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John Lovett shares his tips for finding the right color balance in every painting
Issue 126, Page 110This artist relishes the clarity of vision possible through the creation, use, and presentation of light being entirely within the artist's control.
Issue 49, Page 70Ken Salaz shares his approach for establishing values through underpainting.
Issue 124, Page 70In her landscape paintings, Olga Rybalko captures the sights, smells and sounds of nature
Issue 131, Page 84The simple approach to portraying rhythm and light.
Issue 47, Page 66What are your strengths? What are you weaknesses? Neil Miley advises you to try an exercise in copying to find out.
Issue 73, Page 98How Margo Maeckleberghe, Mary Martin, Nicholas St John Rosse and Dick Twinney deal with this magical, mysterious area.
Issue 8, Page 58Learn and apply a process that makes a habit of increasing your productivity
Issue 90, Page 135It is not only men who wear the bullfighter's "suit of lights".
Issue 43, Page 68Chan Dissanayake discusses how to tackle and succeed at painting "on location" with these informative "hands on" demonstrations
Issue 126, Page 102This artist's pastels are all about capturing the sublime moments when she makes a palpable connection with her subjects.
Issue 60, Page 124Tom Lynch creates works of art where the mood, or "wow" factor, has the greatest impact
Issue 106, Page 110Dana Levin evokes poetry in realism through meticulous attention to how a painting is finished
Issue 82, Page 62Finding the right medium allowed this artist to master the exquisite detail he was seeking.
Issue 54, Page 122Insight on one process used for producing an etching based on a series of monotypes
Issue 110, Page 44John Lovett shows the merits of stretching the limits of a subject into a whole series of paintings
Issue 85, Page 136This artist's love of the classical style means her beautiful images will be objects of joy forever.
Issue 55, Page 34Mona Parker Weidner selects colors palettes and light sources that emphasize the mood of her interior scenes
Issue 152, Page 98 Read ArticleGary J. Hernandez recommends doing a head study first, when faced with the challenge of a figurative painting.
Issue 75, Page 42Koo Schadler is an American Master of the egg tempura medium
Issue 90, Page 68Daniel J. Keys finds clarity and vision for his compositionally-driven still life paintings
Issue 94, Page 68Cindy Sorley-Keichinger layers acrylics then drybrushes details to produce illusions of depth
Issue 93, Page 92Working from dark to light colors, Pamela Hamilton’s pastel paintings feature the smallest and brightest marks at the focal point
Issue 140, Page 72 Read ArticleThis artist tried palette knife painting and discovered its bold, fresh look suited her style perfectly.
Issue 55, Page 78Join the world revival of this art form by learning from this "Living Master" of the medium Gordon Hanely
Issue 115, Page 118An open-and-shut case for working with a toned background.
Issue 4, Page 52Let's see what happens when we borrow some ideas from the Impressionists.
Issue 21, Page 100Artist Escha van den Bogerd has found that the most important aspect of her work is how the model is lit
Issue 96, Page 94Using a personal alphabet to create the reality in ambiguous paintings.
Issue 28, Page 24The secret life of Australia is hidden in the folds and crevices of its landscape.
Issue 3, Page 124Working wet-in-wet, Fabio Cembranelli shares techniques for shape definition in watercolour compositions
Issue 95, Page 116Combining Japanese traditions with western techniques to distil and capture the essence of subjects.
Issue 31, Page 118Harley Brown’s fascinating things no one else will tell you
Issue 150, Page 122 Read ArticleWatercolorist Ted Nuttall chats about how he grew into an artist and a teacher
Issue 148, Page 26 Read ArticleThis artist alerts you to the many possibilities that await you when you try out your talent in unfamiliar mediums.
Issue 57, Page 54