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' Issue #12
Consider the bigger picture

How to tackle a very difficult panorama.

Issue 12, Page 114
' Issue #7
Consider the darks when painting interior light

Issue 7, Page 70
' Issue #49
Consider the possibilities

Shatter your boundaries and biases you may have about coloured pencil and explore the possibilities and the satisfaction inherent in this medium.

Issue 49, Page 98
' Issue #54
Construction Site: The engineering of a painting

Grids, 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 142
' Issue #163
Contagious Energy

Letter from the Publishers

Issue 163, Page 1 Read Article
' Issue #118
Contemporary Classicism

The artwork of Hollis Dunlap blends the academic tradition with his own unique vision

Issue 118, Page 58
' Issue #47
Contemporary materials for a contemporary view

To give his art a more authentic edge, this artist paints on aluminium sheets.

Issue 47, Page 98
' Issue #26
Content - the ultimate quest

Part 4: Visual imaging is the ultimate form of content.

Issue 26, Page 26
' Issue #25
Content - the ultimate quest

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

Issue 25, Page 130
' Issue #24
Content - the ultimate quest

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

Issue 24, Page 94
' Issue #23
Content - the ultimate quest

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.

Issue 23, Page 114
' Issue #17
Contrasting color contrasting mediums

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

Issue 17, Page 50
' Issue #116
Contrasting Marks

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

Issue 116, Page 110
' Issue #122
Control and Precision

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

Issue 122, Page 68
' Issue #3
Control first, freedom later

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

Issue 3, Page 72
' Issue #83
Control Your Acrylics With A White Paint Impasto

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

Issue 83, Page 58
' Issue #126
Controlling Color

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

Issue 126, Page 110
' Issue #49
Controlling the light fosters a clarity of vision

This 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 70
' Issue #124
Controlling Values

Ken Salaz shares his approach for establishing values through underpainting.

Issue 124, Page 70
' Issue #131
Conveying a Feeling

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

Issue 131, Page 84
' Issue #47
Conveying the colorful magic of nature

The simple approach to portraying rhythm and light.

Issue 47, Page 66
' Issue #73
Copying To Learn Techniques

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

Issue 73, Page 98
' Issue #8
Cornwall's multiple personality

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

Issue 8, Page 58
' Issue #90
Could You Be More Productive?

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

Issue 90, Page 135
' Issue #6
Could you use some wow factor!

Great paintings come from great references

Issue 6, Page 18
' Issue #43
Courage has no gender

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

Issue 43, Page 68
' Issue #126
Cracking the Plein Air Code

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

Issue 126, Page 102
' Issue #60
Create a visual dialogue in pastel

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

Issue 60, Page 124
' Issue #106
Creating a "Wow" in Watercolor

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

Issue 106, Page 110
' Issue #82
Creating a Convincing Alternate Reality

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

Issue 82, Page 62
' Issue #54
Creating a Grand Illusion

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

Issue 54, Page 122
' Issue #110
Creating a Print

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

Issue 110, Page 44
' Issue #85
Creating a Series

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

Issue 85, Page 136
' Issue #55
Creating a timeless aesthetic

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

Issue 55, Page 34
' Issue #152
Creating Ambiance

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

Issue 152, Page 98 Read Article
' Issue #75
Creating an Oil Study for a Larger Work

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

Issue 75, Page 42
' Issue #90
Creating Compelling Images: An Interview with Koo Schadler

Koo Schadler is an American Master of the egg tempura medium

Issue 90, Page 68
' Issue #94
Creating Complexity

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

Issue 94, Page 68
' Issue #127
Creating Composition: A Critical Necessity

Issue 127, Page 36
' Issue #93
Creating Depth

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

Issue 93, Page 92
' Issue #140
Creating Emphasis

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 Article
' Issue #55
Creating excitement and texture with palette knives

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

Issue 55, Page 78
' Issue #115
Creating Glamour with Metalpoint

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

Issue 115, Page 118
' Issue #4
Creating impact with a toned canvas

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

Issue 4, Page 52
' Issue #21
Creating impressionistic landscapes in oil

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

Issue 21, Page 100
' Issue #96
Creating Intense Lighting

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

Issue 96, Page 94
' Issue #28
Creating my own reality

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

Issue 28, Page 24
' Issue #3
Creating symbolic pastel in the heartland

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

Issue 3, Page 124
' Issue #95
Creating the Illusion of Depth with Lost and Found Edges

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

Issue 95, Page 116
' Issue #31
Creating timeless watercolors

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

Issue 31, Page 118