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David 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 128Shatter your boundaries and biases you may have about coloured pencil and explore the possibilities and the satisfaction inherent in this medium.
Issue 49, Page 98Grids, angles, linear and geometric shapes,scale models, rulers, set squares. and measurements. How this artist's architectural approach to painting produces unique masterpieces of light and perspective.
Issue 54, Page 142The artwork of Hollis Dunlap blends the academic tradition with his own unique vision
Issue 118, Page 58To give his art a more authentic edge, this artist paints on aluminium sheets.
Issue 47, Page 98Part 4: Visual imaging is the ultimate form of content.
Issue 26, Page 26Part 3: Content on location. How to capture the spirit, emotion or expressive feeling of a subject.
Issue 25, Page 130Part 2: How the complete artist shares the visual message.
Issue 24, Page 94Part 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.
Issue 23, Page 114The more extreme the mediums the more dramatic the light effect.
Issue 17, Page 50John Lovett's tips for adding interest and character in a painting through mark marking
Issue 116, Page 110The complexities of the figure are simplified in Daniel Maidman's four-question approach
Issue 122, Page 68How to make the best of both worlds. Render a skilful drawing first, then cut loose with washes.
Issue 3, Page 72John Stephens recognized what Titanium White Underpainting could do for his acrylic paintings - and has not returned to oils!
Issue 83, Page 58John Lovett shares his tips for finding the right color balance in every painting
Issue 126, Page 110This artist relishes the clarity of vision possible through the creation, use, and presentation of light being entirely within the artist's control.
Issue 49, Page 70Ken Salaz shares his approach for establishing values through underpainting.
Issue 124, Page 70In her landscape paintings, Olga Rybalko captures the sights, smells and sounds of nature
Issue 131, Page 84The simple approach to portraying rhythm and light.
Issue 47, Page 66What are your strengths? What are you weaknesses? Neil Miley advises you to try an exercise in copying to find out.
Issue 73, Page 98How Margo Maeckleberghe, Mary Martin, Nicholas St John Rosse and Dick Twinney deal with this magical, mysterious area.
Issue 8, Page 58Learn and apply a process that makes a habit of increasing your productivity
Issue 90, Page 135It is not only men who wear the bullfighter's "suit of lights".
Issue 43, Page 68Chan Dissanayake discusses how to tackle and succeed at painting "on location" with these informative "hands on" demonstrations
Issue 126, Page 102This artist's pastels are all about capturing the sublime moments when she makes a palpable connection with her subjects.
Issue 60, Page 124Tom Lynch creates works of art where the mood, or "wow" factor, has the greatest impact
Issue 106, Page 110Dana Levin evokes poetry in realism through meticulous attention to how a painting is finished
Issue 82, Page 62Finding the right medium allowed this artist to master the exquisite detail he was seeking.
Issue 54, Page 122Insight on one process used for producing an etching based on a series of monotypes
Issue 110, Page 44John Lovett shows the merits of stretching the limits of a subject into a whole series of paintings
Issue 85, Page 136This artist's love of the classical style means her beautiful images will be objects of joy forever.
Issue 55, Page 34
Mona Parker Weidner selects colors palettes and light sources that emphasize the mood of her interior scenes
Issue 152, Page 98 Read ArticleGary J. Hernandez recommends doing a head study first, when faced with the challenge of a figurative painting.
Issue 75, Page 42Koo Schadler is an American Master of the egg tempura medium
Issue 90, Page 68Daniel J. Keys finds clarity and vision for his compositionally-driven still life paintings
Issue 94, Page 68Cindy Sorley-Keichinger layers acrylics then drybrushes details to produce illusions of depth
Issue 93, Page 92
Working from dark to light colors, Pamela Hamilton’s pastel paintings feature the smallest and brightest marks at the focal point
Issue 140, Page 72 Read ArticleThis artist tried palette knife painting and discovered its bold, fresh look suited her style perfectly.
Issue 55, Page 78