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Issue 37, Page 114
Liz Shippam creates sharp, realistic botanical art in watercolor by building up layers of paint
Issue 145, Page 98 Read ArticleJohn Lovett demonstrates the various uses and advantages of long flat brushes
Issue 139, Page 72 Read ArticleLiving by the coast, Renay Shaffer has found inspiration through her firsthand experiences
Issue 129, Page 110Eric Wert explains his process for linking foreground and background elements to create highly detailed still lifes
Issue 106, Page 54Husband-and-wife Hans and Beth (de Loiselle) Guerin constantly push one another leading to new and challenging projects
Issue 95, Page 66In this special edition of Beyond the Palette, we asked Scottsdale Artists’ School executive director Trudy Hays a few of our own questions—about the benefits of art school, community and more
Issue 157, Page 48 Read ArticleWhen there were no readily obtainable art supplies this artist discovered collage.
Issue 50, Page 68Understanding the differences between those who collect and those who invest in art can make a major impact on your art career
Issue 141, Page 21 Read ArticleSuggesting the authentic qualities of light itself.
Issue 34, Page 134James Gurney's new book is the book every artist has been waiting for
Issue 77, Page 60There is a solution to color difficulties - even if you're color blind like this artist.
Issue 25, Page 96This artist uses color to compose realistic traditional floral still lifes.
Issue 48, Page 98Working in the studio allows this land and seascape painter a chance to find the abstract qualities and underlying structures of the scene.
Issue 29, Page 110Lian Quan Zhen captures the impressions of a scene through his method of mixing pigments
Issue 120, Page 88This master artist explains why nature is the ultimate teacher and master of color juxtaposition.
Issue 34, Page 58See what happens when you're forced to focus on value and contrast.
Issue 17, Page 98