By Amy Leibrock Painter Susan B. Abbott has worked in many types of studios over the years—from a garage rental when she was just out of art school, to the bedroom in her first apartment, and later, to spaces in artists’ buildings in Washington, D.C., …
Filip Čiča presents his short film with beautiful visuals. Woah! 8 months in the making during 2024, and bit into 2025, I can finaly present to you my short film “Equilibrium”! Heavily inspired by H.R. Giger’s work, combined with Hindu symbolism, my mo…
If you’re tired of the material waste and time spent wrapping your work in paper, bubble wrap, or cardboard, Jackson’s Artwork Carriers offer a professional and sustainable solution for storing and carrying your work. In this article, I’ll explore the benefits of these carriers, and highlight what sets them apart from other artwork storage products on the market. Introducing Jackson’s New Artwork Carriers Why Use an Artwork Carrier? Artwork carriers are designed to allow you to easily transport and store your artworks, protecting them from damage in the process. They are an environmentally conscious choice for reducing studio wastage from packaging, but this isn’t their only benefit. By using art carriers, you can rapidly open and check on an artwork, without having to cut through layers of cardboard, bubble wrap, paper, and tape. This also means you can immediately remove a painting from the carrier for display, without having to deal with the packing debris. Many artists make the mistake of tightly sealing their paintings in layers of bubble wrap and tape, which doesn’t allow the work to breathe. For oil painters in particular, trapping even a small amount of moisture inside can be damaging over time and …
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Ryan King Art writes: In this Blender tutorial we will create this Procedural Parquet Wood Floor Material.
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Daisy Fulton won the Student Award in Jackson’s Art Prize this year with her work Can We Not Do It Right Now. In this interview, she discusses squeezing every hour out of her university studio time, finding a rhythm with sketchbooks at a Portugal residency, and the paint colour she couldn’t be without. Above image: Daisy Fulton in her Manchester-based studio Josephine: Could you tell us about your artistic background? Daisy: Since I was a child, I’ve always been encouraged to be creative and messy, especially by my mum and granny. The dining room transformed into a studio, a bakery, a workshop… full of paints, clay, felt, stickers, pom poms, etc, anything to make some art with! Art was always my favourite subject at school and the one I took the most seriously. It was in college, whilst studying art, that I realised it wasn’t just something I loved, it was something I knew I had to pursue. I had an incredible tutor who challenged me to dig deeper into how and why I make art, and the hands-on facilities there gave me room to experiment with all kinds of materials and techniques. After college, I moved to …
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Jan van den Hemel writes: One easy way to create holes in 3D models, is by using a black and white texture. This is especially useful for cloth objects. However you can also turn it into geometry with thickness for 3D printing, with just a few modifier…
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Meg Buick is a painter and printmaker based in East Lothian, Scotland. Her work, often depicting hazy landscapes and obscured figures, evokes a sense of ancientness and dreamlike solitude. In this article, Meg discusses how she employs a wide range of mediums, including egg tempera, monotype, oils, and pastels, as well as describing her constant reworking of these materials to evoke the ethereal atmospheres found in her work. Drawing inspiration from art history that spans prehistoric cave paintings, the Renaissance, and modern abstraction, Meg presents us with a sense of symbolic memory, where humans and animals merge quietly into her shrouded landscapes. Artist Insights: Meg Buick Contents 0:00 “People often say the work feels ancient” 0:20 “It feels natural to me to keep covering it, and destroying it someway, and bringing it back” 0:51 Introduction 1:06 “I wanted to really learn a practice and learn how to make physical things” 2:00 “I always had drawing on the back burner” 2:47 “A human figure has such a psychological pull for any viewer” 4:04 “It’s more of a landscape than a portrait essentially” 4:20 “I think I’ve always been quite intuitive about materials” 4:38 “Egg Tempera forces you to …
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Rudy Michau writes: Dear CG Thinkers, welcome! On today’s menu: roasted GPUs! We’ll dive into how volume rendering works in Cycles and how to push your settings to reveal every bit of detail in your procedural clouds. I’ll take you through how I discov…
Skulls may arouse our morbid curiosity – with the knowledge each of us carries one hidden beneath the surface – yet their enduring symbolism extends far beyond anatomy. As memento mori, they remind us that we all meet the same end, but throughout art history, skulls have also embodied power, served as instruments of satire, and even become emblems of beauty. The Art Through Symbols series explores the interpretation of symbols throughout art history – be they cultural, religious, folkloric, or personal. Each article analyses a series of artworks before detailing an art-making tutorial inspired by the symbol for you to try. Art Through Symbols: The Skull Interpreting Skulls “The skulls were there and I could say something with them. To me they are as beautiful as anything I know. To me they are strangely more living than the animals walking around…” – Georgia O’Keeffe When we look at skulls, we are confronted with our own mortality – perhaps welcoming in an existential dread – or giving us the steadying reassurance that, aside from birth, death is the one experience we all share. For artists living through times of crisis, amid plagues, famines …
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