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Watermedia Composition
by Stephen Quiller
Stephen Quiller helps watermedia artists develop stronger compositions, the important structures of their paintings.
The Atelier School of Classical Realism: Taking Steps Toward Stronger Drawings & Paintings
by M. Stephen Doherty
Students who enroll in classes with David Hardy and Rob Anderson at the Atelier School of Classical Realism, in Oakland, California, pursue a number of different approaches to figure, landscape, and still life drawing and painting, including the sight-size method and a three-step process of developing drawings and oil paintings.
Skip Whitcomb: Think Less About Your Subject and More About Making a Personal Statement
by M. Stephen Doherty
This Colorado artist makes comparisons to literature, music, art history, and cattle ranching to help workshop students understand how to use subjects in nature as starting points for the painting process. “I show them how to use the visual elements that support their concept and eliminate those that don’t,” Whitcomb explains. “It’s similar to the way Hemingway created vivid images in the minds of people who read his spare descriptions, even if they never traveled to the locations.”
Quang Ho: Essential Information for Painters of All Levels (Available Online)
Interview by Allison Malafronte
Colorado artist Quang Ho’s new instructional DVD series offers a concise version of what students can expect in his workshops, including his eight visual approaches to painting, his views on developing understanding, and a discussion of everything he wishes he had known before he started painting.
Four Approaches to the Same Landscape
by M. Stephen Doherty
Four professional artists recently convened in a San Francisco park to paint urban landscapes. A comparison of the scenes, composition, materials, and techniques they used can help you in determining your best approach to any scene.
Craig Nelson: Learning Through Repetition and Refinement
by M. Stephen Doherty
In his workshops, filmed education programs, online courses, and university classes, Craig Nelson either reinforces the drawing and painting lessons he’s offered before, or he refines the content and format of his instruction. “We can’t learn everything all at once, so we need to review fundamentals over and over again,” he explains, “but we can also benefit from new approaches to art instruction.”
Scott Christensen: Prepare, Practice, and Paint at the Highest Level
by Allison Malafronte
For committed artists ready to achieve breakthroughs in their landscape work through extensive study of the Old Masters and intensive practice, this artist’s workshops are a revelation.
Michael Workman: A Strong Abstract Composition Comes Before Color
by Bob Bahr
The ravishing color in this Utah oil painter's landscapes relies heavily on strong compositions—a very useful message that workshop participants may find surprising, given Michael Workman's reputation as a tonalist.
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