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Part 25: 'What are the 3 characteristics of Color?' and 'Contrast of Temperature'
Issue 69, Page 124Master the principles of painting that took this artist from raw beginner to prize winning professional in only five years.
Issue 44, Page 126'Use saturated colors in the focal area' and 'Put more detail in one area'
Issue 48, Page 146Part 46 'Block Studies' and 'Using Impasto Brushwork for Texture'
Issue 90, Page 124Part 47 'General to Specific' and 'On the Beach, Carmel'
Issue 91, Page 134'Using Texture to Bring Your Subject Alive' and 'How to Varnish a Painting'.
Issue 51, Page 20Part 31: 'Mass Gesture' and 'Variety of Brushwork' by Barry John Raybould
Issue 75, Page 122'Use Colour to Create Eye Movement' and 'Venetian Canal'
Issue 76, Page 122Issue 77, Page 122
Issue 79, Page 122
'Communicating Emotion with Brushwork' & 'Complementary Color Harmony'
Issue 82, Page 126'Straight Line Approximation' & 'Unequal Space Division'
Issue 83, Page 126'Straight Line Approximation' and Key Discoveries in Practice
Issue 89, Page 124Flattening Values and Put More Detail in One Area
Issue 92, Page 138Secondary Color Harmonies & A Kasakh Farmhouse in Tianshan
Issue 125, Page 126Wet Painting Carriers & Italy, Florence, The Arno
Issue 126, Page 138Iridescence and Shimmering Water & Day at the Beach
Issue 127, Page 138Issue 53, Page 152
'Block Studies' & 'Impasto Brushstrokes for Texture'
Issue 84, Page 124The step-by-step development of Mian Situ's latest materpiece for the Jackson Hole art auction
Issue 82, Page 86Self scrutinty can produce paintings that communicate on a much higher level.
Issue 14, Page 60Four artists, linked through mentorship, explain the value of sharing techniques and insights
Issue 105, Page 56What does it mean to be an artist? We discover two distinct elements.
Issue 12, Page 10Jette van der Lende uses her thought provoking mirror paintings to show how the ideal is very different to the reality
Issue 70, Page 104Who would have thought that the Chinese would have mastered oil painting and turned it into a kind of "Chinese Painting" in its own right?
Issue 2, Page 138Increase your chances of success by learning to establish the correct values and colors in the very first stage as this artist demonstrates how effectively this works.
Issue 54, Page 72Ever wondered how top painters get such translucent, clean color?
Issue 6, Page 116
Figurative artist Craig Pursley discusses his experience working with the same model for six years, in which he produced over 100 paintings
Issue 146, Page 44 Read Article
Always striving for accuracy, Heidi Willis bring the natural world to life in her watercolor paintings
Issue 157, Page 86 Read Article Visit Gallery WebsiteThe fjords and the northern lights provide ample opportunity to use flowing color for glowing light effects.
Issue 38, Page 120From still life to figurative work, Laura Thompson defines the why and how of her paintings
Issue 110, Page 66
Colt Idol imbues saturated colors and high value contrast into his dynamic Western art
Issue 158, Page 58 Read Article Visit Gallery Website
Jacob Dhein uses a wet-into-wet technique to create painterly depictions of a variety of subjects
Issue 159, Page 68 Read Article Visit Gallery Website