Search Results

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

Issue 61, Page 88

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The making of an artist Part 2:

'Double Split Complementaries' and 'Making Grays'

Issue 45, Page 138

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

Issue 65, Page 136

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

Issue 64, Page 136

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

Issue 66, Page 136

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The making of an artist Part 3:

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

Issue 46, Page 124

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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

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The Making of an Artist

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

Issue 68, Page 142

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The Making of an Artist

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

Issue 69, Page 124

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The making of an artist

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

Issue 47, Page 136

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The making of an artist

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

Issue 48, Page 146

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The making of an artist

'Color Pairs' and 'Exaggerating color spots'

Issue 49, Page 144

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The making of an artist

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

Issue 51, Page 20

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The Making of an Artist

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

Issue 90, Page 124

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The Making of an Artist

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

Issue 91, Page 134

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The Making of an Artist

Part 30: 'Golden Section' and 'Narrative'

Issue 74, Page 122

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The Making of an Artist

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

Issue 75, Page 122

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

Issue 58, Page 120

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

Issue 73, Page 124

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The Making of an Artist Part 32:

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

Issue 76, Page 122

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

Issue 77, Page 122

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The Making of an Artist Part 34:

'Emphasis' & 'Master at Work'

Issue 78, Page 92

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

Issue 79, Page 122

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

Issue 80, Page 126

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

Issue 81, Page 126

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The Making of an Artist Part 38

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

Issue 82, Page 126

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The Making of an Artist Part 39

'Straight Line Approximation' & 'Unequal Space Division'

Issue 83, Page 126

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The Making of an Artist Part 41 'General to Specific' and the Analysis

Issue 85, Page 116

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The Making of an Artist Part 44

'Eye Pathways' and 'Atmospheric Perspective'

Issue 88, Page 124

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The Making of an Artist Part 45

'Straight Line Approximation' and Key Discoveries in Practice

Issue 89, Page 124

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The Making of an Artist Part 48

Flattening Values and Put More Detail in One Area

Issue 92, Page 138

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The Making of an Artist Part 49

Low Saturation Field and Chinese Laundry

Issue 93, Page 138

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The Making of an Artist Part 81

Secondary Color Harmonies & A Kasakh Farmhouse in Tianshan

Issue 125, Page 126

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The Making of an Artist Part 82

Wet Painting Carriers & Italy, Florence, The Arno

Issue 126, Page 138

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The Making of an Artist Part 83

Iridescence and Shimmering Water & Day at the Beach

Issue 127, Page 138

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The Making of an Artist Part 84

Interlocking Shapes & Still Life

Issue 128, Page 126

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The Making of an Artist Part 85

Cropping Your Subject & Pianello Roses

Issue 129, Page 134

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The Making of an Artist: Cropping your Subject and How to temporarily mount loose linen canvas.

Issue 53, Page 152

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The Making of and Artist Part 40

'Block Studies' & 'Impasto Brushstrokes for Texture'

Issue 84, Page 124

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The Making of The Toy Peddler of Dupont Street

The step-by-step development of Mian Situ's latest materpiece for the Jackson Hole art auction

Issue 82, Page 86

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The Making on an Artist Part 42 'Flattening Values' and the Analysis

Issue 86, Page 116

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The Making on an Artist Part 43 'Envelope Technique' and the Analysis

Issue 87, Page 124

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The marks of experience

Self scrutinty can produce paintings that communicate on a much higher level.

Issue 14, Page 60

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The Mentoring Chain

Four artists, linked through mentorship, explain the value of sharing techniques and insights

Issue 105, Page 56

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The method and the madness

What does it mean to be an artist? We discover two distinct elements.

Issue 12, Page 10

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The Mirror Tells A Different Story

Jette van der Lende uses her thought provoking mirror paintings to show how the ideal is very different to the reality

Issue 70, Page 104

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The monumental oil paintings of Liu Derun and Li Yan

Who would have thought that the Chinese would have mastered oil painting and turned it into a kind of "Chinese Painting" in its own right?

Issue 2, Page 138

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The Most Important Step

Increase your chances of success by learning to establish the correct values and colors in the very first stage as this artist demonstrates how effectively this works.

Issue 54, Page 72

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The multi layering technique revealed

Ever wondered how top painters get such translucent, clean color?

Issue 6, Page 116

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The Muse

Figurative artist Craig Pursley discusses his experience working with the same model for six years, in which he produced over 100 paintings

Issue 146, Page 44 Read Article

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