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Issue 6, Page 82
Harley Brown’s fascinating things no one else will tell you
Issue 144, Page 124 Read ArticleFiddling and overworking can kill a promising watercolor.
Issue 18, Page 112John Lovett delves into color theory and demonstrates how to properly mix pigments
Issue 138, Page 94Neutral colors are essential in painting, but some neutrals can drain the energy right out of your work.
Issue 40, Page 138Michele Poirier Mozzone's series of underwater figures melds two styles through sunlight rays and water distortion
Issue 110, Page 106How contemporary painter Robert Ryan uses precise modeling to emphasize the mood of his deceptively simple compositions.
Issue 8, Page 108Vadim Dolgov shows how to use light and colour when creating still life compositions.
Issue 76, Page 88Alex Kelly interprets the visual relationships between subjects in his artwork, using it as a springboard for creative expression
Issue 153, Page 62 Read Article Visit Gallery WebsiteTry free-flowing monoprints as jumping off points for landscape paintings.
Issue 24, Page 72If you can master atmosphere and mood you will be able to turn ordinary paintings into art.
Issue 26, Page 88John Lovett shows the merits of stretching the limits of a subject into a whole series of paintings
Issue 84, Page 136How a chance encounter in a New York restaurant resulted in a portrait commission.
Issue 34, Page 33From turquoise to green to brilliant blue, Dolores Saul demonstrates how to accurately paint the color and movement of the ocean
Issue 146, Page 104 Read ArticleThis artist aims for transparency in every layer of her work by integrating the effect of light moving across subjects into the design stage of a painting.
Issue 50, Page 54Christine Egnoski continues her dialogue with members of the Portrait Society faculty prior to this year's May conference in Washington DC.
Issue 54, Page 27Using her own set of rules and knowledge of paints, Kathleen Giles combines techniques to create dramatic and realistic watercolors
Issue 100, Page 100