Featured Artists

   
Woodward Payne art
art by Woodward Payne

400 Series Watercolor

Woodward Payne art
art by Woodward Payne

400 Series Watercolor Block

About Woodward Payne

photo of Woodward Payne


Woodward Payne was born in Phoenix, Arizona in 1935. He is a painter and photographer by profession. His paintings have been exhibited in galleries and museums throughout the United States, and are included in distinguished private and public collections.

Following completion of undergraduate school at Arizona State University and graduate school at Indiana University he spent four years in Germany, during which period he traveled extensively throughout Europe.  His paintings of this period were primarily landscapes and cityscapes, which were ultimately exhibited in one-man shows in Munich and Berlin.

In 1966, he returned to Arizona where he spent the next fifteen years teaching at Mesa Community College and Arizona State University. His work as an artist began to be influenced and, to a significant degree, shaped by his experiences as an aviator (he learned to fly when he was 13) as well as his love of travel. During the past fifty years he has taken thousands of slides and digital photographs of which many have served as idea sources for his paintings. His subject matter includes aerial landscapes, landscapes, dynamic florals, seascapes and abstracts.

Mr. Payne was highly honored by an award, in April 1986, of First Prize in Smithsonian Institution's  National Air and Space Museum Earth Views  competition in Washington D.C.  The competition was open to artists throughout the United States, and over 2000 paintings were entered.   One of these was selected for the First Prize purchase award, adding Woodward Payne's  aerial painting "Morning Mist" to the permanent collection of the Smithsonian Institution.

Since 1985 the artist has lived, with his wife Beverly, in Northern California. His studio is located in their home on Mt.Tamalpais above Mill Valley, just North of San Francisco.

ARTIST'S STATEMENT:

As my work has developed over the years I find increasingly that I identify with and respond to the sensuality of nature and landscape in all its aspects.

These concerns were first evidenced in my aerial landscape paintings which were a direct result of my lifelong interest in flying and viewing the unique elegance of the earth from above. Although this viewpoint is still of considerable artistic concern my recent efforts have gravitated more towards dealing with natural forms of a smaller scale.  I enjoy working in a variety of media and on varying scales although very large watercolors continue to be my dominant direction.

The abstracts were a natural progression resulting from my quest to deal with formal artistic elements without consciously basing them on tangible imagery. I am equally interested in both approaches to painting and feel neither is more valid than the other.

Interview with the Artist

How did you interpret using the Strathmore Thistle for the pad cover artwork?  Anything else you'd like to share about your piece?
This was the first time I had ever used a thistle as a subject for painting which is surprising since I had photographed them on occasion and visually find them quite compelling.  Although many of my floral paintings are somewhat realistic, I chose in this case to use a slightly more abstract approach wanting to emphasize the inherent  design qualities already evident in the thistle.

How did the Strathmore paper you used for the project affect your drawing (or painting) techniques?
The Strathmore 400 Series watercolor paper was an ideal surface upon which to work in this case.   Over the years I have found that it is ideal for supporting the many techniques I employ in my paintings and holds up particularly well under aggressive approaches to applying paint.

Which artists inspire you?
I have been inspired by  a wide variety of artists because I enjoy pursuing a variety of techniques and "styles" in my own work.  Wayne Thiebaud, Richard Diebenkorn,  John Marin,   Pierre Bonnard and Winslow Homer are among the artists that have influenced me the most.

What advice would you give to beginning artists?
My advice to beginning  artists would be to study with a wide variety of instructors. They all have different ideas and philosophies about art and the greatest exposure you can have to these will definitely benefit you as a developing artist.

   
Glenn Brill art
art by Glenn Brill

400 Series Acrylic

About Glenn Brill

photo of Glenn Brill


Glenn Brill is currently the Manager of Education for Strathmore Fine Art Papers and has presented over 300 educational presentations throughout the U.S., Europe and Asia.  A past Professor at San Francisco State University, Glenn has also taught at California College of the Arts, San Francisco Art Institute and University of California at Hayward. Glenn has been involved in art material product development and education for over 15 years, helping to develop and test fine art papers, canvas, drawing materials, pastels, oil paints and acrylic paints. Glenn has been the recipient of two National Endowment for the Arts Visual Fellowships, Author of "Beyond the Brush" and co-author of "The Acrylic Handbook". His artworks are in the permanent collections of the Archives of American Art, Brooklyn Museum, San Jose Museum and Phoenix Art Museum. Glenn has his BFA from the California College of Arts and Crafts, and MFA from Cranbrook Academy of Art. He is also a Tamarind Master Printer.

Interview with the Artist


How did you interpret using the Strathmore Thistle for the pad cover artwork?
I thought it would be interesting to have the actual thistle be inferred in the artwork. By only showing the thistle shadow, it implies that the actual thistle is there, just outside of the picture plane. The shadow of the thistle, together with the outward gaze of the dog combine to bring the viewers conceptual attention to something that exists outside of the image. Something each viewer will imagine and interpret for themselves.

Anything else you'd like to share about your piece?
This is a painting of my dog "Shooz". She is a Basenji, which means she is the "boss" of all she encounters. I have done many paintings of Shooz, and I am not sure what she thinks of sharing the cover with another living object!

How did the Strathmore paper you used for the project affect your drawing (or painting) techniques?
This painting was done using acrylic paint in a glazing technique over initial impasto layers. There are perhaps 15 glaze layers that are needed to create the depth of color and marking system. I require a substrate that is able to handle the multiple layers of paint and medium without buckling and without losing its stability. I found that the Strathmore Acrylic pad held up to the vigorous technique that I use. The best compliment I can give the Strathmore acrylic paper is that I did not notice it was paper, in that I treated it as if I was working on canvas.

Which artists inspire you?
Obviously I have been influenced by the impressionist and post-impressionist movement. However the artist who most inspires me would be my wife, Mia Kodani, who always reminds me to be positive and believe that anything is possible.

What advice would you give to beginning artists?
Demand the most from yourself.
Do not judge yourself.
During the act of painting delay the thought for as long as possible..., "This is good enough".
There is no great idea, there is only your idea.

   
Katherine Cantrell art
art by Katherine Cantrell

400 Series Artagain Black

Katherine Cantrell art
art by Katherine Cantrell

400 Series Artagain Assorted

About Katherine Cantrell

photo of Katherine Cantrell

 
Katherine Cantrell is an illustration student at the Savannah College of Art and Design, and will be graduating in June 2011. She is ruled more by inspiration and creativity than a particular personal style, and enjoys working in a variety of mediums. Katherine's clients, beyond Strathmore, include Pelican Publishing, SCAD, and Threadless. She is looking forward to what her future artistic path has to offer, and is excited about her budding career as an illustrator. To view more of Katherine's work, or to contact her, visit www.KatherineCantrell.com.

Interview with the Artist

How did you interpret using the Strathmore Thistle for the pad cover artwork?  Anything else you'd like to share about your piece?
I wanted to incorporate the thistle into my pieces in a non-literal way. Therefore, I decided to work with the Strathmore logo so that the thistle featured in my pieces would be more of a symbol, or shape, than a real object. The thistle is a big part of both of my drawings, but at the same time it's somewhat hidden, making it a puzzle for the viewer to solve.

How did the Strathmore paper you used for the project affect your drawing (or painting) techniques?
In using the Artagain paper, I was forced to start on a solid black surface, which I'd never really done before. It worked out for the best, because it forced me to use a full tonal range and gave my pieces the drama I wanted to achieve.

Which artists inspire you?
Several fellow illustrators: Chris Van Allsburg, David Wiesner, and Peter de Sève to name a few.

What advice would you give to beginning artists?
Draw from life as often as possible, but also just observe what you see in everyday life with an artistic eye. Study the interesting lighting, color, and shapes you come across. These are two ways to build up a great "inner reference library" to draw from for your future work.

   
Susan Lyon art
art by Susan Lyon

400 Series Pastel

About Susan Lyon

photo of Susan Lyon


Susan Lyon grew up in Oak Park, Illinois. Her initial interest in art was sparked by a television show on Georgia O'Keefe. "I hadn't seen art like that before. Her work touched me emotionally and seemed so personal -- a sort of window into her soul." Lyon studied painting at the American Academy of Art in Chicago and  Chicago's 100+ year-old Palette and Chisel Club. It is there she first began exhibiting and selling her work.

Susan draws much inspiration from painters such as Zorn, Malavin, Sorolla, and Celia Beaux. Lyon's technique is to paint wet on wet to start and then wet on dry for her finishing touches. She occasionally thins her oils with mineral spirits to obtain a balance of scratchy brush work against thick opaque strokes for the lights. "My style is realistic with as much impressionistic color as possible. I like to combine wide brushes for sweeping strokes in the background with small, soft brushes for subtle details in my center of interest."

Many of the ideas for her paintings come from her travels or the everyday objects that surround her such as stuffed animals, dolls or the occasional curious kitten playfully exploring her studio. "What I hope to accomplish is to convey the whimsical beauty I see around me as well as to make the viewer smile when they look at my work. When I started out as an artist, I struggled against my own more feminine tastes. I feared people would not take a painting of stuffed animals or dolls seriously. Once I overcame this self-consciousness, I was happy to find that what I enjoy looking at day after day also reaches others. Even when I'm painting fairly traditional things, my greatest joy is figuring out original ways of setting up the most common of still life objects so that they appear dynamic. What inspired me in the beginning to paint was the human form. Through the years I've done still life's and people in the landscape. As my journey has evolved I find that my first love is the lasting one. I paint either the nude figure or portrait at least once or twice a week. If I could do nothing else but draw from the figure I would be happy.

Susan Lyon lives in a rural area of North Carolina with her husband, artist Scott Burdick, whom she met at the Palette and Chisel in 1989 and married in 1993. She moved there to escape the hectic pace of city life as well as to experience an entirely different part of the country. Surrounded by nature, Susan's studio allows her the space and privacy to grow as an artist. It also serves as a perfect home-base for her painting trips and travels which have included most of Europe, Turkey, Greece, Mexico, Canada, Nepal, Thailand, China, Peru, Tibet, India and Africa. "The excitement of traveling, seeing so many new sights, and incredible works in museums; combined with the challenge of painting on the spot make me a travel addict! Even before I go on a trip I'm planning the one after."

Susan's mediums of choice are oil and pastel pencil and charcoal, with occasional forays into watercolor.

Book of her paintings "Visions and Voyages" published 2008
website - SusanLyon.com
Self produced Online educational videos through website and a Drawing the Portrait DVD published by American Artist Magazine

Gallery Representation
Sage Creek Gallery
200 Old Santa Fe Trail, Santa Fe, NM 87501
505-988-3444

Insight Gallery
244 West Main St,
Fredricksburg, TX 7862
830-997-9920

Germanton Gallery
Germanton, NC
336-969-6121

Sylvan Gallery
171 King St,
Charleston, SC  29401 
843-722-2172

Interview with the Artist


How did you interpret using the Strathmore Thistle for the pad cover artwork?  Anything else you'd like to share about your piece?
Since I was doing a portrait for my cover piece I thought that putting the thistle symbol as an earring would be appropriate.

How did the Strathmore paper you used for the project affect your drawing (or painting) techniques?
I worked on the smoother side of the paper, it still had a little tooth to it which gave a nice texture when I softened the pastel with my finger. I felt the paper held up against my repeated layering of the material and it allowed me to erase what I needed to.

Which artists inspire you?
My biggest inspiration right now is a Russian artist Philip Malavin.

What advice would you give to beginning artists?
My advice is to work from life along side other artists as much as possible. A group atmosphere helps the creative energy.

   
Jonathan Santlofer art
art by Jonathan Santlofer

400 Series Charcoal

About Jonathan Santlofer

photo of Jonathan Santlofer


Jonathan Santlofer is a well known artist with work in such collections as the Art Institute of Chicago; Institute of Contemporary Art, Tokyo; Newark Museum, NJ; Montclair Museum of Art, NJ; Mississippi Museum of Art; Norton Simon Museum, Pasadena; J.P. Morgan Chase; AT & T; IBM, NY; Bank of America, CA; among others.

He is the recipient of two National Endowment for the Arts painting grants and has been a Visiting Artist at the American Academy In Rome, the Vermont Studio Center and serves on the board of Yaddo, the oldest arts community in the U.S.

His artwork has been written about and reviewed in such publications as The New York Times, Art In America, Artforum, ArtNews, Arts, Interview, Portfolio, and he has been profiled in The New York Times Sunday Magazine, Newsday, the Chicago Tribune, and the Washington Post, and more...

Santlofer, also a successful writer, has published five novels and his short stories appear in many anthologies and collections. He lives and works in New York City.

Interview with the Artist


How did you interpret using the Strathmore Thistle for the pad cover artwork?  Anything else you'd like to share about your piece?
I used the thistle as part of a plant motif that frames my portrait of the artist, Marcel Duchamp, and one of his artworks, and ties the drawing together.

How did the Strathmore paper you used for the project affect your drawing (or painting) techniques?
The paper's tooth set up a wonderful texture for the charcoal, which I allowed to show through. I use Strathmore bristol plate when I draw with pencil because of it's smooth surface, but the charcoal paper was perfect for exploiting the effects of this particular medium.

Which artists inspire you?
So many and for different reasons.

Marcel Duchamp has always been an important artist to me, which is why I chose to draw his portrait for the pad cover. The way in which he moved from painting to questioning the nature of art set the groundwork for so much modern and contemporary art, and his intelligence and playfulness is still with us and always will be.

As for painters, Cezanne, Manet, Giotto, Caravaggio, Velasquez, Giotto, John Singer Sargent, Willem de Kooning, and of course Picasso.

Different artists become important to you because of something that's happening in your work at a particular moment.

What advice would you give to beginning artists?
Work. Experiment. Be brave. Never wait for inspiration or you will be waiting a very long time, just work every day. And never let anyone tell you that you can't do something in your art -- just do it!