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Angela Moulton uses loose, fast and bold brushwork to make dynamic images
Issue 130, Page 68You'll have more fun creating your art if you stop trying to keep inside the lines.
Issue 50, Page 88A painting that moves viewers comes from the heart, not from the hands
Issue 36, Page 118
Mixing her colors directly on the paper, Carrie Waller’s saturated paintings seem to emit their own light
Issue 148, Page 86 Read Article Visit Gallery WebsiteMichael Lynn Adams blends beauty and curiosity to create his luminous still life paintings
Issue 137, Page 56
Through expressive brushwork and vibrant color, Matt Ryder captures the many complexities of flowers
Issue 147, Page 54 Read Article Visit Gallery WebsiteA group of 12 artists - ranging from old pros to some of the brightest, emerging stars painting in the realist tradition today - descended on Monhegan Island in an attempt to bring new life and vibrancy to a rich summer tradition.
Issue 66, Page 124MaryAnn Bidder stays true to herself as an artist by using a small brush and adding details to her watercolours
Issue 94, Page 108This Belgian-born artist of the world passes on the wisdom earned from his classical training and a lifetime of painting.
Issue 9, Page 104Daniel Greene encourages us to diversify and paint those subjects we find most intriguing.
Issue 28, Page 40Developing a system can lead to consistent sales during gallery exhibitions
Issue 97, Page 18Alex Powers ponders how and why he took the quantum leap of changing his style and how it has altered his art career
Issue 87, Page 76As Christopher Pierce progresses through a painting he realizes new ideas and allows the piece to take its own course
Issue 96, Page 66Before making the first mark, colored pencil artist Tanja Gant makes notes about her composition, colors and more
Issue 125, Page 112
John Lovett demonstrates the importance of studying your environment before starting a painting
Issue 151, Page 94 Read Article Visit Gallery WebsiteRichard Long explains the role of energy in artistic expression
Issue 102, Page 88Virginia Blackstock focuses on powerful designs that show the effect of lights and shadows
Issue 126, Page 96Slow down, enjoy the creation process and make fulfilling connections through your art
Issue 37, Page 96Watercolorist Joyce K. Jensen shares her methods for painting brightly colored compositions.
Issue 103, Page 108Each composition Sue Miller paints has specific technical goals to enhance the overall vision
Issue 136, Page 74Favorite drawing tools, watercolor brushes and the marks they make.
Issue 41, Page 130Insights from watercolourist John Lovett on how to modify and rearrange shapes
Issue 108, Page 110This artist wants you to know that colored pencils are much more than a drawing medium.
Issue 57, Page 44Chris Postle shares how to create impact with simple design, contrasts, and colour
Issue 125, Page 96
Working both loosely and tightly, James Swanson captures a sense of movement in his water dog paintings
Issue 160, Page 70 Read Article Visit Gallery WebsiteRichard Rogers explores the many possibilities presented by acrylics in this new series
Issue 89, Page 110Richard Rogers explores the many possibilities presented by acrylics in this new series
Issue 90, Page 114Richard Rogers explores the many possibilities presented by acrylics in this series
Issue 91, Page 122Richard Rogers Explores the many possibilities presented by acrylics in this new series which creates challenges and makes difference 'rules' for each painting project
Issue 87, Page 104A showcase of work from one of Australia's leading watercolorists.
Issue 29, Page 138