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Hillside of Poppies 2008, oil, 24 x 30. I have a few suggestions to offer for this painting. The artist may want to consider showing some cast shadows across the path. These shadows would have the same direction as the shadows of the trees, bushes, and house. I would also change the shape of the cast...
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Portrait of an Old Man by Roger Burch, 2009, oil on linen, 20 x 16. The artist of this painting may want to consider lightening the irises of the eyes—especially the man’s right eye, since it is farther away from the viewer. Some edges of the hat could be lost into the background, so too...
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I've written a number of articles on artists who use the sight-size approach to painting, but the method became clearer to me while I was writing an article on Paul DeLorenzo for the spring 2010 issue of Workshop . The procedure is to stand a measured distance away from both the easel and the subject...
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On the Cover: Winter Glow (detail) by Neal Hughes, 2008, oil, 16 x 20. Collection Dr. Pat White. Blending Traditions of Still Life Painting Representation & Invention in Watercolor DEPARTMENTS Editor’s Note Letters What’s New at artistdaily.com Art Mart Quick Sketches Exhibitions Business...
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Welsh Landscape by Patti DeWitt, 2007, oil, 16 x 20. A common challenge in painting summer landscapes is that there is usually so much green. In these cases artists can take lots of “artistic license” and have fun mixing lots of different greens, which can either be so warm that they are...
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Mountain by Michele A. Congdon, 2008, watercolor, 18 x 22. Three things would help this painting. First, the artist can vary the softness and hardness of edges. Edges in the distance can be made softer, even losing some into the sky. Second, the artist can vary the temperatures of the blues and browns...
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Lake Louise Steps 2008, pastel, 24 x 18. Collection the artist. By subtly layering pastel, Marlene Wiedenbaum creates a luscious and convincing sense of the world. by John A. Parks In her pastel painting Path With Trees to Hidden Pond, Marlene Wiedenbaum presents a resplendent view of a glade whose rich...
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Web Features
by
Brian Riley
on
27 Oct 2009
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Filed under: Drawing, American Artist, Workshop, oil, watercolor, sketch, pastel painting, John A. Parks, en plein air, Hudson Valley, American art, focal point, fine art, Sennelier, kneaded eraser
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Yesterday, as the articles from the upcoming winter issue of Workshop magazine circulated around the editors’ desks, I was struck by how many high-quality artists are featured in this issue and what valuable advice they offer readers through their teaching. I was especially taken with the landscape...
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Although most of the recent news about Thomas Kinkade has concerned the disagreements between his company, former employees, franchised gallery owners, and the FBI (detailed in articles in the San Francisco Chronicle and in the Los Angeles Times ), it wasn’t long ago that he was the best-known...
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In the September 2009 issue of American Artist we featured work by New Hampshire artist Robin Frisella, who uses pastels to create paintings of cherished objects, establishing emotional links between the paintings and collectors. Here, we present additional work by the artist. Quiet Moment 2008, pastel...
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Teaching Grace by Elaine Locati, oil, 18 x 24. The composition of this painting is great, and just a few adjustments might make the painting even better. A more neutral background would make the girl’s hair more prominent and would stay in the background. There’s some red in the woman’s...
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Rapid Reflections by Nancy Horwick, 2008, oil, 30 x 24. There are a few adjustments that I suggest for this piece. First, use some shadow colors (dark and medium tones) in the waterfall. Gray the whites—make some variations in the highlights. The other adjustment I would make would be to warm up...
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Montana Fall by Elaine Locati, oil on board, 8 x 10. The composition is excellent. What needs a bit of help are the color choices. Backgrounds need to be cool, light in value, and not very intense. That means neutralizing the bright blue mountains with some grey-blue colors. I’d also suggest adjusting...
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Most of the students attending workshops and art classes rely on the instructor’s list of recommended supplies when deciding what drawing and painting materials to use, so their resulting artwork usually looks quite similar. However, when artists gather to draw from a model or paint on location...
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Steve Doherty's Blog
by
sdoherty
on
17 Aug 2009
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Filed under: Doherty, Printmaking, Drawing, acrylic, Charcoal, Conte, Ink, fine art, General Pencil, kneaded eraser, draw
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Blue Longing by Crystal MacEachern, 2007, acrylic on paper, 12 x 14. My main recommendation for this floral painting concerns illumination and shadow. There is a hint of shadow rendering in the centers of the flowers, and this concept needs to be used in the flower petals also. To render objects in a...