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Painting from life has enhanced Daniel J. Keys' still lifes and landscapes
Issue 131, Page 46John Lovett shares how sketches help in the creation of large-scale watercolour paintings
Issue 96, Page 108Issue 39, Page 116
John Lovett shares a few of his studio tips, from brush care to ideal ways to store watercolor paper
Issue 142, Page 84 Read ArticleThis artist searches for meaning between abstractionism and realism.
Issue 8, Page 114
Selling your work in today’s art market
Issue 148, Page 22 Read ArticleHow to infuse your paintings with appealing luminosity and dramatic contrast.
Issue 31, Page 104
Keita Tsuji uses pointillism to heighten the color expression in his pastel paintings
Issue 164, Page 94 Read Article Visit Gallery WebsiteIssue 38, Page 130
Patricia Moran reminds us to think about the order of visual importance when it comes to painting light and dark
Issue 66, Page 100An artist is either good at color or good at value, but rarely good at both.
Issue 18, Page 38Paintings with a distinct dramatic tension emphasize the lonely vulnerability of the bullfighter as he prepares to meet his fate.
Issue 34, Page 94
Explore the studios or plein air setups of some of the world’s best artists.
Issue 149, Page 117 Read ArticleThis artist responds emotionally to color and light in his fine-tuned, etheral portrayal of subjects in the classic tradition.
Issue 52, Page 42Achieving atmosphere and emotion by juxtaposing broken color to add sparkle and interest.
Issue 45, Page 120
Collecting imagery from books and magazines as resources, Aneka Ingold expresses the unique female perspective
Issue 149, Page 88 Read Article Visit Gallery WebsitePainting from source material is one thing, but this artist says nothing gives a painting extra dimension then being on location and taking in the sights, sounds and aromas.
Issue 60, Page 60
John Lovett roams about Tasmania painting the many charming and historic areas it has to offer
Issue 169, Page 118 Read Article Visit Gallery WebsiteThis artist captures the distinct cultures of unfamiliar people and places.
Issue 55, Page 118
Working with loose washes, palette knives and sponges, David Brammeld creates expressive nature scenes
Issue 146, Page 78 Read Article
John Lovett tackles how a simple household item like masking tape can enhance your art
Issue 149, Page 110 Read Article Visit Gallery WebsiteThe Schuler School of Fine Art, Baltimore, Maryland, USA.
Issue 14, Page 24Not every painting turns out well, but as this artist reminds us, it is the joy of the journey that rewards us.
Issue 28, Page 90This artist refused to let a little thing like being colorblind stop him from pursuing a career as an illustrator and fine artist.
Issue 56, Page 38It doesn't matter what you leave out of a painting as long as what you put in is right.
Issue 5, Page 90
Painting in plein air, Vicki Norman carefully assesses the light conditions to determine proper colors
Issue 149, Page 54 Read Article Visit Gallery WebsiteHisamu Kido adores portraiture and recommends a practiced, respectful and thoughtful approach to the art form
Issue 88, Page 110
Scottsdale Artists’ School sits down with Marianne Mitchell to talk self-confidence, personal growth and developing an artistic voice
Issue 143, Page 26 Read ArticleAfter cutting his teeth on billboards, painter Tim Solliday turned to Western art and never looked back.
Issue 130, Page 54Chinese-American painter Z.S. Liang turns to historical detail to bring to life his works showing Native Americans
Issue 127, Page 44If you turn a gridded photograph upside-down and transpose that upside-down image onto your canvas as little abstracts you will unleash the creativity in your soul!
Issue 41, Page 20Stanka Kordic paints alla prima AND with glazes for heightened luminosity and texture to get a feel for what the paint needs
Issue 88, Page 62
In every issue of International Artist we feature a Painting Workshop from Richard Robinson, one of New Zealand’s best artists.
Issue 146, Page 120 Read ArticleJohn Lovett shares the importance of seeing clearly when painting
Issue 104, Page 124Jesse Lane creates the richness and feel of a photographic oil painting with colored pencils
Issue 123, Page 84