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Looks Like Heaven by John Budicin, 2002, oil painting, 32 x 40. Almost any artist will tell you that there's a certain appeal to working outdoors that can't be found anywhere else. With spring in full swing, many of us have left our studios for our porches, backyards, and beyond. To celebrate...
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Watercolor artist Thomas Schaller achieves convincing and dynamic effects in his skies ( Salisbury Cathedral , watercolor painting). I know it is a bias, but sometimes I can't help thinking that painting skies belongs to a particular realm of watercolor painting . The medium just seems best suited...
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Van Gogh's self-portrait (detail) is an exercise in line, but notice how it varies in thickness and direction, especially around the eyes . If the eyes are the windows to the soul, then a painter needs to get them right when creating a portrait. But the "oval, circle, dot" anatomy of the...
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On the Cover: Anna (detail, reversed) by Wende Caporale, 2002, pastel, 24 x 18. Collection the Abernethy family. FEATURES 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...
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Artists Carl and Sandra Bryant use tiny pieces of glass to create intricate mosaic works of art. by Stephanie Kaplan Autumn Landscape by Sandra Bryant, 2006, glass mosaic, 24 x 32. Collection the artist. Mosaic Landscape by Sandra Bryant, 2005, glass mosaic, 24 x 24. Collection the artist. Art is often...
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In the spring 2008 issue of Workshop magazine, Colorado artist Ron Hicks discussed how breaking down his subjects into shapes, and capturing gradations of light in each, allow him to create the moody figurative and interior work he is best known for. Here we present his demonstration Noelle With a Black...
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Many of the great teachers who trained Daniel Graves were featured in American Artist in the 1970s, while he and his students have been profiled in more recent issues. As the magazine celebrates its 70th anniversary, we examine the academic art education that Graves has dedicated part of his career to...
Posted to
The Oil Painting Blog
by
American Artist
on
9 Feb 2008
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Filed under: oil painting, figure painting, portrait painting, drawing, how to paint, Figure Drawing, shading, Drawing Basics, How to Draw People, Art, street art, Artist Daily
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This French master teaches us much about contours, portraiture, and how to draw people. by Mark G. Mitchell Portrait of Charles- François Mallet 1809, graphite, 10 9/16 x 8 5/16. Collection The Art Institute of Chicago, Chicago, Illinois. So that’s what Paganini looked like in his cravat...
Posted to
The Drawing Blog
by
American Artist
on
8 Feb 2008
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Filed under: drawing, art, Drawing Basics, pastel, how to draw, how to draw people, colored pencil, life drawing, Portrait Painting, Oil Painting, shading, Ink Drawing
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Two masters of still life painting have much to teach us about developing our paintings. by Joseph Gyurcsak Ochre & Blue Gray 2007, oil, 12 x 16. Collection the artist. Two of the most admired masters of still life painting are the Italian artist Giorgio Morandi (1890–1964) and the French painter...
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Prud’hon drew from the figure throughout his career, and now those “académies” anchor his reputation. How did he draw such stunning figure studies? by Ephraim Rubenstein Standing Nude charcoal heightened with white chalk on blue paper, 24 x 13¾. Collection Museum of Fine...
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In the winter 2007 issue of Drawing magazine, we explored how Ingres taught us much about contours and portraiture. Here, we offer an excerpt from the feature about how the artist's use of graphite on smooth white paper was ahead of his time. by Mark G. Mitchell Portrait of La Principessa Fiano 1817...
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Read the transcript from our online chat with artist-instructor Dan Thompson. If you have more thoughts to share, chat with your peers on Artists' Forum , and check back for more online chats with featured artists. 2007-06-13 12:00:02.0 Administrator: You have joined a chat with Dan Thompson, a top...
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Tonal drawing--the juxtaposition of relative values, the notion of seeing masses rather than outlines--more closely replicates the way humans see than do lines. This emotional way of depicting the world has been explored since Leonardo; modern artists have mastered it. by Ephraim Rubenstein Inscribed...
Posted to
The Drawing Blog
by
American Artist
on
16 Sep 2006
Filed under:
Filed under: drawing, art, Drawing Basics, figure drawing, how to draw, colored pencil, plein air, How to Paint, Oil Painting, shading, ink Drawing Basics