Highlights Magazinehttp://www.artistdaily.com/blogs/highlights/atom.aspxCommunity Server2009-03-30T07:30:00ZPortait & Figure Painting Highlights/blogs/highlights/archive/2010/10/12/portait-amp-figure-painting-highlights.aspx2010-10-12T11:00:00Z2010-10-12T11:00:00Z<table cellpadding="5" cellspacing="10">
<tbody>
<tr>
<td class="bold_content" valign="top" align="left">
<p align="left"> </p>
<p align="left"><a target="_blank" href="http://shop.artistdaily.com/Art/Highlights-Special-Issues/Painting-Highlights-Portrait-and-Painting.html"><img style="border:0;" src="http://www.artistdaily.com/cfs-file.ashx/__key/CommunityServer.Blogs.Components.WeblogFiles/critique/btn_5F00_buyIssue.gif" alt="" /></a></p>
<span class="content"></span><span class="content"> </span>
<p align="left"><span class="content"><b><span style="font-size:x-small;font-family:Arial,Helvetica,sans-serif;">On
the Cover: </span></b><span style="font-size:x-small;font-family:Arial,Helvetica,sans-serif;"><br />
</span><b>Anna (detail, reversed)<br /></b>by Wende Caporale, 2002, pastel, 24 x 18. <br />Collection the Abernethy family. </span></p>
<p align="left"> </p>
<p align="left"> </p>
<p align="left"> </p>
<p align="left"> </p>
<p align="left"> </p>
<p align="left"> </p>
<p align="left"> </p>
<p align="left"> </p>
<p align="left"> </p>
<p align="left"> </p>
<p align="left"> </p>
<p align="left"> </p>
<p align="left"> </p>
<p align="left"><span class="content"><br /></span></p>
</td>
<td class="content">
<span class="title"><b>
</b></span>
<table cellpadding="5" cellspacing="5">
<tbody>
<tr>
<td><b></b>
<h3 class="title"><b><b>FEATURES</b></b></h3>
<p>
<b>Painting Figures With Purpose </b><b> <br /></b><i>by Arthur Egeli<br /></i>After completing a rigorous program of art education, I was adept at capturing a person’s likeness but still struggling to express an idea.<b></b></p>
<p><b>Sweden’s Sargent </b><br /><i>by Bob Bahr</i><br />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. <b><br /><br />The Similarities Between Painting Portraits in Oil and Pastel </b><br /><i>by M. Stephen doherty</i><b><br /></b>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.<b><br /><br />Portrait Sketches That Guide Artists and Their Clients <br /></b><i>by M. Stephen Doherty</i><br />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.<b> <br /><br />Drybrush, Drawing, and Watercolor <br /></b><i>by Lynne Bahr</i><br />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. <b> <br /><br />Alla Prima Figure Painting <br /></b><i>by M. Stephen Doherty</i><br />Justin Wiest developed an approach to oil painting by synthesizing what he learned from some of the most outstanding realist artists today. <b> <br /><br />Capturing Emotion by Concentrating on the Movement of Light<br /></b><i>by Allison Malafronte</i><br />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.<b> <br /><br />Seeing Forms, Not Formulas <br /></b><i>by M. Stephen Doherty</i><b><br /></b>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. <b><br /><br />Averaging Values & Colors From the Start </b><br /><i>by M. Stephen Doherty</i><br />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. </p>
</td>
</tr>
</tbody>
</table>
<h3><span class="title"><b> </b></span></h3>
<p> </p>
</td>
</tr>
</tbody>
</table>
<div style="clear:both;"></div>
<hr /><div style="clear:both;"></div><img src="http://www.artistdaily.com/aggbug.aspx?PostID=71829" width="1" height="1">Brian Rileyhttp://www.artistdaily.com/members/Brian-Riley/default.aspxStill Life Painting Higlights/blogs/highlights/archive/2010/04/06/still-life-painting-higlights.aspx2010-04-06T11:00:00Z2010-04-06T11:00:00Z<table cellpadding="5" cellspacing="10">
<tbody>
<tr>
<td class="bold_content" valign="top" align="left">
<p align="left"><a target="_blank" href="http://shop.artistdaily.com/Art/Highlights-Special-Issues/Painting-Highlights-Still-Life.html"><img style="border:0;" src="http://www.artistdaily.com/cfs-file.ashx/__key/CommunityServer.Blogs.Components.WeblogFiles/critique/btn_5F00_buyIssue.gif" alt="" /></a></p>
<span class="content"></span><span class="content"> </span>
<p align="left"><span class="content"><b><span style="font-size:x-small;font-family:Arial,Helvetica,sans-serif;">On
the Cover: </span></b><span style="font-size:x-small;font-family:Arial,Helvetica,sans-serif;"><br />
</span><b>Persian Bittersweet (detail)<br /></b>by Claudia Seymour, 2003, oil on linen, <br />20 x 16. Collection the artist. <br /></span></p>
<p class="content" align="left"><span class="title"><b>Artists Featured:<br /></b>Assael, Steven<br />Bergt, Michael<br />Bermingham, Debra<br />Deichler, Deborah<br />Evans, Rob<br />Fraser, Scott<br />Frisella, Robin<br />Gordon, Patrick<br />Grasso, Carlos<br />Gyurcsak, Joe<br />Hess, F. Scott<br />Jackson, Phillip R<br />Jackson, Robert C.<br />Lattimore, Andrew<br />Legg, Jeffrey<br />Lyon, Susan<br />Monafo, Janet<br />Moran, Heidi<br />Royston, Scott<br />Seymour, Claudia<br />Sienna, Pamela<br />Sprick, Daniel<br />Steinworth, Skip<br />Switzer, Nancy<br />Uffelman, Jeff<br />Washor, Joyce<br />Wilson, Will</span><br />
<span class="title"><b></b></span></p>
</td>
<td class="content">
<span class="title"><b>
</b></span>
<table cellpadding="5" cellspacing="5">
<tbody>
<tr>
<td><b></b>
<h3 class="title"><b><b>FEATURES</b></b></h3>
<p>
<b>15 Artists, 5 Objects, 30 Paintings That Demonstrate Ways to Establish Your Own Style </b><b> <br /></b>by M. Stephen Doherty<b><br /><br />Painting Classical Floral Still Lifes With Skill and Understanding </b><br />by Scott Royston <b><br /><br />Creating Movement in a Still Life </b><br />by Linda S. Price<b><br /><br />Best Professional Practices for Dynamic Still Lifes <br /></b>by Bob Bahr <b> <br /><br />Summarizing What You See and What Matters Most to Your Painting <br /></b>by M. Stephen Doherty<b> <br /><br />How to Enjoy the Process Now and The Product Later <br /></b>by M. Stephen Doherty <b> <br /><br />Still Lifes on a Small Scale <br /></b>by Tina Tammaro<b> <br /><br />Choice Morsels <br /></b>by John A. Parks<b> <br /><br />Using Materials, Techniques, Inspiration, and Intuition to Paint Well </b><br />by M. Stephen Doherty <b><br /><br />Arranging Unexpected Combinations of Objects <br /></b>by James A. Metcalfe<b> <br /><br />Painting Large-Scale Floral Arrangements From Photographs <br /></b>by M. Stephen Doherty<b> </b><br /><b><br />Still Lifes That Connect Memories <br /></b>by M. Stephen Doherty</p>
<p><b>Painting Still Lifes Alla Prima <br /></b>by M. Stephen Doherty<b> </b></p>
</td>
</tr>
</tbody>
</table>
<h3><span class="title"><b> </b></span></h3>
<p> </p>
</td>
</tr>
</tbody>
</table>
<div style="clear:both;"></div>
<hr /><div style="clear:both;"></div><img src="http://www.artistdaily.com/aggbug.aspx?PostID=47672" width="1" height="1">Brian Rileyhttp://www.artistdaily.com/members/Brian-Riley/default.aspxPainting Instruction Highlights from Master Teachers, Fall 2009/blogs/highlights/archive/2009/09/24/painting-instruction-highlights-from-master-teachers-fall-2009.aspx2009-09-24T11:00:00Z2009-09-24T11:00:00Z<table cellpadding="5" cellspacing="10">
<tbody>
<tr>
<td class="bold_content" valign="top" align="left">
<p align="left"><a target="_blank" href="http://shop.artistdaily.com/store/p/3794-Painting-Highlights-from-Master-Teachers-Fall-2009-Pre-Order-.aspx"><img style="border:0;" src="http://www.artistdaily.com/cfs-file.ashx/__key/CommunityServer.Blogs.Components.WeblogFiles/critique/btn_5F00_buyIssue.gif" alt="" /></a></p>
<span class="content"></span><span class="content"> </span>
<p align="left"><span class="content"><b><span style="font-size:x-small;font-family:Arial,Helvetica,sans-serif;">On
the Cover: </span></b><span style="font-size:x-small;font-family:Arial,Helvetica,sans-serif;"><br />
</span>Jeffrey R. Watts instructing a student <br />during a workshop held in <br />Nicolai Fechin’s studio. <br /></span></p>
<p class="content" align="left"><span class="title"><b>Featured Teachers:<br /></b>Meredith Brooks Abbott<br />Thomas S. Buechner<br />Nancy Bush<br />Ismael Checo<br />Thomas Gardner<br />Al Gury<br />Johnnie Liliedahl<br />Joseph McGurl<br />Martin Poole<br />Jeffrey Reed<br />Scott Royston<br />William A. Schneider<br />Jeffrey R. Watts<br />Mary Whyte</span><br />
<span class="title"><b></b></span></p>
</td>
<td class="content">
<span class="title"><b>
</b></span>
<table cellpadding="5" cellspacing="5">
<tbody>
<tr>
<td><b></b>
<h3 class="title"><b><b>FEATURES</b></b></h3>
<p>
<b>Painting the Mouth </b><b> <br /></b>by William A. Schneider<b><br /><br />Jeffrey Reed: Introducing the Basics of Painting </b></p>
<p>by M. Stephen Doherty <b><br /><br />Al Gury: Teaching Fundamentals in a Historic Studio </b><br />by M. Stephen Doherty<b><br /><br />How to Create Your Best Paintings Ever <br /></b>by Mary Whyte <b> <br /><br />3 Views of the Same Scene <br /></b>by Bob Bahr<b> <br /><br />Johnnie Liliedahl: Using the Old Master Grisaille Method to Manage Values and Opacity <br /></b>by M. Stephen Doherty <b> <br /><br />Ismael Checo: Color, Richness, and Light <br /></b>by John A. Parks<b> <br /><br />Seeing Nature With Fresh Eyes <br /></b>by Molly Siple<b> <br /><br />Painting Classical Floral Still Lifes With Skill and Understanding </b><br />by Scott Royston <b><br /><br />Using Subtle Tones to Express Deep Emotions <br /></b>by M. Stephen Doherty<b> <br /><br />Joseph McGurl: Developing a Critical Advantage <br /></b>by M. Stephen Doherty<b> </b><br /><b><br />Jeffrey R. Watts: Learning the Structure & Discipline of Painting “Controlled Chaos” <br /></b>by M. Stephen Doherty<b> </b></p>
</td>
</tr>
</tbody>
</table>
<h3><span class="title"><b> </b></span></h3>
<p> </p>
</td>
</tr>
</tbody>
</table>
<div style="clear:both;"></div>
<hr /><div style="clear:both;"></div><img src="http://www.artistdaily.com/aggbug.aspx?PostID=25178" width="1" height="1">Brian Rileyhttp://www.artistdaily.com/members/Brian-Riley/default.aspxHighlights: Painting Instruction From Master Teachers/blogs/highlights/archive/2009/03/30/highlights-painting-instruction-from-master-teachers-spring-2009.aspx2009-03-30T12:30:00Z2009-03-30T12:30:00Z<table cellpadding="5" cellspacing="10">
<tbody>
<tr>
<td align="left" valign="top" class="bold_content">
<p align="left"><a target="_blank" href="http://shop.artistdaily.com/store/p/2929-Painting-Highlights-2009-Pre-order-.aspx"><img src="http://www.artistdaily.com/cfs-file.ashx/__key/CommunityServer.Blogs.Components.WeblogFiles/critique/btn_5F00_buyIssue.gif" style="border:0;" alt="" /></a></p>
<span class="content"></span><span class="content"></span>
<p align="left"><span class="content"><b><span style="font-size:x-small;font-family:Arial,Helvetica,sans-serif;">On the Cover: </span></b><span style="font-size:x-small;font-family:Arial,Helvetica,sans-serif;"><br /></span>John Phillip Osborne painting at the <br />Ridgewood Art Institute in Ridgewood, <br />New Jersey. Photo: Murray Smith. <br /></span></p>
<p align="left" class="content"><span class="title"><b>Featured Teachers:<br /></b>Joni Falk<br />William Hook<br />Ted Seth Jacobs<br />John Morra<br />John Phillip Osborne<br />Nelson Shanks<br />Matt Smith<br />James Sulkowski<br />Carol Swinney<br />Sam Vokey<br />Dawn Whitelaw</span><br /><br /><br /><br /><span class="title"><b></b></span></p>
</td>
<td class="content"><span class="title"><b></b></span>
<table cellpadding="5" cellspacing="5">
<tbody>
<tr>
<td><b></b>
<h3 class="title"><b><b>FEATURES</b></b></h3>
<b>Six Ways to Get Dynamic Action in Floral Painting, With James Sulkowski </b><b> <br /></b>by James Sulkowski<b><br /><br />Improve Rapidly by Making Many Starts, With Nelson Shanks </b><br />by M. Stephen Doherty <b><br /><br />Getting Accurate Light in Your Landscapes, With Matt Smith </b>by M. Stephen Doherty<b><br /><br />Paint Vibrant Portraits With a Three-Color Oil Palette, With Dawn Whitelaw <br /></b>by M. Stephen Doherty <b> <br /><br />Get Pure Colors From a Palette Knife, With Carol Swinney <br /></b>by Linda Morton<b> <br /><br />Mastering Edges, Light, and Color Harmony in Still Lifes, With Joni Falk <br /></b>by M. Stephen Doherty <b> <br /><br />Make Acrylic Landscapes Come Alive From Photographs, With William Hook <br /></b>by Bob Bahr<b> <br /><br />First, Master the Figure, With Ted Seth Jacobs <br /></b>by A’Dora Phillips<b> <br /><br />Harnessing Tradition and Design, With Sam Vokey </b><br />by Linda S. Price <b><br /><br />Today’s Still Life, With John Morra <br /></b>by John A. Parks<b> <br /><br />Make Accurate Color Choices Using a Prismatic Palette, With John Phillip Osborne <br /></b>by Mark G. Mitchell <b> </b></td>
</tr>
</tbody>
</table>
<h3><span class="title"><b> </b></span></h3>
<p> </p>
</td>
</tr>
</tbody>
</table>
<div style="clear:both;"></div>
<hr /><div style="clear:both;"></div><img src="http://www.artistdaily.com/aggbug.aspx?PostID=11297" width="1" height="1">Brian Rileyhttp://www.artistdaily.com/members/Brian-Riley/default.aspx