Artist Search

Part 3: Content on location. How to capture the spirit, emotion or expressive feeling of a subject.

Part 2: How the complete artist shares the visual message.

Part 1: Content is not just the subject. Oh no, it is much, much more than that. Our new 4-part series begins with a bang.

The more extreme the mediums the more dramatic the light effect.

John Lovett's tips for adding interest and character in a painting through mark marking

The complexities of the figure are simplified in Daniel Maidman's four-question approach

How to make the best of both worlds. Render a skilful drawing first, then cut loose with washes.

John Stephens recognized what Titanium White Underpainting could do for his acrylic paintings - and has not returned to oils!

John Lovett shares his tips for finding the right color balance in every painting

This artist relishes the clarity of vision possible through the creation, use, and presentation of light being entirely within the artist's control.

Ken Salaz shares his approach for establishing values through underpainting.

In her landscape paintings, Olga Rybalko captures the sights, smells and sounds of nature

The simple approach to portraying rhythm and light.

What are your strengths? What are you weaknesses? Neil Miley advises you to try an exercise in copying to find out.

How Margo Maeckleberghe, Mary Martin, Nicholas St John Rosse and Dick Twinney deal with this magical, mysterious area.

Learn and apply a process that makes a habit of increasing your productivity

Great paintings come from great references

It is not only men who wear the bullfighter's "suit of lights".

Chan Dissanayake discusses how to tackle and succeed at painting "on location" with these informative "hands on" demonstrations

This artist's pastels are all about capturing the sublime moments when she makes a palpable connection with her subjects.

Tom Lynch creates works of art where the mood, or "wow" factor, has the greatest impact

Dana Levin evokes poetry in realism through meticulous attention to how a painting is finished

Finding the right medium allowed this artist to master the exquisite detail he was seeking.

Insight on one process used for producing an etching based on a series of monotypes

John Lovett shows the merits of stretching the limits of a subject into a whole series of paintings

This artist's love of the classical style means her beautiful images will be objects of joy forever.

Mona Parker Weidner selects colors palettes and light sources that emphasize the mood of her interior scenes

Gary J. Hernandez recommends doing a head study first, when faced with the challenge of a figurative painting.

Koo Schadler is an American Master of the egg tempura medium

Daniel J. Keys finds clarity and vision for his compositionally-driven still life paintings

Cindy Sorley-Keichinger layers acrylics then drybrushes details to produce illusions of depth

Working from dark to light colors, Pamela Hamilton’s pastel paintings feature the smallest and brightest marks at the focal point

This artist tried palette knife painting and discovered its bold, fresh look suited her style perfectly.

Join the world revival of this art form by learning from this "Living Master" of the medium Gordon Hanely

An open-and-shut case for working with a toned background.

Let's see what happens when we borrow some ideas from the Impressionists.

Artist Escha van den Bogerd has found that the most important aspect of her work is how the model is lit

Using a personal alphabet to create the reality in ambiguous paintings.

The secret life of Australia is hidden in the folds and crevices of its landscape.

Working wet-in-wet, Fabio Cembranelli shares techniques for shape definition in watercolour compositions

Combining Japanese traditions with western techniques to distil and capture the essence of subjects.

Harley Brown’s fascinating things no one else will tell you