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Drawing of Taheera by Sherrie McGraw, 2009, charcoal, 24 x 18. I’ve always thought of a painter’s drawings as his or her diary. A finished painting is the confident, public face shown to the world, but drawings read like journal entries, where you can see an artist’s preoccupations...
Posted to
Artist Daily
by
cjordan
on
11 Mar 2010
Filed under:
Filed under: draw, Drawing, Weekend With the Masters, workshop, Watercolor, how to draw, Art Instruction, figure drawing, drawings, Courtney Jordan, Sherrie McGraw
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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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They always say that two heads are better than one. But as an only child, I tended to stick to myself, and I hated group projects and asking for help. Luckily, as I got older, I became more comfortable working with others and recognizing when I needed an outside perspective. Most artists already know...
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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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On the Cover: John Morra teaching still life painting in New York City. Photo by Nathan Kraxberger Michelle Dunaway: Painting From the Center FEATURES Paul DeLorenzo: Learn the Basics of Academic Figure Painting by M. Stephen Doherty Having been trained by two of the most important American academic...
Posted to
Workshop Magazine
by
Brian Riley
on
10 Feb 2010
Filed under:
Filed under: Workshop, oil, Stephen Doherty, Molly Siple, draw, focal point, Landscape Painting, Curt Walters, still lifes, Figure Painting, Burton Silverman
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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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8.4.00, 7:45 p.m. by Kevin Macpherson, 2000, oil, 6 x 8. Collection the artist. Internationally celebrated landscape painter Kevin Macpherson’s Reflections on a Pond series—which debuted at the Pasadena Museum of California Art—will be on display in New York City at the historic Salmagundi...
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On the Cover: The Painter (detail, reversed) by Nancy Guzik, 1990, oil, 36 x 20. Private collection. Interpreting Reality Through Colored-Pencil Paintings Finding Inspiration in a Diverse Range of Master Artists DEPARTMENTS Editor’s Note What’s New at artistdaily.com Art Mart Quick Sketches...
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It always surprises me how much my internal state is affected by my surroundings. I normally love wandering the streets of New York City, window shopping, taking photographs of interesting views, and maybe waiting in line for an exhibition or live performance. But now, with temperatures in the 20s, my...
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Curt Walters started his demonstration painting along the South Rim of the Grand Canyon by lightly indicating the placement of shapes. By all measures, my friend Curt Walters is one of the most successful artists in the country, certainly among artists in the Western United States. He has won almost...
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On the Cover: Breakfast Club (detail) by Gordon France, 2004, watercolor, 20 x 28. Private collection. Artist to Artist: Dean Mitchell Modern Masters: Jan Kunz DEPARTMENTS Editor's Note Contributors Noteworthy FEATURES Weekend With the Masters Review (Available Online) Artist to Artist: Dean Mitchell...
Posted to
Watercolor Magazine
by
Brian Riley
on
10 Dec 2009
Filed under:
Filed under: Table of Contents, Watercolor, Janet Walsh, John A. Parks, still lifes, Linda S. Price, workshop, how to paint, Weekend With the Masters, oil, Watercolor Winter 2010, painting technique
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Back in 1994, after my husband and I relocated to New Hampshire, an artist friend invited me to join a group of painters and photographers who met every Wednesday morning at a quaint café in downtown Nashua. This group of about a dozen artists had been meeting for several years, and when I heard...
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On the Cover: Sunflowers I (detail) by Patricia Tribastone, 2007, pastel on prepared board, 24 x 18. Collection the artist. Drawing Upon Local Community & Landscape Painting My Hometown From Photographs DEPARTMENTS Editor’s Note Letters What’s New at artistdaily.com Art Mart Quick Sketches...
Posted to
American Artist Magazine
by
Brian Riley
on
1 Dec 2009
Filed under:
Filed under: American Artist, oil, Quick Sketches, Stephen Doherty, John A. Parks, Molly Siple, Drawing, Winslow Homer, Weekend With the Masters, Draw, workshop
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Several of the masters gathered together for a photo during the Saturday evening “Encouraging the Mastersof Tomorrow” silent auction and reception. From left to right: American Artist editor-in-chief M. Stephen Doherty, Joseph McGurl, Kevin Macpherson, Frank Serrano, David A. Leffel, Jacob...
Posted to
Web Features
by
Brian Riley
on
1 Dec 2009
Filed under:
Filed under: Drawing, American Artist, Workshop, Quang Ho, oil, watercolor, Stephen Doherty, landscape painting, Jacob Collins, art materials, Weekend With the Masters, George Gallo, Frank Serrano, Scott Christensen, Jeremy Lipking, Learning From the Masters, Kevin Macpherson, Joseph McGurl
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New Utrecht Avenue 2008, watercolor, 25 x 35. Private collection. I need personal time in the studio to reflect, journal, and work. I experiment, draw, play, and entangle myself in the nitty-gritty of working on my own craft. It is never enough time, but it is something. Something I can look forward...