Search Results

'

The Language of Watercolor

Zhou Tianya shares the importance of color, value, composition and individuality in watercolor painting

Issue 118, Page 106

'

The lazy artist's guide to perspective

How to make a simple tool to help you understand and use linear perspective - and get your drawings right every time.

Issue 2, Page 6

'

The Liberty to Explore

Ali A. Aryan benefits from the complete freedom of endless experimentation

Issue 88, Page 76

'

The life and light of Cornish beaches

Memory, imagination and interpretation.

Issue 35, Page 76

'

The Little Things

John Lovett shows us how getting the punctuating marks right can bring your painting to life

Issue 88, Page 136

'

The Living Landscape

Canadian artist Brittani Faulkes says we sometimes take ourselves too seriously. She shows how she puts the fun into her funky landscapes

Issue 65, Page 74

'

The Low-chroma Portrait, Part 1: Daniel Maidman

Issue 96, Page 42

'

The Low-chroma Portrait, Part 2: Noah Becker

Issue 97, Page 44

'

The Lull of the Sea

Using subdued colors and exploring blank areas on the paper, André Kano creates tranquil maritime scenes

Issue 158, Page 86 Read Article Visit Gallery Website

'

The lure of pattern and texture

How to use a variety of materials and techniques for enhancing any subject with subtle, engaging textures and patterns.

Issue 44, Page 82

'

The magic shortcut to fame and fortune

Is all you need a great publicist, and an angle?

Issue 6, Page 10

'

The magical light and drama of the Cornish coast in mixed media

How to tackle an exhilarating subject using charcoal, marker pens, drawing ink, watercolor and pastels.

Issue 1, Page 84

'

The magical rationality of Burton Silverman

Issue 24, Page 32

'

The Making of a Country Doctor

Morgan Weistling shares the artistic process behind his new masterwork for the 2013 Masters of the American West show

Issue 89, Page 62

'

The Making of a Masterpiece

Master Artist, Daniel Greene, gives us exclusive access to his studio to watch as he creates one of his largest works

Issue 66, Page 44

'

The Making of an Artist Art Part 13: Visual Poetry and Equal Values.

Issue 56, Page 92

'

The Making of an Artist Art Part 14: Triangulation and Reflected Light.

Issue 57, Page 88

'

The Making of an Artist Art Part 16: Shape Variety and How to Observe Clouds

Issue 59, Page 120

'

The Making of an Artist Art Part 19: 'Two-Value Notan Paintings' and 'Eye Pathways'

Issue 63, Page 138

'

The Making of an Artist Art Part 19: 'Two-Value Notan Paintings' and 'Eye Pathways'

Issue 62, Page 136

'

The Making of an Artist Part 11: Brushwork and Atmospheric Perspective and How to Deal with Wet Paint When painting Outdoors.

Issue 54, Page 102

'

The Making of an Artist Part 12: Capturing a gesture and How to observe color.

Issue 55, Page 116

'

The Making of an Artist Part 17: 'Varying Levels of Focus and Detail' and 'Horizon Lines and Vanishing Lines'

Issue 60, Page 140

'

The Making of an Artist Part 18: 'Squaring off Forms' and 'Simplification'

Issue 61, Page 88

'

The making of an artist Part 2:

'Double Split Complementaries' and 'Making Grays'

Issue 45, Page 138

'

The Making of an Artist Part 21: 'Concept of Saturation' and 'Perspective Brushwork'

Issue 65, Page 136

'

The Making of an Artist Part 21: 'Simplifying Complex Forms' and 'Imprimatura Technique'

Issue 64, Page 136

'

The Making of an Artist Part 22: 'Color Harmonies' and 'Values and Realism'

Issue 66, Page 136

'

The making of an artist Part 3:

'Use color to create eye movement' and 'Values and realism'

Issue 46, Page 124

'

The Making of an Artist

Part 24: 'Choosing Subject Matter' and 'Making Grays'

Issue 68, Page 142

'

The Making of an Artist

Part 25: 'What are the 3 characteristics of Color?' and 'Contrast of Temperature'

Issue 69, Page 124

'

The making of an artist

Master the principles of painting that took this artist from raw beginner to prize winning professional in only five years.

Issue 44, Page 126

'

The making of an artist

'The Two-Value Statement' and 'The Golden Mean'

Issue 47, Page 136

'

The making of an artist

'Use saturated colors in the focal area' and 'Put more detail in one area'

Issue 48, Page 146

'

The making of an artist

'Color Pairs' and 'Exaggerating color spots'

Issue 49, Page 144

'

The Making of an Artist

Part 46 'Block Studies' and 'Using Impasto Brushwork for Texture'

Issue 90, Page 124

'

The Making of an Artist

Part 47 'General to Specific' and 'On the Beach, Carmel'

Issue 91, Page 134

'

The making of an artist

'Using Texture to Bring Your Subject Alive' and 'How to Varnish a Painting'.

Issue 51, Page 20

'

The Making of an Artist

Part 30: 'Golden Section' and 'Narrative'

Issue 74, Page 122

'

The Making of an Artist

Part 31: 'Mass Gesture' and 'Variety of Brushwork' by Barry John Raybould

Issue 75, Page 122

'

The Making of an Artist Art Part 15: Mixing Vivid Colours and Dominant Values.

Issue 58, Page 120

'

The Making of an Artist Part 29: 'Color Pairs' and 'Optical Color Mixing'

Issue 73, Page 124

'

The Making of an Artist Part 32:

'Use Colour to Create Eye Movement' and 'Venetian Canal'

Issue 76, Page 122

'

The Making of an Artist Part 33: 'Point, Line & Mass' & 'Santa Maria della Pieta, Venice'

Issue 77, Page 122

'

The Making of an Artist Part 34:

'Emphasis' & 'Master at Work'

Issue 78, Page 92

'

The Making of an Artist Part 35: 'Complementary Contrast' & 'Focal Point Saturation'

Issue 79, Page 122

'

The Making of an Artist Part 36 'Active and Passive Mix' & 'Reflected Light'

Issue 80, Page 126

'

The Making of an Artist Part 37 'Negative Space' & 'Complementary Contrast'

Issue 81, Page 126

'

The Making of an Artist Part 38

'Communicating Emotion with Brushwork' & 'Complementary Color Harmony'

Issue 82, Page 126

'

The Making of an Artist Part 39

'Straight Line Approximation' & 'Unequal Space Division'

Issue 83, Page 126

Artist Search