Artist Search

Selling your work in today’s art market

How to infuse your paintings with appealing luminosity and dramatic contrast.

Patricia Moran reminds us to think about the order of visual importance when it comes to painting light and dark

An artist is either good at color or good at value, but rarely good at both.

Paintings with a distinct dramatic tension emphasize the lonely vulnerability of the bullfighter as he prepares to meet his fate.

Explore the studios or plein air setups of some of the world’s best artists.

Matt Angell

This artist responds emotionally to color and light in his fine-tuned, etheral portrayal of subjects in the classic tradition.

Achieving atmosphere and emotion by juxtaposing broken color to add sparkle and interest.

Collecting imagery from books and magazines as resources, Aneka Ingold expresses the unique female perspective

Painting from source material is one thing, but this artist says nothing gives a painting extra dimension then being on location and taking in the sights, sounds and aromas.

A Three Years Journey

Journeys to Madagascar and Algeria

From Arabia to India

This artist captures the distinct cultures of unfamiliar people and places.

Working with loose washes, palette knives and sponges, David Brammeld creates expressive nature scenes

John Lovett tackles how a simple household item like masking tape can enhance your art

The Schuler School of Fine Art, Baltimore, Maryland, USA.

Not every painting turns out well, but as this artist reminds us, it is the joy of the journey that rewards us.

This artist refused to let a little thing like being colorblind stop him from pursuing a career as an illustrator and fine artist.

Remain open to inspired moments.

John Lovett shows us the secrets to obtaining a true blue

It doesn't matter what you leave out of a painting as long as what you put in is right.

Painting in plein air, Vicki Norman carefully assesses the light conditions to determine proper colors

Hisamu Kido adores portraiture and recommends a practiced, respectful and thoughtful approach to the art form

Scottsdale Artists’ School sits down with Marianne Mitchell to talk self-confidence, personal growth and developing an artistic voice

After cutting his teeth on billboards, painter Tim Solliday turned to Western art and never looked back.

Chinese-American painter Z.S. Liang turns to historical detail to bring to life his works showing Native Americans

If you turn a gridded photograph upside-down and transpose that upside-down image onto your canvas as little abstracts you will unleash the creativity in your soul!

Stanka Kordic paints alla prima AND with glazes for heightened luminosity and texture to get a feel for what the paint needs

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

John Lovett shares the importance of seeing clearly when painting

Jesse Lane creates the richness and feel of a photographic oil painting with colored pencils

Timothy Horn shares his understanding of capturing the light in landscape paintings

Chris McHenry shows how he uses small plein air watercolor paintings as color studies for full sized oil-on-linen works

John Lovett demonstrates his process for painting a warm Tuscan village scene in watercolor

The setting and the narrative are the primary components of Robert Hagan’s impressionistic works

Mo Teeuw, Stanford Gibbons, Jeremy C. Ford, Oliver Warman, Lynn Golden, Catharine Phelan, Charles Evans, Janet Thackray, Janet Whittle, James Mcgregor, Michael Bishop, Judi Whitton

Joe Smernicki - Helen M Turner - Rosina Flower - Juliette Palmer

Victor Ambrus, Nick Andrew, Sidney Cardew, Catherine Brennand, Ray Evans, John McCombs, Jack Millar, Brian Mitchell, Dennis Syrett, Michael Whittlesea

David Welsh, Terence Storey, Ann Davidson, Sir Kyffin Williams, Dorothy Bruce, Eric Gaskell

Deborah Phillips, Howell Davies, Yvonne Carter, Colin Orchard, James Watt, Sue Read, Steven Jones

Matt Talbert describes his process for creating expressive, paintings of the human figure—a balance of intuition and technical skill

Chairman’s Letter