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' Issue #28
The changing light of boats and beaches

How the same small area can provide 50 years' worth of painting subjects - only the lighting changes.

Issue 28, Page 138
' Issue #36
The color and texture of India

There will be no stopping you when you find an easy way to paint texture

Issue 36, Page 24
' Issue #159
The Color Continuum

Catherine Hearding demonstrates how she utilizes color to enhance the mood of her landscapes

Issue 159, Page 90 Read Article Visit Gallery Website
' Issue #9
The colors of celebration

Having grown up in Canada's icy whiteness, it's not surprising that this artist feels the need for vidid, intense color.

Issue 9, Page 90
' Issue #63
The Colour of Adrenaline is Brown

Being a professional safari guide in Africa has had a direct influence on Dolfi Stoki's work as an artist

Issue 63, Page 116
' Issue #42
The contemplation factor

Quiet time can allow us to express our true nature, which is the source of creativity and uniqueness.

Issue 42, Page 112
' Issue #21
The continuum of artistic expression

Drawing on the techniques of Sargent, Sorolla and Zorn.

Issue 21, Page 108
' Issue #17
The cornerstones of good painting

How to use four critical elements.

Issue 17, Page 58
' Issue #62
The Daniel Greene Palette

In Part Three of a new series Master Artist Daniel Greene reveals his formula for mixing colors

Issue 62, Page 44
' Issue #142
The Depth of the Waves

Victoria Kart demonstrates how to keep acrylic paintings fluid by utilizing water throughout the process

Issue 142, Page 92 Read Article
' Issue #144
The Drama of Nature

From plein air studies to final studio paintings, Kim Casebeer distills the intensity and vibrance of the landscape

Issue 144, Page 50 Read Article
' Issue #157
The Edge of Reality

Jeff Olson’s abstract landscapes embrace the spontaneity of both nature and the painting process itself

Issue 157, Page 70 Read Article Visit Gallery Website
' Issue #21
The emotional power of color

Color and spontaneity are the two most important aspects of what this artist paints and how she paints it.

Issue 21, Page 60
' Issue #50
The envy factor in sales

There are excellent rewards for the art seller who learns to appeal to people's envy without telling them they're greedy.

Issue 50, Page 143
' Issue #51
The Evolution and Morphosis of Personal Style

This artists background across two continents in commercial art, numerous crafts and advertising, has contributed a certain quirkiness to his paintings, which hallmarks his own consistent style..

Issue 51, Page 40
' Issue #109
The Evolution of Artwork

Advice and ideas to help guide the working process, form the development stage to production

Issue 109, Page 42
' Issue #152
The Fab Four

Long-time International Artist contributors James Gurney, Harley Brown, John Lovett and Richard Robinson chat about the past, present and future

Issue 152, Page 44 Read Article
' Issue #150
The Feeling of the Sea

Jo Payne creates textured coastal paintings in oil using a classic notan as a starting point

Issue 150, Page 72 Read Article Visit Gallery Website
' Issue #134
The Five Essentials

Sandy Terry shares the elements that are fundamental to her creative process

Issue 134, Page 72
' Issue #94
The Flesh of the Matter

An interview with Sharon Sprung

Issue 94, Page 38
' Issue #139
The Future Generation

Issue 139, Page 34 Read Article
' Issue #151
The Future Generation of Figurative Artists

Issue 151, Page 36 Read Article
' Issue #28
The grisaille method

Building up underpaintings in shades of grey before glazing with color.

Issue 28, Page 102
' Issue #33
The hidden meaning in portraiture

A distinctly symbolic take on painting portraits.

Issue 33, Page 134
' Issue #77
The Human Touch in Compositions

Brian Smith integrates figures and structures in his representational landscapes

Issue 77, Page 106
' Issue #128
The Humble Hake

John Lovett discusses techniques for using a hake paintbrush

Issue 128, Page 100
' Issue #74
The Illusion of Accuracy

John Lovett explains how to achieve a loose casual style while still maintaining accuracy and detail.

Issue 74, Page 135
' Issue #142
The Illusionist

Classically-trained artist Julia Albo uses the power of observation to create three-dimensionality on a flat surface

Issue 142, Page 54 Read Article
' Issue #113
The Importance of Color Values

Morgan Samuel Price Explains how to adjust color to create accurate shapes and perspectives

Issue 113, Page 70
' Issue #113
The Importance of Color Values

Morgan Samuel Price Explains how to adjust color to create accurate shapes and perspectives

Issue 113, Page 70
' Issue #111
The Importance of Composition and Value

LaVone Sterling explains the significance of two essential elements in achieving a dynamic work of art

Issue 111, Page 100
' Issue #115
The Importance of Concept

Chinese artist Xi Guo creates paintings where every element serves a purpose to the completed composition

Issue 115, Page 70
' Issue #123
The Importance of Edges

John Lovett shares his methods for controlling edges in watercolour painting

Issue 123, Page 120
' Issue #55
The importance of having a visual concept

This artist shows how a strong concept for your still life is like having a good road map. Keep following it and you won't get lost!.

Issue 55, Page 70
' Issue #108
The Importance of Light

For more than 30 years, Tom Browning has focused on the handling of light in his Western scenes

Issue 108, Page 56
' Issue #91
The Importance of the Specular Highlight

Daniel Maidman shows why no one part plays a more pivotal and dramatic role in a painting than the 'specular highlight'

Issue 91, Page 52
' Issue #74
The Importance of Value Pattern Design

Adeste Deguilmo believes that creativity is the act of learning all the time.

Issue 74, Page 82
' Issue #105
The Importance of Vision

Moving beyond subject matter, Marta Crawford aims to connect with the viewers of her artwork

Issue 105, Page 74
' Issue #3
The important principles of rendering form

A California artist shares some crucial pieces of understanding gained through a life spent climbing the ladder of art.

Issue 3, Page 30
' Issue #150
The Ink and the Grain

Using the Japanese moku hanga technique, Leon Loughridge creates rich woodblock prints of the American Southwest

Issue 150, Page 48 Read Article Visit Gallery Website
' Issue #60
The International Guild of Realism

The world of realism spans the globe.

Issue 60, Page 98
' Issue #67
The Invention of ideas

Colley Whisson advises you to always keep an open mind if you want to progress as an artist

Issue 67, Page 108
' Issue #7
The John Singer Sargent Retrospective - from an artist's point of view

Issue 7, Page 4
' Issue #143
The Journey

Chairman’s Letter

Issue 143, Page 32 Read Article
' Issue #8
The joy of color

This artist bought some hot new colors and took them out for a spin.

Issue 8, Page 84
' Issue #53
The key to specialising is hard earned knowledge

There's no better way to learn how to paint the coastline than through the eyes and hands of a dedicated Aussie surfer.

Issue 53, Page 52
' Issue #5
The land beneath my feet

A new perspective of the Australian landscape that does not involve vast tracts of sweeping plains.

Issue 5, Page 116
' Issue #19
The language and linear landscape of the studio

With two fantastic historically listed studios, no wonder Ken Howard finds endless inspiration right at home.

Issue 19, Page 64
' Issue #99
The Language of Art

In addition to aesthetics, Patricia Guzman uses her art to say and express ideas emotionally

Issue 99, Page 120
' Issue #53
The Language of the Architect

This Sydney-based architect is absorbed by the challenge of finding the most economical use of the pen to communicate the essence of a building or place.

Issue 53, Page 142