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Capturing Intensity in Portraits

Malcolm Carver shows you why the sketchbook is probably more important to artists than their happy snapper camera

Modeling Forms: Sculpting in Two Dimensions

George Weymouth, Rhoda Sherbell, Marshall Bouldin III, George Augusta

Michael Swanson concentrates on 3 key ingredients to create his vision of reality

When it comes to working out the optimum tonal values and rearranging scenes quickly, the computer makes an exciting tool.

Our regular section devoted to the best portrait painters in the world

James Gurney shares his tips for preserving and interpreting your artwork

Why the artist has a higher role in the scheme of things.

In-depth information on how to begin writing about art

This artist explores the connection between the artist, the viewer and the subject

Part 1: Is self-criticism stopping you?

In part 1 of this new series Daniel Maidman tells us how to meet, select and hire models

In Part 4 of this series Daniel Maidman tells us how to make the best use of the humanity and skill the model brings to the studio

In this final Part Daniel Maidman tells you why you must learn to read the visual language of the model so you can translate it to the canvas.

Part 1: The influence of Monet, Degas, Matisse, The Group of Seven and Andrew Wyeth.

A loose and lively style makes art clearly imitate life.

Rather than exactly reproducing lands, Susanne Mull captures her perceived reality of a scene in pastels

Finding you own voice.

A breakdown of some of the most common paintbrush fiber types, both natural and synthetic

In every issue of International Artist we feature a Painting Workshop from Richard Robinson, one of New Zealand’s best artists

A new way of working with watercolor.

This artist feels what she sees and paints what she feels.

A fresh, vibrant, direct approach to painting

Once you understand structure, you can solve any problem

How gallery representation can elevate your art sales and more

Richard Robinson shares how painting the same scene multiple times allows for new ideas and exploration of technique

Alan Cotton proves that knife is more versatile and vigorous than the brush

How working in various mediums enhances painting abilities as well as the appearance and emotional impact of a composition

Why one day in the outdoors will do more for your painting than months in the studio. John Budicin, Stephen Quiller, Sean Conrad, Bob Rohm, Josh Elliott, Elizabeth Sandia, Daniel J Gooze, Matt Smith, Albert Handell, Jerry Smithm, Frank LaLumia, Chris Stuart, Kevin Macpherson, Libby Tolley, Bonnie Paruch, Diane Van Noord, Camille Przewodek, Judi Wagner and Kenneth Cadwallader

This often overlooked subject is wide open to interpretation. Donna Zagotta, Dick Cole, George James, Priscilla Krejci, Marian Heath-Axley, Jane Iten and Janet Laird-Lagassee

The Portrait Society of America's Chairman Letter

Is this artist three parts polar bear? Helsinki artist Jorma Helenius not only skis to his locations but he uses antifreeze packs for his paints.

Use the four big guns to get to the essence of your subject

John Lovett shows you how to beat your paintings into submission

Canadian artist Barry McCarthy discusses the key components of style and technique

Harley Brown’s fascinating things no one else will tell you

Watercolorist Thomas Wells Schaller delves into the nuances of observation and imagination

Martin Wessler believes the key to a really good work of art is knowing clearly what the "spark" is

Our series continues with behind-the-scenes insights from some of the best international artists working today.

Bob Brandt shares tips and techniques for painting the sea in all of its varying moods

Pinpoint the defining characteristics of successful landscapes and tune-in to their visual energy.

Where do you find your inspiration? This artist encourages you to be attentive and seek out ideas at every turn.