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A favorite place in beautiful Tuscany.

If you ever go across the seas to Ireland - take your sketchbook with you.

Painting memories of a spectacular location.

Weird and wonderful landscapes and friendly, respectful people.

The hallowed home of the bagpipe, trout fishing and golf has plenty to offer the traveling artist.

You may think there's nothing there, but there's plenty to see and paint in the Outback.

In this issue we look at the painting possibilities in Suzhou, the "Venice of the East".

Bob stepped in to lead our International Artist Painting Workshop Vacation to Italy and France.

The reason why this artist chooses such large canvases and how he achieves what he calls the "blue of our age".

Richard Robinson shares painting lessons from the great outdoors, such as finding the visual concept

This artist explains why technique and emotion have to combine for a painting to be successful.

Renowned for his breathtaking atmospheres this artist's artistic voyage started with a firm understanding of the atmosphere itself.

This artist recommends spending more time looking and less time painting.

John Lovett demonstrates the power of working with a limited palette

Dawn Burton Reed

A love of typography led Stephanie Schechter to paint signage that can serve as reminders of a place and time

Revisiting the same scene again and again trained this artist to actually observe the elements before him.

Lauren McCracken revisits the three basic aspects of art

Graham Smith says if you want to be successful, then try these ideas

Chairman’s Letter

If painting people is what you love, this article will help you find ways to get the most from the experience

The difference between success and failure lies in how you market yourself.

French lessons from a master who reveals his tried and true methods for capturing a likeness.

How to extract the relevant information and then subtly accentuate those aspects.

A fascinating dialogue between writer Stephanie Green and artist James H Yuncken.

Creating Harmony with a Limited Palette

Part one / Drawing

Part two / Painting

In this 5-part series master watercolour artist Tony Smibert outlines a route for charting a career as a successful watercolourist

Top New York City gallerist Jonathan LeVine discusses with Rebecca Guay the distinction between illustration and fine art

Are reproductions the first step down the slippery slope towards loss of professional integrity?

Plenty of subject matter, not enough buyers. How Australian painters make a living.

A breakdown of online marketplaces and art sale platforms

Tips and strategies to become the best salesperson of your art.

A guide to navigating the digital world of art sales.

Soft pastelist Amanda McLean focuses primarily on large, abstract shapes, gradually working toward the details

CPSA president Denise J. Howard demonstrates her techniques for achieving texture in colored pencil

How thin glazes of slow-drying oil paint can be built into super-detailed images.

Working in series can help you stamp your authority onto a subject.

A demonstration in oil

The underpainting of Jeanne Rosier Smith's pastel seascapes helps establish values and keeps pigments vibrant

Some of the top still life painters working today break down their processes for creating powerful compositions

Bad weather? No light? Freezing cold? Why not turn your car into a studio!

In light of his current exhibition at the Museum of the City of New York, watercolorist and native New Yorker Frederick Brosen shares his experience painting the iconic Manhattan park across all four seasons

African-born artist and educator Samuel Adoquei discusses the subtleties and nuances of painting skin tones in art

How to see and use value

Diana Höhlig implements crosshatching, stippling and parallel scratching to achieve texture and contrast