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This artist uses values and lights in their respective protagonist roles to create supreme examples of the medium.
Issue 13, Page 106Three different types of perspective put into perspective.
Issue 25, Page 24Not your usual interview - more like a visit to the high octane territory of the soul!
Issue 14, Page 142The book is destined to become dog-eared and paint-stained.
Issue 15, Page 142This artist talks about his dynamic for watercolorists in his new book.
Issue 13, Page 148After many years of drawing on stone in order to create her multiple lithographs and prints Gail Gash Taylor had to learn all over again how to paint her exquisitely detailed animals
Issue 65, Page 66A systematic and continuous process of comparison and correction works well for Sergei Oussik
Issue 86, Page 106In this three part series Keith Cardnell shows us how copying the classics can help build confidence so you can tackle projects you might otherwise think are way beyond your ability
Issue 78, Page 100In this four part series Keith Cardnell shows us how copying the classics can help build confidence so you can tackle projects you might otherwise think are way beyond your ability
Issue 79, Page 108In this four part series Keith Cardnell shos us how copying the classics can help build confidence so you can tackle projects you might otherwise think are way beyond your ability
Issue 80, Page 104Andrew Wyeth: Memory and Magic, a retrospective show opens at the High Museum of Art in Atlanta, Georgia on November 12, 2005.
Issue 46, Page 34Claire "Cerysanne" Groves mixes oils with other mediums to capture all aspects of an animal, from personality to textures
Issue 110, Page 122Suzi Zefting-Kuhn's pastel works capture the likeness and presences of her subjects
Issue 130, Page 118Issue 46, Page 98
John takes us behind the scenes and talks about his new watercolor course on DVD.
Issue 60, Page 90Doris Davis Glackin practices patient glazing on each part of a plant
Issue 82, Page 68How to achieve painterly qualities in pastel.
Issue 41, Page 102