Artist Search

Karolina Borecka shares her insights for painting anatomically correct parrots infused with personality

Evie Zimmer uses her background in representational art to paint detailed abstractions the combine color and shapes

Blending observation and imagination, James Gurney visualizes gigantic cartoon characters in a plein air setting

Atanas Matsoureff brings together multiple techniques in his watercolours including wet-on-wet and drybrush

Michael Halak

Judith Vanacore uses pastel to tell a visual story in an exciting and colorful manner without being inhibited by the reality of the reference photo.

John McCartin demonstrates another work that shows the distinction between what is physically seen and what is painted. This time, the painting combines multiple photographs into one cohesive scene.

Paula Henchell explores mixed media methods by pouring watercolour and painting with acrylics

John Lovett explains how to experiment with gouache in his watercolour paintings

The Art of the Portrait and the 25-Year History of the Portrait Society of America

Before beginning a new piece, Amit Biswas formulates an understanding of his subject and identifies key elements

The essential skills that every artist needs to make good paintings.

John Lovett discusses seven common issues watercolorists face and how to approach them

Through drawing, artist learn how to explore subject matter in new way and to greater depths

Chairman’s Letter

Joyce Washor demonstrates how to create color harmony through the use of a particular palette of colors

Bill MacKay allows details to emerge organically and gradually throughout his painting process

By testing the effect and moderating the dominance of different colors this artist influences the composition and mood of cityscapes.

To be successful why not regard watercolor as a game of chess, where all the winning moves are planned ahead.

The rationale behind paintings that are very detailed but have carefully uncluttered compositions.

Using a set of fundamental principles, Teresa Oaxaca shares how to create works of art that will hold a viewer's attention

B. Nicole Klassen explains her methods for designing still lifes.

Julia Hargreaves aims to include a triangle composition in each of her paintings

How to make the most of painting on site, in light that keeps changing.

Perhaps creative vision can be heightened and more focused if you paint a series at the same location.

David J. Negron constructs abstract shapes and patterns to drive his creative intentions

Devin Michael Roberts

Like many masters of painting, this artist considers drawing to be the foundation of all pictorial technique.

The challenges and compromises of commissioned artwork can lead to satisfying results

Abstract artist Chris Kazeil finds colour to be one of the most important elements of her painting process

To truly understand the artist one has to first understand the environment in which he was raised.

How to paint raw mountain scenery without losing the atmospheric splendour of the moment.

The everyday on-site circus of light, color, atmosphere and people

How to tackle a very difficult panorama.

Shatter your boundaries and biases you may have about coloured pencil and explore the possibilities and the satisfaction inherent in this medium.

Grids, angles, linear and geometric shapes,scale models, rulers, set squares. and measurements. How this artist's architectural approach to painting produces unique masterpieces of light and perspective.

The artwork of Hollis Dunlap blends the academic tradition with his own unique vision

To give his art a more authentic edge, this artist paints on aluminium sheets.

Part 4: Visual imaging is the ultimate form of content.

Part 3: Content on location. How to capture the spirit, emotion or expressive feeling of a subject.

Part 2: How the complete artist shares the visual message.

Part 1: Content is not just the subject. Oh no, it is much, much more than that. Our new 4-part series begins with a bang.

The more extreme the mediums the more dramatic the light effect.

John Lovett's tips for adding interest and character in a painting through mark marking

The complexities of the figure are simplified in Daniel Maidman's four-question approach

How to make the best of both worlds. Render a skilful drawing first, then cut loose with washes.

John Stephens recognized what Titanium White Underpainting could do for his acrylic paintings - and has not returned to oils!