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Insights on how to market to your client and keep them happy long after their purchase.
Issue 124, Page 29A look at the key elements of commissioned artwork
Issue 115, Page 18Get to know your audience, so that everyone attending your show is a potential buyer
Issue 101, Page 126Instead of just focusing on the present, look at what is ahead in your art career
Issue 104, Page 132Sheri Farabaugh's seascapes hone in on the reflections, transparency and movement of water
Issue 117, Page 56With a successful career as a professional medical illustrator behind her, Jean Miller Harding has no problems when it comes to fleshing out the bones of her real life subjects
Issue 64, Page 100Did you know that from the moment you finish your painting it will start to deteriorate?
Issue 43, Page 92Holly Dyrland focuses on a balance of opaque/transparent layers to intensify depth in her landscapes
Issue 145, Page 54 Read ArticleWorking alla prima, Andreas Liss takes on a loose, unbridled approach in his artwork
Issue 152, Page 68 Read Article Visit Gallery WebsiteYanina Eberhard builds her colors by checking value and temperature relative to the paint already on the surface
Issue 143, Page 62 Read ArticleHarley Brown’s fascinating things no one else will tell you
Issue 146, Page 124 Read ArticleA 7 part series that takes you into the world of the art student.
Issue 61, Page 50A 7 part series that takes you into the world of the art student
Issue 62, Page 48An 8 part series that takes you into the world of the art student
Issue 63, Page 50An 8 part series that takes you into the world of the art student
Issue 64, Page 72The final part in the series that takes you into the world of the art student
Issue 65, Page 50Megan Elizabeth Read approaches her figurative paintings in a contiguous manner, moving between detail and simplicity
Issue 158, Page 73 Read Article Visit Gallery WebsiteThis artist "paints ugly first", before the transformation into her trademark luscious colors.
Issue 53, Page 102Canadian experimental artist Patricia Peacock uses multiple shapes within shapes to achieve complex integrated designs
Issue 62, Page 106Color complements, fortified with other types of contrast, are the key to high-impact pastels.
Issue 32, Page 86Cross-pollinating size and color has given voluptuous blooms a unique dose of botanical hybrid vigor.
Issue 52, Page 120Using dynamic color and expressive brushstrokes, Alex Sprouse highlights the most important elements of his gouache pieces
Issue 140, Page 86 Read ArticleOur Art Fairs series concludes with advice on setting up the stall, lighting and security, finances and record-keeping.
Issue 5, Page 9If you are to survive in a tough market you must pay attention to the details.
Issue 42, Page 106This artist finds watercolor happiness
Issue 42, Page 40Mark Boedges focuses on the big picture and the detail at the same time by letting the brush do the work
Issue 87, Page 68John Lovett shows how working quickly can force our focus and to produce surprising results.
Issue 54, Page 98Working with his reference to develop a concept, Grant Gilsdorf imbues his paintings with narrative and meaning
Issue 150, Page 64 Read Article Visit Gallery WebsiteIssue 10, Page 72
Should you go full tilt down your own path, or consider the realities of the marketplace?
Issue 8, Page 6Focus on Materials: In each issue we examine some of the essential art materials available to practicing artists
Issue 140, Page 21 Read ArticleSeek out the right connections for your artwork and market to them more effectively
Issue 96, Page 127Listings for museum exhibits and gallery shows that highlight this venerable tradition
Issue 81, Page 24Andrew Davis shows how to create wet seascapes with a dry medium
Issue 80, Page 80The ingredients that will transform a mundane subject into an extraordinary painting.
Issue 21, Page 88Whatever the subject, Suzy Smith finds that her paintings benefit from the softening of edges and editing of content
Issue 87, Page 60