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An accidental discovery while trying to fix a failed watercolor became a eureka moment for Eric Michaels
Issue 64, Page 62Master painter Richard Schmid takes us stage by stage through his 'Selective Start' method of painting
Issue 96, Page 48How personal engagement with subjects drives an artist to paint
Issue 104, Page 50
Acrylic painter Virginie Schroeder uses color as structural elements in her artwork
Issue 161, Page 76 Read Article Visit Gallery Website
A thorough understanding of simplified shapes and values allows Catherine Bobkoski to capture the intricacy of her subjects
Issue 146, Page 60 Read ArticleA fascination with reflections and the ever changing form and pattern of water.
Issue 40, Page 82using a sketchbook as a tool in the creative process for studio paintings
Issue 111, Page 48Instead of focusing on the negative aspects of city life, this artist creates cityscapes that show the heart and soul.
Issue 44, Page 48Observe, understand, sketch and, yes, use your camera.
Issue 37, Page 72Round color wheel, square palette, sorry, this does not compute! Read all about in color mixing method that relates the color wheel to a circular palette.
Issue 1, Page 22There is so much that has an impact on the process of creating a watercolor that it is always full of surprises.
Issue 45, Page 68Four top Artist/Illustrators share their thoughts
Issue 79, Page 40There's more to success than gimmicks.
Issue 14, Page 80Three specific primaries can be the keys to color harmony.
Issue 20, Page 26Jerry Markham strikes a balance between individualism and realism
Issue 78, Page 68Some purists believe gouache should never be used in a watercolor, but this Australian master proves that it certainly has its uses
Issue 22, Page 92
From tide pools to kelp forests, artist and biologist Mark Hobson paints the wonders below the surface
Issue 162, Page 38 Read ArticleIdeas come from many sources, you just have to stay attuned and put some effort into working them out.
Issue 29, Page 86
James Gurney presents numerous scenarios in which tracing paper can be an essential resource for artists
Issue 145, Page 26 Read Article
The Way of Watercolor: In this four-part series, Stephen Berry lends his thoughts and expertise in the realm of watercolor painting
Issue 140, Page 44 Read ArticleThis artist details the merits of connecting with his subjects and describes the advantages of live sittings and the heartache of parting with his renditions of reality.
Issue 46, Page 134
Brienne M. Brown delves into the importance of creating value sketches before embarking on a new piece
Issue 160, Page 98 Read Article Visit Gallery Website
A journey of exploration and self-discovery has led colored pencil artist Jesse Lane into the depths of imaginative realism
Issue 149, Page 48 Read Article Visit Gallery WebsiteIn this new 6 part series international artist Tony Foster will take you on a journey to exciting destinations around the world
Issue 67, Page 62Sue Kemp, Elsabe Valcke, Valerie Christie
Issue 24, Page 114Why much traveled artist, Robert A. Wade has earned himself the title of Unofficial World Ambassador of Watercolor.
Issue 1, Page 6Secret place number 5: USA: Port Clyde in Maine
Issue 12, Page 146Secret place number 9: Robin Hood's Bay, North Yorkshire, UK.
Issue 16, Page 142Portugal: The flower markets of Caldas da Rainha
Issue 8, Page 150International Artist magazine's very own artist retreat in Italy
Issue 11, Page 156
Bennett Prize winner Amy Werntz create works of art that celebrate the beauty that only comes with age
Issue 164, Page 32 Read Article Visit Gallery WebsiteGreat masterpieces of art recreated live, before your very eyes.
Issue 15, Page 14How to work with the relationships that exist between line, tone, color and edge.
Issue 43, Page 60It doesn't matter if it's been done before.
Issue 21, Page 68This Singapore artist believes painting on the spot makes for a work with that elusive transient quality - atmosphere.
Issue 12, Page 72John Lovett reflects on the merits of depicting water in your paintings
Issue 86, Page 136
Utilizing different oil mediums, Justin Wood layers a variety of textures to create still lifes that are both loose and defined
Issue 163, Page 66 Read Article Visit Gallery Website