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' Issue #59
Wetlands

John explores the light and atmosphere of Australia's wetlands

Issue 59, Page 90
' Issue #79
What about getting value...by giving?

Issue 79, Page 135
' Issue #140
What Brain Science Teaches Us About Painting Part 1

James Gurney shares how new insights in visual perception and neuroscience can help us as artists

Issue 140, Page 26 Read Article
' Issue #141
What Brain Science Teaches Us About Painting Part 2

James Gurney shares how new insights in visual perception and neuroscience can help us as artists

Issue 141, Page 26 Read Article
' Issue #133
What Do People Think?

Asking the right questions can lead to successful sales

Issue 133, Page 27
' Issue #77
What Do You Have Planned for Christmas?

Issue 77, Page 24
' Issue #84
What Do You Stand For?

Issue 84, Page 127
' Issue #13
What is casein?

This medium is matte, muted and cool, but it's not for the fainthearted.

Issue 13, Page 120
' Issue #23
What is levitational realism?

A unique approach that combines found and constructed objects, first into collages and then into trompe l'oeil paintings.

Issue 23, Page 42
' Issue #86
What is Quality?

Graeme Smith Examines whether there really is a correlation between quality and sales

Issue 86, Page 135
' Issue #11
What is Suminagashi?

This ancient Japanese technique closely related to marbeling

Issue 11, Page 36
' Issue #12
What is, or is not, a watercolor?

The CSPWC comes up with a definition.

Issue 12, Page 82
' Issue #24
What it means to be an artist

One of America's leading impressionistic painters shares his philosophy about what's eally important in the pursuit of fine art. With Aleksander Titovets

Issue 24, Page 84
' Issue #26
What it takes to win an art prize

An insider's look at what it takes to land the top awards.

Issue 26, Page 50
' Issue #71
What Kind of Artist are You?

Alex Powers asks you to take this Self-Assessment Test to find out why your work looks the way it does.

Issue 71, Page 50
' Issue #29
What makes a British landscape?

Frank Gordon discusses the collision between the eternal and the ephemeral.

Issue 29, Page 110
' Issue #28
What makes a British landscape?

David Howell and Ben Manchipp offer their theories.

Issue 28, Page 118
' Issue #27
What makes a British landscape?

Tiana Marie and Bob Rudd offer their ideas on the poetic qualities of the Lake District, Snowdonia and Scotland.

Issue 27, Page 104
' Issue #26
What makes a British landscape?

Part 4 of our series showing the British landscape through the eyes of its acknowledged contemporary masters. This issue we ask the question of Vivienne Pooley, Robert Greenhalf, Helen Turner and Andy Wood

Issue 26, Page 98
' Issue #25
What makes a British landscape?

Part 4 of our series showing the British landscape through the eyes of its acknowledged contemporary masters. This issue we ask the question of Terence Storey and Raymond Leech.

Issue 25, Page 32
' Issue #24
What makes a British landscape?

Part 3 of our series showing the British landscape through the eyes of its acknowledged contemporary masters. This issue we ask the question of Lionel Aggett, Jeane Duffey and John McCombs

Issue 24, Page 48
' Issue #23
What makes a British landscape?

Part Two of our new series showing the British landscape through the eyes of its acknowledged contemporary masters. This issue we ask the question of Kenneth Denton and David Curtis.

Issue 23, Page 66
' Issue #22
What makes a British landscape?

Part One of our new series showing the British landscape through the eyes of its acknowledged contemporary masters. Juliette Palmer, Keith Shackleton, Terry McKivragan, John Newberry, Stephen Brown and Edward Stamp.

Issue 22, Page 66
' Issue #30
What makes a British landscape?

How Ruth Brownlee uses her own visual language to interpret the landscape.

Issue 30, Page 110
' Issue #20
What makes a powerful painting?

Creating powerful art is as simple as manipulating 5 essential elements.

Issue 20, Page 56
' Issue #28
What makes great art?

There are certain building blocks that pave the way for expressive art. Once you understand and adopt these fundamentals your inner artistic message will follow naturally.

Issue 28, Page 62
' Issue #56
What Now?

Means Pick up your brush and paint; the best way to get started.

Issue 56, Page 94
' Issue #144
What to Paint When You Arrive

Art in the Outdoors Part 3. Michael King explores elements unique to painting in the field in this final installment of his three-part series.

Issue 144, Page 46 Read Article
' Issue #9
What, me worry?

Step up to the analyst's couch please.

Issue 9, Page 36
' Issue #31
What's in a name?

Part 6: Psst! Start list building now!

Issue 31, Page 30
' Issue #97
What's in a paint sketch?

Issue 97, Page 36
' Issue #13
What's the big idea?

When you are confronted with a subject that is simply overwhelming, "Idea generators" can help you focus.

Issue 13, Page 34
' Issue #12
What's the big idea?

First get the idea, and build passion through planning.

Issue 12, Page 56
' Issue #19
What's winning where?

Get up to date with our report on major prize winners in the US, the UK and Australia.

Issue 19, Page 134
' Issue #68
What's Your Concept?

With a successful career in graphic design JW Barnes has found that trying to paint styles different from your own could lead to the breakthrough you're looking for.

Issue 68, Page 68
' Issue #62
When is talent unfashionable?

Today's so called 'art world' doesn't put much value on God-given gifts. Robert Dale Williams shows why they are so wrong.

Issue 62, Page 60
' Issue #31
When it comes to methods - take the best of what's on offer

Stick to the fundamentals and find your own path.

Issue 31, Page 40
' Issue #122
When Neutral Color Functions as a Complementary

Adeste Deguilmo shares one method of painting a harmonious composition

Issue 122, Page 122
' Issue #66
When Paintings Come Alive

Having a direct link to African needs, both human and endangered animals, professional realist wildlife artist Daniel Taylor has, over a span of 40 years, been bringing to life a 'trust' that may be lost within a single generation

Issue 66, Page 114
' Issue #76
When Repainting is the Only Solution

Wayne Hovis proves that even major changes are possible deep into the painting process

Issue 76, Page 60
' Issue #77
Where Are They Now?

Issue 77, Page 30
' Issue #7
Where does the landscape end?

We visit Myfanwi Pavelic, Canada's most famous painter of the famous

Issue 7, Page 106
' Issue #73
Where in the World Art You?

Readers of International Artist magazine show us where they are in the world with their photos

Issue 73, Page 20
' Issue #30
Where intuition meets logic

Emotional content doesn't just come through by accident.

Issue 30, Page 40
' Issue #155
Where Life Happens

Working with just a palette knife, Emilie Fantuz paints moments of modern life

Issue 155, Page 62 Read Article Visit Gallery Website
' Issue #38
Where true magic is found

This artist draws on several artistic traditions to create contemporary realist works.

Issue 38, Page 66
' Issue #146
Where Van Gogh Painted

Five accomplished artists and a handful of students traveled overseas for a 10-day workshop in Southern France

Issue 146, Page 50 Read Article
' Issue #138
Wherever it Leads

Joyce Fournier's abstract expressionist artwork develops through an organic process of paint application

Issue 138, Page 70
' Issue #89
Which White?

John Lovett shows us which white is what and how to use it

Issue 89, Page 136
' Issue #160
Whimsical Illusions

Trompe l’oeil artist Natalie Featherston talks finding her art style and staying true to one’s passions

Issue 160, Page 58 Read Article