Search Results

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The lure of pattern and texture

How to use a variety of materials and techniques for enhancing any subject with subtle, engaging textures and patterns.

Issue 44, Page 82

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The magic shortcut to fame and fortune

Is all you need a great publicist, and an angle?

Issue 6, Page 10

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The magical light and drama of the Cornish coast in mixed media

How to tackle an exhilarating subject using charcoal, marker pens, drawing ink, watercolor and pastels.

Issue 1, Page 84

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The magical rationality of Burton Silverman

Issue 24, Page 32

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The Making of a Country Doctor

Morgan Weistling shares the artistic process behind his new masterwork for the 2013 Masters of the American West show

Issue 89, Page 62

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The Making of a Masterpiece

Master Artist, Daniel Greene, gives us exclusive access to his studio to watch as he creates one of his largest works

Issue 66, Page 44

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The Making of an Artist Art Part 13: Visual Poetry and Equal Values.

Issue 56, Page 92

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The Making of an Artist Art Part 14: Triangulation and Reflected Light.

Issue 57, Page 88

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The Making of an Artist Art Part 16: Shape Variety and How to Observe Clouds

Issue 59, Page 120

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The Making of an Artist Art Part 19: 'Two-Value Notan Paintings' and 'Eye Pathways'

Issue 63, Page 138

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The Making of an Artist Art Part 19: 'Two-Value Notan Paintings' and 'Eye Pathways'

Issue 62, Page 136

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The Making of an Artist Part 11: Brushwork and Atmospheric Perspective and How to Deal with Wet Paint When painting Outdoors.

Issue 54, Page 102

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The Making of an Artist Part 12: Capturing a gesture and How to observe color.

Issue 55, Page 116

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The Making of an Artist Part 17: 'Varying Levels of Focus and Detail' and 'Horizon Lines and Vanishing Lines'

Issue 60, Page 140

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The Making of an Artist Part 18: 'Squaring off Forms' and 'Simplification'

Issue 61, Page 88

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The making of an artist Part 2:

'Double Split Complementaries' and 'Making Grays'

Issue 45, Page 138

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The Making of an Artist Part 21: 'Concept of Saturation' and 'Perspective Brushwork'

Issue 65, Page 136

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The Making of an Artist Part 21: 'Simplifying Complex Forms' and 'Imprimatura Technique'

Issue 64, Page 136

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The Making of an Artist Part 22: 'Color Harmonies' and 'Values and Realism'

Issue 66, Page 136

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The making of an artist Part 3:

'Use color to create eye movement' and 'Values and realism'

Issue 46, Page 124

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The Making of an Artist

Part 24: 'Choosing Subject Matter' and 'Making Grays'

Issue 68, Page 142

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The Making of an Artist

Part 25: 'What are the 3 characteristics of Color?' and 'Contrast of Temperature'

Issue 69, Page 124

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The making of an artist

Master the principles of painting that took this artist from raw beginner to prize winning professional in only five years.

Issue 44, Page 126

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The making of an artist

'The Two-Value Statement' and 'The Golden Mean'

Issue 47, Page 136

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The making of an artist

'Use saturated colors in the focal area' and 'Put more detail in one area'

Issue 48, Page 146

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The making of an artist

'Color Pairs' and 'Exaggerating color spots'

Issue 49, Page 144

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The Making of an Artist

Part 46 'Block Studies' and 'Using Impasto Brushwork for Texture'

Issue 90, Page 124

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The Making of an Artist

Part 47 'General to Specific' and 'On the Beach, Carmel'

Issue 91, Page 134

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The making of an artist

'Using Texture to Bring Your Subject Alive' and 'How to Varnish a Painting'.

Issue 51, Page 20

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The Making of an Artist

Part 30: 'Golden Section' and 'Narrative'

Issue 74, Page 122

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The Making of an Artist

Part 31: 'Mass Gesture' and 'Variety of Brushwork' by Barry John Raybould

Issue 75, Page 122

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The Making of an Artist Art Part 15: Mixing Vivid Colours and Dominant Values.

Issue 58, Page 120

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The Making of an Artist Part 29: 'Color Pairs' and 'Optical Color Mixing'

Issue 73, Page 124

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The Making of an Artist Part 32:

'Use Colour to Create Eye Movement' and 'Venetian Canal'

Issue 76, Page 122

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The Making of an Artist Part 33: 'Point, Line & Mass' & 'Santa Maria della Pieta, Venice'

Issue 77, Page 122

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The Making of an Artist Part 34:

'Emphasis' & 'Master at Work'

Issue 78, Page 92

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The Making of an Artist Part 35: 'Complementary Contrast' & 'Focal Point Saturation'

Issue 79, Page 122

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The Making of an Artist Part 36 'Active and Passive Mix' & 'Reflected Light'

Issue 80, Page 126

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The Making of an Artist Part 37 'Negative Space' & 'Complementary Contrast'

Issue 81, Page 126

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The Making of an Artist Part 38

'Communicating Emotion with Brushwork' & 'Complementary Color Harmony'

Issue 82, Page 126

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The Making of an Artist Part 39

'Straight Line Approximation' & 'Unequal Space Division'

Issue 83, Page 126

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The Making of an Artist Part 41 'General to Specific' and the Analysis

Issue 85, Page 116

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The Making of an Artist Part 44

'Eye Pathways' and 'Atmospheric Perspective'

Issue 88, Page 124

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The Making of an Artist Part 45

'Straight Line Approximation' and Key Discoveries in Practice

Issue 89, Page 124

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The Making of an Artist Part 48

Flattening Values and Put More Detail in One Area

Issue 92, Page 138

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The Making of an Artist Part 49

Low Saturation Field and Chinese Laundry

Issue 93, Page 138

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The Making of an Artist Part 81

Secondary Color Harmonies & A Kasakh Farmhouse in Tianshan

Issue 125, Page 126

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The Making of an Artist Part 82

Wet Painting Carriers & Italy, Florence, The Arno

Issue 126, Page 138

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The Making of an Artist Part 83

Iridescence and Shimmering Water & Day at the Beach

Issue 127, Page 138

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The Making of an Artist Part 84

Interlocking Shapes & Still Life

Issue 128, Page 126

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