Portait & Figure Painting Highlights


On the Cover:
Anna (detail, reversed)
by Wende Caporale, 2002, pastel, 24 x 18.
Collection the Abernethy family.















Painting Figures With Purpose    
by Arthur Egeli
After completing a rigorous program of art education, I was adept at capturing a person’s likeness but still struggling to express an idea.

Sweden’s Sargent 
by Bob Bahr
We went in search of Anders Zorn (1860–1920) in his homeland and discovered a personality large enough to encompass numerous contradictions—and a natural ability to paint in both oil and watercolor.  

The Similarities Between Painting Portraits in Oil and Pastel 
by M. Stephen doherty
One of the top artists specializing in children’s portraits offers workshops for both oil and pastel painters. Although some of Wende Caporale’s specific instructions relate to one medium or the other, her general discussions about the importance of drawing, value and temperature judgments, and dark-to-light progressions are relevant to both.

Portrait Sketches That Guide Artists and Their Clients   
by M. Stephen Doherty
Brian Neher paints two small oil sketches of his portraits subjects to help set a direction for the finished portrait that satisfies him and his clients.  

Drybrush, Drawing, and Watercolor    
by Lynne Bahr
Although best known for his pastels, Mario Robinson is exploring watercolor, combining washes with drybrushed lines to expand his artistic repertoire and paint important people from his life.  

Alla Prima Figure Painting  
by M. Stephen Doherty
Justin Wiest developed an approach to oil painting by synthesizing what he learned from some of the most outstanding realist artists today.   

Capturing Emotion by Concentrating on the Movement of Light
by Allison Malafronte
Ron Hicks is known for his moody figurative and interior work that evokes emotion and conveys atmosphere. He achieves his style by breaking the subject down into shapes and capturing the gradations of light in each. 

Seeing Forms, Not Formulas   
by M. Stephen Doherty
During a workshop in New York, Max Ginsburg showed students how to respond to the specific lighting effects they observed rather than use premixed colors and repetitive procedures.  

Averaging Values & Colors From the Start   
by M. Stephen Doherty
During a workshop in Arizona, Utah artist Michael Malm simplified the painting process so that students would be better able to judge relative values, color temperatures, and edges. The participants marveled at how the resulting posterlike image could become the basis of an accurate, characteristic portrait of the model.  



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About BrianRiley

Brian Riley is the managing editor for the American Artist family of titles (American Artist, Watercolor, Drawing & Workshop) and has been part of the AA team since 2003. He first became interested in art as a child, specifically drawing, but drifted away from the visual arts as he grew older, gravitating towards writing while in college. His position at AA has offered him the opportunity to reinvigorate his early passion and continue his education.