, she is comfortable calling herself an artist, which is arguably the hardest critic to convince.

Marie’s progression has been rapid. A year is not an overnight transformation, but to paint completely freehand after such a short period of time is rare. And all of the ballerinas you see were created in just that fashion, freehand, but that’s not all. They are also paintings created from mind to screen — no reference image necessary. What could inspire the creation of such beautiful and flowing artwork?

On the technical side, Marie primarily used Brushy Goodness and Brayer throughout the paintings. Her color scheme developed as the work progressed but selecting a complementary color palette also pl ayed a part. Though trying to replicate the body movement posed a challenge, she was prepared because of a previous challenge she faced in the coursework.

Puppet Warp is not an easy lesson, even for those with more experience. There is more to it than meets the eye, and Marie’s foundation of limited Photoshop skills and no anatomy knowledge did not do her any favors. Needless to say, it was a big learning curve, but she played to her strengths of persistence and dedication. She was determined to master it.

Marie put in the time doing deliberate practice. She experimented with Puppet Warp and even studied human anatomy to improve her understanding of the body and its movements. It was this lesson, this struggle that provided Marie wit h the confidence to begin drawing freehand. She learned to truly see the body and its form.

So, in the final stages of these paintings, seeing the body movement and the texture come together brought her great joy.

MARIE IS A RARE GEM. JOINING WITH NO EXPERIENCE, SHE D E D I CAT E D T I M E TO D E L I B E R AT E P R AC T I C E . H E R G A I N E D C O M FO R TA B I L I T Y A N D C O N F I D E N C E A L LOW H E R TO J U S T LO S E H E R S E L F I N T H E C R E AT I O N P R O C E S S .

M A R I E ’ S WO R K CA N B E FO U N D O N L I N E AT M A R I E H E LYA R P H OTO G R A P H Y.C O M

A r t i s t : Ma r i e He ly a r

NEW LE SSON:

CHARCOAL

4t h Q uar ter 2020 W INNER

T IFFAN Y SCHMI T T

PICTURESATTIFFANYS.COM

A r t i s t : B e kki e Ha r pe r Be kki e’s eye wa s d ra wn to th is im ag e b e caus e it re mi n d ed h er of h er b eloved g ra n d mot h er. Her h ea r t a n d mi n d we re fi l le d wi th p reciou s memorie s th ey s h are d to g eth e r as s h e pa i nted . T h i s pi ece d emon s t ra tes t h e fou n d a t i on g ra n d pa re nt s provi d e wi thi n ou r fa milies a nd is a c h e r is h e d wo r k of ar t.

ELEMEN TS OF ART

SIMPLE SPACE VISUALS

Ev i e h a s a s pec i a l pla ce i n h er h ea r t for mu s i c.

Da n i el’s ev i d ent pa s s i on s t r u c k a c h ord w i t h h er, a n d t h e wi n d ow li g ht h i g h li g hted h i m and t h e t r u mpet a ccord i n g ly. T h ou g h Da n i el i s old e r n ow, h er pa i nt i n g of fer s a moment Ev i e a nd he ca n s h a re ea c h t i me i t i s v i ewed .

A r t i s t : Ev i e S h oema n

Sheila d ecid e d to p aint th is p ie ce af te r h a v i n g severa l pra c tice an d co m m is s io n do g p o r t ra i t s u nd er her be l t. Th is tim e , s h e wante d to ad d contex t. Using s tam p b r us h e s , s h e fo r m e d t h e ba ck grou nd an d us e d B r us hy Go o dn e s s an d G rea sy B lend e r to g ive th e m a m o re o rg ani c look .

Ar tis t: S h e ila Ten n es face b o o k.co m /s h e ila. ten n es

A r t i s t : Ter r y S pe a r, MBA w w w. ter r y spe a r.com Terry ca pt u red th is de l icate b utte r f ly p o is e d o n a w i ld f lower wh i le on a s t roll a lon g a c li f f by t h e P a c i f i c O ce a n.

The origina l photo g rap h n atural ly h as a l ig ht bok eh b a c k g rou n d , b u t pa i nt i n g i t h ei g hten ed h er s a t i s fa c t i on a nd ma d e her feel lik e it was n ow wo r thy of th e title “a r t .�

AC CE P T ING CR I T I CI S M

by C a t h S m it h, C r, C P P

W H E N YO U ’ V E S P E N T H O U R S - S O M E T I M E S DAYS - WO R K I N G O N A P I EC E TO G E T I T R I G H T, H E A R I N G S O M EO N E T E L L YO U TO M A K E C H A N G E S CA N B E PA I N F U L , B U T I F YO U WA N T TO B E A B E T T E R A R TI S T, YO U N E E D TO L E A R N TO L I S T E N .

I am the worst at accepting criticism. When I hear a review that suggests my work isn’t perfect, it stings. I want to kick and scream and throw a tantrum worthy of a 2-year-old.

But if anything has made me a better artist, it’s listening— really listening — to how others respond to my work.

I’ve come to realize it’s normal to feel this way.

Being emotional and angry about my work is a sign that I’ve put myself into it. And that’s a good thing.

I try to keep this in mind whenever I’m offering critiq ue. As a Review Specialist, my role is not to say that people suck or that they’ve failed some kind of test. My role is to be supportive, to he lp people understand and master ideas and techniques that aren’t coming easily to them. My goal is to help people become the best artist they can be.

But critique is a 2-way street. You must be willing to listen and adapt and (most of all) keep an open mind.

As the artist, we see the process of development, of painting the image from start to fin ish. We understand the meaning of the color choices, of each individual brushstroke.

For u s, each image has a history, an evo lution, and a meaning. And sometimes, it’s easy to forget that the critiquer only sees the image in front of them — and can only comment on what they see.

A r t i s t : C a t h S mi t h, Cr, CPP ca t h s mi t hfi ne a r t .com

Knowing that critique is hard for me, I’ve developed a coping strategy to help me shed my inner toddler, woman-up, and do the work.

1. Acknowledge my response. I give myself a few minutes to indulge and feel angry and hurt. Then, I shake it off and move on 2. Take a break. I’m an emotive artist, and if I start painting right away, all the anger and frustration shows up in my work. Waiting a few hours, even a day or two, helps me get some distance and come back wi th an open heart.

3. Be patient. As much as I’d love to be a savant, I’m not. Reminding myself that developing a skill takes hundreds, sometimes thousands of repetitions to master reminds me I have a whole lot more mistakes to make before I can be good.

These might work for you, and they might not.

Eventually, you’ll need to develop your own technique to responding to critique. Just like learning to paint, it’s a skill.

And just like learning to paint, you can learn how...if you’re willing.

A r t i s t : O ley s a G old ma g i ca lpor t rai t u re .com Olesya wa s in se arc h of an extra p rac tice im age for i nteg ra t i n g a s u b jec t i nto a pa i nted b a c k g rou n d . S h e wa s a t tra cted to the v ib rant p as te l s in th e b ird’s fea t h er s a n d wa s i n s pi red to pa i nt i t . Wh a t b et ter s i g n t h a n t he pret t y bird being the p e r fe c t co m p le m e nt fo r h e r n ew ly pa i nted b a c k g rou n d ?

Artist : Shelly Ellis sel lisphotogra phy.co m Sh elly ha d pa inter ’s de l ig ht up o n f ir s t s ig ht w ith t h i s i ma g e. However, s h e wa i ted u nt i l s h e wa s i n n eed of a de libera te pra ct ice p ie ce b efo re s h e s co o p e d it u p. S h e s a y s t h a t t h e b r u s h es i nt rod u ced i n t h e color les s ons i n s pired her a rt ist ic inte r p retatio n .

A r t i s t : A mand a Vol le r w w w.a ma n d a vollerd og ph otog ra phe r.com Ama n da s et h e r h e ar t o n p aintin g a pea cef u l d og por t ra i t . S h e ph otog ra ph ed h er sweet d og , Bent ly, to d o ju st the tr ic k. S of t b r us h s tro ke s swe pt a c ros s t h e w i ped ca nva s to c rea te t h e s u bt le coa t color s . Mu ch of her ins p iratio n o r ig in ate d f ro m th e a lla pr i ma s t y le, a n d t h e res u lt i s a b s olu tely prec i ou s .

r a i L

RUFUS IS A

His name is “Rufus”.

Ruf us is the art critic that lives inside every artist’s mind. Rufus is a product of our “logical brain.” Rufus is all about survival and thinks in a neat, linear fashion only perceiving the world according to known circumstances.

Ruf us is a naysayer when it comes to artistic ability.

The brain of an artist is in almost direct opposition to Rufus. The artist’s brain is much more childlike, impulsive, creative, with a particular panache for disregarding rules, experimenting, and combining the oddest things with surprising success. The ar tist’s brain thinks in terms of pattern, value, line, color, and form without ever considering known circumstances.

Teaching Rufus to stand aside and let the artist’s brain take over is a battle — an d one that every artist must fight daily. When we’re having a problem mastering a skill Rufus says... “ See? I told you — you can’t do this!”

In the fledgling artist’s mind, this lie becomes, “I don’t have the talent for this.”

LIES.

Rufus planted that thought, and it has absolutely zero basis in fact. What we percieve as “talent” is nothing more than a pursued interest. If you can follow simple directions and you’re willing to practice, you can learn to paint in Photoshop!

In some regards, having Rufus go on the attack as our skills increase should be considered normal, but we must always strive to isolate his lies and understand them for what they are.

LIES. Only then can we be sure they will never stop our artistic advancement.

H ISTORY OF ART

Jean-Michel Basquiat

A r t i s t : Ste p han i e Sab our i n s te p h a n i e s a b o ur i n p h otog rap hy.com Stepha nie gra v itate d toward th is p h oto g rap h d u e to t h e w h oles ome i ntera c t i on b et ween t h e g i r l a n d t h e d og . Di re ct i ng focu s, she simpl if ie d th e b ac kg ro un d, us in g Br u s hy G ood n es s to pa i nt a n d Bra yer for tex t u re. Accent s of p i nk a nd b l u e i n th e b ac kg ro un d un if ie d t h e por t ra i t wh i le lea v i n g t h e v i ewer d ra wn to t h e wa r mt h i n t he d og’s eye s .

A r t i s t : V i c k i e Bo ld u c jv ph otos .com Vick ie photo g rap h e d th is yo un g lady an d wa s compelled to pa i nt t h i s reg a l por t ra i t . Her exc i tement to show the pa re nts was g ratif ie d w h e n th e mot h er c r i ed a n d t h e fa t h er t h ou g ht i t s h ou ld b e h u n g over t he firepla ce in a m an s io n . S h e o bv io us ly accompli s h ed h er v i s i on .

A r t i s t : C la u d i a N i x c la u d i a n i xa r t .com Claudia p as s e d th is h o us e late on e Decemb er a f ter n oon a n d cou ld n’ t s eem to g et i t out of h e r h e ad. Kn ow in g s h e h a d to pa i nt i t , s h e went b a c k a n d s n a pped a pi c t u re befo re s un s et. B r us hy Go o dn e s s s eemed to d o ju s t t h e t r i c k for t h e w i nter s cen e s h e ha d in m in d.

E L E VAT E YO U R A R T. C O M