To a clear out­look

ImagineFX - - Editor’s Letter -

Some clever per­son once said it’s good to know your lim­i­ta­tions. I have no idea what they were get­ting at, but I do know that ap­ply­ing lim­i­ta­tions to your art can open up new pos­si­bil­i­ties, can make you look at the blank page in a new light, can be lib­er­at­ing.

Fol­low­ing the mighty Char­lie Bowa­ter’s strik­ing cover work­shop (page 68), we see how tak­ing out colour from the equa­tion can make you fo­cus on value, space and tex­ture. By lim­it­ing your op­tions you can cre­ate some­thing un­ex­pected!

Over on page 40 we fea­ture 10 of our favourite artists who have taken sim­i­lar lim­i­ta­tions and made them their own: from Ni­co­las Delort’s clay­board/Pho­to­shop noir land­scapes, to Ed Bink­ley’s monochrome mas­ter­pieces.

It’s not all two-tone. Af­ter cre­at­ing a daz­zling stained glass Q& A im­age back in is­sue 112, we asked Sara For­lenza to work on a larger piece for a work­shop – with added his­tor­i­cal drama. She il­lu­mi­nates the cathe­dral set­ting of the mur­der of Thomas Becket on page 86. While in a sunrise scene Brian Matyas of­fers his in­sight into con­cept­ing ef­fi­ciently for games and films, mix­ing 3D and 2D to pro­duce a moody mo­ment filled with nar­ra­tive (page 80).

I love Pa­trick J Jones’s oil paint­ings, but I also love his back-to­ba­sics work­shop on work­ing with char­coal (page 106), and it’s great that on page 56 we fi­nally get to speak to sculp­tor For­est Rogers. Aaah! Out of room! [En­ter clever lim­i­ta­tions com­ment here].

Claire Howlett is on ma­ter­nity leave. Email: Art sub­mis­sions: Web:

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Oc­to­ber 2015

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