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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 WebsiteThe paintings of Alfredo Barros reach beyond the ordinary still life with geometrics
Issue 104, Page 88Plan your paintings with strong structure and don't be afraid to establish strong color early on
Issue 31, Page 110
The Way of Watercolor: In this four-part series, Stephen Berry lends his thoughts and expertise in the realm of watercolor painting
Issue 139, Page 42 Read ArticleThis artist offers practical information and advice for any artist thinking of starting or switching to oil painting.
Issue 55, Page 108Stephen Griffin, Mary Ann Viola, David Goatley, Linda Kollacks
Issue 24, Page 38
Harley Brown’s fascinating things no one else will tell you
Issue 140, Page 108 Read ArticleRobert Stollar shares his rules to learning how to draw a realistic figure with more precision
Issue 96, Page 112John Lovett has fun with mixed media by working in a limited color range
Issue 129, Page 106Lee Alban divides the painting process into three stages - the drawing, the values and the color
Issue 85, Page 72Ariane Beigneux, William T Chambers, L Steven Moppert
Issue 15, Page 19Using a refined method gives artist Catherine Hearding the framework for her paintings
Issue 136, Page 82Painting 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 Article
Oil painter Vicki Sullivan blends a timeless, classical style with a contemporary touch
Issue 171, Page 58 Read Article Visit Gallery WebsiteThis 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