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Husband-and-wife Hans and Beth (de Loiselle) Guerin constantly push one another leading to new and challenging projects
Issue 95, Page 66
In this special edition of Beyond the Palette, we asked Scottsdale Artists’ School executive director Trudy Hays a few of our own questions—about the benefits of art school, community and more
Issue 157, Page 48 Read ArticleWhen there were no readily obtainable art supplies this artist discovered collage.
Issue 50, Page 68
Understanding the differences between those who collect and those who invest in art can make a major impact on your art career
Issue 141, Page 21 Read ArticleSuggesting the authentic qualities of light itself.
Issue 34, Page 134James Gurney's new book is the book every artist has been waiting for
Issue 77, Page 60There is a solution to color difficulties - even if you're color blind like this artist.
Issue 25, Page 96This artist uses color to compose realistic traditional floral still lifes.
Issue 48, Page 98Working in the studio allows this land and seascape painter a chance to find the abstract qualities and underlying structures of the scene.
Issue 29, Page 110Lian Quan Zhen captures the impressions of a scene through his method of mixing pigments
Issue 120, Page 88This master artist explains why nature is the ultimate teacher and master of color juxtaposition.
Issue 34, Page 58See what happens when you're forced to focus on value and contrast.
Issue 17, Page 98Karolina Borecka shares her insights for painting anatomically correct parrots infused with personality
Issue 125, Page 106Evie Zimmer uses her background in representational art to paint detailed abstractions the combine color and shapes
Issue 136, Page 60
Blending observation and imagination, James Gurney visualizes gigantic cartoon characters in a plein air setting
Issue 155, Page 36 Read Article Visit Gallery WebsiteAtanas Matsoureff brings together multiple techniques in his watercolours including wet-on-wet and drybrush
Issue 94, Page 116Judith Vanacore uses pastel to tell a visual story in an exciting and colorful manner without being inhibited by the reality of the reference photo.
Issue 68, Page 60John McCartin demonstrates another work that shows the distinction between what is physically seen and what is painted. This time, the painting combines multiple photographs into one cohesive scene.
Issue 92, Page 94Paula Henchell explores mixed media methods by pouring watercolour and painting with acrylics
Issue 100, Page 118John Lovett explains how to experiment with gouache in his watercolour paintings
Issue 107, Page 92
The Art of the Portrait and the 25-Year History of the Portrait Society of America
Issue 152, Page 34 Read Article
Before beginning a new piece, Amit Biswas formulates an understanding of his subject and identifies key elements
Issue 143, Page 78 Read ArticleThe essential skills that every artist needs to make good paintings.
Issue 43, Page 134
John Lovett discusses seven common issues watercolorists face and how to approach them
Issue 148, Page 108 Read Article Visit Gallery WebsiteThrough drawing, artist learn how to explore subject matter in new way and to greater depths
Issue 119, Page 32Joyce Washor demonstrates how to create color harmony through the use of a particular palette of colors
Issue 96, Page 102Bill MacKay allows details to emerge organically and gradually throughout his painting process
Issue 106, Page 70By testing the effect and moderating the dominance of different colors this artist influences the composition and mood of cityscapes.
Issue 52, Page 152To be successful why not regard watercolor as a game of chess, where all the winning moves are planned ahead.
Issue 2, Page 64The rationale behind paintings that are very detailed but have carefully uncluttered compositions.
Issue 42, Page 50Using a set of fundamental principles, Teresa Oaxaca shares how to create works of art that will hold a viewer's attention
Issue 95, Page 76B. Nicole Klassen explains her methods for designing still lifes.
Issue 74, Page 68Julia Hargreaves aims to include a triangle composition in each of her paintings
Issue 100, Page 92How to make the most of painting on site, in light that keeps changing.
Issue 24, Page 60Perhaps creative vision can be heightened and more focused if you paint a series at the same location.
Issue 4, Page 104David J. Negron constructs abstract shapes and patterns to drive his creative intentions
Issue 79, Page 82Like many masters of painting, this artist considers drawing to be the foundation of all pictorial technique.
Issue 55, Page 44The challenges and compromises of commissioned artwork can lead to satisfying results
Issue 112, Page 50Abstract artist Chris Kazeil finds colour to be one of the most important elements of her painting process
Issue 108, Page 122To truly understand the artist one has to first understand the environment in which he was raised.
Issue 49, Page 28How to paint raw mountain scenery without losing the atmospheric splendour of the moment.
Issue 49, Page 34The everyday on-site circus of light, color, atmosphere and people
Issue 7, Page 128